In 1751, the papal nuncio and Winckelmann's future employer, Alberico Archinto, visited Nöthnitz, and in 1754 Winckelmann joined the Roman Catholic Church.

The sculpture was known through the Roman marble replica found in Herculaneum and conserved in the Naples National Archaeological Museum, but, according to Francis Haskell and Nicholas Penny, early connoisseurs such as Johann Joachim Winckelmann passed it by in the royal Bourbon collection at Naples without notable comment.

In 1748, Winckelmann wrote to Count Heinrich von Bünau: "... little value is set on Greek literature, to which I have devoted myself so far as I could penetrate, when good books are so scarce and expensive.

His intimacy with Johann Joachim Winckelmann, who constantly wrote at his dictation ( reference?

The marble Laocoön provided the central image for Lessing's Laocoön, 1766, an aesthetic polemic directed against Winckelmann and the comte de Caylus.

Winckelmann was involved in the dissemination of knowledge of the first large Roman paintings to be discovered, at Pompeii and Herculaneum and, like most contemporaries except for Gavin Hamilton, was unimpressed by them, citing Pliny the Younger's comments on the decline of painting in his period.

A fierce, but often very badly informed, dispute raged for decades over the relative merits of Greek and Roman art, with Winckelmann and his fellow Hellenists generally the winning side.

It is hard to recapture the radical and exciting nature of early neo-classical painting for contemporary audiences ; it now strikes even those writers favourably inclined to it as " insipid " and " almost entirely uninteresting to us "— some of Kenneth Clark's comments on Anton Raphael Mengs ' ambitious Parnassus at the Villa Albani, by the artist who his friend Winckelmann described as " the greatest artist of his own, and perhaps of later times ".

Rococo frivolity and Baroque movement had been stripped away but many artists struggled to put anything in their place, and in the absence of ancient examples for history painting, other than the Greek vases used by Flaxman, Raphael tended to be used as a substitute model, as Winckelmann recommended.

(" The only way for us to become great, yes, inimitable, if it is possible, is the imitation of the Greeks ," Winckelmann declared in the Gedanken.

), has enhanced his historical importance, for he formed no scholars, and the critic must now concur in Goethe's judgment of Mengs in Winckelmann und sein Jahrhundert ; he must deplore that so much learning should have been allied to a total want of initiative and poverty of invention, and embodied with a strained and artificial mannerism.

A few months later his essay on Winckelmann ( 1867 ), an early expression of his idealism and his admiration for classicism, appeared in the same review, followed by ' The Poems of William Morris ' ( 1868 ), a complementary piece on romanticism.

It was later proven, when SS officer Otto Winckelmann reported to Berlin that Kádár had been arrested, they had mistakenly confused Kádár for another communist.

In Paris he made the acquaintance of Marmontel ; in Switzerland, whither he continued his tour, that of Voltaire ; and in Rome, where he remained for a long time, he explored the antiquities of the city under the guidance of Winckelmann.

Despite this, influential art historians such as Johann Joachim Winckelmann so strongly opposed the idea of painted Greek sculpture that proponents of painted statues were dismissed as eccentrics, and their views were largely dismissed for several centuries.

He and Johann Winckelmann studied ancient sculptures together, and Winckelmann advised the younger Wiedewelt, encouraging him to use these sculptures as a base for his drawings and to use his knowledge of ancient art as the basis for his artistic production.

Wiedewelt ’ s friendship and admiration for Winckelmann left a deep impression on him, especially in regards his acquired knowledge and appreciation for Ancient Greek artifacts and art.

He edited Isocrates, Panegyricus ( 1831 ); with Sauppe, Lycurgus, Leocralca ( 1834 ) and Oratores Atticae ( 1838 – 1850 ); with Orelli and Winckelmann, a critical edition of Plato ( 1839 – 1842 ), which marked a distinct advance in the text, two new manuscripts being laid under contribution ; with Orelli, Babrius, Fabellae Iambicae nuper repertae ( 1845 ); Isocrates, in the Didot collection of classics ( 1846 ).

Winckelmann believed that art should aim at " noble simplicity and calm grandeur ", and praised the idealism of Greek art, in which he said we find: " not only nature at its most beautiful but also something beyond nature, namely certain ideal forms of its beauty, which, as an ancient interpreter of Plato teaches us, come from images created by the mind alone.

The treasures there, nevertheless, awakened in Winckelmann an intense interest in art, which was deepened by his association with various artists, particularly the painter Adam Friedrich Oeser ( 1717 – 1799 ) -- Goethe's future friend and influence — who encouraged Winckelmann in his aesthetic studies.

" Despite his association with Albani, Winckelmann steered clear of the shady world of art dealing which had compromised the scholarly respectability of such brilliant, if much less systematic antiquarians as Francesco Ficoroni and the Baron Stosch.

