Publications

All issues of Art in Translation are available at Taylor & Francis Online.

Volume 9, Issue 3 – Italian Renaissance and China

  • Iain Boyd Whyte, Editorial
  • Karl Giehlow, “Poliziano and Dürer”. First published as “Poliziano und Dürer”, in Mitteilungen der Gesellschaft für vielfältige Kunst, 25, no. 2 (1902), pp. 25-26, translated by Iain Boyd Whyte
  • Christof Thoenes, Architectural Orders: Rebirth or Invention? First published in Italian as “Gli ordini architettonici, rinascita o invenzione?”, in Marcello Fagiolo (ed.), Roma e l’Antico nell’arte e nella cultura del Cinquecento (Rome: Istituto della Enciclopedia italiana 1985), pp. 261–271; republished in Christof Thoenes, Opus Incertum: Italienische Studien aus drei Jahrzehnten (Berlin: Deutscher Kunstverlag, 2002), pp. 199-213, translated by Lucinda Byatt
  • Christof Thoenes, “’Sostegno e adornamento.’ On the Social Symbolism of the Architectural Orders” First delivered as a lecture at the thirteenth German Art Historians’ Conference, Constance, 1972; subsequently published in German as “’Sostegno e adornamento:’ zur Symbolik der Säulenordnung” in Kunstchronik, October 1972, and republished in Christof Thoenes, Opus Incertum: Italienische Studien aus drei Jahrzehnten (Berlin: Deutscher Kunsverlag, 2002), pp. 37-50, translated by Iain Boyd Whyte
  • Jonathan K. Nelson:  Chinese Scholars on Renaissance Studies in the People’s Republic of China. Revised version of a paper given at the conference “The Italian Renaissance and Chinese Receptions,” Nanjing, October, 2015
  • Ge Zhaoguang: From Europe to Japan and on to China: Influences of the Renaissance on Contemporary East Asian Thought and Scholarship. Revised version of a paper given at the conference “The Italian Renaissance and Chinese Receptions,” Nanjing, October, 2015. Translated by Eleanor Goodman
  • Chen Liu: Leonardo Unveiled by Chinese Writers: the Reception of Renaissance Art in 20th-Century China. Revised version of a paper given at the conference “The Italian Renaissance and Chinese Receptions,” Nanjing, 17 October, 2015, edited by Iain Boyd Whyte
  • Zong Baihua, “The Birth of Artistic Conception in China”, Published in Chinese as “Zhongguo yishu yijing zhi dansheng,” in Zong Baihua, Meixue sanbu (“Strolls in Aesthetics,” Shanghai: Renmin chubanshe, 1981), 58-74. Originally published in March 1943, in the first issue of the periodical Shi yu chao wenyi (“Time and Tide – Literature and Art”), translated by Jan de Meyer

Volume 9 Issue 2, August 2017 – Nordic Artists Colonies 1870-1914 (part 1)

  • Frances Fowle, Introduction: Nordic Artists’ Colonies 1870–1914 (Part 1)
  • Holger Drachmann, Skagen, translated by Paul Russell Garrett. First published in Danish as “Skagen,” in M. Galschiøt (ed.), Danmark i skildringer og Billeder af danske Forfattere og Kunstnere, vol. 1 (Copenhagen: P.G. Philipsens Forlag, 1887), 3–22.
  • Christian Krohg, Skagen 1894, translated by Paul Russell Garrett. First published in Danish as “Skagen 1894,” in Nordahl Rolfsen (ed.), Norge. Norsk Kalender (Kristiania: Jacob Dybwads Forlag, 1894); later reprinted in Holger Koefoed and Oscar Thue (eds), Kampen for tilværelsen (Oslo: Gyldendal Norsk Forlag, 1921, 77–89).
  • Alexandra Herlitz, Introduction to Swedish Artists and Critics at Grezsur-Loing
  • Siri Von Essen, The Artists’ Colony in Grez-par-Nemours 1883, translated by Chris Hall. First published in Swedish as “Artistkolonien i Grez-par-Nemours,” Ny Illustrerad Tidning (February 9, 1884).
  • Johan Christian Janzon (Spada), An Artists’ Colony in Grez, 1883, translated by Chris Hall. First published in Swedish as “En konstnärskoloni. (Bref till Stockholms Dagblad), Grez den 29 september,” Stockholms Dagblad (October 5, 1883).
  • Georg Pauli, Carl Larsson, translated by Chris Hall. First published in Swedish as “Carl Larsson,” in Pariserpojkarne (1926).
  • Marit Werenskiold, The Fleskum Colony 1886 and the Norwegian Summer Night: Naturalism or Neo-Romanticism?, translated by Marie Wells. First published in Norwegian as “Fleskum-kolonien 1886 og den norske sommernatt. Naturalisme eller nyromantikk?,” Kunst og Kultur 71 (1988): 2–30.

Volume 9 Issue 1, July 2017 – Spain and Orientalism

  • Anna McSweeney & Claudia Hopkins, Editorial
  • Ariane Varela Braga, The Arab Room of the Palacio de Cerralbo
  • Asun González Pérez, Reconstructing the Alhambra: Rafael Contreras and Architectural Models of the Alhambra in the Nineteenth Century
  • Anna McSweeney, Mudéjar and the Alhambresque: Spanish Pavilions at the Universal Expositions and the Invention of a National Style
  • Oscar E. Vázquez, Vision, Lamentation and Nineteenth century Representations of the End of al-Andalus
  • David Sánchez Cano, Allende el Estrecho (Beyond the Straits): The Photographic Gaze on the Orient in Andalusia and Morocco
  • Elisabeth Bolorinos Allard, Visualizing “Moorish” Traces within Spain: Orientalism and Medievalist Nostalgia in Spanish Colonial Photojournalism 1909–33
  • Claudia Hopkins, The Politics of Spanish Orientalism: Distance and Proximity in Tapiró and Bertuchi
  • Select Bibliography “Spain and Orientalism”

Volume 9,  supplementary issue, 2017 – Connecting Art Histories (Getty Foundation Research Papers)

  • Iain Boyd Whyte, Editorial
  • Deborah Marrow & Joan Weinstein, Introduction: Connecting Art Histories
  • Hannah Baader, Avinoam Shalem & Gerhard Wolf, “Art, Space, Mobility in Early Ages of Globalization”: A Project, Multiple Dialogue, and Research Program
  • Kavita Singh, Colonial, International, Global: Connecting and Disconnecting Art Histories
  • Çiğdem Kafescioğlu, Istanbul Connections
  • Saadet Özen, The Visual Making of the Harem
  • Nilay Özlü, Between Object(ive) and Subject(ive): Museum Narratives with Donald Preziosi
  • Gabriela Siracusano & Agustina Rodrîguez Romero, Materiality between Art, Science, and Culture in the Viceroyalties (16th–17th Centuries): An Interdisciplinary Vision toward the Writing of a New Colonial Art History
  • Tristan Weddigen, Hispano-Incaic Fusions: Ángel Guido and the Latin American Reception of Heinrich Wölfflin
  • Andrea Giunta & George F. Flaherty, Latin American Art History: An Historiographic Turn

