Heinrich Wölfflin (German: [ˈhaɪnʁɪç ˈvœlflɪn]; 21 June 1864 – 19 July 1945) was a Swiss art historian, esthetician and educator, whose objective classifying principles ("painterly" vs. "linear" and the like) were influential in the development of formal analysis in art history in the early 20th century.[1] He taught at Basel, Berlin and Munich in the generation that saw German art history's rise to pre-eminence. His three most important books, still consulted, are Renaissance und Barock (1888), Die Klassische Kunst (1898, "Classic Art"), and Kunstgeschichtliche Grundbegriffe (1915, "Principles of Art History").[2]
Wölfflin taught at Berlin University from 1901 to 1912, at Munich University from 1912 to 1924, and at University of Zurich from 1924 until his retirement.[3]
Wölfflin was born in Winterthur, Switzerland. His father, Eduard Wölfflin, was a professor of classical philology who taught at the Munich university and helped to found and organize the Thesaurus Linguae Latinae. The younger Wölfflin studied art history and history with Jakob Burckhardt at the University of Basel, philosophy with Wilhelm Dilthey at Berlin University, and art history and philosophy at Munich. He received his doctoral degree from the Ludwig-Maximilians-Universität München in 1886 in philosophy, although he was already on a course to study the newly minted discipline of art history.
Wölfflin's principal philosophy mentor at the University of Munich, where Wölfflin earned his doctoral degree, was the renowned professor of archaeology Heinrich Brunn.[4] Greatly influenced by his mentors, particularly neo-Kantian Johannes Volkelt (Der Symbolbegriff) and Brunn, Wölfflin's own dissertation, "Prolegomena zu einer Psychologie der Architektur" (1886), already showed the approach that he was later to develop and perfect: an analysis of form based on a psychological interpretation of the creative process. It is considered now to be one of the founding texts of the emerging discipline of art history, although it was barely noted when it was published.
After graduating in 1886, Wölfflin published the result of a years' travel and study in Italy, as his Renaissance und Barock (1888), already showed the approach that he was later to develop and perfect, he pursued his method in books on the Renaissance and Baroque periods. For Wölfflin, the 16th-century art now described as "Mannerist" was part of the Baroque aesthetic, one that Burckhardt before him as well as most French and English-speaking scholars for a generation after him dismissed as degenerate. On the death of Jacob Burckhardt in 1897 Wöllflin succeeded him in the Art History Chair at Basel. He is credited with having introduced the teaching method of using twin parallel projectors in the delivery of art history lectures, so that images could be compared when magic lanterns became less dangerous. Sir Ernst Gombrich recalled being inspired by him, as well as Erwin Panofsky.
Notable students of Wölfflin included Frederick Antal, Paul Frankl, Carola Giedion-Welcker, Richard Krautheimer, Kurt Martin, Jakob Rosenberg, Fritz Saxl, and Klara Steinweg.[5]
In Principles of Art History, Wölfflin formulated five pairs of opposed or contrary precepts in the form and style of art of the sixteenth and seventeenth centuries which demonstrated a shift in the nature of artistic vision between the two periods. These were:
Wölfflin was following in the footsteps of Vasari, among others, in devising a method for distinguishing the development in style over time. He applied this method to Trecento, Quattrocento and Cinquecento art in Classic Art (1899), then developed it further in The Principles of Art History (1915). Wolfflin's Principles of Art History has recently become more influential among art historians and philosophers of art. The Journal of Aesthetics and Art Criticism published a special issue commemorating the 100th anniversary of the publication of the Principles in 2015, edited by Bence Nanay.[11]
"Heinrich Wölfflin, perhaps the most important art historian of his generation, was so receptive to the aesthetic purism prevailing at the time that he developed a technique of dissociation that was as extreme as the Remy de Gourmont." – Edgar Wind, Art and Anarchy, Suhrkamp Taschenbuch Wissenschaft No. 1163, Frankfurt am Main, 1994, p 27
The legacy of Wölfflin's Principles upon international scholarship and the teaching of the history of art was examined as the subject of a symposium at the Center for Advanced Study in the Visual Arts in 2015.[12]
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