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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
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762:("The History of Art in Antiquity"), 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." This was the first work to define in the art of a civilization an organic growth, maturity, and decline. Here, it included the revelatory 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
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602:(1728–79), with whom he first lived in Rome, Winckelmann devoted himself to the study of Roman antiquities and gradually acquired an unrivalled knowledge of ancient art. Winckelmann's method of careful observation allowed him to identify Roman copies of Greek art, something that was unusual at that time—Roman culture was considered the ultimate achievement of Antiquity. His friend Mengs became the channel through which Winckelmann's ideas were realized in art and spread around Europe. ("The only way for us to become great, yes, inimitable, if it is possible, is the imitation of the Greeks", Winckelmann declared in the
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714:, 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
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490:) and the definitive assertion, "he one way for us to become great, perhaps inimitable, is by imitating the ancients". The work won warm admiration 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, Winckelmann's views stirred discussion in the 1760s and 1770s, although it was limited to artistic circles:
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606:. With imitation he did not mean slavish copying: "... what is imitated, if handled with reason, may assume another nature, as it were, and become one's own"). Neoclassical artists attempted to revive the spirit as well as the forms of ancient Greece and Rome. Mengs's contribution in this was considerable—he was widely regarded as the greatest living painter of his day. The French painter
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367:. His father, Martin Winckelmann, worked as a cobbler, while his mother, Anna Maria Meyer, was the daughter of a weaver. Winckelmann's early years were full of hardship, but his academic interests pushed him forward. Later in Rome, when he had become a famous scholar, he wrote: "One gets spoiled here; but God owed me this; in my youth I suffered too much."
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878:. The true reason for the murder is not known. One hypothesis argues that the medals given to Winckelmann by the Empress Maria Theresa were the motive, but they were not stolen after the crime. Another possibility is that Arcangeli killed Winckelmann over homosexual advances, although Winckelmann had thought that Arcangeli was only "
346:) in Potsdam in a similar way as in "Athens and Sparta", and which he could enjoy so immensely that he would never again be allowed to. His homosexuality was recognized by his contemporaries, such as Goethe. In 1768, at the age of 50, he was murdered by a fellow guest at his hotel for reasons that remain unclear.
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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
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The fundamental idea of
Winckelmann's artistic theories are that the goal of art is beauty, and that this goal 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
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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
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and helping collect material for it; during this period he made several visits to the collection of antiquities at
Dresden, but his description of its best paintings remained unfinished. The treasures there, nevertheless, awakened in Winckelmann an intense interest in art, which was deepened by his
414:. Whilst working as a tutor for the powerful Lamprecht family, he fell into unrequited love with the handsome Lamprecht son. This was one of a series of such loves throughout his life. His enthusiasm for the male form excited Winckelmann's budding admiration of ancient Greek and Roman sculpture.
382:. However, Winckelmann was no theologian; he had become interested in Greek classics in his youth, but soon realized that the teachers in Halle could not satisfy his intellectual interests in this field. He nonetheless devoted himself privately to
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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.
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426:: "ittle 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 von Bünau's library at Nöthnitz, near
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but
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
1084:("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)
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Winckelmann's historical standing is best illustrated by the countless honors he received after his death. One of these is a medal published in a French medal series for illustrious men struck in 1819.
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959:(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,
667:. "Despite his association with Albani, Winckelmann steered clear of the shady world of art dealing which had compromised the scholarly respectability of such brilliant, if much less systematic
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during the late 18th century. His writings influenced not only a new science of archaeology and art history but
Western painting, sculpture, literature and even philosophy. Winckelmann's
482:("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
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568:, who was impressed by Winckelmann's beautiful Greek writing and showed him much kindness. Winckelmann also became librarian to Alberico Archinto, who had returned to Rome and become
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1131:, 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.
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contended that
Winckelmann "died a devout and sincere Catholic"; either way, his conversion ultimately opened the doors of the papal library to him. On the strength of the
614:, whom he influenced to become a leading proponent of neoclassicism in architecture. Winckelmann's ideals were later popularized in England through the reproductions of
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679:." Winckelmann's poverty may have played a part: the trade in antiquities was an expensive and speculative game. In 1763, with Albani's advocacy, he was appointed
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met Mengs in Rome (1775–80) and was introduced through him to the artistic theories of
Winckelmann. Earlier, while in Rome, Winckelmann met the Scottish architect
462:. To leave behind the spartan atmosphere of Prussia came as a great relief for Winckelmann. His major duty involved assisting von Bünau in writing a book on the
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In 1768, Winckelmann journeyed north over the Alps, but Tyrol depressed him and he decided to return to Italy. However, his friend, the sculptor and restorer
766:. He presents a glowing picture of the political, social, and intellectual conditions which he believed tended to foster creative activity in ancient Greece.
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1121:("Attempt at an Allegory") (1766), which, although containing the results of much thought and reading, is not conceived in a thoroughly critical spirit.
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Bernd
Krysmanski, "Does Hogarth depict Old Fritz truthfully with a crooked beak?: the pictures familiar to us from Pesne to Menzel don't show this",
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952:("Report on the Latest Discoveries at Herculaneum"). From these, scholars obtained their first real information about the excavations at Pompeii.
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280:", Winckelmann was one of the founders of scientific archaeology and first applied the categories of style on a large, systematic basis to the
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937:). The mimetic character of art that imitates but does not simply copy, as Winckelmann restated it, is central to any interpretation of
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Reflections on the painting and sculpture of the Greeks: with
Instructions for the connoisseur, and an essay On grace in works of art.
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Originally, Winckelmann planned to stay in Italy only two years with the help of the grant from Dresden, but the outbreak of the
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informed his writings on aesthetics. In 1752, he mentioned the "lust" which could be experienced with the "divine monarch" (i.e.
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475:—who encouraged Winckelmann in his aesthetic studies. (Winckelmann subsequently exercised a powerful influence over Goethe.)
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Normativiteit en Historisch Bewustzijn in de Achttiende Eeuw: Winckelmanns kunstpedagogie en de epistemologie van het Schone
299:(1764) was one of the first books written in German to become a classic of European literature. His subsequent influence on
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contains the first statement of the doctrines he afterwards developed, the ideal of "noble simplicity and quiet grandeur" (
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The earlier conflict posed as an antithesis between imitation and invention, was a major theme in the seventeenth century
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D. M. Sweet, 'The Personal, the Political and the Aesthetic: Johann Joachim Winckelmann's German Enlightenment life', in
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S. Krmnicek und M. Gaidys, Gelehrtenbilder. Altertumswissenschaftler auf Medaillen des 19. Jahrhunderts. Begleitband zur
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Winckelmann's writings are key to understanding the modern European discovery of ancient (sometimes idealized) Greece,
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1109:"Nachrichten von den neuesten Herculanischen Entdeckungen" ("Report About the Latest Herculanean Discoveries") (1764).
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classical idealism. Winckelmann stands at an early stage of the transformation of taste in the late 18th century.
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Pelzel, Thomas (1972). "Winckelmann, Mengs and Casanova: A Reappraisal of a Famous Eighteenth-Century Forgery".
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online-Ausstellung im Digitalen Münzkabinett des Instituts für Klassische Archäologie der Universität Tübingen
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Sendschreiben von den Herculanischen Entdeckungen ("Letter About the Discoveries at Herculaneum") (1762).
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A case for an attribution to Giovanni Casanova, brother of the famous memoirist and rake, was made in
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Winckelmann arrived in Rome in November 1755. His first task there was to describe the statues in the
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Winckelmann and the invention of Antiquity History and Aesthetics in the Age of Altertumswissenschaft
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Die zwei Federn des Johann Winckelmann. Oder: Wer sein Glück erkennt und nutzt, der ist es wert!
1179:(London) 1971; David Irwin offers a brief account to introduce his volume of selected writings,
401:. He also taught languages. From 1743 to 1748, he was the deputy headmaster of the gymnasium of
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managed to persuade him to travel to Munich and Vienna, where he was received with honor by
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With the intention of becoming a physician, in 1740 Winckelmann attended medical classes at
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Johann Winckelmann. Begründer der klassischen Archäologie und modernen Kunstwissenschaften.
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The father of official art history was a German named Johann Joachim Winckelmann (1717–68).
948:("Letter about the Discoveries at Herculaneum") was published in 1762, and two years later
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Johann Joachim Winckelmann by Friedrich Wilhelm Doell 1778, Museum of Old Masters, Dresden
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Wittkower, Rudolf (1965) "Imitation, eclecticism, and genius" in Earl R. Wasserman, ed.
