Gustav Friedrich Waagen
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| - | Hieronymns (Jerome] Bosch, more correctly Hieronymus van A ken of Bois le | + | '''Gustav Friedrich Waagen''' (February 11, 1794–July 15, 1868) was a [[Germany|German]] art historian. |
| - | Due (Bosch being the Dutch form of Bois, or wood), was a painter of strongly | + | |
| - | marked individuality. He was born between 1460 and 1464, and died 1516, | + | |
| - | His peculiarity lay in his treatment of the most wildly fanciful subjects, such | + | |
| - | as sins and their punishment in hell. These, as being at once farcical and | + | |
| - | terrible, soon became extremely popular, and found many imitators. At the | + | |
| - | same time he could deal skilfully with simpler subjects, giving them a very | + | |
| - | piquant humour and realism ; these compositions are best known from engrav- | + | |
| - | ings of the sixteenth century (Fig. 165). He himself was not an engraver. His | + | |
| - | more important works mentioned by Van Mander and Zanetti have perished ; | + | |
| - | most of his remaining pictures are in the Madrid Museum, and two of | + | |
| - | seven there ascribed to him are undoubtedly genuine 86 the Adoration of the | + | |
| - | Kings, full of quaint details with an extensive landscape (No. H75)> an <* the | + | |
| - | Temptation of S. Anthony (No. 1176). There is another of his works | + | |
| - | a Holy Family with SS. Catherine and Barbara, in the Naples Museum. One | + | |
| - | of the best is the Last Judgment in the Vienna Academy, of which there is a | + | |
| - | copy in the Berlin Gallery. In spite of his grotesque humour, Bosch is a very | + | |
| - | noteworthy master ; his execution is free and broad, clear and sure, and as a | + | |
| - | colourist he is successful in harmonising vivid local tints into a bright and | + | |
| - | glowing tone. [There is one of Bosch's fantastic representations of hell at | + | |
| - | [[Hampton Court]], and in the British Museum one (a man being shaved [[Waagen]]), | + | |
| - | If not more, of his drawings, Mr. Fuller Maitland has a small Head of S. | + | |
| - | John ; and there is a " good example " at Petworth : the Adoration of the | + | |
| - | Kings (Waagen).] | + | |
| - | <hr> | + | |
| - | *[[Nelly Byl]], 92, Begian songwriter. | + | |
| - | <hr> | + | |
| - | ''[[The Garden of Earthly Delights]]'' (c. 1500) [[Hieronymus Bosch]] | + | |
| - | I've been teaching on this painting. The 700 megabyte file depicted above helped enormously to see all the detail in this painting, which hangs in the Prado. | + | Waagen was born in [[Hamburg]], the son of a painter and nephew of the poet [[Ludwig Tieck]]. Having passed through the college of [[Hirschberg]], he volunteered for service in the Napoleonic campaign of 1813-1814, and on his return attended the lectures at [[University of Wroclaw|Breslau University]]. He devoted himself to the study of art, which he pursued in the great European galleries, first in Germany, then in Holland and Italy. |
| - | I'd previously been unaware to what extent this painting is about [[worldly pleasure]]s. I had missed details such as the gaze of Adam towards Eve, and certain elements of the central panel, especially the lower half which is full of cavorting and frolicing nude bodies. As such, it is an icon of [[medieval erotic art]]. | + | A pamphlet on the brothers [[Van Eyck]] led to his appointment to the directorship of the newly founded Berlin Museum in 1832. The result of a journey to [[London]] and [[Paris]] was an important publication in three volumes, ''Kunstwerke und Künstler in England und Paris'' (Berlin, 1837-1839), which became the basis for his more important ''The Treasures of Art in Great Britain'', translated by [[Elizabeth Eastlake]], (4 vols, London, 1854 and 1857). This remains a key source for the [[provenance]] of paintings then in England. Although Waagen has been criticised for his "amateurish and erratic expertise" by modern standards, his work was regarded as highly authoritative for the next half-century. |
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| + | In 1844 he was appointed professor of art history at the [[Berlin University]], and in 1861 he was called to [[St Petersburg]] as adviser in the arranging and naming of the pictures in the imperial collection. On his return he published a book on the Hermitage collection (Munich, 1864). Among his other publications are some essays on [[Peter Paul Rubens|Rubens]], [[Andrea Mantegna|Mantegna]] and [[Luca Signorelli|Signorelli]]; ''Kunstwerke und Künstler in Deutschland''; and ''Die vornehmsten Kunstdenkmäler in Wien''. | ||
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| + | He died on a visit to [[Copenhagen]] in 1868. In the light of later research his writings are not of much value as regards trustworthy criticism, though they are useful as catalogues of art treasures in private collections at the time when they were compiled. His opinions were greatly respected in England, where he was invited to give evidence before the royal commission inquiring into the condition and future of the [[National Gallery, London|National Gallery]], for which he was a leading candidate to become Director. | ||
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Gustav Friedrich Waagen (February 11, 1794–July 15, 1868) was a German art historian.
Waagen was born in Hamburg, the son of a painter and nephew of the poet Ludwig Tieck. Having passed through the college of Hirschberg, he volunteered for service in the Napoleonic campaign of 1813-1814, and on his return attended the lectures at Breslau University. He devoted himself to the study of art, which he pursued in the great European galleries, first in Germany, then in Holland and Italy.
A pamphlet on the brothers Van Eyck led to his appointment to the directorship of the newly founded Berlin Museum in 1832. The result of a journey to London and Paris was an important publication in three volumes, Kunstwerke und Künstler in England und Paris (Berlin, 1837-1839), which became the basis for his more important The Treasures of Art in Great Britain, translated by Elizabeth Eastlake, (4 vols, London, 1854 and 1857). This remains a key source for the provenance of paintings then in England. Although Waagen has been criticised for his "amateurish and erratic expertise" by modern standards, his work was regarded as highly authoritative for the next half-century.
In 1844 he was appointed professor of art history at the Berlin University, and in 1861 he was called to St Petersburg as adviser in the arranging and naming of the pictures in the imperial collection. On his return he published a book on the Hermitage collection (Munich, 1864). Among his other publications are some essays on Rubens, Mantegna and Signorelli; Kunstwerke und Künstler in Deutschland; and Die vornehmsten Kunstdenkmäler in Wien.
He died on a visit to Copenhagen in 1868. In the light of later research his writings are not of much value as regards trustworthy criticism, though they are useful as catalogues of art treasures in private collections at the time when they were compiled. His opinions were greatly respected in England, where he was invited to give evidence before the royal commission inquiring into the condition and future of the National Gallery, for which he was a leading candidate to become Director.
