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Weston, Karl E.

Full Name: Weston, Karl E.

Other Names:

  • Karl Weston

Gender: male

Date Born: 1874

Date Died: 1956

Place Born: Winchendon, Worcester, MA, USA

Place Died: North Adams, Berkshire, MA, USA

Home Country/ies: United States

Career(s): educators and museologists


Overview

Influential Williams College professor of art history; founder of Williams’ art museum. Weston graduated from Williams with a B.A. in 1896. He studied a year at the American School of Classical Studies, Rome, before being awarded his A. M. from Williams in 1898. Weston remained to Williams as a professor in the Romance Languages Department, beginning in 1900. He married a local woman, Ruth Sabin (1880-1951). In 1904 Weston was made assistant professor and began taking augmentary courses at Johns Hopkins University and Princeton. Concluding these classes (without degree) in 1911, he was promoted to (full) professor. The following year, 1912, Weston transferred to the Department of Art as the Professor of Art and the History of Civilization. He founded the Lawrence Museum of Art at Williams (today, Williams College Art Museum) in 1927, becoming its first director. As the only professor teaching the history of art at Williams, Weston had three distinguished students, S. Lane Faison, Jr., Whitney Stoddard and William H. Pierson, Jr., all of whom returned to become art history professors at Williams. He retired as Amos Lawrence Professor emeritus at Williams in 1940 and was succeeded by Faison. However, the eruption of World War II the following year and the loss of Faison to military service resulted in Weston resuming his teaching duties in 1942 and his acting as chairman of the faculty for the all-male school. He remained director of the Lawrence Museum, teaching art history at Williams until 1948 when Faison resumed his position. Weston helped convince Robert Sterling Clark (1877-1956), partial heir to the vast Singer sewing machine fortune and art collector, to locate the Sterling and Francine Clark Art Institute adjacent to the Williams’ campus in 1950. The Institute today is one of the major art-history resources at Williams and the nation. He died at a North Adams hospital at age 81. Weston was trained as a classical-language specialist and like many early academic professors of art, self-trained in the discipline. The three art history students of his who returned to teach art history at Williams, Faison, Stoddard and Pierson, came to be considered the “Williams art Mafia”, because the department placed many of the directors of American art museums in the 1980’s and 1990s.


Selected Bibliography

The Illustrated Terence Manuscripts. 1900; revised, with Priest, George M. Goethes Faust: Part 1. Princeton: University Press, 1929; Early History of the First Congregational Church of Williamstown. Williamstown, MA: First Congregational Church (?), 1947.


Sources

[obituaries:] Faison, S. Lane, jr. Art News 55 (January 1957): 6; Faison, S. Lane, jr. Art Journal 16 no. 1 (1956): 64-5; “K.E. Weston Dies, Art Education, 81; Williams Professor Emeritus.” New York Times May 6, 1956, p. 86




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Influential Williams College professor of art history; founder of Williams’ art museum. Weston graduated from Williams with a B.A. in 1896. He studied a year at the American School of Classical Studies, Rome, before being awarded his A. M. from Wi

Wethey, Harold E.

Full Name: Wethey, Harold E.

Other Names:

  • Harold Edwin Wethey

Gender: male

Date Born: 1902

Date Died: 1984

Place Born: Port Byron, Cayuga, NY, USA

Place Died: Ann Arbor, Washtenaw, MI, USA

Home Country/ies: United States

Subject Area(s): Baroque, Italian (culture or style), Spanish (culture or style), and Spanish Renaissance-Baroque styles


