DOI Heft:
Nr. 18 (3. Mai)
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.44978#0221
V, Nr. 18 vom 3. Mai 1931
DIE WELT KUNST
13
Forfkcommg
e Picture Collecti
on
Count Moltke
, The Collection Graf C. F. Moltke which will
be sold by auction by V. Winkel and Mag-
ussen Copenhagen on Iune 1 rst and 2 nd is
stIH the same collection which has been on
j^ew in 1756 in the Big Hall1 and the Garden
Fävillon of Amalienborg and which Gerhard
^°nele put into a handwritten catalogue,
^Xcept very few new aquisitions of the late
18 th Century and some works recently given
the museum Copenhagen. Later on front
1804 for several reasons the collection was
?9 view for the public once a week only and
öecame an important Supplement to the Natio-
nal Gallery, Copenhagen. Since the year 1780
,‘e collection has not been enlarged or
nltered.
It does not happen offen fhat a collection
Dutch paintings of this quality and this
nxtent is offered. May we mention to-day a
lew examples only: four signed landscapes
*ith waterfalls by Ruisdael, „Satyr with fruit-
“Qsket“ by Rubens, a signed wood landscape
°Y Hobbema, a „cowherd“ by Potter, five
9uthentical works of Teniers, a study of an
n'd man by van Dyck, charming children’s por-
ffaits by Greuze, lovely works by Boi, Goyen,
d« Heern, Mieris, Ochtervelt, A. van Ostade,
drid a porfrait of a man by Lucas Cranach,
'-«rtainly the säte of this really rare collection
Will be an event of international interest and
*ill attract on itself the intense atfenfion of
dH amateurs of Dutch paintings. — Repro-
Jüctions of the most important pictures in
‘’O. 16 of the “Welikunst”.
The aale TtroganofF
in Berlin
. On May 12 th and 13 th R u d. Lepkes
hunst-Auctions-Haus Berlin will
Sell by auction the famous Collection Stroga-
n°ff of Leningrad, which was assembled by
dount Alexander Stroganoff (1733-1811), the
!r'end of empress Catherine II. This collec-
!*°n being the most remarcable next to the
Hermitage and Stieglitz museum, is too well-
'hown to art-amateurs over the world as to
d'Ve details.
Among the pictures let us therefore mention
only a few of the high-class works: „Christ
and the Samaritan Woman“ by Rem-
brandt, — „The Portrait of Balthazarine
van Linick“ and the „Porfrait of the burgo-
master Rockox“ by van Dyck, — „View
of Haarlem“ by Jacob van Ruisdael. Good
landscapes by van de Velde, Wouwer-
man, a family portrait by Cornelius de Vos
contribute to the completeness of fhat
striking collection of Dutch masters.
F r e n c h pictures represent an egually
closed group, confaining masterworks of the
XVII th and XVIII th Century, among
which “The Waierfall” and “The Obelisk”
by Hubert Robert, — “The princess
Galitzin” and “The countess Stroganoff
with her child” by Vig ee-Lebrun,
— “The Portrait of the count Stro-
ganoff as a child“ by G r e u z e , — „The
friumph“, „The toilet of Venus“ and two
„Groups of cupids“ by Boucher and „The
cupids sharping the arrow“ by Natoire.
According to the taste of the epoch
the number of early European paintings is
very small. There be mentioned among others
only “Adam and Eve” by Lucas Cranach, a
portrait by Nicolaus Neufchatel and a
burlesgue scene by Maerfen van Cleef.
The monumental, decorative Italian
pictures are more to the preference of the
time, the stress lies on 17 th and 18 th Cen-
tury painting; so Andrea del Sarto’s Tondo
and Barrocci’s as well as Caracci’s alle-
gorical and myfhological composifions are
most characteristic in their full, soft move-
ment and their rieh colours.
Among the sculptures: „The secret“ by Fal-
conet, two busts „Voltaire and Diderot“ by
Houdon, „Bust of a young girl“ by Foucou,
two statuettes in terra cotta by Clodion and
other french works of art of the XVIIIth
Century.
The quality of the furniture, French
18 th Century, is equal to the rest of the
mentioned works of art, that is first rate.
