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Schlegel, Karl Wilhelm Friedrich

Full Name: Schlegel, Karl Wilhelm Friedrich

Other Names:

  • Friedrich Schlegel

Gender: male

Date Born: 08 Septemer 1767

Date Died: 12 May 1845

Place Born: Hanover, Germany

Place Died: Dresden, Saxony, Germany

Home Country/ies: Germany

Career(s): art critics and literary critics


Overview

German Romantic literary critic and art writer; brother of August Wilhelm Schlegel. Schlegel was the youngest son of a protestant family that included his brother, August Wilhelm, who was his mentor. After an unsuccessful apprenticeship in banking in Leipzig, Friedrich joined August Wilhelm to study law at Göttingen. At Leipzig he had met the author/philosopher Novalis (Georg Philipp Friedrich Freiherr von Hardenberg, 1772-1801), and realized his calling was literature and cultural studies. He moved to Dresden in order to study the vast plaster cast collection of Greek sculpture. Modeling himself after Johann Joachim Winckelmann, who had himself found inspiration from the cast collection in Dresden, Schlegel hoped to do the same for Greek literature, i.e., set the standards of the discipline as well as frame the questions for investigation. Essays poured from Schlegel in 1794-1795, still only age twenty-two. The most important of these, On the Study of Greek Poetry, languished at a publisher’s until 1797, at which time Schiller’s On Naive and Sentimental Poetry, drawing on many of the same themes, had already appeared. In 1798, Schlegel moved to Jena where he made the friendship of Ludwig Tieck, August Schliermacher, and Dorothea Veit (1763-1839). There, in the journal Athenäum, Schlegel published his most important essays on the Romantic movement during the brief period of its publication, 1798-1800. Financial difficulties brought him back to Dresden in1802 where he met one of the key figures for German romanticism, Philipp Otto Runge. He and Veit (who had obtained a divorced in 1798) moved to Paris where Schlegel studied the art at the Louvre (currently called the Musée Napoléon and filled with treasures Napoléon had looted from Europe). He also studied Sanskrit at the Bibliothèque Nationale and met the collector/art historians Boisseée brothers, Sulpiz Boisserée and Melchior Boisserée. While editing the periodical Europa: eine Zeitschrift between 1803 and 1805, Schlegel published five essays on art, espousing the gothic over the (later) renaissance. Schlegel married Veit in 1804, and together with the Boisseée brothers traveled through Europe, encountering the collector Ferdinand Franz Wallraf (1748-1824). Schlegel published his “Briefe einer Reise” (Letters from a Journey) in the Poetisches Taschenbuch in 1806. Among other points, Schlegel stated in the Briefe one of the tenets of romanticism, that medieval architecture was superior to baroque or classical architecture. His experience convinced him to convert to Roman Catholicism in 1808. He and his brother were participants in the famous soireés of Johanna Henrietta Schopenhauer in Weimar. In 1809 he moved to Austria to edit the Österreichische Zeitung and Österreichischer Beobachter. In two lectures, “über die neuere Geschichte,” published 1811, and “Geschichte der alten und neuen Literatur,” published 1815, he again emphasized the importance of Gothic architecture as the core expression of the middle ages, human expression, and Germanic heritage. These essays appeared almost immediately in an English translation. Other important essays on art appeared in the Deutsches Museum, which he edited 1812-1813. His contribution to Aussichten für die Kunst in dem Österreichischen Kaiserstaat, and “Schloss Karlstein bei Prag”, treated sympathetically the early Prague school of painting. After the Congress of Vienna (1814-15) Schlegel was appointed First Secretary to the Austrian delegation of the Diet of Frankfurt, which convened between 1815 and 1818. He journeyed with the poet Klemens Maria Brentano (1778-1842) and Prince von Metternich on a tour of the Italian states. In Rome he met the northern artists working there, particularly the Nazarenes. Schlegel returned to Vienna to write his encomium of their accomplishments, “über die deutsche Kunstausstellung zu Rom, im Frühjahr 1819.” Schlegel’s final years were devoted to revising his earlier writings for a collected edition, which appeared between 1822-1825. His revisions emphasized Roman Catholicism more than naturalism as the core of medieval gothic art. Though diluted in their intensity, it was the collected editions of Schlegel that brought him to public attention. Schlegel’s inspiration from Winckelmann was to take the method of the Greeks, i.e., how the Greeks distilled beauty from nature to create art, and apply that to the burgeoning era of Romanticism. As an art historian and theorist, Schlegel’s importance is as a leader of the intellectual side of romanticism. In his early essays, he refutes Goethe’s classicist aesthetic, espousing early renaissance painting and devaluing Raphael importance, then considered the acme of the renaissance. A nationalist for German art, he focused on the historical roots of painting as a source of pride for his German compatriots. His architectural analysis, concentrating on the gothic, identified the integration of sculpture with stained glass as an “organic” and naturalistic whole. He was one of the first to distinguish between romanesque and gothic architecture and the first to promote the those styles over baroque as the truest to the Christian spirit. His support of the Nazarenes, particularly to their religious themes mixed with patriotism, defending them over the naturalism of the British or the classicism of the French. Together with the romantic writers Johann Jakob Wilhelm Heinse (1746-1803), Denis Diderot (1713-1784) and Wilhelm Heinrich Wackenroder (1773-1798), Schlegel’s writing combined description and criticism into some of the first modern art writing, though not always understood. Walter Benjamin remarked that “Friedrich Schlegel often remained incomprehensible even to his friends.”


