Agnes Blaha, University of Vienna
Abstract
From around 1933 onwards, painter Léo Marchutz, in cooperation with art historians John Rewald and Fritz Novotny, began to catalogue and photograph the landscapes painted by Paul Cézanne. The important role Léo Marchutz played for their attempts to use photography for the scholarly purposes of art history and in the development of a network of Cézanne researchers interested in this methodological approach can be reconstructed in detail from their correspondence. In addition to the possibilities these documents offer for a historiographic study of the development of early research in modern art, Marchutz’ work can also be seen as an example for the often underestimated reciprocal influences between creative practice and art historic research. Keep Reading