Magnificent ehest drawers, secretaries etc.
executed by Roussel, Dubois, Roentgen,
among many other renowned names, are
complemented by a collection of fine bronzes,
gobelins, porcelaimes. Thus the whole of
the Stroganoff collection is such a brilliant
model as for variety, quality and quantity of
a collection, as ever was.
Antique Frames
The Exhibition in Paris
is the very indispensable last
perfeefion of a picture, and the
whole art world reads the
«WELTKUNST»
A1'tT ofthe WORLD * Le MONDE des ART S
, A Frame
°Uch to the _ __ .. , , _
Reellen! exhibition of antique frames at
Rotil’s (Paris) and Pygmalion (Berlin) in sum-
^er 1929 is still being kept in best memory.
j?ctually there is an analogue exhibition in
I aris af the Gallery Georges Petit
'‘om April 5 th to May 7 th, showing French and
°reign frames up from the 15 th Century.
Messrs. Etienne B i g n o u and Serge
ehe who arranged a French, an Italien, a
jpanish, a German, a Dutch and an English
.yvision show frames which are typical for
, ieir epoch and their country. For the first
lrtte there is made an attempt to find general
?llHines for the Variation of picture frames
lrough five centuries.
Every division includes besides thaf fur-
“nure of carved, gilt and painted wood of the
9rne epoch.
, The Italian division contains the oldest
'Sines, some pieces of the 14 th Century,
9en there was a strong tendency towards
71°numenfality, the painting and gold of the
ri'.'Tütecturally constructed frame being much
jvke fhose of the picture itself. This is par-
. cUlarly the epoch of Siennese and Floren-
(9|<: frames, a beautiful collection of which
l^lsfs at the Museum Berlin. In the 16 th cen-
UrY there is a competition befween Florence
j 9d Venice, who decorate most magnificently
le Paintings both in cathedrals and in public
,nd private buildings. The influence of Michel
(Jn9elo introduces the simple straight lines of
we Renaissance; material is at Variation from
°°d to marble, stucco, bronze and iron.
The 17 th Century shows the exagerations
exaltations of the Barock period. In
\v?.°gna simple gilt frames are predominating,
Ip’le Florence prefers richer ones. — In the
jJI' Century Venice holds the hegemony:
tio ^Y light frames following the French tradi-
partly very pompous mirror frames of
Wood as well as of spun and coloured
Mr. Roche arranged one room only for
°se mirrors.
l The French division is certainly the most
jr.bortant one. Here one finds beautiful gofhic
]1'Jlri(;s, exceptional rarities of the 16 th cen-
hr Y in oak, ebony, walnut with nacre and
°nZe in the style Frangois I er and Henri II.
The Louis XIII epoch has become free of
foreign influence, the architectural style being
followed by extraordinarily rieh adornments.
The prefenfious Louis XIV style is represented
by many examples which prove clearly the
importance of the frame. The ornamental
motives are becoming more complicated,
assymetrical; this will be the Regence style.
The works of that epoch are certainly the
most, accomplished ones in this domain. Very
adequate to the amiable paintings of the
Louis XV epoch frames are becoming lighter,
more graceful. The Louis XVI style brings a
reaction of simplicity and classic lines, where
after the revolution apparently destroys the
taste for beautiful frames. Napoleon’s and
Louis Philipp’s attempts to revive it were
somehow poor and unsuccessful.
The Spanish division contains frames of
the 16 th and 17 th Century, without much diffe-
rence from French and Italian frames of the
same epoch, except a greater richness of co-
lour and gold. The genuine Spanish style ap-
pears only in the 17 th Century, combining
Spanish features with Italian Barock and
disfinguishing itself by the exaggerated
shapes. The importance attributed to frames
nearly suppresses the painting., becoming by
itself an independant decoration.
German frames have been under Italian
and French influence since the 15 th Century
up to nowadays. But the Ornaments are sligh-
ly different as well as the material. For in-
stance, one will find frames of copper with
coral and ivory. This exhibition contains
especially the style of the epoch Frede-
ric Und, Rokoko, more assymetrical than the
Louis XV style.
