The publication focuses on the relationship between needs-oriented images of history and the adoption of historical artistic styles. The congruence of re-enactment or reconstruction and the collective desire for a representative image of their own past is analyzed with respect to the interaction between zeitgeist, influential protagonists, and historicizing ideologies. Critical light is shed on various dogmas, such as the idea of a beautifully white antiquity, which still has an effect on our contemporary imagination. Even though color reconstructions can help us re-examine our aesthetic perceptions, it is still unclear whether and how we want to work with preconceived notions in the context of new societal challenges.

The painting technique and artist's materials of the renowned Expressionist Emil Nolde (1867-1956) have been examined for the first time by an interdisciplinary team of restorers, art historians, and scientists. The research included an evaluation of Nolde's studio estate and his text sources from the perspective of art technology, as well as detailed microscopic, imaging, and material-analysis examinations of his paintings. Known as a master of coloring, the choice of canvas, primer, and paint, as well as diverse application techniques are essential to the effect of his pictures. The impressive spectrum of Nolde's working methods and his struggle to arrive at artistic solutions are explained clearly based on forty-four works from all the phases of his long career. Exhibitions: Hamburger Kunsthalle, October 16, 2021 until April 18, 2022 Emil Nolde. Meine Art zu malen..., Pinakothek der Moderne, Munich, March 31, 2022 until February 28, 2023 Presentation in the Nolde Stiftung Seebull, expected from summer 2022

The Rimini Crucifixion Altarpiece is considered to be one of the finest achievements of transalpine art sculpture from the 1430s and is a major work of the Liebieghaus Sculpture Collection in Frankfurt/Main. Acquired in 1913 the 12 statuettes of apostles and the crucifixion scene accompanied by many figures has always attracted great interest not just amongst experts and not only due to the use of alabaster and the scope of the Southern Dutch ensemble but also on account of its enormous artistic quality and craftsmanship. The restoration of the altarpiece over a period of several years involved intensive research of a technological, geochemical and art-historical nature. New facts and surprising details came to light as a result. These insights but also the new restoration methods are vividly illustrated in this first monograph on the Rimini altarpiece.

Was hat es mit dem Phanomen des musealen Meisterwerks auf sich? Und wie wirkt das Meisterwerk auf sein Museum zuruck? Auf welche Weise wird Kunst durch geschickte Prasentation als Meisterwerk wahrgenommen, ja erhoben? An vier beruhmten Beispielen wird das Spektrum an Inszenierungsstrategien ausgelotet: die "Nike von Samothrake", die Kartons von Raffael, Michelangelos "David" und Rembrandts "Nachtwache". In einem wunderbaren Parforceritt durch drei Jahrhunderte Museumsgeschichte enthullt die Autorin, wie zeitgeschichtliche Vorstellungen die Inszenierung auf der musealen Buhne bestimmen, wie Aufmerksamkeit dirigiert und Bedeutung gelenkt werden: von einer romantischen Idealprojektion uber den auratisch aufgeladenen Solitar im weissen Raum bis zum Meisterwerk als "Performer" und begehrenswertem Luxusobjekt.

Close technical examinations of the techniques and materials of Edward Steichen, Mark Rothko, Jules Olitski, Jasper Johns, and others are accompanied by essays that probe issues of conserving contemporary art Volume 5 of the National Gallery of Art's biennial conservation research journal Facture explores issues associated with the conservation and technical analysis of modern and contemporary art. Focusing on works in a variety of media by celebrated artists such as Edward Steichen (1879-1973), Mark Rothko (1903-1970), Jules Olitski (1922-2007), and Jasper Johns (b. 1930), this publication's seven essays offer expertise from conservators, scientists, and art historians, yielding exceptional insights into extraordinary works of art. As in all issues of Facture, the peer-reviewed essays, enlivened with spectacularly detailed photography, navigate interdisciplinary boundaries to examine artworks from technical, scientific, and art-historical perspectives. In this issue, the dialogue is further expanded to include contributions from artists, their families, and their foundations. Distributed for the National Gallery of Art, Washington

The Kunstkammer in Dresden's Royal Palace houses a fascinating variety of collected objects from the late Renaissance and early Baroque periods. It owes its unique collection of plain and ornate tools, for example, to the founder of the Kunstkammer, Elector August (1526-1586). They range from gardening equipment to goldsmithing, carpentry and ironworking tools and even to so-called Brechzeugen (tools for prising or breaking things open). In addition, the museum guide presents elaborately decorated art-room cabinets, two richly embellished Augsburg cabinets, tables inlaid with iridescent mother-of-pearl, precious board games, and musical instruments alongside filigree woodturned pieces, items of decorative art, and objects from distant cultures. Numerous previously unpublished masterpieces from the Kunstkammer in Dresden's Royal Palace

Beschutzen, heilen oder bestrafen - diese Krafte schrieben Menschen verschiedener Zeiten und Herkunfte den Bildwerken zu, die hier zum ersten Mal gemeinsam vorgestellt werden: sei es die Skulptur des Mangaaka aus der heutigen Republik Kongo, die Schutzgoettin Mahamayuri aus China oder die Maria auf der Weltkugel aus Suddeutschland. 45 Objekte aus zwei Berliner Museen, entstanden zwischen dem 4. und 19. Jahrhundert, vermitteln ein lebendiges Zeugnis der allgegenwartigen Bedurfnisse nach Schutz und Orientierung bei der Bewaltigung individueller oder gesellschaftlicher Krisen. Sie stehen fur die Existenz einer nicht-sichtbaren Welt von Goettern, Geistern oder Ahnen und schufen eine Verbindung zwischen dem Diesseits und einer "anderen Wirklichkeit". Durch ihre museale Prasentation ist ihr Gebrauchszusammenhang oftmals verlorengegangen - ein Umstand, der von den Autor/-innen dieses Buches kritisch reflektiert wird.