Benutzerspezifische Werkzeuge

The aim of the project is to analyze the phenomenon of collecting incomplete objects in various media by the members of the urban/court elites of the German-speaking lands in the years 1500–1600. I divide “Incompleteness” into three major spheres: “Emptiness”, “Unfinishedness” and “Imperfection”. Originally non-completed, semi-damaged and secondary incomplete products have so far been recognized in Italian art as mannerist non finito and rotto respectively. The scope of the impact of this quality is wide – it covers the “liveliness” of the unfinished or damaged surface, the desire to fulfil the blank space in the print, the contrasts between the finished and the unfinished within one thing and the recipient's focus on what has been recognized as incomplete. For these reasons, recognizing the deliberate blurring of boundaries between finite and infinite as an artistic category is particularly useful; the main premise is to study the reception of this phenomenon among collectors and craftsmen as a model of knowledge transmission. The material includes objects and written sources relevant to the subject. The collectible artworks to be analyzed represent a wide variety of genres, material and techniques. The writings include mainly inventories of particular collections, treatises, handbooks.
Research questions: To what extent the patron or commissioner could affect the final appearance of the object? What were the patterns of acquisition and migration of such objects into specific collections? What sort of actions of the spectator were prompted by these objects through the agency? To which extent did incomplete products serve as explanatory devices and knowledge-making pieces? Research hypotheses: northern incompleteness is a distinct phenomenon from Italian non-finito – it covers a variety of objects produced prior to the mannerist technique in the south. The development of the category marks the shift in the position of the craftsman– the analyzed objects allowed the viewers to understand the artistic process by observing different stages of incompleteness. This category affected the perception of materials as well – its earlier significance based on preciousness gave way to the matter of curiosity.
This perspective is essential to expand the knowledge of the late medieval/early modern collecting history: it gives an insight into the interests of the court and urban elites, enriches the knowledge of the craftsman-donor relationship, enables to understand the changed perception of what was seen as art itself. The abundance of other materials: prints and paintings depicting masters in their workshops, craftsmen’ tools and artisans at work shows clearly that the aspect of the artistic process was a matter of curiosity. Unfinished products have so far been counted to other classes, which were validating their existence. The main aim of the project is to change this well-established distinction and eventually to recognize the intentional blurring of the boundary between finite and infinite as an artistic category in specific time and space. A list of objects executed in various media will enable a comprehensive recognition of the context of court and bourgeois collectors’ culture and the diversified functions of these elements. The project wants to challenge the view that unfinished objects were only unsuccessful experiments or workshop rejects and see them from a more positive perspective that of the modern collector who ennobled them as sought-after objects and explanatory devices. When one considers artistic practices, one discovers various instances of connections between unfinished sculptures and paintings, instances of intentional incompleteness, e.g. engravings “demanding” to give them a clear sense by filling the empty banderoles with comments, bound in silver imperfect ceramic pieces, faulty bronzes, mechanical and manual tools recorded in the inventories, preparatory drawings and early technological treatises.

[Caption: Basle (?) or Upper Rhine area, Three crucifixes (two unfinished), ca. 1500, limewood, heights: 18.1, 18.2 and 20 cm; Basel, Historisches Museum, ⓒ Historisches Museum Basel, Peter Portner]

• Agnieszka Dziki, M.A.