Anti-Aging: Von der Antike zur Moderne (German Edition)


The organisers plan to reconstruct the most important aspects of his life as a scholar over an exhibition area of more than 1, square metres and with more than exhibit items.

The exhibition will be accompanied by a comprehensive academic program in Weimar and Halle. The second part of the exhibition examines the many avenues of inquiry that Winckelmann opened up and their productivity in the later artistic, scientific and socio-political debates of the 19th and 20th centuries.

Ralph M. Trüeb

The exhibition also explores the international orientation and influence of his work. Winckelmann, who was born into humble origins as the son of a cobbler, spent the first three decades of his life in the German provinces before coming to Dresden — a place where antiquity was noticeably absent and baroque exuberance even more pronounced.

At the age of 38, he moved to Rome where, supported in his endeavours by worldly Roman prelates, he became one of the most sought-after city guides and he associated with nobles from all over Europe. He established here a wide network of correspondents from Italy, France, England and other countries. Winckelmann is without doubt one of the most prominent, and perhaps even one of the first German-speaking writers of the modern period, who was read and received with great attention throughout Europe.

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With Winckelmann, German-language literature escaped the confines of germanophone Europe and became an export product. Winckelmann was received widely not only across cultural and linguistic boundaries, but also across disciplinary boundaries that became more sharply defined and increasingly exclusive in the nineteenth century.

We can trace their origin back to the specific kind of questions that Winckelmann raised throughout his work, from his first publication Thoughts on the Imitation of Greek Works in Painting and the Art of Sculpture , to his great historical work, History of the Art of Antiquity Is art in fact capable of development?

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What paradigms may we make use of to write its story? Wherein lies the specificity of Greek culture?

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Winckelmann resists easy classification as a thinker in a third sense: This reductive tendency was particularly common during the period of Weimar classicism, when his advocates canonised a narrow image of Winckelmann that served their purposes. Only a short time after the publication of his writings, Winckelmann was declared a hero of an aesthetic that lauded harmonic proportions, moderation of expression, and tranquillity as the epitome of the beautiful.

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