Horst Bredekamp

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Horst Bredekamp at the Science Forum of the University of Konstanz 2015

Horst Bredekamp (born April 29, 1947 in Kiel ) is a German art historian and image scientist .

Live and act

Bredekamp studied art history, archeology , philosophy and sociology in Kiel, Munich , Berlin and Marburg . In 1974, he was with a thesis on art as a medium of social conflicts, especially the pictures fights from late antiquity to the Hussite revolution, at the University of Marburg doctorate . His doctoral supervisor was Martin Warnke . He then initially worked as a trainee at the Liebieghaus in Frankfurt am Main , and from 1976 as an assistant at the art history seminar at the University of Hamburg .

In 1982, he received the reputation as a professor of art history at the University of Hamburg ; In 1993 he moved to the Humboldt University in Berlin . In 2005 he held the Gadamer endowed professorship in Heidelberg. Bredekamp also made guest stays at the Institute for Advanced Study , Princeton (1991), Wissenschaftskolleg zu Berlin (1992), Getty Center ( Los Angeles , 1995 and 1998) and at the Collegium Budapest (1999). From 2003 to 2012 he was a permanent fellow at the Wissenschaftskolleg zu Berlin . Since 2004 Bredekamp has been a member of the Berlin Brandenburg Academy of Sciences and Humanities and a member of the German Academy of Sciences Leopoldina in Halle. Bredekamp is also a member of the Board of Trustees of the Schering Foundation .

Bredekamp's main research areas are iconoclasm , Romanesque sculpture , Renaissance and Mannerist art , political iconography , art and technology, and new media . In the course of his move to Berlin, he advocated the transfer of the Census of Antique Works of Art and Architecture Known in the Renaissance to the Humboldt University.

In 2000 he founded the Technical Image Department at the Hermann von Helmholtz Center for Cultural Technology (HZK) at the Humboldt University in Berlin . From 2008 to 2019 Bredekamp headed the research group Image Act and Embodiment at the Humboldt University in Berlin. In June 2012, he was able for the Humboldt University under the second phase of the Excellence Initiative of the federal and state successfully promoting excellence cluster image design knowledge. Acquire an interdisciplinary laboratory . Bredekamp has been the Senior Speaker of the Matters of Activity Cluster of Excellence since 2019 .

In spring 2015, he was appointed to the founding directorship of the future Humboldt Forum in the walls of the rebuilt Berlin City Palace, alongside the British museum director Neil MacGregor (management) and the archaeologist Hermann Parzinger . The founding directorship of Neil MacGregor, Hermann Parzinger and Horst Bredekamp ended with Hartmut Dorgerloh's appointment as general manager by the Board of Trustees of the Humboldt Forum on June 1, 2018.

Image act theory

Jan van Eyck, “Man with the Red Turban” (1433), National Gallery London.

Bredekamp's theory of the image act examines the autonomous power of the image , contrary to a largely predominant constructivist view of reality and the handling of images . When the viewer and the image meet, the recipient does not develop his or her own subjective perception of the image, but is confronted with a counterpart who has and exercises autonomy in its distinct form.

Like David Freedberg in his fundamental study The Power of Images (1989), Bredekamp also ties in with Aby Warburg's image studies and uses an expanded concept of image: the 'image' includes all material artifacts that show a minimum of human processing. While Freedberg's methodology consists in examining the ways in which popular images such as religious votive images are used, Bredekamp incorporates other visual media into his approach and tries to differentiate the approach. The term image act is designed as a counter-model to the concept of speech act , which comes from linguistics . The image is situates in this transfer in the role of the speaker. In artistic practice, this form of “reflexive ensouling” is shown, for example, by speaking works on which inscriptions with self-statements are formulated. The well-known formula “me fecit” (Eng. “Made me”) names, for example, on the frame of Jan van Eyck's man with the red turban (“JOH [ANN] ES DE EYCK ME FECIT A [N] NO MCCC 33 21 OCTOBRIS "; German: Jan Van Eyck made me in 1433 on October 21st) in this way" the double existence of the work as a created object and an autonomous subject ".

Peter Paul Rubens and Frans Snyders, "Head of Medusa" (between 1610 and 1625), Vienna, Kunsthistorisches Museum.