Selected Bibliography

“Nachricht von den Gemählden in Paris.” Europa: eine Zeitschrift 1 no. 1 (1803): 108-157; “Vom Raphael.” Europa: eine Zeitschrift 1 no.2 (1803): 3-19; “Briefe auf einer Reise durch die Niederlande, Rheingegenden, die Schweiz, und einen Teil von Frankreich.” Poetisches Taschenbuch für das Jahr 1806. Berlin: J. F. Unger, 1806, pp. 257-390; Friedrich Schlegels Geschichte der alten und neuen Litteratur: Vorlesungen gehalten zu Wien im Jahre 1812. 2 vols. Vienna: Karl Schaumburg, 1815, English, Lectures on the History of Literature, Ancient and Modern from the German of Frederick Schlegel. Philadelphia: Thomas Dobson and Son, 1818; “über die deutsche Kunstausstellung zu Rom, im Frühjahr 1819, und über den gegenwärtigen Stand der deutschen Kunst in Rom.” Wiener Jahrbücher der Literatur 8 (1819): 1-16;. Eichner, Hans and Lelless, Norma, eds. Gemälde alter Meister. Darmstadt: Wissenschaftliche Buchgesellschaft, 1984.


Sources

Waetzoldt, Wilhelm. Die deutsche Kunsthistoriker. volume 2. Berlin: Bruno Hessling, 1965, pp. 252-271; Kultermann, Udo. Geschichte der Kunstgeschichte: Der Weg einer Wissenschaft. 2nd ed. Frankfurt am Main and Vienna: Ullstein, 1981, pp.147-9; Goldberg, Gisela. “History of the Boisseée Collection I-VI.” Apollo 116 (1982): 210-11; German Essays on Art History. Gert Schiff, ed. New York: Continuum, 1988, pp. xxiv-xxvi, 281; McVaugh, Robert E. “Schlegel, August.” Dictionary of Art; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 346-50; Barnet, Stuart. “Critical Introduction: The Age of Romanticism: Schlegel from Antiquity ot Modernity.” in, Schlegel, Friedrich. On the Study of Greek Poetry. Albany: State University of New York Press, 2001, pp. 1-14.




Citation

"Schlegel, Karl Wilhelm Friedrich." Dictionary of Art Historians (website). https://arthistorians.info/schlegelf/.


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German Romantic literary critic and art writer; brother of August Wilhelm Schlegel. Schlegel was the youngest son of a protestant family that included his brother, August Wilhelm, who was his mentor. After an unsuccessful

Schlegel, August Wilhelm

Full Name: Schlegel, August Wilhelm

Other Names:

