Co-editor of the magisterial dictionary of artists, Allgemeines Lexikon der bildenden Künstler. Becker studied art history in Bonn and in Leipzig as the assistant to August Schmarsow. He and Ulrich Thieme began work on a comprehensive dictionary of artists, architects and decorators in 1898. The first volume appeared in 1907. Becker withdrew from the project in 1910 because of ill health.
Entries tagged with "Leipzig, Saxony, Germany"
Specialist in classical Greek and Roman art, particularly known for his focused interpretations and histories of single works of art. Forced to leave his university studies in 1935 because of the Jewish heritage of his father, but remained in Germany and survived a forced labor camp (Organization Todt) in France to return to Germany and resume his studies. After finishing his habilitation in 1947, began teaching at the University of Greifswald where he advanced to the rank of full professor in 1959.
Early art historian and classicist; Cranach scholar; immediate precursor to Winckelmann. Christ's family comprised a long line of civil servants. He was diversely educated including painting, etching and sculpting. By 1720 he was studying for state service himself in Jena, taking courses in philosophy, history and the law. After securing a position as a privy secretary in Saxe-Meiningen he began study in Halle in 1726.
Art museum and library director; Germanist art historian specializing in northern renaissance; patron of Expressionist artist and Asian art authority. Glaser was born of cultured Jewish parentage, S. Glaser and Emma Hase (Glaser). He attended the Wilhelms gymnasium in Berlin, graduating in 1897. Glaser studied medicine at the University of Freiburg and Munich, receiving his M.D. in 1902. However, art had always interested him and he immediately began a second degree in art history during the years Heinrich Wölfflin was in Berlin. He was granted a Ph.D.
Vase scholar. Hartwig, who was the first to attribute vases to an anonymous master (Rouet). Harwig's work was highly influential. The earliest work of J. D. Beazley on the Kleophrades Painter clearly owes its inspiration to Hartwig (Oakley).
Director of the Zentralinstitut für Kunstgeschichte, Munich; historian of Italian renaissance architecture. Heydenreich grew up in Dresden in one of the city's prominent military families. He studied at Dresden's military academy and was expected, like his father, to join the officer class. But Germany's defeat in World War I forced the academy's closure and Heydenreich was forced to look for other areas of interest. He initially studied art history at the university in Berlin, but quickly changed to Hamburg in 1919 in order study with Erwin Panofsky.
Professor and Director of Institut für Kunstgeschichte at the University of Leipzig, 1958-1964. Jahn studied under August Schmarsow and beginning in 1919 was an assistant for Wilhelm Pinder. After World War II, Jahn was appointed the Director of the Fine Art Museum (Museum der bildenden Künste) in Leipzig. In 1958 he succeeded Heinz Ladendorf as Director of Institut für Kunstgeschichte at the University of Leipzig. He stepped down in 1964 and was succeeded by Ernst Ullmann. In 1973 he became emeritus.
Alberti and Romaneque art scholar; Gratz education; taught at Leipzig. In 1882 he married the writer Maria Tölk (1859-1927) [pseudonym Marius Stein]. His students included Georg Dehio, Aby M. Warburg and Paul Clemen. Colleague of Anton Springer. At Strassburg, Janitschek's students included Wilhelm Vöge.
Wrote Der Begriff der Entwicklung in der Kunstgeschichte (1917), one of the early examinations of art historiography in Germany; taught in Frankfurt (1915-1930). His students included Oswald Goetz.
Medievalist and one of the founders of cultural history who began his career writing art history. Lamprecht was the son of a Lutheran minister, also named Karl Lamprecht. After attending the Volksschule and Gymnasium in Wittenberg, Lamprecht entered the famous Gymnasum boarding school at Schulpforta in 1866. Graduating in 1874, he began university studies (in history) the same year in Göttingen, where the courses of Ernst Bernheim (1850-1942) and philosopher Rudolf Hermann Lotze (1817-1881) were significant.
Historian of Netherlandish art and gallery dealer. Lilienfeld studied at the universities of Leipzig and Halle and Berlin where he studied under Adolph Goldschmidt. He moved to the Hague where he worked as the assistant the eminent private art historian, Cornelis Hofstede de Groot in Amsterdam.
