Электронная книга: Johann Joachim Winckelmann «Recueil de différentes pièces sur les arts»
Полный вариант заголовка: «Recueil de différentes pièces sur les arts : Trad. de l'allem. / Par m. Winckelmann». Издательство: "Библиотечный фонд" (1786)
электронная книга Скачать бесплатно на Litres |
Другие книги автора:
Книга | Описание | Год | Цена | Тип книги |
---|---|---|---|---|
Recueil de lettres | Полный вариант заголовка: «Recueil de lettres de M. Winckelmann : sur les decouvertes faites a Herculanum, a Pompeii, a Stabia, a Caserte&a Rome : avec des notes critiques … — Библиотечный фонд, электронная книга Подробнее... | электронная книга | ||
Remarques sur l'architecture des anciens | Полный вариант заголовка: «Remarques sur l'architecture des anciens / par M. Winckelmann» — Библиотечный фонд, электронная книга Подробнее... | электронная книга | ||
Lettres familieres. P. 1 | Полный вариант заголовка: «Lettres familieres de M. Winckelmann. Part 1» — Библиотечный фонд, электронная книга Подробнее... | электронная книга | ||
Lettres familieres. P. 2 | Полный вариант заголовка: «Lettres familieres de M. Winckelmann. Partie 2» — Библиотечный фонд, электронная книга Подробнее... | электронная книга | ||
Histoire de l'art chez les anciens. T. 1 | Примечание: История искусства древности. Полный вариант заголовка: «Histoire de l'art chez les anciens. Tome 1 / par M. Winckelmann … — Библиотечный фонд, электронная книга Подробнее... | электронная книга | ||
Histoire de l'art chez les anciens. T. 3 | Примечание: Полное собрание сочинений К. М. Виланда. Полный вариант заголовка: «Histoire de l'art chez les anciens. Tome 3 / par M… — Библиотечный фонд, электронная книга Подробнее... | электронная книга |
Johann Joachim Winckelmann
Infobox Writer
name = Johann Joachim Winckelmann
imagesize = 200px
caption = Portrait by
birthdate = birth date|1717|12|9|df=y
birthplace =
deathdate = death date and age|1768|6|8|1717|12|9|df=y
deathplace =
occupation = Archaeology,
nationality = German
period = 1755 - 1768
subject = Archaeology;
movement = Hellenism,
Johann Joachim Winckelmann (
Biography
Early life
Winckelmann was born in poverty in
Winckelmann attended the Coellnische Gymnasium in
With the intention of becoming a physician, in 1740 Winckelmann attended medical classes at Jena. He also worked teaching languages. From 1743 to 1748, he was the deputy headmaster of the gymnasium of Seehausen in the Altmark. Winckelmann felt that work with children was not his true calling. Moreover, his means were insufficient: his salary was so low that he had to rely on his students' parents for free meals. He was thus obliged to accept a tutorship near
Bünau's librarian
In 1748, Winckelmann wrote to Count Heinrich von Bünau: "... little value is set on Greek literature, to which I have devoted myself so far as I could penetrate, when good books are so scarce and expensive." In the same year, Winckelmann was appointed secretary of Bünau's library at Nöthnitz, near
In 1755, Winckelmann published his "Gedanken über die Nachahmung der griechischen Werke in Malerei und Bildhauerkunst" ("Thoughts on the Imitation of Greek Works in Painting and Sculpture"), followed by a feigned attack on the work and a defense of its principles, ostensibly by an impartial critic. The "Gedanken" contains the first statement of the doctrines he afterwards developed, the ideal of "noble simplicity and quiet grandeur" ("edle Einfalt und stille Größe") and the definitive assertion "The one way for us to become great, perhaps inimitable, is by imitating the ancients." The work was warmly admired not only for the ideas it contained, but for its literary style. It made Winckelmann famous, and was reprinted several times and soon translated into French. In England, Winkelmann's views stirred discussion in the 1760s and 1770s, although it was limited to artistic circles:
Rome
In 1751, the papal nuncio and Winkelmann's future employer, Alberico Archinto, visited Nöthnitz, and in 1754 Winckelmann joined the Roman Catholic Church. Goethe concluded that Winckelmann was a pagan, but his conversion ultimately opened the doors of the papal library to him. On the strength of the "Gedanken über die Nachahmung der Griechischen Werke", Augustus III, king of Poland and elector of Saxony, granted him a pension of 200
Winckelmann arrived in Rome in November 1755. His first task there was to describe the statues in the
Originally, Winckelmann planned to stay in Italy only two years with the help of the grant from Dresden, but the outbreak of the
With the aid of his new friend and lover, [Boorstin, p.585] the painter
In 1760, Winckelmann's "Description des pierres gravées du feu Baron de Stosch" appeared, followed in 1762 by his "Anmerkungen über die Baukunst der Alten" ("Observations on the Architecture of the Ancients"), which included an account of the temples at
From 1763, while retaining his position with Albani, Winckelmann worked as a prefect of antiquities (Prefetto delle Antichità) and scriptor (Scriptor linguae teutonicae) of the Vatican. Winckelmann visited Naples again, in 1765 and 1767, and wrote for the use of the electoral prince and princess of Saxony his "Briefe an Bianconi", which were published, eleven years after his death, in the "Antologia romana".
