PORTRAIT MEDAL OF GEORGE LUDWIG BÖHMER (1715–1797) AND OF JOHANN STEPHAN PÜTTNER (1725–1807), Professors of Law Abraham Abramson, 1796, silver Coin cabinet, University of Göttingen
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MEDAL FROM THE POSSESSION OF OTTO WALLACHS WITH A PORTRAIT OF MICHEL-EUGENE CHEVRAL (1786–1889), Professor of Applied Chemistry at the Musée d’Histoire Naturelle Paris, Oscar Roty, 1886, bronze, Museum of Göttingen Chemistry, University of Göttingen
PORTRAIT MEDAL OF DOROTHEA VON SCHLÖZER (1770–1825), One of the so-called “University Housekeepers”, Heinrich-Gerhard Bücker, 1958, bronze Coin cabinet, University of Göttingen
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GEORG HEINRICH RIBOV (1703–1774), Professor of Philosophy and Theology, F. Reibenstein, 1748, oil on canvas, Art Collection of the University of Göttingen
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With the open book, which contains mathematical formulas, the portrait of Dorothea von Schlözer places Schlözer in the tradition of classical scholarship. However, not all of Schlözer’s contemporaries agreed with such a representation. DOROTHEA VON SCHLÖZER (1770–1825), One of the so-called “University Housekeepers”, Friedrich Carl Gröger, around 1794, oil on canvas, State and University Library of
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In their portraits, scholars often surround themselves with objects such as books and written documents. However, collectibles and scientific instruments also serve to embellish the portraits, offering revelations about the individual portrayed. Here you can see three of Göttingen’s 18th Century scientists presenting themselves with artefacts that give clear indication of their chosen area of
Three-dimensional portraits such as busts and death masks generate a spatial presence of the university scholars. Made from robust materials to endure time, these memorial objects strive to mark individual scientists as significant and to preserve their memory beyond their death. CREATING TRADITIONThe representative showpieces reveal the multifaceted series of images of the University. By
Shortly after the University was founded in 1737, work began in an effort to establish a gallery that would exhibit portraits of various professors. In 1748 the painter F. Reibenstein, originally from Celle, was commissioned to create a series of portraits, a process that was later continued by other various painters. Fifteen of these paintings
