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Art Historians

Lippard, Lucy R.

Full Name: Lippard, Lucy R.

Other Names:

  • Lucy R. Lippard

Gender: female

Date Born: 14 April 1937

Place Born: New York, NY, USA

Home Country/ies: United States

Subject Area(s): art theory, Conceptual, and feminism


Overview

Feminist art historian and conceptual art theorist. Lippard was the daughter of Vernon William Lippard, M.D. (1905-1984), and Margaret Cross (Lippard) (1907-1992). The younger Lippard was raised in New Orleans and Charlottesville, Virginia, the cities where her father, a professor of medicine and medical administrator, taught. The year her father accepted the position of Dean of the Medical School at Yale, 1952, Lippard was sent to Abbot Academy, Andover, MA (a girl’s boarding school now part of Phillips Academy). Lippard entered Smith College where she earned a B.A. in 1958. She attended New York University’s Institute of Fine Arts, studying under Robert Goldwater. Lippard married the budding minimalist artist Robert Ryman in 1961, receiving her M.A. in 1962. She began writing art criticism for the journal Art International and, by 1964, Artforum. Her association with the Museum of Modern Art started in 1965, contributing the notes to the catelog of the show “The School of Paris: Paintings from the Florene May Schoenborn and Samuel A. Marx Collection,” at the Museum. Lippard organized the 1966 exhibition “Eccentric Abstraction” at the Fischbach Gallery in New York, establishing the grounds (and bounds) of Postminimalism, or “antiform art” as it was known. The show served to further the careers of two upcoming sculptors, Eva Hesse and Bruce Nauman. Her first book, The Graphic Work of Philip Evergood, appeared in 1966, the same year she curated (and wrote the catalog) for the exhibition Ad Reinhardt: Paintings, for the Jewish Museum in New York. She was awarded a 1968 Guggenheim fellowship to research a book on Reinhardt. Lippard’s 1969 conceptual art exhibition, “557,087,” at the Seattle Art Museum, brought this art form to a larger audience. In 1969, too, Lippard helped found the Art Workers’ Coalition, an activist artists’ group lobbying for, among other things, a larger artist’s voice in the policies in the exhibiting of their work in the Museum of Modern Art. Her first group of collected essays, Changing: Essays in Art Criticism was issued in 1971. Six Years (1973), her edited and annotated history of the conceptual art movement, brought her to the fore as a conceptualist art historian. Lippard was a founder in 1976 of Printed Matter (the New York nonprofit dedicated to artists’ book and publications by artists). She won the Frank Jewett Mather, Jr., award for art criticism, given by the College Art Association the same year. She and Ryman divorced. Her autobiographical account of the early days of feminism and art, From the Center: Feminist Essays on Women’s Art, appeared in 1976. That same year, Lippard produced what many consider to be her best book, a sensitive analysis of the life and work of Eva Hess.The following year she was a founding member of the feminist collective and journal, Heresies, 1977. Mixed Blessings: New Art in a Multicultural America (1990) discusses diversity among artists working in North America. The Lure of the Local (1997), and On the Beaten Track: Tourism, Art, and Place (1999). Lippard was among the first writers to recognize the de-materialization at work in conceptual art (Video Data Bank, 1974). Her personal response to art results has been characterized as her strength as an art historian though some reviewers have criticized her for over-simplifying some of the more complex issues of modern art.



Sources

Lucy Lippard 1974: An Interview. Video Data Bank; Lucy Lippard 1979: An Interview. Video Data Bank; Kaufman, John A Lucy Lippard: Becoming Feminist. Dissertation, City University of New York. 1997; Lauritis, Beth Anne. Lucy Lippard and the Provisional Exhibition: Intersections of Conceptual Art and Feminism, 1970-1980. Dissertation, University of California, Los Angeles, 2009; Prineenthal, Nancy. “Lucy Lippard.” Art in America 100 no 11 (December, 2012): 130; Materializing ‘six Years’: Lucy R. Lippard and the Emergence of Conceptual Art. Brooklyn Museum of Art, 2012; Butler, Cornelia H. From Conceptualism to Feminism: Lucy Lippard’s Numbers shows, 1969-74. London: Afterall Books, 2012.




Citation

"Lippard, Lucy R.." Dictionary of Art Historians (website). https://arthistorians.info/lippardl/.


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Feminist art historian and conceptual art theorist. Lippard was the daughter of Vernon William Lippard, M.D. (1905-1984), and Margaret Cross (Lippard) (1907-1992). The younger Lippard was raised in New Orleans and Charlottesville, Virginia, the ci

Lipman, Matthew

Full Name: Lipman, Matthew

Gender: male

Date Born: unknown

Date Died: unknown

Home Country/ies: Austria


Overview

American



Sources

KMP, 76 cited




Citation

"Lipman, Matthew." Dictionary of Art Historians (website). https://arthistorians.info/lipmanm/.


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American

Liphart, Karl Eduard, Baron von

Full Name: Liphart, Karl Eduard, Baron von

Gender: male

Date Born: 1807

Date Died: 1891

Home Country/ies: Estonia

Subject Area(s): connoisseurship

Institution(s): Estonian Naturalists' Society


Overview

German baron and connoisseur; friend of museum director Gustav Friedrich Waagen. Liphart and Waagen introduced Wilhelm Bode, later director of the Berlin museums, to the writing of Karl Friedrich von Rumohr. Together, Bode and Liphart were responsible for may re-attributions. In 1871, they independently recognized the similarities between etchings of Hercules Segers (c. 1589-c.1638) and a painting in the Ufizzi, establishing for the first time that Segers was a painter as well. Liphart helped establish Franz von Lenbach (1836-1904) in Florence, where Liphart lived.


Selected Bibliography

Notice historique sur un tableau de Raphaël repre´sentant Julien de Me´dicis, duc de Nemours. Paris: Imp. J. Claye, 1867; Portrait of Giuliano de’ Medici, duc de Nemours, painted by Raphael Sanzio. Paris: C. Sedelmeyer, 1905.[collection auction:] Catalog der Kupferstichsammlung des Herrn Karl Eduard von Liphart in Florenz: Versteigerung zu Leipzig. Leipzig: C. G. Boerner, 1876.


Sources

Kultermann, Udo. The History of Art History. New York: Abaris, 1993, pp. 139.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Liphart, Karl Eduard, Baron von." Dictionary of Art Historians (website). https://arthistorians.info/liphartk/.


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German baron and connoisseur; friend of museum director Gustav Friedrich Waagen. Liphart and Waagen introduced Wilhelm Bode, later director of the Berlin museums, to the writing of Kar

Links, J. G.

Full Name: Links, J. G.

Other Names:

  • Joseph Gluckstein Links

Gender: male

Date Born: 1904

Date Died: 1997

Place Born: London, Greater London, England, UK

Place Died: London, Greater London, England, UK

Home Country/ies: United Kingdom


Overview

Canaletto scholar and furrier. His father, a Jewish refugee from Hungary, was co-founder of the fur business, Calman Links. His mother died when Links was 13 and the poor health of his father forced the younger Links to take over the business instead of pursuing an art career. Link remained in the fur business his life, at one point becoming director of the Hudson’s Bay Company and gaining the royal warrant as the Queen of England’s furrier. He tried experimental mystery-crime writing, collaborating with Dennis Wheatley in the late 1930s on commercially sold parlor games involved with crime-solving. During World War II he served as a Wing Commander in the RAF. A chance meeting of Robert Lutyens, son of the architect Sir Edwin Lutyens, resulted in a marriage to his sister, Mary Lutyens (1908-1999) in 1945. His wife later became a noted writer. Throughout their lives the two wrote books in tandem, read aloud together, and shared a passion for Venice. The Links travelled to Venice several times a year, often tracing John Ruskin‘s steps in The Stones of Venice. When W. G. Constable published his monograph and catalogue raisonné on Canaletto in 1962, Links contacted him about additional Canaletto paintings. Constable was so impressed by Links seriousness and knowledge of the artist’s works (indeed, one of Constable’s missing Canaletto’s hung over Link’s sister-in-law’s fireplace) that Constable asked him to revise the book for a second edition. In the interim, Links published a highly praised book on travel in Venice, Venice for Pleasure in1966, and researched and published The Ruskins in Normandy (1968). Though not “society people,” they entertained during these middle years in their Sussex home, and were famous for their dry Martinis. Links’ Views of Venice by Canaletto, engraved by Antonio Visentini, was published in 1971; the second edition of Constable’s catalogue raisonné on Canaletto thoroughly revised by Links appeared in 1976. By that time Links had become an acknowledged Canaletto scholar and connoisseur, consulted when paintings turned up in private galleries and when paintings were considered for restoration. A small book on the artist solely by Links, Canaletto and his Patrons, followed in 1977, and in 1982 a more substantial one. Links assisted in the exhibition of Canaletto at the Queen’s Gallery in 1980, examining many Canalettos in detail for the first time. In 1989 the third edition of the Constable/Links monograph appeared with Links as an acknowledged co-author. The same year the Metropolitan Museum in New York launched a major Canaletto exhibition, organized by Links. Beginning in the 1960s, he became involved in the establishment of the Venice in Peril Fund, a fundraising group for repairing the sinking city. He died at his London home in 1997.


Selected Bibliography

and Baetjer, Katharine. Canaletto. New York: Metropolitan Museum of Art/H. N. Abrams, 1989; Canaletto. Ithaca, NY: Cornell University Press, 1982; and Constable, William George. Canaletto: Giovanni Antonio Canal 1697-1768. 2d ed. 2 vols. New York: Clarendon Press, 1976; Canaletto and his patrons. New York: New York University Press, 1977.


Sources

[obituaries:] Levey, Michael. “J. G. Links: Venice with a Passion.” The Guardian (London), October 13, 1997, p. 15 ; Anderson, Sarah. “J. G. Links.” The Independent (London), October 3, 1997, p. 22.




Citation

"Links, J. G.." Dictionary of Art Historians (website). https://arthistorians.info/linksj/.


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Canaletto scholar and furrier. His father, a Jewish refugee from Hungary, was co-founder of the fur business, Calman Links. His mother died when Links was 13 and the poor health of his father forced the younger Links to take over the business inst

Ling, Roger

Full Name: Ling, Roger

Gender: male

Date Born: unknown

Date Died: unknown

Home Country/ies: United Kingdom

Subject Area(s): archaeology, Classical, painting (visual works), and Roman (ancient Italian culture or period)


Overview

Scholar of Roman painting and Professor of Classical Art and Archaeology, University of Manchester. Ling studied Classics at the University of Cambridge. He continued to research at the British School at Rome. His Ph.D. dissertation, written under J. B. Ward-Perkins when Ward-Perkins was director, was Stucco Decoration in Roman Italy. A portion of the dissertation appeared as “Stucco decoration in pre-Roman Italy” in Papers of the British School at Rome in 1972. He lectured for four years at University College Swansea, assisting in the archaeological excavations on the Roman fort at Loughor, Glamorgan. He was appointed to the History of Art Department at the University of Manchester. There he revised the volume on Etruscan architecture by Axel Boëthius in 1978 (with Tom Rasmussen), wrote his Wall Painting in Roman Britain with Norman Davey in 1981, and Romano-British Wall Painting in 1985. He revised the important Roman Art of D. E. Strong in 1988. Ling’s own Roman Painting appeared in 1991, and Ancient Mosaics, 1998. His collected volume of essays, Painting and Stuccowork in Roman Italy appeared in 1999. Ling edited an additional volume of essays, Making Classical Art: Process and Practice, in 2000. Ling is interested in research on Roman Britain and Roman archaeology.


Selected Bibliography

[partial dissertation:] “Stucco decoration in pre-Roman Italy” in Papers of the British School at Rome 40 (1972): 11-58; revised, with Rasmussen, Tom. Boëthius, Axel. Etruscan and Early Roman Architecture. 2nd ed. New York: Penguin Books, 1978; and Davey, Norman. Wall-Painting in Roman Britain. Gloucester: Sutton, 1982; Ancient Mosaics. Princeton, NJ : Princeton University Press, 1998; The Insula of the Menander at Pompeii. 4 vols. Oxford: Clarendon Press, 1997ff.; Roman Painting. New York: Cambridge University Press, 1990; Stuccowork and Painting in Roman Italy. Brookfield, VT: Ashgate, 1999; revised, Strong, Donald E. Roman Art. 2nd ed. New York: Penguin Books, 1988; and Ward-Perkins, J. B., and Jones, Barri. The Severan Buildings of Lepcis Magna: an Architectural Survey. London: Dept. of Antiquities, Tripoli, S.P.L.A.J. /Society for Libyan Studies, 1993; The Cambridge Ancient History. 2nd ed. Volume VII, part 1 (plates): The Hellenistic World to the Coming of the Romans. New York : Cambridge University Press, 1984.


Sources

http://www.art.man.ac.uk/ARTHIST/profiles/lingPro;




Citation

"Ling, Roger." Dictionary of Art Historians (website). https://arthistorians.info/lingr/.


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Scholar of Roman painting and Professor of Classical Art and Archaeology, University of Manchester. Ling studied Classics at the University of Cambridge. He continued to research at the British School at Rome. His Ph.D. dissertation, written under

Lindsay, Kenneth

Full Name: Lindsay, Kenneth Clement Eriksen

Other Names:

  • Kenneth Clement Lindsay

Gender: male

Date Born: 23 December 1919

Date Died: 02 March 2009

Place Born: Milwaukee, WI, USA

Place Died: Johnson City, Broome, NY, USA

Home Country/ies: United States

Subject Area(s): Early Christian, painting (visual works), religious art, and Russian (culture or style)

Institution(s): State University of New York in Binghamton


Overview

Kandinsky scholar; Professor of art history at the State University of New York in Binghamton.  Lindsay was born to Kenneth C. Lindsay, a businessman, and Karen Eriksen (Lindsay).  The younger Lindsay grew up in a staunch Republican family in Milwaukee, Wisconsin. He initially studied chemistry and mathematics at the University of Wisconsin at Madison. He became fascinated by art history as well, but was discouraged from pursuing it by his father. He joined Pabst Brewing Company in Milwaukee as a chemist after graduation. At the outbreak of World War II, Lindsay enlisted in the Army Signal Corps. He trained as a cryptographer outside Washington, DC, studying German and coding systems. His deployment delayed because of a case of scarlet fever, Lindsay was now a technical corporal decoding messages. Following V-E Day in 1945, Sergeant Lindsay was assigned to the “Monuments Men” group, soldiers assigned to document and repatriate art stolen by the Nazis. He was deployed to the collection point in Wiesbaden, Germany.  The Berlin Museum’s famous bust of Nefertiti was recovered by him. Lindsay remained with the monuments division after his initial tour.  Returning to the United States in 1946 and the University of Wisconsin, he took a second graduate degree, one in art history. He met a piano student at Wisconsin, Christine Charnstrom (d. 2018) whom he married the following year.  His 1948 master’s thesis at Wisconsin was on the Holy Crown of Hungary (Crown of Saint Stephen), a jeweled headpiece he had become familiar with during the war. He received a Fulbright scholarship to study at the École du Louvre in 1949.  His 1951 Ph.D., written under John F. Kienitz (1885-1958) and greatly influenced by James Waltrous (1908-1999) and Oskar Hagen, focused on Wassily Kandinsky, the first dissertation on the artist.

After teaching as an instructor at Williams College, MA, in 1950, he joined the faculty of Harpur College, today the State University of New York at Binghamton, in 1951. A 1956 article of his identified four Kandinsky works from two different museums as a commission by the American Edwin R. Campbell.  He was promoted to associate professor in 1957.  Lindsay published a 1959 review of a biography by Will Grohmann, convincingly challenging the 1910 date of the “first abstract watercolor,” ascribing it to 1913.  This forced a re-evaluation of Kandinsky’s work as well as destroying the myth perpetrated by Madame Kandinsky through Grohmann. He was elevated to (full) professor in 1962.  Lindsey founded the art history department, as well as that of studio art and the art museum in 1967.  Lindsay assumed the chair of that department and remained for seventeen years. Together with  Peter Vergo he published the complete, translated art writings of the artist in 1982. He was named emeritus in 1983.  A resident of Vestal, NY, he died in Johnson City, New York, in 2009.  His students include Susan Alyson Stein, a curator at the Metropolitan Museum of Art, and William M. Voelkle, a curator at The Morgan Library, New York.  

Lindsay was the most important American Kandinsky scholar during his time.  Much of his research combined scholarship with personal knowledge.  He knew and spoke with both Kandinsky’s wife, Nina (1899-1980), and his later liaison, Gabriele Munter. As a documentary scholar, Lindsay attached importance to the artist’s writings and theories of art, much of which has become the accepted view of the artist.

 


Selected Bibliography

  • [complete bibliography to 1990] Stein, Susan Alyson, and McKee, George D. Album Amicorum Kenneth C. Lindsay: Essays on Art and Literature.  Binghamton, NY: Dept. of Art and Art History, State University of New York at Binghamton, 1990, pp. 375-378;  
  • [dissertation] An Examination of the Fundamental Theories of Wassily Kandinsky.  University of Wisconsin, 1951;
  • [book review] “Kandinsky by Will Grohmann. Art Bulletin 41, no. 4 (December 1959): 348-350;
  • and Messer, Thomas M., Vasily Kandinsky, 1866-1944: a Retrospective Exhibition. New York: Solomon R. Guggenheim Foundation, 1962;  
  • edited and Virgo, Peter. Kandinsky, Complete Writings on Art. 2 vols. Boston, MA: G. K. Hall, 1982; 

Sources

  • Lindsay, Keneth.  “Autobiographical Statement, 1975.” in Stein, Susan Alyson, and McKee, George D. Album Amicorum Kenneth C. Lindsay: Essays on Art and Literature.  Binghamton, NY: Dept. of Art and Art History, State University of New York at Binghamton, 1990, pp. 370-380;
  • Coker, Rachel. “Documentary Highlights Work of Monuments Men.” Inside BU 28 no. 22 (March 1, 2007) (website, formerly http://inside.binghamton.edu/news/newspage.cgi?issue=2007mar01&id=1);
  • Lindsay-Tevelow, Jennifer.  While Waiting for Supper: Drawings and Musings of Kenneth C. Lindsay.  Manuscript, 2019;
  • Weiss, Peg. “[review of] Kandinsky Watercolors Catalogue Raisonne edited by Vivian Endicott Barnett.” Art Journal  53 no 4  (winter 1994): 96; 
  • “Kenneth C. Lindsay.”  Legacy.com https://www.legacy.com/us/obituaries/pressconnects/name/kenneth-lindsay-obituary?id=28804991

Archives

National Gallery of Art, Washington, DC


Contributors: Lee Sorensen


Citation

Lee Sorensen. "Lindsay, Kenneth." Dictionary of Art Historians (website). https://arthistorians.info/lindsayk/.


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Kandinsky scholar; Professor of art history at the State University of New York in Binghamton.  Lindsay was born to Kenneth C. Lindsay, a businessman, and Karen Eriksen (Lindsay).  The younger Lindsay grew up in a staunch Republican fami

Lindsay, Jack

Full Name: Lindsay, Jack

Other Names:

  • Robert Leeson Jack Lindsay

Gender: male

Date Born: 1900

Date Died: 1990

Place Born: Melbourne, Victoria, Australia

Place Died: Cambridge, Cambridgeshire, England, UK

Home Country/ies: Australia

Subject Area(s): biography (general genre)


Overview

Biographer of artists, author and classical translator. Lindsay was the son of the libertine artist/writer Norman Lindsay (1879-1969) and Kathleen Parkinson (Lindsay). Lindsay attended University of Queensland, obtaining a B.A. with honors in 1921. Lindsay wrote articles for Art in Australia and Vision. He first married Janet Beaton, which ended in divorce. In 1923 he published a book of poetry, Fauns and Ladies, followed by two more the following year. In 1925 he published a translation of Aristophanes’ Lysistrata, followed by other classical translations of the poems of Theocritus and Homer’s Hymns to Aphrodite. In 1925 Lindsay co-founded the Fanfrolico Press in North Sydney, New South Wales. He moved permanently to England in 1926 with the Press. He handset and hand-printed several books, including his own, in the vein of one of his proclaimed heroes, William Morris. Through Fanfrolico he published additional Greek classical translations and met Robert Graves, William Butler Yeats, and (through correspondence), Sigmund Freud. He married Ann Davies (d.1954). He published studies on William Blake and Friedrich Nietzsche, and a translation of Aristophanes’ Women in Parliament. During the economic depression in England of the 1930s, the Franfrolico Press closed down. Lindsay moved to Cornwall to write historical novels, especially those focusing on the lurid times of history such as Cressida’s First Lover: A Tale of Ancient Greece. Enthused, like many, by the cause of the Spanish Republic, Lindsay found communism and began writing for Left Review and the Daily Worker. He served in the British Army in Royal Signal Corps, 1941-43, and then detailed to War Office as script writer, 1943-45. He continued novel writing after World War II, focusing now on contemporary social settings. Betrayed Spring, A Local Habitation, and All on the Never-Never were dialectic and moralizing. In translation into Russian they sold nearly a million copies in the then Soviet Union. Lindsay also dabbled in political science, joining the following of popular Marxism that sweep England after the war, producing Marxism and Contemporary Science. But Lindsay’s communism was a romantic one, full of doctrine and ill-equipped to deal with Stalinist repression. He rejected Soviet communism and grew ever more distant with the Left in England. His Byzantium into Europe, a labor history without Marxist dogma, infuriated his Marxist colleagues even more. He married his third wife, a potter and Dutch Resistance worker Meta Waterdrinker, in 1958. Lindsay returned to art, now as a biographer of artists. In 1969 his Cezanne: his Life and Art appeared. His book on William Blake’s art and writing followed in 1979. Lindsay returned to political science for The Crisis in Marxism, 1981. To celebrate the opening of the Clore Gallery at the Tate in 1985, the permanent home for collection of paintings and watercolors Turner left to the country Lindsay was commissioned to write a volume on J. M. W. Turner. Clement Greenberg chided Lindsay’s account of Turner as pedestrian Marxism and “routine Freudianism,” but Francis Haskell praised Lindsay for scrupulous scholarship of a very difficult subject. Lindsay died in Cambridge at 89 years old. His brother, Philip Lindsay (1906-1958), was a historical novelist. Lindsay the art historian and Lindsay the historical novelist frequently collide. He often supplied with his imagination what was lacking in facts. In the case of Cézanne, who left few records of personal life, such interpolation might be warranted. Lindsay’s weaving of Cézanne’s personal and literary associations make his Cézanne book of his more engrossing monographs. His literary and cultural criticism and readable Marxism anticipated (and complemented) the later Raymond Williams and Edward Thompson, both friends of Lindsay’s.


Selected Bibliography

[Lindsay published 170 books in his lifetime. His artistic literary books were:] Cezanne: his Life and Art. Greenwich, CT: New York Graphic Society, 1969; A Short History of Culture, from Prehistory to the Renaissance. New York: Citadel Press, 1963; Thomas Gainsborough: his Life and Art. New York: Universe Books, 1981; Turner: the Man and his Art. London: Granada, 1985; William Blake: his Life and Work. New York: Braziller, 1979.


Sources

Lindsay, Jack. The Roaring Twenties: Literary Life in Sydney, New South Wales in the Years 1921-6. London: Bodley Head, 1960; [obituaries:] Craft, Andy. “Jack Lindsay.” The Independent (London), March 13, 1990, p. 19; “Jack Lindsay.” The Times (London), March 9, 1990; “Obituary of Jack Lindsay: Prolific and Proletarian.” The Guardian (London), March 10, 1990.




Citation

"Lindsay, Jack." Dictionary of Art Historians (website). https://arthistorians.info/lindsayj/.


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Biographer of artists, author and classical translator. Lindsay was the son of the libertine artist/writer Norman Lindsay (1879-1969) and Kathleen Parkinson (Lindsay). Lindsay attended University of Queensland, obtaining a B.A. with honors in 1921

Lindsay, David Alexander Edward, 27th Earl of Crawford, 10th Earl of Balcarres

Full Name: Lindsay, David Alexander Edward, 27th Earl of Crawford, 10th Earl of Balcarres

Other Names:

  • "Bal"

Gender: male

Date Born: 1871

Date Died: 1940

Place Born: Dunecht House, Aberdeenshire, Scotland, UK

Place Died: Haigh, Wigan, Manchester, City and Borough of, UK

Home Country/ies: United Kingdom

Subject Area(s): Italian (culture or style), Italian Renaissance-Baroque styles, Renaissance, and sculpture (visual works)


Overview

Art historian of Italian Renaissance sculpture, reformer of the South Kensington Museum, and politician. Lindsay was the son of James Ludovic Lindsay, twenty-sixth earl of Crawford and ninth earl of Balcarres (1847-1913) and Emily Florence (Bootle-Wilbraham) Lindsay (1848-1934). His father was an astronomer and bibliophile, a landed nobleman from Haigh, Wigan, Lancashire, and chairman of the family firm, the Wigan Coal and Iron Company. His grandfather, David Alexander Edward Lindsay, wrote books of art history as well. David Lindsay, who held the courtesy title of earl of Balcarres until his father’s death, was known as “Bal.” He early on became familiar with the family library amassed by his father and grandfather, Bibliotheca Lindesiana, which the DNB called “the last great private library in Britain.” He attended Eton College (1886-1890) before entering Magdalen College, Oxford in 1890, graduating in 1894 in history. Balcarres entered politics in 1895 as Conservative MP for the Chorley division of Lancashire. As private secretary to the politician Gerald Balfour (1853-1945), and part of the political cadre around Arthur James Balfour (1848-1930), he developed an interest in the arts and especially art administration. He used his position as MP to criticize the inept administration of the South Kensington Museum beginning in 1896. The Museum, then representing both the arts and sciences, was run by caretaker “engineers” with little knowledge (or inclination to learn) of installation practice or which collections were the best. Balcarres’ House of Commons committees resulted in the eventual reorganization of the museum into the Victoria and Albert Museum in 1899 (opened 1909). Also as an MP, he introduced legislation which became the Ancient Monuments Protection Act of 1900. The same year he married Constance Lilian Pelly (d. 1947). In 1901 he was made a fellow of the Society of Antiquaries and appointed a trustee of the National Portrait Gallery. As concern grew with Britain’s art treasures being sold abroad (principally the United States), Balcarres chaired the National Art Collections Fund beginning in 1903 (through 1921), presiding over the acquisition, together with Robert Witt and Isidore Spielmann (1854-1925), of the Rokeby “Venus and Cupid” of Velazquez, which was in danger of leaving the country. Balcarres turned to art writing, publishing a monograph on Donatello the same year, 1903, followed by his Evolution of Italian Sculpture which appeared in 1909. He wrote the article “Museums of Art.” for the famous eleventh edition of the Encyclopaedia Britannica in 1911. His father’s death in 1913 forced Balcarres, now Crawford, to relinquish his MP status and disperse much of the family’s collections to pay estate tax. The central part of the family’s Bibliotheca Lindesiana was retained, but the manuscript, stamp, lesser-valuable books and the librarians were dispersed. During World War I, Crawford, then 43, joined the Royal Army Medical Corps under a false status, but was soon discovered and recalled to act as president of the board of agriculture and a cabinet minister. He retired from political service in1923 at age 52, turning to his attention to art. He was appointed chancellor of Manchester University and a trustee of the British Museum that year. The following year he chaired the Royal Fine Arts Commission which approved art bought on behalf of the public. As head of the Crawford committee on broadcasting, he oversaw the 1925 founding of the BBC. Crawford became a trustee of the National Gallery and chairman of the Council for the Preservation of Rural England. Crawford’s family business, Wigan Coal and Iron Company, went into a steep decline and in 1931 it was sold. Crawford died suddenly at his estate, Haigh Hall, in 1940. His diary, begun during in his student days was maintained until his death in 1940.