Volume 8, Issue 4

  • Claudia Hopkins, Editorial
  • Raimundo Nina Rodrigues, Fine Art among the Black Settlers of Brazil—Sculpture, translated by Lia Raitt from Portuguese. First published as “As bellas-artes nos colonos pretos do Brazil—a esculptura,” in Kósmos, Revista Artistica, Scientifica e Litteraria 1, no.8 (1904): 6–11.
  • Viktoria Schmidt-Linsenhoff, Working on the Stereotype: Mona Hatoum and Gülsün Karamustafa, translated by David Sánchez Cano from German. First published as “Arbeit am Stereotyp: Mona Hatoum und Gülsün Karamustafa,” in Ästhetik der Differenz. Postkoloniale Perspektiven vom 16. bis 21. Jahrhundert; 15 Fallstudien (Marburg: Jonas Verlag für Kunst und Literatur, 2010, second ed. 2014) 219–42.
  • Viktoria Schmidt-Linsenhoff, Georges Adéagbo’s Postcolonial Cabinet of Curiosities, translated by David Sánchez Cano from German. First published as “Georges Adéagbos Postkoloniale Kunstkammer,” in Ästhetik der Differenz. Postkoloniale Perspektiven vom 16. bis 21. Jahrhundert. 15 Fallstudien (Marburg: Jonas Verlag für Kunst und Literatur, 2010), 338–59.
  • Ottokar Uhl, Democratized Aesthetics, translated by Iain Boyd Whyte from German. First published as “Demokratisierte Äesthetik,” in Dirisamer, Figlhuber, and Werner (eds), Marginalien zur Kunstpädagogik (Vienna: Verlag Jugend und Volk, 1976) and then in GegenSätze, Architektur als Dialog (Vienna: Picus, 2003), 171–9.

Volume 8, Issue 3

  • Iain Boyd Whyte, Carefully Slide (Editorial)
  • Margit Kern, Pictorial Theories by Missionaries in Sixteenth-century New Spain: The Capacities of Hieroglyphs as Media in Transcultural Negotiation, translated by Richard George Elliot from German. First published as “Bildtheorien der frühen Mission – Die medialen Möglichkeiten der Hieroglyphe” and “Die Kreuze von Yucatán als Hieroglyphen des Glaubens,” in Transkulturelle Imaginationen des Opfers in der frühen Neuzeit (Berlin: Deutscher Kunstverlag, 2013), 76-99.
  • Hans Himmelheber, The Portrait in African Art. Report on a Series of Experiments, translated by Richard George Elliott from German. First published as “Das Porträt in der Negerkunst. Bericht über eine Versuchsreihe,” Baessler Archiv Neue Folge, Band XX (1972): 261–311.
  • Pavel Janák, The Renewal of the Façade, translated from Czech by Marta Filipova. First published as Pavel Janák, “Obnova průčeclí” Umělecký měčník II (1912–1913): 85-97.

Volume 8 Issue 2 – 20th-Century Russian Art (guest-edited by Igor Dukhan, Belarus State University, Minsk)

  •  Igor Dukhan, Editorial: Controversies and Transfigurations: Views on Russian Twentieth-Century Arts and Architecture.
  • Ekaterina Bobrinskaya, Scythianism in Early Twentieth-century Russian Culture and the Scythian Theme in Russian Futurism, translated by Arch Tait. First published as “‘Skifstvo’ v russkoi kul’ture nachala veka i skifskaia tema u russkikh futuristov.”
  • Victor Carpov, Typology and Ideology: Moisei Ginzburg Revisited, translated by Christina Lodder. First published as “Tipologiia i ideologiia: vozvrashchenie M.Ia. Ginzburga.”
  • Igor Dukhan, Visual Geometry: El Lissitzky and the Establishment of Conceptions of Space – Time in Avant-garde Art, translated by Christina Lodder. First published in Russian as “‘Vizual’naia pangeometriia: El’ Lisitskii v stanovlenii prostranstvenno-vremennoi kontseptsii iskusstva avangarda,” Iskusstvoznanie 10, nos 3-4 (2010): 386-99.
  • Andrei Barkhin, Ilia Golosov’s Work of the 1930s and the Soviet Version of Art Deco, translated by Christina Lodder. First published in Russian as “Raboty I. A. Golosova 1930 – kh I sovetskaia versiia ar-deko,” Academia: Arkhitektura i stroitel’stvo no 2 (2013): 36-43.
  • Olga Kostina, The Moscow Metro: “Ode to Joy”, translated by Albina Ozieva and Jeremy Howard. First published in Russian as “Moskovskoe Metro – ‘Oda k radosti,’” Russkoe Iskusstvo, no 2 (2012): 40-9.
  • Irina Zavedeeva, Socialist Realism and Socialist Realist Romanticism, translated by Albina Ozieva and Jeremy Howard. First published as “Sotsialisticheskii realizm i sotsrealisticheskii romantizm.” Russkoe Iskusstvo, no 1 (2014): 82-91.

Volume 8 Issue 1, March 2016 – Special Issue: Cinematographic Art (guest-edited by Barnaby Dicker, Royal College of Art) 

  • Barnaby Dicker, Editorial: Starting, Stopping and Synthesizing Cinematographic Art.
  • Joseph Plateaux, On a New Type of Optical Illusion, translated by Richard G. Elliott from French. First published as “Sur un nouveau genre d’illusions d’optique,” Correspondance mathématique et physique de l’observatoire Bruxelles (1832): 365–8.
  • Simon Stampfer, Stroboscopic Disks, An Explanation, translated by Jonathan Blower from German. First published as “Erklärung der Stroboscopischen Scheiben. Optischen Zauberscheiben,” in Die Stroboscopischen Scheiben, oder optischen Zauberscheiben. Deren Theorie und wissenschaftliche Anwendung, erklärt von dem Erfinder, S. Stampfer, Professor der practischen Geometrie am k. k. polytechnischen Institute zu Wien (Vienna/ Leipzig: Trentsensky and Vieweg, 1833): 5–24.
  • Jan Evangelista Purkyne, Kinesiscope, translated by David Short from Czech. First published as “Kinesiskop,” in František Ladislav Rieger and Jakub Malý (eds.), Slovník naučný [Encyclopedia], Vol. 4 (Prague: I.L. Kober, 1864): 657.
  • Maréchal, The Animated Stereoscopic Portrait, translated by Laura Bennett from French. First published as “Le portrait stéréoscopique animé,” La Nature, 1843 (2ème semestre 1908): 256.
  • Bernhard Diebold, A New Art: The Visual Music of Film. First published as “Eine neue Kunst: Die Augenmusik des Films,” Frankfurter Zeitung (2 April 1921) and taken here from Christian Kiening and Heinrich Adolf (eds.), Der absolute Film: Dokumente der Medienavantgarde (1912–1936), (Zurich: Chronos Verlag, 2012): 69–71.
  • Bernard Diebold, The Future of Mickey Mouse, The Animated Film as Cinema Art, translated by Jonathan Blower from German. “Die Zukunft der Micky-Maus (Theorie des Trickfilms, als einer neuen Kinokunst)” as a radio lecture for Frankfurter Radio on 16 June 1932, preserved as a typescript in the Oskar Fischinger Collection in the Deutsches Filmmuseum, Frankfurt am Main, and first published in Christian Kiening and Heinrich Adolf (eds.), Der absolute Film: Dokumente der Medienavantgarde (1912–1936) (Zurich: Chronos Verlag, 2012): 300-4.
  • Pierre MacOrlan, Grandville a Precursor, translated by Richard G. Elliott from French. First published as “Grandville, le Précurseur,” Arts et Métiers Graphiques 44 (15 December 1934): 19-25.
  • Hanada Kiyoteru, Cheshire Cat, translated by Robin Thompson from Japanese. First published in Japanese as “Warai Neko,” in Avangyarudo no geijutsu[Avant-Garde Art] (Tokyo: Miraisha, 1954), taken here from Hanada Kiyoteru chosakushū [Collected Works of Hanada Kiyoteru], Vol. 3 (Tokyo: Miraisha, 1964): 218–31.
  • Michel Gheude, The Photogramme as Signifier, translated by John Goodman from French. First published as “Les Photogrammes comme signifiant,” Cinéthique 7/8 (1970): 256–65.
  • Sylvie Pierre Ulmann, Elements for a Theory of the Photogramme, translated by Richard G. Elliott from French. First published as “Éléments pour une théorie du photogramme,” Cahiers du cinema 226–7 (January–February 1971): 75–83.