Winckelmann contributed various essays to the "Bibliothek der schönen Wissenschaften"; and, in 1766, published his "Versuch einer Allegorie". Of much greater importance was the work entitled "Monumenti antichi inediti" ("Unpublished monuments of antiquity", 1767-1768), prefaced by a "Trattato preliminare", which presented a general sketch of the history of art. The plates in this work are representations of objects which had either been falsely explained or not explained at all. Winckelmann's explanations were of tremendous use to the future science of archaeology, by showing through observational method that the ultimate sources of inspiration of many works of art supposed to be connected with Roman history were to be found in
Masterwork
Winckelmann's masterpiece, the "Geschichte der Kunst des Alterthums" ("The History of Ancient Art Among the Greeks"), published in 1764, was soon recognized as a permanent contribution to European literature. In this work, "Winckelmann's most significant and lasting achievement was to produce a thorough, comprehensive and lucid chronological account of all antique art— including that of the Egyptians and Etruscans." [Haskell and Penny 1981:101.] This was the first work to define in the art of a civilization an organic growth, maturity, and decline. Here, it included the relevatory tale told by a civilization's art and artifacts -- these, if we look closely, tell us their own story of cultural factors, such as climate, freedom, and craft. Winckelmann sets forth both the history of Greek art "and of Greece". He presents a glowing picture of the political, social, and intellectual conditions which he believed tended to foster creative activity in ancient Greece.
The fundamental idea of Winckelmann's artistic theories are that the end of art is beauty, and that this end can be attained only when individual and characteristic features are strictly subordinated to an artist's general scheme. The true artist, selecting from nature the phenomena suited to his purpose and combining them through the exercise of his imagination, creates an ideal type in which normal proportions are maintained, and particular parts, such as muscles and veins, are not permitted to break the harmony of the general outlines.
Death
In 1768 Winckelmann journeyed north over the Alps, but the Tyrol depressed him and he decided to return to Italy. However, his friend, the sculptor and restorer
Winckelmann was buried in the churchyard of the
Critical response and influence
Winckelmann's writings are key to understanding the modern European discovery of ancient (sometimes idealized) Greece; [See
Winckelmann's study "Sendschreiben von den Herculanischen Entdeckungen" ("Letter about the Discoveries at Herculaneum") was published in 1762, and two years later "Nachrichten von den neuesten Herculanischen Entdeckungen" ("Report on the Latest Discoveries at Herculaneum"). From these scholars obtained their first real information about the excavations at Pompeii.
His major work, "Geschichte der Kunst des Alterthums" (1764, "The History of Ancient Art"), deeply influenced contemporary views of the superiority of Greek art. It was translated into French in 1766 and later into English and Italian. Among others, Gotthold Ephraim Lessing based many of the ideas in his 'Laocoon' (1766) on Winckelmann's views on harmony and expression in the visual arts.