Selected Bibliography

Donatello. London: Duckworth, 1903; The Evolution of Italian Sculpture. London: J. Murray, 1909.


Sources

Ridley, Jane. “Lindsay, David Alexander Edward.” Oxford Dictionary of National Biography. Lindsay, David Alexander. The Crawford Papers: the Journals of David Lindsay, Twenty-seventh Earl of Crawford,1892-1940. Dover, NH: Manchester University Press, 1984, especially pp. 54-56; [obituary:] Times (London) March 9, 1940)



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Lindsay, David Alexander Edward, 27th Earl of Crawford, 10th Earl of Balcarres." Dictionary of Art Historians (website). https://arthistorians.info/lindsayda/.


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Art historian of Italian Renaissance sculpture, reformer of the South Kensington Museum, and politician. Lindsay was the son of James Ludovic Lindsay, twenty-sixth earl of Crawford and ninth earl of Balcarres (1847-1913) and Emily Florence (Bootle

Lindsay, Daryl

Full Name: Lindsay, Daryl

Gender: male

Date Born: unknown

Date Died: unknown

Home Country/ies: Australia


Overview

Director of the National Gallery, Victoria, Australia. Gave Ursula Hoff her postion as curator of prints and drawings. The then director of the National Gallery of Victoria, J. S. McDonald, made it clear that there would be no chance of employment for a German Jewish refugee during his directorship. All this changed when Sir Keith Murdoch became chairman of the Trustees. He appointed Daryl Lindsay as director and, in 1942, Hoff was appointed assistant keeper of prints and drawings, giving a series of important and exciting public lectures on European art history. In 1946, again with sponsorship from Sir Keith Murdoch, the Herald Chair of Fine Arts was founded at the University of Melbourne. The first professor was Joseph Burke, an Irishman whose field of expertise was English 18th-century art. Hoff had a part-time position as a visiting lecturer in this new department. “



Sources

Anderson, Jaynie. “Ursula Hoff: Intellectual Who left her Imprint.” The Australian January 20, 2005. p. 12




Citation

"Lindsay, Daryl." Dictionary of Art Historians (website). https://arthistorians.info/lindsaya/.


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Director of the National Gallery, Victoria, Australia. Gave Ursula Hoff her postion as curator of prints and drawings. The then director of the National Gallery of Victoria, J. S. McDonald, made it clear that there would be no

Lindsay, Alexander Crawford

Full Name: Lindsay, Alexander Crawford

Other Names:

  • Earl of Crawford

Gender: male

Date Born: 1812

Date Died: 1880

Place Born: Muncaster Castle, Cumberland, England, UK

Place Died: Florence, Tuscany, Italy

Home Country/ies: United Kingdom

Subject Area(s): Christianity and theology


Overview

Historian and theologian; wrote Sketches of the History of Christian Art. Lindsay was the eldest son of James Crawford and Maria Margaret Francis Pennington. He was educated at Eton where he early on began collecting books. He graduated from Trinity College, Cambridge, with an M. A. in 1833. In 1834 Lindsay inherited a small fortune which allowed him travel widely in Europe and the Mediterranean beginning in 1836, viewing art and gathering observations for his theories of art and Christian history. His 1841-1842 travels with his cousin the artist (and later founder of the Grosvenor Gallery, London) Coutts Lindsay produced drawings and observations for his book. On a trip between Rome and Assisi, he chanced to read De la poésie chrétienne (1836) by Alexis-François Rio, a volume owned by the French sculptor, Félicie de Fauveau. She introduced Lindsay to the spiritual reception of the arts, the école Mystique, whom the two saw particularly in the work of Benozzo Gozzoli’s frescoes at San Gimignano. Lindsay was also a serious researcher in genealogy. He assisted with his father’s litigation on claim to the title to the earldom of Crawford in 1845, granted to him in 1848. He married Margaret Lindsay in 1846. That year, too, Lindsay published his Progression by Antagonism, an outline of what he saw as the dialectic of sense, intellect, and spirit, as a justification of the study of non-Christian art (e.g., ancient Egypt and classical Rome). Much of this was drawn from the writing of the German mystical writers, including Friedrich Schiller, Friedrich Wilhelm von Schelling, August Wilhelm Schlegel and Friedrich von Schlegel. Lindsay urged his British readers to begin a new age of Christian art, akin to what the Nazarines had begun. In 1847 Lindsay published his Sketches of the History of Christian Art, a work derided by John Ruskin, yet one setting out the tenets of19th-century British taste, laying the groundwork for the art histories of Charles Lock Eastlake, Ruskin, Francis T. Palgrave and others. The work demonstrates his knowledge of medieval Romance literature and the Catalogus sanctorum of Petrus de Natalibus, a Venetian hagiography from the late 14th century. Lindsay, like Rio, focused on the religious highly spiritual art of 14th and 15th century, including Nicolo Pisano, Giotto, Duccio, Orcagna, and Fra Angelico. In 1856 he met the Florentine dealer and artist William Blundell Spence, who steered his tastes toward discriminate art collecting. These included Guido Reni’s Flight into Egypt (now Bradford, Cartwright Hall). More spectacular purchases came between 1864 and 1875, including Domenico Veneziano’s (attr.) Virgin and Child Enthroned (now London, National Gallery), a large altarpiece believed at the time to have been Giovanni della Robbia, and Luca Signorelli’s altarpiece “Madonna and Child with Saints” (now National Gallery of Art, Washgington, D. C.). In 1879, because of poor health, Lindsay visited Egypt. The following year he moved to Florence where he died. A year after interment in the family crypt at Dunecht, Aberdeenshire, his tomb was broken into and his body stolen. The body was was re-interred in 1882. His considerable library, which included the Mazarin Bible, a 1402 Biblia Latina and other first editions, took ten days to auction by Sothebys in 1887. His grandson, David Alexander Edward Lindsay, was an historian of Italian Renaissance sculpture.Lindsay’s Sketches of the History of Christian Art looked at the whole of Christian production, from the Byzantine era to the French Revolution. It was a fusion of historical narrative with metaphysical interpretation arranged on a system of analogies drawn from Christian dogma (Steegman). Lindsay divided Christian art into five periods. The first period grouped the early Florentines, Fra Angelico and Benozzo Gozzoli as “semi- Byzantines.” He chided artists of the northern renaissance as having sunk into “mere imitation of nature.” The second period was from the middle to the end of the fifteenth century. Period three included Michelangelo and Raphael. Period four extended from the Council of Trent to the French Revolution. His final period was from the Revolution to his present time, 1847, a time Lindsay saw a full of revivals. The book was reviewed at length in the Quarterly Review for June anonymously by Ruskin. Ruskin had already developed an anti-high renaissance, anti-Roman Catholic stance toward art. Ruskin deprecated Lindsay’s appreciation of Fra Angelico (then relatively unknown) and Lindsay’s system of evaluation described as “Spirit, Intellect and Sense.” Lindsay was among the earliest champion’s of the so-called Italian Primitives and can been seen as the precursor to the aesthetics of the Pre-Raphaelite Brotherhood, which Ruskin would shortly thereafter champion and the study of iconography, best represented by Anna Jameson.


Selected Bibliography

Sketches of the History of Christian Art. 3 vols. London: J. Murray, 1847, 2nd ed. 2 vols. London: J. Murray, 1882.


Sources

Steegman, John. “Lord Lindsay’s History of Christian Art.” Journal of the Warburg and Courtauld Institutes 10 (1947): 123-131; Dictionary of National Biography 11: 1164-5; Lightbown, Ronald W. “The Inspiration of Christian Art.” in Macready, Sarah, and Thompson, F. H., eds., Influences on Victorian Art and Architecture. London: Society of Antiquaries/Thames and Hudson, 1985; Brigstocke, Hugh. “Alexander Lindsay.” Oxford Companion to World Art; Brigstocke, Hugh. Lord Lindsay and James Dennistoun: Two Scottish Art Historians and Collectors of Early Italian Art. Ph.D. dissertation, University of Edinburgh, 1976.




Citation

"Lindsay, Alexander Crawford." Dictionary of Art Historians (website). https://arthistorians.info/crawforde/.


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Historian and theologian; wrote Sketches of the History of Christian Art. Lindsay was the eldest son of James Crawford and Maria Margaret Francis Pennington. He was educated at Eton where he early on began collecting books. He graduated f