Neoclassicism  upWinckelmann saw the Apollo Belvedere as embodying a Greek ideal German Hellenism The German term griechische Liebe ("Greek love") appears in German literature between 1750 and 1850, along with socratische Liebe ("Socratic love") and platonische Liebe ("Platonic love") in reference to male-male attractions. The work of the German art historian Johann Winckelmann was a major influence on the formation of classical ideals in the 18th century, and is also a frequent starting point for histories of gay German literature.Robert Tobin, "German Literature", in Gay Histories and Cultures: An Encyclopedia (Taylor & Francis, 2000) Winckelmann observed the inherent homoeroticism of Greek art, though he felt he had to leave much of this perception implicit: "I should have been able to say more if I had written for the Greeks, and not in a modern tongue, which imposed on me certain restrictions."Crompton, Byron and Greek Love, pp. 87–88, citing Winckelmann: Writings on Art ed. David Irwin (London: Phaidon, 1972), pp. 105–106. His own homosexuality influenced his response to Greek art and often tended toward the rhapsodic: "from admiration I pass to ecstasy ...," he wrote of the Apollo Belvedere,Entry on "Apollo Belvedere", in The Classical Tradition (Harvard University Press, 2010), pp. 55–56. "I am transported to Delos and the sacred groves of Lycia—places Apollo honoured with his presence—and the statue seems to come alive like the beautiful creation of Pygmalion."Winckelmann, as quoted by William Armstrong Percy III, "Reconsiderations about Greek Homosexualities", in Same-Sex Desire and Love in Greco-Roman Antiquity and in the Classical Tradition, (Haworth Press, 2005), p. 49, with reference to Aldrich, The Seduction of the Mediterranean, p. 51. Although now regarded as "ahistorical and utopian", his approach to art history provided a "body" and "set of tropes" for Greek love, "a semantics surrounding Greek love that ... feeds into the related eighteenth-century discourses on friendship and love".Kuzniar, Alice A., Outing Goethe and His Age (Stanford University Press, 1996), p. 14 et passim. See also Potts, Alex, Flesh and the Ideal: Winckelmann and the Origins of Art History (Yale University Press, 1994, 2000), and Gustafson, Susan E., Men Desiring Men: The Poetry of Same-Sex Identity and Desire in German Classicism (Wayne State University Press, 2002), p. 63, on how Winckelmann's letters provide "a set of tropes that signal the struggle to express the male same-sex desire".
Neoclassicism German Hellenism upWinckelmann saw the Apollo Belvedere as embodying a Greek ideal The German term griechische Liebe ("Greek love") appears in German literature between 1750 and 1850, along with socratische Liebe ("Socratic love") and platonische Liebe ("Platonic love") in reference to male-male attractions. The work of the German art historian Johann Winckelmann was a major influence on the formation of classical ideals in the 18th century, and is also a frequent starting point for histories of gay German literature.Robert Tobin, "German Literature", in Gay Histories and Cultures: An Encyclopedia (Taylor & Francis, 2000) Winckelmann observed the inherent homoeroticism of Greek art, though he felt he had to leave much of this perception implicit: "I should have been able to say more if I had written for the Greeks, and not in a modern tongue, which imposed on me certain restrictions."Crompton, Byron and Greek Love, pp. 87–88, citing Winckelmann: Writings on Art ed. David Irwin (London: Phaidon, 1972), pp. 105–106. His own homosexuality influenced his response to Greek art and often tended toward the rhapsodic: "from admiration I pass to ecstasy ...," he wrote of the Apollo Belvedere,Entry on "Apollo Belvedere", in The Classical Tradition (Harvard University Press, 2010), pp. 55–56. "I am transported to Delos and the sacred groves of Lycia—places Apollo honoured with his presence—and the statue seems to come alive like the beautiful creation of Pygmalion."Winckelmann, as quoted by William Armstrong Percy III, "Reconsiderations about Greek Homosexualities", in Same-Sex Desire and Love in Greco-Roman Antiquity and in the Classical Tradition, (Haworth Press, 2005), p. 49, with reference to Aldrich, The Seduction of the Mediterranean, p. 51. Although now regarded as "ahistorical and utopian", his approach to art history provided a "body" and "set of tropes" for Greek love, "a semantics surrounding Greek love that ... feeds into the related eighteenth-century discourses on friendship and love".Kuzniar, Alice A., Outing Goethe and His Age (Stanford University Press, 1996), p. 14 et passim. See also Potts, Alex, Flesh and the Ideal: Winckelmann and the Origins of Art History (Yale University Press, 1994, 2000), and Gustafson, Susan E., Men Desiring Men: The Poetry of Same-Sex Identity and Desire in German Classicism (Wayne State University Press, 2002), p. 63, on how Winckelmann's letters provide "a set of tropes that signal the struggle to express the male same-sex desire".
A
German Hellenism
D
German Hellenism