In 1857 the German art historian Gustav Friedrich
Waagen described the painting, at the time in the English collection of Baron Methuen, as 'one of the most admirable works I know of the master, and at the same time in marvellous preservation'.
Neue Sachlichkeit was framed in this way by its earliest proponents, Gustav Friedrich Hartlaub, who staged the first show on the subject, "Neue Sachlichkeit: Deutsche Malerei seit dem Expressionismus" (New Objectivity: German Painting Since Expressionism), at the Kunsthalle Mannheim in 1925, and Franz Roh, who published the first study, Nach-Expressionismus: Magischer Realismus; Probleme der neuesten europaischen Malerei (Post-Expressionism: Magic Realism; Problems of the Newest European Painting), in that same year.
(4.) Gustav Friedrich Hartlaub, "Reply to a Questionnaire" (1922), in Art in Theory, 1900-2000, ed.
Charles Ephrussi and Daniel Burckhardt, whom she mentions in this context, likewise suggested one as opposed to two journeys, whereas Jacob Burckhardt, Hermann Grimm, Gustav Friedrich
Waagen, Heinrich Wofflin, Joseph Meder, and Moritz Thausing presuppose two.
Waagen, Gustav Friedrich
. Ueber Hubert und Johann van Eyck.
More modestly valued at 2,000 [pounds sterling]-3,000 [pounds sterling] is a German silver bourdaloue of 1802 by the Augsburg goldsmith Gustav Friedrich
Gerich, engraved with--presumably--Jupiter seducing Io, whom he has spirited away in a cluster of cloud (Fig.
The career of the monograph peaked in the nineteenth century, and the bulk of Guercio's book is dedicated to careful readings of tomes thick and thin, remembered but little read, such as Gustav Friedrich
Waagen on the Van Eycks (1822), Carl Friedrich von Rumohr on Raphael (1831), Johann David Passavant on Raphael (1839), Herman Grimm on Michelangelo (1860), Carl Justi on Velazquez (1888), and Bernard Berenson on Lorenzo Lotto (1895).