Volume 7 Issue 4, December 2015 – From Perception to Reception

  • Claudia Hopkins, From Perception to Reception (Editorial)
  • Theodor Vischer, The Symbol, translated from German by Holly A. Yanacek (Das Symbol, “Das Symbol,” in Philosophische Aufsätze. Eduard Zeller zu seinem fünfzigjährigen Doctor-Jubiläum gewidmet. Leipzig: Fue’s Verlag,
    1887, 153–193)
  • Santiago Rusiñol, ‘El Greco at Home’ and ‘Address on the Occasion of the Raising of the Monument to El Greco’, translated from Spansih and Catalan by Jeremy Roe (El Greco en casa, Impresiones de Arte,” La Vanguardia, March 8, 1894, 4–5. and Santiago Rusiñol, “Discurs amb motiu de l’emplaçament del Monument al Greco, Sitges, 25 d’agost de 1897,” El Eco de Sitges, August 29, 1897)
  • Fernando Marías, The Brilliance and Gloom of a Passion: Zuloaga and El Greco, translated from Spanish by Jeremy Roe (“Luces y sombras de una passion:
    Zuloaga y El Greco,” Cuadernos de Arte no. 40, 2009, pp. 317–52. The translation is based on an updated version of this text)
  • Karolina Jakaite, The Lithuanian Pavilion at the 1968 London Exhibition, translated from Lithuanian by Jurij Dobriakov (Lietuvos paviljonas
    Londono parodoje 1968 m.,” Menotyra 20, no 4 (2013): 302–23)

Volume 7 Issue 3, October 2015 – Early Twentieth-Century Sculpture (with funding from the Henry Moore Institute)

  • Lisa Lefeuvre, Editorial
  • Roberto Longhi, Futurist Sculpture Bocchioni, translated by Rosalind McKever with Lucinda Byatt and Frank Dabell from Italian (Scultura futurista, 1914)
  • Otto Gutfreund, Of Art Old and New, translated by David Short from Czech (based on a manuscript written in 1913/14, first published as ‘From the notes by Otto Gutfreund’, in Volné Smĕry, volume 25, 1923-8)
  • Otto Gutfreund, On the Nature of Sculpture, translated by David Short from Czech (based on a manuscript dated ca. 1912, National Gallery in Prague)
  • Peter Wittlich, The Cubism of Otto Gutfreund, translated by David Short from Czech (“Gutfreund ů v kubismus,” Umění, 14, no. 3, 1966, pp. 247–56)
  • Maximilian Voloshin, Edward Wittig. On the Possible Paths of Sculpture, translated from Russian by Dina Akhmadeeva (first published in Apollon 5, May 1913, pp. 19–28)
  • Abram Efros, Fifteen Years of Sculpture, translated from Russian by Dina Akhmadeeva (first published in M. M. Arkad’ev, et al., O zhivopisi, plakate i skul’pture za XV let. Sbornik Statey, Moscow: Vsekokhudozhnik, 1934, pp. 65–71)
  • Franz Seiwert, Constantin Brancusi, the Sculptor, translated from German by Debbie Lewer (“Constantin Brancusi, der Bildhauer,” a bis z (Organ der
    Gruppe progressiver Künstler), no 2, November 1929, pp. 5–7)

Volume 7 Issue 2, June 2015 – Special Issue on Fashion (guest-edited by Ulrich Lehmann in association with Chris Breward)

  • Ulrich Lehman, Fashion as Translation (Editorial)
  • Iain Boyd Whyte, Claudia Hopkins, Obituary Notice: Piotr Piotrowski
  • B [Honoré de Balzac], The Physiology of Attire, translated by Richard George Elliott from French (“Physiologie de la Toilette,” La Silhouette,3, 8 and 13 July 1830)
  • Maximilliene de Syrène, A Critical Review of Fashion, translated by Richard George Elliott from French (“Revue critique de la mode,” Le
    Constitutionnel, 1 September, 1845)
  • Théodore de Banville, The Palace of Fashion, translated by Susan de Muth from French (“Le Palais de la mode,” Œuvres—Le Sang de la Coupe, 36
    Ballades Joyeuses, Le Baise, January 1850, Paris: Lemerre, 1890)
  • Théophile Gautier, On Fashion, translated by Richard George Elliott from French (De la mode, Paris: Poulet-Malassis et de Broise, 1858)
  • Gabriele D’Annunzio, Society News (excerpts), translated by Lucinda Byatt from Italian (“Cronaca mondana,” 1884–88, reprinted in Portava un abito … Obiettivo d’Annunzio— moda, Milan, 1995)
  • Paul Claudel, On Fashion, translated by Susan de Muth from French (“Sur la Mode,” 1921, Oeuvres en prose, Paris: Gallimard, 1965)
  • René Crevel, The Great Shop Window Dummy Seeks and Finds Her Skin, translated by Susan de Muth from French (“La grande mannequin cherche et
    trouve sa peau,” Minotaure 1, no 5, 1934)
  • Marthe Princesse Bibesco, Excerpts from Noblesse de Robe, translated by John Goodman from French (Noblesse de robe, Paris: Grasset, 1928)
  • Irene Brin, Women’s Wardrobes, Men’s Wardrobes, translated by Lucinda Byatt from Italian (Usi et Costumi 1920–1940, 1944 Palermo: Sellerio, 1981)
  • Michel Butor, Fashion and the Modern, translated by Richard George Elliott from French (“Mode et Moderne,” Change 4: la mode, l’invention, Paris: Seuil, 1969)
  • Jan Mukařovský, Aesthetic Function, Norm and Value as Social Facts (excerpts), translated by David Short from Czech (Estetická funkce, norma a hodnota jako sociální fakty, Prague, 1935-36)
  • Tristan Tzara, Dress Poems, translated by Susan de Muth from French (“Le ventillateur tourne” and “L’Ange a glissé” in letters addressed to Sonia Delaunay, 1922–1923. Integrated by Sonia Delaunay into watercolours known as Robes-poèmes, 1922–1923)

Volume 7 Issue 1, March 2015 – Special Issue:
Translation and Hispanic Visual Culture 

(original research articles)

  • Claudia Hopkins, Editorial : Translation and Hispanic Visual Culture.
  • Tom Nickson, Texts and Talismans in Medieval Castile.
  • Mariam Rosser-Owen, Islamic Objects in Christian Contexts: Relic Translations and Modes of Transfer in Medieval Iberia.
  • Tom Cummins, Here, There and Now: Deictics and the Transposition of Orality to Image in Colonial Imagery.
  • Hilary Macartney, Faith in Facsimile. The Invention of Photography and the Reproduction of Spanish Art.
  • Luis Menéndez, Slavery and the Guild in Golden Age Painting in Seville, translated from Spanish by Jeremy Roe (Gremio y esclavitud en la pintura sevillana del siglo del oro, Archivo hispalense: Revista histórica, literaria y artística 84, nos 256-7 (2001), 243-56).

