The article observes the use of the term ‘colourful’ (‘bunt’) around 1900 by first looking at reviews of Inter­national Art Exhibi­tions towards the end of the 19th century in Germany. It becomes clear that the colour­ful in art is pejora­tively evaluated as attention-seeking and commer­cial, and thus estab­lished as the ‘other’ in contrast to the desired high cultural norm. Some­thing similar can also be observed for coloured repro­ductions after artworks, which are devalued as inferior and crude. However, it is striking that vulgar colourful­ness is tolerated in its consti­tution as the ‘other’, be it among art of Italian or Spanish artists at the Inter­national Exhibi­tions, as well as with children and non-art-historical prints. Further­more, the article presents how a certain habitua­tion to colourful­ness occurred after 1900.

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Beck, Mirja (2024): „Buntheit in Kunst und foto­mecha­nischer Repro­duktion um 1900. Oder: ‚Die Kunst­geschichte ist kein Möbel­magazin‘“, in: Joseph Imorde, Michael Mult­hammer und Hans Rudolf Velten (Hg.): Das Populäre der Anderen – Vulga­rität im Ausgang der Vor­moderne. Pader­born (Poesis, 10), S. 211–229. DOI: https://doi.org/10.30965/9783846769096_012.