Scholar of Italian renaissance art and Berlin Gemäldegalerie director, 1964-1973; participant in the proposed Führermuseum theft of art object. Oertel was the son of a lawyer. After receiving his Abitur at the Thomasschule in 1927, he studied art history, archaeology, classics and philology at various universities, included Leipzig, Vienna, Munich and Hamburg. He completed his dissertation in 1932 under Hans Jantzen writing on a topic of Masaccio. After a trip to Paris, he worked as a volunteer at the Augustinermuseum in Freiburg.
Early historian to use written documents to support art research (e.g., Die antiken Schriftquellen). Overbeck studied at the university in Bonn under Friedrich Gottlieb Welcker. Overbeck's early work was on Pompeii. His monograph on the subject, first appearing in 1856 (and subsequently appearing in four later editions), was the inspiration for the fuller monograph by August Mau. In 1858 Overbeck was named Ordinarius (professor) at the university in Leipzig. He remained at Leipzig for the rest of his life.
Architectural historian in Britain and founder of the Pelican History of Art and The Buildings of England series. Pevsner was brought up in the fashionable "Music Quarter" of Leipzig by Russian-Jewish parents Hillel Pewsner, later Hugo Pevsner (1869-1940), and Anna Perlmann (Pevsner) (d. 1942); his father was a fur importer. Hugo's absence in Sweden during the years of World War I allowed the young Pevsner to attend the Thomasschule (the same school at which Bach played the organ), converting to Christianity in 1920 and receiving his Arbitur in 1921.
Early art historian. His 1852 Denkmale der Baukunst des Mittelalters in Sachsen became the model for many art historians, including Wilhelm Lübke.
Patron, collector, and historian of German art. Quant came from a wealthy merchant family in Leipzig, and became an art critic in 1808. His first article described a visit to the city of Annaberg, and was published in the Zeitung für die elgante Welt. He received praise from Johann Wolfgang von Goethe in 1815 for rescuing 11 German paintings from the attic of Nikolaikirche in Leipzig. In 1818, Quant moved to Rome, where he supported contemporary artists.
Specialist in Ancient Greek art. Professor of Art History at the University of Giessen, 1898-1909, at the University of Kiel, 1909-1919.
Schreiber studied at the University of Leipzig where he studied archaeology with Johannes Overbeck and philology with Friedrich Ritschl (1806-1876). In 1874 through a travel stipend from the DAI (Deutsche Archäologische Institut or German Archaeological Institute) he studied in Rome with Wilhelm Henzen (1816-1887) and Wolfgang Helbig. He traveled to Greece and after particularly important study in Athens in 1876 he returned to Rome to catalog the Ludovisi family collection of classical sculpture. He completed this in 1880.
First professor of art history in both Bonn and Leipzig; wrote first synthetic of the history of art. Springer studied art and philosophy at the universities of Prague, Munich und Berlin, in 1846. He briefly taught art history in Prague, making a research trip to Italy before moving to Tübingen where he met the theologian Albert Schwegler (1819-1857) and the aesthetician Friedrich Theodor Vischer (1807-1887). In Tübingen Springer became involved in politics, mounting a successful campaign against the ban on theatrical performances.
Specialist in classical Roman and Greek art; Professor of Archaeology at the University of Leipzig 1896-1929. He was born in Jaslo, Galicia, which is present day Poland. Studniczka attended the University in Vienna studying classical archaeology under Otto Benndorf. He wrote his habiliation in 1887 also at Vienna and was appointed professor at the University of Freiburg, 1889. In 1896 he moved to University of Leipzig as professor of classical archaeology, succeeding Johannes Overbeck.
Archictectural historian and specialist in the garden architecture of ancient Greece and Rome. Affiliated with the Technical University of Dresden (1921-1945). Much of his original work (research notes, manuscripts, and drawings) was destroyed in the firebombing of Dresden in 1945. After 1945, Sulze worked less on scholarship in order to concentrate on the architectural rebuilding of Dresden.
Editor of volumes 3-15 of the magisterial dictionary of artists, Allgemeines Lexikon der bildenden Künstler. Thieme studied art history in Leipzig, receiving his degree in 1892 under Anton Springer with a dissertation on the work of Hans Schäufelein. He entered the Berlin Gemäldegalerie under Wilhelm Bode. In 1898 he began work on a comprehensive dictionary of artists, architects and decorators enjoinging the assistance of Felix Becker. The two were inspired by the work of G. K.
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.