[de] Der artikel verfolgt eine historiografische und eine methodolo- gische Herangehensweise. auf der einen Seite wird versucht, die Forschungsentwicklung bis heute auf dem Gebiet der Schwei- zer Kunstproduktion, vor allem der Malerei, des Mittelalters darzustellen. auf der anderen Seite werden anhand von aktuel- len Forschungsprojekten verschiedene aspekte der Schweizer Kunstlandschaft herausgestellt. So wird vorgeschlagen, das Gebiet in zwei Kulturzonen zu unterteilen (Oberrhein und alpin- gebiet), die seit ihrer Definition im 20. Jahrhundert einen idealen Rahmen für die Stilanalyse bilden. Die Stilentwicklungen schaffen Verbindungen zwischen Zentrum und Peripherie oder transperipherie und werden als kollektive identität einer bestimmten Epoche interpretiert, wie zum Beispiel die allmähliche Gründung des Zusammenschlusses der dreizehn Kantone zwischen 1291 und 1513. So wird aufgezeigt, dass der empirische ansatz der Kunstkenntnis den theoretischen ansatz zur Kunstlandschaft bereichert. Die theorie wiederum vermag es, die Grundlagen festzulegen und somit die Dynamik der Forschung zu bedingen.

[en] The present article has two main historiographical and methodological objectives. First, it aims to present an overview of past and current research on the arts of the late Middle ages, as practised within the geographical area of present-day Switzerland, with a particular focus on painting. Second, it highlights certain aspects of "the geography of art" on the basis of a number of ongoing studies. The article divides the territory into two culturally distinct re- gions, the Oberrhein and the alpine area. Essentially a 20th- century distinction, these regions provide an ideal framework for the analysis of the stylistic currents linking a cultural cen- tre with peripheral or transperipheral zones, and their subse- quent interpretation in light of the specific collective identities of the period – namely the progressive constitution of the 13 cantons of the Swiss confederation, from 1291 to 1513. In this way, the article aims to demonstrate that the empirical approach of connoisseurship can confirm and reinforce the theoretical approach of the "geography of art" which itself determines the article's pre-suppositions, and the research dynamic as a whole. laurent langer, Art Nouveau and Symbolism in Swiss painting: an overview of current research International awareness of Swiss art c.1900 is often limited to a few notable figures such as arnold Böcklin or Ferdinand Hodler. and yet many other artists active in Switzerland at the time were influenced by art Nouveau and the Symbolist movement, and produced work of great quality. Over the past several years, numerous stimulating studies have explored Swiss painting around the year 1900: monographs and catalogues raisonnés, as well as thematic studies and overviews.The author proposes a cross-disciplinary overview of recent research on Swiss painting around 1900, with a historiographical summary that highlights the central role of the city of Zurich, and the major retrospective exhibitions held there in the 1950s and 1960s. International studies of leading figures such as Böcklin, Hodler and Félix Vallotton have also shed new light on the great stylistic diversity of modern art in Switzerland.the article goes on to explore a range of themes specific to the region, and the period, namely the concept of a "national school of art" the role of large decorative murals, and rural primitivism. Finally, the article stresses the recent research focus on regional artistic phenomena, in light of our improved understanding of the involvement of Swiss artists in international movements.