waagen造句

• Waagen based his assessment of the inscriptions on the frame, the " explicitly realistic " style he had come to associate with van Eyck, as well as the evident skill in blending hues.
• Of the early authorities, Gustav Friedrich Waagen in the 1850s called it " School of van Eyck " and Johann David Passavant in the 1830s a " Rogier van der Weyden the younger ".
• In Berlin, Comfort was influenced by meetings and studies with the philosopher Friedrich Kaulbach, Carl Richard Lepsius ( curator of Egyptology at the Gem鋖degalerie director Gustav Waagen, Leopold von Ranke, among others.
• ""'Oecotraustes " "'is an extinct cephalopod genus included in the ammonid family Oppeliidae and named by Waagen in 1869 . The genus lived during the Middle Jurassic.
• In a letter dated 1824 or 1825 Gustav Waagen, later Director of the Berlin Museums, gave his interpretation of Latin inscriptions he had seen on the original frame of the portrait, which was subsequently lost.
• Gustav Friedrich Waagen had been appointed to a similar chair at the Humboldt University of Berlin in 1844, and the appointment of Eitelberger may have represented a Habsburg attempt to keep pace with the cultural policies of Prussia.
• Despite ignominiously departing from the Museum committee, the 1823 30 building designed by his student Schinkel, known as the Altes Museum, was as much the product of Hirt's efforts as of Waagen's.
• Waagen had studied the stolen works of Prussia in Paris and come to the conclusion that an art museum's prime focus was not national prestige or education, as Hirt argued, but the pleasure of viewing art.
• Waagen and Smith agree that the works painted from 1645 to 1650 testify most highly to the master's abilities; there is no doubt that a considerable number of earlier productions would have been sufficient to immortalize his name.
• Waagen included the 1st Lord Ashburton in a list of " the most distinguished collectors in England since 1792 " ( I : 26-7 ) in the 1854 edition of his work, " Treasures of Art in Great Britain ."
• Waagen's 1828 pamphlet gave a detailed account of this competition, and asserted that quality ( i . e . only the better or more representative artworks of each era ) not quantity ( i . e . all the state's works ) should be displayed.
• The Delft master's modern rediscovery began about 1860, when German museum director Gustav Waagen saw " The Art of Painting " in the Czernin gallery in Vienna and recognized the work as a Vermeer, though it was attributed to Pieter de Hooch at that time.
• In this way, Waagen also identified Christus'so-called " Saint Eligius " panel, now in the Metropolitan Museum of Art, New York ( and seen as just a portrait of a goldsmith ), marking the painter's rediscovery after centuries of obscurity.
• Besides the above, the work was attributed to Rembrandt with more or less conviction by Hofstede de Groot, Abraham Bredius, Van Gelder, Haverkamp-Begemann and Christopher Brown amongst others, and by all the specialised critics prior to the 20th century, with the exception of Waagen.
• When Friedrich Waagen, for example, criticized in the early issues of the " Zeitschrift f黵 bildende Kunst ", Goethe's aesthetic taste of some fifty years before, Grimm, the spokesman for the Gr黱derzeit, took it personally, refuting Waagen effectively point by point.
• When Friedrich Waagen, for example, criticized in the early issues of the " Zeitschrift f黵 bildende Kunst ", Goethe's aesthetic taste of some fifty years before, Grimm, the spokesman for the Gr黱derzeit, took it personally, refuting Waagen effectively point by point.
• The original frame survived until the 19th century and was inscribed with a date believed to be 1482; 20th-century art historians suggested the number's final digit was a nine, which would give a date of 1489 . In 1847 Gustav Friedrich Waagen described it as one of Memling's " finest and most original works ".
• Anstelle des geplanten Zentralbaus mit Kuppel kam schlie遧ich eine turmlose Basilika mit flachem Satteldach und Portikus an der Marktseite zur Ausf黨rung . 1844 schrieb sein Freund und sp鋞erer Biograf Gustav Friedrich Waagen 黚er ihn :  " Nirgends sprach sich seine Selbstverleugnung aber sch鰊er aus, als wenn Lieblingspl鋘e von ihm [ . . . ] entweder gar nicht zur Ausf黨rung kamen, oder doch mannigfach ver鋘dert und beschnitten wurden.
• Schnaase's work was distinguished from Kugler's by its " Hegelian desire to write a history of art as a history of the mentality of the human race, an endeavor specifically disavowed by Kugler . " The first volume of his " Geschichte " began with a lengthy treatise on aesthetics, indicating a philosophical inclination that was criticized in reviews by both Kugler and Gustav Friedrich Waagen.
• In his critical exhibition catalogue of Early Flemish Masters in Bruges in 1902, the Ghent great connoisseur of early Flemish Art and art historian Georges Hulin de Loo, came to the conclusion that Isenbrandt was actually the anonymous " Master of the Seven Sorrows of the Virgin " and the author of a large body of paintings previously attributed to Gerard David and Jan Mostaert by the German art historian Gustav Friedrich Waagen.