Gottfried Boehm

Gottfried Boehm (* 1942 in Braunau (Bohemia ) ) is a German art historian, philosopher, and professor at the University of Basel.

Life

Boehm studied art history, philosophy and German in Cologne, Vienna and Heidelberg, in 1968 received his doctorate in philosophy and his habilitation in 1974 in art history. From 1975 to 1979 he was a lecturer and adjunct professor of art history at the Ruhr- University Bochum. 1979 he was appointed full professor of art history at the Justus Liebig University in Giessen. During this time he initiated the Giessen Art Trail, which was started in 1982 as a sculpture on the grounds of the University. In 1986, Boehm in Switzerland at the University of Basel, where he heads next to his professorship since 2005 as director of the Swiss national research priority " Iconic Criticism / Eikones ". He was appointed a full member of the Humanities class of the Sudeten Germans Academy of Sciences and Arts in 1992.

Work

Gottfried Boehm shows in his work especially from hermeneutics and phenomenology, and influenced by hermeneutical thinking Hans -Georg Gadamer. He worked on the art and theory of perception of the Renaissance, the 19th and 20th century to contemporary art as well as to more general questions of modernity. In recent years he has become visible in particular his contributions to the history of images and image science and suggested doing an iconic turn on. He also coined the term iconic difference. Gottfried Boehm currently applies alongside Hans Belting and Horst Bredekamp as one of the most important theorists of art studies in Germany.

Quotes

  • " What we encounter as an image, based on a single basic contrast, the between a manageable total area and all that it includes at internal events. The relationship between the ideological whole and what it to single determinations ( the color, the shape, figure etc. ) contains, has been optimized by the artist in some way "(1994)
  • " The iconoclasm of the media industry is unbroken, not because they forbade images, or prevented, on the contrary, because it produces a flood of images in motion whose basic tendency aims to suggestion on visual substitute for reality, was one of the criteria has always been, the limits of their own imagery disguise "(1995).

Awards and Affiliations

  • Since 1992: full member of the Humanities class of the Sudeten Germans Academy of Sciences and Arts
  • 1993/1994: Fellow of the Vienna Institute for Human Sciences ( Institute for Advanced Studies )
  • 2001/2002: Fellow at the Institute for Advanced Study Berlin
  • Since 2006: Corresponding Member of the Heidelberg Academy of Sciences
  • 2010: Member of the German Academy of Sciences Leopoldina
  • 2010: 12 Johannes Gutenberg Endowed Professorship at the Johannes Gutenberg University Mainz

Writings

Monographs:

  • Studies of perspectivity. Philosophy and art in the early modern period ( = Heidelberg research. No. 13). Dissertation Heidelberg 1969.
  • Portrait and the individual. On the Origin of Portraiture in the Italian Renaissance. Munich 1985.
  • Paul Cézanne: Montagne Sainte- Victoire. Frankfurt am Main in 1988.
  • Museum of Classical Modernism: twenty masterpieces of modern art. Frankfurt am Main in 1997.
  • The painter Max Weiler: the spiritual in nature. Vienna, New York, 2001.
  • As images produce meaning - The Power of showing. Berlin 2007.

As the editor:

  • Writings on art by Konrad Fiedler. 2 vols. Munich 1971.
  • Seminar: Hermeneutics and the Sciences. Frankfurt 1985.
  • Modernity and Tradition: Studies in honor of Max Imdahl 60th birthday. Munich 1985.
  • Individual: problems of individuality in art, philosophy and science. Stuttgart 1994.
  • What is an image? Munich 1994.
  • Description Art - Art Description: ekphrasis from antiquity to the present. Munich 1995.
  • Collected Writings of Max Imdahl. Frankfurt 1996.
  • Cézanne and Modernism. Ostfildern 1999.
  • Constructions, visibilities: interventions. Vienna 1999.
  • Homo pictor. Munich 2001.
  • Henri Matisse: Figure, color, space. Ostfildern 2005
  • Figure and figuration: studies of perception and knowledge. Munich 2007.
  • Movens image. Between Evidence and affect. Munich 2008.
  • Horst Bredekamp: iconology of the present. Munich 2008.

Essays:

  • Mnemosyne. To Category reminiscent of vision. In: G. Boehm, KH Stierle, G. Winter (eds.): Modernity and tradition. Festschrift Max Imdahl, Munich 1985, p 37-57.
  • The pictures question. In: Gottfried Boehm (ed.): What is an image? Munich 1994, pp. 325-343 (online, PDF, 972 kB).
  • The Return of the images. In: Gottfried Boehm (ed.): What is an image? Munich 1994, pp. 11-38.
  • Image description. On the limits of image and language. In: G. Boehm, H. Pfotenhauer (ed.): Description Art - Art Description. The ekphrasis from antiquity to the present. Munich 1995, pp. 23-40.
  • Paul Cézanne and Modernism. In: Cézanne and Modernism. Catalog. Fondation Beyeler, Riehen, Basel. Ostfildern- Ruit 1999, pp. 10-27.
  • The power of the images. The art of " mentally ill " and the image discourse. In: delusion, world, Picture, The Prinzhorn Collection. Contributions to the museum opening ( = Heidelberg Yearbooks. XLVI ). Heidelberg 2002, pp. 1-10.
  • The Silent Logos. Elements of image science. In: Yearbook of the Institute for Advanced Study in Berlin. Institute for Advanced Study, Berlin 2001/2002, pp. 188-208.
  • Beyond the language? Notes to the logic of the images. In: Christa Maar, Hubert Burda ( ed.): Iconic Turn. The New Power of Images. Cologne 2004, pp. 28-43.
  • The picture and the hermeneutical reflection. In: Dimensions of the hermeneutic. Heidegger and Gadamer. Edited by Martin Heidegger society. Series, Volume 7, Frankfurt am Main, 2005, pp. 23-35.
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