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Michel, Émile

Full Name: Michel, Émile

Other Names:

  • Émile Michel

Gender: male

Date Born: 19 July 1828

Date Died: 24 May 1909

Place Born: Metz, Grand Est, France

Place Died: Paris, Île-de-France, France

Home Country/ies: France

Subject Area(s): Dutch (culture or style), Flemish (culture or style), Netherlandish, Northern Renaissance, and painting (visual works)


Overview

Painter and Dutch and Flemish art scholar. Michel’s mother was from Bavaria and the young man grew up with an appreciation of German as well as French culture. He studied drawing with Auguste Karl Migette (1802-1884) in Metz until 1845. After graduating from the l’École polytechnique in Paris he returned to Metz to work as an artist. The so-called School of Metz artists revolved around the artist Charles-Laurent Maréchal (1801-1887). Michel learned much about art criticism and art history from this magnetic personality. He travelled to Italy in 1852 staying at the Villa Medici where he met the academic painters Paul Baudry (1828-1886) and Alfred de Curzon (1820-1895). The following year he began exhibiting at the Salon and was a regular member until his death. He left Metz in 1872 to reside in Nancy and then, in 1880, to Paris. Michel’s early publication was a book on the German art museums in 1886. This was followed by a study of Gerard Ter Borch in 1887 for the Artistes célèbres series published by the Librairie de l’art. Volumes on Jacob van Ruysdael and Landscape School of Harlem and one on Hobbema appeared in 1892. His large, heavily-illustrated book on Rembrandt, Rembrandt, sa vie, son oeuvre et son temps was issued in 1893. A devote o fhte museums of Germany, he discoverd the work of Max Klinger, devoting a lengthy article to his work in the Gazette des Beaux-Arts in 1894. He became a member Institute in 1892 and an officer of the Légion d’Honneur in 1903. His daughter, Jeanne, married the archaeologist and classical art historian Maxime Collignon. He counted himself a colleague of the Dutch scholar Abraham Bredius and Berlin museums director Wilhelm Bode. Michel’s writing is imbued with positivism of and admiration for Hippolyte Taine, (“a philosopher of singular power”) portraying the artist amid his time (Peltre). His book on Breughel, for example, drew upon scientific studies like that of Jean-Martin Charcot (1825-1893) and Paul Richer (1849-1933), Les démoniaques dans l’art (Demoniacs in art) (1887), characterizing Breughel’s representation of the insane with patients exhibiting “hysteria and hystero-epilepsy” from photographs taken in mental hospitals. The critical method of Eugene Fromentin is also evident. “Fromentin first gave the example of an art critic who was himself a work of art” (Essays, 1900). His criticism extended to music “Les Maîtres de la symphonie.” Michel was an early and astute critic of the art museum, reserving some scorn for the Louvre and praise for the German institutions. An advocate for art history as an academic pursuit, he again derided his native France in favor of the German academic model. His goal of academic reform was most significantly carried out by his son-in-law, the great French academic reformer Collignon.


Selected Bibliography

[collected writings:] Essais sur l’histoire de l’art. Paris: Société d’édition artistique 1900, and Nouvelles études sur l’histoire de l’art. Paris: Librarie Hachette et Cie, 1908; Les musées d’Allemagne: Cologne – Munich – Cassel. Paris: Librairie de l’Art, 1886; Gérard Terburg (ter Borch) et sa famille. Paris: J. Rouam/London: G. Wood, 1887; Jacob van Ruysdael et les paysagistes de l’école de Harlem. Paris: Librairie de l’art, 1890; Hobbema et les paysagistes de son temps en Hollande. Paris: Librairie de l’art, 1890; Les Brueghel. Paris: L. Allison & cie 1892, English, The Brueghels. New York: Parkstone Press International, 2007; Rembrandt, sa vie, son oeuvre et son temps. Paris: Hachette, 1893, English, Rembrandt, his Life, his Work and his Time. London: W. Heinemann, 1894; Etudes sur l’histoire de l’art: Diego Velazquez, les debuts du paysage dans l’Ecole flamande, Claude Lorrain, les arts a la cour de Frederic II. Paris: Hachette, 1895; Les maitres du paysage. Paris: Librairie Hachette, 1906, English, Great Masters of Landscape Painting. Philadelphia: J.B. Lippincott Company, 1910; Rubens: sa vie, son oeuvre et son temps. Paris: Hachette, 1900, English, Rubens: his Life, his Work, and his Time. London: W. Heinemann, 1899; La Forêt de Fontainebleau, dans la nature, dans l’histoire, dans la littérature et dans l’art. Paris: H. Laurens, 1909.