Andrew Ginger, From Cultural Translation to Translation inside Photographs

Volume 6 Issue 4, December 2014

  • Iain Boyd Whyte,  Editorial
  • Robin Curtis, An Introduction to Einfühlung, translated by Richard George Elliott from German (“Einführung in die Einfühlung”, in Robin Curtis and Gertrude Koch (eds.), Einfühlung. Zu Geschichte und Gegenwart eines ästhetischen Konzepts, Munich: Wilhelm Fink, 2008)
  • Joseph Imorde, Empathy in Art History, translated by Richard George Elliott from German (“Einfühlung in der Kunstgeschichte”, in Curtis and Koch, 2008)
  • Kirsten Wagner, Animating Architecture: Empathy and Architectonic Space, translated by Jonathan Blower from German (“Die Beseelung der Architektur. Empathie und architektonischer Raum”, in  Curtis and Koch, 2008).
  • Peter Sloterdijk, Museum — School of Alienation, translated by Iain Boyd Whyte from German (“Museum — Schule des Befremdens”, in Der aesthetische Imperativ, Hamburg, 2007).

Volume 6 Issue 3, September 2014

  • Claudia Hopkins,  Editorial
  • Karel van Mander, Excerpts of the Lives of Italian Artists from the Book of Painters, translated by Paul Arblaster from Dutch (T’leven van Frederijck Zucchero; Het leven van Frederijck Barozio; Het leven van Iacob Palma; Van Ioseph van Arpino; T’leven van noch ander Italiaenische Schilders, die teghenwoordigh te Room zijn; Van eenige italiaensche Vrouwen, die de Teycken-const, en Schilderen constich hebben gheoeffent; Van verscheyden Italiaensche schilders die in mijnen tijdt te Room waren, tusschen Ao. 1573. en 1577, first published in Het Schilder-boeck, Haarlem 1604)
  • Félix Fénéon, The Impressionists in 1886,translated from French by Belinda Thomson, first published as “Les Impressionistes en 1886”, La Vogue, 13-20 June 1886; then as a separate pamphlet; see Joan U. Halperin ed., Félix Fénéon, Oeuvres plus que complètes (Geneva, Droz, 1970) I, pp.27-45.
  • Roberto Longhi,  Futurist Painters, translated by Rosalind McKever and Lucinda Byatt, with revisions by Frank Dabell from Italian (“I Pittori Futuristi”, La Voce, Vol. V, No. 15, 10 April 1913)
  • Hubert Damisch, Dubuffet or the Reading of the World, translated by Kent Minturn and Priya Wadhera from French (“Dubuffet ou la lecture du monde”, Art de France 2, 1962)
  • Herbert Molderings, Out of the Spirit of Constructivism—Photo-historical reflections on Walter Benjamin’s “Little History of Photography”. Translated from German by John Brogden (“Fotogeschichte aus dem Geist des Konstruktivismus—Gedanken zu Walter Benjamin’s ‘Kleine Geschichte der Photographie’”—published in: H. Molderings, Die Moderne der Fotografie, Hamburg: Philo Fine Arts, 2008)


Volume 6 Issue 2, June 2014 – Special Issue – The New German Art History

  • Iain Boyd Whyte, Johanna Wild, Editorial
  • David Craven, Introduction: The New German Art History. From Ideological Critique and the Warburg Renaissance to Bildwissenschaft and the three Bs
  • Martin Warnke, Preliminary Remarks to The Work of Art between Scholarship and Worldview, Translated by Richard George Elliott from German (“Vorbemerkungen”, in Warnke (ed.) Das Kunstwerk zwischen Wissenschaft und Weltanschauung,  1970)
  • Martin Warnke, Ideological Motifs in Popular Literature of Art History, translated by Richard George Elliott from German ( “Weltanschauliche Motive in der kunstwissenschaftlichen Populärliteratur”, in Warnke (ed.), Das Kunstwerk zwischen Wissenschaft und Weltanschauung, Gütersloh: Bertelsmann, 1970)
  • Berthold Hinz, The Bamberg Horseman, translated by Jonathan Blower and Johanna Wild from German (“Der Bamberger Reiter” in Warnke (ed.), Das Kunstwerk zwischen Wissenschaft und Weltanschauung, Gütersloh: Bertelsmann, 1970)
  • Horst Bredekamp, “Autonomy and Asceticism”, translated by Jonathan Blower and Johanna Wild from German (“Autonomie und Askese” in Michael Müller, Horst Bredekamp, Franz-Joachim Verspohl et al. (eds), Autonomie der Kunst. Zur Genese und Kritik einer bürgerlichen Kategorie (Frankfurt am Main: Suhrkamp Verlag, 1972, 88-95 and 169-171.)
  • Horst Bredekamp, False Ski-Turns. Wind’s Critique of Heidegger and Sartre, translated Iain Boyd Whyte from German (“Falsche Skischwünge. Winds Kritik an Heidegger und Sartre, in Edgar Wind, Kunsthistoriker und Philosoph (Berlin: Akedemie der Künste Verlag, 1988)

Volume 6 Issue 1, March 2014

  • Iain Boyd Whyte, Editorial
  • Ernst Grosse, Ethnology and Aesthetics, translated by Claudia Hopkins from German  (“Ethnologie und Aesthetik”,  Vierteljahrsschrift für wissenschaftliche Philosophie, 1891, vol. 15 no. 4).
  • Vladimir Markov, The Art of Easter Island, translated from Russian and with annotations by Jeremy Howard (“Iskusstvo ostrova paskhi”, Union of Youth Society of Artists, St Petersburg, 1914)
  • Rémy Labrusse, “Anthropological Delirium: Josef Strzygowski Confronts Alois Riegl,” translated from French by John Goodman (“Délires anthropologiques: Josef Strzygowski face à Alois Riegl,” in Histoire de l’art et anthropologie, INHA/Musée quai Branly, les actes de colloques, http://actesbranly.revues.org/268#ftn25, 2009)
  • Silvia Naef, From Rarity to Profusion (1800 to the present), translated from French by Richard George Elliott (“De la rareté a la profusion”, chapter 3 in Silvia Naef, Y a-t-il une “question de l’image” en Islam?, Paris: Téraèdre, 2004). Introduction by Dario Gamboni

