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In order to lead up to the complex character of this work, we outline the history of paintings of people suffering from the convulsions of war. This history begins with Goya, who in his "Desastres de la guerra" pointed out various ways to express this concept; 1) the eye witness report, 2) the ennobling of suffering by recalling the passion of Christ, as well as, 3) allegorical or symbolic expression. All three ways were made use of in the 19 th century, at times combinations of them. The most important was the eye witness report, a form which with the hell of World War I reached metaphysical heights especially with German artists - Beckmann, Grosz, Dix, and others. The way Picasso marked off snatches of real history with symbols, recalls furthermore the "collage" technique, which made John Heartfield's commentaries on the Spanish Civil War so forceful. However "Guernica" can not be interpreted quite so straightforwardly. The horse for example may well represent the suffering Spanish people. However it also bursts with aggression. The oppressed victims upsurge oppressing each other.
Artibus et Historiae publishes articles on art history research in its broadest sense, including film, photography as well as other areas of art connected with visual expression. The journal particularly encourages interdisciplinary research on art and problems on the borders of art history and other humanistic disciplines. Special emphasis is put on research dealing with the interrelationship between various arts - painting, architecture, sculpture - and on iconography. We welcome works which are unconventional from a methodological viewpoint and that involve new, scientifically justified conceptions. At the same time, art history as an academic discipline is the basis and point of reference for the papers published in Artibus et Historiae. Artibus et Historiae appears semi-yearly. The articles are published in: Italian, German, English or French, depending on the author's preference.
IRSA (Istituto per le Ricerche di Storia dell'Arte), was established by Dr. Jozef Grabski in 1979 as a research institute and publishing house subsidiary to the new art periodical, Artibus et Historiae. Jozef Grabski, then a young art historian and research student at Vienna University and at Florence's Fondazione Roberto Longhi, managed to enlist the cooperation of art historians of international repute, including Andre Chastel, Giuliano Briganti, Rene Huyghe, Carlo del Bravo, Everett Fahy, Hermann Fillitz and Konrad Oberhuber, for the new institute and its publication. IRSA was initially based in Venice (1979 - 1982), then moved to Florence and Vienna, and finally to Cracow (Poland) in 1996, where the semi-yearly art journal Artibus et Historiae is currently published.
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© 1983 IRSA s.c.