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（1787-1861）从瑞士、巴黎和罗马交换信件的注释版目前正在运行，由2014年申请的36个月的资金支持，已经分配了24个月。这是请求延长资助，以成功完成对版本的工作。Passavant是19世纪最重要的早期艺术史学家和专家之一。他对艺术史学科及其方法论发展的重要意义已经成为欧洲艺术史科学史参考书的一个组成部分。他从1809年到1824年一直住在巴黎和罗马，他一生都在旅行，从1807年在瑞士开始，在接下来的几年里，他去了里昂、斯特拉斯堡、佛罗伦萨，以一种最决定性的方式塑造了这位年轻的商人：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、一名艺术代理人，最后成为了他家乡法兰克福Städel研究所的策展人。在尚未出版的274封来自巴黎和罗马的信件（法兰克福大学图书馆/美因）中，他提供了拿破仑时代和后拿破仑时代欧洲互补文化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、认知欲望和经济一致性，这些对我们理解1800年左右的欧洲艺术至关重要。来自艺术家、同事、亲戚、学者和政策制定者的277封匹配的信件完成了这个想法的万花筒，它们揭示了Passavant形成的起源和影响。在那里，博物馆的机构成为一个有形的地方，产生了一种特定的方法来研究艺术史。作为雅克-路易斯·大卫在巴黎的学生，Passavant进一步报道了19世纪早期艺术家教育的形式和趋势。对当代艺术生产及其条件的现实空间和象征空间进行了阐释。最后，Passavant的信件提供了有关19世纪欧洲艺术市场地理的宝贵信息。这一特别丰富的信件交流的版本旨在为艺术史作为一种跨国现象做出贡献。

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.