Volume 5 Issue 4, Special Issue: The Reception of African Art, December 2013

  • Claudia Hopkins, Editorial : The Reception of African Art
  • Chris Marker, The Statues Also Die (voiceover for the film Les Statues Meurent Aussi, directed by Chris Marker and Alain Resnais, 1950–3), translated by Lauren Ashby (a revised version of existing English subtitles).
  • Jean Laude, Introduction to French Painting (1905-1914) and “Negro Art”, translated by Richard George Elliott from French (“Introduction: Le problème”, La peinture française et l’art nègre (1905-1914). Contribution a l’étude des sources du fauvisme et du cubisme, Paris, 1968. Éditions Klincksieck, new edition 2006).
  • Yacouba Konaté, Dak’Art: The Making of Pan-Africanism and the Contemporary, translated by Richard George Elliott (“Dak’Art: La fabrique de Panafricanisme et de Contemporain”, La Biennale de Dakar, 2009)

Volume 5 Issue 3, September 2013

  • Iain Boyd Whyte, Editorial : Moving House – Berlin to Ankara
  • Josef Vojvodík, The Concept of Structure and Art Work in Structural Art History of Hans Sedlmayr in Comparison with Structural Aesthetics of Jan Mukařovský, translated by David Short from Czech (Pojetí struktury a uměleckého díla ve strukturální uiměnovědě Hanse Sedlmayra, Umění, 1997/ XLV, No. 1)
  • Evfimy Chudovsky [Euthymius of Chudov Monastery], On Icon Painting, translated by Jeremy Howard, Albina Ozieva, Vladimir Semakov from Russian (written c. 1700 and first published in Vestnik obshchestva drevnerusskogo iskusstva pri Moskovskom Publichnom muzee, 1874, 1-3)
  • Hugo Ball, On Occultism, the Hieratic and Other Strangely Beautiful Things, translated by Debbie Lewer from German (“Über Okkultismus, Hieratik und andere seltsam schöne Dinge’”, first published in: Berner Intelligenzblatt, 15 November 1917, and then in Hans Burkhard Schlichting (ed.), Hugo Ball. Der Künstler und die Zeitkrankheit. Ausgewählte Schriften, Frankfurt am Main: Suhrkamp 1984, pp. 54-57)
  • Stanislav Kostka Neumann, Open Windows, translated from Czech by David Short (“Otevřená okna”, Prague, 1913)

Volume 5 Issue 2, June 2013 – Special Issue:
Chinese Art and Translation (guest-edited by Chia-Ling Yang, University of Edinburgh)

(original research articles)

  • Editorial
  • Michael Nylan, Arthur Wayley and Li Zehou: Two Aesthetes Translating
  • Youngsook Pak, Ch’aekkado – A Chosŏn Conundrum
  • Wei-Cheng Lin, Untranslatable Iconicity in Liang Sicheng’s Theory of Architectural Translatability
  • Yuka Kadoi, Translating from jing to mir’āt / ā’īna: Medieval Islamic Mirrors Revisited
  • Hsueh-man Shen, Indian Makara or Chinese Dragon-Fish? Textual Translation and Visual Transformation of Makara in China
  • Puay-peng Ho, Mind the Gap: Bridging Historiography on Chinese Architecture in the Early Twentieth Century

Volume 5 Issue 1, March 2013 – Special Issue:
Art in the former German Democratic Republic (guest-edited by Debbie Lewer, University of Glasgow)

  • Debbie Lewer, Introduction: Art and Cultural Politics in the German Democratic Republic
  • Various authors, Excerpts from the speeches at the Opening of the General German Exhibition, translated from German by Debbie Lewer (“Auszüge aus den Reden zur Eröffnung der Allgemeinen Deutschen Kunstausstellung,” in Allgemeine Deutsche Kunstausstellung, Dresden, 1946, exh. cat., n. pag.)
  • Peter Feist, Buchenwald – Warning and Commemoration, translated from German by Iain Boyd Whyte (“Buchenwald—Mahnung und Gedenken”, Bildende Kunst, 12 (1958): 795–805).
  • Inge Weinke, The Art Critic: The Socialist Brigade, translated from German by Jonathan Blower (“Kunstkritiker: Sozialistische Brigaden,” Junge Kunst, 3 (1961):
    34–9, © Ritterbach Verlag, Germany).
  • Anonymous, The Bitterfeld Way: Taking Stock. Thoughts on the Fifth German Art Exhibition, translated from German by Fiona Elliott (“Bilanz des Bitterfelder Weges: Gedanken zur V. Deutschen Kunstausstellung in Dresden,” Bildende Kunst, 11 (1962): 563–72).
  • Günter Feist, We Have to Make Things Harder for Ourselves, translated from German by Jonathan Blower (“Wir müssen es uns schwerer machen”, Part 1 in Bildende Kunst, 12 (1963): 619–25; Part 2 [censored in 1964], “Fortsetzung,” facsimile reprint from
    the destroyed print of Bildende Kunst, 4 (1964), in Bildende Kunst: Zeitschrift
    für Kunst und Kritik, 3 (1991): 171–7)
  • Annelies Weidner, Does Modern Architecture Need the Art Work?, translated from German by Iain Boyd Whyte (“Bedarf moderne Architektur des Kunstwerks?” [1965], in VBKD Sektion Kunstwissenschaft (ed.), Unsere Kunst im Spiegel der Kritik
    Berlin: Henschelverlag, 1969 pp. 109–13).
  • Roland März, Introduction to Collage in the Art of the GDR, translated from German by Debbie Lewer (Die Collage in der Kunst der DDR, exh. cat., Das Studio, Staatliche Museen zu Berlin, National-Galerie Ausstellung im Alten Museum, exh. February 14–
    April 6, 1975, n. pag.).
  • Peter Feist, Gabriel Sprigath, Socialist Realism is on the Move, translated from  German by Jonathan Blower (“Der sozialistische Realismus ist in Bewegung geraten,” Gespräch zwischen Peter Feist und Gabriele Sprigath, Tendenzen, 104 (16, Nov./
    Dec. 1975): 34–8).
  • Various speakers, Positions and New Questions on the Nature and Critera of Socialist Realism. Edited Proceedings from the Ninth Congress of the Central Committee of the Association of Visual Artists in the German Democratic Republic, Magdeburg, 22-3 November 1976 (excerpts), translated from German by Jonathan Blower (Positionen und neue Fragestellungen zum Wesen und zu den Kriterien des sozialistischen Realismus: 9. Tagung des Zentralvorstandes des Verbandes Bildender Künstler der DDR, Magdeburg, 22–23 November 1976, pp. 44–77).
  • Hermann Raum, Documenta and Co Ltd. and Its Impact on the Art Business, translated by Iain Boyd Whyte (“Die Documenta-GmbH und ihre Wirkungen im Kunstbetrieb, in Hermann Raum, Die bildende Kunst der BRD und
    Westberlins (Leipzig: VEB E. A. Seemann Verlag, 1977, pp. 71–3).
  • Roland März, Introduction to From Collage to Assemblage: Aspects of Material Art in the GDR, translated from German by Debbie Lewer (Von der
    Collage zur Assemblage: Aspekte der Materialkunst in der DDR, exh. cat., Das Studio exhibition 18, Staatliche Museen zu Berlin, National-Galerie Ausstellung im Alten Museum, exh.June 29–August 27, 1978, n. pag.).
  • Edouard Beaucamp, Dissidents, Court Artists, Painter Princes: On the Awkward Reunification of German Art, translated from German by Fiona Elliott (“Dissidenten, Hofkünstler, Malerfürsten: Über die schwierige Wiedervereinigung deutscher Kunst” [1990], in Eduard Beaucamp, Der verstrickte Künstler: wider die Legende von der unbefleckten Avantgarde, Köln: DuMont, 1998, pp. 87–95).

