18.10.2024

Citizien Science campaign for the Bruckmann publishing house

Building design

Ferdinand Weeser-Krell, view of the premises of the Bruckmann publishing house at Nymphenburgerstraße 86 in
Munich, ca. 1923, illustration from a company commemorative publication from 1935 for the 80th birthday of Alphons von
Bruckmann, Bavarian State Library Munich, 4° Bavar. 3414q

For a long time, the archive of Munich’s Bruckmann Verlag was thought to have been lost. However, when the Bruckmann site on Nymphenburger Straße was cleared, it reappeared. While the documents ended up in the Bavarian Main State Archive, around 150,000 photographic objects, most of which were annotated or retouched, were handed over to the Central Institute for Art History (ZI) in Munich in 2016. Following a review of the archive material by project manager Franziska Lampe, the ZI is now asking for the help of (Munich) citizens.

Bruckmann Verlag was founded in 1858 and was an important organ of the then still young art historiography. It was an important employer in the city and thus provided jobs for many people. The ZI now addresses this group of people in particular. In order to trace the history of the archive, the publishing house and its working methods, diary entries, documents, oral histories and photographs are being sought. The focus is on (eyewitness) accounts that have not been handed down in history books or archives. All information from people such as apprentices, photographers, printers, retouchers and art historians is of interest, as project manager Lampe emphasizes. The aim is to find out more about the people who worked for the publishing house. Although the Bruckmann Verlag archive also provides information on this, giving visitors an insight into the workshop rooms and working methods, there is still little information available on the stories behind them.

Bruckmann Verlag played an important role in the art city of Munich, publishing magazines such as “Die Kunst für Alle”. Museum catalogs and reproductions of artworks for everyone and every budget were also part of the range. The publishing house also shaped the science of art history and its popularization. Important art historians such as Heinrich Wölfflin with his book “Kunstgeschichtliche Grundbegriffe” published their work there. Many researchers from subsequent generations asked about the archive, but it was not accessible to the public. Fortunately, this is now changing: the Bruckmann Verlag archive can be viewed and used by anyone interested. It offers researchers the unique opportunity to gain insights into the working methods of the publishing house with a wide range of participants, such as art historians.

However, the history of the publishing house also includes the period of National Socialism to a significant degree. The publishing house cooperated with the National Socialists at a very early stage and introduced Adolf Hitler to Munich society in the 1920s, for example. The publishing house not only supported the movement, but was also heavily involved in the regime’s propaganda apparatus. Art and art history and their perception played an important role for the National Socialists and Bruckmann Verlag was very active in this area with its expertise. It is clear to see that they followed the fascist-national socialist line. The exhibition catalogs for the “Great German Art Exhibition” held in Munich at the Haus der Kunst, for example, were published by Bruckmann Verlag. But many other National Socialist publications were also published there. This part of history should continue to be part of the research.

Franziska Lampe’s research focuses on the reproductions and photographs, which have so far received little attention in both art history and photographic history. But the find is also a real treasure for research into provenance, collection research, conservation science and many other related disciplines. This is because many works of art that no longer exist today or that have been heavily altered over time are documented, but the history of the city can also be traced. For example, there are photographs of the exhibition in Munich’s Glaspalast, which burned down in 1931, as well as views of the city. But other attributions of works of art can also be traced in some cases.

It is also interesting for researchers that raw states of photographs can also be traced. It is possible to trace how the Bruckmann publishing house worked, and a form of Photoshop can be identified as early as the 19th century. For example, people or companions in front of buildings were retouched, but works of art were also isolated or cut out. This also provides an insight into the methods of the discipline, as works by different artists were made comparable. A large part of the illustration is in black and white, as color was frowned upon and it was hoped that this monotone would allow concentration on the form.

The processing of the Bruckmann Verlag archive is to be seen as a long-term project. One clear goal is to preserve the archive in the way it is, because the sorting, which is characterized by the spirit of the 1900s, reveals a lot about how art was collected and hierarchically arranged. It also shows central aspects of art history as if through a magnifying glass and illustrates its methods of both popular and academic communication. At the same time, the political instrumentalization of art can be traced using the example of the Bruckmann publishing house. The archive is also to be digitized step by step. At irregular intervals, the project team will also provide updates on ongoing research on the ZI blog.