  • August Schlegel

Gender: male

Date Born: 10 March 1772

Date Died: 12 January 1829

Place Born: Hanover, Germany

Place Died: Bonn, North Rhine-Westphalia, Germany

Home Country/ies: Germany

Subject Area(s): art theory

Career(s): educators


Overview

Romantic theorist of art and literature; wrote an art history 1801-1802 and appointed to one of the early professorships of art history (1817). Schlegel was the son of Johann Adolph Schlegel, a Lutheran pastor with a minor literary career, and Christiane Erdmuthe Hübsch (Schlegel). His uncle was the dramatist Johann Elias Schlegel. The young Schlegel graduated from secondary school in Hannover before entering Georg-August-Universität zu Göttingen in 1786. He switched from theology to Classical philology, studying under Christian Gottlob Heyne (1729-1812), and aesthetics graduating in 1791. Schlegel’s interested was always literature, but among his early art writings was a discussion in the 1791 Akademie der schönen Redekünste, published by Gottfried August Bürger (1747-1794), of Friedrich Schiller”s “Die Künstler” (The Artists, 1789). Exchanges with his younger brother, the eventual art writer Karl Wilhelm Friedrich Schlegel led to a sharpening of his critical acumen. After private tutoring and a failure to earn a diplomatic appointment, Schlegel married Caroline Michaelis Böhmer (1763-1809), whom he had known in Göttingen–and rescued from political imprisonment in Mainz in 1793–in 1795. The pair moved to Jena (at Schiller’s suggestion) in 1796, their home a centrum for Romantic intellectuals there. He contributed to Die Horen published by Schiller during 1795 through 1797. In 1798 he was appointed a visiting professor at the university in Jena (today the Friedrich-Schiller-Universität). He and his brother founded and edited the periodical Athenaeum: Eine Zeitschrift for the same years (through 1800). Here art criticism began to appear. Most important among these was a piece, coauthored with Caroline, “Die Gemälde,” a dialogue espousing an approach combining theory and history with poetic descriptions of works of art. Schlegel also authored an essay on John Flaxman’s outline illustrations, championing what he called their hieroglyphic simplicity and poetic potential. These essays were highly influential. Schlegel’s interest in religious art from the Renaissance, was the topic for his poem of 1800, Bund der Kirche mit den Künsten, espousing the reinvigoration of the arts through service to the Roman Catholic Church. Schlegel left the rather provincial Jena in 1800 and Caroline (divorced 1803–she marrying the philosopher F. W. J. Schelling,1775-1854) for Berlin. In 1801 he delivered his theories in a now more worked-out form as “the Berlin Lectures on Literature and Art” (“Vorlesungen über schöne Litteratur und Kunst” (1801-1802). He and the Romantic art writer Johann Ludwig Tieck (1773-1853) edited and contributed to the Musen-Almanach für das Jahr 1802. Schlegel and his brother were participants in the famous soireés of Johanna Henrietta Schopenhauer in Weimar in the early years of the nineteenth century. In 1804 Madame de Staël offered him a stipend to join her household as her German literature advisor tutor to her children. He lived with the compound at Coppet, Madame de Staël’s estate near Lausanne, Switzerland. This allowed travel to Italy, Austria, France, and Geneva. In Rome, his essay on the German artistic community there (and particularly Gottlieb Schick), published 1805, raised their profile. Schlegel published his Über dramatische Kunst und Litteratur: Vorlesungen beginning in 1809 and it was quickly translated into French, English (1815), and Italian. The work established German literary theory and criticism as model for writers of the nineteenth century (Sauer). Schlegel followed Madame de Staël around Europe as she was forced to flee Napoleon’s rule. He moved to Stockholm to become secretary to Crown Prince Bernadotte of Sweden. He asserted the nobilizing “von” in his name from 1813, asserting the patent of nobility granted to the Schlegels by Emperor Ferdinand III in the seventeenth century. Schlegel received an appointment to the University in Berline, but his marriage to the 28-year-old Sophie Paulus, a professor’s daughter in Heidelberg. He negotiated an appointment instead at the newly-established university in Bonn in literature and art history in 1817. Schlegel concluded his career in Bonn, but without his wife who never left her parents’ home. By the time of his death, the Romantic impulse had been supplanted and Schlegel was largely forgotten. His Berlin Lectures were published posthumously in 1884. His papers are housed at the Sächsische Landesbibliothek, Dresden. The Berlin Lectures posit an historical view of art, elevating the Middle Ages (and such ‘romantics’ as Shakespeare and Dante) as antidotes to the severe rationalism of post-Reformation Germany and French Enlightenment. His theories followed Baumgarten the text ending in mystical terminology. Schlegel, along with Marc-Antoine (Abbé) Laugier (1713-1769) in France and William Gilpin in England, were the first to reevaluate Gothic art, elevating it to a positive conception (Grodecki). A polymath, he is also credited as the founder of Sanskrit studies in Germany.


