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Langlotz, Ernst

Full Name: Langlotz, Ernst

Gender: male

Date Born: 1895

Date Died: 1978

Place Born: Ronneburg, Thuringia, Germany

Place Died: Bonn, North Rhine-Westphalia, Germany

Home Country/ies: Germany

Subject Area(s): Ancient Greek (culture or style), Antique, the, and Classical


Overview

Specialist in ancient Greek and Roman art, particularly Greek sculpture from the 6th and 5th centuries B.C. and the early Christian era. Langlotz’s father was a weaver. Langlotz himself studied classical archaeology, philology and art history in Leipzig. Although schooled in the positivistic tradition of Franz Studniczka, for whom he wrote his promotionsschrift at Leipzig in 1921, Langlotz was strongly influenced by the Lebensphilosophie of the poet Stefan George (1868-1933) and by Friedrich Nietzsche’s theories of art history and classical studies. He also attended courses in art history under Heinrich Wölfflin in Munich. In Greece, he met and was further influenced by the classical pottery scholar Ernst Buschor. He taught as a privatdozent in Wurzburg and acted as conservator of the Martin von Wagner Museum. In 1932 he published a catalog of the collection, Griechische Vasen in Würzburg, the first in what would be a long interest in vase painting. He was professor at the University of Jena from 1931 to 1933 and then at Frankfurt a. Main, 1933-1941. In 1939 he published Die Archaischen Marmorbildwerke der Akropolis with Hans Schrader. In 1941 he joined the University of Bonn where he remained the rest of his career. During the time as professor in Bonn time he also acted as director of the Akademisches Kunstmuseum in Bonn. In 1952 Langlotz saw and visually authenticated in a letter a kouros (archaic Greek statue) in a Swiss collection. This documentation formed the beginning of the controversial validity of the work, since 1983 in the Getty Museum, California. He retired from Bonn in 1963. Near the end of his life he published a volume on the art of northern Greece in 1975.Although close to the Strukturforschung (structural research) school, he rejected the school’s excessive abstractions and formalism: for Langlotz, the developments in representing the human form concretized the development of artistic style, and the wider Zeitgeist (spirit of the age) of a given culture. He wrote that Zeitgeist or the spirit of the age was the motivating force in stylistic change. (Archäologenbildnisse, 268). Langlotz’s method employed stylistic analysis borrowed from Wölfflin and a positivism akin to that of Studniczka. His acknowledgment of Roman copies as important for the study of lost Greek originals and his work on the sculpture of the archaic period and southern Italy (magna Grecia) remain important.


Selected Bibliography

Griechische Vasenbilder. Heidelberg: E. von König, 1922; Frühgriechische Bildhauerschulen. Nurnberg: E. Frommann & Sohn, 1927; and Schrader, Hans. Die archaischen Marmorbildwerke der Akropolis. Frankfurt am Main: V. Klostermann, 1939; Die Darstellung des Menschen in der griechischen Kunst. Bonn: Scheur, 1941; über das interpretieren griechischer plastik. Bonn: Gebr. Scheur [Bonner universitäts-buchdruckerei], 1942; Archaische Plastik auf der Akropolis. Frankfurt am Main: V. Klostermann,1943; Das Ludovisische Relief. Mainz: F. Kupferberg, 1951; Alkamenes-Probleme. Berlin: W. de Gruyter, 1952; Die kulturelle und künstlerische Hellenisierung der Küsten des Mittelmeers durch die Stadt Phokaia. Cologne: Opladen, Westdeutscher Verlag, 1966; Der architekturgeschichtliche Ursprung der christlichen Basilika. Opladen: Westdeutscher Verlag, 1972.


Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 268-269; An Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, pp. 658-7; Kimmelman, Michael. “Absolutely Real? Absolutely Fake?” New York Times, August 4, 1991, Section 2, p. 1.




Citation

"Langlotz, Ernst." Dictionary of Art Historians (website). https://arthistorians.info/langlotze/.


