PAINTERLY POLITICS: WÖLFFLIN, FORMALISM AND GERMAN ACADEMIC CULTURE, 1885–1915
At the turn of the twentieth century, Heinrich Wolfflin, August Schmarzow and other formalist art historians contributed greatly to the formation of their field's institutional identity. Art history, they believed, was falling prey to a ‘spiritless’ (geistlos) condition that supposedly existed among the student population and which was associated with rapid industrialization and the mechanization of society. Expressing themselves in pedagogical treatises – which have largely been unnoticed by historiographers of art history – formalists focused on the ability of the ‘painterly’ (malerische) aesthetic to convey ‘germanic’ moral and spiritual values to a student population that was being wrongly influenced by an ‘elitist’, traditional art history overly preoccupied with philological and contextual research.
With and Without Walls: Photographic Reproduction and the Art Museum
This chapter explores ideas and arguments about the proliferation and circulation of photographic and digital reproductions of art. The existence of widely circulated reproductions before photography, and the early mingling of photography with painting and printmaking, demonstrates that the distinction between photographic reproduction and handmade original was always blurred. Even so, this distinction has informed thinking about art, reproduction, and museums. In the early twentieth century artists, curators, and art theorists thought that photography and photomechanical reproduction threatened the original work of art. The concepts of originality, aura, facture, and style became key, to distinguish photomechanical prints from valuable artworks, photography from painting. A new way of seeing seemed to be emerging – which treated reproduction as transparent, placed high value on originality and facture, and found new stylistic connections between images in the “museum without walls.” Modern forms of attention seemed to challenge the individualistic model of aesthetic contemplation enshrined in museums. Building on these early ideas, and situating them in relation to more recent discussion of digital and electronic media, this chapter argues that new practices of personal photography and image sharing require us to reimagine the museum with and without walls as potentially more “delirious,” playful, anarchic, and plural.
Role of computer technology in medical illustration.
OBJECTIVE
Recent improvements of computer technology have resulted in a new approach to medical illustration and the scientific research process. The purpose of this manuscript is to define the current state of the art and to review paths of progress.


CONCLUSION
Using examples, we compared the process of time-intensive hand-rendered art with current art created using new computer technology. Specific emphasis was made on the newest technologies and how high-quality lower cost medical art can now be created. These newly available tools and illustration methods have resulted in a new approach to research, creation, and reproduction of medical art.