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13:39 Johann Joachim Winckelmann - Wikipedia

Johann Joachim Winckelmann

Johann Joachim Winckelmann (/ˈvɪŋkəlˌmɑːn/;[1]
Johann Joachim
German: [ˈvɪŋkl̩ man]; 9 December 1717 – 8 June 1768) was a
Winckelmann
German art historian and archaeologist.[2] He was a
pioneering Hellenist who first articulated the differences
between Greek, Greco-Roman and Roman art. "The prophet
and founding hero of modern archaeology",[3] Winckelmann
was one of the founders of scientific archaeology and first
applied the categories of style on a large, systematic basis to
the history of art. Many consider him the father of the
discipline of art history.[4] He was one of the first to separate
Greek Art into periods, and time classifications.[5]

He had a decisive influence on the rise of the Neoclassical

movement 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 History of Ancient Art (1764) was
Portrait by Raphael Mengs, after
one of the first books written in German to become a classic of
1755
European literature. His subsequent influence on Gotthold
Ephraim Lessing, Johann Gottfried Herder, Johann Wolfgang Born 9 December 1717
von Goethe, Friedrich Hölderlin, Heinrich Heine, Friedrich Stendal, Margraviate
Nietzsche, Stefan George and Oswald Spengler has been of Brandenburg, Holy
Roman Empire
provocatively called "the Tyranny of Greece over Germany".[6]
Died 8 June 1768
Winckelmann was homosexual, and open homoeroticism (aged 50)
informed his writings on aesthetics. In 1752, he mentioned the Trieste, Habsburg
"lust" which could be experienced with the "divine monarch" Empire
(i.e. Frederick the Great) in Potsdam in a similar way as in Nationality German
"Athens and Sparta", and which he could enjoy so immensely
Alma mater University of Halle
that he would never again be allowed to.[7][8] His
homosexuality was recognized by his contemporaries, such as Known for Geschichte der Kunst
Goethe.[9] In 1768, at the age of 50, he was murdered by a des Alterthums (The
fellow guest at his hotel for reasons that remain unclear. History of Art in
Antiquity; 1764)
Contribution to the
Biography rise of the
neoclassical
movement
Early life
Scientific career
Winckelmann was born in poverty in Stendal in the
Margraviate of Brandenburg. His father, Martin Fields Archaeology, art
Winckelmann, worked as a cobbler, while his mother, Anna history
Maria Meyer, was the daughter of a weaver. Winckelmann's

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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."

Winckelmann attended the Köllnisches Gymnasium in Berlin

and the Altstädtisches Gymnasium at Salzwedel, and in 1738, at
the age of 21, went as a student of theology to the University of
Halle. 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 Greek and followed the lectures of
Alexander Gottlieb Baumgarten, who coined the term
"aesthetics".[10]

With the intention of becoming a physician, in 1740

Johann Joachim Winckelmann by
Winckelmann attended medical classes at Jena. He also taught
Ferdinand Pettrich, 1866,
languages. From 1743 to 1748, he was the deputy headmaster Albertinum, Dresden
of the gymnasium of Seehausen in the Altmark 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 Magdeburg.[11]
Whilst working as a tutor for the powerful Lamprecht family, he fell into unrequited love with the
handsome Lamprecht son.[3] This was one of a series of such loves throughout his life.[12] His
enthusiasm for the male form excited Winckelmann's budding admiration of ancient Greek and
Roman sculpture.[12]

Count von Bünau's librarian

In 1748, Winckelmann wrote to Count Heinrich von Bünau: "[L]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 Dresden. The library contained some 40,000 volumes. Winckelmann had
read Homer, Herodotus, Sophocles, Xenophon, and Plato, but he found at Nöthnitz the works of
such famous Enlightenment writers as Voltaire and Montesquieu. 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 Holy Roman Empire 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 association with various
artists, particularly the painter Adam Friedrich Oeser (1717–1799)—a future friend of and influence
on Johann Wolfgang von Goethe—who encouraged Winckelmann in his aesthetic studies.
(Winckelmann subsequently exercised a powerful influence over Goethe.)[13]

In 1755, Winckelmann published his Gedanken über die Nachahmung der griechischen Werke in
der Malerei und Bildhauerkunst ("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 Gedanken contains the first statement of the doctrines he afterwards