Overview

Scholar of Spanish Baroque and Italian art; professor of art history at the University of Michigan, Ann Arbor, 1940-1972. Wethey’s parents were Charles Edwin Wethey and Flora Keck (Wethey). His undergraduate degree, in Romance Languages from Cornell University, was granted in 1923. After a brief time in business, Wethey continued graduate study at Harvard University receiving his M.A. in 1931 and his Ph.D. in art history in 1935. His dissertation, written under Chandler R. Post, was on Gil de Siloe and his school. A revised version of his thesis appeared as his first book in 1936. He joined Bryn Mawr College, PA, as an instructor in 1934, becoming a lecturer the following year, and then assistant professor in 1936. In 1938 he moved to Washington University, St. Louis, MO, appointed assistant professor of history of art. Wethey joined the University of Michigan faculty in 1940. Under the U.S. Department of State, he was a visiting professor at National University of Tucuman, Tucuman, Argentina, in 1943. Wethey was awarded a Rockefeller fellowship for the 1944-1945 year. He rose from associate professor to professor of art in 1946, marrying Alice Luella Sunderland in 1948. He gained art-historical prominence 1949 with his book Colonial Architecture and Sculpture of Peru. He was given the Sculpture Medal of Hispanic Society of America in 1952 for distinguished research in Spanish sculpture. A second book, Alonso Cano: Painter, Sculptor, Architect, 1955, set him as one of the pre-eminent Iberianists working in the English language. Wethey included a catalogue raisonné in this work which he consider core to scholarship on an individual artist’s work. He was given a Fulbright research grant in Rome for the 1958-1959 year. When his mentor, Post, died, Wethey assumed publication of the final two volumes of Post’s The History of Spanish Painting in 1959. While working on this project, he issued a second catalogue raisonné, this one on El Greco, a work of considerable risk since Wethey was obliged to separate the vast follower-work from that of the master. His judgments were necessarily controversial, but, through a second edition published in 1968 (only in Spanish), his attributions remained overall are accepted as the canon of El Greco’s production. He was the Russel lecturer at Michigan, 1964-1965. Wethey modified his interests in his final years to Titian, publishing in yet another catalogue raisonné on an artist’s work, beginning in 1969. His work replaced the work of Joseph Archer Crowe of 1877. He retired emeritus from Michigan in 1972. His students included R. Ward Bissell, Marilyn Stokstad, Robert Enggass, Victor H. Miesel, and Michael Stoughton. Wethey was one of the first to encourage his graduate students to write theses on Italian Baroque art (Waterhouse). An exponent of the catalogue raisonné as a genre of scholarly effort, his work employed both a high level of connoisseurship and documentary research. As such, he found completing Post’s History rather excruciating since the final volumes left him with comparatively minor artists. His death in 1985 coincided the same year with that of two other emenent Spanish-subject art historians, Enrique Lafuente Ferrari and José Gudiol.


Selected Bibliography

[dissertation:] Gil de Siloe and Sculpture in Burgos Under the Catholic Kings. Harvard University, 1934, published as Gil de Siloe and his School; a Study of Late Gothic Sculpture in Burgos. Cambridge, MA: Harvard University Press, 1936; [bibliography:] “Harold E. Wethey – ” in Enggass, Robert, and Stokstad, Marilyn, eds. Hortus Imaginum: Essays in Western Art. Lawrence: University of Kansas, 1974, p. 200-211; Colonial Architecture and Sculpture in el Peru. Cambridge, MA:1949; Alonso Cano: Painter, Sculptor, Architect. Princeton: Princeton University Press, 1955; El Greco and His School. 2 vols. Princeton: Princeton University Press, 1962; [edited final volumes] Post, Chandler R. A History of Spanish Painting. Volumes 13 abd 14. Cambridge, MA: Harvard University Press, 1966; The Paintings of Titian. 3 vols. London: Phaidon 1969-1975.


Sources

Kleinbauer, W. Eugene. Modern Perspectives in Western Art History: An Anthology of 20th-Century Writings on the Visual Arts. New York: Holt, Rinehart and Winston, 1971, p. 48 mentioned; “A Note on the Career of Harold E. Wethey, with a List of his Publications:” in Enggass, Robert, and Stokstad, Marilyn, eds. Hortus Imaginum: Essays in Western Art. Lawrence: University of Kansas, 1974, p. 199-211; Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 435, 445; [obituary:] Waterhouse, Ellis. “Harold E. Wethy.” Burlington Magazine 9 (March 1985): 163.


