Hans Tietze

from Wikipedia, the free encyclopedia

Hans Karl Tietze (born March 1, 1880 in Prague , Austria-Hungary ; died April 11, 1954 in New York ) was an Austrian-American art historian .

Life

Hans Tietze came from an assimilated Jewish family who moved from Prague to Vienna in 1894 and converted to Protestantism. He studied art history at the University of Vienna with Franz Wickhoff and Alois Riegl and received his doctorate in 1903 with a dissertation on the development of the typological circle of images in the Middle Ages . In 1905 he married his fellow student Erica Conrat . After a two-year stay in Rome, Tietze joined the Central Commission for Monument Preservation in 1906 - today's Federal Monuments Office - and was entrusted there by Max Dvořák with the processing of Austrian art topography. In 1908 he completed his habilitation at the university with a study of Annibale Carracci's gallery in the Palazzo Farnese and his Roman workshop . In 1909 he became a private lecturer and in 1919 an associate professor. In the same year he was appointed ministerial advisor for museums and the preservation of monuments to the Ministry of Education, where he worked until 1925. In the interwar period, Tietze, close to the social democratic city administration of “red Vienna” , worked as an art critic and committed promoter of contemporary art. Since the establishment of the Austro-Fascist dictatorship in 1933, he has often stayed abroad, especially in America; In 1938 he finally emigrated to the USA with his wife, but was ultimately disappointed by the cultural deficits there, as his further scientific work lacked its earlier public effectiveness.

Act

Hans Tietze was extremely versatile in his scientific work and achieved excellent results in practically all areas of the art-historical spectrum.

As a student of Franz Wickhoff and Alois Riegl , Tietze was initially influenced by the style-critical and form-analytical thinking of the Vienna School of Art History , which he summarized in 1913 in the compendium The Method of Art History . Subsequently, however, he joined his older friend Max Dvořák on the way to a more content-related, “humanities” art history, which is particularly responsible for his extensive examination of contemporary expressionism .

As a monument conservator, Tietze, with only the support of his wife, mastered the monumental task of creating the Austrian art topography . But his commitment - together with Max Dvořák - to the preservation of the Austrian art collection against the reparation claims of the victorious states after the end of the First World War can not be rated highly enough .

As a ministerial official, Tietze drafted a comprehensive concept for the reorganization of Vienna's museums, which was only partially implemented, but its basic ideas are still valid today.

For Tietze, the historical dimension of art history could not be separated from a sensitive awareness of the present, and he himself embodied to the highest degree a "living art history" that he propagated. In countless journalistic and organizational activities he endeavored to bring contemporary art creation closer to the public and to act as a mediator between artists and the public for the benefit of both parties. The Tietze couple had a close friendship with many important artists. In 1909, Oskar Kokoschka painted the double portrait that is now in the Museum of Modern Art in New York. The sculptor Georg Ehrlich created two bronze busts of Hans and Erica Tietze (today in the Austrian Belvedere Gallery in Vienna).

In addition to all of his other activities, Hans Tietze regularly gave lectures and exercises at the University of Vienna. In exile in America, he was only a visiting professor at the University of Toledo in 1938/39 and was only appointed to Columbia University for a semester shortly before his death .

From his research topics Albrecht Dürer , the Venetian art of the 15th and 16th centuries and the Austrian baroque painting should be highlighted. But he also wrote fundamental works on the cultural history of Vienna. From 1921 to 1925 he published the 85-title library of art history at Leipzig's EA Seemann Verlag , in which he was also represented with several of his own works.

Appreciation

In 1965, Tietzestrasse in Vienna- Donaustadt (22nd district) was named after him.

In autumn 2004 an International Hans Tietze and Erica Tietze-Conrat Society was founded in Vienna , which has taken on the task of maintaining the entire oeuvre of the art historian couple. On the occasion of Hans Tietze's 125th birthday, a memorial plaque was unveiled on his former home in 1190 Vienna, Armbrustergasse 20.

Publications (selection)

  • The illuminated manuscripts in Salzburg. Leipzig 1905.
  • The monuments of the Benedictine monastery St. Peter in Salzburg. Vienna 1913.
  • The method of art history. Leipzig 1913.
  • The kidnapping of Viennese works of art to Italy. A presentation of our legal position, with an open letter to Max Dvořák's Italian colleagues. Vienna 1919.
  • German graphics of the present. Verlag EA Seemann, Leipzig 1922 (Library of Art History 37)
  • Domenico Martinelli and his work in Austria. Vienna 1922.
  • The future of Vienna's museums. Vienna 1923.
  • Humanities art history. In: Johannes Jahn (ed.): The art history of the present in self-portrayals. Leipzig 1924, pp. 183-198.
  • Living art history. On the crisis of art and art history. Vienna 1925.
  • Critical index of the works of Albrecht Dürer. 1. Augsburg 1928.
  • The art in our time. Vienna 1930.
  • Gerhart Frankl. Vienna 1930.
  • Vienna. Culture - art - history. Vienna / Leipzig 1931.
  • The Jews of Vienna. History - economy - culture. Vienna / Leipzig 1933.
  • Titian. Life and work. Vienna 1936.
  • Critical index of the works of Albrecht Dürer. 2. Basel / Leipzig 1937/1938.
  • The Drawings of the Venetian Painters in the 15th and 16th Centuries. New York 1944 (jointly with E. Tietze-Conrat).
  • Tintoretto. The Paintings and Drawings. Phaidon, London 1948.
    • German text: Tintoretto. Paintings and drawings. Phaidon, London 1948.
  • Dürer as a draftsman and watercolorist. Vienna 1951.

literature

  • Essays in Honor of Hans Tietze. Paris 1958 (with a complete bibliography of the writings of Hans Tietze and Erica Tietze-Conrat).
  • Eva Frodl-Kraft : Hans Tietze 1880–1954. In: Austrian Journal for Art and Monument Preservation, 1980, pp. 53–63.
  • Almut Krapf-Weiler: On the art policy of the Tietze district. In: Spiritual life in Austria during the First Republic. Verlag für Geschichte und Politik, Vienna 1986, ISBN 3-7028-0253-3 , pp. 77-103.
  • Almut Krapf-Weiler: "Lion and Owl". Hans Tietze and Erica Tietze-Conrat - a biographical sketch. In: Belvedere 1, 1999, pp. 64-83.
  • Ulrike Wendland: Biographical handbook of German-speaking art historians in exile. Life and work of the scientists persecuted and expelled under National Socialism. Part 2: L – Z. Saur, Munich 1999, ISBN 3-598-11339-0 , pp. 689-699.
  • Theodor Brückler, Ulrike Nimeth: Personal encyclopedia for Austrian monument preservation (1850–1990). Berger, Horn 2001, ISBN 3-85028-344-5 , pp. 272-273.
  • Almut Krapf-Weiler (Ed.): Hans Tietze. Living art history. Texts 1910–1954. Schlebrügge Ed., Vienna 2007, ISBN 3-85160-105-X .
  • Werner Röder, Herbert A. Strauss (Eds.): International Biographical Dictionary of Central European Emigrés 1933-1945 . Volume 2.2. Saur, Munich 1983, ISBN 3-598-10089-2 , p. 1165.

Web links

personal data
SURNAME Tietze, Hans
ALTERNATIVE NAMES Tietze, Hans Karl
BRIEF DESCRIPTION Austrian art historian
DATE OF BIRTH March 1, 1880
PLACE OF BIRTH Prague
DATE OF DEATH April 11, 1954
Place of death New York City