Prof. Dr. Martin Germ

Pomembnejše objave:

Samostojne knjižne objave:
• Nikolaj Kuzanski in renesančna umetnost: Ikonološke študije, Ljubljana, Tretji dan, 1999, 151 str.
• Ikonološke študije, (Elektronska knjižna zbirka KUD Logos, 1), Ljubljana, KUD Logos, 2002, 250 str.
• Simbolika cvetja, Ljubljana, Mladinska knjiga, 2002, 119 str. (tudi v hrvaškem prevodu: Simbolika cvjeća, Zagreb, Mozaik knjiga, 2002
• Simbolika števil, Ljubljana, Mladinska knjiga, 2003, 111 str. (tudi v hrvaškem prevodu: Simbolika brojeva, Zagreb, Mozaik knjiga, 2004
• Simbolika živali, Ljubljana, Založba Modrijan, 2006, 240 str.
• Podoba in pomen v likovni umetnosti. Osnove ikonografije, Maribor, Založba Pivec, 2006, 115 str.
• Smrt kraljuje povsod in bela Smrt triumfira: Valvasorjevo Prizorišče človeške smrti v evropskem kontekstu, Ljubljana, Znanstvena založba Filozofske fakultete, 2015, 176 str.
 

Univerzitetni učbeniki:
• Uvod v ikonografijo, Ljubljana, Oddelek za umetnostno zgodovino, Filozofska fakulteta, 2008, 177 str.
• Evropska umetnost poznega srednjega veka: Gotska arhitektura in kiparstvo, Ljubljana: Znanstvena založba Filozofske fakultete, 2011, 289 str.
• Evropska umetnost poznega srednjega veka: Gotsko slikarstvo, Ljubljana, Znanstvena založba Filozofske fakultete, 2011, 227 str.
• Staronizozemsko slikarstvo: Od Jana van Eycka do Hieronymusa Boscha, Ljubljana, Znanstvena založba Filozofske fakultete, 2013, 186 str.
• Italijanska umetnost zgodnje in visoke renesanse : Arhitektura in kiparstvo. Nova dopolnjena izdaja, Ljubljana, Znanstvena založba Filozofske fakultete, 2016, 251 str.
 

Znanstveni članki:
• Leon Battista Alberti, Santa Maria Novella in Florence, and Nicolaus Cusanus, Uměni /Art (Praga) 1, XLIX/2001, str. 11-18
• Les onze anges du Diptyque Wilton et le symbolisme médiéval des nombres, Revue de l'Art (Paris), 140/2003-2, str. 13-17
• Dubrovniški Veliki vodnjak in vprašanje njegove prvotne podobe, Acta historiae artis Slovenica, 9/2004, str. 21-30
• Leonardo´s Vitruvian Man, Renaissance Humanism, and Nicholas of Cusa. Umění/Art (Praga), 2, LV/2007, str. 102-107
• Christology of Nicholas of Cusa and Christological Iconography in Self-portraits of Albrecht Dürer. IKON Journal of Iconographic Studies, 1/2008, str. 179-198
• Dalí's Metamorphosis of Narcissus: a break with the classical tradition or Ovid's story retold in an ingenious way? La Metamorfosis de Narciso de Dalí : una ruptura con la tradición clásica o una reinterpretación ingeniosa del relato de Ovidio. Cuadernos de arte de la Universidad de Granada, 43/2012, str. 133-144
• Archetypa studiaque von Jacob Hoefnagel: Vorlage für Tier- und Pflanzenabbildungen in den dekorativen Bordüren von Valvasors Theatrum mortis humanae tripartitum, Barockberichte, 63/2015, str. 7-16,
• A curious collection of curious deaths in Theatrum mortis humanae tripartitum by Johann Weichard Valvasor: context, sources, invention. Ars, 48/2015, 1, str. 49-63,
• Theatrum mortis humanae tripartitum (1682) de Johann Weichard Valvasor: un livre d'emblèmes?, Stephanos, 1, 9/2015, str. 88-109
• Aesop’s Fables in Disguise: a Creative Interpretation of Gheeraerts’s Illustrations for De warachtighe fabulen der dieren in Two Early Publications by Johann Weichard Valvasor, Etudes Epistémè, 2017 Paris
 

Celotna bibliografija SICRIS: http://izumbib.izum.si/bibliografije/A20170416112257-17839.html

Compulsory Courses

• B.A. final seminar paper

• Didactics of History of Art I

• Didactics of History of Art I

• Didactics of History of Art II

• Didactics of History of Art II

• Introduction to Iconography

• Introduction to Iconography

• Late Medieval and Renaissance Art in Western Europe I

• Masters dissertation

• Masters dissertation

• Professional placement

• Teaching Practice for Art History Teachers

• Teaching Practice for Art History Teachers

Elective Courses

• Contemporary approaches to teaching and learning art history

• Contemporary approaches to teaching and learning art history

• Introduction to Iconography

• Introduction to Iconography

• Introduction to Iconography

• Introduction to Iconography

• Introduction to Iconography

• Introduction to Iconography

• Introduction to Iconography

• Introduction to Iconography

• Introduction to Iconography

• Late Medieval and Renaissance Art in Western Europe I

• Late Medieval and Renaissance Art in Western Europe I

• Late Medieval and Renaissance Art in Western Europe I

• Late Medieval and Renaissance Art in Western Europe I

• Late Medieval and Renaissance Art in Western Europe I

• Late Medieval and Renaissance Art in Western Europe I

• Late Medieval and Renaissance Art in Western Europe I

• Late Medieval and Renaissance Art in Western Europe I

• Late Medieval and Renaissance Art in Western Europe I

• Late Medieval and Renaissance Art in Western Europe I

• Late Medieval and Renaissance Art in Western Europe I

• Special Topics in Late Medieval and Early Modern Art in Western Europe II: Humanistic Themes, Symbolism, Emblematics

• Special Topics in Late Medieval and Early Modern Art in Western Europe II: Humanistic Themes, Symbolism, Emblematics

• Special Topics in Late Medieval and Early Modern Art in Western Europe II: Humanistic Themes, Symbolism, Emblematics

• Special Topics in Late Medieval and Early Modern Art in Western Europe II: Humanistic Themes, Symbolism, Emblematics

• Special Topics in Late Medieval and Early Modern Art in Western Europe II: Humanistic Themes, Symbolism, Emblematics

• Special Topics in Late Medieval and Early Modern Art in Western Europe II: Humanistic Themes, Symbolism, Emblematics

• Special Topics in Late Medieval and Early Modern Art in Western Europe II: Humanistic Themes, Symbolism, Emblematics