Jan of Brevern

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Jan von Brevern (born November 30, 1975 in Norden , East Friesland ) is a German art historian .

Live and act

Jan von Brevern initially studied physics in Hamburg and Naples and in 2000 turned to studying art history , philosophy and Romance studies in Hamburg.

From 2005 to 2009 he was assistant at the chair for science studies at the ETH Zurich and a member of the national research focus on image criticism “eikones” at the University of Basel . Here he wrote his dissertation on geological images with John Ruskin , Eugène Viollet-le-Duc and Aimé Civiale ( latent images. Photography and geology around 1850. ). This was followed by guest stays with lectures on cultural-historical topics at scientific institutions in London , Vienna and Florence .

In November 2005 he received the award for the best thesis in 2004/2005 from the Art History Seminar of the University of Hamburg and in November 2007 the award "Art History 2007" from the Alfred Richterich Foundation and the Association of Art Historians in Switzerland. In 2010 he received the Erich Stenger Prize from the German Society for Photography . In 2012 the band Blick von Nirgendwo appeared. Geology in pictures near Ruskin, Viollet-le-Duc and Civiale .

Since 2005 von Brevern has published numerous reviews, conference discussions and articles in specialist journals, mainly on topics related to the history of photography.

Since 2010 Jan von Brevern has been working as a research assistant at the Art History Institute of the Free University in Berlin . In 2012/2013 he was a "Volkswagen Foundation Fellow" at the Getty Research Institute in Los Angeles.

Publications

  • Views from nowhere. Geology in pictures near Ruskin, Viollet-le-Duc and Civiale. Wilhelm Fink Verlag, Paderborn 2012, ISBN 978-3-7705-5169-9 .
Essays
  • Counting on the Unexpected: Aimé Civiale's Mountain Photography. In: Science in Context , 22/3, 2009, pp. 409-437.
  • Appearing, disappearing, reappearing. The photograph of an erratic boulder. In: Nuncius. Journal of the History of Science, 2/2009.
  • Why technical history is not the same as the history of science and why art historians shouldn't write a scientific history of art history. In: Art History. Discussion texts, 2009–27
  • Count on the unexpected. Photographs and measurement images of the mountains. In: Files from the annual conference of the Association of Art Historians in Switzerland. Bregenz 2009.
  • Image and place of memory. Carl Rottmann's "Battlefield of Marathon". In: Zeitschrift für Kunstgeschichte, 71, 2008. pp. 527–542.
  • The limited look. With games, cards and cameras in the Alps. In: M. Denana et al. (Ed.): Blick. Game. Field. Königshausen & Neumann, Würzburg 2008. pp. 163–176.
Reviews
  • A. Gall: Construct, communicate, present. Images of science and technology. (2009), In: Technikgeschichte, 76/3, 2009.
  • D. Gross, T. Duncker: Color - Knowledge - Science. On the epistemic meaning of color in medicine and the imagery of knowledge. 4/1, 2006: Farbstrategien, Berlin 2006, In: NTM, 16/2, 2008, pp. 259–260.

Web links

Individual evidence

  1. Jan von Brevern  ( page no longer available , search in web archivesInfo: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. on the Engadin Art Talks website , accessed on April 28, 2013.@1@ 2Template: Toter Link / www.engadin-art-talks.ch  
  2. Jan von Brevern: The promise of photography. New pictures for the earth sciences around 1850 in the Art History Institute in Florence. ( Memento of the original from August 30, 2011 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice.  @1@ 2Template: Webachiv / IABot / www.khi.fi.it
  3. ^ Erich Stenger Prize 2010 at the German Society for Photography, accessed on April 28, 2013.
  4. Josef Imorde: Review of “Views from Nowhere”. On March 20, 2012 in: Arthist , accessed April 28, 2013.