Hostname: page-component-6898cfcb55-zkb6p Total loading time: 0 Render date: 2026-11-11T19:09:45.217Z Has data issue: false hasContentIssue false
  • English
  • Français

Winckelmann and Antinous*

Published online by Cambridge University Press:  28 February 2013

Caroline Vout
Caroline Vout
Affiliation:
Christ's College, Cambridge
Get accessRights & Permissions [Opens in a new window]

Extract

The credit for inventing the scientific study of Greco-Roman sculpture still belongs to the German scholar, Johann Joachim Winckelmann. The reason for this, the Geschichte der Kunst des Alterthums or History of the Art of Antiquity, was first published in Dresden in 1764 and supplemented in 1767 by the Anmerkungen über die Geschichte der Kunst des Alterthums or Further Remarks. So important was the project that Winckelmann was revising it when he was murdered a year later. This evolving version was published in Vienna in 1776. It is this amended Geschichte that formed the basis of influential French and Italian editions. These followed quickly, propelled perhaps by the interest generated by his murder. Though it was another hundred years before the text was translated into English, its impact has been extraordinary. Vestiges of the book are everywhere. Citations from the ‘final’ version permeate the literature. Even without opening it, we sense its influence on the field we call ‘Classical Art’.

Information

Type
Research Article
Information
The Cambridge Classical Journal , Volume 52 , 2006, pp. 139 - 162
Copyright
Copyright © The Author(s). Published online by Cambridge University Press 2006