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Specialist in ancient Greek and Roman art, particularly Greek sculpture from the 6th and 5th centuries B.C. and the early Christian era. Langlotz’s father was a weaver. Langlotz himself studied classical archaeology, philology and art history in L

Lange, Konrad von

Full Name: Lange, Konrad von

Other Names:

  • Konrad von Lange

Gender: male

Date Born: 1855

Date Died: 1921

Home Country/ies: Germany


Overview

Professor of art history at Tübingen. Early theorist in psychology and art. His students included Julius Baum and his influence is evident in the work of Dagobert Frey.


Selected Bibliography

Die bewusste selbsttäuschung als kern des künstlerischen genusses. Antrittsvorlesung gehalten in der aula der Universität Tübingen am 15. november 1894, Leipzig: Veit & comp., 1895; Das wesen der kunst; grundzüge einer realistischen kunstlehre. 2 vols. Berlin: G. Grote, 1901.





Citation

"Lange, Konrad von." Dictionary of Art Historians (website). https://arthistorians.info/langek/.


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Professor of art history at Tübingen. Early theorist in psychology and art. His students included Julius Baum and his influence is evident in the work of Dagobert Frey.

Lange, Julius

Full Name: Lange, Julius

Gender: male

Date Born: 1838

Date Died: 1896

Place Born: Vordingborg, Seeland, Denmark

Place Died: Copenhagen, Hovedstaden, Denmark

Home Country/ies: Denmark

Career(s): educators


Overview

professor, University of Copenhagen; “Law of Frontality” theory


Selected Bibliography

Billedkunstens fremstilling af menneskeskikkelson i dens aeldste periode indtil højdepunkete af den graeske kunst. Copenhagen: Lunos Kgl. hof-bogtrykkeri (f. Dreyer), 1892.Billedkunstens fremstilling af menneskeskikkelson i den graeske junsts første storhedstid. Copenhagen: Lunos Kgl. hof-bogtrykkeri (F. Dreyer), 1898.Menneskefiguren i kunstens historie fra den graeske kunsts anden blomstringstid indtil vort aarhundrede. Copenhagen: Bojesen, 1899.the above three works were translated into a 2 volume German set:Darstellung des Menschen in der älteren griechischen Kunst. Translated by Mathilde Mann. Edited and with a Foreword by Adolf Fürtwangler. Strassburg: Heitz, 1899.Die menschliche Gestalt in der Geschichte der Kunst von zweiten Blütezeit der griechischen Kunst bis zum XIX. Jahrhundert. Translated by Mathilde Mann. Edited by P. Kobke. Strassburg: Heitz, 1903.


Sources

DIN, 208




Citation

"Lange, Julius." Dictionary of Art Historians (website). https://arthistorians.info/langej/.


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professor, University of Copenhagen; “Law of Frontality” theory