Archives



Citation

"Wethey, Harold E.." Dictionary of Art Historians (website). https://arthistorians.info/wetheyh/.


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Scholar of Spanish Baroque and Italian art; professor of art history at the University of Michigan, Ann Arbor, 1940-1972. Wethey’s parents were Charles Edwin Wethey and Flora Keck (Wethey). His undergraduate degree, in Romance Languages from Corne

Weickert, Carl

Full Name: Weickert, Carl

Gender: male

Date Born: 1885

Date Died: 1975

Place Born: Leipzig, Saxony, Germany

Place Died: Berlin, Germany

Home Country/ies: Germany

Subject Area(s): Ancient Greek (culture or style), Antique, the, Classical, and Roman (ancient Italian culture or period)


Overview

Specialist in Greek and Roman art. Conservator at the Munich Archaeological Institute 1919-1936, a.o. Professor at the University Of Munich 1933-1936. Director of the Antique division of the Berlin Museum, 1936-194?). President of the German Archaeological Institute, 1947-1954.


Selected Bibliography

Gladiatoren-Relief der Münchner Glypothek, 1925


Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 230-231.




Citation

"Weickert, Carl." Dictionary of Art Historians (website). https://arthistorians.info/weickertc/.


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Specialist in Greek and Roman art. Conservator at the Munich Archaeological Institute 1919-1936, a.o. Professor at the University Of Munich 1933-1936. Director of the Antique division of the Berlin Museum, 1936-194?). President of the German Archa

Weigand, Edmund

Full Name: Weigand, Edmund

Other Names:

  • Edmund Weigand

Gender: male

Date Born: 1887

Date Died: unknown

Home Country/ies: Germany

Subject Area(s): Medieval (European)


Overview

Medievalist scholar at the University of Munich.






Citation

"Weigand, Edmund." Dictionary of Art Historians (website). https://arthistorians.info/weigande/.


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Medievalist scholar at the University of Munich.

Weigelt, Curt H.

Full Name: Weigelt, Curt H.

Gender: male

Date Born: 1883

Date Died: unknown

Home Country/ies: Germany

Subject Area(s): catalogues raisonnés, Italian (culture or style), Italian Renaissance-Baroque styles, and Renaissance

Institution(s): Kunsthistorischen Institut in Florenz


Overview

Giotto scholar; notes about Weigelt’s opinions appear in Richard Offner‘s annotated catalog of the 1937 Mostra Giottesca.


Selected Bibliography

Duccio di Buoninsegna: Studien zur Geschichte der frühsienesischen Tafelmalerei. Leipzig: K. W. Hiersemann, 1911; Sienese Painting of the Trecento. Florence: Pantheon casa editrice/Paris, The Pegasus Press, 1930.


Sources

Ladis, Andrew. “The Unmaking of a Connoisseur.” in, Offner, Richard. A Discerning Eye: Essays on Early Italian Painting. University Park, PA: Pennsylvania State University Press, 1998, p,19, note 1;



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Weigelt, Curt H.." Dictionary of Art Historians (website). https://arthistorians.info/weigeltc/.


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Giotto scholar; notes about Weigelt’s opinions appear in Richard Offner’s annotated catalog of the 1937 Mostra Giottesca.

Weigert, Hans

Full Name: Weigert, Hans

Gender: male

Date Born: 1896

Date Died: 1967

Place Born: Leipzig, Saxony, Germany

Place Died: Düsseldorf, North Rhine-Westphalia, Germany

Home Country/ies: Germany


Overview



Sources

Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 456-8.




Citation

"Weigert, Hans." Dictionary of Art Historians (website). https://arthistorians.info/weigerth/.


