Jutta Teutenberg (geb. Radomski)
Jutta Teutenberg studied Art History, Italian and Classical Archaeology in Freiburg i. Brsg., Florence and Munich. In 2022 she completed her dissertation "Im Schatten der Höhle. Die Bildgeschichte des Urmenschen im 19. und frühen 20. Jahrhundert" ("In the Shadow of the Cave. The Visual History of Prehistoric Man in the 19th and early 20th Centuries") with summa cum laude at the University of Munich. From 2015–2020 she held a PhD scholarship of the Gerda Henkel Foundation and her publication was supported by a grant of the Foundation Kritische Kunst- und Kulturwissenschaften. Jutta Teutenberg is currently work-ing on Vol. I.10 (essays, speeches, reviews) of the SNF-project Heinrich Wölfflin - Gesammelte Werke at Bibliotheca Hertziana – Max Planck Institute for Art History in Rome.
Jutta Teutenberg studierte Kunstgeschichte, Italienisch und Klassische Archäologie in Freiburg i. Brsg., Florenz und München. Ihre Doktorarbeit "Im Schatten der Höhle. Die Bildgeschichte des Ur-menschen im 19. und frühen 20. Jahrhundert" schloss sie 2022 mit summa cum laude an der LMU München ab. Die Dissertation wurde durch ein Promotionsstipendium der Gerda Henkel Stiftung (2015–2020), sowie durch eine Publikationsförderung der Stiftung Kritische Kunst- und Kulturwis-senschaften unterstützt. Jutta Teutenberg ist gegenwärtig im SNF-Projekt Heinrich Wölfflin – Gesammelte Werke für Bd. I.10 (Aufsätze, Reden, Rezensionen) an der Bibliotheca Hertziana – Max Planck Institut für Kunstgeschichte in Rom zuständig.
Supervisors: Ulrich Pfisterer and Burcu Dogramaci
Jutta Teutenberg studierte Kunstgeschichte, Italienisch und Klassische Archäologie in Freiburg i. Brsg., Florenz und München. Ihre Doktorarbeit "Im Schatten der Höhle. Die Bildgeschichte des Ur-menschen im 19. und frühen 20. Jahrhundert" schloss sie 2022 mit summa cum laude an der LMU München ab. Die Dissertation wurde durch ein Promotionsstipendium der Gerda Henkel Stiftung (2015–2020), sowie durch eine Publikationsförderung der Stiftung Kritische Kunst- und Kulturwis-senschaften unterstützt. Jutta Teutenberg ist gegenwärtig im SNF-Projekt Heinrich Wölfflin – Gesammelte Werke für Bd. I.10 (Aufsätze, Reden, Rezensionen) an der Bibliotheca Hertziana – Max Planck Institut für Kunstgeschichte in Rom zuständig.
Supervisors: Ulrich Pfisterer and Burcu Dogramaci
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Conference Presentations by Jutta Teutenberg (geb. Radomski)
It was the hordes of fossils and bones, discovered on an unimaginable scale, which caused fundamental notions of natural and religious history to rupture at the beginning of the 19th century. So meaningful were the discoveries that a newly formed, international network of geologists, palaeontologists, scientists, anthropologists and artists devoted themselves almost entirely to researching the content of these Ice and Stone Age finds. From the outset, the research undertaken by this group of ‘World-makers’ (Michael Kempe) was accompanied by concrete visualisations of Prehistory, which found their first full expression in Henry De la Beche’s 1830 work, ‘Duria antiquior’, or ‘The First Vision of the Prehistoric Age’.
Though not intentional, the image contained within this work, as is to be shown, became a key force in the imagining of the Prehistoric Age in the 19th century, even though it was originally widely rejected and in some instances openly mocked. However, over time, it nevertheless entrenched itself to such an extent that it became a standard vision of the pre-biblical world, a development referred to by William J. T. Mitchell as the ‘Evolution of Images’.
Yet it is fair to say that those reconstructions had a much greater effect than simply to prove the supposed existence of prehistoric creatures. While originally vehicles for visual scientific information, it was the popularity of using those depictions and reconstructions in paleontological collections and natural history museums to portray the era - in preference to actual bones and fossils. This raised the imagery to new heights, becoming a form of entertainment in itself, even influencing national myths of origins. Furthermore, knowledge and history was morphed and produced within those images and collections. Prehistoric reconstructions therefore appear to be an ideal example of Jean Baudrillard’s “hyperreale Wirklichkeitsproduktionen” (hyper-real productions of reality).
The aim of my presentation is to discuss these observations in greater detail in the form of a microstudy, encapsulating a key element of my PhD dissertation on the media and methods of visual reconstructions of the prehistoric era.
Papers by Jutta Teutenberg (geb. Radomski)
Dissertation by Jutta Teutenberg (geb. Radomski)
The discovery and recognition of human fossils in the 19th century made the immense deep time of our existence evident. To make these beginnings conspicuous was the claim of a wide spectrum of representations of prehistoric humans at that time. The aim of this study is to analyse these images critically, paying particular attention to gender-specific and transnational aspects. Part of the methodological core is to trace the researcher’s courses of action and their epistemological interests. Scientific documentations of finds, prehistoric fantasies, experimental reenactments and early silent movies have always brought to light a presence of prehistory - which Jutta Teutenberg reports on.
It was the hordes of fossils and bones, discovered on an unimaginable scale, which caused fundamental notions of natural and religious history to rupture at the beginning of the 19th century. So meaningful were the discoveries that a newly formed, international network of geologists, palaeontologists, scientists, anthropologists and artists devoted themselves almost entirely to researching the content of these Ice and Stone Age finds. From the outset, the research undertaken by this group of ‘World-makers’ (Michael Kempe) was accompanied by concrete visualisations of Prehistory, which found their first full expression in Henry De la Beche’s 1830 work, ‘Duria antiquior’, or ‘The First Vision of the Prehistoric Age’.
Though not intentional, the image contained within this work, as is to be shown, became a key force in the imagining of the Prehistoric Age in the 19th century, even though it was originally widely rejected and in some instances openly mocked. However, over time, it nevertheless entrenched itself to such an extent that it became a standard vision of the pre-biblical world, a development referred to by William J. T. Mitchell as the ‘Evolution of Images’.
Yet it is fair to say that those reconstructions had a much greater effect than simply to prove the supposed existence of prehistoric creatures. While originally vehicles for visual scientific information, it was the popularity of using those depictions and reconstructions in paleontological collections and natural history museums to portray the era - in preference to actual bones and fossils. This raised the imagery to new heights, becoming a form of entertainment in itself, even influencing national myths of origins. Furthermore, knowledge and history was morphed and produced within those images and collections. Prehistoric reconstructions therefore appear to be an ideal example of Jean Baudrillard’s “hyperreale Wirklichkeitsproduktionen” (hyper-real productions of reality).
The aim of my presentation is to discuss these observations in greater detail in the form of a microstudy, encapsulating a key element of my PhD dissertation on the media and methods of visual reconstructions of the prehistoric era.
The discovery and recognition of human fossils in the 19th century made the immense deep time of our existence evident. To make these beginnings conspicuous was the claim of a wide spectrum of representations of prehistoric humans at that time. The aim of this study is to analyse these images critically, paying particular attention to gender-specific and transnational aspects. Part of the methodological core is to trace the researcher’s courses of action and their epistemological interests. Scientific documentations of finds, prehistoric fantasies, experimental reenactments and early silent movies have always brought to light a presence of prehistory - which Jutta Teutenberg reports on.