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1096:("Remarks on the Architecture of the Ancients"), including an account of the temples at
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288:. He was one of the first to separate Greek Art into periods, and time classifications.
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Gedanken über die nachahmung der griechischen Werke in der Malerei und Bildhauerkunst
2001:
Johann Joachim Winckelmann as inspirer of Weimar Classicism in Literary Encyclopedia.
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Gedanken über die Nachahmung der griechischen Werke in der Malerei und Bildhauerkunst
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The most accessible editions of selected works, in condensed forms, are David Irwin,
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Gedanken über die nachahmung der griechischen Werke in der Malerei und Bildhauerkunst
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Gedanken über die Nachahmung der griechischen Werke in der Malerei und Bildhauerkunst
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translated the Italian document, the so-called "Mordakte Winckelmann", into German.
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Efthalia Rentetzi, 'Johann Joachim Winckelmann und der altgriechische Geist', in
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A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
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In the English language, translation of Winckelmann's major writings was slow:
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Die Stadt der Gelehrten: Studien zu Johann Joachim Winckelmanns Briefen aus Rom
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Sehnsucht nach dem Verlorenen: Winckelmanns Ästhetik und ihre frühe Rezeption
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1012:'s Winckelmann Institute is dedicated to the study of classical archaeology.
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969:(1766) on Winckelmann's views on harmony and expression in the visual arts.
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884:" ("a man of little account"). Arcangeli was executed a month later by
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1880:(Universität Würzburg); vol. I (2006), pp. 26–30, ISSN 0936-1944
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522:, king of Poland and elector of Saxony, granted him a pension of 200
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has been provocatively called "the Tyranny of Greece over Germany".
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1480:, translated by Henry Fusseli., Printed for A. Millar and T. Cadell
591:, tailored to deceive Winckelmann, has been attributed to Mengs or
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This article incorporates text from a publication now in the
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The biography in English is a popular account, Wolfgang Leppmann,
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Pedestal of Winckelmann statue, Winckelmannplatz, Stendal, Germany
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on 8 June 1768, in a hotel bed by a fellow traveller, a man named
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Portrait of Johann Joachim Winckelmann against classical landscape
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430:. The library contained some 40,000 volumes. Winckelmann had read
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710:("Unpublished monuments of antiquity", 1767–1768), prefaced by a
498:, was published in 1765, and reprinted with corrections in 1767.
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1328:(Heidelberg University: arthistoricum.net 2022, p. 28, note 83.
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Johann Joachim Winckelmann on Art, Architecture, and Archaeology
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Flesh and the Ideal: Winckelmann and the origins of art history
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1250:. Potts, Alex. Los Angeles, Calif.: Getty Research Institute.
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was not translated into English until 1849 by G. Henry Lodge.
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Larson, James L. (1976). "Winckelmann's Essay on Imitation".
691:, which were published, eleven years after his death, in the
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to observe the archaeological excavations being conducted at
252:; 9 December 1717 – 8 June 1768) was a German
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1351:. Stanford, California: Stanford University Press. pp.
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association with various artists, particularly the painter
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Johann Joachim Winckelmann and the rediscovery of Pompeii.
564:(1756–1763) changed his plans. He was named librarian to
209:
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Nachrichten von den neuesten Herculanischen Entdeckungen
496:
Reflections on the Painting and Sculpture of the Greeks
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Description des pierres gravées du feu Baron de Stosch
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Winckelmann statue, Winckelmannplatz, Stendal, Germany
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The Work of Art in the Age of Mechanical Reproduction
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Vol. 1 (1776). Winckelmann is center, surrounded by
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Conservation and restoration of archaeological sites
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Winckelmann: La Naissance de l'histoire de l'art ...
450:, but he found at Nöthnitz the works of such famous
284:. Many consider him the father of the discipline of
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706:. Of much greater importance was the work entitled
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Gedanken über die Nachahmung der Griechischen Werke
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888:outside the hotel in which both had been staying.
370:Winckelmann attended the Köllnisches Gymnasium in
1055:(Camden House) 2013, and the critical edition is
946:Sendschreiben von den Herculanischen Entdeckungen
526:, so that he could continue his studies in Rome.
2086:. Stuttgart: G. J. Goschen'sche Verlagshandlung.
