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E-journal on Visual and Art History

Notes to Authors

 Author guidelines (pdf version)

Please observe the following guidelines when sending your articles for publication at kunsttexte.de.

Send your work to the editors of the relevant section by email. The editors may suggest changes to articles.

Manuscripts may be composed in any European language. Please, include an abstract of not more than 300 words in German or English. Articles should not exceed 40 pages. Avoid abbreviations and always give the names of authors in full. Indicate quotations with double quotation marks (" "). Please do not use footnotes in reviews. For contributions in German, adhere to the new German spelling according to Duden.

For the publication of articles, we additionally require:
Information on the author (100 words max.), a list of the literature used (for papers of more than 20 pages).

File formats: send your texts as .rtf or .doc files.
Format of image files: use jpg format and a resolution of 300 dpi. One edge of the picture should measure at least 10 cm.

Organization of manuscript page:
Insert short quotations in your text using double quotation marks ("..."). Indicate ellipses with square brackets [...]. Indent longer quotations on both the left and right using the indent function of your text processor. Write titles of books, newspapers, magazines, exhibitions, artworks, and literary works in italics.

Use endnotes. The number indicating an endnote in the text is placed after the period of a sentence. Write page numbers as follows: p. 314-315. For articles of more than 20 pages, include a bibliography following the endnotes.

Citation in endnotes:
First occurrence:
Hans Belting, Bild und Kult: eine Geschichte des Bildes vor dem Zeitalter der Kunst, Munich 2000 [= 5th edition]
Second and all further occurrences: Belting 2000, Bild und Kult, p. 31

Max Uhlig, ed. Staatliche Kunstsammlungen Dresden, Kupferstich-Kabinett, Dresden 1993.
Second and all further occurrences for catalogue short-title references: Uhlig, ed. Staatliche Kunstsammlungen Dresden 1993, p. 85, no. 92

Abbreviations should be used in endnotes only. "Century" and the names of museums and collections, of archives, libraries, and journals must always be written out in full. Use abbreviations in endnotes consistently as follows:

figure = fig.               edition = edn.
exhibition = exh.        volume = vol.
volumes = vols.          ibidem = ibid.
number = no.             page = p.
editor = ed.                for example = e. g.
reprint = repr.            compare = cf.
collection = collct.       series = ser. (e.g. 2nd ser.)
et alii = et al. (more than three authors)
saint = St. (e. g. St. George)

Figures are indicated in the text as, for example: (fig. 00)
List figure captions on a separate page, adhering to the numbering used in the text and include the following information separated by semicolons:
Fig. 00 artist/authors; title/subject; year; technique/material; measurements (height-width-depth in cm); location; collection. (photographer/copyright/ original [short title]).
Example: Fig. 1 Max Uhlig; Doppelbildnis F.U. und T.P.; Jahr; charcoal, watercolor, Japanese paper; 62.5 x 96.5 cm; Dresden, Staatliche Kunstsammlungen Dresden, Kupferstich-Kabinett. (Dresden, Staatliche Kunstsammlungen 1993, Uhlig, p. 85, no. 92)

The authors are responsible for the accuracy of the bibliographic information they provide.

Books: author, title. subtitle (series, volume), first place of publication year.
Example 1 (one author): Volker Breidecker, Florenz oder 'die Rede die zum Auge spricht'. Kunst, Fest und Macht im Ambiente der Stadt, Munich 1992.
Example 2 (two authors/places of publication): Daniel Arasse and Andreas Tönnesmann, Der europäische Manierismus 1520-1610 (Universum der Kunst, vol. 42), Paris / Munich 1997.
Example 3 (more than two authors/places of publication): Andreas Herbst et al., So funktionierte die DDR – Lexikon der Organisationen und Institutionen, 3 vols., Reinbek bei Hamburg and elsewhere 1994.

Edited volumes: title, editors, place of publication year.
Example: Emblemata. Handbuch zur Sinnbildkunst des XVI. und XVII. Jahrhunderts, eds. Arthur Henkel and Albrecht Schöne, Stuttgart / Weimar 1996.