Sources

Vapereau, Gustav. Dictionnaire universel des contemporains. 6th ed. Paris: Hachette, 1893; Peltre, Christine. “MICHEL, Émile.” Dictionnaire critique des historiens de l’art. Institut national d’histoire de l’art (website). http://www.inha.fr/spip.php?article2455; Jager, Odile. Emile Michel: 1828-1909. [unpublished dissertation] Université Marc-Bloch, Strasbourg, 1997; Benezit Dictionary of Artists; [obituaries:] “François Emile Michel.” American Art News 7, no. 32 (June 12, 1909): 9.




Citation

"Michel, Émile." Dictionary of Art Historians (website). https://arthistorians.info/michele1828/.


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Painter and Dutch and Flemish art scholar. Michel’s mother was from Bavaria and the young man grew up with an appreciation of German as well as French culture. He studied drawing with Auguste Karl Migette (1802-1884) in Metz until 1845. After grad

Michel, Édouard

Full Name: Michel, Édouard

Other Names:

  • Édouard Michel

Gender: male

Date Born: 13 August 1873

Date Died: 25 July 1953

Place Born: Paris, Île-de-France, France

Place Died: Paris, Île-de-France, France

Home Country/ies: France

Subject Area(s): Flemish (culture or style), Northern Renaissance, and painting (visual works)

Career(s): curators


Overview

Curator of Flemish painting at the Louvre; professor. Michel’s family belonged to the French upper middle class. After graduating from the École centrale des Arts et Manufactures de Paris he worked as an industrial engineer and director of factories at both sides of the Franco-Belgian border. During World War I, while he served as artillery captain, his factories were destroyed. From 1919 onwards he chose a career in art history. He received his first initiation from his uncle, a collector of paintings. He spent much time in Belgium, where he studied under Georges Nicolas Marie Hulin de Loo. Michel’s first publications (1920, 1923) dealt with civic and monastic monuments of Belgium. In 1924 he was appointed attaché at the department of paintings at the Louvre, where he specialized in Flemish painting. He published a volume on the Flemish school, École flamande, in La peinture au Musée du Louvre. With Hulin de Loo he authored, in 1927, the catalog of paintings of the Bruges art collector Émile Renders, Early Flemish Paintings in the Renders Collection at Bruges, Exhibited at the Belgian Exhibition, Burlington House, January, 1927. In 1931 his monograph on Bruegel the Elder appeared, Bruegel. In addition to his position at the Louvre he obtained, in 1934, a teaching position in the history of painting at the Université Libre de Bruxelles (Free University of Brussels). At the Louvre department of paintings he founded, in 1935, together with René Huyghe, a documentation and education service, Service d’Études et de Documentation du Département des peintures. Michel headed this service for several years, starting in 1936. He published a critical study on the Bruegel reception in the Gazette des Beaux-Arts (1938). In 1939 his monograph on seventeenth-century Flemish painting appeared in French and in English. In 1940 Michel obtained the position of adjunct curator. During World War II, along with other colleagues, he was responsible for safe keeping the Louvre collections, which were hidden in castles all over the country. In 1944 he retired from the University of Brussels, while at the Louvre he was appointed honorary curator. He published a basic overview of sixteenth- and seventeenth-century Flemish painting in 1951. His catalog of Flemish paintings of the fifteenth- and sixteenth century in the Louvre appeared in 1953. As the head of the Service d’Études et de Documentation Michel had a special interest in museum reform. His recommendations were published in 1948, Musée et conservateurs.


