## THE CONCEPTUAL AND HISTORICAL CONTEXT OF DANISH ARTIST JOHANNES WIEDEWELT

ELSE MARIE BUKDAHL, JOHANNES WIEDEWELT - TRADITION OG NYBRUD [JOHANNES WIEDEWELT -TRADITION AND BREAKTHROUGH]

COPENHAGEN: U PRESS, 2021. 148 PAGES

ISBN: 9788793890121

Tradition og nybrud is  Else  Marie  Bukdahl's  fifth  publication on Johannes Wiedewelt. A comparative and historical method, which does not let itself get caught up in sweeping questions of the Nachahmung [the imitation] of antiquity, remains one of the distinguishing features of her work, as it has been since 1993 and the publication of Wiedewelt -From Winckelmann's Vision of Antiquity to Sculptural Concepts of the 1980s . The many and various layers of interpretation and historical retrospect, which have, despite their many ambiguities, put J.J. Winckelmann firmly at  the  centre  of  art  history,  are,  in  Bukdahl's  work,  governed instead by an interest for what we might call the morphogenetic effects that can be ascertained in Danish art in particular, though she also has a great deal to say about the development of abstract sculpture  in  the  West  more  generally,  from  Brancusi  to  Land Art as well. Thanks to almost twenty years of intense cooperation with the three artists associated with Skalakunst [ Scale Art ] (Stig Brøgger, Hein Heinsen and Mogens Møller), Bukdahl has been able to focus on the formal effects and interplay between Wiedewelt and contemporary art. Her analysis proceeds chiefly by way of interpretive analogies in which historical and contemporary sculptural compositions are juxtaposed, though exceptions do, however, occur, notably in the analyses of Heinesen's and Brancusi's sculptures, which are interrogated both conceptually and via semiotics. These works can be related to the morphogenetic situations which, for example, Wiedewelt's memorials have occasioned in the park and forest at Jægerspris. Morphogenesis has to do with the dynamic transformation of forms; it concerns the slip that occurs when a possibility, latent to substances or materials, is released and finds fulfillment, can begin the transformation from matter to form. Such transformation can follow the contours of classicism, of a certain aesthetic order, where such norms are themselves questioned and explored, but it can also combine routes and rules in pursuit of a more transversal coherence, i.e. one that is more dramatic. Such combinations can be governed by something beyond rules, namely narrative, as in Wiedewelt's sculptures in the gardens of Fredensborg Palace (discussed below), or rounded by conceptual exploration. In the latter,  a  more  stylized  exposition  of  formal  decisions  extorts meaning or semiosis. A mutual relation between form and content is, in other words, incorporated without narrative motif and is made a condition for the coherence of 'plastic' choice. Here, it makes sense to speak of 'open significance' [ significato aperto ] as  in  Umberto  Eco's The  Open  Work .  Within  the  visual  arts, coherence without motif can seem minimal, indeed 'blunt' and accidental, though it can also extort an aesthetic charge from material and form, or suggest that such charge can be experienced through the senses, as long as one looks closely enough. This, indeed, is what Merleau-Ponty describes as the 'primacy of perceptual experience', which grounds, or founds, 'intersubjective being', whereby artistic labour is able to include its spectator, to drag them in, indeed even make itself dependent on the viewer's approach to the work. This minimal, blunt abstraction can easily be to the cost of the intention of artistic endeavour. In such efforts at a condensed mutuality between form and content, the artist has to count on gesture and confidence in gesture: the particular freedom to be found in autonomous labour is turned, so to speak, inside out. Thanks to Jean-François Lyotard's detailed analysis of gesture we can speak of a libidinal twist, as in a Möbius strip, or a supine turn, as in Artaud's mime and uses of voice. While a Möbius strip recalls the dialectic between the concave and convex, the supine turn consists in a shift, or break, which also comprises the difference between recto and verso. It can be seen not only in Artaud's performances, but also in twelve-note composition. Indeed, it is just such a break that Bukdahl has been trying to hunt down in her writing on Wiedewelt, not least in the investigation of the formal permutations of modern sculpture in Denmark and the West. I have also tried to analyse a forgotten masterpiece in this connection, namely Fredens port (The Gates of Peace) myself. Bukdahl's Oplysningsfilosofi og filosofisk opbrud [Enlightenment Philosophy  and  Philosophical  Departures] has  also  to  be mentioned within this reading of the conceptual structuring of the visual arts. However, if everything grows so principle, philosophical even, in these frames, supports, sculptures, then this is because they appear as something exemplary, which can thus be understood and commented on both discursively and via the derivation of forms, which is to say, once more, via morphogenesis. So, throughout this work on Wiedewelt, through Scale Art to Bukdahl's work, a dispute with the question of the avant-garde, or 'breakthrough' as Bukdahl calls it, is also interposed.

