ARTIFEX

Redefining Boundaries: Artistic training by the guilds in Central Europe up to the dissolution of the Holy Roman Empire

 Coordinatore UNIVERSITAT TRIER 

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 Nazionalità Coordinatore Germany [DE]
 Totale costo 1˙665˙117 €
 EC contributo 1˙665˙117 €
 Programma FP7-IDEAS-ERC
Specific programme: "Ideas" implementing the Seventh Framework Programme of the European Community for research, technological development and demonstration activities (2007 to 2013)
 Code Call ERC-2010-AdG_20100407
 Funding Scheme ERC-AG
 Anno di inizio 2011
 Periodo (anno-mese-giorno) 2011-06-01   -   2016-05-31

 Partecipanti

# participant  country  role  EC contrib. [€] 
1    UNIVERSITAT TRIER

 Organization address address: Universitatsring 15
city: TRIER
postcode: 54286

contact info
Titolo: Prof.
Nome: Andreas
Cognome: Tacke
Email: send email
Telefono: +49 651 201 2434
Fax: +49 651 201 3602

DE (TRIER) hostInstitution 1˙665˙117.00
2    UNIVERSITAT TRIER

 Organization address address: Universitatsring 15
city: TRIER
postcode: 54286

contact info
Titolo: Prof.
Nome: Peter
Cognome: Schwenkmezger
Email: send email
Telefono: +49 651 201 4227
Fax: +49 651 201 3602

DE (TRIER) hostInstitution 1˙665˙117.00

Mappa


 Word cloud

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pre    modern    guilds    borders    artisan    guild    social    artist    historical    training    artistic    sources    central   

 Obiettivo del progetto (Objective)

'Based on wide-ranging sources, the project studies artistic training in pre-modern Central Europe. Up to the end of the Holy Roman Empire, the study area experienced various sizes with changing borders and different linguistic areas and jurisdictions. The project explores these aspects, referring to current research on culture-historical geography. Moreover, it will examine and, in some cases, revise the one-sided negative image of the guilds, using the example of research into historical networks and components of the dynamism of personal associations developed by neighbouring disciplines: Guild structure is viewed at times as an all-embracing, tightly knit network that permitted artists to exchange ideas and move freely and establish art markets. The cross-border research approach thus complements for the first time the historical idea of the artist as a model in social history. Up to about 1800, the artist was part of the hierarchical European society; except for the court artist, he was an artisan bound to the guilds. Numerous attempts to institutionalise artistic training and transfer it to academies succeeded only when the guilds were dissolved under Napoleon. An edition of all German-language guild and artisan regulations in Central Europe will make a hitherto little noted source type of major relevance accessible to research. One aim is to assemble a critical corpus of historical sources structured according to cities, a second, to analyse the social historical contexts, among them, synergy effects of “artistic knowledge” and training practices, the artist’s social and territorial mobility and the gender-specific inclusions and exclusions in pre-modern workshop operations. In terms of globalisation, the project can overcome topographical, methodological and content-related borders in all directions and lay the foundation for a comprehensive analysis of all of European artistic training.'

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