Lermolieff, Iwan
Full Name: Lermolieff, Iwan
Gender: unknown
Date Born: unknown
Date Died: unknown
Art Historians
Lenoir, Alexandre-Albert
Full Name: Lenoir, Alexandre-Albert
Other Names:
- Alexandre-Albert Lenoir
Gender: male
Date Born: 21 October 1801
Date Died: 17 February 1891
Place Born: Paris, Île-de-France, France
Place Died: Paris, Île-de-France, France
Home Country/ies: France
Subject Area(s): archaeology, architecture (object genre), Medieval (European), and sculpture (visual works)
Overview
Medievalist and archaeologist, architect and partial founder of the Musée Cluny. Lenoir was the son of the archaeologist and museum assembler Alexandre Lenoir, founder of the Musée des Antiquités et Monuments Français, parts of which form the modern Ecole Royale et Spéciale des Beaux-Arts. The younger Lenoir trained as an architect under François Debret (1777-1850). Like his father, he adopted a strong interest in medieval architecture over the dominant classical style. From 1830-1831 he studied Etruscan architecture in Italy afterward traveling to Greece and Asia Minor to examine Byzantine monuments. He published his findings in a series of essays in the Annales de l’Institut de Archéologique (Rome), beginning with “Mémoires et dessins relative aux édifices grecs découverts en 1830 à Solunto.” (1831). After his return to France, Lenoir’s plans for a museum for the objects formerly in the Musée des Petits-Augustins was chosen. He joined a group of scholars headed by, Nicolas-Marie-Joseph Chapuy (1790-1858) in bringing out an edition of Andrea Palladio’s work. In 1844 he advocated combining the buildings of the Hôtel de Cluny and the Palais des Thermes which was done to form the Musée Cluny, the museum which houses important medieval artifacts remaining from the destruction by the French Revolution. His contributions to the populist Instruction pour le peuple book in 1848 on architecture made him well-known. Beginning in 1852 he brought out his Architecture monastique, a large illustrated study of religious architecture. This was followed by a work on military architecture co-produced with Inspecteur Général des Monuments Historiques Prosper Mérimée (1803-1870). Lenoir and Ludovic Vitet had by the 1830s suggested that Byzantine architectural influences and not simply classical architecture were the inspiration for medieval architecture. There observations were most stridently (and convincingly) taken up by Félix Joseph de Verneilh who posited a link between San Marco and French Romanesque (Stamp).
Selected Bibliography
Statistique monumentale de Paris. Paris: Ministère de l’instruction publique, 1839; and Chapuy, Nicolas-Marie-Joseph, and Corréard, Alexandre. Oeuvres complètes d’André Palladio. 42 pts. Paris: Alexandre Corréard, 1825-1842; “Architecture et archéologie” [section] in, Aubert, Albert, and Alcan, Michel. Instruction pour le peuple: cent traités sur les connaissances les plus indispensables. 2 vols. Paris: J.J. Dubochet, 1848; Architecture monastique. Paris Impr. nationale, 1852-1856; Architecture militaire du Moyen Age. Paris: Comité historique des arts et monuments, 1857.
Sources
“Alexandre-Albert Lenoir.” Dictionary of Art 19: 160-161; Stamp, Gavin. “In Search of the Byzantine: George Gilbert Scott’s Diary of an Architectural Tour in France in 1862.” Architectural History 46 (2003): 198; Froissart, Jean-Luc. Alexandre, Albert et Angéline Lenoir. Une dynastie en A majeur (1761-1891). Paris: J.-L. Froissart, 2012.