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developed,[11] the ideal of "noble simplicity and quiet grandeur" (edle Einfalt und stille Größe) and
the definitive assertion, "[t]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: Henry Fuseli's English translation, entitled Reflections on the
Painting and Sculpture of the Greeks, was published in 1765, and reprinted with corrections in
1767.[14]

Rome
In 1751, the papal nuncio in Saxony, Alberico Archinto, visited Nöthnitz and was highly impressed
by Winckelmann. In 1754 Winckelmann converted to the Roman Catholic Church. Goethe
concluded that Winckelmann was a pagan, while Gerhard Gietmann contended that Winckelmann
"died a devout and sincere Catholic";[15] either way, his conversion ultimately opened the doors of
the papal library to him. On the strength of the Gedanken über die Nachahmung der Griechischen
Werke, Augustus III, king of Poland and elector of Saxony, granted him a pension of 200 thalers,
so that he could continue his studies in Rome.[11]

Winckelmann arrived in Rome in November 1755. His first task there was to describe the statues in
the Cortile del Belvedere—the Apollo Belvedere, the Laocoön, the so-called Antinous, and the
Belvedere Torso—which represented to him the "utmost perfection of ancient sculpture".

Originally, Winckelmann planned to stay in Italy only two years with the help of the grant from
Dresden, but the outbreak of the Seven Years' War (1756–1763) changed his plans. He was named
librarian to Cardinal Passionei, 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 Cardinal Archinto. After the deaths of the two cardinals,
Winckelmann was hired as librarian in the house of Alessandro Cardinal Albani, who was forming
his magnificent collection of antiquities in the villa at Porta Salaria.[11]

The notorious fake antique
fresco of Jupiter and
Ganymede, tailored to
deceive Winckelmann, has
been attributed to Mengs or
Giovanni Casanova[16]
With the aid of his new friend,[17] the painter Anton Raphael Mengs
(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.[11] 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 Gedanken. 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 Jacques-Louis David met Mengs in Rome
(1775–80) and was introduced through him to the artistic theories of

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Winckelmann. Earlier, while in Rome, Winckelmann met the Scottish architect Robert Adam,
whom he influenced to become a leading proponent of neoclassicism in architecture.[18]
Winckelmann's ideals were later popularized in England through the reproductions of Josiah
Wedgwood's "Etruria" factory (1782).[12]

In 1760, Winckelmann's Description des pierres gravées du feu

Baron de Stosch [Description of incised gems of the late Baron
of Stosch] appeared, followed in 1762 by his Anmerkungen
über die Baukunst der Alten ("Observations on the
Architecture of the Ancients"), which included an account of
the temples at Paestum.[11] In 1758 and 1762, he visited Naples
to observe the archaeological excavations being conducted at
Pompeii and Herculaneum.[19] "Despite his association with
Albani, Winckelmann steered clear of the shady world of art
dealing which had compromised the scholarly respectability of Portrait of Johann Joachim
such brilliant, if much less systematic antiquarians as Winckelmann against classical
Francesco Ficoroni and the Baron Stosch."[20] Winckelmann's landscape, after 1760 (Royal Castle
poverty may have played a part: the trade in antiquities was an in Warsaw)
expensive and speculative game. In 1763, with Albani's
advocacy, he was appointed Pope Clement XIII's Prefect of
Antiquities.

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 Saxony his Briefe an Bianconi, which were published, eleven years after his death,
in the Antologia romana.[21]

Winckelmann contributed various essays to the Bibliothek der schönen Wissenschaften; and, in
1766, published his Versuch einer Allegorie. Of much greater importance was the work entitled
Monumenti antichi inediti ("Unpublished monuments of antiquity", 1767–1768), prefaced by a
Trattato preliminare, 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 Homer.[11]

Masterwork
Winckelmann's masterpiece, the Geschichte der Kunst des Alterthums ("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."[20] 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.[11] Winckelmann sets forth both the history of Greek art and of Greece. He
presents a glowing picture of the political, social, and intellectual conditions which he believed
tended to foster creative activity in ancient Greece.[11]