The Dutch frame is represented by a Van
Eyck frame. The favorite Dutch style is: a
simple profile with two mouldings, a bigger
one towards the boarder and a flafter one
towards the painting therein.
In the 17 th Century appears a stränge
type of frame, carved and gilt wood, from
the flat profile of wich rise violentiy moved
Ornaments. The English division shows 17 th
Century frames, rieh frames round already
framed pictures, that is double frames, soberly
carved in rather too skilful detailed crafts-
work. Besides this particuliar style English
frames are also following in the 18 th Century
Italian and French influences.
The modern division is small yet, but it
will be soon enlarged, inspired by the exam-
ples of antique art. —
Af the end one remark about European
museums which for twenty years have been
trying to bring old pictures into old frames.
Amsterdam has succeded best, next to him
Albert Erich Brinckmann
Ordinarius der Berliner Universität
Die Frage der Neubesefeung des Berliner
Ordinariats für Kunstgeschichte ist nunmehr
endgültig erledigt, nachdem Prof. Dr. A. E.
Brinckmann, bisher Ordinarius in Köln, den an
ihn ergangenen Ruf des Preußischen Kultus-
ministers angenommen hat.
Brinckmann, der im September d. J. 50 Jahre
alt wird, ist in Norderney geboren, als Sohn
des Geh. Baurats Albert Brinckmann aus
Posen. Nach kurzem juristischem Studium
wurde er Kunsthistoriker als Schüler Wölfflins
und Goldschmidts. 1905 promovierte er an der
Berliner Universität mit einer Arbeit über
Baumsfilisierungen in der mittelalterlichen
Malerei. Dann aber wandte er sich in der
Hauptsache baugeschichtlichen Stu-
dien zu und begann 1910 in Aachen seine aka-
demische Laufbahn, die ihn zwei Jahre später
an die Karlsruher Hochschule führte. Im
Kriege an der Haager Gesandtschaft beschäf-
tigt, erhielt Brinckmann 1919 einen Ruf nach
Rostock, 1921 nach Köln.
Seine Forschungen haben sich mit Vorliebe
auf bau künstlerische Probleme be-
zogen, — das enge Verhältnis zur Architektur
ist weithin für seine kunsthistorischen Arbeiten
bestimmend gewesen. So hat er über Plaß
und Monument, über spätmittelalterliche
Stad.tanlagen in Südfrankreich, dann über
deutsche Stadtbaukunst in der Vergangenheit
und über das Werden der französischen
Renaissance Untersuchungen veröffentlicht,
die auch von Seiten der Baukünstler lebhaft
beachtet worden sind. Sein erstes großes Buch
schrieb er in dem Burgerschen Handbuch der
Kunstwissenschaft, dessen Herausgabe seit
Friß Burgers Kriegstod in seiner Hand liegt,
und zwar über die Baukunst des 17. und
18. Jahrhunderts in den romanischen Ländern.
Er gliederte sie in ausgezeichneter Weise nach
Typen, wie das Burckhardt, Geymüller, Wölff-
lin getan hatten, — in das bauliche Schaffen
des Barodk mit energischer Zusammendrän-
gung des gewaltigen Stoffes tief eindringend.
— Seinem Freunde, dem verstorbenen Archi-
tekten Friedrich Ostendorf in der geistigen
Richtung näher ist das 1920 erschienene Buch
Brinckmanns über Stadtbaukunst, gleichfalls
ein Teil jenes Handbuches, das die ge-
schichtlichen Querschnitte und die neuzeit-
lichen Ziele in einer knappen Form umreißt.
— Schließlich gab der Gelehrte in einem um-
fangreichen Bande jenes Handbuches einen
Überblick über die Geschichte der Barock-
skulptur, der sich das Ziel weit steckte
und auf diesem großenteils ein Neuland für
die Forschung bildenden Bereiche zwischen
Michelangelo und dem Beginn des 18. Jahr-
hunderts vielerlei Wesentliches bekannt
machte. Auf dem gleichen Gebiete betätigte
sich Brinckmann durch die Veröffentlichung
der Barock-Bozzetti, der Skizzen und Ent-
würfe jener Bildhauer. — Sein neuestes Werk
bezieht sich auf Ideen, Entwürfe und Bauten
von Guarini Juvarra Vittone und anderen be-
deutenden Architekten des Piemontesischen
Hochbarocks, unter dem Titel «Theatrum
Novum Pedemontii».
