Franz Friedrich Leitschuh

Franz Friedrich Leitschuh (born October 19, 1865 in Würzburg , † January 28, 1924 in Freiburg im Üchtland ) was a German art historian .

Life

Leitschuh was born in Würzburg in 1865 as the son of the academic librarian Friedrich Leitschuh . He studied art history at the Kaiser Wilhelms University of Strasbourg , where he also received his doctorate and qualified as a professor . In 1891 he read at the University of Zurich . In 1898 he was appointed associate professor for medieval and modern art history in Strasbourg .

Together with Anton Seder , university professor Leitschuh published the magazine Das Kunstgewerbe in Alsace-Lorraine from 1900 to 1906 with the support of the Alsace-Lorraine state government, which was published in the Ludolf Brust publishing house in Strasbourg . Like the co-editor Anton Seder, Leitschuh felt closely connected to the applied arts in the realm of Alsace-Lorraine . "The question of the origin and development of Alsatian culture" had particularly impressed him, he that even after his move to Switzerland a "collection of essays with the general development of art in Alsace is" concerned for the Gorres Society for Care of Science in Catholic Germany . The author expressly pointed out that the “illustration material on the explanations relating to the arts and crafts ... can be found in the six volumes” of the magazine he previously “directed: The arts and crafts in Alsace-Lorraine”. In his essay Art Endeavors in the 18th and 19th Centuries in Alsace , the author stated that “most of the directions in French art ... - as in Germany - also found a response in Alsace” and based his analysis on “which is still today effective lively exchange of artistic forces, which in the organism of German as well as French art was received as a healthy flow of juice ”. In addition to his academic work, Leitschuh held a number of “popular lectures” in Strasbourg, which he summarized and published as an “introduction to general art history” “by teachers” who had “enjoyed his lessons at the arts and crafts school”. In conclusion, the art historian dealt with “The cabaret in the nineteenth century” and praised Art Nouveau - without naming it that way - as the result of “a sesessionist movement” which “brought about a revolution in all areas of craftsmanship : in the carpenter's trade, in metalwork and art glazing , book equipment, the wallpaper industry, goldsmithing , ornament painting, the manufacture of fabrics and lighting fixtures. ”After his time in Strasbourg and working as a private lecturer in Zurich , Franz Friedrich became Leitschuh 1904 Professor of Art History at the University of Freiburg im Üchtland , also Uechtland, French: Frybourg , where he died in 1924.

Personal

Franz Friedrich Leitschuh was married to Katinka Leitschuh-Leininger. Katinka Leininger had worked as a reviewer for Das Kunstgewerbe in Alsace-Lorraine . In 1924 she corrected her husband's last work: The Swiss Landscape in German Painting and she also made the selection of the 65 illustrations including the cover picture. FF Leitschuh characterized his wife as a "science (l) er and artist", for whom "... it was (was) to bring the diversity of viewpoints and the individual view of nature to the unity of a systematic knowledge of the artistically seen." She also went into the causes of his death at the age of 59: "Unexpectedly, a short but severe heart condition brought his joyful life to an all too early end ...". The art historian was well educated. In his works he showed himself to be a profound connoisseur of history, art and applied arts and literature as well as a precise observer with analytical skills. Where appropriate, FF Leitschuh used quotes from classics such as Shakespeare , Goethe and Schiller . He was also well-versed in the design of coins and medals : "The custom of having medal-like images made will have come from Italy to southern Germany around 1510 ... art itself developed completely independently in Germany and is based on one different soil than that in Italy. It grew out of carving. One can clearly see how initially the portrait in wood or stone is an end in itself. Only gradually does the cast in metal come to the fore. But even then the model remains the main piece. " In 1890 Leitschuh suggested that the extensive coin collection in the Germanic National Museum in Nuremberg be formed into "a separate department". Under the heading Church Life , the art historian described Christian art as he found it in the form of exhibits in the National Museum in Nuremberg. As a conclusion he stated: "If you take a closer look at these valuable art treasures, once ornaments of the churches , you will be convinced that this department can pretty much demonstrate the shapes and bonds in which not only the vessels and devices for the ecclesiastical use in the Middle Ages used to be made, but also in the designs in which the paraments and material vestments of the most diverse types found their formation. " In his introduction to the edition of the illustrations of the complete works of copper engravings by Albrecht Dürer , the special preference of the art historian Leitschuh for the Nuremberg painter, graphic artist and engraver is expressed: "The greatness and talent of Dürer can only be fully appreciated by those who appreciate the creative spirit of the Master also recognizes and grasps those little papers in which Dürer laid down his deepest and loftiest thoughts in the most dignified and purest form in his mature age. " With the Dürer publication Franz Friedrich Leitschuh wanted to help "to open up the wonderful Dürer work to everyone and to bring the master closer to the heart of his people ...".

