Beatrice ImmelmannGeorg-August-Universität Göttingen | GAUG · Department of Art History
Magister in art history
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Citations since 2017
9 Research Items
Lecturer for Visual Studies and Digital Art History
October 2019 - March 2020
October 2018 - March 2019
- PhD Student
- Project "Universal aesthetics of lines and colors?" http://linesandcolors.univie.ac.at/en
We present a unique opportunity to test the ability of artists to systematically evoke emotions in an audience via art and, transversely, for viewers to pick out intentions of the artist. This follows a recent article which had shown this connection using installation artworks by MFA student-artists. However, this earlier article had left open ques...
Wassily Kandinsky was one of the first artists who produced and exhibited art works with a growing degree of abstraction, from approximately 1910 onwards. His artistic development was accompanied by intense theoretical considerations. The theorizing of a correspondence between artistic production, originating from the artist’s "vibration of the...
Die Konzeption ästhetischer Wahrnehmung durch Vibrationen ist seit dem 18. Jahrhundert ein Bestandteil der kunsttheoretischen und ästhetischen Praxis. Die rhetorische Rückbindung an diesen gemeinsamen Nenner der geschilderten Wahrnehmungsprozesse von Sehen und Hören bildete dabei offensichtlich gerade für die theoretische Fundierung von Abstrakter...
The idea that simple visual elements such as colors and lines have specific, universal associations—for example red being warm—appears rather intuitive. Such associations have formed a basis for the description of artworks since the 18th century and are still fundamental to discourses on art today. Art historians might describe a painting where red...
The article examines an experimental survey that was conducted by Wassily Kandinsky and his students of the wall painting workshop at the Bauhaus Weimar in 1923. In his theoretical writings on art, Kandinsky had assumed there to be direct correspondences between basic colors (yellow, red, blue) and forms (triangle, square, circle), and he operation...
This PhD-project investigates "vibrations" as an argumentative pattern to theorize a correspondence between artistic production, originating from the artist’s "vibration of the soul", and a resonant aesthetic experience of the viewers. It aims to 1) trace back a continuity of the discourse on vibrations in the context of art theory and aesthetics between 1700 and 1925, and 2) analyze the function of this argumentative pattern in art literature.