Selected Bibliography

and Schlegel, Caroline. “Die Gemählde.” Athenäum 2 no. 1 (1799): 39-151; “Über Zeichnungen zu Gedichten und John Flaxmans Umrisse.” Athenäum 2 no. 2 (1799): 193-246; “Schreiben an Goethe über einige Arbeiten in Rom lebender Künstler. Im Sommer 1805.” Intelligenzblatt der Allgemeinen Literature-Zeitung, Jena, (1805): 120-121; Kritische Schriften, 2 vols. Berlin: G. Reimer, 1828; August Wilhelm von Schlegel’s sämmtliche Werke 12 vols Leipzig: Weidmann, 1846-1847; A. W. Schlegels Vorlesungen über schöne litteratur und kunst. Heilbronn: Gebr. Henninger, 1884.


Sources

Waetzoldt, Wilhelm. Deutsche Kunsthistoriker von Sandrart bis Rumohr. Berlin: Bruno Hessling, 1965, pp. 232-252; Pochat, Götz. “August Wilhelm Schlegel als Vorläufer einer hermeneutischen Kunstgeschichte.” Atti del XXIV congresso, comité international d’histoire de l’art. Problemi di metodo: Condizioni di esistenza di una storia dell’arte 1979, x, pp. 45-53; Kultermann, Udo. Geschichte der Kunstgeschichte: Der Weg einer Wissenschaft. 2nd ed. Frankfurt am Main and Vienna: Ullstein, 1981, pp. 147-148; Grodecki, Louis. “Definitions and Theories/Historical and Physical Circumstances.” Gothic Architecture. New York: Harry N. Abrams, 1977, p. 9; Sauer, Thomas G. “August Wilhelm von Schlegel.” German Writers in the Age of Goethe: Sturm und Drang to Classicism. James N. Hardin and Christoph E. Schweitzer, eds. Detroit: Gale Research, 1990; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 346-50.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Schlegel, August Wilhelm." Dictionary of Art Historians (website). https://arthistorians.info/schlegela/.


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Romantic theorist of art and literature; wrote an art history 1801-1802 and appointed to one of the early professorships of art history (1817). Schlegel was the son of Johann Adolph Schlegel, a Lutheran pastor with a minor literary career, and Chr

Schilling, Edmund

Full Name: Schilling, Edmund

Gender: male

Date Born: 25 October 1888

Date Died: 06 October 1974

Place Born: Neuwied, Rhineland Palatinate, Germany

Place Died: Edgware, Barnet, Greater London, England, UK

Home Country/ies: Germany and United Kingdom

Subject Area(s): drawings (visual works)

Institution(s): Städelschen Kunstinstitut


Overview

Museum curator, private scholar, and German drawings expert with a vast knowledge and collection of old German prints and hand drawings, especially those of Albrecht Dürer and his contemporaries. Edmund Schilling was born in 1888 to Edmund Friedrich Schilling, who was a practicing Protestant and merchant, and Ernestine Rosenstiel (Schilling). Schilling himself was raised a Protestant. He began Realschule at Realprogymnasium in Neuwied, Germany, completed part of his education in Switzerland under French instruction, and eventually received his abitur from Realgymnasium Koblenz in 1909. After he received his abitur, he studied art history, philosophy, and romance languages in Freiburg, Munich, Berlin, and Kiel under Georg Vitzthum von Eckstӓdt, Fritz Burger, Adolph Goldschmidt, and Bruno Sauer. Because of his service in World War I where he was wounded, Schilling’s doctoral studies were interrupted. With the Treaty of Versailles restoring a delicate sense of security to Western Europe, Schilling was finally able to finish his doctorate in 1919 in Kiel under his mentor, Vitzthum. Affirming his profundity for early German prints, he wrote his dissertation on the evolution of Dürer’s expressive forms (Dürers graphische Anfänge. Die Herleitung und Entwicklung ihrer Ausdrucksformen). The dissertation he wrote was held in such high esteem by his mentor that Vitzthum recommended him to Georg Swarzenski for appointment to Assistant Director of the Städelsches Kunstinstitut (The Stӓdel Museum) in Frankfurt. He served in this capacity for nearly twenty years, from 1919 to 1937. For the museum, he also served as the Head of the Graphic Collection, a role in which he made several important acquisitions. He married (for the second time) the art historian Rosy (Rosi) Lewy (1888-1971) in 1922, a woman of Jewish extraction. Although not Jewish himself, Schilling found himself in opposition with National Socialism, mainly because of the persecution of his wife on the basis of her perceived racial inferiority. Therefore, in 1937, he emigrated to England and pursued freelance work as a private advisor to collectors of rare prints and as a drawings and graphics expert. Because of his vast knowledge of German prints and drawings, he was hired to catalogue the German drawings within the British royal family’s art collection. Schilling and his wife remained in England the rest of their lives. He died in Edgware (near London). After Rosy’s death in 1971, their collection of drawings was bequeathed to the British Museum.