Medievalist and archaeologist, architect and partial founder of the Musée Cluny. Lenoir was the son of the archaeologist and museum assembler Alexandre Lenoir, founder of the Musée des Antiquités et Monuments Français
Lenoir, Alexandre
Full Name: Lenoir, Alexandre
Other Names:
- Albert Lenoir
Gender: male
Date Born: 26 December 1762
Date Died: 11 June 1839
Place Born: Paris, Île-de-France, France
Place Died: Paris, Île-de-France, France
Home Country/ies: France
Subject Area(s): French (culture or style)
Overview
Founder of the first popular (and first chronologically organized) art museum, a museum which saved many artifacts from the French Revolution’s destruction. Lenoir studied painting under Gabriel-François Doyen (1726-1806) but himself was an undistinguished artist. He married the Adélaïde Binart (1769-1832), a painter who studied under Jean-Baptiste Regnault. During the French Revolution, monasteries and churches were nationalized and closed in 1789 and their artworks confiscated and vandalized by the public. The 1790 the Commission des Arts selected two venues, the Hôtel de Nesles and the convent of the Petits Augustins in Paris to warehouse the art. As a member of the Commission, Doyen appointed Lenoir the Garde du Dépôt des Petits Augustins to inventory of paintings and statues stored there. In 1791 another commission, the Comité d’Aliénation determined that all art should be either sold or melted down. Lenoir, aided by Doyen and the sculptor François Daujon (b. 1759) restored many damaged monuments. Others, such as Michelangelo’s slaves statues, were rescued from annihilation. As the Revolution intensified, the new Republic abolished the practice of Christianity altogether in 1793. During the same time, the Grande Galerie of Palais du Louvre opened to the public on August 10, 1793 (23 Thermidor, Year I), as the Muséum Central des Arts, by decree of the National Convention. Lenoir became the museum’s bitterest critic because the holdings–predominantly modern paintings–did not reflect France’s history through original objects. Now intent on creating another museum for the art, Lenoir collected the sculpture from of the royal tombs of Saint-Denis Abbey, which the masses had desecrated. Using the authority of the Commission Temporaire des Arts, he seized other art, some in danger of vandalism and some not. Lenoir was appointed chief (“conservateur”) of the Dépôt by the Commission des Arts in 1795. The following year the Dépôt was renamed the Musée des Antiquités et Monuments Français and opened as the first public art museum organized historically. Lenoir petitioned the Comité d’Instruction Publique asking that the tomb of Francis I and all medieval statues be installed in his new museum to assist in French history. He amassed objects from all 83 départements of France. In 1799 Lenoir converted the museum grounds into what amounted to a national cemetery and garden with historic sculpture marking remains of great writers including Molière, La Fontaine, Boileau, Mabillon and others. The public flocked to the tomb of Abélard and Heloïse, created from remnants of their individual tombs and artists to this Elysée Jardin to draw inspiration. In 1800, Lenoir began publishing essays on the art in his museum, his Musée des monuments français and his Description historique. By 1803 the competing Palais du Louvre was renamed the Musée Napoléon and filled with looted artworks from the countries conquered by Napoléon, under the direction of Jean-Dominique Vivant Denon. After the fall of Napoleon and the restoration of the monarchy in 1815, Antoine Quatremère de Quincy, now the Intendant Général des Arts et Monuments Publics, attacked Lenoir and his activities in Quatremère’s Considérations morales. Objects from the Musée Napoléon were repatriated and the following year Louis XVIII ordered the return of contents of the Musée des Antiquités et Monuments Français to the churches and other buildings from which they had been taken. Only then did Lenoir cease publication of his Description historique. Later the same year the remnants of Lenoir’s museum became the Ecole Royale et Spéciale des Beaux-Arts. His son, Alexandre-Albert Lenoir, was a medievalist architectural historian who established of the Musée de Cluny in 1844. Lenoir remains a controversial figure. “Reckless und unscholarly, boastful and infinitely energetic” (Haskell), his devotion to saving France’s past from destruction nevertheless makes him a leader of historic preservation and conservation. His art histories written to accompany his exhibitions (Histoire des arts en France) are among the first histories of costume and stained glass (Bazin). He is the key figure for the notion that objects are best contemplated in a museum atmosphere separate from their context. Then as now, the idea had its detractors. As mentioned, Quatremère de Quincy demanded that objects in Lenoir’s museum be returned to their original locations; François-René Chateaubriand (1768-1848) decried that Lenoir’s museum rendered the objects of interest only to art historians. However, the young Jules Michelet, later France’s great romantic historian, found Lenoir’s museum “the eternal continuity of the nation,” a walking experience of French history, Merovingians through to the Enlightenment and his present day, via sculpture, furniture, and tapestries (Schama). Lenoir’s installation drew heavily on the historical concept of “decline and fall” outlined in the 1764 Geschichte der Kunst des Alterthums of Johann Joachim Winckelmann. He was the among the first to arranged objects chronologically, a product of his interest in art qua history. Many of the reconstructions were fanciful. Although his own tastes were neo-classical, his saving of the medieval monuments of France helped establish interest in this area, most notably with the collector Alexandre du Sommerard (1779-1842) and Sommerard’s 1832 exhibition in the Hôtel des Abbés de Cluny, which eventually became the Musée National du Moyen-Age.
Selected Bibliography
Histoire des arts en France, prouve´e par les monumens. Suivie d’une description chronologique des statues en marbre et en bronze, bas-reliefs et tombeaux des hommes et des femmes ce´lèbres, re´nuis au Muse´e impe´rial des monumens franc.*?;807;ais. Paris: Hacquart, 1810; Recueil de portraits inedits des hommes et des femmes qui ont illustre´ la France sous diffe´rens règnes, dont les originaux sont conserve´s dans ledit muse´e. Paris: [self-published], 1809; Description historique et chronologique des monumens de sculpture, re´unis au Muse´e des monumens francçais. 4 vols. Paris: Musée des monuments français, an V de la Re´publique [1795-1806]; Muse´e des monumens francçais: histoire de la peinture sur verre, et description des vitraux anciens et modernes, pour servir à l’histoire de l’art, relativement à la France; orne´e de gravures, et notamment de celles de la fable de Cupidon et Psyche´, d’après les dessins de Raphael. Paris: L’Imprimerie de Guilleminet, 1803; Muse´e impe´rial des monumens francçais : histoire des arts en France, et description chronologique des statues en marbre et en bronze, bas-reliefs et tombeaux des hommes et des femmes ce´lèbres, qui sont re´unis dans ce muse´e. Paris: Hacquart, 1810.
