Thieme-Becker

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Page from the Thieme-Becker. Volume 26, p. 460

Thieme-Becker (more rarely ThB ) is the commonly used abbreviation for the multi-volume artist lexicon founded by Ulrich Thieme and Felix Becker and later continued by Hans Vollmer with the full title: General Lexicon of Fine Artists from Antiquity to the Present . It was supplemented in the 1950s by Hans Vollmer's General Lexicon of Fine Artists of the XX. Century . The Thieme-Becker-Vollmer was the most comprehensive artist lexicon in the world. It is only surpassed by the currently emerging general artist lexicon , which is based on the Thieme-Becker-Vollmer entries, but supplements and significantly increases them.

Thieme-Becker

The Thieme-Becker appeared in 37 volumes from 1907 to 1950, first in the publishing of Wilhelm Engelmann in Leipzig , in 1911 the publisher EA Seemann in Leipzig. The lexicon comprises 148,180 artist biographies and 15,082 hidden biographies only mentioned in other entries, which were contributed by around 1,200 specialist scholars worldwide, including all leading art historians of the time.

Recorded visual artists of any kind (painters, sculptors, graphic artists, architects, designers, photographers, calligraphers and craftsmen ). The entries contain information on the origin and education of an artist, the professional career, major works and exhibitions and provide a bibliography.

meaning

The importance of Thieme-Becker and his particular strength lies on the one hand in the articles on medium-sized and smaller and almost unknown artists (the presentation of the most famous artists was limited to a maximum of 15 pages); on the other hand in its universal claim that goes beyond Europe. By taking into account antiquity and regions such as Asia and the Islamic area, it was partly also a "pioneering company". In addition, even today, after more than 100 years since the first volume was published, the entries are relevant insofar as, despite new findings and ongoing revisions, the contemporary judgment of leading art historians is of research-historical interest. Comparative studies showed that the Thieme-Becker is the most frequently cited art history reference work.

precursor

In 1763, Johann Rudolf Füssli published his one-volume Allgemeine Künstler-Lexikon , which was followed by a one-volume supplemented continuation by his son Hans Heinrich Füssli in 1779. Hans Heinrich Füssli added supplementary volumes to this work from 1806 to 1821.

From 1835 to 1852, the Nuremberg antiquarian Georg Kaspar Nagler (1801–1866), using the work of Füssli as a basis, wrote the Neue Allgemeine Künstler Lexicon (or news of the life and works of the Painters, sculptors, builders, engravers, form cutters, lithographers, draftsmen, medalists, ivory workers, etc.) . From 1858, Nagler added five more volumes to this work with the monogrammists .

In 1867 the Leipzig publisher Wilhelm Engelmann took over the rights to the lexicon from the publishing house Tendler (J. Grosser) and a revision, called General Artists' Lexicon, under the direction of Julius Meyer (1830-1893) was started. From 1872 to 1885, however, only the first three of the 12 to 15 volume lexicon appeared. Thieme-Becker followed up on this work , which was initially published by the same publisher.

There were also other approaches to an artist lexicon in German-speaking countries. In 1888, Hermann Alexander Müller published a one-volume biographical artist lexicon. The most famous contemporaries in the field of fine arts of all countries with details of their works . This work was published from 1895 to 1901 by Hans Wolfgang Singer as a general artist dictionary. The lives and works of the most famous visual artists expanded in 5 volumes.

History of Thieme-Becker

Together with Felix Becker, Ulrich Thieme began preparatory work on their artist lexicon in 1898, without state subsidies and without the support of an academy. Thieme was determined to finance the work from its own resources for the time being. The plan was to publish a 20-volume work within twelve years that would present the latest findings "concisely, reliably and clearly". The editors were aware of the difficulties and their responsibilities; In the announcement, a year before the first volume was published, they wrote:

“Since the two publishers have committed to dedicate their activities exclusively to the new company and, furthermore, the basis created by the preparatory work is so secure and sufficient that even the departure of one or both publishers due to illness or death would not rule out the continuation of the company so the completion of the great work is also ensured in this direction. "

In October 1907 Volume 1 (Aa – Antonio de Miraguel) was published by Wilhelm Engelmann in Leipzig. With Volume 4 (1910) Felix Becker resigned as editor due to illness. In 1911 the publishing house EA Seemann took over the publication. From volume 5 (1911) to volume 13 (1920), Thieme is the sole editor.

Ulrich Thieme was so wealthy from his origins that he was initially able to finance the costs of preparing the lexicon himself. The publication was carried out by one in Leipzig, Robert-Schumann-Str. 10, based editorial staff, whose members wrote numerous articles themselves. From volume 16 the names of the editorial staff were mentioned on the title page.