In Wiedewelt's two chief installations in situ ,  the sculptures in  the  gardens  at  Fredensborg  (1760-69)  and  the  memorials  at Jægerspris (1777-84), artistic creation enters into dialogue with its  basis in nature, and, at times, between work and origin too. Since the aesthetic analysis of Immanuel Kant's third critique, The Critique of Judgement (1790), such dialogue has served as the basis for  various understandings of art: in the third critique, experience of forms of art takes place in analogy with the experience of forms of nature, impossible experiences -when phenomena are not beautiful, but colossal or horrifying, as Kant writes -included. In  the  latter,  either  the  more  exalted  effects  of  sublimity  are present, or low sublimities, i.e. impressions of something abominable, reprehensible, or which fills us with loathing. Regardless of whether it is exalted or 'abject', experience is deferred such that it becomes an instrument of thought. For, instead of thinking as a consequence of a stimulated sense of vitality, as with experience of the forms of the beautiful, experience of the formless requires a shift, a break: we replace the absence of the expected experience of plenitude with an explanation for its failure to turn up, with disgust and loathing, such that some thought or idea, of the impracticality of  some  subjects  of  cognition  perhaps,  can  appear  from  what seemed a state of nihilism. Instead of bringing about heaviness of heart, hindrance to experience can thus produce insight into the conditions of humans in the world. This, however, requires us to be convinced that states of mind always imply openings, so that we are not thrown back into 'brooding', which Kant found 'laughable'. 'Resoluteness' is a positive term in Kant's aesthetics, signalling a deep connection to the ethical. It is this ethical exigency and enjoinment that has governed avant-garde art between its two non-exigent, 'apathetic' extremes, Dada and Pop Art.

Nevertheless, a discrete shift takes place between the first and third critiques, i.e., 1781-1790: phantasy, or the powers of imagination, have become freer and more obstreperous or creative, while the regulatory has retreated into the background. In the 'General  Remarks'  inserted  at  the  end  of  the  Analytic  of  the Beautiful (and very late in the process of composing the third critique), Kant writes thus of the relationship between plantations ('pepper gardens') and untrammeled nature:

By contrast, that with which the imagination can play in an unstudied and purposive way is always new for us, and we are never tired of of looking at it. In his description of Sumatra, Marsden remarks that the free beauties of nature everywhere surround the observer there and hence have little attraction for  him  any  more;  by  contrast,  a  pepper  garden  where  the stakes in which the plants were trained form parallel rows had much charm for him when he encountered it in the middle of a forest; and from this he infers that wild, to all appearances irregular beauty is pleasing only as a change for one who has had enough of the regular kind. But he needed only to have made the experiment of spending one day in his pepper garden to realize that once the understanding has been disposed by means of the regularity to the order that it always requires the object would no longer entertain him, but would rather impose upon  the  imagination  a  burdensome  constraint,  whereas nature, which is there extravagant in its varieties to the point of opulence, subject to no coercion from artificial rules, could provide his taste with lasting nourishment. 1

Here, Kant is beginning to give some content in terms of the theory of  aesthetics  to  the  various  connections  that  arose  during  the second half of the eighteenth century between the various genres art could express and artists use in their work: in 1750, Piranesi published his book of graphic renderings ' i grotteschi ' of Roman antiquity; in 1756 Edmund Burke's treatise on the sublime and beautiful appeared (which Bukdahl mentions in connection with Wiedewelt, who had a copy in his library); in 1764 Horace Walpole published The Castle of Otranto , and by so doing beginning the 'gothic' genre. It is thus from the ruins of antiquity and the Middle Ages, and the fracture between the beautiful and the sublime, that what  has  later  been  called  'the  expanded  field'  of  sculptural meaning (Rosalind Krauss) could arise, a field which has, so to speak, not stopped expanding since the memorials at Jægerspris, as the interstices between the beautiful, the exalted or sublime [ erhaben ] and the 'abject' are not unambiguous and can always be further divided up.