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Weil-Garris, Kathleen

Full Name: Weil-Garris, Kathleen

Other Names:

  • Kathleen Weil-Garris Posner

Gender: female

Date Born: 1934

Place Born: Châtellerault, Nouvelle-Aquitaine, France

Home Country/ies: United Kingdom

Subject Area(s): Renaissance


Overview

Scholar of the Renaissance and Professor of Fine Arts, Institute of Fine Arts, New York University, 1965-. Weil-Garris was the daughter of Kurt Herrmann Weil (1896-1992), an aviation engineer and professor and Charlotte Garris Weil. She attended Vassar College, receiving her B. A. in 1956, spent a year studying in Bonn, Germany, before completing her M. A. from Radcliffe in 1958. She entered the Ph.D. program at Harvard University, where she met and married fellow graduate student Donald Posner in 1962 (later divorced), joining the department of Fine Arts, New York University in the following year where her husband also had an appointment. She wrote a 1965 dissertation at Harvard on sixteenth-century Italian sculpture. She rose through the ranks at NYU, associate professor in 1967 and full professor in 1973. In 1976 she produced a film with architectural historian James S. Ackerman, Looking for Renaissance Rome. Between 1977-1981 she was editor and chief of the Art Bulletin of the College Art Association. She married Werner Brandt in 1983. Weil-Garris was a Visiting Senior Fellow at the Center for Advanced Study in the Visual Arts (CASVA), Washington DC, in 1985. In 1995, while attending an exhibition on sculpture in New York, Weil-Garris Brandt pronounced a small marble statue of a boy owned by the French embassy in New York to be the work of Michelangelo. Subsequent scholarship has not been able to validate her pronouncement. Leo Steinberg bluntly rejected the attribution, citing its many anatomical oddities, while James Beck suggested it was a 19th century work. She was Slade Professor at Oxford University in 1998.


Selected Bibliography

[disssertation:] The Santa Casa di Loreto: Problems in Italian Sixteenth-Century Sculpture. Harvard University, 1965; “Michelangelo Lost and Found?” Burlington Magazine (1996); “Atti del convegno internazionale di studi, Roma, marzo 1990,” volume 3 of, Michelangelo, la Cappella Sistina: documentazione e interpretazioni. Novara, Italy: Istituto geografico De Agostini, 1994; The Renaissance from Brunelleschi to Michelangelo: The Representation of Architecture. 1993; Leonardo and Central Italian Art, 1515-1550. New York: New York University Press/College Art Association of America, 1974; “Cloister, Court and City square.” Gesta 12 no. 1-2 (1973): 123-32; “Comments on the Medici chapel and Pontormo’s lunette at Poggio a Caiano.” Burlington Magazine 115 (October 1973): 640-49; “Twenty-five Questions About Michelangelo’s Sistine Ceiling.” Apollo 126 (December 1987): 392-400; and Ackerman, James. Looking for Renaissance Rome [videorecording]. New York: Fogg Fine Arts Films, 1976.


Sources

Faculty of Arts and Sciences, NYU http://www.finsvc.duke.edu/finsvc/payroll/deptbw.txt ; Rosenbaum, Lee “Michelangelo/not Michelangelo: Possible Michelangelo Statue Discovered by Kathleen Weil-Garris Brandt.” Art in America 84 (April 1996): 31.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Weil-Garris, Kathleen." Dictionary of Art Historians (website). https://arthistorians.info/weilgarrisk/.


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Scholar of the Renaissance and Professor of Fine Arts, Institute of Fine Arts, New York University, 1965-. Weil-Garris was the daughter of Kurt Herrmann Weil (1896-1992), an aviation engineer and professor and Charlotte Garris Weil. She attended V

Weinberger, Martin

Full Name: Weinberger, Martin

Gender: male

Date Born: 1893

Date Died: 1965

Place Born: Nuremberg (also Nürnberg), Germany

Place Died: New York, NY, USA

Home Country/ies: Germany

Subject Area(s): Italian (culture or style) and sculpture (visual works)


