Peter Burke
University of Cambridge
https://orcid.org/0000-0002-2471-0141 

 

Volume 9, October 2025   

Abstract

This paper explores the complex history and ongoing debate surrounding connoisseurship in art, particularly focusing on the reliability of the connoisseur’s intuitive judgement or ‘eye’. The author, writing as a cultural and social historian rather than an art specialist, discusses the interplay between connoisseurs and art historians, the emergence and evolution of connoisseurship as a distinct culture of knowledge, and the necessity of verifying intuition with evidence. The text also acknowledges the absence of a comprehensive historical overview of connoisseurship, a gap the author intends to address with an upcoming book.

Keywords

Art, Art history, Connoisseurship, Intuition, Knowledge

[pdf]

Bibliography

Aurenhammer, Hans, ‘Max Dvořák and the History of Medieval Art’, Journal of Art Historiography, 2 (2010), pp. 2-16.

Bambach, Carmen, ‘Bernard Berenson’s Drawings of the Florentine Painters, Burlington Magazine, 151 (2009), pp. 692-6.

Benesch, Otto, ‘Max Dvořák’, Neue Österreichische Biographie, 10 (1957), pp. 189-98.

Bode, Wilhelm, ‘Morelli’, Fortnightly Review (1891).

Cordileone, Diana, Alois Riegl in Vienna, 18751905 (Farnham, 2014).

Dilly, Heinrich, Kunstgeschichte als Institution (Frankfurt, 1979).

Dvořák, Max, Kunstgeschichte als Geistesgeschichte (1924: English translation, Art History as the History of Ideas (London, 1984).

Dvořák, Max, ‘Die Illuminatoren des Johann von Neumarkt’, Jahrbuch der Kunsthistorischen Sammlungen des Allerhöchsten Kaiserhauses (1901), pp. 35-127.

Elsig, Frédéric, Connoisseurship et l’histoire de l’art (Geneva, 2019).

Elsner, Jaś, ‘The Viennese Invention of Late Antiquity’, in Empires of Faith in Late Antiquity, ed. by Jaś Elsner (Cambridge, 2020), pp. 110-27.

Frey, Dagobert, ‘Max Dvořáks Stellung in der Kunstgeschichte’, Wiener Jahrbuch für Kunstgeschichte, 1 (1923), pp. 1–21.

Friedländer, Max, On Art and Connoisseurship (1942: rpr Boston MA, 1960), pp. 175, 179.

Frimmel, Theodor (ed.), Der Anonimo Morelliano (Vienna, 1888).

Gere, John, ‘Philip Pouncey’, Proceedings of the British Academy, 76 (1991), pp. 529-44.

Gombrich, Ernst, Aby Warburg: An Intellectual Biography (London, 1970).

Johns, Karl, ‘Moriz Thausing and the Road towards Objectivity’, Journal of Art Historiography, 1 (2009).

Kernbauer, Eva, et al., Rudolf von Eitelberger von Edelberg: Netzwerker der Kunstwelt (Vienna, 2019).

Lermolieff, Ivan [Giovanni Morelli], Italian Painters (1890: English translation, London 1892).

Mabillon, Jean, De Re Diplomatica (Paris, 1681).

Noever, Peter, et al., Alois Riegl Revisited (Vienna, 2010).

Quash, Susanna Avery, and Julie Sheldon, Art for the Nation: The Eastlakes and the Victorian Art World (London, 2011).

Rampley, Matthew, The Vienna School of Art History (University Park, PA, 2013).

Rosenauer, Artur, ‘Moriz Thausing und die Wiener Schule der Kunstgeschichte’, Wiener Jahrbuch für Kunstgeschichte, 36 (1983), pp. 135-9.

Samuels, Ernest, Bernard Berenson: The Making of a Legend (Cambridge, MA, 1987).

Scallen, Catherine, ‘Wilhelm Bode’s and Giovanni Morelli’s Debates about Connoisseurship’, in Rembrandt, Reputation and the Practice of Connoisseurship (Amsterdam, 2004), pp. 35-102.

Schlosser, Julius von, Schriftquellen zur Geschichte der Karolingischen Kunst (Vienna, 1892).

Schlosser, Julius von, Eine Fulder Miniaturhandschrift (Vienna, 1892).

Schlosser, Julius von, ‘The Vienna School of the History of Art’, 1934: English translation in Journal of Art Historiography, 1 (2009), pp. 1-50.

Sheldon, Julie (ed.), The Letters of Elizabeth Rigby, Lady Eastlake (Liverpool, 2009).

Sickel, Theodor, Die Urkunden Otto II (Hanover, 1888).

Springer, Anton, ‘Kunstkenner und Kunsthistoriker’ (1881: rpr in his Kunstkenner und Kunsthistoriker, Leipzig, 1886), pp. 377-404.

Tietze, Hans, Methode der Kunstgeschichte (Leipzig, 2013).

Trautmann-Waller, Cécile (ed.), L’école viennoise de l’histoire de l’art (Rouen, 2011).

Vasold, Georg, Alois Riegl und die Kunstgeschichte als Kulturgeschichte (Freiburg im Breisgau, 2004).

Wickhoff, Franz, ‘Die italienischen Handzeichningen der Albertina’, Jahrbuch der Kunsthistorischen Sammlungen des Allerhöchsten Kaiserhauses, 13 (1892), pp. clxxv-cclxxxiii.

Wickhoff, Franz, Abhandlungen (Leipzig, 1913).

Wind, Edgar, Art and Anarchy (London, 1963).

 

 

 

The Edgar Wind Journal 9: 27-39, 2025
DOI: 10.53245/EWJ-00045
Copyright: © 2025 Peter Burke. This is an open access, peer-reviewed article published by Bernardino Branca