Langbehn, Julius

Full Name: Langbehn, Julius

Gender: male

Date Born: 1851

Date Died: 1907

Place Born: Hadersleben, Syddanmark, Germany

Place Died: Rosenheim, Rhineland Palatinate, Germany

Home Country/ies: Germany

Subject Area(s): Modern (style or period) and racial discrimination


Overview

Professor and Rembrandt scholar; wrote a popular, racist attack of modern art and art museums. Langbehn studied art history and anthropology at the university in Kiel before receiving his doctorate at the in Munich. Among art historians who adopted Nietzschean values of art, perhaps the worst was Langbehn. Poorly educated and highly opinionated, Langbehn anonymously published a book in 1890 attacking modern art on racial grounds, a book which took the German art history world by storm. Rembrandt als Erzieher (Rembrandt as Educator), deplored the state of contemporary art production, suggesting that, Rembrandt, an example of the southern German “race,” was part of a pure Volk least defiled by racial intermixing. It criticized museums as dead places of art, too bound by history to reflect art. Racial tracts were not uncommon in late-19th century European social and cultural though. Nevertheless, Langbehn’s book attracted praise not only from the conservative right but, for various reasons, from a variety of important art historians of the period. Wilhelm Bode, the assembler of the vast Prussian art collections in Berlin, praised its ideal of the German spirit. The progressive architect and architectural theorist Hermann Muthesius cited it continuously in his reform articles. Even Karl Ernst Osthaus, the future founder of the Folkwang-Museum, credited Langbehn as critical to his own development. Rembrandt als Erzieher when through some 66,000 in thirty-nine editions. Learning Nietzsche was in a mental institution in Jena, Germany, Langbehn traveled to the asylum to talk to him and his mother who was caring for him. Langbehn, who cultivated a mistrust of medical doctors, argued strenuously with both the philosopher and his mother to leave the facility until Nietzsche himself threw Langbehn out. Langbehn had been able to convince family friends that releasing the philosopher to him would lead to his cure (citing among other reason’s the Jewishness of the institution’s doctor). Had Langbehn not insisted on sole control of Nietzsche and his royalties fortune, he might have received permission. His attempt to free the master foiled, Langbehn now purported a hatred of Neitzsche’s philosophy and converted to Roman Catholicism. Given how Langbehn perverted the German philosopher’s writings, this may be truer than what many have seen. His subsequent book of poetry, 40 Lieder von einem Deutschen (Forty Poems of a German) ran into trouble with its erotic content. Langbehn died of stomach cancer in 1907. Rembrandt als Erzieher was praised by the Nazi’s during the Third Reich and reprinted throughout the Second World War in Germany.


Selected Bibliography

Rembrandt als Erzieher, von einem Deutschen. Leipzig: C.L. Hirschfeld, 1890; 40 Lieder von einem Deutschen. Dresden: Verlag der Druckerei Glöss, 1891.


Sources

Stern, Fritz. “Julius Langbehn and Germanic Irrationalism,” in The Politics of Cultural Despair. 2nd ed. Berkeley: University of California Press, 1974, pp. 97-204; Sheehan, James J. Museums in the German Art World: From the End of the Old Regime to the Rise of Modernism. Oxford: Oxford University Press, 2000, pp. 142-43; Kultermann, Udo. The History of Art History. New York: Abaris, 1993, pp. 131-2.




Citation

"Langbehn, Julius." Dictionary of Art Historians (website). https://arthistorians.info/langbehnj/.


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Professor and Rembrandt scholar; wrote a popular, racist attack of modern art and art museums. Langbehn studied art history and anthropology at the university in Kiel before receiving his doctorate at the in Munich. Among art historians who adopte

Lang, Susanne

Full Name: Lang, Susanne K.

Gender: female

Date Born: 16 October 1907

Date Died: 29 November 1995

Place Born: Vienna, Vienna state, Austria

Place Died: Unknown

Home Country/ies: Austria and Israel

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

Institution(s): Kunsthistorisches Institut Vienna


Overview

Architectural historian; worked closely and collaborated on several works with Nikolaus Pevsner. Susanne Lang was born in Vienna. She attended Mädchen-Realgymnasium in Josefstadt, where she received her Abitur in 1926. Upon her graduation, Lang continued her studies at the Kunsthistorisches Institut, specifically in art history and ethnology. In 1931, she completed her degree, and published her dissertation titled Voraussetzungen und Entwicklung des mittelalterlichen Städtebaus in Deutschland (Determinants and development of medieval urban planning in Germany) under the (second) Vienna School scholar Josef Strzygowski.

Because of her Jewish heritage, Lang was persecuted and forced to flee Austria after the Anschluss of 1938. She emigrated to England, where she began a significant professional relationship with fellow German immigrant and art historian Nikolaus Pevsner. The two collaborated on many works, with the most significant being Pevsner’s 46-volume series Buildings of England. Lang was also published many times in the Architectural Review, where Pevsner served as an editor.

During her time in London, Lang also worked extensively with historians at the Warburg Institute, where she published in the early “astonishing variety and scope of architectural studies” including seminal studies by Rudolf Wittkower, James Ackerman and George Kubler (Eck). In 1950, her work The early publications of the temples at Paestum was published within the annual, collaborative Journal of the Warburg and Courtauld Institutes, further demonstrating her ties to the institute.