However, from 1913 onwards, Thieme's funds were no longer sufficient to finance the editorial team, and so, with the help of one of Wilhelm von Bode , Adolph Goldschmidt , Woldemar von Seidlitz, etc. a. written circular to German and Austrian art lovers can be solicited from well-known people for donations. From 1914 the German Kaiser also approved a grant from his disposition fund. In 1919 a new fundraising campaign was started, but inflation made the proceeds worthless. The publishing house Seemann was forced to take on the editorial costs in addition to the printing and production costs. Since 1921, the German Association for Art History has been committed to the continuation of the lexicon and appointed a board of trustees consisting of Wilhelm von Bode, Otto von Falke , Max J. Friedländer , Adolph Goldschmidt and Wilhelm Pinder . Since 1922, the Notgemeinschaft der Deutschen Wissenschaft provided funds for the lexicon.

Thieme mentions the difficulties caused by the loss of the network of correspondents and the foreign sources that arose from the continuation of the work due to the effects of the First World War in the foreword to volume 13. Thieme died in 1922, Fred. C. Willis took over the publication of the next two volumes for a short time (Volume 14, 1921 and Volume 15, 1922). In 1923 the publishing house handed over the publication to Hans Vollmer. Vollmer had been a member of the editorial team since Volume 1, 1907; he remained the sole editor until the end of the work in 1950 with volume 37. In 1929, Hans Vollmer corrected the editorial concept in order to bring the lexicon to a conclusion in a reasonable time. The texts were now drafted much more tightly, a smaller font size was used, initially for catalogs of works and references, and later also for the biographies. A memorandum by an art historian under the direction of Wilhelm Pinder led to the promotion of the work by the Reich Ministry for Science, Education and Public Education in 1936 .

The heaviest bombing raid on Leipzig , which destroyed the publishing house on December 4, 1943, also affected the editorial office of the Thieme-Becker- Künstlerlexikons. The already completed printing set of the 36th volume of Thieme-Becker was destroyed in the printing shop, so that the volume had to be restored after the war using the remaining proofs. In an air raid in February 1944, a large part of the remaining printed edition of the lexicon was also burned.

The extensive library and the documents that had been collected over five decades were largely saved; the editorial department was relocated to the Königsfeld manor near Rochlitz from 1944 to 1946 .

The Thieme Becker library was donated to the editorial staff in 1995 by the publishing houses KG Saur and EA Seemann from the Leipzig University Library .

Volumes

Volumes 1 to 37, which appeared in Leipzig from 1907 to 1950, are structured as follows.

