Moriz Thausing

Moritz Thausing (1838 – 1884) was an Austrian art historian, and counts among the founders of the Vienna School of Art History.

The son of a palace official in Schloß Tschischkowitz (modern Čížkovice, in the region of Litoměřice; then in the Kingdom of Bohemia), Thausing began his academic career as a student of German literature and history. He studied first in Prague, and in 1858 went to Vienna, where he studied at the Österreichische Institut für Geschichtsforschung (Austrian Institute for Historical Research). There he came into contact with Rudolf Eitelberger, who since 1852 had held the first chair in art history at the University of Vienna. Under his influence Thausing began to study the history of art. In 1862 he received an appointment as a library assistant at the Akademie der bildenden Künste, where he also gave general lectures on world and cultural history. In 1864 Eitelberger secured a position for him with the print collection of the Albertina, which he would direct beginning in 1868, although he received the formal title of Director only in 1876.

In 1871 Thausing was an active participant in the so-called “Holbein convention” in Dresden, at which a number of prominent art historians convened to determine which of two versions of Hans Holbein the Younger’s Meyer Madonna was the original work.
In 1873, once again due to the advocacy of Eitelberger, Thausing was appointed as a professor extraordinarius for art history at the University, and became ordinarius in 1879. A progressive mental illness overshadowed his final years. His health declined dramatically after he became interim director of the newly founded Istituto Austriaco di studi storici in Rome. Following a temporary commitment to a mental hospital, he died during a vacation in his homeland through drowning (probably intentional) in the Elbe near Litoměřice.

Albert Durer (His Life and Works)

Albert Durer (His Life and Works)

Printed: 17.99 $

In this extented version of the Durer Art & Life Book, Preface as thoroughly versed in all matters connected with Durer and his art, acting as the author's friend, and so to say his representative, has been kind enough to read through the proof-sheets of the translation, and make some very valuable suggestions and amendments.
All the illustrations contained in the German edition, including the initial letters and tail-pieces, have been inserted, and a few others added. Especial care has been taken to render the Index worthy of so important a work.
In addition to the General Index, a special one has been prepared in which, under separate headings, will be found lists of all Dürer's pictures, water-colours, drawings, engravings, woodcuts, writings, and miscellaneous productions described or referred to in the course of the following pages.
No exhaustive and critical account of the life and works of Albert Durer has hitherto been placed before the English reading public.

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