Hugo Kehrer

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Hugo Ludwig Kehrer (born April 27, 1876 in Gießen ; † January 3, 1967 in Munich ) was a German art historian .

Life

Hugo Kehrer was born on April 27, 1876 in Gießen as the son of the gynecologist Ferdinand Adolf Kehrer and Emmy (1849–1924), née Frisch, daughter of the Darmstadt animal painter Friedrich Frisch . After graduating from high school in Heidelberg, Kehrer first pursued an officer career and attended the war school in Danzig. After graduation, he was used as an officer in a Baden grenadier regiment until 1901.

In 1900 he changed saddles and began studying art history, Protestant theology and philosophy at the Ruprecht-Karls-Universität in Heidelberg with Henry Thode , Kuno Fischer , Friedrich von Duhn , Karl Neumann, Adalbert Merx and Ernst Troeltsch before he received his doctorate in 1903. In 1904 Kehrer passed the first theological exam in Karlsruhe , then in the same year he continued his studies in Marburg with Hermann Cohen and Paul Natorp and finally from 1905 to 1908 in Strasbourg with Georg Dehio , Adolf Michaelis and Johannes Ficker .

After further studies in Berlin , he completed his habilitation in 1909 with the recommendation of Heinrich Wölfflin in Munich with the work on "The Three Kings in Literature and Art" (2 volumes, 1908) , which is still fundamental today . He then stayed in Rome until 1910 as a travel grant from the German Archaeological Institute .

In 1909, Kehrer's first of a total of thirteen trips to Spain took place and with it the encounter with Spanish art that was decisive for his scientific life work. Finally, he taught from 1915 to 1945 as an associate professor for Middle and Modern Art History at the University of Munich. Kehrer became a member of the NSDAP in 1933 . He dedicated his study Greco as a figure of mannerism , written in 1938 , to “the glorious liberator of Spain”, Generalísimo Francisco Franco .

Hugo Kehrer, father of a daughter and a son, married Katharina Knauer (1885–1966), the daughter of Ernst Wilhelm Christian Knauer, in Munich in 1919. He died on January 3rd, 1967 at the age of 91 in Munich.

Act

Hugo Kehrer was one of the discoverers of El Greco (1912 Spezialkolleg) and, along with August Liebmann Mayer, was one of the most important interpreters of Spanish painting, whose connoisseur he enjoyed international renown. His writings are distinguished by their clarity, which is based on the intuitive understanding of the phenomenon and skillful verbalization, but also by clear conception and historiographical conciseness.

Publications (selection)

  • The Gothic wall paintings in the Kaiser-Pfalz zu Forchheim. A contribution to the question of the origin of Franconian painting (= treatises of the Bavarian Academy of Sciences. Philosophical-Philological and Historical Class. 26, 3, ZDB -ID 209997-4 ). Publishing house of the Royal Bavarian Academy of Sciences, Munich 1912.
  • The art of Greco. Schmidt, Munich 1914, (3rd, increased edition, ibid. 1920).
  • Old Antwerp. An art historical study. Schmidt, Munich 1917.
  • Francisco de Zurbarán. Schmidt, Munich 1918.
  • Peter Paul Rubens. With 80 illustrations, letters from the artist and his writing “About the imitation of ancient statues”. Schmidt, Munich 1919.
  • Velázques. Schmidt, Munich 1919.
  • News about Francisco de Zurbarán. In: Zeitschrift für bildende Kunst . Vol. 55, No. 11, 1919/1920, pp. 248-251.
  • as editor: Francisco de Goya: Los Desastres de la Guerra. 82 facsimile reproductions in rotogravure after the preferred prints of the Kupferstichkabinett in Berlin. Schmidt, Munich 1921, (facsimile edition in 500 numbered copies).
  • as editor: Francisco de Goya: Tauromachia. 43 facsimile reproductions in rotogravure. Schmidt, Munich 1923, (facsimile edition in 500 numbered copies).
  • About Artus Quellin the Younger. In: Paul Clemen (Ed.): Belgische Kunstdenkmäler. Volume 2: From the beginning of the sixteenth to the end of the eighteenth century. Bruckmann, Munich 1923, pp. 259-280.
  • Spanish baroque. In: Festschrift Heinrich Wölfflin. Contributions to art and intellectual history. Presented by friends and students on June 21, 1924. Schmidt, Munich 1924, pp. 233-243.
  • Spanish art from Greco to Goya. Schmidt, Munich 1926.
  • Heads of Velázquez. In: Estudios eruditos in memoriam de Adolfo Bonilla y San Martín. (1875-1926). Volume 2. Ratés, Madrid 1930, pp. 369-374.
  • Dürer's self-portraits and Dürer's portraits. Mann, Berlin 1934.
  • Franz von Lenbach. 100 years of being and the world. Neuer Filser-Verlag, Munich 1937.
  • Greco as a figure of mannerism. Neuer Filser-Verlag, Munich 1939.
  • The Prado in Madrid. In: Atlantis . Vol. 11, Issue 9, 1939, ZDB -ID 211777-0 , pp. 497-504.
  • A new Greco. In: Pantheon. Vol. 13, Vol. 26, No. 11, 1940, ISSN  0031-0999 , pp. 250-252.
  • Germany in Spain. Relationship, influence and dependence. Callwey, Munich 1953, (also in Spanish translation).
  • Greco's La Veronica con la Santa Faz, a new acquisition by the Bayerische Staatsgemäldesammlungen. In: Art and the beautiful home . Vol. 52, No. 7, 1954, pp. 241-243.
  • Introduction to: El Greco. Dominikos Theotokópulos. (1541–1614) (= world in colors. ). Desch, Munich et al. 1953.
  • Introduction to: Diego Velazquez. (1599–1660) (= world in colors. ). Desch, Munich et al. 1954.
  • Greco in Toledo. Height and completion 1577–1614. Kohlhammer, Stuttgart 1960.
  • The Meninas of Velázquez. Bruckmann, Munich 1966.
  • Esencia y sentido del arte de Velázquez. In: Varia Velázqueña. Homenaje a Velazquez en el III centenario de su muerte. 1660-1960. Volume 1: Estudios sobre Velazquez y su obra. Ministerio de Educacion Nacional - Direccion General de Bellas Artes, Madrid 1960, pp. 34-37.

Web links

Individual evidence

  1. Nikola Doli, Ruth Heftrig, Olaf Peters , Ulrich Rehm (eds.): Art history after 1945: Continuity and a new beginning in Germany. Böhlau, Bonn 2006, ISBN 3-412-00406-5 , p. 25 ( online ).