Friedrich Piel

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Friedrich Piel (born January 3, 1931 in Dortmund ; † August 24, 2016 ) was a German art historian and university professor .

Life

Piel was born as the son of Heinrich Piel and Christine, geb. Rose iron born. Piel passed his Abitur in 1952 at the Dortmund State High School. From 1952 to 1953 he studied art history, philosophy and psychology at the Albert-Ludwigs-Universität Freiburg , from 1953 art history , archeology and historical auxiliary sciences at the Ludwig-Maximilians-Universität München . Here he was in 1958 by Hans Sedlmayr with the dissertation on The Ornament Grotteske in the Italian Renaissance. Doctorate on their categorical structure and origin .

From 1958 to 1960 Piel was a research volunteer at the State Museums in Munich ( Bayerische Staatsgemäldesammlungen , Bayerisches Nationalmuseum , Staatliche Graphische Sammlung ), from 1960 to the end of 1961 he edited the Baden-Württemberg volume of the Dehio-Handbuch der deutschen Kunstdenkmäler (printed in 1964). From 1962 to 1968 he was a research assistant with a teaching position for historical technology of the arts at the Ludwig-Maximilians-Universität in Munich , where in 1969 he wrote a paper on the picture valence of the niche figure in the Old World and in the Middle Ages for the subject of Middle and Modern Art History qualified as a professor. Until 1989 Piel taught as a university professor at the LMU, in 1990 he followed the call as full professor for Middle and Modern Art History at the University of Salzburg . Since his retirement in 1999 he lived in Lower Bavaria. In addition to his professorship at LMU, he held a teaching position for art history from 1968 to 1983 , with special attention to its methods at the Academy of Fine Arts in Munich .

Piel was the nephew and heir of the painter Willi Röscheisen (1906–1972), whose estate he had been managing since 1978. Piel had two daughters from his first marriage. In 1984 he was married to the art historian Renate Piel in his second marriage.

Research priorities

Piel's interests were in particular the history and theory of his subject, the problems of image and design and semiotics; a theory of art-historical technology, the history of ornament, the art of the Italian Renaissance, Mannerism and Baroque, and contemporary sculpture.

Piel became known through writings on the art of Albrecht Dürer and on Tavola Doria . In several publications in 1989, 1994 and 1995 he stated that this painting is a work by Leonardo da Vinci that was created in 1503–1505 as a model for the battle of Anghiari . In 1990 he authenticated a painting that came to Sweden during the Thirty Years' War as the work of Albrecht Altdorfer (since 1991 in the Tokyo Fuji Art Museum ). He dealt in depth with the art of the painters Frans Hals , Anthonis van Dyck and Philipp Otto Runge , and with artists of the 20th century and the present (see literature). Piel's commitment to the revision of the Dehio Handbook of German Art Monuments is remarkable : 1960–1962 Baden-Württemberg (publ. Munich 1964), from 1968 Middle Franconia and Upper Franconia (publ. Munich 1974).

On the recommendation of the Japanese philosopher Masao Yamamoto, Piel was invited by the Japan Foundation to give lectures at universities and academies in Tokyo, Kyoto, Kanazawa and Hiroshima in 1981 . In 1986 he organized exhibitions of the collections of the American architect Ian Woodner NY in Munich : In the Haus der Kunst ["Master Drawings from Six Centuries"], in the Museum Villa Stuck Odilon Redon ; ["Cathedral Sculpture" and "Ian Woodner as a Painter"].

Piel undertook study trips to most European countries, to Israel, Japan and Korea, to the United States and, from 1989, to the Soviet Union, respectively. to the Russian Confederation.

On his eightieth birthday, students and colleagues dedicated a font edited by Adrian von Buttlar to him , which was published as a private print in small editions under the title Bunter Strauss of Memories .

