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 (vĭng′kəl-män′), Johann Joachim 1717-1768.
German archaeologist and art historian noted for his systematic study of Greek and Roman antiquities in The History of Ancient Art (1764).


(German ˈvɪŋkəlman)
(Biography) Johann Joachim (joˈhan ˈjoːaxɪm). 1717–68, German archaeologist and art historian; one of the founders of neoclassicism


(ˈvɪŋ kəlˌmɑn)

Johann Joachim, 1717–68, German archaeologist and art historian.
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Noun1.Winckelmann - German archaeologist and art historian said to be the father of archaeology (1717-1768)Winckelmann - German archaeologist and art historian said to be the father of archaeology (1717-1768)
References in classic literature ?
It was such love as Michelangelo had known, and Montaigne, and Winckelmann, and Shakespeare himself.
La Historia del Arte en la Antiguedad (1764) de Johan Joachim Winckelmann es considerada el texto fundacional de esta disciplina, si bien conviene aclarar que con anterioridad al siglo XVIII ya existieron escritos de Historia del Arte, aunque estos no contaron con el caracter sistematico y cientifico de la obra de Winckelmann.
He is joining a tour whose focus promises to be the eighteenth-century art historian and classical archeologist Winckelmann and his rediscovery of ancient Rome.
The German obsession with ancient Greece, and with Platonism in particular, as inaugurated by Winckelmann in the 1750s and further developed by all the members of the Weimar community discussed in this book, is a further major factor.
Goethe called the 18th century "the age of Winckelmann," after the German aesthete Johann Joachim Winckelmann (1717--68), who transformed art criticism by attributing the perfection of Greek art to the social and even physical perfection of the ancient Greeks themselves.
Here you will find a survey of the major directions in art historical research since the days that Johann Joachim Winckelmann invented our profession, illustrated by appropriate texts chosen from over the whole period of the mid-18th to the late 20th century.
was new in the attitude of Winckelmann and his contemporaries was, in
5) Winckelmann himself had explicit political views and never advocated a Romantic conception of the artist as a solitary genius detached from society.
In the book's most stimulating contribution, entitled' "Third Sex" in an Age of Difference: Androgyny and Homosexuality in Winckelmann, Friedrich Schlegel, and Kleist', Catriona MacLeod identifies a shift that occurs in the late eighteenth century from the (homo) erotic and genuinely polymorphous ideal of androgyny proposed by Winckelmann to a model grounded in heterosexual complementarity, drained of sexuality, and central to the aesthetic programme of Wilhelm von Humboldt, Schiller, Goethe, and others.
In particular, the German author Wilhelm Winckelmann longs for the aesthetics of the Athenians; the resurrection of Athenian democracy in the eyes of this writer and other eighteenth century German authors occurs not from interest in the political regime that gives autonomy and freedom to the individual, but from the culture that Athenian democracy could produce.