Volume 4 Issue 4, December 2012 – Special Issue on Japan:

  • Iain Boyd Whyte, Editorial
  • Tange Kenzō, In Praise of Michelangelo: A Preliminary Study of Le Corbusier, translated by Robin Thompson (Michelangelo sho: Le Corbusier ron e no josetsu to shite’, in Genai KenchiKu, 1939, vol. 7). Introduction by Jonathan Reynolds.
  • Horiguchi Sutemi, ‘Japanese Taste’ in Modern Architecture, translated from Japanese by Robin Thompson (“Gendai kenchiku ni arawareta Nihon shumi ni tsuite”, Shisô, January 1932). Introduction by Jonathan Reynolds.
  • Kitazawa Noriaki, Art History on the Borderline, Notes on the Historical Formation of the Concept of ‘Art’ in Japan, translated from Japanese by Robin Thompson (“‘Bijutsu’ gainen no keisei to riarizumu no ten’i”, Kyôkai no bijutsushi, 2000). Introduction by Jonathan Reynolds.
  • Fukagawa Masafumi, Is the World Beautiful? Moriyama Daido’s Provocation of the History of Photography, translated from Japanese by Lena Fritsch (first published as “Sekai wa utsukushii ka? Moriyama Daidô, shashinshi e no chôhatsu”, in Seikyusha (ed.), Moriyama Daidô to sono jidai (Tokyo: Seikyusha, 2007), p. 411–428). Introduction by Lena Fritsch.
  • Jun Tanaka, The Dogs’ Quarter. Epic Poetry on the Threshold: Daidō Moriyama’s ‘Shinjuku’, translated from Japanese by Robin Thompson (“Inu no machi. Kyokai no jojishi, Moriyama Daidō ‘Shinjuku’ ”, Toshi no shigaku [Urban Poetics. Analyses of Urban Representation] (Tokyo: Tokyo University, p. 242–262). Introduction by Lena Fritsch.
  • Kasahara, Michiko, “Morimura Yasumasa – Portrait (Futago)”, translated from Japanese by  Lena Fritsch  (2002). Introduction by Lena Fritsch.

Volume 4. 3, September 2012

  • Claudia Heide, Editorial
  • Gabi Dolff-Bonekämper, National – Regional – Global? Old and New Models of Societal Heritage Constructions, translated by Jonathan Blower (“National – Regional – Global? Alte und neue Modelle gesellschaftlicher Erbekonstruktionen”, Acta Historiae Artium, Academie Scientiarum Hungaricae 49 (2008): 235-241.) Introduction by Iain Boyd Whyte.
  • Henry Lefebvre, Revolutionary Romanticism’, translated from French by Gavin Grindon (“Romantisme Révolutionaire”, written May 1957, first published in Nouvelle Revue Française, no. 58, 1st October 1957, pp.644-672. Reprinted in Au-Delà Du Structuralisme, Éditions Anthropos, Paris, 1971. pp. 27-50.). Introduction by Gavin Grindon.
  • Vincenc Kramář, ‘The Origin and State of Modern Still-Life. The Creative Act of Caravaggio’, translated by Marta Filipová from Czech (Volné směry, XXIII, 1924-1925, pp. 129-60 and 177-188). Introduction by Vojtêch Lahoda.
  • Christian Joschke, The origins of the social usage of photography, translated by Zachary Brown from French  (“Aux origins des usages sociaux de la photographie”, Actes de la Recherche en Sciences Sociales, 154, Sept. 2004: 53-65). Introduction by Christian Weikop.
  • Daniela Hammer-Tugendhat, Art, Sexuality and Gender Constructs in Western Culture, translated from German by Michael Zanchi (“Kunst, Sexualität und Geschlechterkonstruktionen in der abendländischen Kultur”, first published in Franz Eder and Sabine Frühstück (ed.), Neue Geschichten der Sexualität. Beispiele aus Ostasien und Zentraleuropa 1700-2000 (Vienna: Turia & Kant, 2000), and in the web-based project: muSIEum displaying gender, Vienna, 2003) . Introduction by Leilani Alontago (Winner of the AIT Student Prize 2011)

Volume 4 Issue 2, June 2012

  • Iain Boyd Whyte, Editorial
  • Emil Filla, Edward Munch and Our Generation, translated from Czech by Marta Filipova (“Edvard Munch a nase generace”, in Volne smery, 1938-1940, vol. 35). Introduction by Vojtêch Lahoda.
  • Alois Riegl, Jacob van Ruisdael, translated from German by Christopher Heuer (“Jacob van Ruysdael”, Die Graphischen Künste, XXV, 1902, pp. 11-20). Introduction by Christopher Heuer.
  • Carmen Fracchia, The Fall into Oblivion of the Works of the Slave Painter Juan de Pareja, translated from Spanish by Hilary Macartney (“El olvido de las obras del esclavo pintor Juan de Pareja”, in Siracusano, G. (ed.), Imagenes Perdidas. Censura, olvido, descuido. IV Congreso Internacional de Teoria e Historia de las Artes, 2007). Introduction by Claudia Heide.
  • Julia Gelshorn, The Reception of History and the History of Reception. On the Contemporaneity of Gerhard Richter’’, translated from German by Claudia Heide  (“Geschichtsrezeption und Rezeptionsgeschichte. Zur Zeitgenossenschaft Gerhard Richters’’, in Dietmar Elger and Jürgen Müller, Sechs Vorträge über Gerhard Richter (Köln: Verlag König, 2007). Introduction by Debbie Lewer.
  • Stanisław Czekalski, The Internationale of Automobile Salons and the Hagiography of Revolution. Mieczysław Szczuka at the Crossroads of New Art, translated from Polish by Alicja Weikop (“Międzynarodówka salonów automobilowych i hagiografia rewolucji. Mieczysław Szczuka na rozdrożach nowej sztuki”, Artium Quaestiones, 1998, 9, 75-108) Introdcution by Agata Jabukowska.
  • Hubert Damisch, The Part and the Whole, translated from French by Kent Minturn (“La partie et le tout”, Revue d’esthétique, 2, 1970). Introduction by Kent Minturn

Volume 4 Issue 1, March 2012 – Special Issue on Cultural Translation

(original research articles)

  • Iain Boyd Whyte, Editorial
  • Francesco Pellizzi, Art Historical and Anthropological Translation: Some Notes and Recollections
  • Z. S. Strother, Translator, Anarchist: The Power Dynamics of Translation in the Longue Durée
  • Susanne Baackmann, “From Benjamin to the Classroom? Notes on Translating Nina Petrick’s “Ein Sonntag” in the Classroom”, with a Preface by David Craven.
  • Deborah Stein, Translating the Year 1299: On Reading Hindi, Sanskrit, Persian, and Arabic in English
  • Claudia Heide, The Power of Translation in Mid-Nineteenth-Century Spain
  • Jeffrey Saletnik, John Cage and the Task of the Translator
  • Fiona Elliott, ‘Honor Thine Author’
  • Carlo Severi, ‘Primitivist Empathy’, translated by Ramon Fonkoue and Joyce Suechun Cheng from French (L’Empathie Primitiviste’, Re-vues, numéro hors-série, 2008) The translation of this essay was generously funded by the Department of Art History at the University of Oregon, with the support of the Head of Department, Andrew Schulz.

