Much of HugoвЂ™s research and writing over the last decade or so were spent on an ambitious project, his magnum opus, a comprehensive вЂњHistory of Roman Art in Case Studies: Art and Politics - Religion and Mnemonic CultureвЂќ in which he offers novel insights into a great variety of imperial Roman art. The latter led also to the exhibition вЂњA Seleucid Prince in Egypt,вЂќ which Hugo curated as a cooperative project with the Egyptian State Collection, Munich, and an exhibition catalogue. The 1990s saw also the publication of two books on sculptural works, first the work on Antinous, and second, contributions to a catalogue of Roman sculpture in the Princeton University Art Museum. Even today, in a time when the departmentвЂ™s teaching mission promotes worldwide travel for undergraduate and graduate students to see the originals (not to speak of frequent trips to the Met), the cast collection, now housed on McCormickвЂ™s third floor, is still in use for precepts. The new teaching tool comprised numerous new examples of Classical sculpture housed originally in various European museums, while others were borrowed from the Metropolitan Museum in New York.

Having joined the faculty of the Department of Art and Archaeology in 1989, he set out to rebuild the departmentвЂ™s neglected cast collection together with Professor Willy Childs, his colleague in the Classical Greek discipline. This period of intense study of Classical Greek and Roman sculpture might be one of the reasons why Hugo would base his further research on the object itself and used stylistic analysis as the major hermeneutic tool to assess and explore the monument he was dealing with: вЂњPrimum monumenta deinde philosophiaвЂќ (roughly translated: object first, theory second) became the leitmotif of his work. in 1978.ДЄfter teaching as an assistant professor in Munich and Marburg and preparing his вЂњHabilitationsschriftвЂќ (second Ph.D.) on the figure of Antinous, Emperor HadrianвЂ™s lover, in literary and art historical sources, Hugo took on a curatorial position at the Bavarian National Museum in 1987, in charge of its extensive collection of plaster casts of Classical sculptures, one of the best in Europe. The Princeton community will lose an example of extraordinary conviviality and a colleague who loves to have fluent conversations in an astonishing number of what he likes to call вЂњEuropean dialectsвЂќ with colleagues from all over the world - and recite major works of poetry in yet another language (including Celtic!).Д®xtensive travels in all of Europe and the Middle East, an inclination that he never outgrew, prepared the philologist, comparative linguist and literary historian for the study of Classical art and archaeology, a field in which Hugo earned his Ph.D. on September 22, 1993, sisters Ella Lauck and Linda Meyer and brothers, Albert, William, Ernest, Elvin, Leonard and Martin.With the retirement of Hugo Meyer this summer, the Department of Art and Archaeology will lose its specialist for Hellenistic and Roman art after 23 years of service. He was preceded in death by his parents, his wife Edna C. Survivors include two sisters Frieda Lieb of Algona and Selma Behnke of Marshfield, Wisconsin. Hugo died early Monday morning Decemat the West Bend Care Center in West Bend, Iowa at the age of 96. Paul's Lutheran Church in Whittemore, singing in the choir, a member of the Lutheran Layman's League and Voters Assembly. Hugo was an excellent woodcarver and handyman, enjoyed farming, bowling, shuffleboard and being around people. Hugo and Edna enjoyed traveling and fishing. Following their marriage, the Meyers farmed north of Whittemore and later moved to a farm south of Whittemore, retiring in _ and moving into town. Paul Lutheran School in Whittemore and was married to Edna C.

Hugo Herman Meyer was born on Januat Whittemore, Iowa to William and Alvina (Bell) Meyer.

Hugo meyer magor