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Hildebrand, Adolf von   Reference library

The Oxford Dictionary of Art (3 ed.)

..., Adolf von ( b Marburg, 6 Oct. 1847 ; d Munich, 18 Jan. 1921 ). German sculptor and writer on art. He spent much of his career in Italy and is regarded as one of the main upholders in his period of the classical tradition in sculpture. His most characteristic works were nude figures—timeless and rather austere, in the high-minded tradition of Greek art—although he also made several large monuments, including a statue of Johannes Brahms in Meiningen ( 1898 ). He is now, however, better known for his treatise Das Problem der Form in der bildenden...

Hildebrand, Adolf von   Quick reference

The Oxford Dictionary of Art and Artists (5 ed.)

..., Adolf von ( b Marburg , 6 Oct. 1847 ; d Munich , 18 Jan. 1921 ). German sculptor and writer on art . He spent much of his career in Italy and is regarded as one of the main upholders in his period of the classical tradition in sculpture. His most characteristic works were nude figures—timeless and rather austere, in the high-minded tradition of Greek art—although he also made several large monuments, including one to the composer Johannes Brahms in Meiningen ( 1898 ). He is now, however, better known for his treatise Das Problem der Form...

Hildebrand, Adolf von (1847–1921)   Quick reference

A Dictionary of Modern and Contemporary Art (3 ed.)

..., Adolf von ( 1847–1921 ) German sculptor and writer on art . He spent much of his career in Italy and is regarded as one of his period's main upholders of the classical tradition in sculpture. His most characteristic works were nude figures—timeless and rather austere, in the high-minded spirit of Greek art—although he also made several large monuments, including a statue of Johannes Brahms in Meiningen ( 1898 ) and an equestrian statue of Bismarck in Bremen ( 1907–10 ). These are both in bronze, but he also worked a good deal in stone. He is...

Hildebrand, Dietrich von (1889–1977)   Reference library

The Dictionary of Modern American Philosophers

..., Dietrich von ( 1889–1977 ) Dietrich von Hildebrand was born on 12 October 1889 in Florence, Italy, the son of the great German sculptor, Adolf von Hildebrand. He grew up in an extraordinarily rich aesthetic culture and was educated by tutors at home until he began his university studies in Munich in 1906 . It was in Munich that he met philosopher Max Scheler and began the very close friendship with him that lasted some fifteen years. Between 1909 and 1911 he spent several semesters studying with Edmund Husserl at the University of Göttingen....

Salvini, Roberto (1912)   Reference library

The Grove Encyclopedia of Medieval Art and Architecture

.... He also studied at the universities of Berlin and Munich in the early 1930s, where he developed his concept of ‘pure visibility’, in which he sought to give an abstract coherence to figurative values, and studied the works of Bernard Berenson , Heinrich Wölfflin , and Adolf von Hildebrand . From Albert Brinckmann ( 1881–1958 ) at Berlin he learnt the importance of studying original texts and an analytical approach to source material that he later passed on to his students. Salvini made a special study of Romanesque sculpture, following the work of Pietro...

Frankl, Paul (1879)   Reference library

The Grove Encyclopedia of American Art

...called “optical form”), which presupposes that viewers derive their experience of a building kinetically, as the mental synthesis of many images from different viewpoints, owed much to late 19th-century theories of perception, in particular to Konrad Fiedler 's and Adolf von Hildebrand 's emphasis on the physiological and psychological processes of seeing, and to Alois Riegl 's notion of “haptic” and “optic” forms. Frankl's principal debt, however, lay in his adoption of Wölfflin's quasi-Hegelian model of style as a predetermined, supra-individual...

Frankl, Paul (1879)   Reference library

The Grove Encyclopedia of Medieval Art and Architecture

...called ‘optical form’), which presupposes that viewers derive their experience of a building kinetically, as the mental synthesis of many images from different viewpoints, owed much to late 19th-century theories of perception, in particular to Konrad Fiedler ’s and Adolf von Hildebrand ’s emphasis on the physiological and psychological processes of seeing, and to Alois Riegl ’s notion of ‘haptic’ and ‘optic’ forms. Frankl’s principal debt, however, lay in his adoption of Wölfflin’s quasi-Hegelian model of style as a predetermined, supra-individual...

