Annegrit Schmitt

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Annegrit Schmitt-Degenhart , née Annegrit Schmitt , (born February 21, 1929 in Frankfurt am Main ) is a German art historian specializing in drawings and graphics.

life and work

Annegrit Schmitt studied art history, classical archeology, Christian archeology, palaeography and historical auxiliary sciences at the universities of Mainz , Freiburg and Munich from 1949 to 1955 . In 1955 she was employed by Hans Sedlmayr at the University of Munich with a thesis on Hanns Lautensack that was inspired by Peter Halm . In the same year she worked for Bernhard Degenhart on the Corpus of Italian Drawings 1300-1450 , initially as a DFG scholarship holder , from 1966 until her retirement in 1994 as an employee of the State Graphic Collection in Munich . In 1986 she became a member of the Ateneo Veneto , in 2004 she was awarded the Cross of Merit 1st Class of the Federal Republic of Germany.

Annegrit Schmitt was married to the art historian Bernhard Degenhart (1907–1999), director of the State Graphic Collection in Munich.

Together with Bernhard Degenhart, Annegrit Schmitt worked on the monumental work Corpus of Italian Drawings 1300–1450 , of which the third part appeared in two volumes in 2004 in which the authors present the graphic work of Antonio Pisanello . Gottfried Knapp praised it as a key scientific work on an important complex of Italian art history. In 2011 the third volume of part three appeared.

Fonts (selection)

  • Hanns Lautensack (= Nuremberg Research 4). Association for the History of the City of Nuremberg, Nuremberg 1957 (dissertation).
  • The master of the animal pattern book from Weimar. With photos by Engelbert Seehuber. Biering and Brinkmann, Munich 1997, ISBN 3-930609-14-2 .
  • with Bernhard Degenhart and Joachim Eberhardt: Corpus of Italian drawings 1300−1450 . Part II: Venice - Jacopo Bellini, Gebr. Mann Verlag, Berlin, 1990, ISBN 978-3-7861-1616-5 .
  • with Bernhard Degenhart: Corpus of Italian drawings 1300-1450 . Part III: Verona.

literature

Web links

Individual evidence

  1. Review note in perlentaucher.de