  1. Aa – Antonio de Miraguel . In: Ulrich Thieme , Felix Becker (Hrsg.): General Lexicon of Fine Artists from Antiquity to the Present. Founded by Ulrich Thieme and Felix Becker. tape 1 : Aa – Antonio de Miraguel . Wilhelm Engelmann, Leipzig 1907, p. 1 ( Text Archive - Internet Archive ).
  2. Antonio da Monza-Bassan . In: Ulrich Thieme , Felix Becker (Hrsg.): General Lexicon of Fine Artists from Antiquity to the Present. Founded by Ulrich Thieme and Felix Becker. tape 2 : Antonio da Monza-Bassan . Wilhelm Engelmann, Leipzig 1908, p. 1 ( Text Archive - Internet Archive ).
  3. Bassano-Bickham . In: Ulrich Thieme , Felix Becker (Hrsg.): General Lexicon of Fine Artists from Antiquity to the Present. Founded by Ulrich Thieme and Felix Becker. tape 3 : Bassano – Bickham . Wilhelm Engelmann, Leipzig 1909, p. 1 ( Text Archive - Internet Archive ).
  4. Bida-Brevoort . In: Ulrich Thieme , Felix Becker (Hrsg.): General Lexicon of Fine Artists from Antiquity to the Present. Founded by Ulrich Thieme and Felix Becker. tape 4 : Bida – Brevoort . Wilhelm Engelmann, Leipzig 1910, p. 1 ( Text Archive - Internet Archive ).
  5. Brewer-Carlingen . In: Ulrich Thieme (Hrsg.): General Lexicon of Fine Artists from Antiquity to the Present. Founded by Ulrich Thieme and Felix Becker . tape 5 : Brewer-Carlingen . EA Seemann, Leipzig 1911, p. 1 ( Text Archive - Internet Archive ).
  6. Carlini-Cioci . In: Ulrich Thieme (Hrsg.): General Lexicon of Fine Artists from Antiquity to the Present. Founded by Ulrich Thieme and Felix Becker . tape 6 : Carlini-Cioci . EA Seemann, Leipzig 1912, p. 1 ( Text Archive - Internet Archive ).
  7. Cioffi – Cousyns . In: Ulrich Thieme (Hrsg.): General Lexicon of Fine Artists from Antiquity to the Present. Founded by Ulrich Thieme and Felix Becker . tape 7 : Cioffi – Cousyns . EA Seemann, Leipzig 1912, p. 1 ( Text Archive - Internet Archive ).
  8. Coutan-Delattre . In: Ulrich Thieme (Hrsg.): General Lexicon of Fine Artists from Antiquity to the Present. Founded by Ulrich Thieme and Felix Becker . tape 8 : Coutan-Delattre . EA Seemann, Leipzig 1912, p. 1 ( Text Archive - Internet Archive ).
  9. Delaulne – Dubois . In: Ulrich Thieme (Hrsg.): General Lexicon of Fine Artists from Antiquity to the Present. Founded by Ulrich Thieme and Felix Becker . tape 9 : Delaulne-Dubois . EA Seemann, Leipzig 1913, p. 1 ( Text Archive - Internet Archive ).
  10. Dubolon – Erlwein . In: Ulrich Thieme (Hrsg.): General Lexicon of Fine Artists from Antiquity to the Present. Founded by Ulrich Thieme and Felix Becker . tape 10 : Dubolon – Erlwein . EA Seemann, Leipzig 1914, p. 1 ( Text Archive - Internet Archive ).
  11. Erman-Fiorenzo . In: Ulrich Thieme (Hrsg.): General Lexicon of Fine Artists from Antiquity to the Present. Founded by Ulrich Thieme and Felix Becker . tape 11 : Erman-Fiorenzo . EA Seemann, Leipzig 1915, p. 1 ( Text Archive - Internet Archive ).
  12. Fiori-Fyt . In: Ulrich Thieme (Hrsg.): General Lexicon of Fine Artists from Antiquity to the Present. Founded by Ulrich Thieme and Felix Becker . tape 12 : Fiori-Fyt . EA Seemann, Leipzig 1916, p. 1 ( Text Archive - Internet Archive ).
  13. Gaab-Gibus . In: Ulrich Thieme (Hrsg.): General Lexicon of Fine Artists from Antiquity to the Present. Founded by Ulrich Thieme and Felix Becker . tape 13 : Gaab-Gibus . EA Seemann, Leipzig 1920, p. 1 ( Text Archive - Internet Archive ).
  14. Giddens-Gress . In: Ulrich Thieme , Fred. C. Willis (Ed.): General lexicon of visual artists from antiquity to the present. Founded by Ulrich Thieme and Felix Becker . tape 14 : Giddens-Gress . EA Seemann, Leipzig 1921, p. 1 ( Text Archive - Internet Archive ).
  15. Gresse – Hanselmann . In: Ulrich Thieme , Fred. C. Willis (Ed.): General lexicon of visual artists from antiquity to the present. Founded by Ulrich Thieme and Felix Becker . tape 15 : Gresse – Hanselmann . EA Seemann, Leipzig 1922, p. 1 ( Text Archive - Internet Archive ).
  16. Hansen-Heubach . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present. Founded by Ulrich Thieme and Felix Becker . tape 16 : Hansen – Heubach . EA Seemann, Leipzig 1923, p. 1 .
  17. Heubel – Hubard . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present. Founded by Ulrich Thieme and Felix Becker . tape 17 : Heubel – Hubard . EA Seemann, Leipzig 1924, p. 1 .
  18. Hubatsch – Ingouf . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present. Founded by Ulrich Thieme and Felix Becker . tape 18 : Hubatsch – Ingouf . EA Seemann, Leipzig 1925, p. 1 .
  19. Ingouville – Kauffungen . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present. Founded by Ulrich Thieme and Felix Becker . tape 19 : Ingouville – Kauffungen . EA Seemann, Leipzig 1926, p. 1 .
  20. Kaufmann – Knilling . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present. Founded by Ulrich Thieme and Felix Becker . tape 20 : Kaufmann – Knilling . EA Seemann, Leipzig 1927, p. 1 .
  21. Knip – Kruger . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present. Founded by Ulrich Thieme and Felix Becker . tape 21 : Knip – Kruger . EA Seemann, Leipzig 1927, p. 1 .
  22. Krügner-Leitch . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present. Founded by Ulrich Thieme and Felix Becker . tape 22 : Krügner – Leitch . EA Seemann, Leipzig 1928, p. 1 .
  23. Leitenstorfer – Mander . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present. Founded by Ulrich Thieme and Felix Becker . tape 23 : Leitenstorfer – Mander . EA Seemann, Leipzig 1929, p. 1 .
  24. Mandere – Möhl . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present. Founded by Ulrich Thieme and Felix Becker . tape 24 : Mandere – Möhl . EA Seemann, Leipzig 1930, p. 1 .
  25. Moehring – Olivié . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present. Founded by Ulrich Thieme and Felix Becker . tape 25 : Moehring – Olivié . EA Seemann, Leipzig 1931, p. 1 .
  26. Olivier – Pieris . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present. Founded by Ulrich Thieme and Felix Becker . tape 26 : Olivier – Pieris . EA Seemann, Leipzig 1932, p. 1 .
  27. Piermaria-Ramsdell . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present. Founded by Ulrich Thieme and Felix Becker . tape 27 : Piermaria – Ramsdell . EA Seemann, Leipzig 1933, p. 1 .
  28. Ramsden-Pink . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present. Founded by Ulrich Thieme and Felix Becker . tape 28 : Ramsden-Rosa . EA Seemann, Leipzig 1934, p. 1 .
  29. Rosa – Scheffauer . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present. Founded by Ulrich Thieme and Felix Becker . tape 29 : Rosa – Scheffauer . EA Seemann, Leipzig 1935, p. 1 .
  30. Scheffel-Siemerding . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present. Founded by Ulrich Thieme and Felix Becker . tape 30 : Scheffel – Siemerding . EA Seemann, Leipzig 1936, p. 1 .
  31. Siemering – Stephens . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present. Founded by Ulrich Thieme and Felix Becker . tape 31 : Siemering – Stephens . EA Seemann, Leipzig 1937, p. 1 .
  32. Stephens-Theodotos . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present. Founded by Ulrich Thieme and Felix Becker . tape 32 : Stephens – Theodotos . EA Seemann, Leipzig 1938, p. 1 .
  33. Theodotos vacation . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present. Founded by Ulrich Thieme and Felix Becker . tape 33 : Theodotos vacation . EA Seemann, Leipzig 1939, p. 1 .
  34. Urliens – Vzal . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present. Founded by Ulrich Thieme and Felix Becker . tape 34 : Urliens – Vzal . EA Seemann, Leipzig 1940, p. 1 .
  35. Libra – Wilhelmson . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present. Founded by Ulrich Thieme and Felix Becker . tape 35 : Libra-Wilhelmson . EA Seemann, Leipzig 1942, p. 1 .
  36. Wilhelmy-Zyzywi . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present. Founded by Ulrich Thieme and Felix Becker . tape 36 : Wilhelmy-Zyzywi . EA Seemann, Leipzig 1947, p. 1 .
  37. Masters with emergency names and monogramists . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present. Founded by Ulrich Thieme and Felix Becker . tape 37 : Master with emergency names and monogramists . EA Seemann, Leipzig 1950, p. 1 .