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917:documented the last week of Winckelmann's life;
471:(1717–1799)—a future friend of and influence on
2044:Johann Joachim Winckelmann at arthistoricum.net
291:He had a decisive influence on the rise of the
3704:Converts to Roman Catholicism from Lutheranism
1903:Winckelmann e l'invenzione della storia d'arte
698:Winckelmann contributed various essays to the
264:who first articulated the differences between
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1936:I. Parry, 'Belvedere Hercules', in I. Parry,
1931:Early Greek travellers and the Hellenic ideal
1611:Haskell, Francis and Penny, Nicholas (1981).
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8:
2831:The Literary Mind and the Carving of Dragons
2056:Works by or about Johann Joachim Winckelmann
1827:. Vol. 28 (11th ed.). p. 707.
1615:. New Haven: Yale University Press. p. 101.
1432:
1389:. Ed. di Storia e Letteratura. p. 599.
1163:Random House Webster's Unabridged Dictionary
891:Winckelmann was buried in the churchyard of
598:With the aid of his new friend, the painter
830:. Unsourced material may be challenged and
3754:People from the Margraviate of Brandenburg
3276:
3089:
3075:
3067:
2113:
2099:
2091:
1981:The Renaissance: Studies in Art and Poetry
1889:full text pdf with exhaustive bibliography
1607:
1605:
1386:Studies in Renaissance Thought and Letters
1051:(London: Phaidon) 1972, and David Carter,
25:
1977:Studies in the History of the Renaissance
1216:. Random House Publishing Group. p.
850:Learn how and when to remove this message
1951:(1970) . Alfred A. Knopf, LOC: 70-118711
1330:https://doi.org/10.11588/artdok.00008019
933:, and the doctrine of art as imitation (
1666:Quarrel of the Ancients and the Moderns
1150:
1094:Anmerkungen über die Baukunst der Alten
649:Anmerkungen über die Baukunst der Alten
642:Description des pierres gravées du feu
1191:
1189:
870:. On his way back, he was murdered in
792:lies before him (Schlossmuseum Weimar)
1842:(2014. Weimarer Verlagsgesellschaft)
1573:"WINCKELMANN, Johann Joachim (1779)"
1049:Winckelmann: Selected Writings on Art
1000:Medal Johann Joachim Winckelmann 1819
700:Bibliothek der schönen Wissenschaften
587:The notorious fake antique fresco of
506:In 1751, the papal nuncio in Saxony,
247:
7:
2080:Winckelmann, Johann Joachim (1885).
1729:translated some minor writings, but
1503:. New York: Robert Appleton Company.
1244:Winckelmann, Johann Joachim (2006).
828:adding citations to reliable sources
374:and the Altstädtisches Gymnasium at
276:. "The prophet and founding hero of
2065:Works by Johann Joachim Winckelmann
1975:(1867 January) (repr. in W. Pater,
1758:Winckelmann, Johann Joachim (1873)
1731:Geschichte der Kunst des Alterthums
1637:"BIANCONI Giovanni Ludovico (1778)"
1315:(Tübingen, 1993), p. 151, note 104.
1113:Geschichte der Kunst des Alterthums
957:Geschichte der Kunst des Alterthums
760:Geschichte der Kunst des Alterthums
478:In 1755, Winckelmann published his
359:Winckelmann was born in poverty in
249:[ˈjoːhanˈjoːaxɪmˈvɪŋkl̩man]
127:Geschichte der Kunst des Alterthums
1963:The Tyranny of Greece over Germany
1817:; Mitchell, John Malcolm (1911). "
1743:http://hdl.handle.net/10900/100742
1494:"Johann Joachim Winckelmann"
1285:The Tyranny of Greece over Germany
1208:Robinson, Walter (February 1995).
1115:("History of Ancient Art") (1764).
732:Geschichte der Kunst des Alterhums
730:Figurehead from the title page of
647:appeared, followed in 1762 by his
14:
3719:Archaeologists from Saxony-Anhalt
1714:Aspects of the Eighteenth Century
1491:Herbermann, Charles, ed. (1913).
494:'s English translation, entitled
3661:
3651:
3650:
3049:
2072:
1988:Winckelmann und sein Jahrhundert
1866:(2012. Druckzone Cottbus GmbH)
1801:
800:
199:
135:Contribution to the rise of the
36:
16:German art historian (1717–1768)
3729:German male non-fiction writers
3699:18th-century German LGBT people
1940:(1972); reprinted in I. Parry,
1462:Winkelmann und sein Jahrhundert
1383:Kristeller, Paul Oskar (1993).