As volume 4. 1 went to press, the sad news was announced of the sudden and untimely death of David Craven. Preeminent as a radical art historian of twentieth-century Latin American art, he was a vigorous supporter of Art in Translation. Volume 4.1 is dedicated to his memory.

Volume 3 Issue 4, December 2011

  • Iain Boyd Whyte, Claudia Heide: Editorial – Confronting the Object
  • Frans Olbrechts, “The Integration of Art in the Culture of Primitive Peoples” translated from Dutch by Lee Preedy (“De integratie der kunst in de cultuur bij primitieven”, Gentsche Bijdragen tot de Kunstgeschiedenis, 1943, IX. See PDF)
  • Patricia Andrea Dosio, “Exchanging Glances: Art in the International Exhibitions in Argentina (1882-1910)”, translated from Spanish by Hilary Macartney (“El Juego de Miradas”, in Beatriz González Stephan y Jens Andermann (eds.). Galerías del progreso : museos, exposiciones y cultura visual en América Latina, Rosario: Beatriz Viterbio Editora, 2006)
  • Siegfried Kracauer, “A Turn in Art’s Destiny” translated from German by Debbie Lewer (“Schicksalswende der Kunst”, Frankfurter Zeitung 18. August 1920, in Inka Mülder-Bach ed., Siegfried Kracauer. Schriften,vol. 5.1Aufsätze 1915-1926, Frankfurt a.M.: Suhrkamp Verlag 1990, pp. 72-78).
  • Raymonde Moulin, “The Genesis of the Rarity of Art”, translated from French by Jane Yeoman (“La Genèse de la rareté artistique”, Ethnologie Française, no 2-3, Mars-Septembre, 1978, pp.241-258)

Volume 3 Issue 3, September 2011

  • Iain Boyd Whyte, Claudia Heide: Editorial
  • Nikolay Vrangel, “The Russian Woman in Art”, translated from Russian by Jeremy Howard and Albina Ozieva (Venok Mertvym, 1913)
  • Max Imdahl, “At the Limit of Verbal Expression”, translated from German by Timothy Grundy (“Bis an die Grenzen des Aussagbaren”, in M. Sitt and H. Dilly (Eds.). Kunsthistoriker in eigener Sache: zehn autobiographische Skizzen. Berlin, D.Reimer, Suhrkamp Verlag, 1990)
  • Jiří Kroupa, “Three returns to Rumohr”, translated from Czech by Marta Filipova (‘Tři návraty k Rumohrovi’, Umeni, 2000/ XLVIII)

Volume 3 Issue 2, June 2011The View from the Left

  • Iain Boyd Whyte, Claudia Heide, The View from the Left (Editorial)
  • Adolfo Sánchez Vásquez “Painting as Language” (Translated by Colleen Kattau from Spanish: “La pintura como lenguaje,” Nicaráuac, No. 10, August 1984)
  • Alberto Hijar, “Pablo O’Higgins and ‘The Producers of Everything’ ”, translated by David Craven from Spanish (first published in Pablo O’Higgins: Los productores de todo (Atizapan de Zaragoza, Mexico: Campus Estado de México, 2001.
  • Ranuccio Bianchi Bandinelli, “Plebeian Art”, translated by Lucinda Byatt from Italian (‘Arte Plebea’, Dialoghi di Archeologia I, 1967, pp. 7-19)
  • Luciano Fabro, “Each Sense Has Its Image: Observations on the Lesson No. 4 Delivered by Florensky at Vkhutemas in 1923” (1995); translated from Italian by Riccardo Peloso and edited by Joseph Masheck (originally published in Arte torna arte: lezioni e conference 1981-1997 (Turin: Einaudi, 1999), 224-31).
  • Andrzej Szczerski, “The Decade of Luxury. The People’s Republic of Poland and Hotels in the 1970s”, translated by Joanna Wolanska from Polish (first published in Ikonotheka, 2007, no 20, pp. 161-182)
  • Susanne Deicher, “Imaginary Practice: Ideology and Form in the unlived-in house of Peter Behrens on the Mathildenhöhe in Darmstadt”, translated from German by Iain Boyd Whyte (“Imaginäre Praxis: Ideologie und Form in Peter Behrens’ unbewohntem Haus auf der Darmstädter Mathildenhöhe’, in Annette Tietenberg (ed.), Das Kunstwerk als Geschichtsdokument, Festschrift für Hans-Ernst Mittig. Klinkhardt & Biermann Verlagsbuchhandlung, München, 1999)

Volume 3 Issue 1, March 2011

  • Iain Boyd Whyte, Editorial
  • Rainer Maria Rilke, “Concerning Landscape Painting”, translated from German by Edward Neather (‘Einleitung’, Worpswede, 1903)
  • Bohumil Kubišta, “Towards Spiritual Essence of the Modern Age”, translated by Marta Filipova from Czech (originally published in Ceská kultura2, 1913-1914)
  • Helmuth Plessner, “Rebirth of form in the technical age”, translated from German by Jonathan Blower (‘Wiedergeburt der Form im technischen Zeitalter (1932)’, Politik –Anthropologie — Philosophie: Aufsätze und Vorträge, edited by Salvatore Giammusso & Hans-Ulrich Lessing (Munich: Fink, 2001)
  • František Šmejkal, “Kurt Schwitters and Prague”, translated by Marta Filipova from Czech (‘Kurt Schwitters a Praha’, Umení, 1986/ 34, No. 6)
  • Diana Beatriz Wechsler, “Cosmopolitanism, Cubism and New Art. Latin American Itineraries”, translated from Spanish by Antonio Bautista (‘Cosmopolitismo, Cubismo y Arte Nuevo. Itinerarios Latinoamericanos’, El cubismo y sus entornos en las colecciones de la Fundación Telefónica, 2008)
  • Ticio Escobar, “Parallel Modernities. Notes on Artistic Modernity in the Southern Cone of Latin America: The Case of Paraguay”, translated by Hilary Macartney from Spanish (‘Modernidades Paralelas. Notas sobre la modernidad artística en el cono sur: el caso paraguayo, El arte fuera de sí, 2004)

Volume 2 Issue 3, November 2010

  • Iain Boyd Whyte, Editorial
  • Volkmar Enderlein and Michael Meinecke, “Excavation — Investigation — Presentation. Problems of Representing Past Cultures in the Example of the Mshatta Façade’, translated from German by Jonathan Blower (“Graben, Forschen, Präsentieren. Probleme der Darstellung vergangener Kulturen am Beispiel der Mschatta-Fassade”, Jahrbuch der Berliner Museen, Bd. 34, 1992)
  • Sarabhai Manilal Nawab. “The Art of Gujarat Patronized by the Jains and its History”, translated by Babu Suthar and Nachiket Chanchani from Gujarati and Sanskrit (Jaina Citrakalpadruma, 1936)

