As the site of royal coronations, Reims cathedral was a monument to French national history and identity. But after German troops bombed the cathedral during World War I, it took on new meaning. The French reimagined it as a martyr of civilisation, as the rupture between the warring states. The resulting battle of words and images stressed the differences between German "Kultur" and French "civilisation". Artists and intelligentsia caricatured this entrenched cultural dichotomy, influencing portrayals of the two nations in the international press. Ultimately, despite a history of mutual respect, the bombing of the cathedral caused all social, scientific, artistic, and cultural ties between Germany and France to be severed for decades. This book explores the structure's breadth of meaning in symbolic, art historical, and historical arenas, including competing claims over the origins of Gothic art and architecture as national style and issues of monument preservation and restoration. It highlights how vulnerable art is during war and how the destruction of national monuments can set the tone for international conflict. Gaehtgens articulates how these nations began to mend their relationship in the decades after World War II, starting with the courageous vision of Charles de Gaulle and Konrad Adenauer, and how the cathedral of Reims was eventually transformed into a site of reconciliation and European unification.

This richly illustrated book examines the making of one of the earliest modern catalogues--"La galerie electorale de Dusseldorff." Published in 1778, the revolutionary two-volume publication showcases one of the most important European painting collections of the eighteenth century, reflecting a pivotal moment in the history of art as well as the history of the art museum. In two essays, the authors analyze the process by which the catalogue was produced and shed light on the historical and cultural context that gave rise to an innovative and didactic way of displaying paintings--and, by extension, to art history as a discipline. The volume accompanies an exhibition of the same name to be held at the Getty Research Institute from May 31 to August 21, 2011.

Herbert von Einem (1905-1983) war ein bedeutender deutscher Kunsthistoriker im 20. Jahrhundert. Er legte zahlreiche stark rezipierte Bucher vor und knupfte mit einer Michelangelo-Biographie an die Tradition der deutschen Italienforschung an. Im Kaiserreich geboren, verbrachte er Jugend und Studium in der Weimarer Republik, seine ersten Schritte der Universitatskarriere im Dritten Reich und wurde in der Nachkriegszeit zur zentralen Integrationsfigur des Faches zwischen Emigranten und deutschen Kollegen. Als Wissenschaftler angesehen, spiegelt seine Karriere nicht nur Fachgeschichte, sondern auch ein Gelehrtenleben in den Widerspruchen politischer Umstande. Die aus seinem Nachlass herausgegebenen Erinnerungen sind ein Dokument der Fachgeschichte und schildern den beruflichen Werdegang sowie persoenliche Reflexionen.