Catalogues: catalogue title. catalogue subtitle, editor, place of publication year.
Example: Max Uhlig, ed. Staatlichen Kunstsammlungen Dresden, Kupferstich-Kabinett, Dresden 1993.

Journals: author, article title, in: complete name of journal, volume (issue/no.), year of publication, page number(s).
Use the same format in the case of omnibus volumes and honorary publications, catalogues and newspapers.
Example: Elena Fumagalli, Committenza e iconografia medicea a Roma nel Seicento. Il ciclo di affreschi di Palazzo Madama, in: Mitteilungen des Kunsthistorischen Institutes in Florenz, vol. XLI no. 3, 1997, p. 314-347.

Exhibitions and conferences: title. subtitle, organizer, place, date.
Example: Im Agon der Künste. Paragonales Denken, ästhetische Praxis und die Diversität der Sinne. Internationale Fachtagung der Freien Universität Berlin zum 65. Geburtstag von Rudolf Preimesberger. Kunsthistorisches Institut der Freien Universität Berlin, 19-22 February 2001.

Reference to entire websites: URL, date.
Example: www.perlentaucher.de, 21-07-2001.

Reference to individual articles in online journals etc.: author, article title, in: complete title of journal/magazine etc., URL, date.
Example: Tino Hanekamp, Wahrheit macht keinen Spaß, in: telepolis,
www.heise.de/tp/deutsch/inhalt/co/9104/1.html, 18-07-2001.

For REVIEWS, the bibliographic data given in the header must be organized according to the following pattern:

Authors/editors of the reviewed volume: title (series). place of publication: publisher, year of publication, number of pages, ISBN, price.
Example: Gérard Genette: Paratexte. Das Buch vom Beiwerk des Buches. Frankfurt am Main: Suhrkamp-Verlag 2001, 402 p., ISBN 3-518-29110-6, price: € 27.90.


title. institution, place. exhibition organizer, duration.
Example: Theatrum Naturae et Artis. Theater der Natur und Kunst. Wunderkammern des Wissens. Martin-Gropius-Bau, Berlin. Eine Ausstellung der Humboldt-Universität zu Berlin in Zusammenarbeit mit der Berlin-Brandenburgischen Akademie der Wissenschaften, der Freien Universität Berlin, der Berliner Festspiele GmbH und der Hermann von Helmholtz-Gemeinschaft Deutscher Forschungszentren. 10-12-2000 to 04-03-2001.

title. institution, place. organizer. duration.
Example: Im Agon der Künste. Paragonales Denken, ästhetische Praxis und die Diversität der Sinne. Eine internationale Fachtagung der Freien Universität Berlin zum 65. Geburtstag von Rudolf Preimesberger. Kunsthistorisches Institut der Freien Universität Berlin. 19-22 February 2001.

Legal information
The copyright of all contributions is subject to the regulations laid out in the  Digital Peer Publishing (DiPP) license.
You can download the license (version 1 in German):

"The basic licence module allows users to read the work, to electronically distribute verbatim copies and to make it available for download. It does not allow users to modify the work in any way. Hence the basic DPPL is particularly suitable for making available to the public finished works which the author wishes to be distributed verbatim with due attribution. It is the most restrictive of the three licence modules. The fact that no distinction is made between scholarly and commercial use of works is intentional. Because the work may be distributed in electronic form only, the rights of use in print form or on data storage media are retained by the author and are not covered by the licence. The idea is to promote electronic distribution while leaving the copyright holder the option to grant the right of physical distribution to a third party, for example a publisher."
Quoted from: open-access.net, DiPP Licenses,
URL: open-access.net/de_en/general_information/legal_issues/licences/dipp_licences/ (30-07-2010).
The protection of the rights of third parties rests with the originators of the individual articles published on kunsttexte.de. This concerns particularly third-party image reproduction rights and neighboring rights.
The responsibility to obtain image rights lies with the authors.