Selected Bibliography

Hôtels de ville et beffrois de Belgique; la vie sociale et économique de la Belgique illustrée par ses monuments civils. Brussels: G. van Oest, 1920; Abbayes et monastères de Belgique; leur importance et leur rôle dans le développement du pays. Brussels: G. van Oest, 1923; contributor, La peinture au Musée du Louvre. École flamande. Paris: L’Ilustration, 1925; Early Flemish Paintings in the Renders Collection at Bruges, Exhibited at the Belgian Exhibition, Burlington House, January, 1927. With an introduction by G. Hulin de Loo and notices by Edouard Michel. London: B. T. Batsford Ltd, 1927; Bruegel. Paris: Les Éditions G. Crès et cie, 1931; “Bruegel et la critique moderne” Gazette des Beaux-Arts 19 (1938): 27-46; Flemish Painting in the Seventeenth Century. Paris: Hyperion Press, 1939; Musées et conservateurs: leur rôle dans l’organisation sociale. Brussels: Office de publicité, 1948; Les grands maîtres flamands au seizième et au dix-septième siècle. Paris: F. Nathan, 1951; Catalogue raisonné des peintures du moyen-âge, de la renaissance et des temps modernes: peintures flamandes du XVe et du XVIe siècle. Paris: Éditions des Musées nationaux, 1953.


Sources

Lavalleye, Jacques. “Michel (Édouard- Louis – Claude) historien de la peinture” Biographie nationale 35 (1969-1970): 595-597; [obituaries:] Sulzberger, Suzanne and De Laguiche, B. “Édouard Michel” Le Flambeau (1953): 521-528; Sulzberger, Suzanne. “Édouard Michel (1873-1953)” Revue belge de Philologie et d’Histoire 32 (1954): 370-371.



Contributors: Monique Daniels


Citation

Monique Daniels. "Michel, Édouard." Dictionary of Art Historians (website). https://arthistorians.info/michele/.


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Curator of Flemish painting at the Louvre; professor. Michel’s family belonged to the French upper middle class. After graduating from the École centrale des Arts et Manufactures de Paris he worked as an industrial engineer and director of factori

Michel, André

Full Name: Michel, André

Other Names:

  • André Michel

Gender: male

Date Born: 1853

Date Died: 1925

Place Born: Montpellier, Occitanie, France

Place Died: Paris, Île-de-France, France

Home Country/ies: France

Career(s): art critics, curators, and educators


Overview

Art critic, professor, curator. Michel was from a protestant family of Montpellier, where his grandfather had been a minister. After graduating with a degree in arts and history in Montpellier, he went to Paris in 1872 where he briefly studied law. He then enrolled in the école des Hautes études and the école des Beaux-Arts where he studied under Hippolyte Taine. In 1880 he settled in Paris where he became a contributor to various art magazines including the Gazette des Beaux-Arts and the Journal des Débats. He regularly reviewed exhibitions in Paris, such as the yearly Paris Salon and the Exposition Universelle. In 1886 he published a monograph on the painter François Boucher. Between 1887 and 1893 Michel taught history of art at the école Spéciale d’Architecture. He also wrote articles for the Grande Encyclopédie (Paris, 1885-1902). In 1891 he published L’école française de David à Delacroix. In 1893 he joined Louis-Charles-Léon Courajod at the Louvre Museum as adjunct curator of the Department of Sculpture of the Middle Ages, the Renaissance and the Modern Age. He also attended Courajod’s classes at the école du Louvre. He succeeded Courajod at his death in 1896 and began teaching the history of French sculpture at the école du Louvre. A number of his exhibition revues later appeared together under the title, Notes sur l’art moderne (1896) and Les Salons de 1897 (1897). He was the co-editor (with Henry Lemonnier) of the lectures of Courajod (1887-1896), published 1899-1902. Michel lectured throughout Europe. In the fall of 1903 he visited a number of universities and colleges in the United States, including Harvard, Dartmouth, Wellesley, and Smith. Michel hit upon the idea of creating a multi-volume general history of western art from the early Christian period up to the twentieth century, called Histoire de l’art. The first volume appeared in 1905. In addition to being the editor, he contributed many sections on French and Italian sculpture and wrote concluding essays for each volume. In the first year of World War I, in 1914, Michel lost his son, Robert, in action and never recovered from his grief. The war also interrupted the publication of the Histoire de l’art volumes. In 1917 Michel was elected a member to the Académie des Beaux-Arts. In 1920 he was appointed as professor at the Collège de France and left the Louvre. Three years later his weakening health forced him into retirement. By that time the seventh volume of his Histoire de l’art was published. Michel died in 1925, the last volume not yet completed. It was edited and published in 1929 by his pupil and successor at the Louvre, Paul Vitry. Michel questioned the use of the term “Middle Ages” for the period between Antiquity and Renaissance. His Histoire de l’art, one of the earliest general art histories of the 20th century, was meant to give a synthesis of the continuous evolution of art from one school to the other and from one period to the other, including the applied arts. Inspired by his mentor, Taine, Michel was convinced that the milieu in which art works were created needed to be studied. Like for his predecessor, Courajod, and many other French scholars of the time, he believed the aesthetic value of the artwork deserved to be considered above historical documentation.