Großzügig und einheitlich ist in diesen Ar-
beiten ein Werk emporgewachsen, dessen
Wert die Verbindung von Ideenreichtum und
wissenschaftlich exakter Kleinarbeit ist.
Prof. A. E. Brinckmann
Nimmt man dazu den vorzüglichen Ruf, den
Brinckmann als Universitätslehrer besifet, er-
wägt man, wie es ihm gelungen ist, das Kölner
Kunsthistorische Institut zu einer besonderen
Pflegestätte der Barockforschung zu machen,
— hört man von seiner mannigfachen Anteil-
nahme am Kölner Kunstleben, so darf man
von ihm auch viel für den so lange verwaisten
Berliner Lehrstuhl erhoffen.,
Die Antrittsvorlesung Brinckmanns in Berlin
wird am 1. Oktober stattfinden. Als seine
Nachfolger an der Kölner Universität werden
die Namen A. Griesebachs (Heidelberg), Kar-
lingers (Aachen) und Worringers (Königsberg
i. Pr.) genannt.
the Museum of Versailles as will as come mu-
seums of applied art in Paris. As for fhe
rest all attempts, except perhaps in Berlin, are
being still rather poor, and we are glad the
Gallery Georges Petit by its exhibition gave
another proof of the Capital importance of
frames.
Riemenschneider
Centenary
in Würzburg
Würzburg, most possibly Tilman Riemen-
schneider’s native town, is honouring her
celebrated son by a centenary which is remar-
cably worthy and beautiful being also an
ideal solufion of both a museum and an exhi-
bition. A hundred years ago German Roman-
ticism revived his memory and now for the
four hundredth anniversary of his death an
immense hall has been built. Here and in the
houses of the Fränkische Luitpold Museum
Dr. Schenk has organised an extraordinary
representative exposifion which will last for
the whole of the summer. The calm, reserved
almosphere due to the skilful archifecture and
to the light entering abundantly from every
side, proves a very worthy background for
Riemenschneider’s art. Düring his living time
Riemenschneider was known and celebrated
all around this town Würzburg where he was
active, where he was eveni elected mayor,
where he also lost name, forfune and health
by his taking pari in the peasents revolts, and
died nearly forgotten in 1531.
From1 churches in Franconia and Würzburg,
from museums in Berlin, München, Nürnberg,
Darmstadt the sculptures of Riemenschneider
and his school have been collected for this
exfended exhibition. Let us mention only a
few of his most famous Creations: the Mour-
ning Virgin (of Acholshausen), the Double
Madonna (dated 1510) in the Carmelite Church
in Würzburg, originally destined for a chande-
lier, and therefore being suspended on a ring;
reliefs of altars at Münnerstadt, Creglingen,
Rothenburg, Detwangen; a Pieta of the col-
lection of Würzburg University; crucifixion
groups from Eisingen, Gerolshausen, Würz-
burg, finally the wonderful „Madonna in the
Rosary“ from the Pilgrims Chapel near
Volkach. Altar paintings of fhe same time
added to the sculptures give more reality to
the background, among others Grünewald’s
paintings for the Lindenhardt Altar, recently
discovered only. There can also be seen the
epitaph on Riemenschneider’s grave with the
master’s portrait on it: „Anno Domini 1531 am
abent kiliani starb der ersam und kunstreich
Opferpriester mit Tier, Persien
achämenidisch
Sacrificateur avec un animal, Perse, achemenide
Sacrificer with an animal, Persia
Früher Collection M. & R. Stora, Paris
Angekauft vom Louvre, Paris
Acquis par le Musee du Louvre
Tilmann Riemenschneider Bildhauer burger zu
Wurzburg dem got gnedig sey Amen“. It is
an unforgettable show, reviving by the
dreamy light of shadowy chapels recon-
structed for this purpose, a long dead, stränge
epoch of human spirit and human soul, such
as the late Gothic artists feit and lived them.
