The early correspondence of the painter, art historian and museum curator Johann David Passavant from Switzerland, Paris and Italy (1807-1824). An annotated edition.

约翰·大卫·帕萨万特（Johann David Passavant，1787-1861）瑞士、巴黎和罗马书信往来的注释版是目前正在进行的一个项目，2014年申请了36个月的资金支持，目前已经分配了24个月。这是为了请求延长资金，以成功完成该版本的工作。巴萨房是19世纪最重要的早期艺术史学家和专家之一。他对艺术史学学科发展的意义及其方法论，已成为欧洲艺术史学史参考书的重要组成部分。他长期居住在巴黎和罗马（1809年至1824年），一生都在旅行，1807年开始在瑞士旅行，随后几年又去了里昂、斯特拉斯堡和佛罗伦萨，这些经历造就了这位年轻的商人：他成为了一名艺术家、一名进步的艺术史学家、一名文化事务网络工作者、一名艺术经纪人，最后成为家乡法兰克福施塔德尔研究所的馆长。在来自巴黎和罗马（法兰克福大学图书馆/美因）的274封尚未出版的信件中，他提供了拿破仑和后拿破仑时代欧洲文化互补之都充满活力的艺术生活的证据。作为他那一代人的典型代表，他还描述了审美情感、艺术抱负、认识欲望和经济凝聚力，这些对于我们理解1800年前后的欧洲艺术具有巨大的重要性。277封来自艺术家、同事、亲戚、学者和决策者的信件构成了这个思想的万花筒，它们揭示了巴萨房形成的起源和影响。就在那里，博物馆的机构成为有形的地方，产生一个特定的方法来研究艺术史。作为大卫在巴黎的学生，巴萨房进一步报道了世纪早期艺术家教育的形式和趋势。阐明了真实的和当代艺术生产的象征空间及其条件。最后，巴萨房的信件提供了有关世纪欧洲艺术品市场地理分布的宝贵信息。这一特别丰富的信件交换版本旨在为作为跨国现象的艺术史做出贡献。

The annotated edition of Johann David Passavant's (1787-1861) exchange of letters from Switzerland, Paris and Rome is a project currently running, supported by a funding requested in 2014 for 36 months, and which has been alotted for 24 months. This is to request a prolongation of the funding to conclude successfully the works on the edition. Passavant was one of the most significant early art historians and experts of the 19th century. His significance for the development of the discipline of art history and its methodology has already become an integral part of books of reference on the history of science of art history in Europe. His long-term stays in Paris and Rome, where he lived from 1809 until 1824, and his lifetime travelling, beginning in 1807 in Switzerland and leading him to Lyon, Strassburg, Florence in the following years, formed the young merchant in a most decisive way: He became an artist, a progressive art historian, a cultural affairs networker, an art agent and finally the curator of the Städel institute in his hometown Frankfurt. In 274 letters from Paris and Rome (University Library Frankfurt/Main), which have not been published yet, he gives evidence of the vibrant art life in Europe's complementary capitals of culture during the Napoleonic and post-Napoleonic eras. As a typical representative of his generation, he moreover describes esthetic emotions, artistic aspirations, epistemic desires, and economic coherences that are of tremendous importance for our understanding of the arts in Europe around 1800. The 277 matching letters of artists, colleagues, relatives, scholars and policy-makers complete this caleidoscope of ideas, they reveal origins and impacts of Passavant's formation. Right there, the institution of the museum becomes tangible as a place generating a specific methodic approach to art history. As Jacques-Louis David's student in Paris, Passavant furthermore reports on the forms and trends of artists' education in the early nineteenth century. Light is shed on the real and on the symbolic spaces for contemporary art production and its conditions. Finally, Passavant's letters provide valuable information on the geography of the European art market of the nineteenth century. The edition of this particularly rich exchange of letters aims at contributing to the history of art as a transnational phenomenon.