In the historical portions of his writings, Winckelmann used not only the works of art he himself had studied but the scattered notices on the subject to be found in ancient writers; and his wide knowledge and active imagination enabled him to offer many fruitful suggestions as to periods about which he had little direct information. To the still existing works of art, he applied a minute empirical scrutiny. Many of his conclusions, based on inadequate evidence of Roman copies, would be modified or reversed by subsequent researchers. Nonetheless, the fervid descriptive enthusiasm of passages in his work, its strong and yet graceful style, and its vivid descriptions of works of art gave it a most immediate appeal. It marked an epoch by indicating the spirit in which the study of Greek art and of ancient civilization should be approached, and the methods by which investigators might hope to attain solid results. To Winckelmann's contemporaries it came as a revelation, and it exercised a profound influence on the best minds of the age. It was read with intense interest by Lessing, who found in the earliest of Winckelmann's works the starting-point for his "Laocoon", and by Herder,
Works
The most accessible edition of selected works, in condensed forms, is David Irwin, "Winckelmann: Writings on Art" (London: Phaidon) 1972; the critical edition is Walther Rehm and Hellmut Sichtermann, eds., "
# "Gedanken über die Nachahmung der griechischen Werke in der Malerei und Bildhauerkunst" ("Thoughts on the Imitation of Greek Works in Painting and Sculpture"), followed by a feigned attack on the work, and a defence of its principles, nominally by an impartial critic. (First edition of only 50 copies 1755, 2nd ed. 1756)
# "Description des pierres gravées du feu Baron de Stosch" (1760)
# "Anmerkungen über die Baukunst der Alten" ("Remarks on the Architecture of the Ancients"), including an account of the temples at
# Sendschreiben von den Herculanischen Entdeckungen ("Letter About the Discoveries at Herculaneum) (1762)
# ("Essay on the Beautiful in Art") (1763), an epistolary essay addressed to Friedrich Rudolph von Berg
# Nachrichten von den neuesten Herculanischen Entdeckungen (Report About the Latest Herculanean Discoveries) (1764)
# "Geschichte der Kunst des Alterthums" ("History of Ancient Art") (1764)
# "Versuch einer Allegorie" ("Attempt at an Allegory") (1766), which, although containing the results of much thought and reading, is not conceived in a thoroughly critical spirit.
# "Monumenti antichi inediti" (1767-1768), prefaced by a "Trattato preliminare", presenting a general sketch of the history of art. The plates in this work are representations of objects which had either been falsely explained or not explained at all.
# "Briefe an Bianconi", which were published eleven years after his death, in the "Antologia Romana".
References
Further reading
*Efthalia Rentetzi, "Johann Joachim Winckelmann und der altgriechische Geist," in "Philia" (Universität Würzburg), vol. I, (2006), pp. 26-30, ISSN 0936-1944
External links
* [http://www.litencyc.com/php/stopics.php?rec=true&UID=1476 Johann Joachim Winckelmann as inspirer of Weimar Classicism in Literary Encyclopedia.]
* [http://winckelmann-institut.hu-berlin.de Winckelmann Institute] at the
* [http://www.kirjasto.sci.fi/winck.htm Biography]
Persondata
NAME=Winckelmann, Johann Joachim
ALTERNATIVE NAMES=
SHORT DESCRIPTION=German archaeologist
DATE OF BIRTH=
PLACE OF BIRTH=
DATE OF DEATH=
PLACE OF DEATH=
Источник: Johann Joachim Winckelmann
См. также в других словарях:
JAPON - Les arts — Issu, comme tous les arts de l’Extrême Orient, de la Chine qui lui a fourni techniques et modèles, l’art japonais se distingue, cependant, par l’originalité de ses créations. Son développement est scandé de périodes d’absorption, où se manifeste… … Encyclopédie Universelle
Représentation figurée dans les arts de l'Islam — Élément de décoration d une copie du De Materia Medica de Dioscoride, 1229, Syrie L histoire de la représentation figurée dans les arts de l Islam est un problème complexe, à l intersection de facteurs religieux, sociaux, politiques et… … Wikipédia en Français
Arts decoratifs au musee d'Orsay (1848-1889) — Arts décoratifs au musée d Orsay (1848 1889) Allier l art et l industrie, adapter la création artistique à la mécanisation et à l industrialisation croissante de la société de la seconde moitié du XIXe siècle a été un des grands défis… … Wikipédia en Français
Les Bronte — Les Brontë Anne, Emily et Charlotte Brontë, par leur frère Branwell (vers 1834). Lui même s était représenté, au milieu de ses sœurs, avant de s effacer, pour ne pas surcharger le tableau. Les Brontë sont une famille littéraire anglaise du… … Wikipédia en Français
Les Brontë — Anne, Emily et Charlotte Brontë, par leur frère Branwell (vers 1834). Lui même s était représenté, au milieu de ses sœurs, avant de s effacer, pour ne pas surcharger le tableau. Les Brontë sont une famille littéraire anglaise du XIXe siècle … Wikipédia en Français
Arts décoratifs au musée d'Orsay (1848-1889) — Allier l art et l industrie, adapter la création artistique à la mécanisation et à l industrialisation croissante de la société de la seconde moitié du XIXe siècle a été un des grands défis relevés par les arts décoratifs de cette période.… … Wikipédia en Français