Edition of the Guild Regulations for Painters up to 1800: Sources on the Social History of the Artist from the Archives of Germany, Austria and Switzerland

这个在艺术史学科范围内发起的历史评论版项目与人文学科的基础研究有关。这样的项目旨在首次出版德语行业协会和工匠协会对视觉艺术家(画家)的规定。神圣罗马帝国的艺术家，除了极少数例外(如宫廷艺术家)，工匠都受行业协会约束。这意味着该协会试图规范与艺术家生活有关的一切：从进入学徒到长达数年的熟练期，然后是大师考试、结婚、建立和经营自己的工作室、购买材料，最后是艺术品本身的销售。这一规定体系保存在手工艺品代码中，将在这个项目中首次从德国、奥地利和瑞士的档案中进行编辑。该版本按城市组织，将展示在神圣罗马帝国为欧洲大部分德语地区培训的艺术家的正式一面。德国研究基金会的这个版本项目分为两个三年项目阶段，第二阶段正在申请中，在其研究区域内面向历史。由于组织方面的原因，在总共六年的时间里，没有其他程序是合理的，因为仅在德国、奥地利和瑞士，就总共写入了1,796份档案。然而，目前处于第二也是最后一个项目阶段的GRF版本项目可以与申请者的ERC项目artifex结合起来，后者将编辑其他补充来源材料。在这两个项目结束后，中世纪和现代早期画家的所有德语培训规定都将以编辑后的形式提供。因此，神圣罗马帝国将第一次获得管理德语地区行会中画家培训的资料集。除了极少数例外，在20世纪下半叶的战后几十年里，没有人将艺术家的历史作为艺术史上的手工艺史进行研究。与史学形成鲜明对比的是，不仅艺术史研究领域的空白仍然存在，而且人们还接受了这样一个事实，即纳粹时代关于德国手工艺的书目仍然必须作为参考著作。作为美术的一部分，艺术家的社会史必须赶上以史学为特征的现代行会研究。作为历史研究的一部分，提交的版本项目涉及那些已经尝试过这种艺术家手工艺历史的19世纪研究。

This historical critical edition project initiated within the subject of art history is relevant to basic research in the humanities. Such a project aims to publish for the first time the German-language guild and craftsmens regulations for visual artists (painters).Artists in the Holy Roman Empire were, with few exceptions (such as the court artist), craftsmen bound to a guild. That means that the guild attempted to regulate everything pertaining to the artists life: from entry into an apprenticeship to the journeyman period lasting several years, followed by the masters examination, marriage, founding and operating his own studio, the purchase of materials and, finally, the sale of the art work itself.This system of regulations was kept in crafts codes and is to be edited for the first time in this project from the archives of Germany, Austria and Switzerland. The edition, organised according to cities, will illustrate the formal side of an artists training in the Holy Roman Empire for a large portion of the German-speaking area in Europe.This edition project of the German Research Foundation, structured in two three-year project phases, with the second phase now being applied for, is oriented ahistorically in its study area. For organisational reasons, no other procedure could be justified for the altogether six-year total duration because, in Germany, Austria and Switzerland alone, altogether 1,796 archives have been written to.The GRF edition project, now in the second and last project phase can, however, be combined with the applicants ERC project artifex, which will, among other projects, edit other supplemental source material. Following the end of both projects, all German-language training regulations for painters from the Middle Ages and the Early Modern Era will be available in edited form. Thus, for the first time, a collection of sources regulating the training of painters in guilds of the German-speaking area will be accessible for the Holy Roman Empire.With few exceptions, there has been no research in the post-war decades of the second half of the 20th century into the history of the artist as a history of craftsmanship in art history. In contrast to historiography, not only has a research gap in art history been left open, but it was accepted that the titles on >German craftsmanship< from the Nazi era still have to serve as >reference work<. The social history of the artist as a part of the fine arts must catch up to modern guild research, which is characterised by historiography. As a part of historical research, the submitted edition project relates to those studies of the 19th century which had already attempted such an history of artists craftsmanship.