(This book was originally published prior to 1923, and rep...)
This book was originally published prior to 1923, and represents a reproduction of an important historical work, maintaining the same format as the original work. While some publishers have opted to apply OCR (optical character recognition) technology to the process, we believe this leads to sub-optimal results (frequent typographical errors, strange characters and confusing formatting) and does not adequately preserve the historical character of the original artifact. We believe this work is culturally important in its original archival form. While we strive to adequately clean and digitally enhance the original work, there are occasionally instances where imperfections such as blurred or missing pages, poor pictures or errant marks may have been introduced due to either the quality of the original work or the scanning process itself. Despite these occasional imperfections, we have brought it back into print as part of our ongoing global book preservation commitment, providing customers with access to the best possible historical reprints. We appreciate your understanding of these occasional imperfections, and sincerely hope you enjoy seeing the book in a format as close as possible to that intended by the original publisher.
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(Reflexions on the Imitation of the both its nature and fi...)
Reflexions on the Imitation of the both its nature and fize in a country, chofen, as Plato a fays, by Minerva, to be inhabited by the Greeks, as productive of every kind of genius. But this Taste was not only original among the Greeks, but feemed alfo quite peculiar to their country: it feldom went abroad without lofs, and was long ere it imparted its kind influences to more diftant climes. It was, doubtlefs, a ftranger to the northern zones, when Painting and Sculpture, thofe offsprings of Greece, were defpifed there to fuch a degree, that the mofl valuable pieces of Cor regio ferved only for blinds to the windows of the royal ftables at Stockholm. There is but one way for the moderns to become great, and perhaps unequalled 3I mean, by imitating the antients. And what we are told of Homer, that whoever underftands him well, admires him, we find no Jefs true in matters concerning the antienr, efpecially the Greek arts. But then we mufl a Plato in Timae .E dit. Francof. p. 1644. (Typographical errors above are due to OCR software and don't occur in the book.) About the Publisher Forgotten Books is a publisher of historical writings, such as: Philosophy, Classics, Science, Religion, History, Folklore and Mythology. Forgotten Books' Classic Reprint Series utilizes the latest technology to regenerate facsimiles of historically important writings. Careful attention has been made to accurately preserve the original format of each page whilst digitally enhancing the aged text. Read books online for free at www.forgottenbooks.org
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(The American translator of the following work published i...)
The American translator of the following work published it under the title ofT heH istory of Ancient A rt, although it forms but one part of the work so entitled by the author. The general title was adopted with a view, as stated in the Preface, of presenting to the public, at some future time, the remaining volumes of the series. But as it is uncertain when these volumes will appear, and as this one is complete in itself, it has been thought desirable to give the more specific and accurate title of AH istory of Ancient Art among the Greeks to theE nglish edition of the work. A further deviation from the American edition consists in the substitution, in the present one, of a Plate, representing the eyes, forehead, and arrangement of the hair, of the Jupiter ofO tricoli for the one representing the head and bust of the Jupiter of Phidias. (S eeN ote, page 60. (Typographical errors above are due to OCR software and don't occur in the book.) About the Publisher Forgotten Books is a publisher of historical writings, such as: Philosophy, Classics, Science, Religion, History, Folklore and Mythology. Forgotten Books' Classic Reprint Series utilizes the latest technology to regenerate facsimiles of historically important writings. Careful attention has been made to accurately preserve the original format of each page whilst digitally enhancing the aged text. Read books online for free at www.forgottenbooks.org
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( This new translation brings to light the early days of ...)
This new translation brings to light the early days of scientific archaeology and the unearthing and study of Herculaneum and Pompeii as observed by the erudite and acerbic art historian Johann Joachim Winckelmann (17171768). His Letter, published in German in 1762, displays his extensive knowledge of geology, ancient literature, and art while offering a scathing critique of the Spanish Bourbon excavations around the Bay of Naples and of the officials involved. He further discusses these topics in his equally controversial Report of 1764. The introduction describes the context in which these texts were written, identifies various politicians, academics, and collectors, and elucidates topics of particular interest to Winckelmann, from artifacts to local customs to the contents of ancient papyri. The illustrations, particularly those from the Bourbon publicationLe Antichità di Ercolano (175792)illuminate how these monuments influenced contemporary perception of the ancient world.
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(Die Geschichte der Kunst des Altertums ist ein unverander...)
Die Geschichte der Kunst des Altertums ist ein unveranderter, hochwertiger Nachdruck der Originalausgabe aus dem Jahr 1776. Hansebooks ist Herausgeber von Literatur zu unterschiedlichen Themengebieten wie Forschung und Wissenschaft, Reisen und Expeditionen, Kochen und Ernahrung, Medizin und weiteren Genres.Der Schwerpunkt des Verlages liegt auf dem Erhalt historischer Literatur.Viele Werke historischer Schriftsteller und Wissenschaftler sind heute nur noch als Antiquitaten erhaltlich. Hansebooks verlegt diese Bucher neu und tragt damit zum Erhalt selten gewordener Literatur und historischem Wissen auch fur die Zukunft bei.
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( Compiled by the father of modern art history, this land...)