Bredekamp distinguishes between three different forms of the pictorial act:

The schematic pictorial act describes pictorial practices that bring the picture to life by making use of the body schemes or by making bodies themselves pictures. The Tableaux Vivants are mentioned as an example .

The substitutive image act describes the interchangeability of image and body. This role of the image is shown in iconoclasm , when images are punished like living people, or people are killed as a means of terror, “in order to let them become images of destruction”. Examples of this range from the Reformation iconoclasm to shameful pictures such as Leonardo da Vinci's drawing of Bernardo Bandini Baroncelli to the current terrorist tactics of the so-called IS , which annihilates people as living images and images as living enemies. The substitutive image act therefore opens up the social dimension of the images, that is, their function in the creation and reception of sociality .

The intrinsic act of image names the effect that emanates from the specifics of the material and the designed forms, and thus opens up an ontological level of observation. Bredekamp's approach, however, does not consist in reducing the effect of the image to supposedly objective facts, but on the contrary to show an ambiguity of the interpretation already on the level of materiality. Bredekamp points to the power emanating from images or the “potentia” inherent in them, for example through examples of their deliberate veiling. This includes the concealment of Pablo Picasso's anti-war image Guernica in the UN, on the occasion of a declaration of war by Colin Powell in 2003, as well as the targeted curtains of Gustave Courbet's scandalous image The Origin of the World or Peter Paul Rubens ' Head of Medusa .

While reviewers on the one hand missed the theoretical generalizability of the concept ("it is obviously not about theory in a reasonably resilient sense"; "the theoretical instrument of the pictorial act [is] strangely blunt"), the book was on the other hand also considered to be "radical, groundbreaking [n] Study "praised. The international reception of the English translation took up similar points of criticism (“in general, the book paints conceptual exposure and analysis of some of its key ideas”), but at the same time praised the challenging approach of an alternative image experience (“His book paints on a vast canvas that challenges us to understand why the pictures we love or hate exercise that power "). Bredekamp's publication has seen multiple editions and has so far been translated into six languages, including Italian as “Atto iconico”, French as “Théorie de l'acte d'image”, Portuguese and Spanish as “Acto Icónico” and English as "Image Acts". The pictorial act theory receives special attention in the Asian cultural area because it is understood as a parallel to one's own aesthetic concepts. This is also borne out by the translation of the theory of the pictorial act into Chinese.

Humboldt Forum

On April 18, 2001, Horst Bredekamp formulated a concept for the Humboldt Forum “as a museum of the history of science” in front of the expert commission “Historic Center Berlin” during the public hearing and in parallel in the FAZ . He explained that the global and, in the sense of Gottfried Wilhelm Leibniz, egalitarian art chamber of the Berlin Palace was not only the nucleus of the Berlin museums, but also the scientific history collections of the Friedrich Wilhelms University in Berlin. There is "the non-recurring chance that the Kunstkammer will find its way back to its old location in a contemporary form."

Together with the project to establish the Berlin State Library in the palace and to represent the non-European collections of the Prussian Cultural Heritage Foundation , the historical core of which also comes from the palace's art chamber, this concept was accepted by the expert commission and presented to the Bundestag . This passed it on July 2, 2002.

Since then, Horst Bredekamp has worked on the steering committees for the reconstruction of the castle and the founding of the Humboldt Forum. From April 2015 to June 2018 he was appointed founding director of the Humboldt Forum together with Neil MacGregor and Hermann Parzinger . Together with Peter-Klaus Schuster, he had published the history of the Humboldt Forum including documents. In an analysis of Berlin's architectural history from 2018, Bredekamp emphasized the structural connections between the old Berlin Palace and the new Humboldt Forum by architect Franco Stella and Italian art. Bredekamp emphasizes a collection history that, starting with the Kunstkammer as a world museum, understands the collection of artefacts from foreign cultures as an instrument of critical self-knowledge and as an advertisement for the understanding of the "other". He last traced this reference to the anti-colonial traditions of collecting in the book Aby Warburg of the Indians (2019) .