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Article purchase

Temporarily unavailable

References

BIBLIOGRAPHY

Bann, S. (2000) ‘Versions of Antinous: Symonds between Shelley and Yourcenar’, in Pemble, J. (ed.) John Addington Symonds: culture and the demon desire, London and New York, 136–53.Google Scholar
Beard, M. and Henderson, J. (2001) Classical art from Greece to Rome, Oxford.Google Scholar
Beck, H. and Bol, P. C. (eds.) (1982) Forschungen zur Villa Albani: Antike Kunst und die Epoche der Aufklärung, Berlin.Google Scholar
Bignamini, I. and Wilton, A. (eds.) (1996) Grand tour: the lure of Italy in the eighteenth century, London.Google Scholar
Bol, P. C. (ed.) (1998) Forschungen zur Villa Albani: Katalog der antiken Bildwerke, vol. 5, Berlin.Google Scholar
Bonnard, G. A. (ed.) (1961) Gibbon's journey from Geneva to Rome: his journal from 20 April to 2 October 1764, London and New York.Google Scholar
Buitron-Oliver, D. (1992) The Greek miracle: classical sculpture from the dawn of democracy, Washington.Google Scholar
Cavaceppi, B. (1968–1972) Raccotta di autiche statue, busti, bassorilievi, ed altre sculture restaurate da Bartolomeo Cavaceppi scultore romans, 3 vols., Rome.Google Scholar
Cicognara, L. (1824) Storia della scultura dal suo risorgimento in Italia al secolo di Napoleone (2nd. edn.), Prato.Google Scholar
Davis, W. (1994) ‘Winckelmann divided: mourning the death of art history’, Journal of Homosexuality 27.1/2, 141–59.CrossRefGoogle ScholarPubMed
Davis, W. (1996) ‘Winckelmann's “homosexual” teleologies’, in Kampen, N. (ed.) Sexuality in ancient art, Cambridge, 262–76.Google Scholar
Davis, W. (2001) ‘Homoerotic art collection from 1750 to 1920’, Art History 24.2, 247–77.CrossRefGoogle Scholar
Décultot, E. (2000) Johann Joachim Winckelmann: enquête sur la genèse de l'histoire de l'art, Paris.Google Scholar
Dellamora, R. (1990) Masculine desire: the sexual politics of Victorian aestheticism, Chapel Hill.Google Scholar
Derks, P. (1990) Die Schande der heiligen Päderastie: Homosexualität und Öffentlichkeit in der deutschen Literatur 1750–1850, Berlin.Google Scholar
Ettlinger, L. D. (1981) ‘Winckelmann, or marble boys are better’, in Barasch, M. and Sandler, L. Freeman (eds.) Art the ape of nature: studies in honor of H. W. Janson, New York, 505–11.Google Scholar
Fea, C. (1783–1784) Storia delle arti del disegno presso gli antichi, Rome.Google Scholar
Haskell, F. and Penny, N. (eds.) (1981) Taste and the antique: the lure of classical sculpture 1500–1900, New Haven and London.Google Scholar
Henderson, J. (2001) Telling tales on Caesar: Roman stories from Phaedrus, Oxford.CrossRefGoogle Scholar
Hofmann, J. J. (1698) Lexicon universale, Leiden.Google Scholar
Howard, S. (1982) Bartolomeo Cavaceppi: eighteenth-century restorer, New York.Google Scholar
Janson, H. (1790–1794) L'histoire de l'art chez, les anciens, Paris.Google Scholar
Justi, K. (1932) Winckelmann und seine Zeitgenossen, Leipzig.Google Scholar
Lambert, R. (1984) Beloved and god: the story of Hadrian and Antinous, London.Google Scholar
Leppmann, W. (1971) Winckelmann, London.Google Scholar
Lo Biano, A. and Negro, A. (eds.) (2005) Il Settecento a Roma, Milan.Google Scholar
Lodge, G. H. (1846–1873) History of ancient art, London.Google Scholar
Lolla, M. G. (2002) ‘Monuments and texts: antiquarianism and the beauty of antiquity’, Art History, 25.4, 431–49.CrossRefGoogle Scholar
MacLeod, C. (1998) Embodying antiquity: androgyny and aesthetics from Winckelmann to Keller, Detroit.Google Scholar
Mallgrave, H. F. (2006) Johann Joachim Winckelmann: history of the art of antiquity, Los Angeles.Google Scholar
Meyer, H. (1991) Antinoos. Die archäologischen Denkmäler unter Einbeziehung des numismatischen und epigraphischen Materials sowie der literarischen Nachrichten, Munich.Google Scholar
Morrison, J. (1999) ‘The discreet charm of the Belvedere: submerged homosexuality in eighteenth-century writing on art’. German Life and Letters 52.2, 123–35.CrossRefGoogle ScholarPubMed
Parker, K. (1992) ‘Winckelmann, historical difference and the problem of the boy’, Eighteenth-Century Studies 25.4, 523–45.CrossRefGoogle Scholar
Pignorio, L. (1694) De servis, Padua.Google Scholar
Pommier, E. (1989) ‘Winckelmann et la vision de l'antiquité classique dans la France des Lumières et de la Révolution’, Revue de l'art 83, 9–20.CrossRefGoogle Scholar
Pommier, E. (1991) L'art de la liberté. Doctrines et débats de la Révolution française. Paris.Google Scholar
Pommier, E. (2000) Winckelmann, inventeur de l'histoire de l'art, Paris.Google Scholar
Potts, A. D. (1978) ‘Political attitudes and the rise of historicism in art theory’, Art History 1, 191–213.CrossRefGoogle Scholar
Potts, A. D. (1982) ‘Winckelmann's construction of history’, Art History 5, 37–407.CrossRefGoogle Scholar
Potts, A. D. (1994) Flesh and the ideal: Winckelmann and the origins of art history, New Haven and London.Google Scholar
Prettejohn, E. (2005) Beauty and art, Oxford.Google Scholar
Rehm, W. (ed.) (1952–1956) Briefe - Johann Joachim Winckelmann, Berlin.Google Scholar
Rehm, W. (ed.) (1968) Kleine Schriften, Vorreden, Entwürfe, Berlin.Google Scholar
Richter, S. J. and McGrath, P. (1994) ‘Representing homosexuality: Winckelmann and the aesthetics of friendship’, Monatshefte 86, 45–58.Google Scholar
Röttgen, S. (1982) ‘Die Villa Albani und ihre Bauten’, in Beck, H. and Bol, P. C. (eds.) Forschungen zur Villa Albani: antike Kunst und die Epoche der Aufklärung, Berlin, 61–122.Google Scholar
Rousseau, G. S. (1990) Perilous enlightenment, Manchester.Google Scholar
Speller, E. (2003) Following Hadrian: a second-century journey through the Roman empire, Oxford.Google Scholar
Spickernagel, E. (1985) ‘“Helden wie zarte Knaben oder verkleidete Mädchen"”: zum Begriff der Androgynität bei Johann Joachim Winckelmann and Angelika Kauffmann’, in Berger, R. et al. (eds.) Frauen. Weiblichkeit. Schrift, special edition of Argument 134, 99–118.Google Scholar
Sweet, D. M. (1988) ‘The personal, the political and the aesthetic: J. J. Winckelmann's German enlightenment life’, in Gerard, K. and Hekma, G. (eds.) The pursuit of sodomy: male homosexuality in Renaissance and Enlightenment Europe, New York and London, 147–62.Google Scholar
Tutsch, C. (1995) ‘Man muss mit ihnen, wie mit seinem Freund, bekannt geworden seyn …’. Zum Bildnis Johann Joachim Winckelmanns von Anton von Maron, Mainz.Google Scholar
Vout, C. (2005) ‘Antinous, archaeology and history’, Journal of Roman Studies 115, 80–96.CrossRefGoogle Scholar
Vout, C. (2006a) Antinous: the face of the antique, Henry Moore Institute, Leeds.Google Scholar
Vout, C. (2006b) Review of V. Heenes (2003) Antike in Bildern. Illustrationen in antiquarischen Werken des 16. und 17. Jahrhunderts, Stendal, Journal of Hellenic Studies 126, 226–7.CrossRefGoogle Scholar
Yourcenar, M. (1952) Mémoires d'Hadrien, Paris.Google Scholar
Waters, S. (1995) ‘The most famous fairy in history: Antinous and homosexual fantasy’, Journal of the History of Sexuality 6.2, 164–230.Google Scholar
Winckelmann, J. J. (1755) Thoughts on the imitation of Greek works, London.Google Scholar
Winckelmann, J. J. (1764) Geschichte der Kunst des Alterthums, Dresden.Google Scholar
Winckelmann, J. J. (1766a) Reflections concerning the imitation of the Grecian artists in painting and sculpture. In a series of letters, Glasgow.Google Scholar
Winckelmann, J. J. (1766b) Versuch einer Allegorie, besonders für die Kunst, Dresden.Google Scholar
Winckelmann, J. J. (1767a) Monumenti antichi inediti, vol. 2, Rome.Google Scholar
Winckelmann, J. J. (1767b) Anmerkungen über die Geschichte der Kunst des Alterthums, Dresden.Google Scholar
Winckelmann, J. J. (1776) Geschichte der Kunst des Alterthums, Vienna.Google Scholar
Zeller, H. (1955) Winckelmanns Beschreibung des Apollo im Belvedere, Zurich.Google Scholar