In Tradition  and  Breakthrough ,  Bukdahl  uses  the  alloy baroque  classicism  to  describe  this  ambiguity  of  genre  and gesture,  inscribing  it  in  several  analyses  of  the  sculptures  in the  gardens  at  Fredensborg.  Behind  all  these  breakthroughs, Kant's thesis on a 'purposiveness of nature' remains nevertheless standing, regardless of whether art twists in or out of nature as material or circumambient landscape. The same happens for Michel Serres, who, in his great work in the theory of aesthetics, The Five Senses , indicates that there is not merely an etymological, but also a phenomenological connection between order and ornament.  Bukdahl  underlines  several  places  that  Wiedewelt made use of the term 'decorations', to be placed in a theatre, in his remarks on the Fredensborg commission, such that 'composition and symbolic properties speak for and explain themselves'; Jardin's design of the park at Fredensborg seems to have created a situation for art that provoked Wiedewelt to meditate on the relationship between autonomy and exhibition long before these two concepts became staples of curatorial and artistic practice. Later in Tradition , in the discussion of Wiedewelt's role as a Professor and Director of the Art Academy, Bukdahl highlights Wiedewelt's interest in such 'artisan' and therefore presentational aesthetic relations: as director of the academy Wiedewelt founded a School of Ornament, which included, among other things, instruction in drawing for the more humble practitioners of the visual arts.

Allegory, as Bukdahl emphasizes time and again, is a recurring question of the sculptures in the palace gardens; we are confronted with it in both the large monuments 'about' or 'of' Denmark and Norway. As can be seen in Thomas Rahbek's panorama (which Bukdahl reproduces, and which makes up the logo for the palace's homepage, Fig.1 ), it forms a kind of historical portal, indicating thereby passage to Brede Allé, the great avenue; without forcing the interpretation too much we can say that before egress to the avenue, allegorical compositions, including sculptures of the four seasons, dominate, while mythological sculptures are arranged along the avenue itself. There are also significant differences among the allegories themselves, ranging from geographical or historical narrative to the deepest psychology. The monuments to Denmark and Norway (Fig.2) contain reliefs that form a kind of image sentence, enumerating what being Danish or Norwegian 'is  all  about'.  In Allegories ,  Karin  Gundersen calls such image sentences  'figural  discourse',  without,  however,  reference  to Lyotard's understanding of how such 'figural discourse' ought to evident from the order of the exhibited or cited themes and create some transfer and slippage between language and the powers of imagination: we have to do here, perhaps, with a logic or explanation of images that is natural to humans. Wiedewelt's sculptures of the four seasons in the palace gardens are, on the other hand, probably thought in more abstract, psychological terms, concentrated theoretically in embodied mental states: to be able

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Fig. 1

N.H. Jardin and J. Wiedewelt, Panorama of the

Gardens of Fredensborg with the Monuments

for Denmark (to the left) and for Norway (to the right).

In the foreground: Statue of the Summer to the left

and of the Spring to the right.

Photo: Thomas Rahbek. © Slots- og Kulturstyrelsen

Fig. 2

Johannes Wiedewelt, Monument for Norway

, 1767.

© Slots- og Kulturstyrelsen

Fig. 3 Johannes Wiedewelt, Winter or Hyems , 1762. © Slots- og Kulturstyrelsen

Fig. 4 Johannes Wiedewelt, Summer or Ceres , 1757. © Art critique Lisbeth Bonde Fig. 5

Fig. 3

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Fig. 9

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Fig. 5 Johannes Wiedewelt, Enigmatic Antique [ Forblommet Antique ], 1764. © Slots- og Kulturstyrelsen

Fig. 6 Johannes Wiedewelt, Memorial to Hans and Peder Colbiørnsen and Anna Colbiørnsen , 1779. © Else Marie Bukdahl

Fig. 7 Johannes Wiedewelt, Memorial to the Famous Danish Astronomer Tycho Brahe , 1777. © Else Marie Bukdahl

Fig. 8 Constantin Brancusi, Mlle Pogany. (Version II), 1919. © Succession Brancusi - All rights reserved / VISDA 2022.04.15

Fig. 9 Hein Heinsen, Sculpture 1985 , 1985. © Else Marie Bukdahl to comment on Wiedewelt's plastic interpretation of these states (Fig.3 and 4) , Bukdahl draws on of his possible influences, outlining an  entire  genealogy  including  the  likes  of  François  Girardon, Charles Le Brun, Pierre Hutinot, Thomas Regnaudin, Philippe Magnier, who Wiedelwelt was either shaped by or roughly contemporaneous with, but whom he continuously breaks with, adds to, rounds off, leaves out, etcetera, all of which Bukdahl describes most thoroughly and which, in many ways, is the pillar of her analysis of the palace gardens.