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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 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 Figurehead from the title page of
outlines.[11] Geschichte der Kunst des Alterhums
Vol. 1 (1776). Winckelmann is
center, surrounded by Homer and
Death Romulus and Remus with the She-
wolf in the foreground, and the
In 1768, Winckelmann journeyed north over the Alps, but Tyrol Sphinx and an Etruscan vase in the
depressed him and he decided to return to Italy. However, his background.
friend, the sculptor and restorer Bartolomeo Cavaceppi
managed to persuade him to travel to Munich and Vienna,
where he was received with honor by Maria Theresa. On his
way back, he was murdered in Trieste on 8 June 1768, in a
hotel bed by a fellow traveller, a man named Francesco
Arcangeli. 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 "un uomo di
poco conto" ("a man of little account"). Arcangeli was executed
a month later by breaking on the wheel outside the hotel in
which both had been staying.

Winckelmann was buried in the churchyard of Trieste

Cathedral. Domenico Rossetti De Scander and Cesare Pagnini
Portrait of Winckelmann by Anton
documented the last week of Winckelmann's life; Heinrich
von Maron, 1768: an engraving of
Alexander Stoll translated the Italian document, the so-called an Antinous lies before him
"Mordakte Winckelmann", into German. (Schlossmuseum Weimar)

Critical response and influence

Winckelmann's writings are key to understanding the modern European discovery of ancient
(sometimes idealized) Greece,[22] neoclassicism, and the doctrine of art as imitation
(Nachahmung). The mimetic character of art that imitates but does not simply copy, as
Winckelmann restated it,[23] is central to any interpretation of Enlightenment classical
idealism.[24] Winckelmann stands at an early stage of the transformation of taste in the late 18th
century.[25]

Winckelmann's study Sendschreiben von den Herculanischen Entdeckungen ("Letter about the
Discoveries at Herculaneum") was published in 1762, and two years later Nachrichten von den
neuesten Herculanischen Entdeckungen ("Report on the Latest Discoveries at Herculaneum").
From these, scholars obtained their first real information about the excavations at Pompeii.

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His major work, Geschichte der Kunst des Alterthums (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, Gotthold Ephraim Lessing based many of
the ideas in his Laocoön (1766) on Winckelmann's views on harmony and expression in the visual
arts.

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 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
Lessing, who found in the earliest of Winckelmann's works the starting-point for his Laocoön,[11]
and by Herder, Goethe and Kant.[26]

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.[27]

Today, Humboldt University of Berlin's Winckelmann Institute

is dedicated to the study of classical archaeology. Medal Johann Joachim
Winckelmann 1819

Works
The most accessible editions of selected works, in condensed
forms, are David Irwin, Winckelmann: Selected Writings on
Art (London: Phaidon) 1972, and David Carter, Johann
Joachim Winckelmann on Art, Architecture, and Archaeology
(Camden House) 2013, and the critical edition is Walther
Rehm and Hellmut Sichtermann, eds., Kleine Schriften,
Vorreden, Entwürfe (Berlin), 1968.

1. Gedanken über die Nachahmung der griechischen Werke

in der Malerei und Bildhauerkunst ("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.[11] (First
edition of only 50 copies 1755, 2nd ed. 1756)
2. Description des pierres gravées du feu Baron de Stosch
(1760).
3. Anmerkungen über die Baukunst der Alten ("Remarks on
the Architecture of the Ancients"), including an account of Winckelmann statue,
the temples at Paestum (1762) Winckelmannplatz, Stendal,
Germany
4. Sendschreiben von den Herculanischen Entdeckungen
("Letter About the Discoveries at Herculaneum") (1762).

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5. ("Essay on the Beautiful in Art") (1763), an epistolary essay