Schilling was known for his shy nature (Shaw). His lack of confidence in the English language was likely his greatest obstacle in his career and after his emigration to England, he was reluctant to engage in academic research and seek career opportunities at art museums (Shaw). This did not deter him from impacting countless students, colleagues, and collectors throughout his long and rather illustrious career with his greatest trait as an art historian – his certainty of judgment and sure artistic understanding (Landolt). His knowledge of German graphic art made him the most highly sought after scholar in post-war Great Britain (British Museum).


Selected Bibliography

  • [dissertation:] Dürers graphische Anfänge. Die Herleitung und Entwicklung ihrer Ausdrucksformen Kiel 1919;
  • “Beitrag zu Dürers Handzeichnungen. Übersehene und verschollene Werke” Städel-Jahrbuch (1921): 119-128;
  • Altdeutsche Handzeichnungen aus der Sammlung Johann Friedrich Lahmann zu Dresden Munich 1925;
  • and Graf von Hardenberg Karl Philipp Fohr Freiburg 1925;
  • Albrecht Dürer. Niederländisches Reiseskizzenbuch Frankfurt 1928;
  • Nürnberger Handzeichnungen des XV. und XVI. Jahrhunderts Freiburg 1929;
  • Altdeutsche Meisterzeichnungen Frankfurt 1934;
  • Deutsche Romantikerzeichnungen Frankfurt 1935;
  • “Heinrich Wölfflin. Gedanken zur Kunstgeschichte” Art (1947): 62-63;
  • Zeichnungen der Künstlerfamilie Holbein Frankfurt Frankfurt 1937;
  • Zeichnungen und Aquarelle. Albrecht Dürer Basel 1948;
  • and Busch, Wilhelm Hans Huckebein, der Unglücksrabe. Nach der Handschrift im Städelschen Kunstinstitut Wiesbaden 1958;
  • “Dürer” Chambers Enc. (1964): 674-675
  • and Andrews, Keith Old Master Drawings from the collection of Dr & Mrs Francis Springell Glasgow 1965;
  • The German drawings in the collection of Her Majesty the Queen at Windsor Castle London 1970;
  • and Schwarzweiler, Kurt Katalog der deutschen Zeichnungen. Alte Meister. Städelsches Kunstinstitut und Städtische Galerie Frankfurt am Main Munich 1973

Sources

  • [obituaries:] Weltkunst 24 (1974): 2216;
  • Byam Shaw, James “Dr. Edmund Schilling” Burlington Magazine 117 (1975): 51;
  • Landolt, Hans Peter “Edmund Schilling” Kunstchronik 28 (1975): 183-185
  • Wendland, Ulrike Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler Munich: Saur, 1999, vol. 2, pp. 613-617;


Contributors: Lee Sorensen and Paul Kamer


Citation

Lee Sorensen and Paul Kamer. "Schilling, Edmund." Dictionary of Art Historians (website). https://arthistorians.info/schillinge/.


