Hanns Schulze

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Hanns Schulze (born June 3, 1884 in Frankfurt am Main ; † December 1931 ) was a German art historian and publishing director.

Life

Hanns Schulze was the son of the dentist Hans Schulze-Hein. He attended the Goethe-Gymnasium in Frankfurt and after graduating from high school in 1905 he studied medicine in Berlin and Heidelberg . From 1906 he studied art history in Heidelberg and received his doctorate there in 1909 under Henry Thode with a thesis on the painter Agnolo Bronzino . From 1910 to 1912 he worked as a trainee at the Kupferstichkabinett in Berlin, then as an art critic and in the art trade. On October 1, 1916, he succeeded Anton Mayer as director of the Grand Ducal Museum for Art and Applied Arts in Weimar , but had to give up this position on March 31, 1917 because his homosexual inclinations became known. From 1923 he was the publishing director of the 8 Uhr-Abendblatt (National-Zeitung) in Berlin.

He was married to the writer Ola Alsen (1880–1956).

Publications (selection)

  • Angelo Bronzino's works . Dissertation Heidelberg 1909.
  • The works of Angelo Bronzino (= On the history of art abroad, issue 81). Heitz, Strasbourg 1911.
  • The feminine ideal of beauty in painting. 200 replicas with historical introduction and explanations (= The Art in Pictures [4]). Diederichs, Jena 1912.

literature

  • Robert Volz: Reich manual of the German society . The handbook of personalities in words and pictures. Volume 2: L-Z. Deutscher Wirtschaftsverlag, Berlin 1931, DNB 453960294 , pp. 1728–1729.
  • German press. Journal for the entire interests of the newspaper industry 22, 1932, p. 24.

Web links

Remarks

  1. Volker Wahl (Ed.): Henry van de Velde in Weimar. Documents and reports for the promotion of handicrafts and industry (1902 to 1915) . Böhlau, Cologne 2007, ISBN 978-3-412-01306-6 , p. 485. See also Acta Borussica NF 2, 1 Volume 2, 2. Akademie Verlag, Berlin 2010, ISBN 978-3-05-004657-0 , P. 752 (letter from Wilhelm von Bodes dated March 7, 1917). Furthermore, the anonymous letter in Kunstchronik NF 28, 1916/17, pp. 1–2.