addressed to Friedrich Rudolph von Berg.
6. "Nachrichten von den neuesten Herculanischen
Entdeckungen" ("Report About the Latest Herculanean
Discoveries") (1764).
7. Geschichte der Kunst des Alterthums ("History of Ancient
Art") (1764).[28]
8. Versuch einer Allegorie ("Attempt at an Allegory") (1766),
which, although containing the results of much thought and
reading, is not conceived in a thoroughly critical spirit.
9. Monumenti antichi inediti (1767–1768), prefaced by a
Trattato preliminare, 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.
10. Briefe an Bianconi ("Letters to Bianconi"), which were
published eleven years after his death, in the Antologia
Pedestal of Winckelmann statue,
Romana.
Winckelmannplatz, Stendal,
Germany
References
1. "Winckelmann" (http://www.dictionary.com/browse/winckel
mann). Random House Webster's Unabridged Dictionary.
2. The biography in English is a popular account, Wolfgang
Leppmann, Winckelmann (London) 1971; David Irwin offers
a brief account to introduce his volume of selected writings,
Winckelmann: Writings on Art (London: Phaidon) 1972.
3. Boorstin, 584
4. Robinson, Walter (February 1995). "Introduction" (https://ar
chive.org/details/instantarthistor00robi/page/240). Instant
Art History. Random House Publishing Group. p. 240 (http
s://archive.org/details/instantarthistor00robi/page/240).
ISBN 0-449-90698-1. "The father of official art history was a
German named Johann Joachim Winckelmann (1717–68)."
5. Winckelmann, Johann Joachim (2006). History of the art of
antiquity (https://archive.org/details/historyofartofan0000win
c). Potts, Alex. Los Angeles, Calif.: Getty Research
Institute. ISBN 9780892366682. OCLC 59818023 (https://w
ww.worldcat.org/oclc/59818023).
6. Butler, Eliza M. (1935), The Tyranny of Greece over Gedanken über die nachahmung
Germany (https://www.cambridge.org/us/academic/subject der griechischen Werke in der
s/classical-studies/classical-art-and-architecture/tyranny-gr Malerei und Bildhauerkunst (1885)
eece-over-germany-study-influence-exercised-greek-art-an
d-poetry-over-great-german-writers-eighteenth-nineteenth-
and-twentieth-centuries?format=PB&isbn=978110769764
5), London: Cambridge University Press,
ISBN 9781107697645
7. See Martin Disselkamp, Die Stadt der Gelehrten: Studien
zu Johann Joachim Winckelmanns Briefen aus Rom
(Tübingen, 1993), p. 151, note 104.

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8. 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", ART-Dok (Heidelberg University:
arthistoricum.net 2022, p. 28, note 83. https://doi.org/10.11588/artdok.00008019
9. Kuzniar, Alice A. (1996). "Introduction" (https://books.google.com/books?id=geXxdlFrgGkC&pg
=PA9). In Alice A. Kuzniar (ed.). Outing Goethe and His Age (https://archive.org/details/isbn_97
80804726146/page/9). Stanford, California: Stanford University Press. pp. 9–16 (https://archiv
e.org/details/isbn_9780804726146/page/9). ISBN 0804726140. Retrieved May 23, 2013.