1247:History of the art of antiquity
963:based many of the ideas in his
925:Critical response and influence
758:Winckelmann's masterpiece, the
655:. In 1758 and 1762, he visited
131:The History of Art in Antiquity
1529:10.1080/00043079.1972.10789386
702:; and, in 1766, published his
422:In 1748, Winckelmann wrote to
168:Johann Joachim Winckelmann by
1:
3734:German people murdered abroad
1561:
1549:
1449:
1345:. In Alice A. Kuzniar (ed.).
1195:
1010:Humboldt University of Berlin
618:'s "Etruria" factory (1782).
488:edle Einfalt und stille Größe
388:Alexander Gottlieb Baumgarten
386:and followed the lectures of
3769:Köllnisches Gymnasium alumni
3235:electrical resistance survey
2961:Aestheticization of politics
2029:"Johann Joachim Winckelmann"
1764:. New York, F. Ungar Pub. Co
1181:Winckelmann: Writings on Art
897:Domenico Rossetti De Scander
21:Winckelmann (disambiguation)
2071:(public domain audiobooks)
1819:Winckelmann, Johann Joachim
1127:(1767–1768), prefaced by a
786:, 1768: an engraving of an
782:Portrait of Winckelmann by
746:in the foreground, and the
683:'s Prefect of Antiquities.
418:Count von Bünau's librarian
3790:
3764:University of Halle alumni
3124:Johann Joachim Winckelmann
1786:. New York: Random House.
1680:Eighteenth-Century Studies
1633:"Scritti di G.L. Bianconi"
1341:Kuzniar, Alice A. (1996).
1290:Cambridge University Press
574:Alessandro Cardinal Albani
473:Johann Wolfgang von Goethe
365:Margraviate of Brandenburg
309:Johann Wolfgang von Goethe
189:Johann Joachim Winckelmann
70:Margraviate of Brandenburg
30:Johann Joachim Winckelmann
18:
3646:
3205:Philosophy of archaeology
3029:
2006:Johann Joachim Winkelmann
1474:Winkelmann, Abbé (1767),
1348:Outing Goethe and His Age
1125:Monumenti antichi inediti
708:Monumenti antichi inediti
417:
158:
143:
35:
3759:People murdered in Italy
1926:; 18 (1988), p. 152
1924:Journal of Homosexuality
1433:Sime & Mitchell 1911
961:Gotthold Ephraim Lessing
919:Heinrich Alexander Stoll
424:Count Heinrich von Bünau
301:Gotthold Ephraim Lessing
154:Archaeology, art history
2981:Evolutionary aesthetics
2931:The Aesthetic Dimension
1944:(1988), p. 156–174
1824:Encyclopædia Britannica
1311:See Martin Disselkamp,
1183:(London: Phaidon) 1972.
1119:Versuch einer Allegorie
754:vase in the background.
704:Versuch einer Allegorie
640:In 1760, Winckelmann's
390:, who coined the term "
305:Johann Gottfried Herder
3774:1768 murders in Europe
3739:German Roman Catholics
2911:Avant-Garde and Kitsch
2861:Lectures on Aesthetics
1933:(1984), p. 85–146
1761:History of ancient art
1044:
1028:
1020:
1001:
880:
793:
755:
637:
595:
297:History of Ancient Art
260:. He was a pioneering
185:
177:
3724:German art historians
3215:Archaeological ethics
3210:Archaeological diving
3200:Archaeological theory
3056:Philosophy portal
2015:Winckelmann Institute
2010:Catholic Encyclopedia
1716:. Baltimore: Penguin.