Selected Bibliography

François Boucher. Paris: Librairie de l’Art, 1886; L’école française de David à Delacroix. Paris: Librairie Illustrée, 1891; Notes sur l’art moderne (peinture) Corot, Ingres, Millet, Eugène Delacroix, Raffet, Meissonier, Puvis de Chavannes. A travers les Salons. Paris: A. Colin, 1896; Les Salons de 1897. Ouvrage précédé d’une étude sur les Salons au Palais de l’Industrie de 1857 à 1897. Paris: Journal des Débats et Gazette des Beaux-Arts, 1897; and Lemonnier, Henry, eds. Louis Courajod. Leçons professées à l’école du Louvre (1887-1896). 1. Origines de l’art roman et gothique, 2. Origines de la Renaissance, 3. Origines de l’art moderne. Paris: Alphonse Picard et Fils, éditeurs, 1899-1903; and Vitry, Paul, eds. L’histoire de l’art depuis les premiers temps chrétiens jusqu’à nos jours. 8 vols, 17 parts. Paris: A. Colin, 1905-1929; and Laran, Jean. Puvis de Chavannes. Paris: La Renaissance du Livre, J. Gillequin & cie, 1911; and Migeon, Gaston. Le Musée du Louvre, sculptures et objets d’art du moyen âge, de la renaissance et des temps modernes. Paris: Renouard, 1912.


Sources

“M. André Michel, Art Critic, in this City.” New York Times November 19, 1903, p. 16; Vitry, Paul. “André Michel” Gazette des Beaux-Arts s. 5, 12, (1925): 317-332; Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 373- 375; Asfour, Amal. “Michel, André(-Paul-Charles)” Dictionary of Art 21 (1996): 428.



Contributors: Monique Daniels


Citation

Monique Daniels. "Michel, André." Dictionary of Art Historians (website). https://arthistorians.info/michela/.


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Art critic, professor, curator. Michel was from a protestant family of Montpellier, where his grandfather had been a minister. After graduating with a degree in arts and history in Montpellier, he went to Paris in 1872 where he briefly studied law

Michalski, Ernst

Full Name: Michalski, Ernst

Gender: male

Date Born: 1901

Date Died: 1936

Place Born: Berlin, Germany

Place Died: Munich, Bavaria, Germany

Home Country/ies: Germany

Subject Area(s): Baroque and Rococo


Overview

Baroque/rococco scholar. Michalski was the assistant to Wilhelm Pinder who, when the Nazis took over in 1933, was forced to leave his position because he was a Jew.


Selected Bibliography

0.Metzler


Sources

Wendland, Ulrike. Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. Munich: Saur, 1999, vol. 1, pp. 438-440; [transcript] “Otto von Simson, interviewed by Richard Cándida Smith.” Art History Oral Documentation Project. Getty Research Institute, Malibu, CA, p. 12.




Citation

"Michalski, Ernst." Dictionary of Art Historians (website). https://arthistorians.info/michalskie/.


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Baroque/rococco scholar. Michalski was the assistant to Wilhelm Pinder who, when the Nazis took over in 1933, was forced to leave his position because he was a Jew.