"Galileo the Artist"

In 2007, Bredekamp's monograph Galilei the Artists was published. The moon, the sun, the hand , which also included a special edition of Galileo's Sidereus Nuncius that appeared in a US antiquarian bookshop in 2005 . This edition contained previously unknown ink drawings attributed to Galileo. After a thorough examination, including material studies, this sensational special edition was found to be genuine by a research team led by Bredekamp. According to Bredekamp's monograph, Galileo's lunar and sun drawings obtained through the telescope reveal that the style of the representations determined the meaning of what was depicted, i.e. that Galileo's drawing art was to be understood as an essential instrument of his research, and that Galileo's scientific cognitive process was practically carried out during artistic drawing.

The edition that appeared in 2005 then turned out to be a forgery from 2012 onwards , which was allegedly brought into the US antiques trade by the Italian antiquarian Marino Massimo De Caro . Although from May 2012 it could be assumed that the special edition of the Sidereus Nuncius had to be a forgery, the German public was not informed. Peter Frensch , Vice President of the Humboldt University, instead instructed Bredekamp and his research group to re-examine the suspicious “star messenger” and to officially present the results in a further publication. The case was discussed by the German public in December 2013 in response to an article in the New Yorker publik and subsequently widely discussed.

On February 14, 2014, Bredekamp and his research group at Humboldt University presented the third publication on the special edition, in which they revised the results of the first two volumes and confirmed the special edition of the Sidereus Nuncius as a forgery. The monograph Galilei der Künstler , published in 2007 , was then presented by Bredekamp in 2015 under the title Galileo's thinking hand in a new version - "adjusted for an incorrect attribution".

Historical image science

In order to take up those roots of art history as general picture history, from which the discipline was developed in the 19th century, Bredekamp reintegrated the once art-historical research area of ​​prehistory into his most recent investigations. In doing so, he also expanded scientific connections in areas beyond the visual arts. For him, the application of image-critical methods and the formation of theories of visual knowledge in the fields of scientific, technical and medical imaging are of particular importance. The journal Bildwelten des Wissens (since 2003) and the standard work Das Technische Bild (2008 and 2015), which has been translated into English , already emerged from his research on historical image science .

