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

这一历史批判编辑项目在艺术史学科范围内发起，与人文学科的基础研究有关。该项目的目的是首次出版德语的视觉艺术家（画家）行会和工匠条例。神圣罗马帝国的艺术家，除了少数例外（如宫廷艺术家），都是受行会约束的工匠。这意味着该协会试图规范与艺术家生活有关的一切：从入门学徒到几年的学徒期，再到师傅考试、结婚、成立和经营自己的工作室、购买材料，最后，艺术品本身的销售。这套规章制度保存在工艺品法规中，在本项目中将首次从德国的档案中进行编辑，奥地利和瑞士。该版本按照城市组织，将展示在神圣罗马帝国为欧洲大部分德语地区培养艺术家的正式一面。德国研究基金会的这一版本项目分为两个三年期项目阶段，第二阶段正在申请中，其研究领域以非历史为导向。由于组织上的原因，在总共六年的时间里，没有任何其他程序是合理的，因为仅在德国、奥地利和瑞士，就有总共1，796个档案被写入。GRF编辑项目目前正处于项目的第二阶段，也是最后一个阶段，但可以与申请人的ERC项目artifex结合起来，后者将在其他项目中编辑其他补充源材料。在这两个项目结束后，中世纪和近代早期画家的所有德语培训规定都将以编辑的形式提供。因此，这是第一次，神圣罗马帝国可以获得规范德语地区行会画家培训的资料。除了少数例外，在20世纪世纪后半叶的战后几十年里，还没有人把艺术家的历史作为艺术史中的工艺史来研究。与史学相反，不仅艺术史的研究空白被留下，而且人们接受的标题是&gt;德国工艺< from the Nazi era still have to serve as >参考作品&lt;。艺术家的社会史作为美术的一部分，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19世纪的研究，这些研究已经尝试过艺术家的工艺史。

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.