Volume 2 Issue 2, July 2010Special Issue:   Art and Translation

(original research articles)

  • Iain Boyd Whyte, Editorial
  • Peter France, “The Serva Padrona”
  • Lawrence Venuti, “Ekphrasis, Translation, Critique”
  • Clive Scott, “Intermediality and Synaesthesia: Literary Translation as Centrifugal Practice”
  • Ruth B. Phillips, ” ‘Dispel all Darkness’: Material Translations and Cross-Cultural Communication in Seventeenth-Century North America”
  • Claudia Heide, “The Alhambra in Britain. Between Foreignization and Domestication”
  • Vojtech Lahoda, “Cubism Translated? Western Canon of Modernism and Central/Eastern European Art History”
  • Nachiket Chanchani, “Gandhi’s (In)fidelity: Some Reflections on Art Writing and Translation in Colonial India”

Volume 2 Issue 1, March 2010

  • Iain Boyd Whyte, Editorial
  • Günter Bandmann, “On the meaning of the Romanesque apse”, translated by Claudia Heide from German (“Zur Bedeutung der romanischen Apse”, Wallraf-Richartz Jahrbuch, 15, 1955, pp. 28-55).
  • Jorge Alberto Manrique, “Identity or Modernity?”, translated by Tatiana Flores from Spanish (‘Identidad o Modernidad’ in America Latina en sus artes, ed. Damián Bayón, Paris, 1987)
  • Li, Qingquan, “Some Aspects of Time and Space as Seen in the Liao-dynasty Tombs in Xuanhua”, translated by Fei Deng from Chinese (‘Xuanhua Liao dai bihuamu zhong de shijian yu kongjian wenti’, Zhongguo shi yanjiu, 34 Supplement, 2005, 77-106
  • Mudiji Malamba Gilombe, “A Study of the Forms and Symbolic Functions of Phende ‘Mbuya’ “, translated by Jane Yeoman from French (“Essence du masque mbuya à travers et au-delà de sa fonctionnalité immédiate”, Le Langage des masques africains, 1989, chapter 8).
  • Prabhashankar O. Sompura and Madhusudan Dhaky, “A Temple for Ascending to Heaven”, translated by Nachiket Chanchani and Deven Patel from Gujarati and Sanskrit (“Svargarohana Prasada” in Svadhyaya, vol. 5, no 2, Feb. 1968 pp.191-5)

Volume 1 Issue 3, Autumn 2009

The third issue of Art in Translation focuses on Architectural History.

  • Iain Boyd Whyte, Editorial
  • Ruth Verde Zein, “The Future of the Past or Contemporary Tendencies”, translated by Richard Williams from Portuguese (“O Futuro do Passado, ou as Tendências Atuais”, O Lugar da Crítica, São Paolo, 2003)
  • Stefan Germer, “The Italian Hope: Rationalist Architecture’s Role and Reception in Germany”, translated by Jonathan Blower from German (“Die Italienische Hoffnung”, Giuseppe Terragni, Moderne und Faschismus in Italien, Munich, 1991)
  • Guzik, Hubert, “The Diogenes Family. The Collectivization of Accommodation in Bohemia 1905-1948”, translated by Marta Filipova from Czech (‘Diagenova rodina’, Umeni, Prague, 2006, LIV).

Volume 1 Issue 2, Summer 2009

This second issue includes seminal texts in the German art-historical tradition.

  • Iain Boyd Whyte, Editorial
  • Leo Frobenius, “Ancient and Recent African art”, translated by Claudia Heide from German (“Alte und junge Afrikanische Kunst”, Die Kunstwelt, 1912, vol. 2, number 2, pp. 97-114)
  • Kurt Lewin, “Landscape of War”, translated by Jonathan Blower from German (“Kriegslandschaft” in Zeitschrift für angewandte Psychologie, 12, 1917, and republished by Dünne, J., & Günzel S., eds, Raumtheorie: Grundlagentexte aus Philosophie und Kulturwissenschaften, Frankfurt am Main, 2006, pp. 129-139)
  • Edgar Wind, “On the Systematics of Artistic Problems”, translated by Fiona Elliott from German (“Zur Systematik der künstlerischen Probleme”, Zeitschrift fur Aesthetik und allgemeine Kunstwissenschaft 18, 1925, pp. 439-486)
  • Angel Guido, “Introduction to Hispano-Inca Architecture according to Wölfflin”, translated by Claudia Heide from Spanish (Arquitectura Hispanoincaica a través de Wölfflin, Rosario: Cruz del Sur, 1927, pp. 13-27)
  • Aby Warburg, “The Absorption of the Expressive Values of the Past”, translated by Matthew Rampley from German (1928, republished in Mnemosyne Atlas, Berlin: Akademie Verlag, 2003)
  • Horst Bredekamp, “The Simulated Benjamin: Medieval Remarks on its Actuality”, translated by Iain Boyd Whyte from German (‘Der simulierte Benjamin: Mittelalterliche Bemerkungen zu seiner Aktualität’, Frankfurter Schule und Kunstgeschichte, ed. Andreas Berndt et al., Berlin: Reimer, 1992.

 Volume 1 Issue 1, March 2009

  • Iain Boyd Whyte, Editorial
  • Enrico Castelnuovo and Carlo Ginzburg, Symbolic Domination and Artistic Geography in Italian Art History, translated by Maylis Curie from French (‘Domination symbolique et géographie artistique dans l’histoire de l’art italien’. Actes de la recherche en sciences sociales, no. 40, November 1981)
  • Okamoto Tarô, On Jômon Ceramics, translated by Jonathan Reynolds from Japanese (Jômon doki ron’ in Mizue, February 1952)
  • Josef Strzygowski, Orient or Rome. The Porphyry-Groups at St. Marks, Venice, as Test Case, translated by Iain Boyd Whyte from German (‘Orient oder Rom. Stichprobe: Die Porphyrgruppen von S. Marco in Venedig’, C. F. Lehmann (ed.) Klio: Beiträg zur alten Geschichte, vol. 2, Leipzig: Dietrich’sche Verlagsbuchhandlung, 1902)
  • Nikolai Chuzhak, Under the sign of Life Building”, translated by Christina Lodder from Russian (‘Pod znakom zhiznestroenia’ Lef, no.1, 1923)
  • Vladimir Markov, Negro Art, translated by Jeremy Howard from Russian (‘Iskusstvo Negrov’ in Negro Art, St Petersburg, 1919)
  • José Emilio Burucúa, Reflections on the Painting of Alejandro Puente, the Notion of Pathosformel and the Return to Life of Mortally Wounded Civilisations, translated by Hilary Macartney from Spanish (‘Reflexiones sobre la pintura de Alejandro Puente, la nocion de Pathosformel y la vuelta a la vida de civilizaciones heridas de muerte’, Historia y ambivalencia. Ensayos sobre arte, 2006)