부산대학교 도서관

(b Basle, Jan 2, 1881; d Begnins, nr Geneva, Jan 14, 1962). Swiss art historian. He completed his doctorate under Heinrich Wölfflin in Berlin in 1905 and during his subsequent assistantship at the Istituto Storico Germanico, Rome, wrote Die Plastik des XI. und XII. Jahrhunderts in Apulien. He taught art history in Halle and Leipzig before accepting a professorship (1920) at the University of Münster, where he taught until 1948. Wackernagel pioneered the study of art in relation to a particular historical and social context, specifically that of Renaissance Florence. His Der Lebensraum des Künstlers in der florentinischen Renaissance (1938) set an imposing precedent for similar studies that proliferated later in the 20th century. In sections on commissions and functions of art, patronage and the life, working conditions and social status of artists, the book provides detailed, carefully documented information on the Florentine artistic setting from c. 1420 to 1530, including descriptive reconstructions of the original locations of many works. He focused on great projects such as the cathedral, baptistery and Palazzo Vecchio and on smaller undertakings for individual churches, convents and private homes; on the demands and taste of such individual patrons as the Medici and such corporate ones as the city government, the guilds and the religious orders. He assembled data on artists as individuals and as a group: their work and business practices, professional organization, social life and personalities, as well as their relationship to the contemporary art market. His aim was not to expound a theory so much as to create a detailed, panoramic image of Renaissance Florence as a successful nurturing environment for flourishing artistic production. In this he was influenced by the work of Hippolyte Taine and his concept of the influential milieu; Jacob Burckhardt (especially his studies on Renaissance collectors and on commissions grouped by type and function); and Aby Warburg, who in his studies of Florentine Renaissance art first drew attention to the impact of demand and the requirements of the patron. Eugène Müntz’s surveys of Renaissance art may also have been models as well as sources....