Employee

A complete list of employees was never published. In the first volume there is a list of employees on pp. IX – XII . This also includes 69 names of authors who then did not provide an article on the lexicon. There are also entries in the forewords of the first volumes, which report on deceased or new employees. A total of over 1200 authors contributed to the lexicon.

Staff at the Leipzig-based editorial team were Hubert Baumgärtel (Volume 10), Ewald Bender (Volume 8-10), Morton H. Bernath (Volume 5-7), Walther Biehl (Volume 5), Ludwig Burchard (1919-1920), Victor Alexander Carus (Volume 9–11), Walter Cohen (1904–1905), Robert Corwegh (Volume 5), Günther Deneke (1905–1906), Otto Kellner (Volume 19–36), Bernd Curt Kreplin (Volume 6–35) , Johannes Kurzwelly (volume 1-16), Ernst Herbert Lehmann (volume 26-28), Josef Müller (volume 14-23), Max Sauerlandt (1904-1905), Ludwig Scheewe (volume 17-31), Dorothea Stern (volume 15–18), Hans Vollmer (volume 1–15), Martin Wackernagel (volume 6–10), Curt H. Weigelt (volume 14–16), Friedrich Winkler (winter 1912/13), H. Wolff (volume 19– 36), Minna von Zahn (volumes 9-16) and Kurt Zoege von Manteuffel (volumes 5-10).

Vollmer

The Thieme-Becker was from Hans Vollmer's General Lexicon of Fine Artists of the XX. Century , which was also published in six volumes from 1953 to 1962 by E. A. Seemann in Leipzig. This was supposed to close the gap to Thieme-Becker , who only accepted artists with dates of birth before 1870.

It is true that the title page says “edited, edited and published with the help of specialists from home and abroad”, but Hans Vollmer wrote almost alone and only supported by colleagues who answered written inquiries in individual cases or by sending out pre-printed questionnaires Still living artists themselves ("Mitteil. d. Kstlers.", "Message from the artist") for eight years 15 to 20 typewritten pages daily, which he dictated to his secretary Claire Möbius, who also worked as a research assistant. Only a small number of articles in the Vollmer are drawn by around 50 other authors. This resulted in a total of 3391 two-column pages with another 47,229 artist biographies.

The conclusion of the Thieme-Becker and the Vollmer were a prestige project for the young GDR , so Hans Vollmer thanks in the afterword to volume 6 of the Vollmer "especially the government of the German Democratic Republic [...], whose decisive financial support it is to be thanked that a degree has been reached ”.

