Heinrich Wölfflin

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Wölfflin, Heinrich


Born June 21, 1864, in Winter-thur; died July 19, 1945, in Zürich. Swiss art critic.

Wölfflin became a professor at the universities of Basel (1893), Berlin (1901), Munich (1912), and Zürich (1924). He developed and masterfully applied a consecutive method of analyzing an artistic style, which he used in his early works to investigate “the psychology of an era” (Renaissance and Baroque, 1888; Russian translation, 1913; and Classical Art, 1899; Russian translation, 1912). Later, under the influence of Neo-Kantianism, Wölfflin further limited the tasks of analysis to the definition of “methods of vision”—systems of abstracted formal categories by which he grasped the characteristics of the art of different eras or peoples (Fundamental Understanding of the History of Art, 1915; Russian translation, 1930; and Italy and the German Concept of Form, 1931; Russian translation, The Renaissance Art of Italy and Germany, 1934).


Strich, F. Zu Heinrich Wölfflins Gedächtnis. Bern, 1956.
References in periodicals archive ?
This two-pronged judgement was later distilled by Heinrich Wolfflin, who curiously declared that although Andrea was 'among the talents of the highest order, he is the only one who seems to have had a defect in his moral constitution'.
Heinrich Wolfflin, Renaissance and Baroque, London: Collins, 1964, p.
Famously extolled by art historian Heinrich Wolfflin (1864-1945), compare-and-contrast was the binary system of looking at any two works of art simultaneously (made possible by the advent of the slide lantern), which led, from the nineteenth century onward, to the establishment of art history's fundamental categories-stylistic shifts, early and late styles, nationalist movements, ideological differences.
Separados por nao mais que um seculo e meio, os limites estilisticos entre os dois exemplificam aquilo que o historiador suico Heinrich Wolfflin identificou como sendo a transformacao mais importante na historia da arte ocidental, a saber, aquela que demarca--na pintura europeia--o final do classicismo e os prenuncios da modernidade, sinalizados pelo estilo barroco, no intervalo entre o fim o Quattrocento e o alto seculo XVIII.
No, that was Heinrich Wolfflin writing about Michelangelo in 1928.
Los estudios contemporaneos sobre el Barroco se inician en 1915, cuando Heinrich Wolfflin publica Principios fundamentales de la historia del arte, un tratado que sera central en todos los debates que vendran.
Para ello se recurrira a los estudios sobre el Barroco de Heinrich Wolfflin reunidos en el texto titulado Conceptos fundamentales de la historia del arte [9].
The present author, Mark Cheetham, explores yet another aspect of the Kantian contribution to the theories of art history, as exemplified in the works of Heinrich Wolfflin, Erwin Panofsky; and Clement Greenberg.
Acercamiento al Quijote a traves de los principios de Heinrich Wolfflin.
Much in the manner of a latter-day Heinrich Wolfflin, whose Die klassische Kunst (1898) comes to mind in reading the studies of Michelangelo and Raphael (in CM), Kuhn hews to a formalist approach.
Werner and Katharina Kluger, both of whom studied under Heinrich Wolfflin (1864-1945), the renowned German-Swiss art historian.
Drawing upon the pioneering work of Heinrich Wolfflin and Alois Riegl, Wright initially outlines a notion of baroque as being both a period-concept and a critical category descriptive of epochs such as our own, which manifest a high degree of tension between chaos and order, multiplicity and unity.