Publications

Monographs

  • Art as a medium of social conflict. Image battles from late antiquity to the Hussite revolution (= Edition Suhrkamp , volume 763). Suhrkamp, ​​Frankfurt am Main 1975, ISBN 3-518-00763-7 , (Dissertation University of Marburg, Department of Modern German Literature and Art History, 1974, 405 pages, 34 illustrations, under the title: Art as a medium of social conflicts, image fights between 300 and 1430 ).
  • with Herbert Beck and Wolfgang Beeh : Art on the Middle Rhine around 1400 , Frankfurt am Main (Liebieghaus) 1975.
  • Vicino Orsini and the Sacred Forest of Bomarzo . A prince as artist and anarchist , with photographs by Wolfram Janzer. 2 volumes. Wernersche Verlagsgesellschaft, Worms 1985. ISBN 3-88462-015-5 / ISBN 3-88462-026-6 ; 2., revised. 1991 edition. ISBN 3-88462-061-4
  • Botticelli : Primavera. Florence as the garden of Venus . Frankfurt am Main (Fischer) 1988; New edition Berlin (Wagenbach) 2002.
  • Longing for antiquity and belief in machines. The history of the Kunstkammer and the future of art history , Berlin (Berlin) 1992.
  • Florentine football. The renaissance of games. Calcio as a festival of the Medici , Frankfurt am Main (Campus) 1993; changed edition Berlin (Wagenbach) 2001.
  • Representation and image magic of the Renaissance as a problem of form , Munich (Carl Friedrich von Siemens-Stiftung) 1995.
  • Saint Peter in Rome and the principle of productive destruction. Construction and dismantling from Bramante to Bernini , Berlin (Wagenbach) 2000.
  • Thomas Hobbes visual strategies. The Leviathan: archetype of the modern state. Work illustrations and portraits , Berlin (Akademie) 1999. Strongly changed new edition under the title Thomas Hobbes: Der Leviathan. The archetype of the modern state and its counterparts. 1651-2001 , Berlin (Academy) 2003.
  • The windows of the monad. Gottfried Wilhelm Leibniz 'Theater of Nature and Art , Berlin (Academy) 2004.
  • Darwin's corals. The early evolution diagrams and the tradition of natural history , Berlin (Wagenbach) 2005.
    • Italian edition: I Coralli Di Darwin. I primi modelli evolutivi e la tradizione della storia naturale, Turin 2006.
    • French edition: Les coraux de Darwin. Premiers modeles de l'evolution et tradition de l'histoire naturelle, Paris 2008.
    • Japanese edition: The Sakai Agency, Tokyo 2010.
  • Move pictures. From the Kunstkammer to the Endgame , Berlin (Wagenbach) 2007.
  • Galileo the artist. The moon, the sun, the hand , Berlin (Academy) 2007.
  • The artist as a criminal. An element of early modern legal and state theory , Munich (Carl Friedrich von Siemens-Stiftung) 2008.
  • Michelangelo . Five essays , Berlin (Wagenbach) 2009.
  • Theory of the image act. Frankfurt Adorno Lectures 2007 , Berlin (Suhrkamp) 2010.
    • French edition: Théorie de l'acte d'image , Paris (La Découverte) 2015.
    • English edition: Image Acts. A Systematic Approach to Visual Agency , (Translated by Elizabeth Clegg), Berlin and Boston (de Gruyter) 2017.
    • Spanish edition: Teoría del Acto Icónico , Madrid (Akal) 2017.
    • Chinese edition: Theory of the Image Act, Beijing: Phoenix Publishing & Media Inc. 2016
    • Italian edition: Immagini che ci guardano. Teoria dell'atto iconico , Milan 2015
    • Portuguese edition: Teoria do Acto Icónico. ed. J. Figueira e V. Silva, trad.A. Morão, 2015.
  • Leibniz and the revolution in garden art. Herrenhausen , Versailles and the philosophy of leaves , Berlin (Wagenbach) 2012. ISBN 978-3-8031-5183-4 .
  • The floating sovereign. Charlemagne and the image politics of the body , Berlin (Wagenbach) 2014, ISBN 978-3-8031-5186-5 .
  • Galileo's thinking hand. Form and research around 1600 , Berlin, Boston (de Gruyter) 2015. ISBN 978-3-11-041457-8 .
    • English edition: Galileo's Thinking Hand. Mannerism and the Virtue of Drawing in the Foundation of Early Modern Science (Translated by Mitch Cohen), Berlin and Boston.
  • (with Claudia Wedepohl): Warburg , Cassirer and Einstein in conversation. Kepler as a key to modernity , Berlin (Wagenbach) 2015. ISBN 978-3-8031-5188-9 .
  • The example of Palmyra , Cologne (Walther König) 2016.
  • The behemoth . Metamorphoses of Anti- Leviathan ( Carl Schmitt lectures), Berlin (Duncker & Humblot) 2016.
  • Marburg as a spiritual way of life. Trial about Martin Warnke on the occasion of his eightieth birthday on October 12, 2017 , Göttingen (Ulrich Keicher) 2017.
  • Berlin on the Mediterranean. Brief architectural history of longing for the south , Berlin (Wagenbach) 2018.
    • Italian edition: Berlino città mediterranea. Il richiamo del Sud (Translator: Simone Buttazzi), Milan (Raffaelo Cortina Editore) 2019. ISBN 978-88-328-5120-5
  • Aby Warburg, the Indian. Berlin explorations of a liberal ethnology , Berlin (Wagenbach) 2019.
  • Art History and Prehistoric Art. Rethinking their Relationship in the Light of New Observations, Horst Gerson Lectures (Translator: Mitch Cohen), Groningen 2019. ISBN 978-90-821290-3-8 .