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Museum curator, private scholar, and German drawings expert with a vast knowledge and collection of old German prints and hand drawings, especially those of Albrecht Dürer and his contemporaries. Edmund Schilling was born in 1888 to Edmund Friedri

Schiller, Gertrud

Full Name: Schiller, Gertrud

Gender: female

Date Born: 1905

Date Died: 1994

Place Died: Hamburg, Germany

Home Country/ies: Germany

Subject Area(s): Christianity, iconography, and religious art


Overview

Iconographic scholar and compiler of a Christian iconographic dictionary. Schiller published her Ikonographie der christlichen Kunst beginning in 1966, an index of iconographic symbolism appearing in Christian art. The volumes pertaining to the New Testament were translated into English in 1971. In 1969 Schiller was appointed a Leiterin (Head) of religious art for the Evangelical-Lutheran church in Hamburg. She was awarded an honorary doctorate from the Kirchlichen Hochschule in Berlin in 1979 for her work. The Iconography of Christian Art builds on a tradition of scholarly iconographic dictionaries, tracing its roots from The History of Our Lord as Exemplified in Works of Art, 1857, by Anna Jameson and the Ikonographie der christlichen Kunst, 1926-28 of Karl Künstle.


Selected Bibliography

Ikonographie der christlichen Kunst. Gütersloh: Gütersloher Verlagshaus G. Mohn, 1966-91, English, Iconography of Christian Art. 2 vols. Greeenwich, CT: New York Graphic Society, 1971.


Sources

Kleinbauer, W. Eugene. Research Guide to the History of Western Art. Sources of Information in the Humanities, no. 2. Chicago: American Library Association, 1982, p. 62; Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986 p. 380; “Gertrud Schiller.” Gütersloher Verlagshaus Autordatenbank




Citation

"Schiller, Gertrud." Dictionary of Art Historians (website). https://arthistorians.info/schillerg/.


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Iconographic scholar and compiler of a Christian iconographic dictionary. Schiller published her Ikonographie der christlichen Kunst beginning in 1966, an index of iconographic symbolism appearing in Christian art. The volumes pertaining

Schiff, Gert

Full Name: Schiff, Gert

Other Names:

  • Gert Schiff

Gender: male

Date Born: 1926

Date Died: 1990

Place Born: Oldenburg, Mecklenburg-Vorpommern, Germany

Place Died: New York, NY, USA

Home Country/ies: Germany

Subject Area(s): British (modern), painting (visual works), and Romantic (modern European styles)


Overview

Scholar of Henry Fuseli amd the Romantic movement; Institute of Fine Arts of New York University professor of art history. Schiff’s father was a lawyer in Oldenburg, Germany and his mother was the actress Maria Martinsen (b. 1901). He attended the Humanistisches Gymnasium there, graduating in 1943, and immediately entered the man-strapped German military during World War II. Captured by the French, Schiff spent a year in a prisoner of war camp. He was released in 1945 and began studying law, psychology and graphology which led to an interest in art history and archeology. In 1952 he entered the Ph.D. program at the University in Cologne. He gained an appointment as a research fellow at the Schweizerisches Institut für Kunstwissenschaft (Swiss Institute for Art History) in Zürich in 1959. There he researched and published a series of works on the Swiss/English artist variously known as Henrich Füssli (or Henry Fuseli). He received his Ph.D. in art history from Cologne in 1962. The following year, his Johann Heinrich Füsslis Milton-Galerie appeared, a particularly important work on the artist. Schiff was recruited to New York University by Horst Woldemar Janson, joining the faculty of the college of New York University [Washington Square] in 1965. There Schiff taught courses on the history of English- and German 19th-century painting as well as Central European baroque painting and sculpture. He lived a bohemian lifestyle during this time, taking quarters at the Chelsea Hotel in Soho. His writing on Fuseli led to a series of important exhibitions on the artist, beginning with the one at the Kunsthaus, Zürich, in 1969. Schiff wrote the standard monograph on Fuseli in 1973, his Johann Heinrich Füssli, 1741-1825. At the death of Robert Goldwater, he joined the Institute of Fine Arts with the rank of professor of fine arts in 1974. During these years he moved to an apartment on West End Avenue in Manhattan. An open homosexual, he formed a long-term partnership with the artist Ching Ho Cheng (1947-1989). Another major Fuseli exhibition under Schiff was mounted at the Tate Gallery, 1975. He was named Avalon Foundation Professor in the Humanities at the Institute of Fine Arts. In 1983 Schiff organized first show devoted entirely to the work of Picasso’s last years, then a period derided, for the Guggenheim Museum. Schiff’s interest in the history of art history led him to edit the important volumes of art-historical tracts in 1988. His partner died in 1989 of chronic lung disease associated with the art materials with which he worked. Schiff was commissioned to organize a show on William Blake by director Seiro Mayekawa for the National Museum of Western Art in Tokyo. However, Schiff contracted lymphoma before he could complete this project and the show opened without his presence in 1990. He died the same year at age 63. A projected English-language version of his Fuseli monograph was never published. His students included Eunice Lipton, Susan Grace Galassi, Sabine Rewald, Gertje Utley and Edward Sullivan, a chair of the department of fine arts at New York University. Schiff was “never an academic snob” (Rosenblum), his personal and professional interests encompassed popular culture as well as traditional art history. Nearly all scholars remarked on the amazing breadth of erudition, from classical languages and literature as well as art. A recollection of him at his residence at the Chelsea Hotel is contained in the autobiography by Patti Smith, Just Kids.