10. Kristeller, Paul Oskar (1993). Studies in Renaissance Thought and Letters (https://books.googl
e.com/books?id=k--XBFM1oPkC&pg=PA599). Ed. di Storia e Letteratura. p. 599. ISBN 978-88-
8498-333-6.
11. Sime & Mitchell 1911.
12. Boorstin
13. Goethe, Winkelmann und sein Jahrhundert, 1805.
14. Winkelmann, Abbé (1767), Reflections on the painting and sculpture of the Greeks: with
Instructions for the connoisseur, and an essay On grace in works of art. (https://catalog.hathitru
st.org/Record/000601390), translated by Henry Fusseli., Printed for A. Millar and T. Cadell
15. Herbermann, Charles, ed. (1913). "Johann Joachim Winckelmann" (https://en.wikisource.org/
wiki/Catholic_Encyclopedia_(1913)/Johann_Joachim_Winckelmann). Catholic Encyclopedia.
New York: Robert Appleton Company.
16. A case for an attribution to Giovanni Casanova, brother of the famous memoirist and rake, was
made in Pelzel, Thomas (1972). "Winckelmann, Mengs and Casanova: A Reappraisal of a
Famous Eighteenth-Century Forgery". The Art Bulletin. 54 (3): 300–315.
doi:10.1080/00043079.1972.10789386 (https://doi.org/10.1080%2F00043079.1972.1078938
6). JSTOR 3048998 (https://www.jstor.org/stable/3048998).
17. Boorstin, p. 585
18. Boorstin, p. 587
19. "WINCKELMANN, Johann Joachim (1779)" 1 (http://www.horti-hesperidum.com/show.php?ite
m=192) 2 (http://www.horti-hesperidum.com/show.php?item=196) 3 (http://www.horti-hesperidu
m.com/show.php?item=197) 4 (http://www.horti-hesperidum.com/show.php?item=198) 5 (http://
www.horti-hesperidum.com/show.php?item=199) 6 (http://www.horti-hesperidum.com/show.ph
p?item=200) 7 (http://www.horti-hesperidum.com/show.php?item=201) in Horti Hesperidum.
Università degli Studi di Roma "Tor Vergata", Facoltà di Lettere e Filosofia, Edificio B, IV
20. Haskell, Francis and Penny, Nicholas (1981). Taste and the Antique. New Haven: Yale
University Press. p. 101. ISBN 0300029136.
21. "Scritti di G.L. Bianconi" (http://www.horti-hesperidum.com/show.php?item=202) and
"BIANCONI Giovanni Ludovico (1778)" (http://www.horti-hesperidum.com/show.php?item=191)
in Horti Hesperidum. Università degli Studi di Roma "Tor Vergata", Facoltà di Lettere e
Filosofia, Edificio B, IV
22. See Philhellenism
23. The earlier conflict posed as an antithesis between imitation and invention, was a major theme
in the seventeenth century Quarrel of the Ancients and the Moderns, which was fought,
however, in the field of literature rather than the arts.
24. Larson, James L. (1976). "Winckelmann's Essay on Imitation". Eighteenth-Century Studies. 9
(3): 390–405. doi:10.2307/2737517 (https://doi.org/10.2307%2F2737517). JSTOR 2737517 (ht
tps://www.jstor.org/stable/2737517).
25. Wittkower, Rudolf (1965) "Imitation, eclecticism, and genius" in Earl R. Wasserman, ed.
Aspects of the Eighteenth Century. Baltimore: Penguin.
26. In the English language, translation of Winckelmann's major writings was slow: Henry Fuseli
translated some minor writings, but Geschichte der Kunst des Alterthums was not translated
into English until 1849 by G. Henry Lodge.

