Mitchell B. Frank, Associate Professor of Art History at Carleton University, is the author of German Romantic Painting Redefined (2001) and Central European Drawings from the National Gallery of Canada (2007). Daniel Adler, Associate Professor of Art History at York University in Toronto, is the author of Hanne Darboven: Cultural History, 1880-1983 (Afterall Books, 2009).

• Contents: Introduction: German art history and scientific thought: beyond formalism, Mitchell B. Frank and Daniel Adler; Body-building: August Schmarsow's Kunstwissenschaft between psychophysiology and phenomenology, Andrea Pinotti; 'Look at your fish': science, modernism and Alois Riegl's formal practice, Margaret Olin; Heuristic constructs and ideal types: the Wölfflin/Weber connection, Joan Hart; The formalist's compromise: Wölfflin and psychology, Daniel Adler; Recapitulation and evolutionism in German artwriting, Mitchell B. Frank; The physiognomics of architecture: Heinrich Wölfflin, Hans Sedlmayr and Paul Schultze-Naumburg, Daniela Bohde; Materializing Strukturforschung, Ian Verstegen; Reine Wissenschaft: art history in Germany and the notions of 'pure science' and 'objective scholarship', 1920-1950, Christian Fuhrmeister; Bibliography; Index.

'The essays in the present volume, even though they all focus on a particular case, help the reader to gain a broader insight in the exchange between science and art history... The cumulative insight the reader acquires from this volume is that the approach of art history to the sciences was all but a clear trajectory towards objectivity; it called forth an increasing subjective and sometimes holistic appreciation of visual experience.' Journal of Art Historiography'Mitchell B. Frank and Daniel Adler have collected eight original essays in German Art History and Scientifi c Thought that convincingly move current historiographical debates ‘beyond formalism’, as promised in the subtitle...[their] contributions successfully turn formalism into close reading, and they might act as a reminder about how to supplement mere observation with critical interrogation.' Francesco Ventrella, Journal of the Association of Art Historians

Mitchell B. Frank, Associate Professor of Art History at Carleton University, is the author of German Romantic Painting Redefined (2001) and Central European Drawings from the National Gallery of Canada (2007). Daniel Adler, Associate Professor of Art History at York University in Toronto, is the author of Hanne Darboven: Cultural History, 1880-1983 (Afterall Books, 2009).

• Contents: Introduction: German art history and scientific thought: beyond formalism, Mitchell B. Frank and Daniel Adler; Body-building: August Schmarsow's Kunstwissenschaft between psychophysiology and phenomenology, Andrea Pinotti; 'Look at your fish': science, modernism and Alois Riegl's formal practice, Margaret Olin; Heuristic constructs and ideal types: the Wölfflin/Weber connection, Joan Hart; The formalist's compromise: Wölfflin and psychology, Daniel Adler; Recapitulation and evolutionism in German artwriting, Mitchell B. Frank; The physiognomics of architecture: Heinrich Wölfflin, Hans Sedlmayr and Paul Schultze-Naumburg, Daniela Bohde; Materializing Strukturforschung, Ian Verstegen; Reine Wissenschaft: art history in Germany and the notions of 'pure science' and 'objective scholarship', 1920-1950, Christian Fuhrmeister; Bibliography; Index.

'The essays in the present volume, even though they all focus on a particular case, help the reader to gain a broader insight in the exchange between science and art history... The cumulative insight the reader acquires from this volume is that the approach of art history to the sciences was all but a clear trajectory towards objectivity; it called forth an increasing subjective and sometimes holistic appreciation of visual experience.' Journal of Art Historiography'Mitchell B. Frank and Daniel Adler have collected eight original essays in German Art History and Scientifi c Thought that convincingly move current historiographical debates ‘beyond formalism’, as promised in the subtitle...[their] contributions successfully turn formalism into close reading, and they might act as a reminder about how to supplement mere observation with critical interrogation.' Francesco Ventrella, Journal of the Association of Art Historians

Mitchell B. Frank, Associate Professor of Art History at Carleton University, is the author of German Romantic Painting Redefined (2001) and Central European Drawings from the National Gallery of Canada (2007). Daniel Adler, Associate Professor of Art History at York University in Toronto, is the author of Hanne Darboven: Cultural History, 1880-1983 (Afterall Books, 2009).

• Contents: Introduction: German art history and scientific thought: beyond formalism, Mitchell B. Frank and Daniel Adler; Body-building: August Schmarsow's Kunstwissenschaft between psychophysiology and phenomenology, Andrea Pinotti; 'Look at your fish': science, modernism and Alois Riegl's formal practice, Margaret Olin; Heuristic constructs and ideal types: the Wölfflin/Weber connection, Joan Hart; The formalist's compromise: Wölfflin and psychology, Daniel Adler; Recapitulation and evolutionism in German artwriting, Mitchell B. Frank; The physiognomics of architecture: Heinrich Wölfflin, Hans Sedlmayr and Paul Schultze-Naumburg, Daniela Bohde; Materializing Strukturforschung, Ian Verstegen; Reine Wissenschaft: art history in Germany and the notions of 'pure science' and 'objective scholarship', 1920-1950, Christian Fuhrmeister; Bibliography; Index.

'The essays in the present volume, even though they all focus on a particular case, help the reader to gain a broader insight in the exchange between science and art history... The cumulative insight the reader acquires from this volume is that the approach of art history to the sciences was all but a clear trajectory towards objectivity; it called forth an increasing subjective and sometimes holistic appreciation of visual experience.' Journal of Art Historiography'Mitchell B. Frank and Daniel Adler have collected eight original essays in German Art History and Scientifi c Thought that convincingly move current historiographical debates ‘beyond formalism’, as promised in the subtitle...[their] contributions successfully turn formalism into close reading, and they might act as a reminder about how to supplement mere observation with critical interrogation.' Francesco Ventrella, Journal of the Association of Art Historians