Formalism in the first half of the twentieth century: ‘pure science’ or a case of effective rhetoric? Mitchell B. Frank and Daniel Adler (eds), German Art History and Scientific Thought – Beyond Formalism, Ashgate, 2012

German Art History and Scientific Thought – Beyond Formalism discusses the relation between art history and the human and natural sciences in the late nineteenth and early twentieth centuries. All contributions in this volume highlight the way in which this exchange affected art history on a practical and methodological level, but at the same time illustrate how the quest for objectivity and scientific methods was accompanied by an irrational search for essential characteristics of art through race. Especially the exchange with psychology, physiognomy, and psychophysiology supported this kind reasoning in circles in which objectivity was related to holistic explanations. This led to a rhetoric of objective Kunstwissenschaft that spoke in terms of rational facts, but in which the concepts of character and evolution resulted in highly ideological interpretations, which became discredited after 1945. However, the post-war reaction to this in itself again affected another turn towards the ‘objective’ which goes to show how external, political, changes affected the relation between art history and the sciences.