Fonts (selection)

• Horace's sense of art (separate reprint from the magazine for art and antiques collectors ). Leipzig 1885
• The Bamberg neck court order . A contribution to the history of book illustration . In: Repertory for Art History 1886
• The Germanic National Museum in Nuremberg Nuremberg 1890. (Reprint: 2010, ISBN 978-1-141-85109-6 )
• Albrecht Dürer's complete copperplate engravings , Nuremberg 1892 and 1900
• History of Carolingian painting, its circle of images and its sources. Berlin 1894. (Reprint: 2012, ISBN 978-3-95491-090-8 )
• Giovanni Battista Tiepelo. A study of the art history of the 19th century. With the portrait of the master and 12 photoprint plates. Wuerzburg 1896
• The essence of modern landscape painting , Strasbourg 1898
• Alsatian art monuments , Strasbourg 1896–1899
• The Preisler and Markus Tuscher family . A contribution to the history of art in the 17th and 18th centuries. , Leipzig 1889. Digitized version (reprint: 2010, ISBN 978-1-162-53453-4 )
• Georg III Schenk von Limpurg, the bishop in Goethes Götz , Bamberg 1889
• Flötner studies. I. Peter Flötner's plaque work in the directory of the Nuremberg patrician Paulus Behaim , Strasbourg 1904
• Introduction to general art history , Munich 1909.
• Small contributions history of art development and art life in Alsace . Association font. Görres Society for the Maintenance of Science in Catholic Germany, Cologne 1909.
• Studies and sources on Franconian art history , Freiburg id Switzerland 1912
• The art museum in Freiburg. In: Freiburger Nachrichten (Freiburg im Üchtland / Switzerland) of March 3, 1923.
• The Swiss landscape in German painting. Leipzig 1924 / Frauenfeld 1925.

In the introduction to his work The Swiss Landscape in German Painting , FF Leitschuh went into more detail on the "concept of landscape" and defined it in painting as an "integral part of a painting" with the sentence: "Through the influence of sacred or historical festive moods Definitely, one understands by landscape the artistic heightening and the careful arrangement of beautiful natural forms that continue to swing into the background. "

As part of the series Famous Art Places of the Leipzig publishing house by EA Seemann, FF Leitschuh devoted himself to his first place of work in Strasbourg in number 18 and in volume 54 to his birthplace Würzburg and in volume 63 to the city of Bamberg , where he had spent his childhood and youth. Professor Leitschuh expressed his connection to the art venues he described in the foreword of the individual volumes. In relation to Bamberg, he gave the following motivation: "If I am allowed to put my work on safe historical ground, I would particularly like to thank the fortunate circumstance that I have kept many valuable records from my father, who was once chief librarian of the Royal Library in Bamberg, In the foreword to the volume about his place of birth, the author explained: "The following summarizing description of the development of art in Würzburg is mainly the result of numerous lectures that I gave almost every year from 1894 to 1907 in the art and antiquity association of my hometown". For his professional residence in Strasbourg, the art historian noted: "Finally, in the 19th century, here, as elsewhere, the cityscape has changed radically. ... New, elegant neighborhoods are emerging on the outskirts of the city. But despite these tremendous upheavals, old Strasbourg has retained a certain physiognomy, above all through its cathedral and the buildings adjacent to it, which leave an indelible impression on the mind of every beholder ... "In the academic legacy of Professor Dr. Leitschuh, which The public library of the University of Basel contains a manuscript about the carver, goldsmith, plaque artist and woodcutter Peter Flötner. Franz Friedrich Leitschuh wrote the "explanatory foreword" for the work "Albrecht Dürer's all copper engravings", which appeared in several editions and reprints in the first edition he was named professor at the University of Strasbourg and in the reprint of the fourth edition he was named professor at the University of Friborg (Switzerland), his last place of work.

