We are all historians of the present. At least we should be. Many fellow historians of knowledge are currently using a wide variety of media to share their experience and research in an effort to put the global response to the COVID-19 pandemic into context. Twitter is one medium where this conversation is especially lively, as Eileen Sperry has noted on Nursing Clio, a wonderful group blog that is also active on Twitter. One can find these parts of Twitter by searching for the relevant hashtags, for example, #histmed (history of medicine) and the much more generic #twitterstorians (historians on twitter).
When the writer Anne Brewster (1818–1892) and the sculptor Harriet Hosmer (1830–1908) met in Italy in 1876, their conversation circled mainly around the recently deceased actress Charlotte Cushman. That itself was hardly unusual—Cushman was the talk of the town. During most of her adult life, Charlotte Cushman (1816–1876) was among the most-well known public figures in the Anglophone world. As an American actress who could boast a phenomenal success in Britain with roles as varied as Meg Merrilies and Romeo, Cushman dominated the theatrical scene on both sides of the Atlantic for several decades. While she might be forgotten today,1 she was everywhere during the height of her success. You can’t miss her in databases like ProQuest’s American Periodicals Series and Historical Newspapers or the Library of Congress’s Chronicling America: Historic American Newspapers. Yet if you relied only on these public sources, you’d miss a lot.
As art objects circulate over time, they connect various people, places, times, stories, and even historiographies. Although they cannot speak to us directly about their biographies, we can still interrogate them and related evidence in order to learn more about who once possessed them and where and how they were kept. As we do this, we can draw on the concept of circulation to direct scholarly attention toward how not only objects but also knowledge about them moves. Objects, knowledge, and their significance for those involved is continuously circulated and negotiated, yielding new knowledge and meaning in the process. Thus, we might endeavor to elaborate both the spatial and temporal dimensions of provenance research as integral parts of contemporary art history.
In 1908, The Metropolitan Museum of Art purchased from the French art dealer Kleinberger Galleries a sixteenth-century portrait believed to be that of Johann, Duke of Saxony, painted by Lucas Cranach the Elder. The Museum’s paintings curator, Roger Fry, had learned of the availability of this little-known work by the German Renaissance master late in 1907, and through correspondence with Kleinberger confirmed its provenance and attribution, which were attested by the eminent art historians Max Friedländer and Wilhelm von Bode. The picture crossed the Atlantic on the Courraine, arrived at the Met on February 3, and was installed in its galleries soon after. It was the first work by Cranach the Elder in the Metropolitan’s collection.
Today we offer two examples of academic knowledge on the move in tandem with the Migrant Knowledge blog. Anna Corsten looks at the reception of two German-speaking refugee historians in West Germany, and Razak Khan discusses the place of certain travel experiences in Magnus Hirschfeld’s thought.
In Germany today, Hans Rosenberg (1904–1988) and Raul Hilberg (1926–2007) are viewed as important pioneers in the study of National Socialism and the Shoah. Because of their Jewish background, they had been threatened by Nazi persecution and had emigrated to the United States.1 In the postwar era, Rosenberg’s work was initially embraced in the United States and marginalized in West Germany, whereas Hilberg’s was both praised and attacked in the United States, and ignored in West Germany. How and why did these historians move from the margins to the mainstream of German historiography? How did migration figure in their work and its reception?
Magnus Hirschfield (1868–1935) was a world-renowned pioneer in sexology.1 Years of his modern scientific knowledge production on sexology were monumentalized with the establishment of the Institute of Sexual Science in Berlin in 1919. On May 10, 1933, the institute became an early target of violent Nazi attacks with its library ransacked and its books burned publicly.2 During these turbulent times in Germany, Hirschfeld was on a lecture tour in the Unites States, where he was lauded as a celebrity and his knowledge was embraced enthusiastically by many in the American academy, press, and public. Unable to return home because of the Nazi seizure of power, he decided to embark on a world tour to acquire and share the “treasures of serological knowledge.”3 In transit, he acquired new ideas.
Where is the object from? Who did it belong to? How did it enter the collection? Nowadays, hardly any curator can avoid dealing with these questions before exhibiting or acquiring works of art or other cultural objects. Provenance has become an essential factor for public acceptance of the legitimacy of holdings in national museum collections worldwide as a consequence of two broad trends. On the one hand, a broad consensus on Nazi-confiscated art was reached in 1998 and expressed in the Washington Principles. On the other hand, there have been numerous heated public debates in recent years about the unlawful or unfair appropriation of cultural assets and the possible restitution of such items.1 Concern about the origins of objects is growing for libraries and archives too. Thus, provenance research has become a globally sought-after discipline.
What does citizenship entail? For many it is not just a passive right but rather comprises a more fragile set of practices, duties, and beliefs that need to be reworked and reaffirmed along the way. It might be useful to think of “citizenship” as a container for a wide variety of ascribed meanings in time. A century ago, when World War I came to an end, many Western nations re-evaluated what it meant to be a citizen, who was entitled to become one, which rights it entailed, and what one needed to know in order to act properly. For the protagonists of suffrage movements, full citizenship could only be realized through the attainment of civil rights and participation in the formal political process, most notably voting. The ability and desire to do that required knowledge.
We are publishing this article in conjunction with the conference Empire of Circulation: Habsburg Knowledge in Its Global Setting.
Empire of Circulation
The Habsburg Monarchy constituted a linguistic, religious, and legal patchwork that was conditioned both by its internal diversity and the region’s centuries-long imbrications and entanglements with the adjacent Ottoman, Spanish, and Holy Roman Empires. It was what Mary Louise Pratt has called a “contact zone,” one that bred innovation.1 Moreover, Central European scholars and scientists creatively grasped and shaped the religious and linguistic plurality of the Habsburg imperial polity, and they did so by entangling their region with the wider world.2 They tweaked, deracinated, and readjusted practices across contexts. They compared, translated, and amalgamated bodies of knowledge, unfolding a set of activities and processes that recent historians of knowledge have termed “circulation.”
In the early years of the twentieth century, Catholic libraries in Germany adopted modernized methods of organization to simplify their use: the arrangement of books by subject, alpha-numeric classifying systems, and card catalogs. The adoption may not seem like much, but in the structure and practice of Catholic knowledge the change was fundamental. How did this revolution come about and what did it betoken?