Lang’s residency in England had a measurable influence on the subjects of her writings, evident in works such as The Principles of the Gothic revival in England (1966) and The genesis of English landscape garden (1973). Overall, the majority of Lang’s scholarly works are featured in larger works by other authors, and she never published her own book. Viewed inferior as a female art historian, a significant portion of her writing in these larger works remains uncredited. After some time in England, Lang ultimately moved to Israel where she would live until her death, while still making frequent trips to England.


Selected Bibliography

  • ”The genesis of English landscape garden.” in, Pevsner, Nikolas, ed. The picturesque garden and its influence outside the British isles. Second Colloquium on the history of landscape architecture, 1973.  Washington, DC:  Dumbarton Oaks, 1974, pp. 1-29;
  • ”The Principles of the Gothic revival in England.”, Journal of the Society of Architectural Historians 25, 1966, pp. 240-267;
  • “The Early Publications of the Temples at Paestum,” Journal of the Warburg and Courtauld Institutes 13.1/2 (1950): 48–64.;
  • Buildings of england (series) [researched various volumes];

Sources

  • Nikolaus Pevsner miscellaneous papers, circa 1957-1979, The Getty Research Institute, Los Angeles, Accession no. 2003.M.34;
  • van Eck, Caroline. “The Warburg Institute and Architectural History.” Common Knowledge 18, no. 1 (2012): 134.;
  • Wendland, Ulrike. Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. Munich: Saur, 1999, vol. 1, pp. 351-355.;


Contributors: Helen Jennings and Lee Sorensen


Citation

Helen Jennings and Lee Sorensen. "Lang, Susanne." Dictionary of Art Historians (website). https://arthistorians.info/langs/.


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Architectural historian; worked closely and collaborated on several works with Nikolaus Pevsner. Susanne Lang was born in Vienna. She attended Mädchen-Realgymnasium in Josefstadt, where she received her Abitur in 1926. Upon

Lane, Edward Arthur

Full Name: Lane, Edward Arthur

Other Names:

  • Arthur Lane

Gender: male

Date Born: 1909

Date Died: 1963

Place Died: London, Greater London, England, UK

Home Country/ies: United Kingdom

Subject Area(s): ceramic ware (visual works), ceramics (object genre), and pottery (visual works)

Career(s): curators


Overview

Keeper of the Department of Ceramics at the Victoria and Albert Museum, 1950-1963. Lane was the son of Reverend E. A. Lane. After attending St. John’s School, Leatherhead, he continued at St. John’s College, Cambridge, on a scholarship, excelling in classical studies. In 1932 he became a scholar at the British School at Athens, then under its young director, Humfry Payne. He followed Payne’s remarkable research on Archaic art, publishing a groundbreaking study of his own on Laconian vase painting in the Annual of the British School. In 1934 Lane was appointed to the Victoria and Albert Museum as assistant keeper in the department of Ceramics under Bernard Rackham. Both as a scholar and curator, he made major changes to the collection. He participated in the 1937 excavations under Leonard Wooley (1880-1960) of Al Mina, Syria, opening up an interest in Islamic art. A 1939 exhibition of tiles established his reputation as a museum person. When Britain entered World War II the same year, Lane worked for R. A. F. intelligence, rising to the rank of Squadron Leader. After the War, Lane began publishing in the Faber series on pottery. These included Early Islamic Pottery, 1947, and the tiny Style in Pottery,1948, a modest but scholarly work on the topic. When Keeper of the Department William B. Honey (1889-1956) retired in 1950, Lane succeeded him at the Museum and as editor of the Faber book series. His next book, Italian Porcelain, was issued in 1954. Lane bitterly opposed the promotion of Trenchard Cox to Director and Secretary of the V&A in 1955. In 1957, he issued Later Islamic Pottery, a more substantial work on Islamic art than his 1948 book. English Porcelain Figures of the Eighteenth Century followed in 1961. He committed suicide at age 53. Lane was a reserved and high-strung personality. Although he had a following of friends, he was, as George Ireland described him, “brilliant but depressive.” As a scholar, he devoted himself to archival work; his Italian porcelain book published research from the Ginori factory near Florence, the first in any language. His work in Islamic ceramics continued the scholarship of Robert Lockhart Hobson (1872-1941).