Focillon, Henri(-Joseph) (1881)   Reference library

The Grove Encyclopedia of Medieval Art and Architecture

... 1927–8 ). By this point he was becoming increasingly interested in medieval art. His methodological study, La Vie des formes ( 1934 ), was both an approach to structuring such diverse material and an exploration of the nature of form in art, developing the theories of Adolf von Hildebrand , Heinrich Wölfflin , and Aloïs Riegl ; this has been widely translated and represents a major contribution to art theory. It was followed by perhaps his best-known work, Art d’Occident ( 1938 ), which traces the development of Romanesque and Gothic style. As well as...

Berenson, Bernard (1865–1959)   Reference library

The Dictionary of Modern American Philosophers

...be able to visually stimulate the tactile imagination, allowing the viewer to imagine and to experience physiologically volume, weight, and surface texture, as well as movement and space – what he called “tactile values” in art. This idea had already been formulated in Adolf von Hildebrand ’s 1893 Das Problem der Form in der bildenden Kunst and other German writers on “empathy theory” beginning with Robert Vischer’s work in 1873 , and in the work of Berenson’s teacher from 1884 to 1887 , William James ( Principles of Psychology , 1890). Berenson...

McLuhan, Marshall (1911–1980)   Reference library

Richard Cavell

Encyclopedia of Aesthetics (2 ed.)

...of self-expression but as “a kind of research and probing” ( McLuhan, 1968 , p. xxiv). To support this tactile notion of artistic intermediation, McLuhan draws on Adolf von Hildebrand’s “The Problem of Form in the Fine Arts” ( 1994 ), which argues that “we do not view nature simply as visual beings tied to a single vantage point but, rather, with all our senses at once” (p. 239). Hildebrand’s work was one response to an aesthetic debate in mid-nineteenth-century Germany around the issue of empathy ( Einfühlung ). The debate focused on whether artistic form...

Wölfflin, Heinrich (1864–1945)   Reference library

Joan Hart

Encyclopedia of Aesthetics (2 ed.)

...deeply influenced by the sculptor Adolf von Hildebrand, the writer Conrad Fiedler, and the connoisseur Giovanni Morelli. Hildebrand and Fiedler believed that perception was the single most important element in artistic creation. Hildebrand developed a theory of perception to reinforce the superiority of his favorite art form, the classical relief, against Impressionism. He devised a modern form of the paragone , or comparison of media, to determine which is superior, using new scientific theories of perception. Hildebrand defended his view in The Problem of...

Wölfflin, Heinrich (1864)   Reference library

Encyclopedia of Aesthetics

...deeply influenced by the sculptor Adolf von Hildebrand , the writer Conrad Fiedler , and the connoisseur Giovanni Morelli . Hildebrand and Fiedler believed that perception was the single most important element in artistic creation. Hildebrand developed a theory of perception to reinforce the superiority of his favorite art form, the classical relief, against Impressionism. He devised a modern form of the paragone , or comparison of media to determine which is superior, using new scientific theories of perception. Hildebrand defended his view in The Problem...

Riegl, Alois (1858–1905)   Reference library

Encyclopedia of Semiotics

...of Applied Arts in Vienna. For both Stilfragen ( 1893 ) and Spätrömische Kunstindustrie ( 1901 ), he used material from the collection of this museum. Later, he became a professor at the University of Vienna and there founded the Vienna School of art history. Like Adolf von Hildebrand ( 1847–1921 ) and Heinrich Wölfflin ( 1864–1945 ), Riegl developed art‐historical principles ( Kunstbegriffe ) as instruments to analyze the different historical modes of perception. He distinguished the tactile (haptic) mode of perception from the optical one and used...

Schmarsow, August (1853)   Reference library

Encyclopedia of Aesthetics

...position, nor did his theory conform to Robert Vischer 's Einfühlung (empathy). Already in his Grundbegriffe he explicitly distanced himself from the “scientific or more specifically physiological basis” that he, like many others—including Alois Riegl and Adolf von Hildebrand —had thought essential, “from which we originally expected the highest triumph of exact science.” Schmarsow now called it an Abweg (the wrong track) that “has to be renounced if we want to proceed.” Comparing the different stages in the development of Schmarsow's...

Schmarsow, August (1853–1936)   Reference library

Eleftherios Ikonomou

Encyclopedia of Aesthetics (2 ed.)

...position, nor did his theory conform to Robert Vischer’s Einfühlung (empathy). Already, in his Grundbegriffe , he explicitly distanced himself from the “scientific or more specifically physiological basis” that he, like many others—including Alois Riegl and Adolf von Hildebrand—had thought essential, “from which we originally expected the highest triumph of exact science.” Schmarsow now called it an Abweg (the wrong track) that “has to be renounced if we want to proceed.” Comparing the different stages in the development of Schmarsow’s...