Thomas Reiser | |
---|---|
Born | 1979 (age 44–45) Bayreuth, Germany |
Occupation | philologist, translator |
Nationality | German |
Thomas Reiser (born 1979 in Bayreuth, Germany) is a German philologist and translator. His contributions range from Baroque alchemy to comedies and art technological treatises of classical antiquity as well as of the Italian Renaissance. In 2014 he saw to the first German translation of Francesco Colonna’s Hypnerotomachia Poliphili .
Thomas Reiser studied German Medieval Literature, Italian and Latin at the universities of Munich and Heidelberg. There he also obtained his doctoral degree in 2009 with the edition, translation and commentary of the mytho-alchemical didactic epic Chryseidos Libri IIII by the physician and alchemist Johannes Nicolaus Furichius (1602–1633) from Strasbourg. [1] He then held postdoctoral scholarships at the Centre Tedesco di Studi Veneziani in Venice and 2010 at the Zentralinstitut für Kunstgeschichte in Munich. [2] In 2014 he provided the first German translation of Francesco Colonna’s Hypnerotomachia Poliphili (Venice 1499), which the Austrian composer Alexander Moosbrugger (with extracts from the English version by Joscelyn Godwin) turned into the libretto of his opera Wind; premiered at the Bregenz Festival, Lake Constance, and first aired in 2021. [3] As a fellow at the Casa di Goethe museum in Rome (2016 and 2017) Reiser rendered Andrea Palladio’s guides to the city’s ancient monuments and churches into German. [4] In the same year he was awarded a scholarship for a new translation of Bernardo Dovizi da Bibbiena’s (1470–1520) comedy La Calandria (1513) by the Viennese publishing house Schultz & Schirm Bühnenverlag. [5] Reiser further worked, as Gerda Henkel fellow in 2016 on Julius Pollux and as Volkswagen Foundation fellow on the architectural theory of the Italian Renaissance from 2018 to 2019, at the Section for Conservation and Restoration Studies of the TUM School of Engineering and Design in Munich. [6]
Hypnerotomachia Poliphili, called in English Poliphilo's Strife of Love in a Dream or The Dream of Poliphilus, is a book said to be by Francesco Colonna. It is a famous example of an incunable. The work was first published in 1499 in Venice by Aldus Manutius. This first edition has an elegant page layout, with refined woodcut illustrations in an Early Renaissance style. Hypnerotomachia Poliphili presents a mysterious arcane allegory in which the main protagonist, Poliphilo, pursues his love, Polia, through a dreamlike landscape. In the end, he is reconciled with her by the "Fountain of Venus".
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.
The Treaty of Templin was concluded on 24/25 November 1317, ending a war between the Margraviate of Brandenburg and Denmark, the latter leading a North German alliance. During this war, Brandenburgian margrave Waldemar and his troops were decisively defeated in the 1316 Battle of Gransee, fought at Schulzendorf between Rheinsberg and Gransee. After the battle, Brandenburg was forced to negotiate a truce. The treaty of Templin was signed a year later by Danish king Erich VI Menved, his ally duke Henry II of Mecklenburg, and Waldemar.
Julius Alwin Franz Georg Andreas Ritter von Schlosser 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".
Ludwig Heinrich Heydenreich was a German art historian specialized in Italian Renaissance art. From 1947 to 1970, he served as director of the Zentralinstitut für Kunstgeschichte, Munich.
The Zentralinstitut für Kunstgeschichte, is an independent art-historical research institute in Germany. The institute resides in the former administration building of the National Socialist party near Königsplatz in Munich.
Wolfgang Lotz was a German art historian specialized in Italian Renaissance architecture.
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.
Hans Jantzen was a German art historian who specialized in Medieval art.
Wolf Tegethoff is a German art historian, an expert on Ludwig Mies van der Rohe and currently, with Ulrich Pfisterer, director of the Zentralinstitut für Kunstgeschichte, Munich.
Herbert von Einem was a German art historian.
Giovan Antonio Rusconi was a Venetian architect, hydraulic engineer, translator and illustrator of Vitruvius.
Livio Retti was an Italian Baroque painter who worked mainly in present-day South Germany, at the time the Duchy of Württemberg, the Duchy of Bavaria, some secular or ecclesiastical Franconian principalities and some free imperial cities such as Schwäbisch Hall.
Iris Lauterbach is a German art historian with the Zentralinstitut für Kunstgeschichte. She is a specialist in the history of gardens in art and was a co-founder of the network for German orangeries, the international history of art network, and the German historical gardens circle for the art of gardens and landscape culture. She has been an honorary professor at the Technical University of Munich since 2012.
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.
Peter Herde is a German historian. His research activities range from fundamental work on papal diplomatics of the Middle Ages to the history of the country up to the Second World War.
Reinhard Liess is a German art historian.
Ernst Emil Max Gall was a German art historian and historic preservationist.
Kathrin Hoffmann-Curtius was a German, independent art historian, who taught for a time at the universities of Tübingen, Hamburg, Trier and Vienna.
The Liber colorum secundum magistrum Bernardum is a medieval treatise on miniature painting and book illumination. Written in a Medieval Latin interspersed with several expressions in the Italian Lombard dialect it stems from 13th century Northern Italy. The eponymous magister Bernardus was most likely a cleric working in a scriptorium to whom later collections also attribute further artisanal instructions not related to book painting. It is contained within four manuscripts: