Emanuel Winternitz: Difference between revisions
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Born in Austria, Winternitz served in WWI and practiced law in Vienna in the 1920s and 1930s. |
Born in Austria, Winternitz served in WWI and practiced law in Vienna in the 1920s and 1930s. |
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With other Viennese Jewish intellectuals, he emigrated to the United States in 1938, after the Anschluss. Winternitz came to the Met as a lecturer in 1941, became a full-time employee and "Keeper" of the instruments the following year, and was named Curator in 1949 when Musical Instruments was made a curatorial department. At the [[Metropolitan Museum of Arts]] [[Metropolitan Museum of Art#Musical instruments|Department of Musical Instruments]], Winternitz was responsible for saving the musical instruments collection from a plan to turn them over to a Music Library proposed by [[Juilliard]].<ref>{{cite journal |last=Kopp|first=Leslie Hansen |last2= |first2= |date= 2004|title=Music Forgotten and Remembered: The Life and Times of Emanuel Winternitz |url= |
With other Viennese Jewish intellectuals, he emigrated to the United States in 1938, after the Anschluss. Winternitz came to the Met as a lecturer in 1941, became a full-time employee and "Keeper" of the instruments the following year, and was named Curator in 1949 when Musical Instruments was made a curatorial department. At the [[Metropolitan Museum of Arts]] [[Metropolitan Museum of Art#Musical instruments|Department of Musical Instruments]], Winternitz was responsible for saving the musical instruments collection from a plan to turn them over to a Music Library proposed by [[Juilliard]].<ref>{{cite journal |last=Kopp|first=Leslie Hansen |last2= |first2= |date= 2004|title=Music Forgotten and Remembered: The Life and Times of Emanuel Winternitz |url=https://www.jstor.org/stable/41818747 |journal= Music in Art: International Journal for Music Iconography|volume=29 |issue=1-2 |pages=6-13 |doi= |access-date= 29 November 2016|quote= Emanuel Winternitz (1898-1983), the distinguished curator of musical instruments at the Metropolitan Museum of Art for more than forty years, was the father of the field of musical iconography...}}</ref><ref>{{cite web |url= https://metmuseum.atavist.com/musicalinstrumentshistory#chapter-117894|title=A Harmonious Ensemble Musical Instruments at the Metropolitan Museum, 1884–2014, Emanuel Winternitz and the Renaissance of the Collection |last=Lindsey |first=Rebecca M. |date= |website=metmuseum.atavist.com |publisher=Metropolitan Museum of Art |access-date= 29 November 2016|quote=...Winternitz's hard work to save the musical instruments for the Museum seemed on the point of fruition when the war was over. Director Taylor announced a grand plan for the modernization of the Museum in the winter of 1945–6...Soon afterwards, in 1949, Winternitz was named full curator, and the Department of Musical Instruments, for the first time ever, was officially a department of the same standing as all other Museum curatorial departments.}}</ref> He was also a musical instruments researcher, credited as the "father of the field of musical iconography", creating the field.<ref>{{cite news |last=Hughes |first=Allen |date= 24 August 1983 |title= EMANUEL WINTERNITZ, MET MUSEUM CURATOR|url=https://www.nytimes.com/1983/08/24/obituaries/emanuel-winternitz-met-museum-curator.html |newspaper=New York Times |location=New York |access-date=29 November 2016 }}</ref> After his retirement from the Metropolitan Museum of Art he was teaching at the Graduate Center of the City University of New York.<ref>In his will, he left his archives consisting of documents, working materials of his writings and photographs, to the Research Center for Music Iconography of the Graduate Center, City University of New York. The center also owns a manuscript of his unpublished memoires <i>The luggage of an immigrant</i>. His complete publications are available here https://gc-cuny.academia.edu/EmanuelWinternitz.</ref> |
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==References== |
==References== |
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Revision as of 04:07, 27 September 2019
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Emanuel Winternitz (Vienna, 4 August 1898–New York City, 20 August 1983) was the first curator of the Department of Musical Instruments at the Metropolitan Museum of Art in New York City. In 1973 he was named curator emeritus but continued to teach at the Graduate Center of the City University of New York until his death.
Career
Born in Austria, Winternitz served in WWI and practiced law in Vienna in the 1920s and 1930s.
With other Viennese Jewish intellectuals, he emigrated to the United States in 1938, after the Anschluss. Winternitz came to the Met as a lecturer in 1941, became a full-time employee and "Keeper" of the instruments the following year, and was named Curator in 1949 when Musical Instruments was made a curatorial department. At the Metropolitan Museum of Arts Department of Musical Instruments, Winternitz was responsible for saving the musical instruments collection from a plan to turn them over to a Music Library proposed by Juilliard.[1][2] He was also a musical instruments researcher, credited as the "father of the field of musical iconography", creating the field.[3] After his retirement from the Metropolitan Museum of Art he was teaching at the Graduate Center of the City University of New York.[4]
References
- ^ Kopp, Leslie Hansen (2004). "Music Forgotten and Remembered: The Life and Times of Emanuel Winternitz". Music in Art: International Journal for Music Iconography. 29 (1–2): 6–13. Retrieved 29 November 2016.
Emanuel Winternitz (1898-1983), the distinguished curator of musical instruments at the Metropolitan Museum of Art for more than forty years, was the father of the field of musical iconography...
- ^ Lindsey, Rebecca M. "A Harmonious Ensemble Musical Instruments at the Metropolitan Museum, 1884–2014, Emanuel Winternitz and the Renaissance of the Collection". metmuseum.atavist.com. Metropolitan Museum of Art. Retrieved 29 November 2016.
...Winternitz's hard work to save the musical instruments for the Museum seemed on the point of fruition when the war was over. Director Taylor announced a grand plan for the modernization of the Museum in the winter of 1945–6...Soon afterwards, in 1949, Winternitz was named full curator, and the Department of Musical Instruments, for the first time ever, was officially a department of the same standing as all other Museum curatorial departments.
- ^ Hughes, Allen (24 August 1983). "EMANUEL WINTERNITZ, MET MUSEUM CURATOR". New York Times. New York. Retrieved 29 November 2016.
- ^ In his will, he left his archives consisting of documents, working materials of his writings and photographs, to the Research Center for Music Iconography of the Graduate Center, City University of New York. The center also owns a manuscript of his unpublished memoires The luggage of an immigrant. His complete publications are available here https://gc-cuny.academia.edu/EmanuelWinternitz.
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