Wilhelm Von Bode

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Bode, Wilhelm Von


Born Dec. 10, 1845, in Calvörde, Braunschweig; died Mar. 3, 1929, in Berlin. German art historian, associated with museums.

From 1906 to 1920, Bode was general director of Berlin museums. He studied the art of the Italian Renaissance and Dutch and Flemish painting (Florentine Sculptors of the Renaissance, 1906–12; Masters of the Dutch and Flemish Schools, 1917; and others). He made wide use of archival data and discovered and studied many works of previously forgotten artists.


Die Meister der holländischen und flämischen Malerschulen, new compilation, 11th ed. Leipzig, 1968.


Beth, I. Verzeichnis der Schriften von Wilhelm von Bode. Berlin, 1915.
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For the merely average Pietzsch collection, the city now even appeared willing to give up one of major historical importance: The Gemaldegalerie originated with the Prussian kings and grew to its unique range and quality in the late nineteenth century, when the pioneering art historian Wilhelm von Bode turned it into a teaching collection of European art, with representative works from almost every significant period, region, and artist, including Jan van Eyck, Titian, Vermeer, and Rembrandt.
It is no longer confined to an analysis of what in the era of Wilhelm von Bode and Bernard Berenson used to be called painterly values, but now comfortably encompasses a host of related fields.
Sir Julius Wernher built his fortune on the diamond and gold mines of South Africa, and in 1888, he started collection works of ar with the help of the eminent German art historian Wilhelm von Bode (1845-1929).
1) Together with a number of other bronzes, it was acquired in 1894 by Wilhelm von Bode, director of the sculpture department in Berlin's Royal Museums, who more than any other scholar helped to establish the nucleus of works that was to form the basis of Berlin's collection of bronzes.
28) Zentralarchiv der Staatlichen Museen zu Berlin, Nachlass Wilhelm von Bode.
Wright presented this picture for the expert consideration of Wilhelm von Bode, director-general of the Prussian state museums, who, in due course, declared it to be a 'genuine, perfect, and very characteristic work of Jan Vermeer of Delft'.
For instance, The Smiling Girl was presented to Wilhelm von Bode for attribution not by Harold Wright, but by a German army officer turned art dealer named Walter Kurt Rohde, (31) who was later implicated in a plot to forge Bode's certificates of expertise.
For example, after Fabriczy's generic attribution of 1904 to Michelozzo himself, Wilhelm von Bode, the doyen of the emergent field of study of bronze statuettes, anda critic with an amazingly subtle eye, discerned a different hand at work:
Opened as the Kaiser Friedrich Museum in 1904, the Bode Museum's neo-baroque palace was the creation of the famous general-director of the royal museums Wilhelm von Bode (1845-1929).
First published in 1904 by Dr Wilhelm von Bode as part of the distinguished collection of the South African-born diamond magnate Alfred Beit, who also owned Vermeer's Lady writing a letter, the painting was considered an autograph work by the artist until A.