Selected Bibliography

A Guide to the Collection of Tiles. London: Victoria and Albert Museum. Ceramics Dept., 1939; Early Islamic Pottery: Mesopotamia, Egypt and Persia. London: Faber and Faber, 1947; Later Islamic Pottery: Persia, Syria, Egypt, Turkey. London, Faber and Faber 1957; Greek Pottery. New York : Pitman, 1948; English Porcelain Figures of the Eighteenth Century. New York: T. Yoseloff, 1961.


Sources

Ireland, George. “Sir Trenchard Cox.” The Independent (London), December 23, 1995, p. 14; [obituary:] “Mr. Arthur Lane, Ceramic Studies.” Times (London) March 8, 1963, p. 14.




Citation

"Lane, Edward Arthur." Dictionary of Art Historians (website). https://arthistorians.info/lanea/.


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Keeper of the Department of Ceramics at the Victoria and Albert Museum, 1950-1963. Lane was the son of Reverend E. A. Lane. After attending St. John’s School, Leatherhead, he continued at St. John’s College, Cambridge, on a scholarship, excelling

Lane, Barbara Miller

Full Name: Lane, Barbara Miller

Gender: female

Date Born: 1934

Home Country/ies: United States

Institution(s): Bryn Mawr College


Overview


Selected Bibliography

Architecture and Politics in Germany, 1918-1945. Cambridge, MA: Harvard University Press, 1968.


Sources

KRG, 128 mentioned; KMP, 88 cited



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Lane, Barbara Miller." Dictionary of Art Historians (website). https://arthistorians.info/laneb/.


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Landsberger, Franz

Full Name: Landsberger, Franz

Gender: male

Date Born: 14 June 1883

Date Died: 17 March 1964

Place Born: Katowice, Silesian Voivodeship, Poland

Place Died: Cincinnati, Hamilton, OH, USA

Home Country/ies: Germany and United States

Career(s): curators and educators

Institution(s): Hebrew Union College and Jüdisches Museum Berlin


Overview

University lecturer and associate professor; museum director with a focus on Jewish art. He was born in Kattowitz, Germany, which is present-day Katowice, Poland. Landsberger was born in Kattowitz, Germany [modern Katowice, Poland] in 1883 to Adolf Landsberger, a banker and city councilor, and Ida Sachs (1859–1935). Landsberger attended school in Kattowitz and Breslau [modern Wrocław, Poland], completing his abitur in 1903. He studied art history, archaeology, history of literature, and philosophy in Geneva, Berlin, Munich, and Breslau from 1903 to 1907 under Richard Muther and Heinrich Wölfflin. In 1907, Landsberger earned his doctorate from Breslau under Muther. His dissertation, Wilhelm Tischbein: ein Künstlerleben des 18. Jahrhunderts (Wilhelm Tischbein: An Artist’s Life in the 18th Century), was published in Leipzig in 1908. After receiving his doctorate, he attended lectures by Heinrich Wölfflin, whom he eventually regarded as his actual teacher. Landsberger subsequently traveled through Italy, France, Holland, and Switzerland. He married Alice Rothmann (d. 1945) in 1910. In 1912, Landsberger completed his habilitation at Breslau. From 1912 he worked as a private lecturer, and in 1917 he became the editor of the Schlesische Monatshefte. In 1918, Landsberger became an associate professor at the University of Breslau. At the same time, he worked as a teacher at the local art academy. His notable book Heinrich Wölfflin was published in 1924. Landsberger, being Jewish, was dismissed without pension on October 1, 1933 for being a “non-Aryan” under the Law for the Restoration of the Professional Civil Service. He subsequently moved to Berlin and developed a close friendship with Max Liebermann. In 1934, Landsberger served as a visiting lecturer at the University of London. From 1935 to 1938 he was the director of the Jüdisches Museum Berlin, succeeding Karl Schwarz (1885–1962) and Erna Stein-Blumenthal (1903–1983). Together with Rachel Wischnitzer (1885–1989) and Irmgard Schüler (b. 1907), he expanded the collection and organized special exhibitions on Max Liebermann, Jewish poster artists, Jewish ancestral portraits, and “One Hundred Years of Jewish Art”, among others. Landsberger began to specialize in Jewish art during this period. In 1935, he published the fundamental discussion Einführung in die jüdische Kunst (Introduction to Jewish Art). In 1938, Landsberger was arrested in the Kristallnacht pogrom and deported to the Sachsenhausen concentration camp for five weeks. He was released due to the intervention of Lady Mary Murray (1865–1956), who invited him to Oxford. Landsberger subsequently traveled to Oxford and stayed there in 1939 as the guest of Lady Murray and her husband, the classical scholar Gilbert Murray (1866–1957). Landsberger emigrated to the United States shortly thereafter. From 1939 to 1958, he worked at Hebrew Union College in Cincinnati, initially as a research professor and lecturer in Jewish art history. Landsberger married Dorothy Schwalbe Herz in 1946. Two of his most significant books, A History of Jewish Art and Rembrandt, the Jews and the Bible, were published in the same year. From 1947, Landsberger also served as curator and director of the Hebrew Union College Museum, where he expanded the collection through important acquisitions. With the help of his friend Leo Baeck (1873–1956), he transferred the remains of the Jüdisches Museum Berlin to Cincinnati. Landsberger continued to organize special exhibitions at the museum and publish research on Jewish art history until his death in 1964.