editor

  • (as co-editor) Aby Warburg . Files from the international symposium , Berlin (Academy) 1990.
  • (as co-editor) Edgar Wind . Art historian and philosopher , Berlin (Academy) 1998.
  • (as co-editor) Theater of Nature and Art. Chambers of Wonder , 2 volumes, Berlin (Henschel) 2000.
  • (as guest editor) Yearbook for University History . Vol. 5, 2002: Subject volume “University and Art”, Stuttgart (Steiner) 2002.
  • (as co-editor) Visual arguments. The mysteries of representation and the predictability of the world , Munich (Fink) 2006.
  • (as co-editor) Classicism / Gothic. Karl Friedrich Schinkel and the patriotic architecture. Munich / Berlin (German art publisher) 2007.
  • (as co-editor) The technical picture. Compendium on a style history of scientific images , Berlin (Academy) 2008.
  • (as co-editor) In the middle of Berlin. 200 years of art history at the Humboldt University , Berlin (Gebr. Mann) 2010.
  • (as co-editor) The originals of the copy: Copies as products and media of the transformation of antiquity , Berlin, New York (de Gruyter) 2010.
  • (as co-editor and co-author) Galileo's O , 4 vols., Berlin (Akademie) 2011, 2014, 2015.
  • (as co-editor) See and Act , Berlin (Academy) 2011.
  • (as co-editor of the series) Imagery of Knowledge. Art history yearbook for visual criticism , Berlin (Akademie) and Berlin, Boston (de Gruyter), since 2003.
  • (as co-editor of the series) Actus et Imago. Berlin writings for visual act research and embodiment philosophy , Berlin, Boston (de Gruyter) since 2011.
  • (as co-editor) + ultra knowledge & gestaltung , Leipzig (EA Seemann) 2017.

Honourings and prices

literature

  • Horst Bredekamp , in: Kürschner's German Scholars Calendar 2003. 19th edition. Volume I: A - J. Bio-bibliographical directory of contemporary German-speaking scientists . KG Saur , 2003, ISBN 3-598-23607-7 , p. 367
  • Horst Bredekamp, ​​Wolfgang Ullrich: Black legends, growths, visual shocks. The art historian Horst Bredekamp in conversation with Wolfgang Ullrich , in: Neue Rundschau CXIV (2003)
  • Carolin Behrmann, Matthias Bruhn , Stefan Trinks (eds.): Intuition and Institution. Course book by Horst Bredekamp . Akademie Verlag, Berlin. 2012. ISBN 978-3-05-006094-1
  • Philine Helas, Maren Polte, Claudia Rückert, Bettina Uppenkamp (eds.): PICTURE / HISTORY. Festschrift for Horst Bredekamp . Akademie Verlag, Berlin. 2007. ISBN 978-3-05-004261-9
  • Nicole Hegener, Claudia Lichte, Bettina Marten (Eds.): Curiosa Poliphili. Festgabe for Horst Bredekamp on the occasion of his 60th birthday , Verlag EA Seemann, Leipzig. 2007. ISBN 3-86502-162-X
  • Ulrike Feist, Markus Rath (eds.): Et in imagine ego. Facets of image act and embodiment, Akademia Verlag, Berlin. 2012. ISBN 3-05-005945-1

