title: Kurt Badt. Verlust der Mitte. (On the Question of Modernism and the Anti-modernism in mid-20th Century German Art History)
metadata.name: dc.contributor.author
metadata.value: Sablin, Ivan D.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2021-10-12T13:16:12Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2021-10-12T13:16:12Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2021-09
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Sablin, Ivan. “Kurt Badt. Verlust der Mitte. (On the Question of Modernism and the Anti-modernism in mid-20th Century German Art History)”. Vestnik of Saint Petersburg University. Arts 11, no. 3 (2021): 532–554.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: https://doi.org/10.21638/spbu15.2021.309
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/33285
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: On the example of the activities of the German art historian Kurt Badt, the article reveals
  the complex relationship between modern art and contemporary art history. The outstanding
  and, obviously, underestimated figure of the scholar, who throughout his long life was ready
  to confront the rest of the discipline unwilling to become a part of the university system, with
  all his creativity embodied the very idea of freedom that modern artists and sympathizing
  art critics strove for. Due to the availability of English-language versions of the art historian’s
  texts mainly on the masters close to modern art — Delacroix, Constable, and Cézanne — his
  position in the dispute about modernism seems more or less unambiguous. The aim of this
  article is to show that this is far from the case, discovering the points of contact of Badt with
  many of his colleagues who have earned a reputation as unconditional conservatives. First of
  all, it concerns the Austrian art theorist Hans Sedlmayr, an interest for whom, especially in
  recent times, is predetermined by widespread ideas about the fundamental incompatibility of
  academic art history with attempts of unbiased consideration of the history of modern art.
  Moreover, a deep kinship of such research activity with the most reactionary political ideas
  is also widely discussed, which, as it should be noted, this outstanding critic of the modern
  culture was not absolutely innocent of. Nevertheless, his clash with Badt, a polemic that took
  place in the 1950s and 60s, centered on the work of not Cézanne, but Vermeer van Delft, can
  be considered from the point of view of the attitude of the two scholars to phenomena less
  distant in time. This makes it possible to raise the question of the paradoxical similarity of the
  views of these two authors — with such a different creative and human destiny.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: ru
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Vestnik of St Petersburg University. Arts;Volume 11; Issue 3
metadata.lang: -
metadata.name: dc.subject
metadata.value: modernism
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: historiography
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: K. Badt
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: H. Sedlmayr
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: conservatism
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Kurt Badt. Verlust der Mitte. (On the Question of Modernism and the Anti-modernism in mid-20th Century German Art History)
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 532-554.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/33285/1/532-554.pdf
resources.format: Adobe PDF
resources.size: 743,89 kB