Web links

• Literature by and about Franz Friedrich Leitschuh in the catalog of the German National Library
• Literature by and about Franz Friedrich Leitschuh in the SUDOC catalog (Association of French University Libraries)
• Franz Friedrich Leitschuh's estate in the Basel University Library

Individual evidence

1. ↑ Leitschuh, Franz Friedrich Historical Lecture Catalogs of the University Archives Zurich (2012), accessed on July 27, 2018.
2. ^ ^{A b} Theodor Mommsen, Friedrich Althoff: Theodor Mommsen and Friedrich Althoff. Correspondence 1882–1903 . Ed .: Stefan Rebenich, Gisa Franke. Oldenbourg Verlag, 2011, ISBN 978-3-486-70104-3 , pp. 838 .
3. ↑ For the editors responsible: Prof. Dr. Leading shoe in Strasbourg. In: The arts and crafts in Alsace-Lorraine. 2.1901-1902. at: digi.ub.uni-heidelberg.de
4. ^ Franz Friedrich Leitschuh Small contributions to the history of art development and art life in Alsace , cf. title on the cover and the foreword of the 2nd association publication for 1909, Cologne 1909.
5. ↑ Footnote 1 to the foreword to Small Contributions to the History of Art Development and Art Life in Alsace by Franz Friedrich Leitschuh, Cologne 1909,
6. ↑ Small contributions to the history of art development and art life in Alsace by Franz Friedrich Leitschuh, p. 100.
7. ^ See foreword on p. XI, written by Franz Friedrich Leitschuh on August 19, 1908 in Haltegg ob Thun (Switzerland), for an introduction to the general history of art by Dr. Franz Friedrich Leitschuh ord. Professor at the University of Freiburg i. Ü. With 287 illustrations. Munich and Kempten 1909.
8. ^ Franz Friedrich Leitschuh: Introduction to General Art History , Munich and Kempten 1909, p. 306.
9. ↑ See e.g. B. The applied arts in Alsace-Lorraine , Vol. 1, 1900/01, p. 99 From the book table , review of the 1900 title Drawing Lessons for Girls .
10. ↑ Afterword by Katinka Leitschuh-Leininger to The Swiss Landscape in German Painting , Leipzig 1924, p. 84
11. ↑ Epilogue to The Swiss Landscape in German Painting , p. 84.
12. ↑ See for example his remarks on history, p. 2, on sculpture, p. 9ff., On painting, p. on the musical and scientific instruments p. 65ff. in The Germanic National Museum in Nuremberg , Bavarian Library Volume 9, Bamberg 1890.
13. ↑ See the quotations from Shakespeare and Goethe in the description of the historical pharmacy equipment in the chapter Scientific instruments in Vol. 9 Bayerische Bibliothek , pp. 71f. and von Schiller: "When your finger masters through the pages ..." the opening line from the poem "Laura at the piano", quoted Leitschuh in the chapter on musical instruments p. 66 ibid.
14. ^ FF Leitschuh The Germanic National Museum in Nuremberg , Bamberg 1890, p. 54f.
15. ↑ Cf. the suggestion in the chapter German Trade Museum in Volume 9 Bayerische Bibliothek, Bamberg 1890, p. 95.
16. ^ FF Leitschuh: The Germanic National Museum in Nuremberg , Bamberg 1890, p. 93.
17. ^ Introduction by Franz Friedrich Leitschuh to A. Dürer's copperplate engravings, quoted from the 1978 reprint edition by the Stockacher Verlagsanstalt.
18. ↑ Introduction to The Swiss Landscape in German Painting , Leipzig 1924, p. 6
19. ^ Franz Friedrich Leitschuh: Strasbourg. Leipzig 1903. (Famous Art Places, No. 18)
20. ^ Franz Friedrich Leitschuh: Würzburg. Leipzig 1911. (Famous Art Places, No. 54)
21. ^ Franz Friedrich Leitschuh: Bamberg. Leipzig 1914. (Famous art places No. 63)
22. ↑ See foreword to Famous Art Places, Volume 63 by Prof. Franz Friedrich Leitschuh, written in Bamberg in August 1913.
23. ↑ See foreword to Famous Art Places, Volume 54 by Professor Dr. Ms. Friedr. Leitschuh, written in Düdingen (Switzerland) in June 1911
24. ↑ See Introduction to Famous Art Places, No. 18 by Franz Friedrich Leitschuh, p. 2
25. ^ The estate of Franz Friedrich Leitschuh in the Basel University Library
26. ^ Leitschuh, Franz Friedrich: Das Kupferstich-Gesamtwerk , Reprint 1978; Albrecht Dürer's all copperplate engravings are reproduced in the everlasting collotype in the size of the originals. With an explanatory preface by Dr. Franz Leitschuh Professor at the University of Strasbourg. Published by August Zemsch, Nuremberg (no year)