Michaelis, Adolf

Full Name: Michaelis, Adolf

Other Names:

  • Adolf Theodor Friedrich Michaelis

Gender: male

Date Born: 1835

Date Died: 1910

Place Born: Kiel, Schleswig Holstein, Germany

Place Died: Strasbourg, Hesse, Germany

Home Country/ies: Germany

Subject Area(s): ancient, Ancient Greek (culture or style), Classical, Greek sculpture styles, Roman (ancient Italian culture or period), Roman sculpture styles, and sculpture (visual works)


Overview

Historian of ancient Greek and Roman sculpture; professor at the University in Strasbourg, 1872-1910. Michaelis’ uncle was the classical art historian Otto Jahn, who first interested him in ancient studies. Michaelis began classical studies in philology and archaeology from in 1853 at the university in Leipzig. In addition to his uncle, he also attended classes in Leipzig under Johannes Overbeck. He traveled to Berlin where he further studied with Gerhard Böckh (1785-1867) and Ernst Curtius. After a study trip to Rome in 1857 and the fortuitous acquaintance of scholars at the DAI (deutsches Archäologisches Institut or German Archaeological Institute), Michaelis went to Greece with Alexander Conze. He taught briefly at the universities of Greifswald (from 1862) and Tübingen (from 1865-1872). In 1871, Michaelis published a monograph of the Parthenon. The following year he accepted the chair for Classical Archaeology at the recently established University of Strasbourg (1872), where he remained the rest of his career. In 1882 Michaelis published a catalog of private English collections of classical sculpture, requiring him to travel throughout the English countryside, collecting information about sculptures purchased in Italy by English aristocrats. Ancient marbles in Great Britain, in addition to a scholarly work on classical sculpture, serves as one of the most complete accounts of English collecting habits in the 19th century. Michaelis followed this in 1906 with Die archäologischen Entdeckungen des neunzehnten Jahrhunderts, one of the first historiographies of classical art in the 19th century. In 1911, Michaelis’ volume on classical art for the early art-history survey for Anton Springer‘s Handbuch der Kunstgeschichte appeared posthumously. He was influential for the dissertation of the medievalist Karl Franck-Oberaspach. Methodologically, Michaelis is credited as an early pioneer of the technique of cataloging collections using detailed sketches or pictures, as opposed to only written descriptions. His teaching so influenced the art historian Aby M. Warburg that Warburg’s dissertation was co-dedicated to Michaelis.


Selected Bibliography

Ancient Marbles in Great Britain. Cambridge: Cambridge, University Press, 1882; Die archäologischen Entdeckungen des neunzehnten Jahrhunderts. Leipzig: E.A. Seemann, 1906, English, A Century of Archaeological Discoveries London: J. Murray, 1908; Geschichte des Deutschen Archäologischen Instituts, 1829-1879. Berlin: A. Asher, 1879; Der Parthenon. Leipzig: Breitkopf und Härtel, 1870-71; Das Altertum. volume 1 of, Springer, Anton, editor. Handbuch der Kunstgeschichte. Leipzig: E. A. Seemann, 1911.


Sources

Dohl, H. Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 61-62; Dictionary of Art; Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 2, pp. 752; Steuben, Hans von, ed. Archäologische Reisen in Griechenland 1860 und 1886. Möhnesee: Bibliopolis, 2004.




Citation

"Michaelis, Adolf." Dictionary of Art Historians (website). https://arthistorians.info/michaelisa/.


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Historian of ancient Greek and Roman sculpture; professor at the University in Strasbourg, 1872-1910. Michaelis’ uncle was the classical art historian Otto Jahn, who first interested him in ancient studies. Michaelis began cla

Meyer, Julius

Full Name: Meyer, Julius

Gender: male

Date Born: 1830

Date Died: 1893

Home Country/ies: Germany


Overview

Director of the Berliner Gemäldegalerie and compiler of the initial Allgemeines Künstler-Lexikon, later reissued as “Thieme-Becker.” When the publisher Wilhelm Engelmann bought the rights to the Neues Allgemeines Künstlerlexicon, (1852) of G. K. Nagler from the publishing house Tendler (J. Grosser) they assigned Meyer to revise the encyclopedia. Engelmann planned the new work to be about fifteen volumes. Only three volumes of the new Allgemeines Künstler-Lexikon appeared. Meyer succeeded Gustav Friedrich Waagen as the director of the Berlin Gemäldegalerie in 1868. Meyer had been too extensive in his biographies of the better-known artists, and the work languished in 1885 after only three volumes. In the meantime, his work was becoming well-known outside the German-speaking world. Mary Margaret Heaton translated his biography of Correggio into English in 1876. Meyer’s hires at the Gemäldegalerie included the great connoisseur Ludwig Scheibler. Meyer was succeeded at the Gemäldegalerie by Wilhelm Bode in 1890. Meyer’s work on the legend and life of Kaspar Hauser (1812-1833) were published posthumously as two books on him. Meyer’s daughter married the art historian and theorist Konrad Fiedler.