Selected Bibliography

Johann Heinrich Füsslis Milton-Galerie. Zürich: Fretz & Wasmuth, 1963; Johann Heinrich Füssli, 1741-1825. 2 vols. Zürich: Verlag Berichthaus; München, Prestel 1973; Picasso: the Last Years, 1963-1973. New York: G. Braziller/Grey Art Gallery & Study Center, New York University, 1983; edited. German Essays on Art History. New York: Continuum, 1988.


Sources

“Ching Ho Cheng Dead, Mixed-Media Artist, 42.” New York Times June 2, 1989, p. 15; Smith, Patti. Just Kids. New York: Harper Collins, 2010, p. 112; [obituaries:] Glueck, Grace. “Gert Schiff, 63, Professor of Art History and Critic.” New York Times December 22, 1990, p. 33; Butlin Martin. “Gert Schiff (1926-90).” Burlington Magazine 133, no. 1061 (August 1991): 518; In Memoriam Gert Schiff, 1926-1990. New York: Institute of Fine Art, New York University, 1991 [essays by Robert Rosenblum and Colin Eisler].




Citation

"Schiff, Gert." Dictionary of Art Historians (website). https://arthistorians.info/schiffg/.


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Scholar of Henry Fuseli amd the Romantic movement; Institute of Fine Arts of New York University professor of art history. Schiff’s father was a lawyer in Oldenburg, Germany and his mother was the actress Maria Martinsen (b.

Schiefler, Gustav

Full Name: Schiefler, Gustav

Gender: male

Date Born: 1857

Date Died: 1935

Home Country/ies: Germany

Subject Area(s): Modern (style or period)

Career(s): art collectors


Overview

Modernist art collector and historian, proponent of German Expressionism. Schiefler was one of the “passive members” (supporting members) of the German Expressionist movement Die Brücke which organized itself along the lines of a German artists’ association. As well as the ‘active members’ or artists other passive members included the art historian Rosa Schapire.






Citation

"Schiefler, Gustav." Dictionary of Art Historians (website). https://arthistorians.info/schieflerg/.


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Modernist art collector and historian, proponent of German Expressionism. Schiefler was one of the “passive members” (supporting members) of the German Expressionist movement Die Brücke which organized itself along the lines of a German a

Schiavo, Armando

Full Name: Schiavo, Armando

Gender: male

Date Born: 1908

Home Country/ies: Italy

Subject Area(s): architecture (object genre), Italian (culture or style), Renaissance, and sculpture (visual works)


Overview

Scholar of Michelangelo and renaissance architecture. [Collaborator with fascists?]


Selected Bibliography

Palazzo Altieri. Rome: Associazione bancaria italiana, 1960 [?], English, The Altieri Palace. Rome: Italian Bankers Association, 1961 [?]; La donna nella scultura italiana dal XII al XVIII secolo. Women in Italian sculpture from the twelfth to the eighteenth centuries. Rome: Libreria dello Stato, 1950; Michelangelo architetto. Michaelangelo as an Architect. Rome: Libreria dello Stato, 1949; La donna nella scultura italiana dal XII al XVIII secolo. Woman in Italian Sculpture from the Twelfth to the Eighteenth Centuries. Rome: Libreria dello Stato, 1950.


