Making private collections public: Gustav Friedrich Waagen and the Royal Museum in Berlin

Journal of the History of Collections

Volumn 10, Issue 1, 1998, Pages 61-74

  Stonge, Carmen ^a  

^a DUQUESNE UNIVERSITY   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 18844418814     PISSN: 09546650     EISSN: 14778564     Source Type: Journal    
DOI: 10.1093/jhc/10.1.61     Document Type: Review

References (35)

1. Also see Tilmann von Stockhausen, 'Das Alte Museum und die neue Gemäldegalerie', Kunstchronik 49 no. 7 (1996), pp. 316-20
2. Irene Geismeier, 'Gustav Friedrich Waagen - 45 Jahre Museumsarbeit', Forschungen und Berichte/Staatliche Museen zü Berlin 20/21 (1980), p. 405
3. David Blackbourn, 'The German bourgeoisie: an introduction', in David Blackbourn and Richard J. Evans (eds.), The German Bourgeoisie: Essays on the social history of the German middle class from the late eighteenth to the early twentieth century (New York, 1993), p. 4
4. Dietrich Orlow, A History of Modern Germany 1871 to Present (Englewood Cliffs, New Jersey, 1987), p. 6
5. Nikolaus Pevsner, A History of Building Types, Bollingen Series XXXV, no. 19 (Princeton, New Jersey, 1976) pp. 114-15
6. Volker Plagemann, Das deutsche Kunstmuseum 1790-1870, (Munich, 1967), p. 38
7. Steven Moyano, 'Quality vs. History: Schinkel's Altes Museum and Prussian arts policy', Art Bulletin 72 no. 4 (1990), p. 586
8. Paul Ortwin Rave, 'Schinkels Museum in Berlin oder die klassische Idee des Museums', Museumskunde 29 no. 1, (1960), pp. 4-5
9. Henning Bock, 'The history of the collection', in John Gabriel (trans.), Masterworks of the Gemäldegalerie, Berlin (New York, 1986), pp. 12-13
10. David Watkin and Tilman Mellinghoff, German Architecture and the Classical Ideal (Cambridge, Massachusetts, 1987), p. 95
11. Karl Friedrich Schinkel, Aus Tagebüchern und Briefe (Berlin, 1969), p. 167
12. See Christopher Norris, 'The disaster at Flakturm Friedrichshain; a chronicle and list of paintings', Burlington Magazine 94 (1952), pp. 337-47, for an account of the fate of this collection
13. For a discussion of the secrecy surrounding the Solly transaction, see Cécil Lowenthal-Hensel, 'Die Erwerbung der Sammlung Solly durch den preussischen Statt Protokoll einer geheimen Transaktion', Neue Forschungen zu Brandenburg-Preussischen Geschichte 14 (1979), pp. 109-59
14. and Irene Geismeier, 'Gustav Friedrich Waagen - Museumsdirektor in der Preussischen Hauptstadt', Jahrbuch der Berliner Museen 37 (1995), pp. 8-9
15. Gabriele Bickendorf, 'Gustav Friedrich Waagen und der Historismus in der Kunstgeschischte', Jahrbuch der. Berliner Museen 37 (1995), p. 31
16. See Frank Herrmann, 'Who was Solly?, Part 4: the sale of the Berlin collection', Connoisseur no. 166 (1967), pp. 10-18
17. Also see Gustav Friedrich Waagen, 'Karl Friedrich Schinkel als Mensch und als Künstler', Kleine Schriften (Stuttgart, 1875), p. 341
18. Friedrich Stock, 'Zwei Gesuche Waagens', Jahrbuch der preussischen Kunstsammlungen 53 (1932), p. 125
19. and Friedrich Stock, 'Urkunden zur Einrichtung des Berliner Museum', Jahrbuch der preussichen Kunstsammlungen 58 (1937), Supplement, pp. 68-9
20. Friedrich Schinkel und Gustav Friedrich Waagen 'Über die Aufgaben der Berliner Galerie', p. 213, reproduced in Friedrich Stock, 'Urkunden zur Vorgeschichte des Berliner Museums', Jahrbuch der preussischen Kunstsammlungen 51 (1930), pp. 209-14
21. and Frank Herrmann, 'Who was Solly?, Part 3: the Italian pictures', Connoisseur no. 165 (1967), p. 159, note 2
22. For a discussion of Humboldt's views on education, and influences on the shaping of his neo-humanist ideas, see Charles E. McClelland, State, Society, and University in Germany 1700-1914 (New York, 1980) pp. 101-49
23. Also see Hermann Lübbe, 'Wilhelm von Humboldt und die Berliner Museumsgründung 1830', Jahrbuch preussischer Kulturbesitz 17 (1980), pp. 87-110, for a discussion of Humboldt's role in the Museum's founding
24. Denys Sutton, 'Gustaf [sic] Friedrich Waagen first director of the Berlin Gallery', Apollo 102 (1975), pp. 396-403
25. Francis Haskell, Rediscoveries in Art: Some aspects of taste, fashion and collecting in England and France (Ithaca, New York, 1976), p. 93
26. See a diagram of Waagen's plan for the painting galleries in Plagemann, op. cit. (note 8), pl. 62
27. Gottfried Riemann, 'Das Museum am Lustgarten 1823-1830', Karl Friedrich Schinkel 1781-1841, exh. cat. Staatliche Museen zu Berlin (Altes Museum) (Berlin, 1982), p. 145
28. Hirt managed to get only one of his ideas accepted, the controversial Latin inscription for the Museum's frieze. See Douglas Crimp, 'The end of art and the origin of the museum', Art Journal 46 (1987), p. 262
29. Giles Waterford and Florian Illies, 'Waagen in England', Jahrbuch der Berliner Museum 37 (1995), p. 53
30. Also see Heinrich Dilly, Kunstgeschichte als Institution (Frankfurt am Main, 1979), pp. 143-5, for comments on the crowded presentation causing confusion in the Louvre
31. Lyndel Saunders King, The Industrialization of Taste: Victorian England and the Art Union of London, Studies in the Fine Arts: Art Patronage, No. 6 (Ann Arbor, Michigan, 1985), p. 15
32. For a discussion of Eastlake and the National Gallery see David Robertson, Sir Charles Eastlake and the Victorian Art World (Princeton, New Jersey, 1978), p. 32
33. See Gustav Friedrich Waagen, 'Carl Friedrich Schinkel als Mensch und als Künstler', Berlin Kalender auf das Schaltjahr 1844 (Berlin, 1843), pp. 303-428
34. Elizabeth Gilmore Holt (ed.), The Art of All Nations 1850-1873. The emerging role of exhibitions and critics (Princeton, New Jersey, 1982), p. 164
35. Gustav Friedrich Waagen, 'On the Exhibition of Art-Treasures at Manchester', Art Journal 19 (1857), pp. 233-6