DIE WELT KUNST
13
Forfkcommg
e Picture Collecti
on
Count Moltke
, The Collection Graf C. F. Moltke which will
be sold by auction by V. Winkel and Mag-
ussen Copenhagen on Iune 1 rst and 2 nd is
stIH the same collection which has been on
j^ew in 1756 in the Big Hall1 and the Garden
Fävillon of Amalienborg and which Gerhard
^°nele put into a handwritten catalogue,
^Xcept very few new aquisitions of the late
18 th Century and some works recently given
the museum Copenhagen. Later on front
1804 for several reasons the collection was
?9 view for the public once a week only and
öecame an important Supplement to the Natio-
nal Gallery, Copenhagen. Since the year 1780
,‘e collection has not been enlarged or
nltered.
It does not happen offen fhat a collection
Dutch paintings of this quality and this
nxtent is offered. May we mention to-day a
lew examples only: four signed landscapes
*ith waterfalls by Ruisdael, „Satyr with fruit-
“Qsket“ by Rubens, a signed wood landscape
°Y Hobbema, a „cowherd“ by Potter, five
9uthentical works of Teniers, a study of an
n'd man by van Dyck, charming children’s por-
ffaits by Greuze, lovely works by Boi, Goyen,
d« Heern, Mieris, Ochtervelt, A. van Ostade,
drid a porfrait of a man by Lucas Cranach,
'-«rtainly the säte of this really rare collection
Will be an event of international interest and
*ill attract on itself the intense atfenfion of
dH amateurs of Dutch paintings. — Repro-
Jüctions of the most important pictures in
‘’O. 16 of the “Welikunst”.
The aale TtroganofF
in Berlin
. On May 12 th and 13 th R u d. Lepkes
hunst-Auctions-Haus Berlin will
Sell by auction the famous Collection Stroga-
n°ff of Leningrad, which was assembled by
dount Alexander Stroganoff (1733-1811), the
!r'end of empress Catherine II. This collec-
!*°n being the most remarcable next to the
Hermitage and Stieglitz museum, is too well-
'hown to art-amateurs over the world as to
d'Ve details.
Among the pictures let us therefore mention
only a few of the high-class works: „Christ
and the Samaritan Woman“ by Rem-
brandt, — „The Portrait of Balthazarine
van Linick“ and the „Porfrait of the burgo-
master Rockox“ by van Dyck, — „View
of Haarlem“ by Jacob van Ruisdael. Good
landscapes by van de Velde, Wouwer-
man, a family portrait by Cornelius de Vos
contribute to the completeness of fhat
striking collection of Dutch masters.
F r e n c h pictures represent an egually
closed group, confaining masterworks of the
XVII th and XVIII th Century, among
which “The Waierfall” and “The Obelisk”
by Hubert Robert, — “The princess
Galitzin” and “The countess Stroganoff
with her child” by Vig ee-Lebrun,
— “The Portrait of the count Stro-
ganoff as a child“ by G r e u z e , — „The
friumph“, „The toilet of Venus“ and two
„Groups of cupids“ by Boucher and „The
cupids sharping the arrow“ by Natoire.
According to the taste of the epoch
the number of early European paintings is
very small. There be mentioned among others
only “Adam and Eve” by Lucas Cranach, a
portrait by Nicolaus Neufchatel and a
burlesgue scene by Maerfen van Cleef.
The monumental, decorative Italian
pictures are more to the preference of the
time, the stress lies on 17 th and 18 th Cen-
tury painting; so Andrea del Sarto’s Tondo
and Barrocci’s as well as Caracci’s alle-
gorical and myfhological composifions are
most characteristic in their full, soft move-
ment and their rieh colours.
Among the sculptures: „The secret“ by Fal-
conet, two busts „Voltaire and Diderot“ by
Houdon, „Bust of a young girl“ by Foucou,
two statuettes in terra cotta by Clodion and
other french works of art of the XVIIIth
Century.
The quality of the furniture, French
18 th Century, is equal to the rest of the
mentioned works of art, that is first rate.