Volumes

  • Volume 1: A-D. EA Seemann, Leipzig 1953.
  • Volume 2: E-I. EA Seemann, Leipzig 1955.
  • Volume 3: K-P. EA Seemann, Leipzig 1956.
  • Volume 4: Q-U. EA Seemann, Leipzig 1958.
  • Volume 5: V-Z. Supplements A – G. EA Seemann, Leipzig 1961.
  • Volume 6: Supplements H – Z. EA Seemann, Leipzig 1962.

register

Neither the Thieme-Becker nor the Vollmer contain a register. This was only partially remedied in 1996/97 when a register of countries of origin and artistic professions was published.

The work is fully searchable in the CD and online editions.

Reprints and digital editions

In 1954 an anastatic reprint of Thieme-Becker was published by EA Seemann publishing house in Leipzig (F. Ullmann printing company, Zwickau), and in 1978 another photomechanical reprint.

Both Thieme-Becker and Vollmer have a study edition published by Deutsches Taschenbuch Verlag (dtv) in 1992 and a study edition published in 1999 by Verlag Seemann. In the autumn of 2008, the Seemann publishing house brought out a "new edition" of the old Thieme-Becker-Vollmer on CD-ROM with around 250,000 artist biographies as PDF texts, which had not been further expanded . The division and page numbering of the CD-ROM edition does not correspond to the printed original edition, so it is not quotable.

Via the online edition General Artists' Lexicon, which has existed since 1995 . International artist database - AKL-IKD , the full text of Thieme-Becker and Vollmer is available for a fee.

literature

  • B .: A new general encyclopedia of visual artists. In: Art Chronicle. Weekly for arts and crafts. N. F. 15, 1904, col. 57-58 ( digitized version ).
  • John Kruse : About some artists' dictionaries. In: Art Chronicle. Weekly for arts and crafts. N. F. 15, 1904, col. 534-544 ( digitized version ).
  • Hans Vollmer: How is an artist lexicon created? In: Art for everyone. 24, 1908/09, pp. 66-74 ( digitized version ).
  • Thieme-Becker sample booklet. Leipzig 1912.
  • Editiorial: The Future of "Thieme-Becker". In: The Burlington Magazine . 44, No. 250, 1924, p. 3, JSTOR 862060 .
  • Hans Vollmer: The fate of Thieme-Becker's general artist dictionary. In: Das Antiquariat. 4, Issue 3/4, 1948, pp. 1-2; English short version: The Fate of Thieme-Becker. In: The Burlington Magazine. 90, No. 543, June 1948, p. 174, JSTOR 869871 .
  • Magdalena George (Ed.): Festschrift Hans Vollmer. On the occasion of his fifty years of activity as an employee and editor of the Thieme-Becker General Lexicon of Visual Artists from Antiquity to the Present. EA Seemann, Leipzig 1957, in it especially Heinz Ladendorf : The General Lexicon of the Visual Artists Thieme-Becker-Vollmer. Pp. 1–16 ( digitized version ).
  • Alfred Langer: Art Literature and Reproduction. 125 years of Seemann-Verlag in the service of research and dissemination of art. EA Seemann, Leipzig 1983, pp. 116-127, 152-154.

