Founded by Wilhelm Waetzoldt and Ernst Gall, continued by Margarete Kühn, Georg Kauffmann and Reiner Haussherr, as well as Andreas Beyer, Alexander Markschies, Andreas Tönnesmann and Jeffrey F. Hamburger.
Published by Beate Fricke, Ursula Frohne, Johannes Grave, and Michael F. Zimmermann.
Founded in 1932, the Zeitschrift für Kunstgeschichte is one of the leading international periodicals in the field of art history. Published four times a year, it covers all kinds of art and visual culture across all time periods and geographical areas and includes scholarly articles, short notices and book reviews in German, English, French and Italian. By including contributions in four languages, it differs from most other art-historical periodicals.
The Zeitschrift für Kunstgeschichte has from the start been a forum for art history’s various specialized fields to enter into conversation with one another extending beyond epoch, geography and genre with the intent of illustrating the discipline’s scholarly dynamics and inspiring further research. Although art history has become increasingly specialized and individual art-historical periodicals concentrate on specific subject matters and discourses, the Zeitschrift für Kunstgeschichte provides its authors with the chance to address the whole spectrum of the discipline. Therefore the journal is particularly interested in essays that explore subject matters and questions in all their complexity while also addressing readers with other specialties, for example, by touching on issues relevant to art history as a whole, matters concerning aspects of historiography, comparative points of view, and methodology.
By bringing together research and debates from diverse fields, the Zeitschrift für Kunstgeschichte will go on contributing to the visibility of art history as a discipline that independently reflects both methodologically and theoretically on its practice against the backdrop of its own history. It increasingly highlights contemporary art as well as topical questions and new theoretical challenges with contributions which address the full range of media or cast an acute art-historically trained eye on pictures and artifacts from outside the traditional confines of art.
In order to ensure the best possible editorial managements all contributions are subject to peer review. This not only serves the purpose of objectification but also the democratization of the quality control and decision-making processes as regards the acceptance of manuscripts for publication.