The use of cartography in art history is less than common. Because of its link to the old artistic geography (Kunstgeographie) once used to defend nationalist issues in Nazi Germany, it fell into disfavor until the 1960s and 1970s, when maps regained some attention from a new generation of art historians. Mapping arts indeed proves to be very useful to visualize and organize large dataset and to formulate new hypotheses, both as a descriptive and a prospective tool. The challenge we proposed to the authors was to use maps for questioning the territorial logics, the centers and peripheries of the art worlds, the places of artistic activities and their specificities.



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