Overview

Tuscan sculpture authority, Michelangelo scholar; New York University professor. Weinberger was raised in Nuremberg, graduating from the Altes Gymnasium in 1912.  He began studying art history and philosophy at the universities of Würzburg under Fritz Knapp, Heidelberg, under Carl Neumann, and with Heinrich Wölfflin in Munich.  His studies were interrupted 1914-1917 to fight as a soldier in World War I; he was badly wounded in the arm. After his recovery he completed his dissertation, also under Wölfflin in 1920.  His dissertation title was Nürnberger Malerei an der Wende der Renaissance und die Anfänge der Dürer­schule (The Painting of Nuremberg at the End of the Renaissance and the Beginning of the School of  Dürer­). It appeared the following year in print. He taught initially as a privatdozent 1921-1922 at the Volkshochschule in Nuremberg. The subsequent years he volunteered at art museums, first at the Münchener Museen (Munich Museums), 1922-1923, then as a research assistant for the Bavarian National Museum, 1925-1925, cataloging the painting collection.  The years 1926-1930 he spent researching Deutsche Kunsthistorischen Institut in Florenz (Florence) initially with a stipend from the Bavarian government. In 1930 he became an assistant at the Theater Museum in Munich (under Franz Rapp) cataloging the print collections. The laws against Jews working in positions of authority invoked in 1933, Weinberger was stripped of his positions.  He immigrated first to Florence, 1933 working as a teacher at the America Center of European Studies and contributing articles for the Enciclopedia Italiana. He moved to London and the Courtauld Institute in 1934, researching until 1936. He emigrated to the United States in 1937 followed by his parents in 1940. After much searching, he secured a position at New York University’s Institute of Fine Arts as a lecturer, together with Alfred Salmony.  He also lectured at the University of Pennsylvania, 1938-1942. When Hans Huth relinquished control the University’s Spanish Research and Publications Fund, Weinberger assumed those duties.  In 1947 he was appointed professor at NYU. At his death in 1965, his monograph on Michelangelo sculpture remained unpublished.

Colin T. Eisler characterized Weinberg as one of the expatriates who brought Kunstgeschichte to America (Wendland).


Selected Bibliography

  • [dissertation:] Nürnberger Malerei an der Wende der Renaissance und die Anfänge der Dürer­schule. Strassburg 1921;
  • Albrecht Dürer.  Munich: Delphin-Verlag,1924;
  • “Bronze Statuettes by Giovanni Caccini.”  Burlington Magazine  1 (1931): 231-235;
  • and Middeldorf, Ulrich. “Unbeachtete Werke der Brüder Rossellino.” Münchner Jahrbuch (1928): 85-100;
  • and Middeldorf, Ulrich. “Französische Figuren des frühen 14. Jahrhunderts in der Tosca­na.”  Pantheon. 1 (1928): 187-190;
  • “The Master of S. Giovanni.”  Burlington Magazine 70 (1937): 24-30;
  • “Giovanni Pisano: 1. A new discovery. 2. Remarks on the Technique of the Master’s workshop.” Burlington Magazine   70 (1937): 54-60;
  • “Nino Pisano.” Art Bulletin 19 (1937): 58-91;
  • “‘New’ Rembrandts.” The Magazine of Art 30, 1937;
  • “13th Century Frescoes at Montepiano.” Art in America  27 (1939): 49-73;
  • “A Bronze Bust by Hans Multscher.” Art Bulletin 22 (1940): 185-189;
  • The George Gray Barnard Collection. Robinson Galleries, New York 1941;
  • “Silkweaves of Lucca and Venice in Contemporary Painting and Sculpture.” Bulletin of the Needle and Bobbin Club. 1941;
  • “The First Facade of the  Cathedral of Florence.” Journal of the Warburg and Courtauld Institutes 4 (1941): 67-79;
  • “A Portrait Bust by Pietro Torregiani. A document of early medieval architecture. A Dutch painting by P. van Noort.” Compleat Collector. 1944;
  • “A Gothic Model by the School of Jacques Morel.” Journal of the Walters Art Gallery 1945;
  • “A Bust of Antonio Galli in the Frick Collection.” Gazette des Beaux-Arts 27 (1945): 257-270;
  • “A Sixteenth Century Restorer.” Art Bulletin (1945): 266-269;
  • “A High Renaissance Madonna (by Jacone). An Italian Reliquary Bust of  the early 15th century. A. Boucher’s ‘A la terre’.” Compleat Collector. (1945);
  • “Recumbent Tomb Statue of a Knight in the Philadelphia Museum.” Art Quarterly (1945);
  • “Three Paintings by Masters of the School of Utrecht. Original and Copy. A  Newly Discovered Portrait by Antoine Vestier.” Compleat Collector (1945);
  • “An Early Woodcut of the ‘Man of Sorrows’ at the Art Institute, Chicago.” Gazette des Beaux-Arts 29 (1946): 347-362;
  • “A French Model of the 15th Century.” Journal of the Walters Art Gallery  9 (1946): 9-22;
  • “Notes on Maitre Michiel.” Burlington Magazine (1948); “Rembrandt’s Portrait of Constantijn a Renesse.” Gazette des Beaux-Arts 34 (1948): 23-32;
  • “A Renaissance Restorer (Valerio Cioli).” Art Bulletin (1949);
  • “A Bronze Bust in the Frick Collection.” Gazette des Beaux-Arts (1951);
  • “A Bronze statuette in the Frick Collection and  its connection with Michelangelo.” Gazette des Beaux-Arts 39 (1952): 103;
  • “Nicola Pisano and the Tradition of Tuscan Pulpits.” Gazette des Beaux-Arts 55 (1960): 129-146;
  • Michelangelo, the Sculptor. New York: Columbia University Press, 1967.

