Authors:
Csilla Markója művészettörténész, ELKH Bölcsészettudományi Kutatóközpont Művészettörténeti Intézet / art historian, Research Centre for the Humanities, Institute of Art History

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Kata Balázs művészettörténész, az ACB Research Lab kurátora / art historian based at ACB Research Lab

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Csak nyomtatott formában érhető el. A Művészettörténeti Értesítő 2020-ig csak nyomtatásban jelent meg, a weboldalon csupán a tartalommal kapcsolatos alapvető információkat mutatjuk ezekről az évfolyamokról. A cikkeket a 70. kötettől (2021) jelentetjük meg online is.

The conflict between Charles de Tolnay and Erwin Panofsky that grew unprecedentedly acrimonious in the history of the discipline – the so-called Tolnay–Panofsky affair – was more than mere personal bickering. The documents clearly reveal that the “affair”, which basically affected financial and professional positions, was based on embarrassingly ordinary, occasionally petty-minded questions instead of scientific arguments, and led to a break of relationship probably in spring 1943, also directs the attention to the science political consequences of the hierarchic establishment of American science financing and academia in general in the interwar years and the 1940s, and to differences between European and American scholarship. It can be gleaned that Tolnay’s efforts to be allotted raised stipends (often by a great degree, as the documents unanimously testify) and a confirmed position led to the deterioration of his relationship with the Princeton IAS leaders and community – in spite of the fact that the former leader of the Institute Flexner took Tolnay’s side, at times with threats to Panofsky and Oppenheimer and accusing Panofsky of professional jealousy. Though Tolnay received raised scholarship up to 4000 dollars for three years, the institute decided to part with Tolnay in 1948. In the background of the affair, however, one may discover conflicts based on the diverging views on art history by Panofsky and Tolnay rooted far deeper, in the elementary influences of the Vienna School of Art History and Max Dvořák on the one hand, and of the Sunday Circle and György Lukács, on the other. The art philosophical aspects and methodological consequences of these dissenting concepts of art history may bear significance for the practitioners of the discipline today as well.

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Senior editors

Editor(s)-in-Chief: Jávor, Anna

E-mail address: javor.anna@mng.hu

Name of the Institute: Magyar Nemzeti Galéria
Address of the Institute: Budapest, 1250, 31, Hungary

 

Editor(s): Mikó, Árpád

P.O. address: Budapest, 1250, 31, Hungary

 

Chair of the Editorial Board: Mojzer, Miklós

Name of the Institute: Szépművészeti Múzeum
Address of the Institute: 1146, Budapest, Dózsa György út 46., Hungary

 

Editorial Board

  • Galavics, Géza
  • Mravik, László
  • Nagy, Ildikó
  • Prokopp, Mária

Művészettörténeti Értesítő
Hungarian Nationale Gallery
P.O. Box 31
HU–1250 Budapest, Hungary
Phone: (36 1) 375 8858 ---- Fax: (36 1) 375 8898
E-mail: javor.anna@mng.hu

2023  
Scopus  
CiteScore 0
CiteScore rank Q4 (Visual Arts and Performing Arts)
SNIP 0.938
Scimago  
SJR index 0.102
SJR Q rank Q4

Művészettörténeti Értesítő
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Művészettörténeti Értesítő
Language Hungarian
Size A4
Year of
Foundation
1952
Volumes
per Year
1
Issues
per Year
2
Founder Magyar Régészeti és Művészettörténeti Társulat
Founder's
Address
H-1088 Budapest, Hungary, Múzeum krt. 14.
Publisher Akadémiai Kiadó
Publisher's
Address
H-1117 Budapest, Hungary 1516 Budapest, PO Box 245.
Responsible
Publisher
Chief Executive Officer, Akadémiai Kiadó
ISSN 0027-5247 (Print)
ISSN 1588-2802 (Online)

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