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Waagen Gustav Friedrich{古斯塔夫·弗雷德里希·瓦根}
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德国艺术史家。1822年因关于凡·艾克*的著作而成名，1832年成为新建的柏林博物馆馆长。他是第一个具有博物馆职业背景的艺术史家。l844年成为柏林大学第一个艺术史教授。他的著作收集了许多艺术品的图片，为当时的艺术史研究提供了丰富的信息资源。
Gustav Friedrich Waagen (February 11, 1794–July 15, 1868) was a German art historian.
Waagen was born in Hamburg, the son of a painter and nephew of the poet Ludwig Tieck. Having passed through the college of Hirschberg, he volunteered for service in the Napoleonic campaign of 1813-1814, and on his return attended the lectures at Breslau University. He devoted himself to the study of art, which he pursued in the great European galleries, first in Germany, then in Holland and Italy.
A pamphlet on the brothers Van Eyck led to his appointment to the directorship of the newly founded Berlin Museum in 1832. The result of a journey to London and Paris was an important publication in three volumes, Kunstwerke und Künstler in England und Paris (Berlin, 1837-1839), which became the basis for his more important The Treasures of Art in Great Britain, translated by Elizabeth Eastlake, (London, 1854 and 1857).
In 1844 he was appointed professor of art history at the Berlin University, and in 1861 he was called to St Petersburg as adviser in the arranging and naming of the pictures in the imperial collection. On his return he published a book on the Hermitage collection (Munich, 1864). Among his other publications are some essays on Rubens, Mantegna and Signorelli; Kunstwerke und Künstler in Deutschland; and Die vornehmsten Kunstdenkmäler in Wien.
He died on a visit to Copenhagen in 1868. In the light of later research his writings are not of much value as regards trustworthy criticism, though they are useful as catalogues of art treasures in private collections at the time when they were compiled. His opinions were greatly respected in England, where he was invited to give evidence before the royal commission inquiring into the condition and future of the National Gallery.
1 张作品最新作品于 八月 28, 2007
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| 随机作品 - W |
Whistler Nocturne Blue and Gold Old Battersea Bridge5 次查看
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Cigar Box Pitcher and New York Herald1 次查看
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Chase William Merritt Afternoon by the Sea aka Gravesend Bay0 次查看c.1888
Pastel on linen
20 x 30 inches (50.8 x 76.2 cm)
Public collection
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Captain Abraham Vorhees1 次查看1803 - 1805
Pastel on paper
25 7/8 x 21 7/8 inches (66 x 55.7 cm)
Private collection
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9 次查看
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| 最新上传 - W |
7 次查看八月 28, 2007
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5 次查看八月 28, 2007
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2 次查看八月 28, 2007
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6 次查看八月 28, 2007
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4 次查看八月 28, 2007
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4 次查看八月 28, 2007
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Still-life 1650s27 次查看Oil on canvas, 105 x 87,5 cm, The Hermitage, St. Petersburg
This is a typical illustration of the type of still-life of which Kalf was an outstanding specialist. The still-lifes by Kalf look very different from those of his predecessors (like Pieter Claesz. and Willem Heda). They are, in a sense, much more theatrical; in their sonorous quality they bring to mind the landscapes of his contemporary, Jacob van Ruisdael.
In the paintings by Head or Pieter Claesz., the objects are ordered in a simple way; they are just laid out on the table. The light is even; shadows are used only to emphasize each object's plastic form. The still-life is generally set in a rather wide space (the painting itself being oblong). In Kalf's paintings, however, the space is narrowed. The backgrounds is much darker; and in this narrow space, against this background, the still-life seems curiously isolated. A soft light picks out each different object, showing its unique quality and colour, as spotlights 八月 26, 2007
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Still-life 1650s24 次查看Oil on canvas, 105 x 87,5 cm, The Hermitage, St. Petersburg
This is a typical illustration of the type of still-life of which Kalf was an outstanding specialist. The still-lifes by Kalf look very different from those of his predecessors (like Pieter Claesz. and Willem Heda). They are, in a sense, much more theatrical; in their sonorous quality they bring to mind the landscapes of his contemporary, Jacob van uisdael.
In the paintings by Head or Pieter Claesz., the objects are ordered in a simple way; they are just laid out on the table. The light is even; shadows are used only to emphasize each object's plastic form. The still-life is generally set in a rather wide space (the painting itself being oblong). In Kalf's paintings, however, the space is narrowed. The backgrounds is much darker; and in this narrow space, against this background, the still-life seems curiously isolated. A soft light picks out each different object, showing its unique quality and colour, as spotlights 八月 26, 2007
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