Sources

  • 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. 724-727;
  • Bober, Harry. The Gothic Tower and the Stork Club. https://www.nyu.edu/gsas/dept/fineart/about/history-bober.htm

Archives

Martin Weinberger Archives, National Gallery of Art

https://library.nga.gov/permalink/01NGA_INST/1p5jkvq/alma991723973804896



Citation

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Tuscan sculpture authority, Michelangelo scholar; New York University professor. Weinberger was raised in Nuremberg, graduating from the Altes Gymnasium in 1912.  He began studying art history and philosophy at the universities of Würzburg under <

Weisbach, Werner

Full Name: Weisbach, Werner

Gender: male

Date Born: 1873

Date Died: 1953

Place Born: Berlin, Germany

Place Died: Basel, Basle-Town, Switzerland

Home Country/ies: Switzerland


Overview

Professor of art history, Basel [1933]; Heinrich Wölfflin friend; Vienna School; contributed to an early-twentieth century re-evaluation of the Baroque style. Weisbach was a student of Robert Vischer. In 1924 Weisbach wrote the volume for the prestigious Propyläen Kunstgeschichte on baroque art, which he dedicated to theologian Ernst Troeltsch (1865-1923). Weisbach was one of the first to write an analysis of Italian Mannerism. While he did not appreciate it as an art movement (as Walter F. Friedländer, would beginning in his 1914 inaugural lecture at Freiburg), he made the connection with the abstracting and stylizing techniques of his own era, German Expressionism. His students included Richard Krautheimer, who wrote his dissertation under him.


Selected Bibliography

Der Barock als Kunst der Gegenreformation. Berlin: P. Cassirer, 1921. Religiöse Reform und mittelalterliche Kunst. Zürich: Benziger, 1945; Trionfi. Berlin: G. Grote, 1919; Francesco Pesellino und die Romantik der Renaissance. Berlin: B. Cassirer, 1901; Manierismus in mittelatterlicher Kunst. Basel: Verlag Birkhäuser, 1942; Die Kunst des Barock in Italien, Frankreich, Deutschland und Spanien. Propyläen-Kunstgeschichte 11. Berlin: Propyläen-Verlag, 1924; Der Meister der Bergmannschen Officin und Albrecht Dürer’s Beziehungen zur Basler Buchillustration. Studien zur deutschen Kunstgeschichte 1, part 6. Baden-Baden: V. Koerner, 1971; Die Baseler Buchillustration des XV. Jahrhunderts. Studien zur deutschen Kunstgeschichte 1, part 8. Baden-Baden: V. Koerner, 1971; Spanish Baroque Art: Three Lectures Delivered at the University of London. Cambridge, UK: Cambridge University Press, 1941; Französische malerei des XVII. jahrhunderts im rahmen von kultur und gesellschaft. Berlin: H. Keller, 1932; Impressionismus: ein Problem der Malerei in der Antike und Neuzeit. Berlin: G. Grote’sche Verlagsbuchhandlung, 1910-1911; Der Manierismus.” Zeitschrift für bildenden Kunst 30.


