LEADER 00000nam  2200337   4500 
001    AAI3125652 
005    20050228064438.5 
008    050228s2004                        eng d 
035    (UnM)AAI3125652 
040    UnM|cUnM 
100 1  Wieber, Sabine 
245 10 Designing the nation:  Neo-Northern Renaissance interiors 
       and the politics of identity in late nineteenth-century 
       Germany, 1876--1888 
300    340 p 
500    Source: Dissertation Abstracts International, Volume: 65-
       03, Section: A, page: 0735 
500    Adviser:  Reinhold Heller 
502    Thesis (Ph.D.)--The University of Chicago, 2004 
520    In 1876, Munich hosted the new German Empire's first 
       national art and design exhibition, the Erste Allgemeine 
       Kunst- and Kunstindustrie Ausstellung alter and neuer 
       deutscher Meister Bowie der Kunstschulen. Occasioned by 
       the Bavarian Applied Arts Association's twenty-fifth 
       anniversary, the exhibition featured a broad selection of 
       contemporary decorative arts as well as historical 
       artifacts. The historical works were displayed in a 
       separate exhibit entitled Unserer Vater Werke, which 
       showcased primarily Northern Renaissance objects, while 
       the contemporary sections promoted a revived Neo-Northern 
       Renaissance aesthetic. Together, they introduced an 
       innovative and powerful presentation opportunity---unified
       architectural environments filled with furniture, flatware,
       fabrics, paintings, prints, and sculpture arranged 
       according to stylistic criteria. Long before the Bauhaus 
       or the Wiener Werkstatte, the 1876 Exhibition's new 
       exhibition concept of so-called Gesamtarrangements 
       underscored the reciprocal relationship between art and 
       design practices 
520    This unprecedented coexistence of historical and 
       contemporary objects in an exhibition was recognized by 
       critics as a defining moment in the development of 
       Germany's decorative arts and celebrated as an important 
       physical manifestation of Vorbilderwesen, a way of 
       learning by visual example advocated since the late 1850s 
       by leading decorative arts reformers. While rooted in 
       earlier pedagogy, the exhibition's unique displays also 
       posed a particularly contemporary problem of authenticity 
       and historicity, complicated by issues of German 
       patriotism at this time 
520    The display of contemporary Neo-Northern Renaissance art 
       and artifacts as stylistically unified, historically 
       situated interiors also carried powerful ideological and 
       nationalistic claims regarding the formation of German 
       identity. The spatio-temporal interplay between historical
       and contemporary interiors at the Munich exhibition was 
       designed to construct a genealogy that linked contemporary
       cultural, social, and political concerns to a now-
       celebrated historical period, namely, Germany's last 
       experience as a relatively united European power in the 
       under the auspices of the Holy Roman Empire. This 
       ideological relationship based on historical precedent 
       could only be activated, however, by the audiences' 
       engagement with the material world at display in the 1876 
       Exhibition's Gesamtarrangements 
590    School code: 0330 
590    DDC 
650  4 Art History 
650  4 Design and Decorative Arts 
690    0377 
690    0389 
710 20 The University of Chicago 
773 0  |tDissertation Abstracts International|g65-03A 
856 40 |uhttp://pqdd.sinica.edu.tw/twdaoapp/servlet/
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