Friedrich Lippmann (6 October 1838 in Prague – 2 October 1903 in Berlin) was a German art historian and director of the Kupferstichkabinett, Berlin State Museums, noted for his work on Dürer, Holbein and Italian 15th-century woodcuts. Max Jakob Friedländer, who was later to become a noted scholar of Early Netherlandish painting and the Northern Renaissance, worked under Lippmann in 1891 as a volunteer assisting with Lippmann's graphics collection.
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👉 Friedrich Lippmann in the context of Max J. Friedländer
Max Jakob Friedländer (5 July 1867 in Berlin – 11 October 1958 in Amsterdam) was a German-Jewish museum curator and art historian. He was a specialist in Early Netherlandish painting and the Northern Renaissance, who volunteered at the Kupferstichkabinett Berlin in 1891 under Friedrich Lippmann. On Lippmann's recommendation, Wilhelm von Bode took him on as his assistant in 1896 for the paintings division. He was appointed deputy director of the Kaiser Friedrich Museum (then containing the Berlin State Museums' old master paintings and sculpture) under Bode in 1904 and became director himself from 1924 to 1932, working on his history From Van Eyck to Bruegel and the 14-volume (printed in 16, with supplements) survey Early Netherlandish Painting. In 1933 he was dismissed as a "non-Aryan" and in 1939 had to move to Amsterdam because he was Jewish. He attained the rank and title of geheimrat (privy councillor) under the German Empire. He also donated several works to the collection and worked in the art trade as an advisor, to Hermann Göring among others.
He invented the style term Antwerp Mannerism, and created many of the notnames for undocumented artists in this style, and others of the period.
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Friedrich Lippmann in the context of Meisterstiche (Dürer)
The Meisterstiche ("master prints") by Dürer are three of his most famous engravings. They are Knight, Death and the Devil (1513), Melencolia I (1514) and St. Jerome in His Study (1514). These three large prints (about 7 by 10 inches (18 by 25 cm)) are often grouped together because of their perceived quality and unity of meaning, although this latter is a matter of scholarly dispute.
Art historian Erwin Panofsky has described them as showing meticulous care in execution and also having complexity and significance in terms of iconography. Panofsky, while recognising that these are Durer's "most famous engravings" and are "not unjustly, known as his 'Meisterstiche'", notes that they "have no appreciable compositional relationship with one another" and should not, in any technical sense, be "considered as 'companion pieces'". They do, Panofsky argues, form "a spiritual unity". Here, Panofsky refers to Friedrich Lippmann's noticing of the scholastic classification of the virtues they represent: the moral, the theological and the intellectual. The Knight showing "the life of the Christian in the practical world of decision and action"; St. Jerome showing "the life of the Saint in the spiritual world of sacred contemplation"; and Melencolia I showing the "life of the secular genius in the rational and imaginative worlds of science and art".