Sources

Watkin, David. The Rise of Architectural History. London: Architectural, Press, 1980, p. 495; 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. 153 mentioned; Kleinbauer, W. Eugene. Modern Perspectives in Western Art History: An Anthology of 20th-Century Writings on the Visual Arts. New York: Holt, Rinehart and Winston, 1971, p. 98; Belting, Hans. The End of the History of Art? [translation of Das Ende der Kunstgeschichte?] 2nd ed. Chicago: University of Chicago Press, 1987, p. 37; Bazin, Germain. Histoire de l’histoire d l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, p. 185; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 458-61; 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. 728-732; Posner, Donald. “Introduction.” Friedlaender, Walter. Mannerism and Anti-Mannerism in Italian Painting. 2nd ed. New York: Columbia University Press, 1965, pp. xii; Dodgson, Campbell. “Two Versions of the Prodigal Son: Summary of Prof Weisbach’s Arguments.” Burlington Magazine 74 (May 1939): 228-9ff.




Citation

"Weisbach, Werner." Dictionary of Art Historians (website). https://arthistorians.info/weisbachw/.


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Professor of art history, Basel [1933]; Heinrich Wölfflin friend; Vienna School; contributed to an early-twentieth century re-evaluation of the Baroque style. Weisbach was a student of Robert Vischer

Weise, Georg

Full Name: Weise, Georg

Gender: male

Date Born: 1888

Date Died: 1978

Place Born: Frankfurt am Main, Hesse, Germany

Place Died: Sorrento, Napoli, Campania, Italy

Home Country/ies: Germany

Subject Area(s): Christianity, Gothic (Medieval), iconography, Italian (culture or style), Italian Medieval styles, religious art, Renaissance, sculpture (visual works), and Spanish (culture or style)


Overview

Scholar of Christian iconography; Renaissance religious art; cultural sources and currents within Gothic Italian Gothic forms (particularly sculpture); Spanish art history (sculpture); Max Dvořák influenced; professor at the University of Tübingen (1923-1951). Weise’s Das Formleben der gotischer Ausdrucks- und Bewegungsmotive in der Kunst des Manierismus (1954) owes much to Walter F. Friedländer and his concept of Mannerism as “anti-classical” (i.e., akin to gothic tendencies (Posner).


Selected Bibliography

Die geistige Welt der Gotik und ihre Bedeutung für Italien. Halle: Salle, M. Niemeyer, 1939.; Il rinnovamenti dell’arte religiosa nella rinascita. Florence, 1971.; “Das Schlegswart von gotischen Menschen” Neue Jahrbücher für Wissenschaft und Jugenbildung.VII. 1931.; Studien zur spanischen Architektur der Spätgotik. Reutlinger (no date).; Spanische Plastik aus sieben Jahrhunderten. Reutlingen, 1925.; Die Spanische Hallenkirchen der Spätgotik und der Renaissance. Tübingen, 1953.


Sources

KRG 154 mentioned; KMP 98; Bazin 213, 286,434-435; 445-446; Beiträge zur Kunst und Gesitesgeschichte der Mittelalten. Festschrift zum 75 Geburtstag. (volume published for 75th birthday) Stuttgart, Februar 1963; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 461-4; Posner, Donald. “Introduction.” Friedlaender, Walter. Mannerism and Anti-Mannerism in Italian Painting. 2nd ed. New York: Columbia University Press, 1965, pp. xiv.




Citation

"Weise, Georg." Dictionary of Art Historians (website). https://arthistorians.info/weiseg/.


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Scholar of Christian iconography; Renaissance religious art; cultural sources and currents within Gothic Italian Gothic forms (particularly sculpture); Spanish art history (sculpture); Max Dvořák influenced; professor at the