Web links

Remarks

  1. a b The project: From Thieme-Becker to the artist database ( Memento from October 24, 2008 in the Internet Archive ). In: degruyter.de .
  2. Martin Warnke : Everything about everyone. In: The time . No. 5, January 29, 1993.
  3. sh: review. In: BSZ Baden-Württemberg (Ed.): Information resources for libraries (IFB). 1 (1993), 3/4 ( digitized version ).
  4. Christine Hennessey: The Status of Name Authority Control in the Cataloging of Original Art Objects. In: Art Documentation. Journal of the Art Libraries Society of North America. Volume 5, No. 1, Spring 1986, pp. 3-10, here: p. 5, JSTOR 27947541 ; Deirdre Corcoran Stam: How Art Historians Look for Information. In: Art Documentation. Journal of the Art Libraries Society of North America. Volume 16, No. 2, Fall 1997, pp. 27-30, here: p. 28, JSTOR 27948896 .
  5. General Artist = Lexicon, or: Brief message about the life and works of the Mahler, sculptor, builder, copper engraver, art caster, steel cutter [et] c. [et] c., together with an attached list of the portraits of the artists contained in this lexicon, described in alphabetical order . Heidegger and Compagnie, Zurich 1763 ( digitized ).
  6. General artist lexicon , or: Brief message about the life and works of the Mahler, sculptor, master builder, copper engraver, art caster, steel cutter [et] c. [Etc. Along with attached lists of teachers and students; also of the portraits of the artists contained in this lexicon. Orell, Geßner, Füeßlin and Compagnie, Zurich 1779 ( digitized version ).
  7. General artist lexicon , or: Brief message about the life and works of the Mahler, sculptor, master builder, copper engraver, art caster, steel cutter [et] c. [Etc. Along with attached lists of teachers and students; also of the portraits of the artists contained in this lexicon.
    • First part, new, completely unchanged edition. First department: A – M, Orell, Füeßli and Compagnie, Zurich 1810 ( digitized ).
    • First part, new, completely unchanged edition. Second section: N – Z, Orell, Füeßli and Compagnie, Zurich 1840 ( digitized version ).
    • Second part, which contains the continuation and addition of the first. First section: A – C , Orell, Füeßli and Compagnie, Zurich 1806 ( digitized version ).
    • Second part, which contains the continuation and addition of the first. Second section: D – F , Orell, Füeßli and Compagnie, Zurich 1806 ( digitized version ).
    • Second part, which contains the continuation and addition of the first. Third section: G – K , Orell, Füeßli and Compagnie, Zurich 1808 ( digitized version ).
    • Second part, which contains the continuation and addition of the first. Fourth section: L – M , Orell, Füeßli and Compagnie, Zurich 1809 ( digitized version ).
    • Second part, which contains the continuation and addition of the first. Fifth section: N – Q , Orell, Füeßli and Compagnie, Zurich 1810 ( digitized version ).
    • Second part, which contains the continuation and addition of the first. Sixth section: R , Orell, Füeßli and Compagnie, Zurich 1812 ( digitized version ).
    • Second part, which contains the continuation and addition of the first. Seventh section: Sa - Sc , Orell, Füeßli and Compagnie, Zurich 1813 ( digitized version ).
    • Second part, which contains the continuation and addition of the first. Appendix to the seventh section, which contains the life of Raphael Sanzio and the literature of his works, Orell, Füeßli and Compagnie, Zurich 1814 ( digitized version ).
    • Second part, which contains the continuation and addition of the first. Ninth section: T , Orell, Füeßli und Compagnie, Zurich 1814 ( digitized version ).
    • Second part, which contains the continuation and addition of the first. Section 10, first half: Va - Vicentino , Orell, Füeßli and Compagnie, Zurich 1818 ( digitized version ).
    • Second part, which contains the continuation and addition of the first. Eleventh section: W , Orell, Füeßli and Compagnie, Zurich 1820 ( digitized version ).
    • Second part, which contains the continuation and addition of the first. Twelfth section: X, Y, Z , Orell, Füeßli and Compagnie, Zurich 1821 ( digitized ).
  8. ^ Verlag EA Fleischmann, Munich 1832-1852 ( digitized version ).
  9. The monogrammists and those known and unknown artists of all schools who use a figurative sign, the initials of the name, the abbreviation of the same to designate their works, & c. have served. Taking into account letterpress marks, the stamps of art collectors, the stamps of the old gold and silversmiths, majolica factories, porcelain manufacturers, etc. News about painters, draftsmen, sculptors, architects, engravers, shape cutters, letter painters, lithographers, stamp cutters, enamellers, goldsmiths , Niello, metal and ivory workers, engravers, armourers etc. With the rational lists of the works of anonymous masters, whose marks are given, and the reference to the products of well-known artists labeled with monograms or initials ... also an addition ... to the new general Artist lexicons and supplement to the well-known works by A. Bartsch, Robert-Dumesnil, C. le Blanc, F. Brulliot, J. Heller etc. 5 volumes. Georg Franz, Munich 1858–1879, on this General-Index G. Hirth, Munich 1920, ( digitized ).
