Frederick Antal

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Frederick Antal , also: Frigyes Antal , Friedrich von Antal (born December 21, 1888 in Budapest , Austria-Hungary ; died April 4, 1954 in London ) was a Hungarian-British art historian .

Life

After completing a law degree , Antal studied art history at the universities of Budapest, Freiburg i. B., Paris, as well as in Berlin with Heinrich Wölfflin and with Franz Wickhoff in Vienna , where he received his doctorate in 1914 with Max Dvořák on classicism, romanticism and realism in French painting . In 1914/15 he found a job as curator at the Budapest Art Museum . In Béla Balázs's house, he was a participant in the Budapest “Sunday Circle”, which was led by György Lukács . At the “Free School of Humanities” he gave a lecture on “Cézanne and painting after Cézanne” in March 1917, and in February 1918 he announced “The Origin of the Composition and Content of Modern Painting”. In the Hungarian Soviet Republic , Antal was appointed chairman of the board of directors of the art museum and organized an exhibition with Otto Benesch . In the summer of 1919 the Soviet republic was put down and Antal fled to Vienna. Until 1923 he stayed with his wife for art studies in Italy, especially Florence. Between 1923 and 1933 he lived in Berlin and was editor of the “Critical Reports on Art History Literature” with Bruno Fürst. In 1932 he made a study trip to the Soviet Union.

After handing over power to the National Socialists , he fled to England in 1933. There he wrote his main work on Florentine painting, which was rejected as Marxist in traditional art history, taught at the Courtauld Institute and became friends with Anthony Blunt . His research on art in the run-up to the French Revolution on Johann Heinrich Füssli and William Hogarth was only published posthumously .

Antal was first married to Ilona Waldbauer, then to Theodora von Loebell, with whom he had a son Georg (* 1926), and later in England to Evelyn Forster Edwards.

Fonts (selection)

  • Thoughts on the development of Trecento & Quattrocento painting in Siena and Florence
  • Raffael between Classicism and Mannerism: a socio-historical introduction to central Italian painting of the 16th and 17th centuries , Gießen: Anabas-Verl. , 1980 ISBN 3-87038-068-3
  • Hogarth and his position in European art , Dresden: Verl. Der Kunst, 1991
  • Füssli studies , Dresden: Verlag der Kunst, VEB, 1973
  • The Florentine painting and its social background , Berlin: Henschel, 1958 ( Florentine painting and its social background; the bourgeois republic before Cosimo de 'Medici's advent to power: XIV and early XV centuries , London, K. Paul [1948])
  • Critical reports on art history literature (1927-1937) , Hildesheim, New York, G. Olms, 1972.
  • Contribution in: Rembrandt: the master's painting , Stuttgart; Leipzig: Deutsche Verlags-Anstalt, 1909.
  • Between Renaissance and Romanticism. Studies in art history. Verlag der Kunst, Dresden 1975 ( Fundus series 38/39)

literature

  • Ulrike Wendland: Biographical handbook of German-speaking art historians in exile. Life and work of the scientists persecuted and expelled under National Socialism. Part 1: A – K. Saur, Munich 1999, ISBN 3-598-11339-0 , pp. 3-6.
  • Éva Karádi, Erzsébet Vezér [eds.]: Georg Lukács, Karl Mannheim and the Sunday Circle , Frankfurt am Main: Sendler, 1985 ISBN 3-88048-074-5

Web links

Individual evidence

  1. Pester Lloyd, Vol. 61 No. 164, July 14, 1914, p. 8 .