literature

  • Hieronymus Bosch. Introduction and explanations to ten color tables. Darmstadt 1959.
  • Matthias Grünewald. The Isenheim Altarpiece. Introduction and explanations to ten color tables. Darmstadt (German Book Association) 1960.
  • On the problem of mannerism in art history. In: Literary Yearbook of the Görres Society. New series II (1961) 207-218.
  • Peter Paul Rubens. Introduction and explanations to ten color tables. Darmstadt (German Book Association) 1961.
  • The ornament grotto in the Italian Renaissance. About their categorical structure and origin. Munich dissertation 1958. New Munich Contributions to Art History III , edited by Hans Sedlmayr. Berlin (de Gruyter) 1962.
  • The historical concept of style and the historicity of art. In: Problems of Art History I (1963) 18-37.
  • Baden-Württemberg. «Dehio-Handbuch der Deutschen Kunstdenkmäler», edited by F. Piel. Munich (Deutscher Kunstverlag) 1964.
  • Albrecht Dürer - All woodcuts. Introduction to a facsimile edition. Darmstadt (German Book Association) and Hamburg (Hoffmann and Campe) 1968.
  • System fragments for the kinetic objects by Gerhard von Graevenitz. In the exhibition catalog directions , Kunstverein München 1969.
  • Albrecht Altdorfer's "Battle of Alexander". Systems analytical experiments I, 1 (MNE). Munich 1971.
  • System fragments to a walk-in picture. Comments on the design of the entrance zone at the Riem Olympic equestrian stadium in 1971 (Gerhard Fröbel - Johannes Leismüller - Maximilian Seitz). - Private printing Munich 1971.
  • La Cappella Colleoni e il Luogo Pio della Pietà in Bergamo. In occasione del quinto centenario della morte del Condottiero. ( Monumenta Longobardica VI) Bergamo 1975.
  • Otto Wesendonck - work and image value. To the ensemble “In Zeit und Raum” in the entrance area of ​​the BfA Berlin. Mittenwald 1976.
  • Anamorphosis and architecture. In: Festschrift Wolfgang Braunfels , Tübingen (Wasmuth) 1977. pp. 189–196.
  • Non-fiction on art history and art history. In: Kindler's literary history of the present: authors, topics, tendencies since 1945 , V, edited by Rudolf Radler. Munich (Kindler) 1978, pp. 472-504.
  • "Upper Franconia and Middle Franconia" (with the exception of the cities of Bamberg and Nuremberg) in the volume Franconia of the Dehio-Handbuch der deutschen Kunstdenkmäler , Munich (Deutscher Kunstverlag) 1979.
  • On the art of the Italian Renaissance. In: The Italian Renaissance, told in pictures by Erich Lessing; with contributions by Otmar von Aretin and Friedrich Piel. Munich (Bertelsmann Buchverlag) 1983. Also published in Italian and French.
  • Albrecht Dürer, watercolors and drawings. Cologne (DuMont) 1984. Also published in Italian and French. - Last of the German licensed editions 2002.
  • Epilogue to Hans Sedlmayr, The Revolution of Modern Art , edited by Friedrich Piel. Cologne (DuMont) 1985. 1st ed.
  • Notes on the meaning of the narthex. In: time and hour. Festschrift for Aloys Goergen. Edited by Hermann Kern, Friedrich Piel, Hans Wichmann. Munich (Mäander) 1985. pp. 195-203.
  • Follow-up in: Gertrud Piper-Engling, Jugenderinnerungen. Catalog of paintings with a selection of drawings and watercolors. Munich (Piper) 1986, pp. 99-102.
  • "A mon ami A. Quatremère de Quincy" - an unknown work by Jacques-Louis David [written together with Hans Körner]. In: Pantheon XLIII (1985). Pp. 89-96.
  • Redon, painter of the intelligible. In: Odilon Redon, (1840-1916). Masterpieces from the Ian Woodner Collection. Ed. von FP, Munich 1986, pp. 17-20.
  • Idea, concept, art. In: Master Drawings from Six Centuries. The Ian Woodner Collection. Cologne (DuMont) 1986 [initially in the catalog of the exhibition of the same name at the Haus der Kunst in Munich. Munich 1986, pp. XI-XXX].
  • Ian Woodner. In: Ian Woodner, paintings. Catalog for the exhibition March 27 / June 8, 1986. Amerikahaus Munich and Museum Villa Stuck. Munich 1986. pp. 9-18.
  • Rose Iron - In Search of the Lost Image. Munich 1988.
  • The Tavola Doria - Modello Leonardos for the Anghiari battle. In: Pantheon XLVII (1989) 83-97.
  • From pattern to substance. In: Schermuly - objects. Edited by Martin Mosebach. Museum Wiesbaden December 3, 1989 to January 28, 1990. Stuttgart (Klett) 1989. pp. 35–45.
  • Albrecht Dürer, Aquarelles et dessins. Paris 1994 (Bibliothèque de l'Image) also in Spanish.
  • An early portrait of Bartolomeo Colleoni. In: Art - Education - Creativity. Festschrift for Hans Daucher 1994 (= writings of the chair of art education at the LMU Munich, edited by Wolfgang Kehr and Ernst Rebel). Pp. 127-131.
  • Leonardos Disegnio of the Anghiari battle. Materials and documents for the Tavola Doria. Munich 1994.
  • Imago Identitatis. In: Brochure for the opening of the "Map Gallery" in the Tuscany wing of the Salzburg Residence. With contributions and a. by Thomas Danzl, Heinz Leitner, Friedrich Piel o.O. o. J. 1995.
  • Tavola Doria: Leonardo da Vinci's Modello for his wall painting of the "Battle of Anghiari". Materials - texts - documents. [«A publication by the University of Salzburg»]. Munich 1995.
  • Hans Sedlmayr (1896-1984). Directory of his writings. Bibliographically recorded and published by FP With an obituary for Hans Sedlmayr by Gerhard Schmidt. Munich 1996.
  • The banished abyss. In: Dieter Kleinpeter 1993–1997. Defined blurring. A picture book with texts. Vienna 1997, pp. 55-59.
  • Transcendence of matter. In: Sony B. Matière en creux 1997-2000. ed. from FP - Falkenberg 2000.
  • Angela Grasser - Vela. In: Angela Grasser. Drawings 1998–2000. Passau 2001, pp. 5-7.
  • Contributions to the catalog Röscheisen. Death as an allegory. Würzburg 2006: pp. 11–19: Röscheisen 1906–1972 ; Pp. 43–98: Allegory Death. In search of the lost image.
  • The Tavola Doria identified as Leonardo's "Groppo de Cavalli". A summary. Private printing 2007.
  • Ut Poeta Vascularius. About the flooding by Rita Grosse-Ruyken - an approximation. In: Transformations - Rays of Light. Ed. Sabine Runde. Museum für Angewandte Kunst Frankfurt, 2009. Book II, pp. 83–91 (also in English).
  • "Work and picture". System fragments 1969-2009. Falkenberg 2018

Individual evidence

  1. ↑ Obituary notice Süddeutsche Zeitung 17./18. September 2016

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