Hans Christian Hönes

William Blake, „Moon Ark“, Vignette in Jacob Bryant’s New System (1807)

CONTACT

Dr. Hans Christian Hönes
Research Associate
The Warburg Institute
Woburn Square
WC1H 0AB London / UK
Tel: +44 (0)20 7862 8755
Email: hoenes@bilderfahrzeuge.org

https://sas.academia.edu/HansChristianH%C3%B6nes

 

 

PROJECT

My current research concerns primarily the art and historiography of the ‘long’ 19th Century. Recent and forthcoming books and edited volumes deal with topics such as antiquarianism and the search for the origins of art, from Winckelmann to nineteenth-century archaeology, the history of scholarly migration and self-translation, and German art history around 1900.

My most recent monograph (Kunst am Ursprung, Bielefeld: transcript, 2014) dealt with the spectacular and often highly speculative hypotheses by antiquarians and collectors around 1800 on the origins of art. Currently, I am expanding this interest in the search for the origins of art and am working on a book on catastrophism and 19th-century geographies of art and culture (Catastrophism and the Origins of Art. Romanticism and the Deluge). It investigates theories at the crossroads of natural history and mythography, focusing on the interpretation of the Deluge as the point of origin for the trans-cultural diffusion of the arts. Taking a broad international perspective, I discuss, amongst others, artists and antiquaries such as Anne-Louis Girodet, JMW Turner, Johann Wolfgang von Goethe, Humbert de Superville, and Friedrich Olivier.

I am also interested in the role of environmental discourses for cultural theory more broadly, especially the reception of Johann Joachim Winckelmann’s climate theory in 18th and 19th-century art and archaeology, and its consequences for neoclassical geographies of art and culture – the subject of a workshop at The Warburg Institute in June 2017, on the occasion of Winckelmann’s 300th anniversary.

I have also worked extensively on the history of art historiography around 1900 (see my books on Aby Warburg (2014) and Heinrich Wölfflin (2011)), and keep doing so: I am currently editing a volume on the impact of scholarly migration and language change on the disciplinary discourse of art history (Migrating Histories of Art, together with Maria Teresa Costa, Berlin: deGruyter, forthcoming), and have an ongoing interest in the history of the discipline in England, esp. during Victorian times. I have recently discovered the manuscript of the first art historical lecture series ever offered at an English university, given by the German emigre Gottfried Kinkel at UCL in 1853.
I also have a keen interest in the poetics of art history, and topics such as the rise of the genre of the „Anecdote“, or the role of literature and philology for the writings of authors such as Aby Warburg.

 

 

CURRICULUM VITAE

Research interests

History of Art Historiography; Romanticism, antiquarianism, and the search for the origins of art

 

Academic Background

2006-2010 Universities of Würzburg and München: Magister Artium (M.A.) in History of Art.
2010-2013 LMU München: Doctorate in History of Art.
2012-2014 Research Associate at LMU München, Institute of Art History.
Since 04/2014 Max-Weber Foundation / The Warburg Institute: Research Associate.

Research Grants, Awards, Fellowships

Scholarship of the Max-Weber-Program in the German National Academic Foundation (2008-2010); Member of the „Geisteswissenschaftliches Kolleg“ of the German National Academic Foundation (2008-09); Heinrich-Wölfflin-Award (awarded by the Institute for Art History, for the M.A. Thesis, 2010); Predoctoral Fellowship at the Herzog-August-Bibliothek Wolfenbüttel (10/2011 – 01/2012); Research Grant by the Fritz-Thyssen-Foundation (“Aby Warburg – Collected Writings”), 2012-2014); Förderungs- und Beihilfsfonds Wissenschaft der VG Wort (publication grant, 2014); Geschwister Boehringer Stiftung für die Geisteswissenschaften (publication grant, 2014); Richard Stury Stiftung (publication grant, 2014).

Publications

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Books authored

Wölfflins Bild-Körper. Ideal und Scheitern kunsthistorischer Anschauung (Berlin/Zürich: diaphanes, 2011).

