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Architectural drawings of the : erman Renaissance9 have, with a few exceptions, remained unexplored objects. This is contrasted by the vast amount of surviving objects, of which roughly 8.000 drawings from the 16th to the early 17th century originate from the German territories. Despite being neglected for a long time, these drawings, however, convey a diverse picture of building in theory and practice, and are characterized by remarkable variations in their depiction of architecture. Aside from the various historical uses of the drawings, a closer examination can reveal the historical conditions for and the impacts of architectural drawing in general. The present study, therefore, aims to categorise the architectural drawings in order to extract their implied knowledge and to embed them in their respective historic discourses and epistemic systems. The main argument is that architectural drawings were not only tools for the design process of castles, gardens, civic buildings, or fortresses. Instead, they were part of complex communication processes, and were crucial objects of preserving architectural knowledge and invention. Architectural drawings should rather be understood as : ignificant objects9 ("Bedeutungsträger") of cultural practices, conveying historic concepts of space and built environments. In order to determine the very diverse aspects of the architectural drawing in the Northern Renaissance, this study is based upon a select number of drawings from various regions of the German states and newly discovered written sources. Due to the lack of architectural drawings in the northern regions of Germany, the majority of the selected drawings are from the south and middle-east of Germany (e.g. in Dresden, Nuremberg, or Kassel). The lack of contemporary art historical studies on : erman Renaissance9 architectural drawings has made it even more crucial to focus on historic material. Therefore, this study provides written sources dealing with concepts of : rawing theories9 as well as the thus far unknown concept of a treatise depicting design processes and functions of architectural drawings. In order to rethink the : isual culture9 of architectural drawings of the : erman Renaissance9 this study relies on traditional art historical and historical methods ("Quellenkritik") to evaluate the written and drawn sources, and on methods of media studies and visual studies ("Bildwissenschaft") to disclose pictorial strategies of visualization and communication. This book is structured in four main chapters dealing with theory and profession, function and impact, practice, and design techniques of architectural drawings between 1500 and 1650 in the German countries. While the first three chapters are concerned with the theory, design techniques, historic, and social context of the drawings, the fourth chapter presents case studies reflecting their function, use, and impact. Although this analysis is hugely concerned with objects originating from the Holy Roman Empire, it aims to reconstruct a general idea of the complex phenomena of production, visualization, communication, display, and collecting of knowledge by the means of architectural drawings, which can easily be applied to objects from any other : egion9 of that period. While being mainly used for common design processes, architectural drawings are defined by their wide-ranging utilisation, ranging from legal documents to material in the civic and princely education. It can be observed that draughtsmen of architectural drawings come from heterogeneous backgrounds to include not only architects, engineers, and town master masons, but also goldsmiths, structural draughtsmen, musicians, and even princes themselves. Accordingly, drawings could be plain administrative documents or, at times, valuable collection pieces, which is reflected in their depository - objects could be found at various places at the court or civic administration such as the registry, the library, and the armoury, but also in the Cabinet of Curiosities, or in the architect's personal archive. Even with only a small number of known approaches theorizing architectural drawings and design practices during the 16th century, it is possible to reveal a broad influence on drawing theories, especially by perspective treatises and the so-called "Visier- und Messkunst" (measuring). Reconstructing the various places of producing, collecting, displaying, and studying architectural drawings shows that architectural drawings were a crucial part in cultural processes of understanding, organizing, and dealing with the built environment.

Architectural drawing.