Landsberger was a pioneer in Jewish art history, especially in the context of legitimizing it as a part of Jewish studies. He laid important groundwork for the future of the field, which was described before his arrival as “a desert . . . broken only here and there by oases”. In addition to his significant scholarly contributions, Landsberger was noted for his kindness (Gutmann). Ulrike Wendland observed that Landsberger only appeared to be interested in Jewish art after persecution.


Selected Bibliography

  • [dissertation:] Wilhelm Tischbein: ein Künstlerleben des 18. Jahrhunderts. Leipzig: Klinkhardt und Biermann, 1908;
  • Der St. Galler Folchart-Psalter: eine Initialenstudie. St. Gallen: Fehr, 1912;
  • Impressionismus und Expressionismus. Leipzig: Klinkhardt und Biermann, 1919;
  • Die künstlerischen Probleme der italienischen Renaissance. Halle: Max Niemeyer Verlag, 1922;
  • Heinrich Wölfflin. Berlin: Gottschalk, 1924;
  • Jacopo della Quercia. Leipzig: E. A. Seemann, 1924;
  • Vom Wesen der Plastik: ein kunstpädagogischer Versuch . Vienna: Rikola Verlag, 1924;
  • Breslau. Leipzig: E. A. Seemann, 1926;
  • and Grisebach, August, and Günther Grundmann: Die Kunst in Schlesien. Berlin: Deutscher Kunstverlag, 1927;
  • Die Kunst der Goethezeit: Kunst und Kunstanschauung von 1750 bis 1830. Leipzig: Insel-Verlag, 1931;
  • Einführung in die jüdische Kunst. Berlin: Philo Verlag, 1935;
  • “Jewish Art.” Jewish Layman 15, no. 1 (1940): 16–18;
  • “Jewish Artists Before the Period of Emancipation.” Hebrew Union College Annual 16 (1941): 321–414;
  • A History of Jewish Art. Cincinnati: The Union of American Hebrew Congregations, 1946;
  • Rembrandt, the Jews and the Bible. Translated by Felix N. Gerson. Philadelphia: Jewish Publication Society of America, 1946;
  • Jewish Art Objects from the Collection of the Hebrew Union College. Cincinnati: Hebrew Union College, 1947;
  • Jewish Ceremonial Art. Philadelphia: Philadelphia Museum of Art, 1950;
  • “Rembrandt and Josephus.” Art Bulletin 36 (1954): 62–63.