Magnificent ehest drawers, secretaries etc.
executed by Roussel, Dubois, Roentgen,
among many other renowned names, are
complemented by a collection of fine bronzes,
gobelins, porcelaimes. Thus the whole of
the Stroganoff collection is such a brilliant
model as for variety, quality and quantity of
a collection, as ever was.
Antique Frames
The Exhibition in Paris
is the very indispensable last
perfeefion of a picture, and the
whole art world reads the
«WELTKUNST»
A1'tT ofthe WORLD * Le MONDE des ART S
, A Frame
°Uch to the _ __ .. , , _
Reellen! exhibition of antique frames at
Rotil’s (Paris) and Pygmalion (Berlin) in sum-
^er 1929 is still being kept in best memory.
j?ctually there is an analogue exhibition in
I aris af the Gallery Georges Petit
'‘om April 5 th to May 7 th, showing French and
°reign frames up from the 15 th Century.
Messrs. Etienne B i g n o u and Serge
ehe who arranged a French, an Italien, a
jpanish, a German, a Dutch and an English
.yvision show frames which are typical for
, ieir epoch and their country. For the first
lrtte there is made an attempt to find general
?llHines for the Variation of picture frames
lrough five centuries.
Every division includes besides thaf fur-
“nure of carved, gilt and painted wood of the
9rne epoch.
, The Italian division contains the oldest
'Sines, some pieces of the 14 th Century,
9en there was a strong tendency towards
71°numenfality, the painting and gold of the
ri'.'Tütecturally constructed frame being much
jvke fhose of the picture itself. This is par-
. cUlarly the epoch of Siennese and Floren-
(9|<: frames, a beautiful collection of which
l^lsfs at the Museum Berlin. In the 16 th cen-
UrY there is a competition befween Florence
j 9d Venice, who decorate most magnificently
le Paintings both in cathedrals and in public
,nd private buildings. The influence of Michel
(Jn9elo introduces the simple straight lines of
we Renaissance; material is at Variation from
°°d to marble, stucco, bronze and iron.
The 17 th Century shows the exagerations
exaltations of the Barock period. In
\v?.°gna simple gilt frames are predominating,
Ip’le Florence prefers richer ones. — In the
jJI' Century Venice holds the hegemony:
tio ^Y light frames following the French tradi-
partly very pompous mirror frames of
Wood as well as of spun and coloured
Mr. Roche arranged one room only for
°se mirrors.
l The French division is certainly the most
jr.bortant one. Here one finds beautiful gofhic
]1'Jlri(;s, exceptional rarities of the 16 th cen-
hr Y in oak, ebony, walnut with nacre and
°nZe in the style Frangois I er and Henri II.
The Louis XIII epoch has become free of
foreign influence, the architectural style being
followed by extraordinarily rieh adornments.
The prefenfious Louis XIV style is represented
by many examples which prove clearly the
importance of the frame. The ornamental
motives are becoming more complicated,
assymetrical; this will be the Regence style.
The works of that epoch are certainly the
most, accomplished ones in this domain. Very
adequate to the amiable paintings of the
Louis XV epoch frames are becoming lighter,
more graceful. The Louis XVI style brings a
reaction of simplicity and classic lines, where
after the revolution apparently destroys the
taste for beautiful frames. Napoleon’s and
Louis Philipp’s attempts to revive it were
somehow poor and unsuccessful.
The Spanish division contains frames of
the 16 th and 17 th Century, without much diffe-
rence from French and Italian frames of the
same epoch, except a greater richness of co-
lour and gold. The genuine Spanish style ap-
pears only in the 17 th Century, combining
Spanish features with Italian Barock and
disfinguishing itself by the exaggerated
shapes. The importance attributed to frames
nearly suppresses the painting., becoming by
itself an independant decoration.
German frames have been under Italian
and French influence since the 15 th Century
up to nowadays. But the Ornaments are sligh-
ly different as well as the material. For in-
stance, one will find frames of copper with
coral and ivory. This exhibition contains
especially the style of the epoch Frede-
ric Und, Rokoko, more assymetrical than the
Louis XV style.