Selected Bibliography

Correggio. 2 vols. Leipzig: W. Engelmann, 1871, English, Antonio Allegri da Correggio from the German of Dr. Julius Meyer. New York: Macmillan, 1876; Beschreibendes Verzeichniss der während des Umbaues ausgestelten Gemälde. Berlin: C. Berg & v. Holten, 1878 ; edited, [2nd ed. of Nagler’s Künstler-Lexikon, 1870.] Allgemeines Künstler-Lexikon. 3vols [all published]. Leipzig: W. Engelmann, 1872-1885; Geschichte der modernen französischen Malerei seit 1789 zugleich in ihrem Verhältniss zum politishcen Leben, zur Gesittung und Literatur. Leipzig: E. A. Seemann, 1867; and Frizzoni, Gustavo. Giovanni Antonio Amadeo: scultore ed architetto (n 1447 m. 1522). Rome: T. delle Scienze Matematiche e Fisiche, 1873; Geschichte der modernen französischen Malerei. Berlin: Neufeld & Mehring, 1860’s (?).


Sources

“Vorwort.” [Saur] Allgemeines Künstlerlexikon 1: v.; “From Thieme-Becker to the Artists’ Database.” K. G. Saur homepage. http://www.saur.de/akl/english/projekt.htm




Citation

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Director of the Berliner Gemäldegalerie and compiler of the initial Allgemeines Künstler-Lexikon, later reissued as “Thieme-Becker.” When the publisher Wilhelm Engelmann bought the rights to the Neues Allgeme

Meyer, Johann Heinrich

Full Name: Meyer, Johann Heinrich

Gender: male

Date Born: 1760

Date Died: 1832

Place Born: Zürich, Switzerland

Place Died: Weimar, Thuringia, Germany

Home Country/ies: Germany


Overview



Sources

Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 271-5.




Citation

"Meyer, Johann Heinrich." Dictionary of Art Historians (website). https://arthistorians.info/meyerjh/.


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Meyer, Heinrich

Full Name: Meyer, Heinrich

Other Names:

  • Hans Heinrich Meyer

Gender: male

Date Born: 1760

Date Died: 1832

Place Born: Stäfa, Zürich, Switzerland

Place Died: Jena, Thuringia, Germany

Home Country/ies: Switzerland

Subject Area(s): Italian (culture or style), painting (visual works), Renaissance, Roman (ancient Italian culture or period), Roman sculpture styles, and sculpture (visual works)


Overview

Historian of Roman sculpture and the paintings of Raphael, also painter. Meyer began studying painting in Switzerland under the tutelage of Johann Koella and Johann Caspar Füssli. He traveled to Italy to study Roman sculpture in 1784, where he also dedicated himself to studying the paintings of Raphael. Meyer met Johann Wolfgang von Goethe in 1787, who convinced him to move to Weimar to serve as his artistic advisor. Meyer made copies of Roman art, including the fresco “Aldobrandini Wedding” 1797 and the painting “Odysseus and Nausica” (1789) by Annibale Carraci for Goethe to study in Weimar. As Goethe’s artistic advisor, Meyer decorated Goethe’s house in a Roman style, and painted portraits of Goethe and his family. He went back to Italy to collect information for a history of Italian art that Goethe wanted to complete. Together, the two men published several books and articles. They founded and edited an art magazine entitled Propyläen in 1798. Meyer’s article entitled, “Entwuf einer Kunstgeschichte des achtzehen Jahrhunderts” appeared in Goethe’s Wincklemann und sein Jahrhundert in 1805. In 1806, Meyer became the principal of the Freies Zeichen-Institut in Weimar. He wrote a book entitled, “Neudeutsche religios-partiotische Kunst” with Goethe in 1817, which angered German Romantics and ostracized him from their artistic community.


