Benutzer:Marsupium/Namenskonventionen für Werke der Bildenden Kunst
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Artikeltitel[Bearbeiten | Quelltext bearbeiten]
<Künstler-(?)>Biographien[Bearbeiten | Quelltext bearbeiten]
Wenn für einen biographischen Artikel eine Begriffsklärung notwendig ist, dann ist Paul Müller (Künstler) meistens die beste Wahl, im Gegensatz zu beispielsweise Paul Müller (Maler) (siehe XXXXXXXXXXXXXXXXX). In anderen Fällen mögen Lieschen Müller (Töpferin) oder „Designerin“, „Kunsthistorikerin“, „Silberschmiedin“ passend sein.
hier Überschrift?[Bearbeiten | Quelltext bearbeiten]
… Für Kunstströmungen, Techniken und Ähnliches kann in Klammern „Kunst“ – oder ein engerer Begriff wie „Skulptur“ – angehängt werden, wenn dies passend ist.
Kunstwerke[Bearbeiten | Quelltext bearbeiten]
(auch) zu Wikipedia:Namenskonventionen#Titel!?
- Artikel über einzelne Kunstwerke
- Der Titel eines Kunstwerks sollte im Text kursiv gesetzt werden. Andere Kunstwerke hingegen haben Namen (nicht kursiv) anstelle von Titeln, ein feiner Unterschied. Zu diesen zählen illuminierte Manuskripte (LINK!!!!!!!!!!) (ausgenommen solche
… … …
siehe mal d:Wikidata:WikiProject_Visual_arts/Item_structure#Titles and labels
Article titles[Bearbeiten | Quelltext bearbeiten]
Biographies[Bearbeiten | Quelltext bearbeiten]
If a biography needs disambiguating then John Smith (artist) is usually the best choice, as opposed to e.g. John Smith (painter) (see Lead section above). For other people John Smith (potter) or "designer", "art historian", "silversmith" may be appropriate. For movements, techniques and the like add (art) or a more specific term such as (sculpture) if this is appropriate.
Works of art[Bearbeiten | Quelltext bearbeiten]
For articles on individual works of art:
- The title of a work of art is italicised in text, but not in the article title itself. Other artworks may have names (unitalicised) rather than titles, a fine distinction. These include illuminated manuscripts (except where they are the unique manuscript of a work whose title is the name for the manuscript) and other objects that are of some practical use, or archaeological artefacts, which are not italicised in any context: Royal Gold Cup, Sedgeford Torc etc. For a title with no owner's name or location in it to be italicised, it has to be plausible to some degree that the creator would have considered the name we know an object by as its title.
- If the title is not very specific, or refers to a common subject, add the surname of the artist in brackets afterwards, e.g. Reading the Letter (Picasso). It is generally better to disambiguate by the artist's name than by medium, as there may be other paintings or sculptures of the same name by other artists. If the artist painted several works with the same, or very similar, titles, add the location of the work if it is in a public collection. For example, Annunciation (van Eyck, Washington), as van Eyck painted several Annunciations. A title such as Madonna and Child (Raphael) is of little use (see Category:Raphael Madonnas). The names of less well-known artists may not be suitable disambiguation terms.
- Avoid the construction "X's Y" (e.g. Botticelli's Birth of Venus). It only works in a small minority of cases, such as Dürer's Rhinoceros, where the work is very well known by that title and the alternative (The Rhinoceros (Dürer)) is considered too far from common usage.
- Where there are several variant titles, preference is usually given to the predominant one used by art historians writing in English, and if this is not clear, the English title used by the owning museum. Few old master paintings had specific titles when they were painted.
- Objects such as excavated artifacts or illuminated manuscripts usually known by a name combining a previous or current owner, location, or place of discovery, followed by the type of object, should normally be treated as proper names for the object, and all words capitalized, but not italicised, as these are names not titles. Examples: Rosetta Stone, Cloisters Cross, Batllo Crucifix, Berlin Gold Hat. If in doubt, the name used by the owning museum is persuasive, although the name used in most commonly in recent scholarly references is the ultimate criterion; there are odd variations - both Berlin Gold Hat and Mold gold cape seem the best established capitalizations.
- Set up redirects for variant titles, such as the original language title for modern works or variant translations. Often a redirect with or without an initial "The" is likely to be useful.
- The use of "the" is complicated. Works where "the" begins a specific and non-generic title purely describing the subject do include this in the article title. However common subjects, especially religious ones, do not include "the" in the title, even when the episode is often or normally referred to preceded by "the", as in "the Crucifixion", the "Dormition of the Virgin", and so on. Works whose usual title includes the name of a former owner or a location do not include "the" in the article title. Examples: Dormition of the Virgin (El Greco), Agony in the Garden (Bellini), Benois Madonna (former owner), Ghent Altarpiece (location), but The Birth of Venus (Botticelli), The Tempest (Giorgione), The Persistence of Memory.
- Avoid "Portrait of Fred Foo" titles, if the individual is named – just use "Fred Foo", with disambiguation as necessary, even if the museum uses "Portrait". But titles such "Portrait of a Man" are all right to use. There are exceptions, especially modern works where the title is given by the artist, and others such as the Arnolfini Portrait.
- Many works have names by which they were well-known, but which are now falling out of use, as the museums who now own most tend not to use the former name. The Rokeby Venus is still sufficiently well known by that name to justify using it for the title, even though the National Gallery, London, uses the title The Toilet of Venus ("Rokeby Venus"). But in the same museum, a work formerly known as the Burlington House Cartoon is now called The Virgin and Child with St Anne and St John the Baptist. The institution's preferred name for the work is now more familiar than the older one, and is therefore used as the article title. In cases such as this the older title should be set up as a redirect and mentioned as a variant, but not used for the article title.
- Foreign language titles are generally only to be used if they are used by most art historians or critics writing in English – e.g. Las Meninas or Les Demoiselles d'Avignon. In that case they should be used in the form used by most art historians writing in English, regardless of whether this is actually correct by the standards of the other language. It is not necessary to give the original language version of titles of standard religious scenes or portraits, but for other titles this may be desirable, for example:
The Third of May 1808 (in Spanish El tres de mayo de 1808 en Madrid; Los fusilamientos de la montaña del Príncipe Pío (Prado, p. 141: "The third of May 1808 in Madrid; the shootings on Prince Pio hill".) or Los fusilamientos del tres de mayo) is a painting completed in 1814 by the Spanish master Francisco Goya.