Project manager Franziska Lampe is asking for help: who worked at the publishing house and can still tell us about it? Who has relatives who worked there and can provide (oral) reports to the ZI? Who has art reproductions of the publishing house? All information can be sent to the following e-mail address: bruckmann@zikg.eu

09.10.2025

Trick

Renaissance II – Painting and Sculpture

Building design

"The Creation of Adam" is one of the most outstanding works of art from the Renaissance. Photo: Public domain, via Wikimedia Commons — The Creation of Adam is one of the most outstanding works of art from the Renaissance. Photo: Public domain, via: Wikimedia Commons

The Renaissance marked an era of profound intellectual and artistic renewal. In painting and sculpture, artists discovered humanity as the measure of all things—as physical, thinking, and feeling beings. At the intersection of science and spirituality, an art emerged that united beauty, knowledge, and human dignity in an unprecedented way.

The Renaissance revolutionized painting and sculpture by placing the human being—in all their physical, intellectual, and emotional dimensions—at the center. Artists such as Leonardo da Vinci, Michelangelo, and Raphael combined anatomical studies, mathematical perspective, and nuanced lighting to create a new, realistic visual language. This article examines key works of the Renaissance and demonstrates how the observation of nature, humanism, and scientific thought led to a new perspective on humanity.

The Transformation of the Concept of Art

With the Renaissance, a profound and downright revolutionary transformation began in the visual arts. Artists no longer sought pure symbolism or idealized transcendence, but rather a convincing naturalism, a three-dimensional perspective, and a depiction of the human figure that appeared both idealized and individual. Painting and sculpture served not merely aesthetic purposes but were vehicles for humanism, religious consciousness, philosophical thought, and social ideals. Art became a mirror of humanity’s newly discovered self-awareness, as humanity came to see itself as the measure of all things.

Michelangelo: Embodied Ideals and Divine Order

Michelangelo Buonarroti (1475–1564) is regarded as the epitome of the Renaissance artist, who set new standards in painting, sculpture, and architecture alike. With his famous “David”(1501–1504, Florence, Galleria dell’Accademia), he created far more than just a statue—he created a symbol of human strength, intellectual greatness, and republican self-confidence. The sculpture combines consummate anatomical precision with inner tension, serenity, and heroic dignity. It embodies the ideal of the “uomo universale”—the well-rounded and self-determined individual who experiences body and mind in harmonious unity.
In the ceiling frescoes of the Sistine Chapel (1508–1512, Rome), Michelangelo combined painting and sculpture in an overwhelming theological and artistic program. Scenes from Genesis—such as the famous “Creation of Adam”—depict the dynamic, almost electric relationship between God and humankind. The figures appear sculpturally modeled, their bodily volume emphasized by sculptural lighting. In his later “Last Judgment” (1536–1541), Michelangelo elevates this vision to a dramatic level: movement, emotion, and spiritual awe permeate the entire pictorial field.

Leonardo da Vinci: Art as the Science of Seeing

Leonardo da Vinci (1452–1519) was not only an outstanding artist but also a researcher, inventor, and anatomist. He understood painting as a science of seeing and knowledge. His meticulous studies of muscles, bones, and proportions formed the basis for a depiction of the human body grounded in observation and knowledge. The famous “Vitruvian Man” (c. 1490, Venice) follows the rules of proportion established by the ancient architect Vitruvius and symbolizes the harmony between humanity, nature, and the cosmos—an emblem of universal order. In “The Last Supper” (1495–1498, Santa Maria delle Grazie, Milan), Leonardo perfected central perspective and created a previously unmatched unity of space, light, and gesture. Each figure reacts individually to Christ’s words—doubt, fear, faith, and realization are reflected in their faces. This transforms the biblical event into a deeply human, even psychologically tangible scene that draws the viewer directly into the drama.