Compiled by the father of modern art history, this landmark 1767 publication boasts more than 200 outstanding engravings of ancient monuments. Johann Joachim Winckelmann, an eighteenth-century scholar who devoted his life to the study of ancient art, was the first to outline the distinctions between works of Egyptian, Etruscan, Roman, and Greek origin. Drawing upon his encyclopedic knowledge of ancient literature, Winckelmann explained the origins and significance of each of these previously unknown and unpublished images from historic buildings and monuments. These finely engraved illustrations of figures from ancient religion and mythology offer a compelling study, particularly in the light of the details imparted by the German scholars commentary. In addition to reproductions of all the images from the original volume, this edition includes newly translated text and captions and an Introduction that relates fascinating details concerning the author's life. This is the first English-language version of Winckelmann's classic, presenting not only a panorama of captivating sights from classical civilizations but also a major contribution to the literature of art history.
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Winckelmann was born on 9 December 1717 in poverty in Stendal in the Margraviate of Brandenburg.
His father, Martin Winckelmann, worked as a cobbler, while his mother, Anna Maria Meyer, was the daughter of a weaver.
The son of an impoverished cobbler, he sought, as a young man, to better his conditions through devotion to academic study, and fell in love with the literature of classical antiquity.
In hopes of securing a measure of financial security, and on the advice of his father, Winckelmann pursued a course of study in theology, mathematics, and medicine, as well as Greek and Latin, at the Universities of Jena and Halle.
At Halle, Winckelmann was a student of Alexander Baumgarten, the founder ofmodern aesthetics, and developed his own philosophy of beauty, involving the direct experience of beautiful objects, in reaction to Baumgarten's rather cold (in Winckelmann's own opinion) philosophical formalism.
Not finding theology or medicine his calling, Winckelmann left the university and continued to pursue the study of ancient literature and contemporary aesthetics privately, while serving in various positions as a tutor and schoolteacher.
From 1743 to 1748 he was associate rector of a school at Seehausen in the Altmark.
He then went to Nothenitz near Dresden as librarian to Count Henry von Btinau, for whose history of the Holy Roman empire he collected materials.
The treasures in the Dresden gallery awakened an intense interest in art, which was deepened by association with various artists, and especially with A. F. Ocser, who afterwards exercised so powerful an influence over Goethe.
In 1755, with his intellectual reputation established, Winckelmann, encouraged by a group of Jesuit dignitaries visiting Dresden, moved to Rome, where he would be able to pursue his studies and personal inclinations more freely.
Following a logic reminiscent of the Socratic doctrines of love and beauty, he lamented the passing of Greek art and the beautiful male bodies that inspired it, but found consolation in the historian's ambition to know about it. Winckelmann met with an untimely death at the hands of an unemployed cook and thief, Francesco Arcangeli, in a hotel in Trieste on 8 June, 1768, while on a diplomatic mission.
Winckelmann's study of ancient literature had inspire. d him with a desire to visit Rome, and he became librarian to Cardinal Passionei in 1754.
The Gtdanken contains the first statement of the doctrines he afterwards developed, and was warmly admired not only for the ideas it contained but for its style.
Augustus III, elector of Saxony and king of Poland, granted him a pension of 200 thalers, that he might prosecute his studies in Rome.
He arrived in Rome in November 1755, became librarian tp Cardinal Archinto, and received much kindness from Cardinal Passionei.
After their deaths he was received as librarian and as a friend into the house of Cardinal Albani, who was forming his magnificent collection at Porta Salara.
In 1760 appeared his Description des pierres gravies du feu Baron de Stosch; in 1762 his Anmerkungen Uber die Baukunst der Alien (" Observations on the Architecture of the Ancients ").
including an account of the temples at Paestum.
In 1758 and 1762 he visited Naples, and from his Sendschreiben von den herculanischen Entdeckungen (1762) and his Nachricht von den neuesten herculanischen Entdeckungen (1764) scholars obtained their first real information about the treasures excavated at Pompeii and Herculaneum.
His masterpiece, the Geschichte der Kunsl des Alterthums (" History of Ancient Art"), issued in 1764, was soon recognized as a permanent contribution to European literature.
To Winckelmann's contemporaries it came as a revelation, and exercised a profound influence on the best minds of the age.
Of far greater importance was the splendid work entitled Monumenti antichi inediii (1767 - 1768), prefaced by a Trattalo prdiminare, 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.
At Trieste on his way back he was murdered in an hotel by a man named Arcangeli to whom he had shown some coins presented by Maria Theresa (June Sth, 1768).
He was buried in the churchyard of the cathedral of St Giusto at Trieste.
An edition of his works was begun by Fernow in 1808 and completed by Meyer and Schulze (1808 - 1820).
Winckelmannis regarded as the first modern historian of art for his systematic treatment of ancient art as an expression of historical conditions, rather than as a tradition of artistic skills and ideas passed from one generation of artists to the next, which was the arthistorical approach practiced by Giorgio Vasari (1511–1574), Karl van Mander (1548–1606), and Giovanni Pietro Bellori (1613–1696) in their Lives of artists. Winckelmann was born on 9 December 1717 in Stendal, a town between Hannover and Berlin.
( This new translation brings to light the early days of ...)
(Reflexions on the Imitation of the both its nature and fi...)
(The American translator of the following work published i...)
(This book was originally published prior to 1923, and rep...)
( Compiled by the father of modern art history, this land...)
(Die Geschichte der Kunst des Altertums ist ein unverander...)
Meanwhile Winckelmann had become friendly with the papal nuncio, who told him of the splendor of Rome, and in 1754 he decided to become a Roman Catholic.
Quotations: Winckelmann narrated the course of each of these cultures as a kind of life cycle showing "the origin, progress, change and downfall of art, together with the different styles of nations, periods and artists, " and drew for his studies upon the concentrations of collections of antique art and artifacts in Rome.
