He then settled in the Hague as an independent art critic and began work on an eight-part book on Rembrandt with Wilhelm von Bode.
This was handled for the museum by the art historian Wilhelm von Bode, who had joined in 1872, and was to be the Berlin Museums' greatest Director.
The name "Master of the Marble Madonnas" was coined by Wilhelm von Bode in 1886, who noted several points of similarity linking these sculptures to the production of well-known Florentine masters such as Mino da Fiesole, Antonio Rossellino, Desiderio da Settignano, and Benedetto da Maiano but which are generally inferior in quality and execution.
Bode occupied this post from 1889 to 1914, establishing the Musée des Beaux-Arts and the Cabinet des estampes et des dessins as well as setting the grounds of part of the current Musée de l’Œuvre Notre-Dame's collections.
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In 1871 Bode participated in the so-called "Holbein convention" in Dresden, at which a number of prominent art historians convened to determine which of two versions of Hans Holbein the Younger's Meyer Madonna was the original work.
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In 1910, it was revealed that a bust of Flora, which had been purchased by the Kaiser Friedrich Museum, Berlin, under the belief that is was by Leonardo da Vinci, may have actually been created by the English sculptor, Richard Cockle Lucas.
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It was Liphart and his friend the Director of the Berlin Museum, Wilhelm von Bode, who independently established that this artist was more than just an etcher.