  10. ^ Verlag Wilhelm Engelmann, Leipzig, Volume 1, 1872: Aa-Andreani ( digitized version ); Review: WB, Kunstchronik. Wochenschrift für Kunst und Kunstgewerbe 7, 1872, Sp. 267–269 ( digitized version ); Volume 2, 1878: Appiani – Domenico del Barbiere ( digitized version ); Volume 3, 1885 (edited by Julius Meyer, Hermann Lücke , Hugo von Tschudi : Giambattista Barbieri – Giuseppe Bezzuoli ( digitized )).
  11. ^ Biographical artist lexicon. The most famous contemporaries in the field of fine arts of all countries with details of their works. Bibliographisches Institut, Leipzig 1882 ( digitized version ); 2nd edition, corrected and supplemented by supplements, 1884.
  12. General artist lexicon . Life and works of the most famous visual artists. Revised and updated edition, prepared by Hermann Alexander Müller. Edited by Hans Wolfgang Singer. Rütten & Loening, Frankfurt a. M. 1895-1901.
  13. See also Ulrich Thieme, Felix Becker: Künstler-Lexikon. In: Spemann's golden book of art. Spemann, Berlin / Stuttgart 1901, pp. 429-508 ( digitized version ).
  14. For the history of Thieme-Becker see Heinz Ladendorf: The General Lexicon of the Visual Artists Thieme-Becker-Vollmer. In: Festschrift Hans Vollmer. Leipzig 1957, p. 5 ff.
  15. ^ Heinz Ladendorf: The General Lexicon of the Visual Artists Thieme-Becker-Vollmer. In: Festschrift Hans Vollmer. Leipzig 1957, p. 5.
  16. Information on the members of the editorial team can be found in Volume 5, above ; 6, n.s .; 8, p. VI ; 9, SV ; 10, S. V ; 13, 1920, p. V ; 14, 1921, p. V ; 15, 1922, p. VI .
  17. List of Donors Volume 8, p. VII ; 9, p. VII ; 10, p. VII 11, nos ; 12, no p.
  18. Volume 10, SV
  19. List of Donors Volume 14, 1921, pp. VII – VIII and 15, 1922, pp. VII – VIII.
  20. Volume 15, 1922 S. V .
  21. Volume 13, 1920, pp. V-VI .
  22. ^ Heinz Ladendorf: The General Lexicon of the Visual Artists Thieme-Becker-Vollmer. In: Magdalena George (Ed.): Festschrift Hans Vollmer. EA Seemann, Leipzig 1957, p. 9.
  23. ^ University Library Leipzig, Library Art ( Memento from March 30, 2012 in the Internet Archive ). In: ub.uni-leipzig.de ; Siegfried Stadler: Of all times, of all countries. Collected artistic studies: Leipzig's Thieme-Becker library accessible again. In: Frankfurter Allgemeine Zeitung December 4, 1995, p. 35.
  24. ^ Reviews: FB, Archivio storico italiano. Ser. 5, 41, 1908, pp. 252-254; Egidio Calzini, Rassegna bibliografica dell'arte italiana. 10, 1907, pp. 154-155; Max Dvořák , Kunstgeschichtlicher Anzeiger 5, 1909, pp. 354–356; Max J. Friedländer , Repertory for Art History. 31, 1908, pp. 354-356; Gustav Glück , communications from the Society for Reproductive Art. 1909, pp. 65-66 ( digitized version ); Paul Kristeller , art and artist. Illustrated monthly for fine arts and applied arts. 6, 1908, p. 254 ( digitized version ); HS, Literarisches Zentralblatt. 59, 1908, col. 69-70; Paul Schubring , Frankfurter Zeitung. No. 328, November 26, 1911; Woldemar von Seidlitz , art chronicle. Weekly for arts and crafts. N. F. 19, 1908, col. 91-95 ( digitized version ).
  25. ^ Reviews: GDA, Archivio storico italiano. Ser. 5, 43, 1909, pp. 226-228; Egidio Calzini, Rassegna bibliografica dell'arte italiana. 11, 1908, p. 178; Max J. Friedländer, Repertory for Art History. 33, 1910, pp. 162-163; Paul Kristeller, art and artist. Illustrated monthly for fine arts and applied arts. 7, 1909, pp. 468-469 ( digitized version ); HS, Literarisches Zentralblatt. 61, 1910, col. 102-103; Hans W. Singer, monthly journal for art history. 1, 1908, pp. 1157-1158.
  26. ^ Reviews: GDA, Archivio storico italiano. Ser. 5, 47, 1911, pp. 487-488; Egidio Calzini, Rassegna bibliografica dell'arte italiana. 13, 1910, pp. 30-31; Max J. Friedländer, Repertory for Art History. 33, 1910, pp. 162-163; Gustav Glück, communications from the Society for Reproductive Art. 1911, p. 17 ( digitized version ); HS, Literarisches Zentralblatt. 61, 1910, col. 102-103; Hans W. Singer, monthly journal for art history. 3, 1919, p. 401.
  27. ^ Reviews: GDA, Archivio storico italiano. Ser. 5, 47, 1911, pp. 487-488; Egidio Calzini, Rassegna bibliografica dell'arte italiana. 13, 1910, pp. 155-156; HS, Literarisches Zentralblatt 63, 1912, Sp. 101-102; Hans W. Singer, monthly journal for art history. 4, 1911, pp. 88-89.