The Dutch frame is represented by a Van
Eyck frame. The favorite Dutch style is: a
simple profile with two mouldings, a bigger
one towards the boarder and a flafter one
towards the painting therein.
In the 17 th Century appears a stränge
type of frame, carved and gilt wood, from
the flat profile of wich rise violentiy moved
Ornaments. The English division shows 17 th
Century frames, rieh frames round already
framed pictures, that is double frames, soberly
carved in rather too skilful detailed crafts-
work. Besides this particuliar style English
frames are also following in the 18 th Century
Italian and French influences.
The modern division is small yet, but it
will be soon enlarged, inspired by the exam-
ples of antique art. —
Af the end one remark about European
museums which for twenty years have been
trying to bring old pictures into old frames.
Amsterdam has succeded best, next to him
Albert Erich Brinckmann
Ordinarius der Berliner Universität
Die Frage der Neubesefeung des Berliner
Ordinariats für Kunstgeschichte ist nunmehr
endgültig erledigt, nachdem Prof. Dr. A. E.
Brinckmann, bisher Ordinarius in Köln, den an
ihn ergangenen Ruf des Preußischen Kultus-
ministers angenommen hat.
Brinckmann, der im September d. J. 50 Jahre
alt wird, ist in Norderney geboren, als Sohn
des Geh. Baurats Albert Brinckmann aus
Posen. Nach kurzem juristischem Studium
wurde er Kunsthistoriker als Schüler Wölfflins
und Goldschmidts. 1905 promovierte er an der
Berliner Universität mit einer Arbeit über
Baumsfilisierungen in der mittelalterlichen
Malerei. Dann aber wandte er sich in der
Hauptsache baugeschichtlichen Stu-
dien zu und begann 1910 in Aachen seine aka-
demische Laufbahn, die ihn zwei Jahre später
an die Karlsruher Hochschule führte. Im
Kriege an der Haager Gesandtschaft beschäf-
tigt, erhielt Brinckmann 1919 einen Ruf nach
Rostock, 1921 nach Köln.
Seine Forschungen haben sich mit Vorliebe
auf bau künstlerische Probleme be-
zogen, — das enge Verhältnis zur Architektur
ist weithin für seine kunsthistorischen Arbeiten
bestimmend gewesen. So hat er über Plaß
und Monument, über spätmittelalterliche
Stad.tanlagen in Südfrankreich, dann über
deutsche Stadtbaukunst in der Vergangenheit
und über das Werden der französischen
Renaissance Untersuchungen veröffentlicht,
die auch von Seiten der Baukünstler lebhaft
beachtet worden sind. Sein erstes großes Buch
schrieb er in dem Burgerschen Handbuch der
Kunstwissenschaft, dessen Herausgabe seit
Friß Burgers Kriegstod in seiner Hand liegt,
und zwar über die Baukunst des 17. und
18. Jahrhunderts in den romanischen Ländern.
Er gliederte sie in ausgezeichneter Weise nach
Typen, wie das Burckhardt, Geymüller, Wölff-
lin getan hatten, — in das bauliche Schaffen
des Barodk mit energischer Zusammendrän-
gung des gewaltigen Stoffes tief eindringend.
— Seinem Freunde, dem verstorbenen Archi-
tekten Friedrich Ostendorf in der geistigen
Richtung näher ist das 1920 erschienene Buch
Brinckmanns über Stadtbaukunst, gleichfalls
ein Teil jenes Handbuches, das die ge-
schichtlichen Querschnitte und die neuzeit-
lichen Ziele in einer knappen Form umreißt.
— Schließlich gab der Gelehrte in einem um-
fangreichen Bande jenes Handbuches einen
Überblick über die Geschichte der Barock-
skulptur, der sich das Ziel weit steckte
und auf diesem großenteils ein Neuland für
die Forschung bildenden Bereiche zwischen
Michelangelo und dem Beginn des 18. Jahr-
hunderts vielerlei Wesentliches bekannt
machte. Auf dem gleichen Gebiete betätigte
sich Brinckmann durch die Veröffentlichung
der Barock-Bozzetti, der Skizzen und Ent-
würfe jener Bildhauer. — Sein neuestes Werk
bezieht sich auf Ideen, Entwürfe und Bauten
von Guarini Juvarra Vittone und anderen be-
deutenden Architekten des Piemontesischen
Hochbarocks, unter dem Titel «Theatrum
Novum Pedemontii».