Bukdahl continues along the same path in her reading of the large sculptures along the great avenue, a path she has, however, to  expand,  as  these  sculptures  'disseminate'  'narratives'  of mythological but mutually divergent character. And the great problem of interpretation facing the visual arts is, after all, that while some 'figures' are highly allusive, others are less so, and others still eschew allusion altogether; while there is quite a bit to say about it, whether about representation, from portraits that are 'true to nature' to the most stylized symbolism, getting into 'pure' images is far more demanding, i.e. since Turner's paintings of materials which were themselves images, light and water, for example, and colludes with them, affirming them as a mirror does.  Pure  images  are  also  those  which  exclusively  ornament some place or object to highlight that which frames it and thereby makes them more or less radiant 'splendours'.

When sculptures,  however,  are  placed  in  a  large  and  wellthought-out  park,  as  we  know  them,  for  example,  from  the grounds of French baroque palaces, a certain order governs even the most autonomous artwork. For such grounds must let themselves be surveyed from the king's panoptic position inside the castle,  must,  in  other  words,  satisfy  the  princely  view,  which ought only be limited or framed by natural phenomena, as is the case at Fredensborg with water and forest (further south it might be ranges of hills, as at Würzburg or Kassel, for example, or mountains). And, as a sign of these substances mystique and power, between the water and the forest, Wiedewelt even erected a  mixture  of  grotesque  and  monument  with  two  tall  plinths bearing two heads, one a 'new', inauthentic antique, the other appropriated  from  antiquity (Fig.5) .  This  sculptural  monument, entitled Enigmatic Antique [Forblommet Antik], was completed in  1764;  between  the  monument's  stone,  granite  and  marble  a little  chamber  almost  forms,  a  'burial  chamber',  as  Bukdahl writes, quite in accord with the hypotheses of Serres' Statues (see also Kasper Nefer Olsen's Offer og objekt [Sacrifice and Object], included in the bibliography). Perhaps a reorganization of the libidinal and supine is at stake in such artistic movement, inspired by the double intersection of water and forest, nature and culture. Or, perhaps, the connection between primitivism and ruinology, which  permeates  art  history  itself  (on  ruinology  see  Simmen, 1980), is at stake, making the fragment the art historical nucleus or germ cell.

While analogy with nature in the experience of the beautiful and the sublime appears intertwined for Kant, only to be separated by  analyzing  experience,  quite  another  kind  of  entanglement occurs in Martin Heidegger's analogy with nature in 'The Origin of the Work of Art'. Here, it is the clearing and thereby revelation and clarity, material and intimacy which provides impression and disclosure. It is this presence, Anwesen ,  that characterizes the  apparitions  the  wanderer  meets  when  they  stand  before  a memorial erected in one of the clearings in Jægerspris (Fig. 6/7) . And, for Heidegger, such a meeting has to do with insight and the modes of truth. Such an emergent and 'originating' mode of art is endowed with a most interesting modality: neither merely necessary, free or contingent nor their opposites, unnecessary, unfree and non-contingent. It might be said that the material's existence has its power, or potential, affirmed by virtue of its presence in the clearing. The material's potential is affirmed, in other words, by something else, also very powerful, namely light, which contrives to cut through the 'night and fog'. In the middle of the 1930s there was a lot of sinister romanticism in such a mode of truth; fortunately we can escape this in Jægerspris, where sinisterness is replaced by the melancholy characteristic of remembrance, not least when a memorial sustains an opening between material and time as here.

Bukdahl's English book on Wiedewelt has already gone a long way towards an analysis of the memorials in Jægerspris, for it is truly paradoxical that we, in the middle of all this intensive presence  all  the  same  intuit  an  opening  in  the  space  where material  and  time  sustain  a  kind  of  conflict  or  disagreement. This paradox was given synthesis through the inclusion of Stig Brøgger's Platformsprojekt (1970) in the 1993 book on Wiedewelt. I do not think there is another work of contemporary sculpture that manages to sublate the aforementioned modal oppositions between freedom, necessity and contingency to the same extent. If this is possible, it is because Brøgger changes medium and lets the pallet become a motif in a purely iconic morphogenesis. No one will mistake the photographic documentation of the difficulties of the pallet as being symbolically charged. All the transformations of form therefore become 'pure' images!