Sources
Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 92-3; Haskell, Francis. History and its Images: Art and the Interpretation of the Past. New Haven: Yale University Press, 1993, pp. 236-52; Haskell, Francis. Rediscoveries in Art. Ithaca: Cornell University Press, 1976, pp. 57-58; Mellon, Stanley. “Alexandre Lenoir: The Museum Versus the Revolution.” Proceedings of the Consortium on Revolutionary Europe 8 (1979): 75-88; Greene, C. M. “Alexandre Lenoir and the Musée des Monuments Français during the French Revolution.” French Historical Studies (1981): 200-22; Kennedy, Emmet. A Cultural History of the French Revolution. New Haven: Yale University Press, 1989; “Alexandre(-Marie) Lenoir.” Dictionary of Art 19: 159-160; Schama, Simon. “Revolution and Desecration.” Financial Times February 5, 2011, p, 10; [for an excellent account of the Musée des Monuments Français, see, Michelet, Jules. Histoire de la Révolution Française, book 12, chapter 8.]; Froissart, Jean-Luc. Alexandre, Albert et Angéline Lenoir. Une dynastie en A majeur (1761-1891). Paris: J.-L. Froissart, 2012.
Contributors: Lee Sorensen
Founder of the first popular (and first chronologically organized) art museum, a museum which saved many artifacts from the French Revolution’s destruction. Lenoir studied painting under Gabriel-François Doyen (1726-1806) but himself was an undist
Lemonnier, Henry
Full Name: Lemonnier, Henry
Other Names:
- Henry Lemonnier
Gender: male
Date Born: 08 August 1842
Date Died: 17 May 1936
Place Born: Saint-Prix, Île-de-France, France
Place Died: Paris, Île-de-France, France
Home Country/ies: France
Overview
First professor of art history at the Sorbonne, University of Paris (1893). Lemonnier’s father, André Hippolyte Lemonnier (d. 1870), was an art collector and former secretary at the École française de Rome; his mother was Joséphine Antoinette Marie Angélique des Gallois de Latour. Lemonnier’s grandfather, Anicet Charles Gabriel Lemonnier (1743-1824), was a painter, draughtsman, and art collector. The young Lemonnier attended the Lycée Charlemagne and the Institution Verdot in Paris. After having earned the diploma of archivist-paleographer at the École des chartes (1865), he obtained a doctoral degree in Law (1866). He became a lawyer (avocat) at the Court of appeal (Cour d’appel) in Paris in 1869. In the same year he married Cécile Joséphine Lesage. As agrégé d’histoire et géographie (1872), he taught history and geography in several lycées in Paris. He also was appointed professor of general history at the École des Beaux-Arts in 1874. At the École normale supérieure de Sèvres (for girls) he became maître de conférences in 1881, the year of its foundation. In 1882 Lemonnier quit his positions at the Lycées to dedicate himself to his history studies. In 1887 he obtained the degree of docteur ès lettres with a prize-winning dissertation on the freed slaves of the early Roman empire, Étude historique sur la condition privée des affranchis aux trois premiers siècles de l’empire romain. In 1889 he began his career at the Sorbonne as suppléant under Ernest Lavisse (1842-1922), professor of modern history at the faculty of letters of the University of Paris. Lemonnier’s first courses dealt with the history of France and Italy during the Renaissance. In those years, Louis-Charles-Léon Courajod, professor at the École du Louvre, played a pioneering role in the introduction of higher art history education. Inspired by Courajod, Lemonnier began, in 1891, to include art history in his history courses at the Sorbonne. He focused on the various ways in which the seventeenth-century French institutions under Richelieu and Mazarin dealt with French art. This led to the publication, in 1893, of his prize-winning study, L’Art français au temps de Richelieu et de Mazarin. In this year Lemonnier was invited to create art history courses, and in 1899 he was appointed professor of art history, the first appointee for this field at the Sorbonne. Lemonnier built up an art library, a collection of engravings and photographs, and he created a small museum of plaster casts. With André Michel he edited, between 1899 and 1903, the art history courses previously taught by Courajod, between 1887 and 1896, at the École du Louvre, Leçons professées à l’École du Louvre (1887-1896). Lemonnier was a contributor to the fifth volume of Histoire de France depuis les origines jusqu’à la Révolution, edited by Lavisse between 1900 and 1911. His critical biography of the French painter Antoine-Jean Gros appeared in 1905, Gros: biographie critique. In 1911 a study on French art under Louis XIV followed, L’Art français au temps de Louis XIV (1661-1690). It is a revised version of his lectures which Lemonnier dedicated to Lavisse. In his capacity as member of the Société de l’Histoire de l’Art français Lemonnier edited the proceedings of the French Académie d’architecture in a ten-volume work, Procès-verbaux de l’Académie d’architecture (1671-1793). The first volume (1911) contains an essay on the history of the academy 1671-1793. Lemonnier was elected a member of the Académie des Beaux-Arts in 1913, soon after his retirement. His friends and students honored him with a volume of 33 articles, Mélanges offerts à M. Henry Lemonnier. He held his position at the École normale supérieure de Sèvres until 1919. In that year he succeeded Georges E. Lafenestre as curator of the Musée Condé à Chantilly (until 1933). He published several studies on the Chantilly castle and its collections. In 1921-1922 his essays on French art and architecture during the first and second half of the seventeenth century appeared in the pioneering Histoire de l’art depuis les premiers temps chrétiens jusqu’à nos jours, edited by Michel. Lemonnier was elected twice president of the Société de l’École des Chartes, and he was a member and former president of the Société d’histoire moderne. Lemonnier saw it as his task to uncover and trace the development of artistic ideas in a specific period. While he was particularly interested in understanding doctrines and ideologies imposed on art, he was aware of the possible tension between general theories and the creativity of the individual artist. (1911) [After the reorganization of the Sorbonne, inaugurated in 1889 by Ernest Lavisse, Lavisse asked Lemonnier, his friend and former classmate, to develop a course in art history in 1891. Lemonnier’s lectures where the first of that discipline at the Sorbonne. His students included Paul Vitry who called him a “spiritual father.” ]
Selected Bibliography
[dissertation:] Étude historique sur la condition privée des affranchis aux trois premiers siècles de l’empire romain. University of Paris, published, Paris: Hachette, 1887; L’Art français au temps de Richelieu et de Mazarin. Paris: Hachette, 1893 ; and Michel, André. (eds) Louis Courajod. Leçons professées à l’École du Louvre (1887-1896). 1. Origines de l’art roman et gothique (leçons éditées avec le concours du R.P. de la Croix, S.J.). 2. Origines de la renaissance. 3. Origines de l’art moderne. Paris: A. Picard et fils, 1899-1903 ; Gros : biographie critique. Paris: H. Laurens, 1905 ; L’Art français au temps de Louis XIV 1661-1690). Paris: Hachette, 1911 ; L’art moderne (1500-1800), essais et esquisses. Paris: Hachette, 1912; Procès-verbaux de l’Académie d’architecture (1671-1793). Paris: Jean Schemit, 1911- 1929.
Sources
Lavisse, Ernest. “Préface” in Mélanges offerts à M. Henry Lemonnier par La Société de l’Histoire de l’Art français, ses amis et ses élèves. Paris: F. De Nobele, 1913; Marcel, Pierre. “La collection de dessins de Gabriel Lemonnier au Musée de Rouen” in Mélanges offerts à M. Henry Lemonnier par La Société de l’Histoire de l’Art français, ses amis et ses élèves, Paris: E. Champion, 1913, pp. 467-495; Charle, Christophe. Dictionnaire biographique des universitaires aux XIXe et XXe siècles. 1. La faculté des lettres de Paris (1809-1908). Paris: Institut National de Recherche Pédagogique, 1985, pp. 121-122; Bazin, Germain. Histoire de l’histoire de l’art de Vasari à nos jours. Paris: Albin Michel, 1986 pp. 468, 477; Therrien, Lyne. “Lemonnier, Henry” Dictionnaire critique des historiens de l’art (Institut National d’Histoire de l’Art (I.N.H.A); [obituary:] Lemoisne, P. -A. “Henry Lemonnier” Bibliothèque de l’École des Chartes 79 (1936): 450-453.
First professor of art history at the Sorbonne, University of Paris (1893). Lemonnier’s father, André Hippolyte Lemonnier (d. 1870), was an art collector and former secretary at the École française de Rome; his mother was Joséphine Antoinette Mari
Lemoisne, Paul-André
Full Name: Lemoisne, Paul-André
Gender: male
Date Born: 1875
Date Died: 1964
Home Country/ies: France
Subject Area(s): catalogues raisonnés, French (culture or style), nineteenth century (dates CE), and sculpture (visual works)
Overview
Degas scholar, wrote catalogue raisonné shortly after World War II. He contributed the essay “Le portrait-miniature en France, de la régence au règne de Louis-Philippe,” in the 1912 L’ Exposition de la miniature à Bruxelles.
Selected Bibliography
Degas et son œuvre. 4 vols. Paris: P. Brame et C.M. de Hauke, aux Arts et métiers graphiques, 1947-48; Gavarni, peintre et lithographe. 2 vols. Paris, H. Floury, 1924-28; “Le portrait-miniature en France, de la régence au règne de Louis-Philippe.” L’ Exposition de la miniature à Bruxelles en 1912; recueil des oeuvres les plus remarquables des miniaturistes de toutes les écoles, du xvie au xixe siècle; ouvrage pub. sous la direction du Comité de l’Exposition. Paris: G. van Oest & cie, 1913; La peinture francaise à l’e´poque gothique: quatorzieme & quinzième siècle. Paris: E´d. du Pe´gase, 1931, English, Gothic Painting in France, Fourteenth and Fifteenth Centuries. Paris: Pegasus Press, 1931.
Degas scholar, wrote catalogue raisonné shortly after World War II. He contributed the essay “Le portrait-miniature en France, de la régence au règne de Louis-Philippe,” in the 1912 L’ Exposition de la miniature à Bruxelles.
Lemaire, Raymond Marie, Baron
Full Name: Lemaire, Raymond Marie, Baron
Gender: male
Date Born: 1921
Date Died: 1997
Place Born: Uccle, Brussels-Capital Region, Belgium
Place Died: Sint-Lambrechts-Woluwe, Brussels, Belgium
Home Country/ies: Belgium
Subject Area(s): architecture (object genre), conservation (discipline), conservation (process), and sculpture (visual works)
Overview
Architectural historian; leading expert in conservation; advisor to the European Union, the Council of Europe, and UNESCO; professor of the history of architecture at the Catholic University of Louvain. Lemaire’s father, Herman Lemaire (1883-1947) was an architect. In 1942 Lemaire graduated in history, art history, and archaeology at the Catholic University of Louvain where his uncle, Professor Raymond A. G. Lemaire (1878-1954), taught in the field of architecture and conservation. In the footsteps of the latter, Lemaire specialized in medieval architecture and, from 1947, he began his academic career at his Alma Mater teaching religious architecture, restoration, and later also the history of architecture. In 1949 he earned his doctoral degree at Louvain University with a dissertation on the origins of gothic architecture in Brabant, La formation du style gothique brabançon. Like his uncle he combined his work as university professor with activities in the field of the conservation and restoration of monuments. He was co-author of the 1964 Venice Charter, a statement of principles for the work of architectural conservators and restorers all over the world. In the same period Louvain University commissioned Lemaire to restore the former Romanesque St. Lambertus Church (in Heverlee), which he successfully converted into a modern chapel. In 1965 he was the co-founder of the International Council for Monuments and Sites (ICOMOS). He served as its first Secretary General and, from 1975 to 1981, as its President. From 1967 onward, he was the special adviser to the UNESCO’s Director General and Representative for the cultural heritage of the Old City of Jerusalem. He headed this complicated mission from 1971 until almost the end of his life. He was a member of many other committees and conservation missions all over the world, including those dealing with the Borobudur Temple, the Athens Acropolis, the Tower of Pisa, and many other sites. In his native country he was the director of the restoration of historic quarters, such as the Groot Begijnhof (Grand Béguinage) of Louvain (1964-1971), and of the restoration of several medieval churches. He also headed the inventory project of the historic monuments of Belgium. His important work in the field of urban planning included the lay out of the city of Louvain-la-Neuve, where the new campus of the Université Catholique de Louvain (UCL) was established in the 1970s, after its separation from the Katholieke Universiteit Leuven (KUL). From 1970 to 1986 Lemaire held a professorship at the UCL. In 1976, within the framework of the Bruges College of Europe, he established an international conservation center, which, since 1981, became part of the post-initial master’s program of the Faculty of Engineering of the KUL, named the Raymond Lemaire International Centre for Conservation (RLICC). In Rome, he was professor at the International Center for the Conservation and Restoration of Monuments (ICCROM). The archives of Lemaire’s office, including numerous architectural drawings, are kept in the Central Library of the KUL, while his slides are kept in the RLICC. Lemaire was an internationally acclaimed specialist in the field of the preservation and restoration of monuments. As an art historian he thoroughly understood how to combine his scholarship and his architectural insights with the modern ethics and the practice of restoration. His students admired him, among other things, for his remarkable skill to instantaneously draw plans and elevations during his inspiring lectures.
Selected Bibliography
La formation du style gothique brabançon. 1. Les églises de l’ancien quartier de Louvain. Antwerp: De Nederlandsche Boekhandel, 1949; De romaanse bouwkunst in de Nederlanden. Brussels: Paleis der Academiën,1952; L’architecture gothique in Fierens, P., ed. L’art en Belgique du moyen âge à nos jours. Brussels: La Renaissance du Livre, 1957, pp. 67-100; Bouwkunst in Gids voor de kunst in België. Utrecht/Antwerpen: Het Spectrum, 1964, pp. 11-74; and Van Thielen, R., Génicot, L.-F, and Matthys, A. L’infirmerie du Grand Béguinage de Louvain Bulletin Koninklijke Commissie voor Monumenten en Landschappen 16 (1965-1966); La rénovation des villes historiques. Un cas concret : le grand béguinage à Louvain Handelingen van de Koninklijke Kring voor Oudheidkunde, Letteren en Kunst van Mechelen 74 (1970): 22-34; and others. Inventaris van het cultuurbezit in Vlaanderen. Architectuur. 1. Provincie Brabant, Arrondissement Leuven., 2. Provincie Brabant, Arrondissement Nijvel. Liège: Soledi, 1971, 1974; and others. Le patrimoine monumental de la Belgique [Wallonie]. 23 vols. Liège: Soledi, 1971- ; and Sorlin, François and Gazzola, Piero. Rescue Operation, the Face of Europe. Strasbourg: Council of Europe, 1973; and Van Balen, K. Stable – Unstable? Structural Consolidation of Ancient Buildings. Louvain: Leuven University Press, 1988; and Tessier, Luc and others. Oltre il restauro: architetture tra conservazione e riuso: progetti e realizzazioni di Andrea Bruno (1960-1995) = Restoration and beyond: architecture from conservation to conversion: projects and works by Andrea Bruno (1960-1995). Milan: Lybra immagine, 1996; and Barthélemy, J. and Geerts, M.-J. ICOMOS: un regard en arrière, un coup d’oeil en avant. (Dossier de la Commission Royale des Monuments, Sites et Fouilles, nr. 5). Liège: Ministère de la Région wallonne, 1999.