Web links

Commons : Horst Bredekamp  - Collection of images, videos and audio files

Footnotes

  1. ^ Bredekamp, ​​Horst: Art as a medium of social conflict. Image battles from late antiquity to the Hussite revolution . Suhrkamp Verlag, Frankfurt am Main 1975, ISBN 3-518-00763-7 .
  2. ↑ "Shake the Vasari ...": art historical profiles. Edited by Matthias Bormuth , with an essay by Horst Bredekamp, ​​Göttingen: Wallstein, 2017, p. 17
  3. ↑ Horst Bredekamp, ​​Wissenschaftskolleg zu Berlin , accessed on February 1, 2014
  4. ^ Horst Bredekamp , list of members of the Berlin Brandenburg Academy of Sciences.
  5. ↑ Member entry by Prof. Dr. Horst Bredekamp (with picture and CV) at the Deutsche Akademie der Naturforscher Leopoldina , accessed on July 1, 2016.
  6. ↑ On the history of the Census. In: http://www.census.de/census/projekt
  7. ↑ Website: Bildakt und embodiment. Retrieved March 13, 2020 .
  8. ↑ Website: Bild Wissen Gestaltung. Retrieved March 13, 2020 .
  9. ↑ Ljiljana Nikolic: The Humboldt University is great ( memento of the original from March 5, 2014 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , HUMBOLDT - The newspaper of the Alma Mater Berolinensis, June 21, 2012, issue 7, accessed on February 23, 2014 @1@ 2Template: Webachiv / IABot / www.hu-berlin.de
  10. ^ Website: Matters of Activity. Retrieved March 13, 2020 .
  11. ↑ a b Grütters presents founding directorship for Humboldtforum , www.berlin.de from May 5, 2015, accessed on May 25, 2015.
  12. ↑ Nicola Kuhn: General Director of the Humboldt Forum Hartmut Dorgerloh is Berlin's new lord of the palace. In: www.tagesspiegel.de. May 15, 2018. Retrieved May 26, 2018 .
  13. ↑ VIEWPOINTS - Review of: Theory of the image act: About the right to life of the image - Issue 11 (2011), No. 4. Accessed on May 18, 2018 .
  14. ↑ Horst Bredekamp: The picture act . Verlag Klaus Wagenbach, Berlin 2015, ISBN 978-3-8031-2744-0 , p. 72 .
  15. ↑ Horst Bredekamp: The picture act . Verlag Klaus Wagenbach, Berlin 2015, ISBN 978-3-8031-2744-0 , p. 90 .
  16. ↑ Horst Bredekamp: The picture act . Verlag Klaus Wagenbach, Berlin 2015, ISBN 978-3-8031-2744-0 , p. 111 ff .
  17. ↑ Horst Bredekamp: The example of Palmyra . Verlag der Buchhandlung Walther König, Cologne 2016, ISBN 978-3-86335-974-4 .
  18. ↑ Horst Bredekamp: The picture act . Verlag Klaus Wagenbach, Berlin 2015, ISBN 978-3-8031-2744-0 , p. 231 ff .
  19. ↑ Helmut Mayer, in: FAZ, January 28, 2011. Retrieved October 12, 2018 .
  20. ↑ Jens Jäger, in: H-Soz-Kult, July 14, 2011. Retrieved October 12, 2018 .
  21. ↑ Kia Vahland: We look back. In a radical, groundbreaking study, Horst Bredekamp explains the life of images . In: Süddeutsche Zeitung . No. 292 , October 17, 2010, p. 14 .
  22. ↑ Matthew Rampley: Journal of Art Historiography . No. June 20 , 2019.
  23. ^ David Morgan: Image Acts: A Systematic Approach to Visual Agency . In: Material Religion . tape 15 , no. 5 , October 20, 2019, p. 641–642 , doi : 10.1080 / 17432200.2019.1633085 .
  24. ↑ Horst Bredekamp: Immagini che ci guardano. Teoria dell 'atto iconico . Ed .: F. Vercellone. Milan 2015, ISBN 978-88-6030-749-1 , p. 401 .
  25. ↑ Horst Bredekamp: Théorie de l'acte d & # 143; 'image . La Découverte, 2015, ISBN 978-2-7071-8584-6 , pp. 384 .
  26. ^ Horst Bredekamp: Teoría del acto icónico . Ediciones Akal, 2017, ISBN 978-84-460-3875-7 .
  27. ^ Horst Bredekamp: Image Acts, A Systematic Approach to Visual Agency . De Gruyter, Berlin 2017, ISBN 978-3-11-054857-0 , pp. 361 .
  28. ↑ Sakamoto, Yasuhiro / Jäger, Felix / Tanaka, Jun (ed.): Images as forms of thought. Image-scientific dialogues between Japan and Germany . Walter De Gruyter, Berlin and Boston 2020, ISBN 978-3-11-058075-4 .
  29. ↑ Horst Bredekamp: The picture act . Yilin book, Beijing 2016.
  30. ↑ a b c d Horst Bredekamp: Berlin on the Mediterranean. A short architectural history of longing for the south . Klaus Wagenbach Publishing House, Berlin 2018.