Großzügig und einheitlich ist in diesen Ar-
beiten ein Werk emporgewachsen, dessen
Wert die Verbindung von Ideenreichtum und
wissenschaftlich exakter Kleinarbeit ist.
Prof. A. E. Brinckmann
Nimmt man dazu den vorzüglichen Ruf, den
Brinckmann als Universitätslehrer besifet, er-
wägt man, wie es ihm gelungen ist, das Kölner
Kunsthistorische Institut zu einer besonderen
Pflegestätte der Barockforschung zu machen,
— hört man von seiner mannigfachen Anteil-
nahme am Kölner Kunstleben, so darf man
von ihm auch viel für den so lange verwaisten
Berliner Lehrstuhl erhoffen.,
Die Antrittsvorlesung Brinckmanns in Berlin
wird am 1. Oktober stattfinden. Als seine
Nachfolger an der Kölner Universität werden
die Namen A. Griesebachs (Heidelberg), Kar-
lingers (Aachen) und Worringers (Königsberg
i. Pr.) genannt.
the Museum of Versailles as will as come mu-
seums of applied art in Paris. As for fhe
rest all attempts, except perhaps in Berlin, are
being still rather poor, and we are glad the
Gallery Georges Petit by its exhibition gave
another proof of the Capital importance of
frames.
Riemenschneider
Centenary
in Würzburg
Würzburg, most possibly Tilman Riemen-
schneider’s native town, is honouring her
celebrated son by a centenary which is remar-
cably worthy and beautiful being also an
ideal solufion of both a museum and an exhi-
bition. A hundred years ago German Roman-
ticism revived his memory and now for the
four hundredth anniversary of his death an
immense hall has been built. Here and in the
houses of the Fränkische Luitpold Museum
Dr. Schenk has organised an extraordinary
representative exposifion which will last for
the whole of the summer. The calm, reserved
almosphere due to the skilful archifecture and
to the light entering abundantly from every
side, proves a very worthy background for
Riemenschneider’s art. Düring his living time
Riemenschneider was known and celebrated
all around this town Würzburg where he was
active, where he was eveni elected mayor,
where he also lost name, forfune and health
by his taking pari in the peasents revolts, and
died nearly forgotten in 1531.
From1 churches in Franconia and Würzburg,
from museums in Berlin, München, Nürnberg,
Darmstadt the sculptures of Riemenschneider
and his school have been collected for this
exfended exhibition. Let us mention only a
few of his most famous Creations: the Mour-
ning Virgin (of Acholshausen), the Double
Madonna (dated 1510) in the Carmelite Church
in Würzburg, originally destined for a chande-
lier, and therefore being suspended on a ring;
reliefs of altars at Münnerstadt, Creglingen,
Rothenburg, Detwangen; a Pieta of the col-
lection of Würzburg University; crucifixion
groups from Eisingen, Gerolshausen, Würz-
burg, finally the wonderful „Madonna in the
Rosary“ from the Pilgrims Chapel near
Volkach. Altar paintings of fhe same time
added to the sculptures give more reality to
the background, among others Grünewald’s
paintings for the Lindenhardt Altar, recently
discovered only. There can also be seen the
epitaph on Riemenschneider’s grave with the
master’s portrait on it: „Anno Domini 1531 am
abent kiliani starb der ersam und kunstreich
Opferpriester mit Tier, Persien
achämenidisch
Sacrificateur avec un animal, Perse, achemenide
Sacrificer with an animal, Persia
Früher Collection M. & R. Stora, Paris
Angekauft vom Louvre, Paris
Acquis par le Musee du Louvre
Tilmann Riemenschneider Bildhauer burger zu
Wurzburg dem got gnedig sey Amen“. It is
an unforgettable show, reviving by the
dreamy light of shadowy chapels recon-
structed for this purpose, a long dead, stränge
epoch of human spirit and human soul, such
as the late Gothic artists feit and lived them.