Handbuch der Kunstzitate in der deutschsprachigen Literatur der Moderne

Over the last decades, the discussion of the relationship of Literature and Visual Arts under the aspect of the `pictorial` or `iconic turn` has soared. Just as numerous are the studies on the relationship of specific writers to their aesthetic models (`Vor-Bilder`), on word-image-genres like the classic ekphrasis / "Bildbeschreibung", on Visual Poetry, `iconograph`, or on the literary reception of single artworks. However, something like a `missing link` exists between the advanced theory of intermediality and the myriad of single subject studies - a documentation providing an overview over the poetic choice of images in a specific epoch, describing contemporary preferences for specific `donors of images` as well as the development of the history of literary reception of art. This is the aim of the present handbook. It includes articles on 250 writers and presents references on `real` artworks in their texts. The multitude of references from explicit ekphrasis, comment, interpretation up to the narrativation of the image as a sujet, lyric association and image as a dramaturgical prop are conceived, following Heide Eilert`s concept of "art citation" ("Kunstzitat"), as a poetic code conversion (Umkodierung) of non-literary arts. The limitation to modernity is determined, on the one hand, by the shift in the history of media in the last third of the 19th century, when new means of reproduction triggered a multiplication of intermedial `contacts`; on the other hand, by the resulting increase of autoreferential-poetological art citations. The limitation to German language literature is due to typical lines of tradition, including the history of reception ("Wirkungsgeschichte") of Winckelmann and Lessing, as well as the model-setting romantic artist novel (Künstlerroman) or the sujet-centered realistic description of images; in addition, there is a significant `German` reception of artists as well (concerning, e.g., Dürer, Böcklin, or Barlach). This handbook is conceived primarily as a commentary and an aid of visualisation to the literary texts; it documents the specific function of each art citation, assembles exemplary text passages and reproductions of the respective artworks, and lists the most important texts, as well as relevant titles, of secondary literature. Thus, it indirectly unlocks the chains of citations of the individual artworks and the change of `donors of images` in cultural history. On this basis, it will henceforth be possible to link and contextualise individual `galleries` of writers with art citations typical of the epoch. Moreover, the index shows at first view which artworks have been `cited` by which writers: frequencies of reception can thus be perceived instantaneously. At last, the reproductions also provide a gallery of the most frequently cited - and the most remote - `models`. The handbook, thus, introduces the individual `galleries` of the writers; it provides a basis for comparing citation techniques typical of the epoch; and it documents the history of literary reception accompanying the interpretation of pictures in art history as a congenial discourse.