  31. ^ Bredekamp, ​​Horst / Schuster, Peter-Klaus (eds.): The Berlin Humboldt Forum: The recovery of the idea . Verlag Klaus Wagenbach, Berlin 2016, ISBN 978-3-8031-2745-7 .
  32. ↑ Bredekamp, ​​Horst: Aby Warburg, the Indian: Berlin explorations of a liberal ethnology . Klaus Wagenbach, Berlin 2019, ISBN 978-3-8031-3685-5 .
  33. ↑ Marion Bornscheuer: Review: Galilei der Künstler , arthistoricum.net, kunstform , edition (2009) No. 9, accessed on March 3, 2014
  34. ↑ Markus Becker: Galileo's first images of the moon discovered , Der Spiegel on March 30, 2007, accessed on December 30, 2013
  35. ↑ Irene Brückle, Oliver Hahn, Paul Needham, Horst Bredekamp (eds.): Galileo's O , Akademie Verlag, 2011, ISBN 978-3-05-005095-9
  36. ↑ Achatz von Müller : Oh, beautiful moon , Die Zeit on June 21, 2007, accessed on December 30, 2013
  37. ↑ Elisabetta Povoledo: At Root of Italy Library's Plunder, a Tale of Entrenched Practices , The New York Times, August 11, 2012, accessed January 1, 2014
  38. ↑ RBMS Security Committee: Theft Reports 2012 ( Memento of the original from January 4, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , Rare Books and Manuscripts Section 2012, accessed March 11, 2014 @1@ 2Template: Webachiv / IABot / www.rbms.info
  39. ^ A b Sarah Schaschek: Tatort "Sternenbote" , Der Tagesspiegel on February 16, 2014, accessed on February 23, 2014
  40. ↑ Nicholas Schmidle: “A Very Rare Book”. The mystery surrounding a copy of Galileo's pivotal treatise , The New Yorker , December 16, 2013, p. 62
  41. ↑ Stephan Speicher: Behind the Moon , Süddeutsche Zeitung , December 21, 2013, p. 11
  42. ↑ Hanno Rauterberg : The fake moon , Die Zeit , December 27, 2013, accessed on December 29, 2013
  43. ↑ Walter Delabar: Everything wrong? , literaturkritik.de , January 11, 2014, accessed February 8, 2014.
  44. ↑ Horst Bredekamp: Das Lehrstück des Sternenbot , Die Zeit, January 9, 2014, accessed on February 1, 2014
  45. ↑ Wolfgang Ullrich , Der fälsche Mond, Part 3 , Die Zeit, January 16, 2014, accessed on February 1, 2014
  46. ↑ Patrick Bahners : The (Lies) History of O , FAZ of January 22, 2014, pp. N3-N4
  47. ↑ Hubert Hosch in freikunstforum.de on December 31, 2013 and subsequently updated, criticism of “Galilei der Künstler” and previous reviews - summary of the case in its effective press context , accessed on February 1, 2014
  48. ↑ Horst Bredekamp et al. (Ed.): A Galileo Forgery. Unmasking the New York Sidereus Nuncius , (Galileo's O, Vol. III), Berlin, De Gruyter 2014
  49. ↑ http://www.degruyter.com/view/product/454788?rskey=HnztwP&result=1
  50. ^ Bredekamp, ​​Horst: Art History and Prehistoric Art. Rethinking their Relationship in the Light of New Observations . The Gerson Lectures Foundation, Groningen 2019, ISBN 978-90-821290-3-8 .
  51. ↑ Blümle, Claudia / Bredekamp, ​​Horst / Bruhn, Matthias / Müller-Helle, Katja (eds.): Image worlds of knowledge. Art history yearbook for visual criticism . Akademie Verlag, ISSN  1611-2512 .
  52. ^ Bredekamp, ​​Horst / Schneider, Birgit / Dünkel, Vera (ed.): The technical picture. Compendium on a style history of scientific images . Akademie Verlag, Berlin 2008, ISBN 978-3-05-004496-5 .
  53. ↑ FAZ of October 28, 2010, page 31: Jahrhundertmann
  54. ↑ Directory of members: Horst Bredekamp. Academia Europaea, accessed June 20, 2017 .
  55. ^ Art historian Horst Bredekamp receives this year's Fritz Winter Prize from the Science Information Service (idw-online.de) in Munich ; Retrieved November 8, 2012
  56. ↑ www.orden-pourlemerite.de
  57. ↑ Overview of the awards of the Federal Cross of Merit on the Day of German Unity 2015 , accessed on October 4, 2015.
  58. ^ American Academy of Arts and Sciences : Newly Elected Fellows. In: amacad.org. Retrieved April 22, 2016 .
personal data
SURNAME Bredekamp, ​​Horst
BRIEF DESCRIPTION German art historian, professor of art history
DATE OF BIRTH April 29, 1947
PLACE OF BIRTH Kiel