Raphael: Humanism and Classical Harmony

Raffaello Santi (1483–1520) gave Renaissance humanism a new, harmonious form. In his famous “School of Athens” (1509–1511, Apostolic Palace, Vatican), art, philosophy, and architecture merge into an ideal image of intellectual order. The symmetrical composition, clearly structured and masterfully constructed in perspective, depicts the great philosophers of antiquity—Plato, Aristotle, and others—as embodiments of human thought and inquiry. This fresco is regarded as an allegory of knowledge, education, and reason. In his depictions of the Madonna as well, such as the “Madonna di Foligno” (1511–1512), Raphael combined spiritual sublimity with human warmth. Mary appears as a loving mother, yet at the same time as a symbol of divine purity and beauty. This combination of naturalness and idealism made Raphael’s works the epitome of classical harmony.

Masaccio: Pioneer of the Early Renaissance

Masaccio (1401–1428) is considered one of the key pioneers of the Early Renaissance. With his “Trinità”(1425–1428, Santa Maria Novella, Florence), he laid the foundation for the development of perspective painting. Through mathematically constructed architecture and realistic lighting, he created the impression of spatial depth and physical presence. Masaccio’s work marked the definitive departure from the two-dimensional style of the Middle Ages and the transition to a rational, three-dimensional understanding of the image.

Portraiture and Individualization

The Renaissance marked the beginning of a conscious shift toward the individual portrayal of people. The portrait became an expression of personal identity and social status. It not only depicted physical resemblance but was also intended to reflect rank, education, and character. Nobles, scholars, and wealthy citizens—as seen, for example, in the portraits by Leonardo, Raphael, or Hans Holbein the Younger—presented themselves as thoughtful, self-assured individuals. The portrait thus became a medium for self-awareness and the representation of a new image of humanity.

Technique, Materials, and Innovation

The technical achievements of the Renaissance also contributed significantly to its success. The development of oil painting, particularly in Northern Italy by artists such as Antonello da Messina, allowed for softer transitions, finer nuances, and greater atmospheric depth. Fresco and tempera techniques were further refined to realize monumental, narratively complex projects. In sculpture, bronze and marble allowed for a precise rendering of movement, texture, and anatomy—from Donatello’s youthful “David”toMichelangelo’s powerful monumentality.

Art Between Humanism, Religion, and Science

Renaissance art uniquely unites three spheres: humanism, theology, and the natural sciences. The depiction of the human figure became a form of insight—an expression of divine order as well as a sign of intellectual curiosity. Anatomy, perspective, and light were regarded as means for the search for truth and the attainment of spiritual perfection. For today’s art historians and conservators, the challenge remains to understand these works not only technically, but also ideologically and philosophically.
Renaissance painting and sculpture fundamentally transformed European art. Masters such as Michelangelo, Leonardo, Raphael, and Masaccio combined scientific thought, theological reflection, and aesthetic sensibility into a new unity. Human beings took center stage in artistic representation—as physical, intellectual, and moral beings. The ideals of the Renaissance, characterized by harmony, knowledge, and creative freedom, continue to shape the Western understanding of beauty and art to this day.

30.10.2024

Portfolio

Contemporary shower channels for individual customer requirements

Building design

Metallic tones are the new trend colors in modern bathrooms. Sanitaryware manufacturer Dallmer has responded to this trend and is now supplying its designer shower channels for level-access showers in rose gold, anthracite and brass. Whether “CeraFloor”, “CeraWall”, “Zentrix” or “CeraNiveau” – all variants of the designer shower channels up to a length of 1,200 mm can be finished with the matt PVD coating. Depending on individual taste, it is therefore possible to match the color of the shower channel to the floor covering, making it invisible or creating strong contrasts.

“CeraFloor Select” is a 6 mm thick shower channel made of solid stainless steel with a milled cross slope. It is suitable for surface and wall installation. CeraWall Select, on the other hand, is probably the most striking designer shower channel and sets a clear accent in level-access showers. In comparison, the short shower channels CeraNiveau and Zentrix impress with their rectangular covers, which are usually positioned in the middle of the shower surface.

Thanks to the colored PVD coating, the shower channels are not only visually appealing, but also particularly resistant. Thanks to the removable odor trap, all shower channels can be cleaned very easily and quickly.

Dallmer GmbH + Co KG
Wiebelsheidestrasse 25
59757 Arnsberg
www.dallmer.de