Kunst am Ursprung. Das Nachleben der Bilder und die Souveränität des Antiquars (Bielefeld: transcript, 2014). [Rev.: U. Schuster, in: Portal Kunstgeschichte 24/12/2014; N. Heringman, in: Journal of Art Historiography 13 (2015); R. Rogy, in: medienimpulse 3 (2015)]

Books edited

together with Léa Kuhn, Elizabeth J. Petcu, and Susanne Thürigen: Was war Renaissance? Bilder einer Erzählform von Vasari bis Panofsky (Passau: Klinger, 2013). [Rev.: A. Pinotti, in: Journal of Art Historiography 9 (2013); S. Lauenstein, in: Journal für Kunstgeschichte 17 (2013), Heft 4, S. 256–258].

together with Ulrich Pfisterer: Aby Warbug, Fragmente zur Ausdruckskunde (Gesammelte Schriften: Studienausgabe Vol. IV) (Berlin: de Gruyter, 2015) [Rev.: M. Rampley, in: Journal of Art Historiography 12 (2016); L. Baez-Rubi, in: Anales del Instituto de Investigaciones Estéticas 38 (2016), 229-237]..

Articles

“Speculative Science. Aby Warburg and Probability Theory,” Philosophy of Photography 8.1 (2017) [forthcoming, c. 3,500 words].

“Paper monuments for Antiquaries (Caylus, Winckelmann, D’Hancarville): Metahistorical Interventions,” Wiener Jahrbuch für Kunstgeschichte LXIV (2015) [forthcoming, c. 5,700 words].

“Prehistoric Hunting Magic. Fateful years of a hypothesis,” in Jagen ohne Waffen. Bildstiftende
Kräfte der ‚Ars venationis’, ed. by Maurice Sass (Berlin/Boston: de Gruyter, [forthcoming, c. 6,900
words]).

“Untranslatable: Gottfried Kinkel, ‘Kulturgeschichte’ and British Art Historiography,” Journal of Art
Historiography (special issue: Crossing Continents. Exile and Expatriate Histories of Art, ed. by
Geraldine Johnson), [forthcoming 2017, c. 9,000 words].

“Seductive Foreignness. Gottfried Kinkel at UCL,” in Migrating Histories of Art. Self-Translations of
a Discipline, ed. by Maria Teresa Costa and Hans Christian Hönes (Berlin/Boston: de Gruyter,
[forthcoming 2017, c. 7,200 words].

“Spielraum der Rationalität. Warburg und die Wahrscheinlichkeitsrechnung”, in Aby Warburg und die Natur, ed. by Frank Fehrenbach and Cornelia Zumbusch (Berlin/Boston: de Gruyter, [forthcoming, c. 6,000 words].

“Winckelmanns Kenotaphe,” Mitteilungen der Winckelmann Gesellschaft 78 (2016) [forthcoming c. 3500 words].

“Allegory, Ornament, and Prehistory’s ‘secret influence’,” in Idols and Museum Pieces
The Nature of Sculpture, its Historiography and Exhibition History 1640-1880, ed. by Caroline van Eck (Berlin/Boston: de Gruyter, 2017), 115-126; 238-241.

“Posing Problems. George Kubler’s Prime Objects,” in Journal of Visual Art Practice 15.2-3 (2016), 261-269

“Zusammensetzen/Zergliedern. Analytische Bilder von Manfred Riederer”, in Manfred Riederer. Zeichnung, Fotografie, ed. by Manfred Riederer (Karlsruhe: Lindemanns Bibliothek, 2016), 19-31.

“Die Geburt der Kunstgeschichte in England: Gottfried Kinkels Vorlesungen am University College London 1853,” Kunstchronik 68.9/10 (2015), 487-491.

““Enlivening and – Dividing”. An Aporia of Illumination,” Contemporaneity. Historical Presence in Visual Culture 4 (2015), 1-23.

“Nachwort: Der ‘kleine Antennerich’ – Kunstpsychologie als Selbsterkundung als Kunstpsychologie,” (co-authored with Ulrich Pfisterer) in: Aby Warburg, Fragmente zur Ausdruckskunde (Gesammelte Schriften: Studienausgabe Vol. IV) (Berlin/Boston: de Gruyter, 2015), 321-351.

“Einleitung,” in Georg Wolfgang Knorr, Historische Künstler=Belustigung oder Gespräche In dem Reiche derer Todten, zwischen denen beeden Welt=bekannten Künstlern Albrecht Dürer und Raphael de Urbino (Nürnberg 1738) (Heidelberg: UB Heidelberg, 2014), 2-15.