In the historical portions of his writings, Winckelmann used not only the works of art he himself had studied but the scattered notices on the subject to be found in ancient writers ; and his wide knowledge and active imagination enabled him to offer many fruitful suggestions as to periods about which he had little direct information.

His archaeological and mythological Memoire sur Venus ( 1775 ), which has been ranked with similar works of Heyne and Winckelmann, gained him admission to the Academie des Inscriptions ( 1778 ).

Philhellenism also created a renewed interest in the artistic movement of Neoclassicism, which idealized 5th-century Classical Greek art and architecture., very much at second hand, through the writings of the first generation of art historians, like Johann Joachim Winckelmann and Gotthold Ephraim Lessing.

The writings of Johann Joachim Winckelmann were important in shaping this movement in both architecture and the visual arts.

Among these were German painter Anton Raphael Mengs, Italian Pompeo Batoni, and German archeologist and art theorist Johann Joachim Winckelmann who arrived in Rome 1755.

Several of these trips were made in the company of Winckelmann in 1758.

In 1755, Winckelmann published his Gedanken über die Nachahmung der griechischen Werke in Malerei und Bildhauerkunst (" Thoughts on the Imitation of Greek Works in Painting and Sculpture "), followed by a feigned attack on the work and a defense of its principles, ostensibly by an impartial critic.

Winckelmann contributed various essays to the Bibliothek der schönen Wissenschaften ; and, in 1766, published his Versuch einer Allegorie.

Originally, Winckelmann planned to stay in Italy only two years with the help of the grant from Dresden, but the outbreak of the Seven Years ' War ( 1756 – 1763 ) changed his plans.

The Winckelmann Museum is named after Johann Joachim Winckelmann, the founder of classical archaeology.

This view was held particularly by German researchers starting in the 18th century, especially after the work of Johann Joachim Winckelmann became known.

The High Renaissance period is traditionally taken to begin in the 1490s, with Leonardo's fresco of the Last Supper in Milan and the death of Lorenzo de ' Medici in Florence, and to have ended in 1527 with the sacking of Rome by the troops of Charles V. This term was first used in German ( Hochrenaissance ) in the early nineteenth century, and has its origins in the " High Style " of painting and sculpture described by Johann Joachim Winckelmann.

* 1717 – Johann Joachim Winckelmann, German art historian ( d. 1768 )

* 1768 – Johann Joachim Winckelmann, German scholar and archaeologist ( b. 1717 )

Xenophon's standing as a political philosopher has been defended in recent times by Leo Strauss, who devoted a considerable part of his philosophic analysis to the works of Xenophon, returning to the high judgment of Xenophon as a thinker expressed by Shaftesbury, Winckelmann, Machiavelli, and John Adams.

* June 8 – Johann Joachim Winckelmann, German classical scholar and archaeologist ( b. 1717 )

* December 9 – Johann Joachim Winckelmann, German classical scholar and archaeologist ( d. 1768 )

In 1768, the German art historian Johann Joachim Winckelmann was murdered by a robber in Trieste, while on his way from Vienna to Italy.

Like previous antiquarians, such as Winckelmann, Thomsen paid attention to stylistic analysis as well, but he used his chronological framework as evidence that stylistic developments had taken place, not the other way round.

Here, he became acquainted with the work of the pioneering classical archaeologist and art historian, theorist Johann Joachim Winckelmann.

Writing from Rome in August 1764 to his friend Franke, Winckelmann refers to her popularity.

In the following century, it was not the admirers of Caravaggio who would have dismissed Carracci, but to a lesser extent than Bernini and Cortona, baroque art in general came under criticism from neoclassic critics such as Winckelmann and even later from the prudish John Ruskin.

Neoclassicism first gained influence in England and France, through a generation of French art students trained in Rome and influenced by the writings of Johann Joachim Winckelmann, and it was quickly adopted by progressive circles in Sweden.

His editions of Plato ( 1839 – 1841, including the old scholia, in collaboration with A. W. Winckelmann ) and Tacitus ( 1846 – 1848 ) also deserve mention.

Johann Joachim Winckelmann ( December 9, 1717 – June 8, 1768 ) was a German art historian and archaeologist.

Called, " he prophet and founding hero of modern archaeology ", Winckelmann was one of the founders of scientific archaeology and first applied the categories of style on a large, systematic basis to the history of art.

Today, Humboldt University of Berlin's Winckelmann Institute is dedicated to the study of classical archaeology.

Winckelmann was born in poverty in Stendal, Margraviate of Brandenburg.

His father, Martin Winckelmann, was a cobbler, while his mother, Anna Maria Meyer, was the daughter of a weaver.