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Art Historians

Gállego Serrano, Julián

Image Credit: Colegio Libre de Emeritas

Full Name: Gállego y Aragón, Julián

Gender: male

Date Born: 17 January 1919

Date Died: 21 May 2006

Place Born: Zaragoza, Aragon, Spain

Place Died: Madrid, Spain

Home Country/ies: Spain

Subject Area(s): painting (visual works)

Institution(s): Complutense University of Madrid


Overview

Spanish art historian and university professor. Originally from the capital of Aragon, Gállego developed an affinity for the law, which led him to study law. Later, though, he discovered that the study of art was where he would apply his skills. Gállego received his doctorate in Art History at the Sorbonne University, Paris. There, he would meet Pablo Picasso, whose work inspired various texts (Picasso: suite Vollard, De Velázquez a Picasso: crónicas de París, 1954-1973). Gállego remained in Paris until 1970. In Spain, he worked as a professor at the Complutense University of Madrid. He was a dedicated scholar and tenacious writer. Gállego considered himself Aragonese, and kept close ties with his native land in personal and professional ways. Many aspects of Aragonese art were covered by Gállego. These findings were published in several magazines and particularly the newspaper Heraldo de Aragón. He returned to Zaragoza, a city in Aragon and his birthplace, on numerous occasions. Gállego took part in numerous courses and conferences there (in addition to participating in various exhibitions, including one in 1992 that was dedicated to Goya). Goya, in turn, was an artist who captivated Gállego (Goya y la caza, Las majas de Goya, L’Univers de Goya). Gállego is thought of as one of the historians to understand Goya best, through his texts and research. Gállego’s participation as a member of the Comité Científico focused on Goya in various exhibitions. This painter and the themes in his work were of greatest interest to Gállego, who devoted many texts to him. Some of his work was also dedicated to the Aragonese sculptor Pablo Serrano (1908-1985), and to the Spanish painter Diego Velásquez (Pablo Serrano, Reflexiones sobre Velázquez, Velázquez en Sevilla). The Zaragoza City Council awarded him the Gold Medal of the City of Zaragoza in 1996. In that same year he received the Medal of Aragon for professional merit from the Government of Aragon. He would later curate a presentation on the life and art of Velázquez at the Metropolitan Museum of Art in New York in 1969. Moreover, in 1987, Gállego was admitted as an academic of merit at the Royal Academy of Fine Arts of San Fernando. He also acted as a member of the Scientific Council of the Prado Museum.

Gállego resonates as an art historian who felt a deep connection with his Aragonese roots, valued cataloging the artistic process (and understanding Goya’s), and wrote with a creative and critical voice (Wifredo). His perspectives as a writer were astute and well-informed; Gállego drew from his own experiences and travels to make meaningful claims about art and life (El arte de la memoria, El cuadro dentro del cuadro). Gállego’s proclivity for writing led to favorable results; in 1951 he received the Amparo Balaguer award for a play he wrote called Fedra. And in 1965, he received the Leopoldo Alas Prize for Spanish Apocrypha. Gállego’s ties as an author are very much linked with the newspaper Heraldo de Aragón, which also linked him to his native land (Wifredo). Gállego was a seasoned traveler and an incredible writer. His efforts to understand Goya also paid off; Gállego’s insights about this artist are apt, important, and exceptional. Gállego saw art as a means for reflection and introspection—he carried this idea with him as a professor, as a historian, and as a person who adored the history of art.


Selected Bibliography

    Discursos practicables del nobilísimo arte de la pintura. Madrid, Akal, 1950;

  • San Esteban de Abajo. Barcelona, Seix Barral, 1957;
  • Le peinture espagnole. Paris, Éditions Pierre Tisné, 1962; Apócrifos españoles. Barcelona, Plaza & Janes, 1971;
  • Pintura contemporánea. Navarra, Salvat Editores, 1971;
  • Visión y símbolos en la pintura española del siglo de oro. Madrid, Aguilar, 1972;
  • Velázquez en Sevilla. Sevilla, Diputación Provincial de Sevilla, 1974;
  • Zurbarán, 1598-1664. Barcelona, Ediciones Poligrafa, 1976;
  • El pintor de artesano a artista. Granada, Universidad de Granada, 1976;
  • Pablo Serrano. Madrid, Dirección General del Patrimonio Artístico y Cultural, 1976;
  • L’Univers de Goya. Paris, H. Scrépel, 1977;
  • El cuadro dentro del cuadro. Madrid, Cátedra, 1978;
  • Autorretratos de Goya. Zaragoza, Caja de Ahorros de Zaragoza, Aragón y Rioja, 1978;
  • Zaragoza en las artes y en las letras. Zaragoza, Librería General, 1979;
  • Sempere. Madrid, Ediciones Theo, 1980;
  • Las majas de Goya. Madrid, Alianza Editorial, 1982;
  • Diego Velázquez. Barcelona, Anthropos, 1983;
  • Arte abstracto español en la colección de la Fundación Juan March. Madrid, La Fundación, 1983;
  • Goya y la caza. Madrid, El Viso, 1985;
  • Los bocetos y las pinturas murales del Pilar. Aragón, Caja de Ahorros de la Inmaculada, 1987;
  • Velázquez. New York, Metropolitan Museum of Art, distributed by H.N. Abrams, 1989;
  • Arte europeo y norteamericano del siglo XIX. Madrid, Espasa-Calpe, 1990;
  • Reflexiones sobre Velázquez. Madrid, Real Academia de Bellas Artes de San Fernando, 1992;
  • Siete pintores españoles de la Escuela de París: María Blanchard, Juan de Echevarría, Juan Gris, Francisco Iturrino, Joan Miró, Pablo Ruiz Picasso, Daniel Vásquez Díaz. Madrid, Atenea Comunicación y Mecenazgo, 1993;
  • Goya: the complete etchings and lithographs. Munich; New York, Prestel, 1995;
  • El pintor, de artesano a artista. Granada, Diputación Provincial de Granada, 1995;
  • Picasso: suite Vollard. Madrid, Editorial de Arte y Ciencia, Fundación Juan March, 1996;
  • Artistas pintados: retratos de pintores y escultores del siglo 19 en el Museo del Prado. Madrid, Museo del Prado, Ministerio de Cultura, Ambit Servicios Editoriales, 1997;
  • Pinturas de cuatro siglos. Madrid, Caylus, 1997;
  • El arte de la memoria. Zaragoza, Ayuntamiento de Zaragoza, 1999;
  • De Velázquez a Picasso: crónicas de París, 1954-1973. Zaragoza, IberCaja, 2002;
  • La democracia en tiempos de tragedia: asamblea ateniense y subjetividad política. Buenos Aires, Miño y Davila, 2003.

Sources

  • Cabañas Bravo, Miguel. El arte español del siglo XX: su perspectiva al final del milenio; actas de las X jornadas de arte dedicadas al prof. Don Julián Gallego. Madrid Inst. de Historia, Dep. de Historia del Arte 2001;
  • Museo del Prado. Homenaje a Julián Gállego. Madrid: Museo Nacional del Prado, 2003;
  • Reyero Hermosilla, Carlos. Por debajo de las Torres Blancas: en memoria de Julián Gállego (1919-2006). Universidad Autónoma de Madrid, 2006;
  • Perez Gracia, Cesar. Julian Gallego o el entusiasmo velazqueño. Madrid: Claves de Razón Práctica, No. 168, 2006;
  • Suárez Quevedo, Diego. A Julián Gállego Serrano, “in memoriam.” Madrid: Anales de historia del arte, 2006;
  • Hacia un corpus bibliográfico de Julián Gállego. Madrid: Anales de historia del arte, 2008;
  • Rincón García, Wifredo. Julián Gállego y Aragón. Madrid: Anales de historia del arte, 2008;
  • Calvo Serraller, Francisco. Elogio de Julián Gállego. Madrid: Anales de historia del arte, 2008;
  • Molina Ibañez, Mercedes. Firmissima convelli non posse: homenaje al profesor Julián Gállego. Madrid: Universidad Complutense de Madrid, 2008;
  • Cámara, Alicia. La ciudad en la Literatura del Siglo de Oro. Ediciones Complutense, 2008;
  • Borrás Gualis, M. Gonzalo; Sobre la condición social de los maestros de obras moros aragoneses. Ediciones Complutense, 2008.


Contributors: Sophia Cetina


Citation

Sophia Cetina. "Gállego Serrano, Julián." Dictionary of Art Historians (website). https://arthistorians.info/gallegoserranoj/.


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Spanish art historian and university professor. Originally from the capital of Aragon, Gállego developed an affinity for the law, which led him to study law. Later, though, he discovered that the study of art was where he would apply his skills. G

Floyd, Margaret Henderson

Image Credit: Tufts Library

Full Name: Floyd, Margaret Henderson

Gender: female

Date Born: 1932

Date Died: 18 October 1997

Place Born: New York, NY, USA

Place Died: Boston, Suffolk, MA, USA

Home Country/ies: United States

Subject Area(s): American (North American), architecture (object genre), and sculpture (visual works)

Institution(s): Tufts University


Overview

Professor of Architectural History at Tufts University, expert on Boston architecture. In 1953, Floyd graduated from Wellesley College with a B.A. in Art Studies. Four years later, she graduated from the University of New Mexico with a master’s degree in art history. In 1974, she earned her Ph.D. in American Studies from Boston University. Soon after, Floyd became involved in historic preservation, attempting to prevent the destruction of several old buildings, often with the Boston Architectural Center. Floyd would often give walking tours of Boston. Additionally she would lead an annual tour of mansions in Newport, Rhode Island. She was critical to the preservation of Robert Treat Paine Estate in Waltham. Floyd was also one of the four founding members of Friends of Longfellow House. In 1977, Floyd began teaching at Tufts University, founding the architectural studies program. She primarily taught classes on American art and architectural history, with her most popular being on Boston and Cambridge architecture.

In 1981, Dean Frank Colcord of Tufts University appointed Floyd to the Campus Planning and Development Committee. Two years later, under this committee, Floyd began cataloging the buildings on campus to create an architectural inventory. From 1983 to 1987, Floyd served as the chair of the Fine Arts Department. During this time, she worked to establish the Tufts University Art Gallery.

In 1989, she published Architecture Education and Boston: Centennial Publication of the Boston Architectural Center, 1889-1989, cataloging her extensive research in the city of Boston. Five years later, Floyd wrote Architecture after Richardson: Regionalism before Modernism — Longfellow, Alden, and Harlow in Boston and Pittsburgh. Floyd examines other critical American architects, Longfellow, Alden, and Harlow, in the architectural shaping of the United States. Published in 1997, her last work prior to her death was entitled Henry Hobson Richardson: A Genius for Architecture.

Floyd died of cancer on October 18, 1997 in Boston, Massachusetts. Upon her death, she passed on her extensive collection of photographic slides to Tufts University. Beginning in 2010, staff at the Tisch Library and the Visual Resources Manager in Art History cataloged and digitize these slides. Two years after her death, in honor of her many years at Tufts, the Department of Art and Art History created the Margaret Henderson Floyd Memorial Lecture. In 2006, the Architectural Studies Prize was established in her name.


Selected Bibliography

  • [dissertation:] A Terra Cotta Cornerstone for Copley Square: An Assessment of the Museum of Fine Arts, Boston, by Sturgis and Brigham (1870-1976), in the Context of it English Technological and Stylistic Origins. Boston University, 1974;
  • Harvard: An Architectural History. Cambridge: Belknap Press, 1985;
  • Architecture Education and Boston: Centennial Publication of the Boston Architectural Center, 1889-1989. Boston: Boston Architectural Center, 1989;
  • Architecture after Richardson: Regionalism before Modernism — Longfellow, Alden, and Harlow in Boston and Pittsburgh. Chicago: University of Chicago Press, 1994;
  • Henry Hobson Richardson: A Genius for Architecture. New York: Monacelli, 1997.

Sources



Contributors: Kerry Rork


Citation

Kerry Rork. "Floyd, Margaret Henderson." Dictionary of Art Historians (website). https://arthistorians.info/floydm/.


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Professor of Architectural History at Tufts University, expert on Boston architecture. In 1953, Floyd graduated from Wellesley College with a B.A. in Art Studies. Four years later, she graduated from the University of New Mexico with a master’s de

Browse, Lillian

Image Credit: Wikipedia

Full Name: Browse, Lillian Gertrude

Other Names:

  • Lillian Browse

Gender: female

Date Born: 21 April 1906

Date Died: 2005

Place Born: Hampstead, Camden, London, England, UK

Place Died: Westminster, London, Greater London, England, UK

Home Country/ies: United Kingdom

Subject Area(s): Modern (style or period)

Career(s): art dealers

Institution(s): Roland Browse and Delbanco


Overview

Art dealer, art historian, and a pioneer as a woman in the field. Lillian Browse was born in London to Michael Browse and Gladys Amy Browse (née Meredith). At three, she emigrated with her family to South Africa, where her father had launched a career as a racehorse trainer. She attended Barnato Park High School in Johannesburg, then returned to London in 1928 in order to study ballet at the Cecchetti Ballet School. While on tour in 1930, she realized that she would not achieve the success she desired as a dancer and decided to switch careers.

Despite her lack of experience with visual arts, she was able to persuade Harold Leger to allow her to file master photographs for his gallery. While working with Leger, Browse was able to hone her eye for art, gain the skills necessary for financial management, shape herself into a masterful negotiator and expert cataloguer, and become deeply involved with the contemporary art scene. She soon became manager of Leger’s gallery and staged a series of successful shows based on her tastes and interests. She married Ivan Harold Joseph in 1934, but they soon were separated. The couple officially divorced in 1944.

When World War II sparked to life, Browse volunteered to work in the London ambulance service. In addition to her service, Browse also ambitiously persuaded Kenneth Clark, director of the National Gallery, to stage showings of contemporary British artists while the gallery’s usual paintings were being kept safe in Wales. Browse organized a number of exhibitions from artists around the country. She gained both an impressive personal network of artists, curators, and collectors and an impressive personal archive of works by contemporary British artists. She published her first book, The Drawings of Augustus John, in 1941.

After the end of the war, her success led to a founding partnership, along with Gustav Delbanco (1903–1997) and Henry Roland (1907–1993) as Roland, Browse, and Delbanco. Their office was situated at 19 Cork Street, from which Browse would later gain the nickname “the Duchess of Cork Street.” In 1949, she published Degas Dancers to great critical acclaim. She was able to take full advantage of both her dance and fine art backgrounds, and the quality of this book led to her appointment as the ballet critic of The Spectator from 1950 to 1954. Browse married Sidney Henry Lines in 1964.

In 1977, Roland and Delbanco retired and withdrew from the firm. The dealer William Darby assumed the lease and together with Browse opened a new gallery, Browse & Darby. Her experience was invaluable in their partnership. She published her last art history book, Forain, the Painter, in 1978. Browse finally retired from her business in 1981. In 1982, she donated a large portion of her private art collection to the Courtauld Institute of Art. In 1998, she was honored as a Commander of the Order of the British Empire for her contributions to British art. Browse published her autobiography, Duchess of Cork Street, in 1999. She died in 2005, a few months short of her hundredth birthday.

Browse is as notable for being a remarkably prolific art dealer, collector, and author as she is for being a leading figure in the art world of 20th century Britain. Her personal and professional connections made her a force to be reckoned with, and she was easily among the top members of her field. Degas Dancers is still considered a seminal work on the artist. (Darby) Her pieces on Forain and Sickert have been considered “authoritative volumes.” (Kendall)


Selected Bibliography

  • John, Augustus, and Lillian Browse. 1941. The Drawings of Augustus John. London: Faber & Faber;
  • Degas Dancers. London: Faber and Faber, 1949;
  • Sickert. London: Hart-Davis, 1960;
  • Forain, the Painter, 1852-1931. London: P. Elek, 1978.

Sources



Contributors: Arial Hart


Citation

Arial Hart. "Browse, Lillian." Dictionary of Art Historians (website). https://arthistorians.info/browsel/.


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Art dealer, art historian, and a pioneer as a woman in the field. Lillian Browse was born in London to Michael Browse and Gladys Amy Browse (née Meredith). At three, she emigrated with her family to South Africa, where her father had launched a ca

Berthold, Gertrude

Full Name: Berthold, Gertrud

Gender: female

Date Born: unknown

Date Died: unknown

Subject Area(s): French (culture or style) and Post-Impressionist

Career(s): painters (artists)


Overview

Kurt Badt student, Cezanne scholar.





Contributors: Lee Sorensen


Citation

Lee Sorensen. "Berthold, Gertrude." Dictionary of Art Historians (website). https://arthistorians.info/bertholdg/.


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Kurt Badt student, Cezanne scholar.

Hubbard, George

Image Credit: Architecture

Full Name: George Hubbard

Gender: male

Date Born: 1859

Date Died: 1936

Home Country/ies: United Kingdom

Subject Area(s): archaeology, architecture (object genre), Italian Medieval styles, Medieval (European), sculpture (visual works), and Sicilian (culture or style)

Institution(s): Royal Institute of British Architects


Overview

Architect and architectural historian. Hubbard was the son of John Waddington Hubbard, M.R.C.S., L.S.A. (1823-1871) and Emma Evans (Hubbard). He married Sarah Eleonora Rouquette in 1892. Fellow of the Royal Institute of British Architects (FRIBA)


Selected Bibliography

“Notes on the Cathedral Church of Cefalù, Sicily.” Archaeologia 56 (1898): 57-70.


Sources

[obituary:] http://hubbardplus.co.uk/hubbard/George_Hubbard_F.S.A/unclegeorgeobit.html; George HUBBARD F.S.A., F.R.I.B.A.  http://hubbardplus.co.uk/hubbard/George_Hubbard_F.S.A/george_hub%20bio.html; Welch, Charles. London at the Opening of the Twentieth Century: Contemporary Biographies.  Brighton: Pike, 1905;  Who Was Who [vol.] 3: 1929-1940. London: Black, 1941.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Hubbard, George." Dictionary of Art Historians (website). https://arthistorians.info/hubbardg/.


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Architect and architectural historian. Hubbard was the son of John Waddington Hubbard, M.R.C.S., L.S.A. (1823-1871) and Emma Evans (Hubbard). He married Sarah Eleonora Rouquette in 1892. Fellow of the Royal Institute of British Architects (FRIBA)<

Leopold, Walther

Full Name: Walther Leopold

Gender: male

Date Born: 1862

Date Died: 1976

Place Born: Bologna, Emilia-Romagna, Italy

Place Died: Sulzano, Brescia, Lombardy, Italy

Home Country/ies: Germany

Subject Area(s): Italian (culture or style), Medieval (European), and Sicilian (culture or style)


Overview

Scholar of Sicilian medieval architecture. While a student at the Technische Hochschule, Dresden he travelled to Sicily in 1910 to study the architecture of four small towns, Castrogiovanni (today known as Enna), Piazza Armerina, Nicosia and Randazzo, in order to trace the influence of Lombardic culture in the indigenous architecture. His dissertation, published in 1917, was on that very topic (Passalacqu). Leopold’s Ph.D. advisors were the medievalist Hugo Hartung (1855-1932), art historian Cornelius Gurlitt and Robert Bruck (b. 1863). Leopold photographed many of the monuments of Sicily, documenting their appearance before modern re-arrangement of the cities.


Selected Bibliography

[dissertation:] Sizilianische Bauten des Mittelalters, in Castrogiovanni, Piazza Armerina, Nicosia und Randazzo. Berlin: E. Wasmuth, 1917 https://catalog.hathitrust.org/Record/010249817;


Sources

Passalacqu, Francesca. “Alla ricerca del Medioevo lombardo: il viaggio-studio di Walter Leopold in Sicilia orientale.” in Degli Aspetti dei Paesi (exhibition catalog) CIRICE 2016, pp. 937-946, https://www.academia.edu/30702072/Alla_ricerca_del_Medioevo_lombardo_il_viaggio-studio_di_Walter_Leopold_in_Sicilia_orientale_in_Degli_Aspetti_dei_Paesi_a_cura_di_A._Berrino_A._Buccaro_e-book_CIRICE_2016_pp._937-946.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Leopold, Walther." Dictionary of Art Historians (website). https://arthistorians.info/leopoldw/.


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Scholar of Sicilian medieval architecture. While a student at the Technische Hochschule, Dresden he travelled to Sicily in 1910 to study the architecture of four small towns, Castrogiovanni (today known as Enna), Piazza Armerina, Nicosia and Randa

Mendell, Elizabeth

Full Name: Mendell, Elizabeth Lawrence

Other Names:

  • Elizabeth Lawrence

Gender: female

Date Born: 1741

Date Died: 1791

Place Born: PA, USA

Home Country/ies: United States

Subject Area(s): architecture (object genre), Medieval (European), Romanesque, and sculpture (visual works)

Institution(s): Yale University


Overview

Scholar of English romanesque sculpture and architecture. Mendell studied medieval art at Yale University under Henri Focillon and Jean Bony. She completed her disseration in 1939 writing on the romanesque church at Saintonge, France. The following year it was published as part of the Yale Historical Publications the following year. She was married Clarena W. Mendell (b. 1885).


Selected Bibliography

[dissertaton:] Romanesque Sculpture in Saintonge. Yale University, 1939, Published, Yale Historical Publications, 1940, New Haven: Yale University Press. 1940.




Contributors: Kerry Rork


Citation

Kerry Rork. "Mendell, Elizabeth." Dictionary of Art Historians (website). https://arthistorians.info/mendelle/.


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Scholar of English romanesque sculpture and architecture. Mendell studied medieval art at Yale University under Henri Focillon and Jean Bony. She completed her disseration in 1939 writing on the romane

Hayward, Jane

Full Name: Hayward, Jane

Gender: female

Date Born: 13 August 1918

Date Died: 20 October 1994

Place Born: Orange, New Haven, CT, USA

Place Died: Bronx, NY, USA

Home Country/ies: United States

Subject Area(s): Medieval (European) and stained glass (visual works)

Institution(s): Metropolitan Museum of Art


Overview

Curator of medieval objects, especially glass, at the Metropolitan Museum of Art, NY. Jane Hayward was born in Orange, Connecticut to Lawerence Herbert Hayward and Julia Ellen (Woodruff) Elliot. She studied at the Pennsylvania Academy of Fine Arts from 1936 to 1942. Hayward also took an engineering drawing course at the Bock Vocational School in Philadelphia in 1942. For the next three years, Hayward worked as a draftsperson for the machine-design section of the Fourth Naval District. After the end of WWII, from 1945 to 1954, Hayward worked as a technical illustrator, teacher, and training manuals author for the American Viscose Corporation, a manufacturing corporation for rayon and other synthetic fibers. In 1946, Hayward began taking night classes at the University of Pennsylvania School of Fine Arts. Hayward then received her bachelor’s degree in 1952 and her master’s in art history with a specialty in American and Renaissance Art in 1954. In 1958, Hayward became the first scholar in the United States to complete a dissertation on medieval stained glass, receiving her PhD from Yale University that same year. Her dissertation was titled, “The Angevine Style of Glass Painting in the Twelfth and Thirteenth Century.” The work was directed by the medievalist architectural historian, Summer McKnight Crosby. Crosby had recently become involved with the Corpus Vitrearum, an organization aiming to catalog medieval and Renaissance stained glass that began in 1953. The goal of this international group was to produce the multi volume Corpus Vitrearum Medii Aevi. Crosby chose graduate student Hayward to study medieval glass with medievalist art historians Louis Grodecki, and Jean Lafond (1888-1975). From 1958 to 1961, she worked as a research assistant at the Yale Art Gallery in the Department of American Decorative Arts. For the next four years, Hayward was the curator at the Lyman Allyn Museum and an instructor at Connecticut College in New London. In 1967, Hayward became a Clawson Mills Fellow at the Metropolitan Museum of Art, aiming to catalog stained glass for the Metropolitan’s volume in Corpus Vitrearum. She also began working as an associate curator for the Cloisters, the medieval branch of the museum. In 1970, Hayward became an American delegate of the organization Corpus Vitrearum, later becoming its president for the American branch in 1982. She collaborated with Madeline Caviness (b. c 1937) to produce 4 volumes from 1985 to 1991 about stained glasses in museums throughout the United States. From 1971 to 1989, Hayward worked as an adjunct professor at Columbia University, a position she obtained in part through Columbia University’s architectural historian and medievalist, Robert Banner. By 1974, Hayward became a full curator at the Cloisters. Earlier, in 1973, she began her work with the ICMA, or the International Center for Medieval Art. Hayward served as an advisor to the organization in America from 1973 to 1976 and from 1982 to 1984. She then became the director from 1977 to 1982 and 1984 to 1986. In 1975, Hayward delivered the Matthews Lectures at Columbia, titled “Early Gothic Stained Glass from Abbot Suger through the Reign of Saint Louis,” a series that remains unpublished. In 1977, she was asked to catalog the Raymond Pitcairn collection of medieval art in Glencairn Bryn Athyn, Pennsylvania, resulting in her work Radiance and Reflection in 1982. This influential book inspired future art historians Michael Cothren, Linda Papnicolaou, Mary Shepard, and others into the field of medieval studies. Later, in 1979, Hayward began to record the stained glass works around the United States, becoming the founder and member of the Board of Governors of the Census of Stained Glass in America. She received an honorary DA, or doctor of arts, from Stonehill College in 1980. During the mid-1980’s, Hayward played a critical role in the uncovering of one of the earliest stained-glass windows in the United States of America at the Church of St. Ann and the Holy Trinity in Brooklyn Heights, a piece obscured by a pipe organ for years. Shortly after celebrating her 25th anniversary at the Metropolitan Museum of Art, Jane Hayward died of cancer at Calvary Hospital in the Bronx (1994). After her death, her colleague Mary B. Shepard, along with the Metropolitan Museum of Art and the Cloisters, prepared a catalog of Hayward’s work throughout her career, completed in 2003. 

Medievalist William Wixom, one of Hayward’s colleagues at the Metropolitan Museum of Art, claimed that Hayward “had a canny sense of the stained-glass market and would ferret out only that glass she believed would intelligently enrich the Museum’s holdings.” He goes on to say that, “It was this unequivocal devotion to the advancement of glass studies – through her research, writings, and lectures, as well as through the remarkable exhibitions and gallery installations – that made Jane Hayward such a pivotal figure in stained-glass studies in this country.” Another colleague and Anthony W. and Lulu C. Wang Curator of American Decorative Arts, Alice Cooney Frelinghuysen stated “It will be difficult to enter a church in America today without remembering Jane Hayward, and the exacting standards she brought to her work and her unabashed zeal for the medium.”


Selected Bibliography

  • Radiance and Reflection. Metropolitan Museum of Art, 1982;
  • and Shepard, Mary. English and French Medieval Stained Glass in the Collection of the Metropolitan Museum of Art. Corpus Vitrearum: United States of America

Sources

  • Banner, Shirley Prager, Madeline Caviness, Jean Taralon, Marilyn Stokstad, Timothy B. Husband, William D. Wixom, Michael W. Cothren, and Alice Cooney Frelinghuysen. “Remembrances of Jane Hayward.” Gesta 37, no. 2 (1998): 127-30. http://www.jstor.org/stable/767249.


Contributors: Kerry Rork and Lee Sorensen


Citation

Kerry Rork and Lee Sorensen. "Hayward, Jane." Dictionary of Art Historians (website). https://arthistorians.info/haywardj/.


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Curator of medieval objects, especially glass, at the Metropolitan Museum of Art, NY. Jane Hayward was born in Orange, Connecticut to Lawerence Herbert Hayward and Julia Ellen (Woodruff) Elliot. She studied at the Pennsylvania Academy of Fine Arts

Patin, Charlotte Catherine

Full Name: Patin, Charlotte Catherine

Other Names:

  • Caroline Catherine Patin

Gender: female

Date Born: c. 1672

Date Died: c. 1744

Place Born: Paris, Île-de-France, France

Place Died: Padua, Veneto, Italy

Home Country/ies: Italy

Institution(s): Università degli Studi di Padova


Overview

Writer of one of the earliest known examples of art history by a woman author; seventeenth-century femme de lettre. Patin was born in Paris, but spent a majority of her life in Padua, Italy. She came from a family of intellectuals. Her father, Charles Patin, (1633-1693) was a physician and numismatist (whose work helped the art historian Joachim von Sandart. Her grandfather, Guy Patin (1601-1672), also practiced medicine as an eminent French physician. Most distinguished of all, her mother, Magdeleine Homanet, (1640-1682), wrote moral philosophy. In 1679, Patin and her sister reunited with their father in Italy where he had fled, escaping a life sentence for the importation of seditious books. The family settled in Padua.

Patin was raised in a family that advocated for the scholarship of women. During her father’s tenure the University of Padua graduated its first female doctoral candidate, Elena Lucrezia Cornaro Piscopia (1646-1684) in 1678. He strongly encouraged his daughters to further their respective scholarly pursuits and obtain a doctorate. However, the University of Padua decided against awarding additional doctorates to women, thus barring Patin from obtaining her’s. Because of both her own passions for Italian art and her father’s support, she was able to publish her own work and be regarded as a scholar through the Paduan Accademia dei Ricovrati (later the Accademia Galileiana or “Galilean academy”), one of the only academic societies that accepted women during that time period. Patin’s older sister, Gabrielle Patin (1666-1751), was a painter and numismatist.

There, in 1683, she delivered a Latin oration on the relief of Vienna following the siege of the Ottoman Turks. She published that oration alongside a catalogue of Italian works from Titian, Veronese, Bassano, and Tintoretto in Pitture Scelte E Dichiarate, in Italian, and Tabellae Selectae Ac Explicatae, the Latin counterpart. That year, she delivered a lecture in Latin on the siege of Vienna, which she published as Oratio de liberata civitate Vienna. Her sister, Gabrielle Charlotte (b. Paris ca. 1666), and mother, were also members of the society and wrote on theology, literature, and philosophy. Patin likewise published texts on these subjects in Latin, Italian, and French.

Her most well-known work, a critique of 41 Italian Renaissance paintings reproduced by multiple engravers, including the engraver Joseph Juster (active ca. 1690), was published in 1691 in Latin as Tabellæ selectæ ac explicatæ. The corresponding Italian translation, Pitture scelte e dichiarate, was brought out the same year. The volume also includes a print reproduction of the Patin family portrait painted by Noël Jouvenet in the late 1680s (d. 1698). Patin entered a convent in 1697, after which date her presence drops off the historical record. In 1745 a text titled Mitra, ou la Démone mariée: Nouvelle Hébraïque et morale, which she had ostensibly written in 1688, was printed by the fictitious publisher, “Démonopolis.”


Selected Bibliography

  • Oratio de liberata civitate Vienna. Padua, 1683;
  • Tabellæ selectæ ac explicatæ. Padua: Typogr. Seminarii, 1691;
  • Pitture scelte e dichiarate. [Italian translation] Padua: Appresso Pietro Marteau, 1691 1691;
  • “Relatio de literis apologeticis.” In Acta eruditorum 10 (1691): 337-340; 
  • Mitra, ou la Démone mariée: Nouvelle Hébraïque et morale. [1688, Padua]; Démonopolis, 1745;
  •  

Sources

  • Briquet, Marguerite Ursule Fortunée. “Patin, (Charlotte-Catherine, et Gabrielle-Charlotte).” Dictionnaire historique, littéraire et bibliographique des françaises, et des étrangères naturalisées en France. pp. 257-258. Paris: Gillé, 1804;
  • Feller, François-Xavier de. “Patin (Charlotte et Gabrielle).” Biographie universelle, ou Dictionnaire des hommes qui se sont fait un nom. p. 392. New edition, volume 6. Paris: J. Leroux, Jouby, 1849;
  • Hoefer, M. Le Dr. “Patin (Magdeleine Homanet, Dame).” Nouvelle biographie générale : Depuis les temps les plus reculés jusqu’à nos jours. pp. 331-333. Volume 39. Paris: Firmin Didot, 1865;
  • Le Moyne, Nicolas Toussaint. “Patin, (Charlotte et Gabrielle).” Les Siècles littéraires de la France. p. 107. Volume 5. Paris: Auteur, 1801;
  • Moreri, Louis. “Patin. (Charlotte-Catherine, & Gabrielle-Charlotte).” Supplément au grand Dictionnaire historique , généalogique, géographique, &c. de M. Louis Moreri. p. 22. Volume 2. Paris: La Veuve Lemercier, etc., 1735;
  • “Collections Online: British Museum.” Collections Online | British Museum. Accessed October 22, 2020. https://www.britishmuseum.org/collection/term/BIOG141799;
  • “Patin, Charlotte Catherine.” Benezit Dictionary of Artists, October 31, 2011. https://www.oxfordartonline.com/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00136901?rskey=uAP4rx.


Contributors: Dana Hogan, Yasemin Altun, and Zahra Hassan


Citation

Dana Hogan, Yasemin Altun, and Zahra Hassan. "Patin, Charlotte Catherine." Dictionary of Art Historians (website). https://arthistorians.info/patinc/.


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Writer of one of the earliest known examples of art history by a woman author; seventeenth-century femme de lettre. Patin was born in Paris, but spent a majority of her life in Padua, Italy. She came from a family of intellectuals. Her fa

Pickard, John

Full Name: Pickard, John

Gender: male

Date Born: 1858

Date Died: 1937

Home Country/ies: United States

Institution(s): University of Missouri


Overview

Professor of Art History, University of Missouri, Columbia; founder and first president of the College Art Association. His students included John Shapely.


Selected Bibliography

[dissertation:] Der Standort der Schauspieler und des Chors im griechischen Theater des funften Jahrhunderts. Ludwig-Maximilians-Universität, published, Munich: Ackermann, 1892.
  




Contributors: Lee Sorensen


Citation

Lee Sorensen. "Pickard, John." Dictionary of Art Historians (website). https://arthistorians.info/pickardj/.


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Professor of Art History, University of Missouri, Columbia; founder and first president of the College Art Association. His students included John Shapely.