  28. ^ Reviews: Egidio Calzini, Rassegna bibliografica dell'arte italiana. 14, 1911, pp. 116-117; Gustav Glück, communications from the Society for Reproductive Art. 1912, p. 44 ( digitized version ); Paul Kristeller, art and artist. Illustrated monthly for fine arts and applied arts. 11, 1913, p. 184 ( digitized version ); HS, Literarisches Zentralblatt. 63, 1912, col. 101-102; Hans W. Singer, monthly journal for art history. 4, 1911, pp. 520-522.
  29. ^ Reviews: Egidio Calzini, Rassegna bibliografica dell'arte italiana. 15, 1912, pp. 78-79; Gustav Glück, communications from the Society for Reproductive Art. 1915, pp. 30-31 ( digitized version ); HS, Literarisches Zentralblatt. 63, 1912, col. 738-739; Hans W. Singer, monthly journal for art history. 5, 1912, pp. 241-242.
  30. ^ Reviews: Egidio Calzini, Rassegna bibliografica dell'arte italiana. 15, 1912, pp. 161-162; Gustav Glück, communications from the Society for Reproductive Art. 1915, pp. 30-31 ( digitized version ).
  31. ^ Reviews: Egidio Calzini, Rassegna bibliografica dell'arte italiana. 16, 1913, p. 127; Gustav Glück, communications from the Society for Reproductive Art. 1915, pp. 30-31 ( digitized version ); Hans W. Singer, monthly journal for art history. 6, 1913, p. 491.
  32. ^ Reviews: Egidio Calzini, Rassegna bibliografica dell'arte italiana. 17, 1914, pp. 61-62; Gustav Glück, communications from the Society for Reproductive Art. 1915, pp. 30-31 ( digitized version ); Hans W. Singer, monthly journal for art history. 7, 1914, pp. 355-356; Hermann Voss , art chronicle. Weekly for arts and crafts. N. F. 25, 1914, col. 566-567 ( digitized ).
  33. ^ Reviews: Egidio Calzini, Rassegna bibliografica dell'arte italiana. 18, 1915, p. 29; Gustav Glück, communications from the Society for Reproductive Art. 1915, pp. 30-31 ( digitized version ); Hans W. Singer, monthly journal for art history. 8, 1915, pp. 101-102.
  34. ^ Reviews: Gustav Glück, communications from the society for duplicating art. 1915, pp. 30-31 ( digitized version ); Hans W. Singer, monthly journal for art history. 8, 1915, p. 260.
  35. ^ Reviews: Gustav Glück, communications from the society for duplicating art. 1919, p. 58 ( digitized version ); Hans Wolfgang Singer, monthly journal for art history. 10, 1917, pp. 123-124; Hermann Voss, art chronicle. Weekly for arts and crafts. N. F. 28, 1917, col. 44-45 digitized ; Emil Waldmann , art and artist. Illustrated monthly for fine arts and applied arts. 15, 1917, pp. 153-154 ( digitized version ).
  36. Review: Hans Wolfgang Singer, monthly journals for art history. 14, 1921, p. 149.
  37. Review: Hans Wolfgang Singer, monthly journals for art history. 15, 1922, p. 305.
  38. Review: Hans Wolfgang Singer, monthly journals for art history. 15, 1922, p. 306.
  39. ^ Review: Ernst Buchner , Zeitschrift für Kunst. 4, 1950, pp. 308-322.
  40. Directory of employees . In: Ulrich Thieme , Felix Becker (Hrsg.): General Lexicon of Fine Artists from Antiquity to the Present. Founded by Ulrich Thieme and Felix Becker. tape 1 : Aa – Antonio de Miraguel . Wilhelm Engelmann, Leipzig 1907 ( Textarchiv - Internet Archive ).
  41. Hans Vollmer: Afterword by the editor. In: General Lexicon of Fine Artists of the XX. Century. Volume 6, 1962, p. 502; similar to p. 503 in the publisher's epilogue: "The government of the German Democratic Republic for the understanding help and financial support [...] without which the work - especially in the post-war years - could not have been continued and completed". - See also epilogue, Volume 4, p. 503, with reference to the addendum beginning in Volume 5, "which particularly catches up with a number of artists from the Soviet Union, Finland and the People's Democrats who round off the picture of international artistic creation of the present day".
  42. Thieme-Becker-Vollmer complete register. Index to the General Lexicon of Fine Artists from Antiquity to the Present and to the General Lexicon of Fine Artists of the XX. Century. KG Saur, Munich / Seemann, Leipzig, ISBN 3-598-23640-9 , Part 1: Countries (1996); Volume 1: Egypt – France; Volume 2: France-Canada; Volume 3: Kenya – Vietnam. Part 2: Artistic Professions (1997); Volume 1: Altar artist – caricaturist; Volume 2: Mapmaker – Painter; Volume 3: Painter – Draftsman .
  43. ISBN 3-423-05908-7 and ISBN 3-423-05909-5 . - sh: review. In: Information resources for libraries (IFB). 1, 1993, 3/4 ( digitized version ).
  44. ISBN 3-363-00729-9 and ISBN 3-363-00730-2 .
  45. ^ Thieme, Becker: General Lexicon of Fine Artists from Antiquity to the Present together with Vollmer: General Lexicon of Fine Artists of the XX. Century. Leipzig 2008, ISBN 978-3-86502-177-9 ; Publishing site .
  46. Access .