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Anastasia Dittmann

Dissertation Project

The Photographic Nude from 1860 to 1900 within the Continuum and Change in Meaning of the Reception of Antiquity and Artistic Reflexivity: From tableau vivant to the étude d’après nature.

Focusing on the medium of photography, the project examines the aesthetic, theoretical, and pedagogical-practical foundations for the establishment of académies as étude d’après nature.  It investigates the use and production practice of photographic nude studies in the context of historical aids and model books on anatomy and theories of proportion since the seventeenth century and also critically examines the exemplary character of académies for the fine arts. The académies that were produced for purposes of study manifested a particular encounter between tradition and modernity that thematized issues of ideal representation and naturalness. Defined by corporeal presence and artistic staging of the models in the atelier, the académies must be problematized as a special type of the tableau vivant—both as a problem and task of art. Taking into consideration the historical determination and development of the artistic nude study, the project employs analytic methods of case studies, comparison, and surveys to reveal processes of generating and transferring artistic knowledge. Among other things, académies represent a medial and conceptual paradigm shift within the understanding of artistic reflexivity: as new formats of knowledge and instruction, they reflect processes of transformation that point to the practical knowledge of the arts of later generations.

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Born in Kassel. MA in art history, Italian studies, and English studies at the University of Marburg. From 2009–2011, instructor as the Marburg Institute for Art History.  Since 2007, work in various data bank projects at the German Documentation Center for Art History—Image Archive Photo Marburg, including the construction of a virtual slide library of church architecture and contemporary ecclesiastical art, and cataloging the papers of Reinhart Koselleck.



"Fotografien als Illustration von Kunstbüchern", in: Strunck, Christina (Hg.): Geschichte der Buchkunst. Vom Pergament zum E-Book, Petersberg: Imhof, 2013, S. 100–105.

„In der Pose wird der Körper zum Artefakt. Das kanonische Wissen um die Vollkommenheit des Doryphoros“, in:, Onlinepublikation des Graduiertenkollegs „Das Wissen der Künste“, Nr. 1 „Wissensformationen und -praktiken“, Oktober 2013, URL:

„Vom tableau vivant zur étude d’après nature. Wandlungen der Raumbetrachtung im fotografischen Akt des 19. Jahrhunderts“, in: Scheuer, Franziska Maria (Hg.): Neue Körper – Neue Räume, Marburg: Schüren, 2012 (=Augen-Blick. Konstanzer Hefte zur Medienwissenschaft, H. 53), S. 86–95.

„Apollinische ‚borrowed attitudes‘ – von der ‚central form‘ zur ‚association of ideas‘“, in: Lehmann, Doris H. / Petri , Grischka (Hg.): Eklektizismus und eklektische Verfahren in der Kunst, Hildesheim u.a.: Olms, 2012, S. 81–99.

„Lebende Bilder in der Fotografie“, in: Transformation in den Künsten. Grenzen und Entgrenzung in bildender Kunst, Film, Theater und Musik, hrsg. von Ruth Reiche (u.a.), Bielefeld: transcript Verlag 2011, S. 215-228.



Die nackte Wahrheit und anderes - Aktfotografie um 1900, 30.5.2013, Museum für Fotografie, Berlin