Michael Thimann

from Wikipedia, the free encyclopedia

Michael Thimann (* 1970 in Lübeck ) is a German art historian and holder of the chair for modern art history at the Georg-August-Universität Göttingen .

Career

After studying art history, modern German literature , classical and early Christian archeology at the universities of Kiel , Würzburg , Bologna and Berlin, he completed his studies at the Free University of Berlin in 1997 with a master's thesis on the Rochus Altar of Parmigianino in the Basilica of San Petronio from. In 2000 he received his doctorate from the Free University of Berlin with a thesis on Ovid's reception in early modern art in Italy . This was followed by a traineeship at the Staatliche Museen zu Berlin from 2000 to 2002. Research grants from the DFG and the Max Planck Society served to develop the habilitation thesis on Friedrich Overbeck and the image concepts of the 19th century , which was submitted to the University of Basel in 2008 . In 2005/06 he was a research assistant at the Art History Institute of the Free University of Berlin, and from 2006 to 2011 head of the Max Planck Research Group Das wissende Bild. Epistemological foundations of profane imagery at the Art History Institute in Florence .

Michael Thimann held teaching positions and substitute professorships at the universities of Berlin, Basel, Zurich and Jena. In 2010 there were calls for professorships for art history at the University of Passau and the University of Erfurt ; from 2010 to 2012 he held the professorship for art history / visual science at the University of Passau; In 2012 he was offered the chair for modern art history at the Georg-August University in Göttingen.

In 2013/14 he was a Senior Fellow at the Alfried Krupp Science College in Greifswald .

Research priorities

Michael Thimann researches basic questions of the image in the early modern period and in the 19th century. His focus is on the history of knowledge of the modern image, artist knowledge and artist education. His ongoing research projects focus on artist libraries and artist reading as well as the change in the image of the artist in historical reception processes. Another focus is the research on the epistemology of hand drawing in the early modern period as well as on the work processes, techniques and materiality of hand drawing in the 19th century.

As co-editor of Aby Warburg's Collected Writings , he worked with Thomas Gilbhard in a project funded by the Fritz Thyssen Foundation to develop the book catalog of the Warburg Library of Cultural Studies in Hamburg until 1933 (vol. VI of the study edition).

Fonts (selection)

  • Mortal gods. Raffael and Dürer in the Art of German Romanticism, ed. by Michael Thimann and Christine Hübner, exhib. Kat., Göttingen, art collection of the Georg-August-University, April 19 - July 19, 2015, Petersberg: Michael Imhof Verlag, 2015
  • Friedrich Overbeck and the image concepts of the 19th century (Habilitation thesis Basel 2008), Regensburg: Schnell & Steiner, 2014 ( = studies on Christian art; 8), 488 pp.
  • Memory and image art. The order of artist knowledge in Joachim von Sandrarts Teutscher Academie, Freiburg im Breisgau: Rombach Verlag, 2007 ( = Rombach Wissenschaften. Series sources for art; 28), 131 pp.
  • Jean Jacques Boissard. Ovid's Metamorphoses 1556. The illustrated manuscript 79 C 7 from the Berlin Kupferstichkabinett, ed., Introduced and commented on by Michael Thimann, Berlin: Gebr. Mann Verlag, 2005 ( = Iconographic Repertories on the Afterlife of Ancient Myths in Europe; Supplement 5), 228 pp .
  • Caesar's shadow. Friedrich Gundolf's library. Reconstruction and history of science, Heidelberg: Manutius-Verlag, 2003, 297 pp.
  • Lying pictures. Ovids favole and the history picture in the Italian Renaissance, Göttingen: Vandenhoeck & Ruprecht, 2002 ( = reconstruction of the arts; 6), 288 pp.

Individual evidence

  1. ^ "Parmigianinos Rochus Altar. A plague votive for S. Petronio in Bologna ”, in: Zeitschrift für Kunstgeschichte, 61, 1998, 410–419.
  2. ^ Review: Horst Bredekamp, ​​in: Süddeutsche Zeitung, December 4, 2002.
  3. ^ The Artist as Reader. On Education and Non-Education of Early Modern Artists, ed. by Heiko Damm, Michael Thimann and Claus Zittel, Leiden: Brill, 2013 (= Intersections. Yearbook for Early Modern Studies; 27)
  4. ↑ Encyclopaedic Projects of Humanist Draftsmen in Early Modern Europe. In: Linea I. Grafie di immagini tra Quattrocento e Cinquecento, ed. by Marzia Faietti and Gerhard Wolf, files from the international conference at the Art History Institute in Florence - Max Planck Institute, March 29 - 31, 2007, Venice: Marsilio, 2008, pp. 135–161; 'Idea' and 'Conterfei'. Artistic and Scientific Drawing in the Early Modern Age. in: Disegno. The Draftsman in the Picture of the Early Modern Age, ed. by Heinrich Th. Schulze Altcappenberg and Michael Thimann, exhib. Kat., Berlin, Staatliche Museen - Preußischer Kulturbesitz, Kupferstichkabinett, November 23, 2007 - February 24, 2008, Berlin / Munich: Deutscher Kunstverlag, 2007, pp. 15–30.

Web links

personal data
SURNAME Thimann, Michael
BRIEF DESCRIPTION German art historian and holder of the chair for modern art history at the Georg-August-Universität Göttingen
DATE OF BIRTH 1970
PLACE OF BIRTH Lübeck