Selected Bibliography

edited, and Goethe, Johann Wolfgang von. Propyläen: eine periodische Schrift [serial]. 3 vols. (1798-1800). Tübingen: J. G. Cotta, 1798-1800; edited, with Schulze, Johann. Fernow, Carl Ludwig. Winckelmann’s Werke. Dresden: Walther, 1808-20, vols 3-8; and Goethe, Johann Wolfgang von, and and Berendis, Hieronymus Dieterich. Winkelmann und sein Jahrhundert in Briefen und Aufsätzen herausgegeben. Tübingen: Cotta, 1805; and Goethe, Johann Wolfgang von. Ueber Kunst und Alterthum in den Rhein und Mayn gegenden. Stuttgard [sic]: In der Cottaischen Buchhandlung, 1816-1832; Uebersicht der geschichte der kunst bei den Griechen, deren bekanntesten werke und meister sowie die noch vorhandenen und darauf bezug habenden denkmale. 6 vols. Dresden: Walther, 1826.


Sources

German Essays on Art History. Gert Schiff, ed. New York: Continuum, 1988, xxvii mentioned: Waetzoldt,Wilhelm. Deutsche Kunsthistoriker vom Sandrart bis Justi. Leipzig: E. A. Seeman, 1921, vol. I, pp. 179-199; Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, p. 525; The Dictionary of Art; Wahl, Hans, ed. Zeichnungen von Johann Heinrich Meyer. Weimar: Goethe-Gesellschaft, 1918



Contributors: LaNitra Michele Walker


Citation

LaNitra Michele Walker. "Meyer, Heinrich." Dictionary of Art Historians (website). https://arthistorians.info/meyerh/.


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Historian of Roman sculpture and the paintings of Raphael, also painter. Meyer began studying painting in Switzerland under the tutelage of Johann Koella and Johann Caspar Füssli. He traveled to Italy to study Roman sculpture in 1784, where he als

Meyer, Erich

Full Name: Meyer, Erich

Gender: male

Date Born: 1897

Date Died: 1967

Place Born: Berlin, Germany

Place Died: Hamburg, Germany

Home Country/ies: Germany

Subject Area(s): Medieval (European)


Overview

Medievalist art historian, Adolph Goldschmidt student in Berlin. He and Friedrich Winkler assisted the aging and destitute medievalist Wilhelm Vöge publish Vöge’s last book.



Sources

Panofsky, Erwin. “Wilhelm Vöge: A Biographical Memoir.” Art Journal 28 no. 1 (Fall 1968): 37; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 270-1.




Citation

"Meyer, Erich." Dictionary of Art Historians (website). https://arthistorians.info/meyere/.


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Medievalist art historian, Adolph Goldschmidt student in Berlin. He and Friedrich Winkler assisted the aging and destitute medievalist Wilhelm Vöge publish Vöge’s last book.<

Meyer, Bruno

Full Name: Meyer, Bruno

Gender: male

Date Born: 1840

Date Died: unknown

Home Country/ies: Germany

Institution(s): Karlsruhe Institute of Technology


Overview

In 1871, Meyer was among the team of art historians (the others including Moritz Thausing, Carl von Lützlow, Adolf von Bayersdorfer, Friedrich Lippmann, Wilhelm Lübke, Alfred Woltmann, Karl Woermann, G. Malsz and Wilhelm Bode) who convened in Dresden to determine which of two versions of Hans Holbein the younger’s Meyer Madonna was the autograph work. The so-called “Holbein convention,” one of the important events in nineteenth-century art history when many methodical approaches were employed to determined authenticity, concluded that the Darmstadt version was the original.


Selected Bibliography

and Woltmann, Alfred, and Görling, Adolph. Deutschlands Kunstschätze: eine Sammlung der hervorragendsten Bilder Berliner, Dresdner, Münchner, Wiener, Casseler und Braunschweiger Galerien. 4 vols. Leipzig: A.H. Payne, 1871-1872, English, Art Treasures of Germany. A Collection of the Most Important Pictures of the Galleries of Dresden, Cassel, Brunswick, Berlin, Munich and Vienna. Boston: S. Walker & Co., 1873.


Sources

Kultermann, Udo. The History of Art History. New York: Abaris, 1993, p. 145.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Meyer, Bruno." Dictionary of Art Historians (website). https://arthistorians.info/meyerb/.


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In 1871, Meyer was among the team of art historians (the others including Moritz Thausing, Carl von Lützlow, Adolf von Bayersdorfer, Friedrich Lippmann, Wilhelm Lübke, Alfred Wolt