Andreas Grote

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Andreas Grote (born August 29, 1929 in Dessau / Anhalt ; † January 24, 2015 in Oldsum on Föhr ) was a German art historian and museum expert.


The son of the then state curator Ludwig Grote and Gertrud Maud geb. Schmitt graduated from the Staatliches Wilhelmsgymnasium in Munich in 1949. During this time he traveled to Italy for the first time as a companion to the artist Fritz Winter and the art critic Werner Haftmann . After an internship in construction, he studied architecture in Munich and Stuttgart and then art history in Munich and Würzburg. In 1959 he wrote his dissertation at the University of Munich , after long stays in Florence on archival work; he also worked as a photographer and translator.

In 1959/60 he completed a traineeship in West Berlin at the Staatliche Museen zu Berlin , where he worked under General Director Leopold Reidemeister in the National Gallery and under Adolf Greifenhagen in the antiques department with the inventory of antique precious metal stocks and especially with the determination of war-related losses . He was then commissioned to organize the German Art History Conference in Basel (1960). Grote completed an apprenticeship with Andreas Moritz at the Academy of Arts in Nuremberg until mid-1961 and worked as a silversmith . Back in Italy, Grote cultivated friendships with numerous artists, including Giorgio Morandi , Bruno Pulga , and Guido Strazza , and joined the group of students around the art historian Roberto Longhi .

In 1963 Grote married Laura Tieri, daughter of the conductor Emidio Tieri . In 1963 and 1964 he was an assistant at the Art History Institute in Florence under Ulrich Middeldorf . In April 1965 he was appointed to Berlin by Director General Stephan Waetzoldt as head of the Foreign Office of the Berlin State Museums of the Prussian Cultural Heritage Foundation . From 1965 to 1968 he worked as a construction consultant for the Neue Nationalgalerie (architect: Ludwig Mies van der Rohe ). He also developed museum educational strategies. Grote had been a board member of the German Museum Association since 1975 , a member of ICOM and ICOMOS, and 1979/80 founding director of the Institute for Museum Studies (today: Museum Research) at the Prussian Cultural Heritage Foundation in Berlin. Until the fall of the Berlin Wall in 1989/90, Grote had maintained professional contacts with East Berliners and other museums in the GDR under often difficult circumstances .

On January 1, 1994, Grote retired. After his retirement he planned and organized international summer courses at the State Palaces and Gardens in Potsdam for UNESCO and worked as an advisor to the Italian Ministry of Culture ; in Georgia, Sicily and Cyprus he worked as an expert and with regard to the UNESCO World Heritage List .


  • the perfect architectus, master builder and construction company until the beginning of modern times . In: Pictures from the German Past (= Germanisches Nationalmuseum Nürnberg, Volume 23). Prestel, Munich 1959.
  • The cathedral building office in Florence 1285–1370. Studies on the history of the Opera di Santa Reparata (dissertation with Hans Sedlmayr and LH Heydenreich). Prestel, Munich 1959.
  • Bruno Pulga . Cappelli, Bologna 1960.
  • Cellini in Gara . In: Il Ponte . Anno XIX, n.1 (Jan. 1963), p. 75 f.
  • Pieter Bruegel , in: I Maestri del Colore , fasc. 11, Fratelli Fabbri Editori, Milan 1963
  • A hitherto unpublished document on Benozzo Gozzolis frescoes in the Medici chapel . In: Journal of the Warburg & Courtauld Institutes . Volume XXVII, London 1964.
  • Breviarium Grimani , ed. vAG, Berlin 1973. Description of the miniatures (from p. 35). Translation of all Italian contributions.
  • Museums as educational institutions , in: Museum Education - Museums as educational institutions, edited by Wolfgang Klausewitz , Deutscher Museumsbund 1975, p. 31 ff.
  • Workers in the museums . in: B (erliner) M (useen), supplement museum education, 1975, p. 2 f.
  • Florence, shape and history of a community . Prestel, Munich 1965. Up to 1997, seven revised editions each time. 2007 eighth edition as "Reader".
  • Nature and Art, Some Epistemical Gleanings from the Medici Exhibitions Florence 1980 .
  • The Institute for Museum Studies (IfM) , in: Jhbch. Prussian Cultural Heritage Vol. XVII, 1980, pp. 185 f.
  • Florence and the Tuscany of the Medici . in: Museumskunde Vol. 45, Issue 3, 1980, pp. 142f.
  • Lectures in Jerusalem Nov. 1981: Art and Science in the Service of Legitimation and A System for the Wonders of Creation . In: Materials on the History of Collecting, two lectures in Israel in 1982 and 1983 . In: Materials from the Institute for Museum Studies . Issue 7, Berlin 1983.
  • The German Sports Museum - an enrichment of the museum landscape (p. 9 f.), As well as: Animation in the Museum, in: "The German Sports Museum, considerations and sketches," ed. by M.Lämmer, St. August 1991, Akademia Verlag
  • The Medici. Iconographic propaedeutics for a princely collection . In: Macrocosmos in Microcosmo, Die Welt in der Stube (Ed. Andreas Grote, there also foreword), Opladen 1994, pp. 209 f.
  • L'Opera del Duomo di Firenze 1285-1370 , Traduzione dell'edizione originale del 1959, in: Archivio di Santa Maria del Fiore, Studi e Testi, Vol. 3, Firenze, Olschki, 2009 (Traduzione di Benedetta Campana Heinemann).

He also published numerous individual articles on museums as educational institutions, animation in museums, and information strategies in museums. Since 1968 he has played a key role in the development, organization and editing of a guide sheet system in the State Museums in West Berlin. In order to safeguard the extracurricular educational offer of the museums, the association Jugend im Museum eV was founded around 1970 at his instigation

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