Sources
The World of Conservation: an Interview with Raymond Lemaire Monumenten en Landschappen (1983): 83-100; Woitrin, M. Louvain-la-Neuve et Louvain-en-Woluwe: le grand dessein. Gembloux: J. Duculot, 1987; Hulde aan professor Raymond Lemaire: Speciale editie van ICOMOS België. Brussels: ICOMOS, Belgisch Comité, 1997; Delzenne, Yves-William and Houyoux, Jean. Le Nouveau Dictionnaire des Belges de 1830 à nos jours. Brussels: Le Cri, 1998, p. 61; Van Aerschot, Suzanne and Heyrman, Michiel. Flemish Béguinages, World Heritage. Louvain: Davidsfonds, 2001; De Houwer, Veerle. Krabbel voor het glas in lood: ordenen en beschrijven van architectuur- en atelierarchieven. Bibliotheek- & Archiefgids 78 (2002)2: 3-12; Van Loo, Anne., ed. Repertorium van de architectuur in België van 1830 tot heden. Antwerp: Mercatorfonds, 2003, p. 393-394; [obituaries:] Van Aerschot, Suzanne. Monumenten en Landschappen (1997); Solar, Giora. Raymond Lemaire Remembered Getty Conservation Institute Newsletter 12.3, Fall 1997, http://www.getty.edu/conservation/publications/newsletters/12_3/gcinews10.
Architectural historian; leading expert in conservation; advisor to the European Union, the Council of Europe, and UNESCO; professor of the history of architecture at the Catholic University of Louvain. Lemaire’s father, Herman Lemaire (1883-1947)
Leisching, Julius
Full Name: Leisching, Julius
Gender: male
Date Born: 1865
Date Died: 1933
Place Born: Vienna, Vienna state, Austria
Place Died: Vienna, Vienna state, Austria
Home Country/ies: Austria
Subject Area(s): education
Overview
Museum director and museum reformer. Leisching’s father was a merchant. The younger Leisching studied building principles and ornament after his resettling in Vienna in 1886. He studied there and abroad. In 1892 his Der Façadenschmuck (exterior decoration) appeared. He joined the Wiener Volksbildungsverein (Vienna public education association) as well as crafts guilds in Brünn/Brno. In 1894 he was appointed director of the Mährischen Gewerbemuseums. He founded the “Verband österreichischer Kunstgewerbe-Museen” in 1900 and was a major figured in the “Verband österreichischer Museen” after 1912. After the breakup of the Austro-Hungarian empire at the end of World War I, Leisching left Czechoslovakia for Salzburg, Austria. He became director of the Städtischen Museums Carolino Augusteum in 1921. There he engaged in reforming museum practice. His brother, Eduard Leisching, (1858-1938) was also an art historian. Leisching’s early survey of art history, Die Wege der Kunst, was the model for The Story of Art by E. H. Gombrich.
Selected Bibliography
Das Bildnis im achtzehnten und neunzehnten Jahrhundert. Vienna: Schroll, 1906; Der Fassadenschmuck: eine Studie. Vienna: A. Hartleben, 1893; Die Wege der Kunst. Vienna: F. Tempsky, 1911; Arnold Böcklin: Gedenkrede zu der Böcklinfeier im Mähr. Brünn: Gewerbemuseums [of Mähr]/W. Burkart, 1901.
Sources
Gombrich, Ernst. “Old Masters and Other Household Gods.” The Essential Gombrich. London: Phaidon, 1996, p. 38; “Leisching, Julius.” Museum Aktuell (website) http://www.museum-aktuell.de/index.php?site=wissenschaftler_2&step=2&Rubrik=Musikdirektor; Neue deutsche Biographie; Unser Museum braucht Freunde: 75 Jahre Salzburger Museumsverein. Salzburg: Salzburger Museumsverein, 1997; Husty, Peter. “Julius Leisching . . . [ellipses sic] ‘ein durchaus moderner Museumsgestalter.'” Das Wesen österreichs ist nicht Zentrum, sondern Peripherie: Gedenkschrift für Hugo Rokyta (1912-1999). Furth im Wald: Vitalis: 2002, pp. 131-142.