Sources

Chi scrive: repertorio bio-bibliografico e per specializzazioni degli scrittori italiani.2nd ed. Milan: Ist. librario editoriale, 1962; Dizionario biografico dei meridionali: notizie di “meridionali segnalatisi?” raccolte negli anni 1969-1970 3. Naples: Ist. grafico editoriale italiano, 1975.




Citation

"Schiavo, Armando." Dictionary of Art Historians (website). https://arthistorians.info/schivaoa/.


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Scholar of Michelangelo and renaissance architecture. [Collaborator with fascists?]

Scheurl, Christoph

Full Name: Scheurl, Christoph

Gender: male

Date Born: unknown

Date Died: unknown

Home Country/ies: Germany


Overview

1506 wrote biography of Nuremberg artists



Sources

KGK, 22; WDK, I 14-16




Citation

"Scheurl, Christoph." Dictionary of Art Historians (website). https://arthistorians.info/scheurlc/.


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1506 wrote biography of Nuremberg artists

Schenk zu Schweinsberg, Eberhard, Freiherr

Full Name: Schenk zu Schweinsberg, Eberhard, Freiherr

Other Names:

  • Eberhard Schenk von Schweinsberg

Gender: male

Date Born: 1893

Date Died: unknown

Home Country/ies: Germany


Overview

Part of a group of graduate students in art history at the University in Berlin, whose numbers included Alexander Dorner, Hans Huth, Erwin Panofsky, and Ida Ledermann.



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, p. 123, mentioned.




Citation

"Schenk zu Schweinsberg, Eberhard, Freiherr." Dictionary of Art Historians (website). https://arthistorians.info/schenkzuschweinsberge/.


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Part of a group of graduate students in art history at the University in Berlin, whose numbers included Alexander Dorner, Hans Huth, Erwin Panofsky, and Ida

Scheibler, Ludwig

Full Name: Scheibler, Ludwig

Other Names:

  • Ludwig Adolf Scheibler

Gender: male

Date Born: 1848

Date Died: 1921

Home Country/ies: Germany


Overview

Director of the Wallraf-Richartz Museum in Cologne. Scheibler studied at Rheinische Friedrich-Wilhelms-Universität in Bonn, writing his dissertation in 1880 on anonymous artists of the Cologne school. He was contributed to the second edition of the permanent holdings catalog for the royal collection of the Berlin museum, with the director Julius Meyer, who had written the first in 1878, and the future director, Wilhelm Bode. He was the first scholar to group the work Bartholomäus [Barthel] Bruyn (1530-1607/10) by style in 1883. During the 1895-96 year, Scheibler interested a young assistant in his museum on the art of the “Northern Primitives,” who later became the eminent Netherlandish scholar Max J. Friedländer. After his death in 1921, Karl Schaefer (b. 1870) updated his Geschichte der Kölner malerschule in 1923. Friedländer characterized his mentor in Early Netherlandish Painting as a man who had “suffered with particular harshness the fate common to all art connoisseurs. The innumerable valid conclusions he was the first to reach swiftly became common and anonymous property, while his name remained identified with his occasional errors.”


Selected Bibliography

[dissertation:] Die hervorragendsten anonymen Meister und Werke der Kölner Malerschule von 1460 bis 1500. Bonn: Universitäts-Buchdruckerei von Carl Georgi, 1880; and Meyer, Julius, and Bode, Wilhelm. Katalog der Königliche Gemälde-Galerie zu Berlin. 2nd ed. Berlin: Weidmann, 1883; and Bode, Wilhelm. “Verzeichniss der Gemalde des Jan van Scorel.” Jahrbuch der Berliner Museen 2 (1881): 212 ff.; and Aldenhoven, Carl. Geschichte der Kölner malerschule. Lüben: J. Nöhring, 1894-1902;


Sources

Friedländer, Max J. “Foreward.” Early Netherlandish Painting. vol. 1. Leyden: A. W. Sijthoff, 1967, p. 17.




Citation

"Scheibler, Ludwig." Dictionary of Art Historians (website). https://arthistorians.info/scheiblerl/.


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Search for materials by & about this art historian:

Director of the Wallraf-Richartz Museum in Cologne. Scheibler studied at Rheinische Friedrich-Wilhelms-Universität in Bonn, writing his dissertation in 1880 on anonymous artists of the Cologne school. He was contributed to the second edition of th