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The conference proceedings are a collection of contributions from the 4th Forum Architekturwissenschaft on architectural design and its artifacts. The Conference was held in November, 2017 at the TU Berlin. Contributors to the present publication are interested in the epistemic potential of sketches, renderings, models, photographs and drawings in architectural design. All follow the thesis that media in the draft not only depict, but in turn are the basis of further acts of knowledge. Using case studies ranging from the Middle Ages to the present, the texts trace the particular qualitative influence that "making" a design has on the artifact for this design. The structure for both the conference and this publication came out of the attempt to bring together theoretical positions and the results of practical work - artifacts: The conference was associated with an exhibition at the Museum of Architecture of the TU Berlin and in the present volume, theoretical contributions alternate with textual descriptions of the shown artifacts.

design --- sketching --- drawing --- scripts --- models

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Prints --- Drasing --- Conservation and restoration. --- Drawing

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Encore trop peu connu, le fonds de dessins du département des Estampes et de la Photographie de la Bibliothèque nationale de France constitue une des collections les plus riches qui soient, sans doute équivalente à celle du département des Arts graphiques du musée du Louvre. Cet inventaire consacré à cinq cent soixante feuilles de l’école française du xviie siècle conservées à la Réserve du département vient mettre en valeur une partie essentielle de ce fonds. Formant le cœur de la collection de dessins de maîtres français du xviie siècle, cet ensemble, d’une profonde originalité, renferme, à côté de feuilles de maîtres connus et bien représentés dans les collections publiques françaises, de nombreux dessins en rapport avec des estampes. Couvrant les vastes champs de création de la gravure, il révèle des artistes oubliés ou trop souvent assimilés par l’histoire de l’art à un seul genre (tels Louis Richer, Marin Desmarestz, Daniel Rabel ou Claude Spierre). Fruit de recherches approfondies, qui ont permis de vérifier les attributions et de préciser l’appareil bibliographique de chaque pièce, ce travail s’inscrit dans un cadre chronologique qui va de la génération des artistes nés vers 1590 (celle de Simon Vouet, Jacques Callot ou Pierre Brebiette), jusqu’à celle, qui naît vers 1650-1655, des Bonnart, grands diffuseurs des gravures de mode. Illustration de couverture Brebiette, Cérès entre Junon et Amphitrite, détail (voir n° 36, p. 34)

Visual Arts --- Art, Architecture & Applied Arts --- Drawing, Design & Illustration --- engraving --- drawing --- French school

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Cet ouvrage aborde la question de la caricature, longtemps tenue pour un art mineur, à partir d’approches qui en ont renouvelé l’étude. Il réunit des contributions d’historiens de l’art et de littéraires venus d’horizons divers, depuis Montréal et New York jusqu’à Vienne, en passant par Dijon, Strasbourg et Paris. Il s’efforce d’en apprécier autant la portée expérimentale et novatrice, tout à la fois pratique et théorique, que l’engagement politique, social et polémique, et les implications esthétiques. Cet art moderne et graphique qui a recours au rire comme à une arme procède d’une anthropologie de l’image associée à l’histoire du corps et des émotions. L’essor de la caricature s’effectue à la jonction du croquis et du dessin de presse en Angleterre à la fin du xviiie siècle, puis en France sous la Monarchie de Juillet, avant de s’internationaliser à la fin du xixe siècle et de se poursuivre jusqu’à nos jours comme une expression dynamique et gestuelle, celle du trait. La caricature est ici abordée comme un langage en métamorphose, dont les usages sont analysés à partir d’études de cas, qui en abordent les genres, les thèmes, les registres, les tons et la pluralité des modes d’expression. L’industrie du recyclage y devient un art qui se prête à d’innombrables variations imagées. Les salons caricaturaux engagent une réflexion critique sur les arts, tout en procédant de la critique d’art ; ils ouvrent aussi la voie aux formes de l’abstraction. La question de l’intermédialité permet d’interroger d’un essai à l’autre les portraits-charges visant Émile Zola, les dessins satiriques d’Albert Robida et d’André Rouveyre, le rapport du texte et de l’image dans les histoires en images de Gustave Doré, la bande dessinée dans la presse fin de siècle, la culture des cabarets et le cinématographe de Serguei Eisenstein, dessinateur-cinéaste inspiré par Honoré Daumier.

Visual Arts --- Art, Architecture & Applied Arts --- Drawing, Design & Illustration --- caricature --- art --- Histoire de l'art