Museum director and museum reformer. Leisching’s father was a merchant. The younger Leisching studied building principles and ornament after his resettling in Vienna in 1886. He studied there and abroad. In 1892 his Der Façadenschmuck (ex
Lehrs, Max
Full Name: Lehrs, Max
Gender: male
Date Born: 1855
Date Died: 1938
Place Born: Berlin, Germany
Place Died: Dresden, Saxony, Germany
Home Country/ies: Germany
Subject Area(s): engravings (prints) and prints (visual works)
Overview
Scholar of prints and engravings. Arthur Mayger Hind studied under him in Dresden before joining the prints department at the British Museum. In 1893 Lehrs and Elfried Bock collaborated with the curator of the Kupferstichkabinett of the Berlin State Museums, Friedrich Lippmann, to write an introduction to the history of engraving, Der Kupferstich. It went through many editions and was updated by Lehrs and translated into English by the keeper of the Victorian and Albert Museum, Martin Hardie in 1906.The professor of Art History at Utrecht University, J. G. van Gelder, described Lehrs’ work as one of the praiseworthy graphic studies of Netherlandish of the nineteenth and early twentieth centuries.
Selected Bibliography
Geschichte und kritischer Katalog des deutschen, niederländischen, und französichen Kupferstichs, 1908-34, English: Mayor, A. Hyatt, edited. Late Gothic Engravings of Germany & the Netherlands. 682 copperplates from the “Kritischer Katalog.” With a new essay “Early engraving in Germany and the Netherlands” New York: Dover Publications, 1969; and Bock, Elfried, and Lippmann, Friedrich. Der Kupferstich. Berlin: W. Spemann, 1893.
Sources
Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 237-9; van Gelder, Jan G. [Forward.] Hollstein, F. W. H. Dutch and Flemish Etchings, Engravings and Woodcuts, ca 1450-1700. vol. 1. Amsterdam: Menno Hertzberger, 1949, p. [i].
Scholar of prints and engravings. Arthur Mayger Hind studied under him in Dresden before joining the prints department at the British Museum. In 1893 Lehrs and Elfried Bock collaborated with the curator of
Lehmann, Phyllis W.
Full Name: Lehmann, Phyllis W.
Other Names:
- Phyllis Williams Lehmann
Gender: female
Date Born: 1912
Place Born: Brooklyn, Cattaraugus, NY, USA
Home Country/ies: United States
Subject Area(s): Classical
Career(s): educators
Overview
Classical scholar, professor of art and dean, Smith College. Lehmann received her BA from Wellesley College in 1934 and her Ph.D. from New York University in 1944. She worked at the Brooklyn Museum as assistant in charge of the classical collection between 1934-36, moving to instructor in the history of art at Bennett Junior College, 1936-39. Between 1948-60 she directed excavations by the Archaeological Research Fund of New York University. In 1955 she moved to Smith College where she taught 1955-78, appointed dean, 1965-70. Her lectureships have included Bryn Mawr College and Oberlin College. Her husband was the art historian Karl Leo Heinrich Lehmann.
Selected Bibliography
Drawings After the Antique by Amico Aspertini. London: Warburg Institute, University of London, 1957; and Karl Lehmann, ed. Samothrace: Excavations Conducted by the Institute of Fine Arts of New York University. New York: Pantheon Books, 1959; The Pedimental Sculptures of the Hieron in Samothrace. Locust Valley, NY: Institute of Fine Arts, New York University 1962; and Karl Lehmann. Samothracian Reflections: Aspects of the Revival of the Antique. Princeton, NJ: Princeton University Press,1973; Statues on Coins of Southern Italy and Sicily in the Classical Period. New York: H. Bittner, 1946.
Sources
KRG, 77 mentioned; [transcript] Phyllis W. Lehmann. Interviews with Art Historians, 1991-2002. Getty Research Institute, Malibu, CA, 1994.