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27. http://hdl.handle.net/10900/100742 S. Krmnicek und M. Gaidys, Gelehrtenbilder.

Altertumswissenschaftler auf Medaillen des 19. Jahrhunderts. Begleitband zur online-
Ausstellung im Digitalen Münzkabinett des Instituts für Klassische Archäologie der Universität
Tübingen (http://online-Ausstellung%20im%20Digitalen%20Münzkabinett%20des%20Institut
s%20für%20Klassische%20Archäologie%20der%20Universität%20Tübingen), in: S. Krmnicek
(Hrsg.), Von Krösus bis zu König Wilhelm. Neue Serie Bd. 3 (Tübingen 2020), 62f.
28. Winckelmann, Johann Joachim (1873) History of ancient art (https://archive.org/details/historya
ncienta01lodggoog). New York, F. Ungar Pub. Co

Cited sources
Boorstin, Daniel J. (1983). The Discoverers. New York: Random House. ISBN 978-0-394-
72625-0.
This article incorporates text from a publication now in the public domain: Sime, James;
Mitchell, John Malcolm (1911). "Winckelmann, Johann Joachim". Encyclopædia Britannica.
Vol. 28 (11th ed.). p. 707.

Further reading
Klaus-Werner Haupt: Johann Winckelmann. Begründer der klassischen Archäologie und
modernen Kunstwissenschaften. (2014. Weimarer Verlagsgesellschaft) ISBN 978-3-86539-
718-8
K. Harloe, Winckelmann and the invention of Antiquity History and Aesthetics in the Age of
Altertumswissenschaft (2013)
Klaus-W. Haupt, Die zwei Federn des Johann Winckelmann. Oder: Wer sein Glück erkennt
und nutzt, der ist es wert! [nonfictional book] (2012. Druckzone Cottbus GmbH) ISBN 978-3-
00-038509-4
Efthalia Rentetzi, 'Johann Joachim Winckelmann und der altgriechische Geist', in Philia
(Universität Würzburg); vol. I (2006), pp. 26–30, ISSN 0936-1944
Wouter Soudan, Normativiteit en Historisch Bewustzijn in de Achttiende Eeuw: Winckelmanns
kunstpedagogie en de epistemologie van het Schone [PhD diss., Leuven] (2008) (full text pdf
with exhaustive bibliography (https://antwerp.academia.edu/WouterSoudan/Papers/724629/No
rmativiteit_en_Historisch_Bewustzijn_in_de_Achttiende_eeuw_Winckelmanns_Kunstpedagogi
e_en_de_Epistemologie_van_het_Schone))
R. M. Fridrich, Sehnsucht nach dem Verlorenen: Winckelmanns Ästhetik und ihre frühe
Rezeption (2003)
F. Testa, Winckelmann e l'invenzione della storia d'arte (1999)
A. Potts, Flesh and the Ideal: Winckelmann and the origins of art history (1994)
E. Pommier, ed., Winckelmann: La Naissance de l'histoire de l'art ... (1991)
D. M. Sweet, 'The Personal, the Political and the Aesthetic: Johann Joachim Winckelmann's
German Enlightenment life', in Journal of Homosexuality; 18 (1988), p. 152
D. Constantine, Early Greek travellers and the Hellenic ideal (1984), p. 85–146
I. Parry, 'Belvedere Hercules', in I. Parry, Hand to mouth (1972); reprinted in I. Parry, Speak
Silence Essays (1988), p. 156–174
Wolfgang Leppmann, Winckelmann (1970) . Alfred A. Knopf, LOC: 70-118711
H. Honour, Neoclassicism (1968)
E. M. Butler, The Tyranny of Greece over Germany (1935)
Walter Pater, 'Winckelmann', in Westminster Review (1867 January) (repr. in W. Pater, Studies
in the History of the Renaissance (1873) and The Renaissance: Studies in Art and Poetry
(1877))

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23. 05. 2024. 13:39 Johann Joachim Winckelmann - Wikipedia

J. W. von Goethe, Winckelmann und sein Jahrhundert (1805)

External links
Johann Joachim Winckelmann as inspirer of Weimar Classicism in Literary Encyclopedia. (htt
p://www.litencyc.com/php/stopics.php?rec=true&UID=1476)
Johann Joachim Winkelmann (https://www.newadvent.org/cathen/15650a.htm) by the Catholic
Encyclopedia
Winckelmann Institute (http://winckelmann-institut.hu-berlin.de) at the Humboldt University in
Berlin
Petri Liukkonen. "Johann Joachim Winckelmann" (http://authorscalendar.info/winck.htm).
Books and Writers.
Johann Joachim Winckelmann and the rediscovery of Pompeii. (https://sites.google.com/site/a
d79eruption/dramatis-personae/since-the-re-discovery)
Johann Joachim Winckelmann at arthistoricum.net (http://www.arthistoricum.net/en/subjects/th
ematic-portals/history-of-art-history/sources-for-the-history-of-art-history-digital/johann-joachim-
winckelmann-1717-1768/) Archived (https://web.archive.org/web/20161220034614/http://www.
arthistoricum.net/en/subjects/thematic-portals/history-of-art-history/sources-for-the-history-of-ar
t-history-digital/johann-joachim-winckelmann-1717-1768/) 2016-12-20 at the Wayback Machine
Works by or about Johann Joachim Winckelmann (https://archive.org/search.php?query=%2
8%28subject%3A%22Winckelmann%2C%20Johann%20Joachim%22%20OR%20subject%3
A%22Winckelmann%2C%20Johann%20J%2E%22%20OR%20subject%3A%22Winckelman
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n%20J%2E%20Winckelmann%22%20OR%20creator%3A%22J%2E%20J%2E%20Winckelma
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iption%3A%22Johann%20J%2E%20Winckelmann%22%20OR%20description%3A%22J%2
E%20J%2E%20Winckelmann%22%20OR%20description%3A%22Winckelmann%2C%20Joha
nn%20Joachim%22%20OR%20description%3A%22Winckelmann%2C%20Johann%20J%2
E%22%20OR%20description%3A%22Johann%20Winckelmann%22%20OR%20description%
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20Winckelmann%29%29%20AND%20%28-mediatype:software%29) at Internet Archive
Works by Johann Joachim Winckelmann (https://librivox.org/author/8690) at LibriVox (public
domain audiobooks)
Winckelmann, Johann Joachim (1885). Gedanken über die nachahmung der griechischen
Werke in der Malerei und Bildhauerkunst (https://gutenberg.beic.it/webclient/DeliveryManager?
pid=2840016). Stuttgart: G. J. Goschen'sche Verlagshandlung.

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