1613:Taste and the Antique
1500:Catholic Encyclopedia
1039:
1026:
1018:
999:
886:breaking on the wheel
881:un uomo di poco conto
781:
729:
624:
586:
531:Cortile del Belvedere
293:Neoclassical movement
183:
167:
3744:LGBT Roman Catholics
3154:Augustus Pitt Rivers
3149:William Henry Holmes
3114:Archaeological sites
3001:Philosophy of design
2881:In Praise of Shadows
2871:The Critic as Artist
1971:, 'Winckelmann', in
1942:Speak Silence Essays
1838:Klaus-Werner Haupt:
1129:Trattato preliminare
1075:, Vorreden, Entwürfe
944:Winckelmann's study
864:Bartolomeo Cavaceppi
824:improve this section
712:Trattato preliminare
589:Jupiter and Ganymede
469:Adam Friedrich Oeser
19:For other uses, see
3749:People from Stendal
3714:German antiquarians
3144:John Lloyd Stephens
3134:Heinrich Schliemann
3011:Philosophy of music
2986:Mathematical beauty
2019:Humboldt University
1947:Wolfgang Leppmann,
1778:Boorstin, Daniel J.
1214:Instant Art History
1061:Hellmut Sichtermann
876:Francesco Arcangeli
608:Jacques-Louis David
600:Anton Raphael Mengs
380:University of Halle
344:Frederick the Great
321:Friedrich Nietzsche
313:Friedrich Hölderlin
117:University of Halle
3709:German gay writers
3668:History portal
3230:geophysical survey
3006:Philosophy of film
2996:Patterns in nature
2966:Applied aesthetics
2941:Why Beauty Matters
2727:Life imitating art
2588:Art for art's sake
2049:2016-12-20 at the
1986:J. W. von Goethe,
1973:Westminster Review
1135:Briefe an Bianconi
1045:
1029:
1021:
1002:
794:
756:
689:Briefe an Bianconi
673:Francesco Ficoroni
638:
596:
566:Cardinal Passionei
278:modern archaeology
186:
178:
170:Ferdinand Pettrich
3676:
3675:
3594:
3593:
3576:Pseudoarchaeology
3193:Method and theory
3064:
3063:
3016:Psychology of art
2891:Art as Experience
2033:Books and Writers
2027:Petri Liukkonen.
1915:E. Pommier, ed.,
1872:978-3-00-038509-4
1848:978-3-86539-718-8
1793:978-0-394-72625-0
1396:978-88-8498-333-6
893:Trieste Cathedral
860:
859:
852:
740:Romulus and Remus
681:Pope Clement XIII
593:Giovanni Casanova
570:Cardinal Archinto
508:Alberico Archinto
464:Holy Roman Empire
162:
161:
145:Scientific career
74:Holy Roman Empire
3781:
3666:
3665:
3664:
3654:
3653:
3501:Archaeoastronomy
3468:Paleoethnobotany
3277:
3179:Alfred V. Kidder
3164:Mortimer Wheeler
3091:
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1929:D. Constantine,
1894:R. M. Fridrich,
1862:Klaus-W. Haupt,
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1139:Antologia Romana
1077:(Berlin), 1968.
1073:Kleine Schriften
1069:
955:His major work,
916:
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693:Antologia romana
562:Seven Years' War
545:, the so-called
536:Apollo Belvedere
512:Gerhard Gietmann
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2051:Wayback Machine
1997:
1883:Wouter Soudan,
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1833:Further reading
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1783:The Discoverers
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3571:Phenomenology
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3129:Richard Hoare
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3021:Theory of art
3019:
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2593:Art manifesto
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2583:Appropriation
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2290:Abhinavagupta
2288:
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2242:Postmodernism
2240:
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2026:
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2020:
2016:
2013:
2011:
2007:
2004:
2002:
1999:
1998:
1994:
1989:
1985:
1982:
1978:
1974:
1970:
1967:
1964:
1960:
1957:
1956:Neoclassicism
1953:
1950:
1946:
1943:
1939:
1938:Hand to mouth
1935:
1932:
1928:
1925:
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1914:
1911:
1907:
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1820:
1816:
1811:
1810:public domain
1799:
1795:
1789:
1785:
1784:
1779:
1775:
1774:
1771:Cited sources
1770:
1763:
1762:
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1697:
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1655:
1654:Philhellenism
1649:
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1299:9781107697645
1295:
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1257:9780892366682
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1227:0-449-90698-1
1223:
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1197:
1192:
1190:
1186:
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1178:
1172:
1169:
1165:
1164:
1159:
1158:"Winckelmann"
1154:
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968:
967:
962:
958:
953:
951:
947:
942:
940:
939:Enlightenment
936:
932:
931:neoclassicism
924:
922:
920:
914:
909:
903:
898:
894:
889:
887:
882:
877:
873:
869:
868:Maria Theresa
865:
854:
851:
843:
833:
829:
825:
819:
818:
814:
809:This section
807:
803:
798:
797:
791:
790:
785:
780:
773:
771:
767:
765:
764:and of Greece
761:
753:
749:
745:
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733:
728:
721:
719:
717:
713:
709:
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631:
627:
623:
619:
617:
613:
609:
605:
601:
594:
590:
585:
581:
579:
578:Porta Salaria
575:
571:
567:
563:
558:
556:
555:
550:
549:
544:
543:
538:
537:
532:
527:
525:
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513:
509:
501:
499:
497:
493:
489:
485:
481:
476:
474:
470:
465:
461:
457:
453:
452:Enlightenment
449:
445:
441:
437:
433:
429:
425:
415:
413:
408:
404:
400:
395:
393:
389:
385:
381:
377:
373:
368:
366:
362:
354:
349:
347:
345:
341:
340:homoeroticism
337:
332:
330:
326:
325:Stefan George
322:
318:
314:
310:
306:
302:
298:
294:
289:
287:
283:
279:
275:
271:
267:
263:
259:
258:archaeologist
255:
254:art historian
250:
242:
241:
232:
196:
190:
182:
175:
171:
166:
157:
153:
149:
146:
142:
138:
132:
128:
125:
121:
118:
115:
111:
108:
105:
101:
97:
93:
83:
79:
75:
71:
67:
54:
50:
45:
44:Raphael Mengs
39:
34:
27:
22:
3506:Archaeometry
3480:Experimental
3414:Near Eastern
3373:Near Eastern
3368:Mesopotamian
3322:Contemporary
3139:Arthur Evans
3123:
2939:
2929:
2919:
2889:
2879:
2859:
2849:
2839:
2829:
2819:
2809:
2756:
2732:Magnificence
2714:
2564:
2559:
2530:Schopenhauer
2365:Coomaraswamy
2283:Philosophers
2271:
2202:Aestheticism
2082:
2032:
1987:
1980:
1976:
1972:
1969:Walter Pater
1962:
1955:
1948:
1941:
1937:
1930:
1923:
1916:
1909:
1902:
1895:
1884:
1877:
1863:
1856:
1839:
1822:
1782:
1760:
1754:
1738:
1730:
1727:Henry Fuseli
1721:
1713:
1708:
1683:
1679:
1673:
1660:
1648:
1640:
1628:
1612:
1596:
1569:
1557:
1545:
1520:
1516:
1509:
1498:
1486:
1476:
1469:
1461:
1456:
1385:
1378:
1366:. Retrieved
1347:
1336:
1325:
1320:
1312:
1307:
1284:
1274:
1246:
1239:
1231:
1213:
1203:
1180:
1176:
1171:
1161:
1153:
1138:
1134:
1128:
1124:
1118:
1112:
1093:
1087:
1081:
1071:
1057:Walther Rehm
1052:
1048:
1046:
1040:
1007:
1003:
978:
971:
965:
956:
954:
949:
945:
943:
934:
928:
890:
861:
846:
837:
822:Please help
810:
787:
768:
763:
759:
757:
731:
711:
707:
703:
699:
697:
692:
688:
685:
677:Baron Stosch
669:antiquarians
648:
641:
639:
630:Royal Castle
625:
603:
597:
588:
559:
552:
546:
540:
534:
528:
520:Augustus III
515:
505:
495:
492:Henry Fuseli
487:
483:
479:
477:
421:
396:
369:
358:
333:
296:
290:
188:
187:
144:
137:neoclassical
130:
126:
86:(1768-06-08)
46:, after 1755
42:Portrait by
3694:1768 deaths
3689:1717 births