Classical scholar, professor of art and dean, Smith College. Lehmann received her BA from Wellesley College in 1934 and her Ph.D. from New York University in 1944. She worked at the Brooklyn Museum as assistant in charge of the classical collectio
Lehmann, Karl Leo Heinrich
Full Name: Lehmann, Karl Leo Heinrich
Other Names:
- Karl Lehmann
Gender: male
Date Born: 1894
Date Died: 1960
Place Born: Rostock, Mecklenburg-Vorpommern, Germany
Place Died: Basel, Basle-Town, Switzerland
Home Country/ies: Germany
Subject Area(s): Ancient Greek (culture or style), architecture (object genre), Classical, Greek sculpture styles, and sculpture (visual works)
Career(s): educators
Overview
Architectural and sculpture historian of classical Greece and Rome; specialist bronze statuary; NYU professor, 1935-1960. Lehmann was raised Lutheran from cultured parents were of Jewish ancestry. His father was a Professor of Law. Lehmann studied under Ferdinand Noack at Tübingen, under Heinrich Wölfflin in Munich, as well as Göttingen in the years directly before World War I. During the war he served in the Red Cross for Germany and as an interpreter for the Turkish navy, the latter giving him access to much of Asia Minor. He received his Ph.D. in classical Archaeology from the University of Berlin in 1922 under Ulrich von Wilamowitz-Moellendorff (1848-1931). He was an Assistant Director of the Institute of German Archaeology in Rome before teaching as a Privatdozent in Berlin. In 1925 he moved to Heidelberg, teaching there until an appointment as professor of archaeology and director of the archaeological museum, 1929-1933, in Münster, Germany. In 1933 he was discharged from service by the Nazis early in 1933 because of his Jewish heritage and liberal politics. He spent two years as an independent scholar in Italy before immigrating to the United States where he joined New York University as a Professor at the Institute for Fine Arts in 1935. Recruited by the famous director, Walter W. S. Cook. Lehmann also founded the Archaeological Research Fund at NYU. He continued his archaeological work in the Mediterranean, including the excavations of the Sanctuary of the Great Gods on the island of Samothrace begun in 1938 and continued after World War II. He became a United States citizen in 1944. Throughout his American career, he lectured and sat on dissertation committees. He was engaged in editing the Samothrace publications for the Bollingen Foundation in Switzerland at the time of his death. His students included Phyllis Pray Bober. Bober wrote, “He was not merely a spellbinding lecturer, but a challenging interlocutor who brought broadly ranging knowledge of ancient thought and deed to bear on fresh questions to replace canonical views that confined artistic contributions by Rome to architectural structure, historical relief and portraiture.”…”Lehmann’s life-long research into the art of the common people, the vernacular as it were, of classical expression, led him to discover the beginnings of Late Antique style in public monuments of the Roman State much earlier than others had detected its elements, combatting ideas of influence from the East that were current at the time.” James S. Ackerman described Lehmann as “a revered teacher…a towering intellect…When I graduated from Yale, I felt there was no [other] choice but NYU for graduate work.”
Selected Bibliography
Die antiken Hafenanlagen des Mittelmeeres: Beiträge zur Geschichte des Städtebaues im Altertum. Leipzig: Dieterich, 1923; Die Trajanssäule; ein römisches Kunstwerk zu Beginn der Spätantike. 2 vols. Berlin: W. de Gruyter & Co., 1926; and Kluge, Kurt. Die antike Großbronzen. 3 vols. Berlin: W. de Gruyter & Co., 1927; Der Soziale Gedanke in der deutschen Dichtung. Leipzig: Teubner, 1928; Plinio il giovane, lettere scelte con commento archeologico. 1936; and Noack, Ferdinand. Baugeschichtliche untersuchungen am stadtrand von Pompeiji. Berlin: W. de Gruyter & Co., 1936; Dionysiac Sarcophagi in Baltimore. New York: New York University Press and Baltimore: Trustees of the Walters Art Gallery, 1942; “The Dome of Heaven.” Art Bulletin 27 (1945): 1-27; Thomas Jefferson, American Humanist. New York: Macmillan, 1947; Samothrace: a Guide to the Excavations and the Museum. New York: Institute of Fine Arts, New York University Press, 1955; edited, with Lehmann, Phyllis Williams. Samothrace: Excavations Conducted by the Institute of Fine Arts of New York University. 11 vols (in many parts). New York: Institute of Fine Arts, New York University, 1958 ff.
Sources
Bober, Phillis Pray. “Foreward.” Essays in Memory of Karl Lehmann. Marsayas Supplement 1. New York: Institute of Fine Arts, 1964, pp. v-vi; Kleinbauer, W. Eugene. Modern Perspectives in Western Art History: An Anthology of 20th-Century Writings on the Visual Arts. New York: Holt, Rinehart and Winston, 1971, pp. 66, 67, 81 mentioned; Kleinbauer, W. Eugene. Research Guide to the History of Western Art. Sources of Information in the Humanities, no. 2. Chicago: American Library Association, 1982, p. 71 mentioned; Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 262-263; Lehmann, Phyllis Williams. “Karl Lehmann.” Encyclopedia of the History of Classical Archaeology. Westport, CT: Greenwood Press, 1996, vol. 2, pp. 669-70; Bober, Phyllis Pray. A Life of Learning. Charles Homer Haskins Lecture. New York: American Council of Learned Societies, 1995, p.8; Medwid, Linda M. The Makers of Classical Archaeology: A Reference Work. New York: Humanity Books, 2000 pp. 181-183; James S. Ackermann, personal correspondence, February 2011.
Architectural and sculpture historian of classical Greece and Rome; specialist bronze statuary; NYU professor, 1935-1960. Lehmann was raised Lutheran from cultured parents were of Jewish ancestry. His father was a Professor of Law. Lehmann studied