In  terms  of  influence  from  Wiedewelt  to  today  we  might, taking  the  Jægerspris  memorials,  divide  spheres  of  influence into three plus one: 1) A conceptual part, where the concepts of form and gesture cohere by virtue of abstract exploration; Hein Heinsen and Brancusi's work in particular can be placed here (Fig. 8 and 9) . 2) An analogue part, where points of similarity between forms is strict and coherent, even though these similarities do not emit any particular meaning, but rather are plastic prototypes, i.e. quite unique and exemplary; Mogens Møller's work, in particular, can be placed here (indeed, Møller's fountain in the garden of the Royal Library was even dedicated to Wiedewelt). 3) An iconic part, without plastic form and with pretty much no possibility of symbolizing; it is here, Brøgger's Platformprojekt can be located. A fourth must be added to deal with space and analogies with nature, and to expand the three others, insofar as what is already open  can  be  'opened  further';  here  we  return  to  Smithson's version of Land Art, and his Spiral Jetty , which Bukdahl rightly returns  to  in  both  monographs  (for  more  on  the  reception  of Smithson's work in Denmark, see Brøgger and Erik Thygesen, listed in the bibliography below). In the new book, too, occasion to discuss Smithson is provided by Wiedewelt's Julianhøj (1776); lying just  outside  of  the  memorial  grove  Jægerspris,  it  makes up a kind of landscaped signal of the beginning the fifty-four memorials in the clearings in the grove are shaped by. Despite the spiral access to Julianhøj , its grounds are very clearly structured; things are, as already suggested, very different when it comes to the memorials. They are far more melancholic and bear the marks of having to embody times past, of having to symbolize the deeds and knowledge of bygone days, deeds and knowledge attached to the names of memorable people from Denmark, Norway and the duchies…

Bukdahl is masterfully attentive, not least to formal modifications, and her descriptions and analyses are governed by 'the little narratives', which she is aware of, among other places, from Lyotard (see Bukdahl 2016). In connection with analysis of several of the memorials, then, we are let off the generalizing suspicion of decay and historical fate, which has so often haunted understanding of the visual arts from Winckelmann to Hegel. There is, however, another interpretative tradition that ascribes the shift from  antiquarian  description  of  objects  to  a  critical,  modern art history, attentive to the aesthetics of taste, to Winckelmann.

Among the new readers  of  Winckelmann,  both  Pommier  and Wallenstein are preoccupied with this epistemological break and the new foundations for philosophy and art history connected to it. Into the bargain, Pommier throws what, for Winckelmann, was a most complicated entity, namely grace, to which a possible, but rare connection between the aesthetic and the ethical in the becoming and appearance of the art work is ascribed.

Bukdahl is clearly highly sympathetic to, and full of understanding for, Wiedewelt, and her description of his arduous final years are compassionate and, precisely, full of grace and mercy. Bukdahl's basic grasp and view of artistic talent is, however, first and foremost democratic . Behind the analysis of art under absolutism there is, at most, one remark on Wiedewelt's loyalty to the monarchy and its authorities. For, when it comes down to it, we are dealing with an author who is a scholar of Diderot's political conception of art; without being weighed down by the despondency of the history of philosophy, Diderot remained a pithy critic of the eighteenth century's despotic regimes. On this latter, the reader need only consult Bukdahl's text on his poetry of ruins.

Carsten Juhl (Translated from Danish by James Day)

- 1 Immanuel Kant, Critique of the Power of Judgement , ed. Paul Guyer, trans.

Paul Guyer and Eric Matthews (Cambridge: Cambridge University Press, 2000), 126.

## BIBLIOGRAPHY:

Stig Brøgger and Erik Thygesen, Dialogue with Robert Smithson in Danmarks Radio, October 1969. In the catalogue Robert Smithson Skulpturtegninger , Louisiana 25-8 to 7-10, 1984.

Else Marie Bukdahl, 'Hein Heinsen og den nye kunsts opgør med modernismen,' in the catalogue Hein Heinsen . Lyngby: Sophienholm. Exposition: 2-3 to 17-5, 1985.

