Julius Alwin Franz Georg Andreas Ritter von Schlosser (23 September 1866, Vienna – 1 December 1938, Vienna) was an Austrian art historian and an important member of the Vienna School of Art History. According to Ernst Gombrich, he was "One of the most distinguished personalities of art history". [1]
From 1884 to 1887, Julius Schlosser studied philology, art history and archaeology at the University of Vienna. [2] In 1888, he completed a Ph.D. thesis on early medieval cloisters supervised by Franz Wickhoff. In 1892, he wrote his Habilitationsschrift. In 1901, he was appointed professor and director of the sculpture collection at Vienna. In 1913, he was knighted and changed his name from Julius Schlosser to Julius von Schlosser. In 1919 he became member of the Austrian Academy of Sciences. After the unexpected death of Max Dvořák in 1922, he chaired the second art history department of the University of Vienna, his colleague, and opponent, Josef Strzygowski chairing the first art history department. [3] [4] [5] Von Schlosser retired in 1936.
In 1908, Von Schlosser published Die Kunst- und Wunderkammern der Spätrenaissance, and in 1912 a study on Lorenzo Ghiberti's memoirs. [6] From 1914 to 1920, he wrote his eight-part Materialien zur Quellenkunde der Kunstgeschichte, and in 1923 a study on medieval art, entitled Die Kunst des Mittelalters. In 1924, he published Die Kunstliteratur, a bibliography on writings on art, which was translated into Italian as La letteratura artistica: Manuale delle fonti della storia dell'arte moderna (1935; 2nd edition, 1956; 3rd edition, 1964). [7] [8] In 1984, it was also translated into French. [9] This publication, which expressed discontent with Jacob Burckhardt's assessments in Die Kultur der Renaissance in Italien (1860) on several counts, [10] is a "famous standard work ... which is still the most admirable survey of writings about art from antiquity to the eighteenth century". [4] "Written with the profound insight of first-hand knowledge, it is not only indispensable as a bibliographical reference book, but it is also one of the few works in our subject to be both genuinely scholarly and readable." [11]
From 1929 to 1934, his 3-volume Künstlerprobleme der Frührenaissance appeared. This was followed by a study on Die Wiener Schule der Kunstgeschichte (1934, translated into English as The Vienna School of Art History), in which, however, he contemptuously claimed that the first art history department at the University of Vienna, chaired by his opponent Strzygowski, had nothing in common with the Vienna School and indeed often contradicted it, so that he completely omitted it from his historical sketch. [12] [13] In 1941, a posthumous monograph on Ghiberti appeared. In 1998, his "Geschichte der Porträtbildnerei in Wachs" (1911) was translated into English. [14] Besides his art historical writings, Von Schlosser also published a history of musical instruments (1922).
His mother being of Italian ancestry, [2] he spoke Italian very well and expected his students to read original Italian texts, particularly Vasari. [4] Being a close friend of Benedetto Croce, Von Schlosser translated the works of the famous Italian philosopher into German.
According to Catherine M. Soussloff, "much of von Schlosser's work raises a question basic to any discourse on visual culture, such as art history, that constructs the maker as essential to an understanding of the artifact or object. Can the biography of an artist be held in a privileged and isolated status from the other written sources ...? This question cannot be answered adequately without looking more closely at the arguments found in von Schlosser concerning the structure of the biography of the artist that later informed those of Legend, Myth, and Magic.". [15]
In his obituary in the Burlington Magazine, Ernst Gombrich emphasizes that Von Schlosser "was not a specialist of the modern type — nor did he ever strive to be one. For any kind of specialisation his reading was too vast, his outlook too broad, his horizon too wide. It embraced literature no less than art and history and last, but not least — music. His horror of professionalism of any kind is reflected in every single line he wrote." [16] According to the Dictionary of Art Historians, he is "considered one of the giants of the discipline of art history in the twentieth century". [17]
Von Schlosser's students included Ernst Kris, Otto Kurz, Ernst Gombrich, Otto Pächt, Hans Sedlmayr, Fritz Saxl, Ludwig Goldscheider, Charles de Tolnay, and other well-known art historians. [17]
The Schlossergasse in Vienna was named in honor of Julius von Schlosser's memory. [18]
Josef Rudolph Thomas Strzygowski was a Polish-Austrian art historian known for his theories promoting influences from the art of the Near East on European art, for example that of Early Christian Armenian architecture on the early Medieval architecture of Europe, outlined in his book, Die Baukunst der Armenier und Europa. He is considered a member of the Vienna School of Art History.
Max Dvořák was a Czech-born Austrian art historian. He was a professor of art history at the University of Vienna and a famous member of the Vienna School of Art History, employing a Geistesgeschichte methodology.
Robert von Zimmermann or Robert Zimmermann was a Czech-born Austrian philosopher.
Moritz Thausing was an Austrian art historian, and counts among the founders of the Vienna School of Art History.
The Vienna School of Art History was the development of fundamental art-historical methods at the University of Vienna. This school was not actually a dogmatically unified group, but rather an intellectual evolution extending over a number of generations, in which a series of outstanding scholars each built upon the achievements of their forerunners, while contributing their own unique perspectives. Essential elements of this evolution became fundamental for modern art history, even if the individual methods can today no longer claim absolute validity.
Rudolf Eitelberger was an Austrian art historian and the first Ordinarius for art history at the University of Vienna. He is considered as the founder of the Vienna School of Art History.
Wilhelm Lübke was a German art historian, born in Dortmund.
Otto Pächt was an Austrian art historian and one of the representatives of the second wave of the Vienna School of Art History. He mostly wrote on the medieval and Renaissance art of Europe. An exile from the Nazis, he taught in England and United States, before returning to Austria in 1963.
Alwin Schultz was a German art historian and medievalist, professor of art history at the Charles University in Prague.
Fritz Grossmann, art historian. Born 26 June 1902 in Stanislau,, now Ivano-Frankivsk in the Ukraine, died 16 November 1984, Croydon, London) was an Austrian-British art historian.
Willibald Sauerländer was a German art historian specializing in Medieval French sculpture. From 1970 to 1989, he was director of the prestigious Zentralinstitut für Kunstgeschichte, Munich.
The term Cologne School of Painting was first applied in the 19th century to describe old German paintings generally. It subsequently came to refer more specifically to painters who had their workshops in medieval Cologne and the lower-Rhine region from about 1300 to 1550.
The Lives of the Modern Painters, Sculptors, and Architects or Le vite de' pittori, scultori et architetti moderni is a series of artist biographies written by Gian Pietro Bellori (1613–96), whom Julius von Schlosser called "the most important historiographer of art not only of Rome, but all Italy, even of Europe, in the seventeenth century". It is one of the foundational texts of the history and criticism of European art.
Werner Hofmann was an Austrian art historian, cultural journalist, writer, curator and museum director, who is "considered by his colleagues as one of the most distinguished European scholars of modern art and its ideology."
Hans Tietze was an Austrian art historian and member of the Vienna School of Art History.
Karl Günther Ernst Felix Becker was a German art historian, best known today for the project Thieme-Becker.
Heinrich Richard Hamann was a German art historian.
Ulrich Pfisterer is a German art historian whose scholarship focuses on the art of Renaissance Italy. He is currently a professor of art history at Ludwig Maximilian University of Munich and the director of the Zentralinstitut für Kunstgeschichte.
Ernst Emil Max Gall was a German art historian and historic preservationist.
Theodor Gustav Alwin Adolf Maennchen was a German landscape and genre painter.
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