“Anfang und Metapher. George Kubler und das Problem künstlerischer Innovation,” Kunstgeschichte. Open Peer Reviewed Journal 2014 (urn:nbn:de:bvb:355-kuge-374-6).

“Reproduktionen des Lichtbilds: Max Hauttmanns ‘zeichnerische Operationen’,“ Rundbrief Fotografie 20.3 (2013), 17-24.

„Leben der ausgezeichnetsten Bilder, Bücher und Kunsthistoriker, von Vasari bis Panofsky, oder: Was war Renaissance?,“ (together with Léa Kuhn, Elizabeth J. Petcu, and Susanne Thürigen) in Was war Renaissance? Bilder einer Erzählform von Vasari bis Panofsky, ed. Ibid (Passau: Klinger, 2013), 1-23.

 

Reviews, catalogue entries, etc.

Catalogue Entries on: Freising, Dom / Augsburg, St. Ulrich und Afra / Augsburg, Ev. Hl. Kreuz / Augsburg, Schaezlerpalais, in Museum with no Frontiers. Discover Baroque Art (www.mwnf.org) [2010].

“Georges Batailles “Gaia scienza” (Review of Georges Didi-Huberman: Formlose Ähnlichkeit: oder die Fröhliche Wissenschaft des Visuellen nach Georges Bataille, München 2010),” in Kunstchronik 64.3 (2011), 158-161.

Finding list of Warburg’s published and edited writings (http://www.kunstgeschichte.uni-muenchen.de/personen/prof_uni/pfisterer/gremien_projekte/warburg/findliste/index.html), 2011.

Catalogue Entries on: Bernard de Montfaucon, Joseph-Francois Lafitau, G.A. Court de Gébelin, Pierre Mussart, Jean Jovet, Joh. Alexander Döderlein, Louis Avril, G.A. de Méhégan, Jacques Basnage, Pierre Jurieu und Joseph Spence, in Götterbilder und Götzendiener. Europas Blick auf fremde Religionen, ed. Maria Effinger, Ulrich Pfisterer and Cornelia Logemann (Heidelberg: Winter, 2012).

“What is Visual Culture anyway? (Review of: Whitney Davis: Queer Beauty. Sexuality and Aesthetics from Winckelmann to Freud and Beyond, New York 2010; Ibid.: A General Theory of Visual Culture, Princeton 2011),” in Kunstchronik 65.9/10 (2012), 489-493.

Catalogue Entries on: Heinrich Wölfflin, Anton Friedrich Harms, Johann David Passavant, Comte de Caylus und Deutsches Künstler-Album, in Was war Renaissance? Bilder einer Erzählform von Vasari bis Panofsky, ed. Hans Christian Hönes, Léa Kuhn, Elizabeth J. Petcu and Susanne Thürigen (Passau: Klinger, 2013).

“Ein englischer “Sonderweg”? Neue Forschungsperspektiven auf Dilettanten und Antiquare,” in Kunstchronik 66.7 (2013), 356-361.

Review of: Anna Marie Pfäfflin: Gottlob Heinrich Rapp. Goethes „wohl unterrichteter Kunstfreund“ in Stuttgart 1761-1832, Stuttgart: Hohenheim Verlag 2011, in sehepunkte 13 (2013), Nr. 9 [15.09.2013].

Review of: Peter Harbison: William Burton Conyngham . and his Irish Circle of Antiquarian Artists, New Haven / London: Yale University Press 2012, in sehepunkte 13 (2013), Nr. 9 [15.09.2013].

Neues aus Aby Warburgs näherem Umfeld: Ein Forschungsbericht, in Kunstchronik 66.12 (2013), 562-569.

Neue ikonographische Methoden aus einer Welt ohne Schrift (Review of: Vernon J. Knight Jr.: Iconographic Method in New World Prehistory, Cambridge / New York: Cambridge Univ. Press 2013), in Kunstchronik 67.6 (2014), 394-399.

Review of: Ruth Guilding: Owning the past: why the English collected antique sculpture, 1640 – 1840, London/New Haven: Yale Univ. Press 2014, in: Bryn Mawr Classical Review (2015) [http://bmcr.brynmawr.edu/2015/2015-10-09.html].

Review of: Max Raphael: Die Hand an der Wand, ed. by Gernot Grube, Zurich / Berlin: diaphanes 2013), in Kunstchronik 68 (2015), 544-548.