3586:Transgender
3511:Battlefield
3287:Prehistoric
3247:Burnt layer
3184:George Bass
3098:Archaeology
2825:(c. 335 BC)
2815:(c. 390 BC)
2794:Work of art
2747:Picturesque
2603:Avant-garde
2560:Winckelmann
2435:Kierkegaard
2360:Collingwood
2330:Baudrillard
2257:Romanticism
2227:Historicism
2161:Mathematics
1979:(1873) and
1954:H. Honour,
1949:Winckelmann
1815:Sime, James
1177:Winckelmann
1064: [
911: [
900: [
687:Saxony his
665:Herculaneum
612:Robert Adam
460:Montesquieu
454:writers as
338:, and open
286:art history
270:Greco-Roman
103:Nationality
84:8 June 1768
3683:Categories
3609:by country
3541:Industrial
3536:Indigenous
3485:Underwater
3431:Calceology
3353:Australian
3331:Geographic
3317:Historical
3252:Excavation
2764:Recreation
2742:Perception
2635:Creativity
2335:Baumgarten
2325:Baudelaire
2207:Classicism
2122:Aesthetics
1908:A. Potts,
1901:F. Testa,
1621:0300029136
1362:0804726140
1288:, London:
1146:References
935:Nachahmung
722:Masterwork
551:, and the
392:aesthetics
355:Early life
336:homosexual
174:Albertinum
58:1717-12-09
3546:Landscape
3419:Osteology
3302:Classical
2769:Reverence
2675:Eroticism
2645:Depiction
2618:Masculine
2520:Santayana
2480:Nietzsche
2425:Hutcheson
2415:Heidegger
2400:Greenberg
2355:Coleridge
2320:Balthasar
2305:Aristotle
2267:Theosophy
2262:Symbolism
2237:Modernism
2222:Formalism
1853:K. Harloe
981:, and by
811:does not
742:with the
440:Sophocles
436:Herodotus
412:Magdeburg
403:Seehausen
376:Salzwedel
350:Biography
274:Roman art
262:Hellenist
176:, Dresden
3656:Category
3638:Journals
3556:Mortuary
3551:Maritime
3526:Funerary
3521:Feminist
3516:Conflict
3494:Thematic
3409:Medieval
3363:Egyptian
3358:Oceanian
3343:American
3307:Medieval
3297:Biblical
3174:Max Uhle
3044:Category
2976:Axiology
2845:(c. 500)
2835:(c. 100)
2710:Judgment
2665:Emotions
2660:Elegance
2640:Cuteness
2613:Feminine
2576:Concepts
2545:Tanizaki
2525:Schiller
2510:Richards
2500:Rancière
2470:Maritain
2405:Hanslick
2345:Benjamin
2217:Feminism
2186:Theology
2166:Medieval
2156:Japanese
2151:Internet
2069:LibriVox
2047:Archived
1887:(2008) (
1780:(1983).
1564:, p. 587
1562:Boorstin
1552:, p. 585
1550:Boorstin
1460:Goethe,
1450:Boorstin
1282:(1935),
1266:59818023
1196:Boorstin
1070:, eds.,
840:May 2024
789:Antinous
752:Etruscan
744:She-wolf
675:and the
604:Gedanken
548:Antinous
484:Gedanken
456:Voltaire
444:Xenophon
240:-əl-mahn
172:, 1866,
139:movement
3616:Periods
3451:Virtual
3436:Digital
3338:African
3240:Sondage
3106:History
3039:Outline
2954:Related
2821:Poetics
2789:Tragedy
2779:Sublime
2752:Quality
2737:Mimesis
2695:Harmony
2680:Fashion
2655:Ecstasy
2650:Disgust
2566:more...
2535:Scruton
2460:Lyotard
2395:Goodman
2375:Deleuze
2310:Aquinas
2300:Alberti
2273:more...
2252:Realism
2232:Marxism
2212:Fascism
2195:Schools
2181:Science
2136:Ancient
2058:at the
2017:at the
2008:by the
1983:(1877))
1812::
1700:2737517
1537:3048998
1464:, 1805.
1368:May 23,
1326:ART-Dok
1098:Paestum
1090:(1760).
1008:Today,
979:Laocoön
975:Lessing
966:Laocoön
872:Trieste
832:removed
817:sources
750:and an
661:Pompeii
653:Paestum
542:Laocoön
524:thalers
428:Dresden
407:Altmark
405:in the
363:in the
361:Stendal
245:German:
133:; 1764)
92:Trieste
66:Stendal
3605:Sites
3531:Gender
3394:Aerial
3378:Nubian
3225:Survey
2945:(2009)
2935:(1977)
2925:(1946)
2915:(1939)
2905:(1935)
2895:(1934)
2885:(1933)
2875:(1891)
2865:(1835)
2855:(1757)
2722:Kitsch
2700:Humour
2630:Comedy
2608:Beauty
2550:Vasari
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2455:Lukács
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2390:Goethe
2315:Balázs
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2176:Nature
2141:Africa
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