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.

WORKS

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

REFERENCE

Beth, I. Verzeichnis der Schriften von Wilhelm von Bode. Berlin, 1915.
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(Eastlake did not make it, and may not even have designed it in detail.) She notes that Wilhelm von Bode at his museum was exceptional in not displaying paintings and sculpture separately from the furniture 'to which these arts had been harnessed and integrated in the fifteenth and sixteenth centuries'.
Over the years, Bardini was successful in selling to a number of major European museums, most especially to those in Berlin, where the curator Wilhelm von Bode purchased both paintings and sculpture from Bardini.
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.
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).
With the help of the eminent German art historian Wilhelm von Bode (1845-1929) -- later director of the Kaiser Friedrich Museum in Berlin -- and his own eye for materials and craftsmanship, Sir Julius built up a collection of unusual scope.
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.
(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.
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 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: The close relationship existing for nearly twenty years between Donatello and Michelozzo (the most distinguished bronze-caster of his time and, as such, Donatello's collaborator) explains why this figure has been ascribed to him.
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.B.