Online-Ressource
Verfasst von:	Anklam, Nico [VerfasserIn]
Titel:	Buchen, Wüsten, Palmen
Titelzusatz:	die Malerei des dänischen "Goldenen Zeitalters" zwischen Nationalromantik, Orientalismus und den Bildern der kolonialen Karibik im 19. Jahrhundert
Mitwirkende:	Heck, Kilian [AkademischeR BetreuerIn]
	North, Michael [AkademischeR BetreuerIn]
Institutionen:	Universität Greifswald [Grad-verleihende Institution]
Verf.angabe:	von Nico Anklam ; Gutachter: Prof. Dr. Kilian Heck (Erstgutachter), Lehrstuhlinhaber Kunstgeschichte, Caspar-David-Friedrich-Institut für Kunstgeschichte, Philosophische Fakultät der Universität Greifswald, Professor im Ruhestand Dr. Dr. h.c. Michael North (Zweitgutachter), bis April 2023 Lehrstuhlinhaber Allgemeine Geschichte der Neuzeit, Historisches Institut, Philosophische Fakultät der Universität Greifswald
Ausgabe:	Für die Veröffentlichung redigierte Fassung
Verlagsort:	Greifswald
Jahr:	2024-2024
Hochschulschrift:	Dissertation, Philosophische Fakultät der Universität Greifswald, 2021
Abstract:	Kunstgeschichte, Orientalismus, Skandinavien, Malerei
	The dissertation explores a relationship—one that has so far been neglected in art history—between three things: the formation of a national-romantic landscape in the picture plane in Danish painting from the 1800s to the 1860s, the parallel boom in depictions of the so-called Orient, and visual representation of Denmark’s colonial possessions. This thesis shows that as the once-global Danish empire shrank, over the course of the 19th century, to the size we know today, its painted pictorial space expanded far into the imaginary. The smaller the ruled land became in reality, the larger it would become in pictures. The specific topics in this dissertation also touch on broader questions of the art history of the "long" 19th century, regarding landscape, nation and identity, as well as the visual media, technology in the arts and knowledge networks that are reflected in the images that this century produced. This publication is divided into three main chapters. The first chapter shows how Danish national romanticism established itself in painting, with an inquiry into the history of the Copenhagen Art Academy. Certain fundamental changes in how the craft of painting was approached led, over time, to a different representation of nature in the image. In consequence, one can track a shift both painterly and ontological, from an image space that is observed to an image space that can be experienced as a landscape. Building on this argument, the second chapter reveals a clear connection between Danish national romanticism and Danish Orientalism. These were not isolated cases, but rather related aesthetic and ideological projects within a widespread phenomenon that has so far been overlooked in the visual arts. Many examples illuminate how Danish artists and a particular version of Danish Orientalist discourses in the 19th century expanded Danish visual identity beyond its own national landscape: the imagined Orient helped detached these now-multiplied landscapes from space and time. In the third chapter, the focus of the analysis falls on images from and of the Caribbean islands of colonial Denmark. Both the reception history of colonial landscape painting and the clearly different open-air painting in the Caribbean are highlighted in their forms and their respective effectiveness. In summary, this PhD thesis shows that the art of the so-called Danish Golden Age created a visual refinement of nature as a national space of identification and experience. In that sense, nature in the image is not merely landscape, but is at the same time transcended into a quasi-participatory nation-nature. This is where a special quality - or special challenge - of the image manifests itself. In contrast to works of literature, for instance, the image must offer an overall form that is coherent within the frame at first glance. This study demonstrates that the painting of the Danish Golden Age was able, more clearly than parallel movements in the arts, both to conjure and to connect the construct of “Orient” and the national-romantic space of “Denmark”, by means of a sharp painterly realism. The same realism, moreover, made possible the freeing of both “Orient” and “Denmark” from their localities into a fictional location. Therein, the colonial site specificity is characterized by another ellipsis: here the scientifically rigorous representation of the colonial flora, fauna and subjects contrasts with the practice of particularly free, performative plein air-painting in the Caribbean. This thesis lays out for the first time how, in 19th century Danish painting, the visual invention of a Danish landscape and an imaginary Danish Orient overlap in a surprisingly clear way; the images from and of the colonial landscapes of the Caribbean complement or even determine the so-called Danish Golden Age.
URL:	kostenfrei: Volltext: https://epub.ub.uni-greifswald.de/frontdoor/index/index/docId/10677
URN:	urn:nbn:de:gbv:9-opus-106775
Schlagwörter:	(g)Dänemark    / (s)Goldenes Zeitalter    / (s)Malerei    / (s)Nationalismus <Motiv>    / (s)Orientalismus <Kunst>    / (g)Karibik    / (s)Kolonialismus <Motiv>    / (z)Geschichte 1801-1900
Datenträger:	Online-Ressource
Dokumenttyp:	Hochschulschrift
Sprache:	ger
Bibliogr. Hinweis:	Erscheint auch als : Druck-Ausgabe: Anklam, Nico, 1981 - : Buchen, Wüsten, Palmen. - Für die Veröffentlichung redigierte Fassung. - Greifswald, 2024
K10plus-PPN:	1882449754
Verknüpfungen:	→ Bände
	Universitätsbibliothek
Lokale URL UB:	Zum Volltext
Signatur:	siehe Bände