Else Marie Bukdahl, 'Wiedewelt og nyklassicismen,' in the catalogue Johannes Wiedewelt , Lyngby: Sophienholm, 1985. Exposition: 19-10-1985 to 26-1-1986. Curators: Karin Kryger and Stig Brøgger.

Else Marie Bukdahl, ''Den franske model' på Kunstakademiet i København,' in Else Marie Bukdahl and Carsten Juhl, eds., Kunstens og filosofiens værker efter emancipationen , 9-19. Copenhagen: Det kongelige danske Kunstakademi, 1988.

Else Marie Bukdahl, Wiedewelt - From Winckelmann's Vision of Antiquity to Sculptural Concepts of the 1980s , trans. David Hohnen, Copenhagen: Edition Bløndal, 1993.

Else Marie Bukdahl, Oplysningsfilosofi og filosofisk opbrud, Særtryk #8 , Stig Brøgger, ed., Copenhagen: Det kgl. danske Kunstakademi, 1994.

Else Marie Bukdahl, 'La poetique des ruines de Diderot,' in Bent Rosenbaum, Harly Sonne, and Anne Marie Dinesen, eds., Piano. Hommage à Per Aage Brandt, 72-82. Aarhus: Center for semiotisk forskning, 1994.

Else Marie Bukdahl, 'The Roots of Neo-classicism. Wiedewelt, Thorvaldsen and Danish Sculpture of our Time,' in Else Marie Bukdahl & Mikkel Bogh, The Roots of Neoclassicism. Wiedewelt, Thorvaldsen and Danish Sculpture of our Time , 12-45. Copenhagen: The Royal Danish Academy of Fine Arts, 2004.

Else Marie Bukdahl, 'Lyotard between Philosophy and Art,' in Mikkel Bolt, Peter Borum, Else Marie Bukdahl, and Ettore Rocca, eds., Gæstfrihed i kunst og politik / Hospitality in Art and Politics , 127-149. Copenhagen: Basilisk, 2016.

Umberto Eco , Opera aperta , Milano: Bompiani, 1962.

Karin Gundersen, Allegorier , Oslo: Aschehoug, 1999.

Martin Heidegger, 'Der Ursprung des Kunstwerkes,' [1935-36], in Holzwege , 1-72. Frankfurt a.M.: Vittorio Klostermann, 1980 [1950]. https://doi. org/10.5771/9783465142362-1

Carsten Juhl, 'Værk og rationalitet - Forsøg på beskrivelse af den afgørende kunsts filosofiske bestanddele,' in E.M. Bukdahl and C. Juhl, eds., Kunstens og filosofiens værker efter emancipationen , 47-58. Copenhagen: Det kongelige danske Kunstakademi, 1988.

Rosalind Krauss, 'Sculpture in the Expanded Field,' October vol. 8, #102 (Spring 1979): 30-44. https://doi. org/10.2307/778224

Jean-François Lyotard, Discours, Figure , Paris: Klincksieck, 1971.

Jean-François Lyotard, Économie libidinale , Paris: Minuit, 1974.

Jean-François Lyotard, Karel Appel: Ein Farbgestus, Bern: Verlag Gachnang & Springer, 1998.

Maurice Merleau-Ponty, Le primat de la perception et ses consequences philosophiques , Paris: Verdier, 1996 (Conference de 23-11-1946).

Kasper Nefer Olsen, Offer og objekt - en introduktion til Michel Serres' Statuer , Særtryk #4 , Stig Brøgger, ed., Copenhagen: Det kgl. danske Kunstakademi, 1993.

Édouard Pommier, Winckelmann, inventeur de l'histoire de l'art , Paris: Gallimard, 2003.

## Review:

Olivier Christin, 'Comment naquit la conception moderne de l'art,' Le Monde , 19-9-2003.

Michel Serres, Les cinq sens , Paris: Grasset, 1985.

Michel Serres, Statues , Paris: Éditions François Bourin, 1987.

Jeannot Simmen, Ruinen-Faszination in der Graphik vom 16. Jahrhundert bis in die Gegenwart , Dortmund: Harenberg, 1980.

Sven-Olov Wallenstein, 'Winckelmann och estetikens födelse,' in Johann Joachim Winckelmann, Tankar om imitationen av de grekiska verken inom måleriet och skulpturen , trans. Sven-Olov Wallenstein, 127-168. Göteborg: Daidalos, 2007.

Andrew Wilton, Turner and the Sublime , Chicago: The University of Chicago Press, 1980.