It was such love as Michelangelo had known, and Montaigne, and Winckelmann
, and Shakespeare himself.
Goethe cites the fact that: Winckelmann
"had reached the
Atzmon then met Matthias Winckelmann
at the Berlin Jazz Festival, a connection which eventually resulted in a deal with his Enja label, based in Munich.
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
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.