Sources

  • Gutmann, Joseph. “Franz Landsberger 1883–1964.” Studies in Bibliography and Booklore 8, no. 1 (Spring 1966): 3–9;
  • Scheyer, Ernst. “Prof. Dr. Franz Landsberger ✝.” Schlesien 9 (1964): 126;
  • Wiese, Erich. “Franz Landsberger.” Weltkunst 34 (1964): 308;
  • Wendland, Ulrike. Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. Munich: Saur, 1999, vol. 1, pp. 411–6.


Contributors: Lee Sorensen and Lindsay Dial


Citation

Lee Sorensen and Lindsay Dial. "Landsberger, Franz." Dictionary of Art Historians (website). https://arthistorians.info/landsbergerf/.


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University lecturer and associate professor; museum director with a focus on Jewish art. He was born in Kattowitz, Germany, which is present-day Katowice, Poland. Landsberger was born in Kattowitz, Germany [modern Katowice, Poland] in 1883 to Adol

Landino, Cristoforo

Full Name: Landino, Cristoforo

Gender: male

Date Born: 1424

Date Died: 1498

Place Born: Florence, Tuscany, Italy

Place Died: Borgo alla Collina, Arezzo, Tuscany, Italy

Home Country/ies: Italy

Subject Area(s): biography (general genre), fifteenth century (dates CE), and Italian (culture or style)

Career(s): art historians


Overview

Quattrocento writer, precursor of Vasari in that he constructed a list of biographies artists. Landino was a member of Marcilio Ficino’s group of intellectuals, employing neo-platonistic philosophy in their interpretation of the arts. In 1481 he published a commentary on Dante which included an account of contemporary Florentine artists and sculptors. His evaluations of Cimabue and Giotto drew heavily on the earlier work of Filippo Villani. Landino’s terminology, which he used principally for literary criticism, seems to have been absorbed immediately into the art criticism of others. As a friend of Alberti, Landino’s writings help popularize the more intellectual treatises of his friend.



Sources

Kultermann, Udo. The History of Art History. New York: Abaris, 1993, p. 11; The Dictionary of Art 18: 699; Baxandall, Michael. Painting and Experience in Fifteenth Century Italy: A Pprimer in the Social History of Pictorial Style. New York: Oxford University Press, 1988, pp. 144-51.




Citation

"Landino, Cristoforo." Dictionary of Art Historians (website). https://arthistorians.info/landinoc/.


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Quattrocento writer, precursor of Vasari in that he constructed a list of biographies artists. Landino was a member of Marcilio Ficino’s group of intellectuals, employing neo-platonistic philosophy in their interpretation of the arts. In 1481 he p

Lanciani, Rodolfo

Full Name: Lanciani, Rodolfo

Other Names:

  • Rodolfo Amedeo Lanciani

Gender: male

Date Born: 1847

Date Died: 1929

Place Born: Montecelio, Rome, Lazio Italy

Place Died: Rome, Lazio, Italy

Home Country/ies: Italy

Subject Area(s): archaeology, Roman (ancient Italian culture or period), and topography (image-making)


Overview

Romanist archaeologist and art histoiran; known for his studies of the topography and monuments of the city of Rome. Lanciani hailed from ancient noble family. His father, Pietro Lanciani, was an engineer and his brother-in-law, Comte Virginio Vespignani (1808-1882) was an architect and draftsman for archeological books. After attending the (Jesuit) Collegio Romano and a period training as an engineer at the University of Rome, he joined an excavating project around Trajan’s harbor, in the ancient city of Ostia (Lazio), at the mouth of the Tiber River. The event changed his life forever. After publishing an exemplary description of the site in the Monumenti and Annali of the Instituto di Corrispondenza Archeologica beginning in 1867, Lanciani became absorbed in the archaeological study of monuments taking a degree in Literature (focusing on Greek and Latin). In 1872 Lanciani was appointed secretary of the Commissione Archaeologica Communale (municipal archaeological commission). He married an American translator, Mary Ellen “Elana” Rhodes (d. 1917), of Providence, R. I., in 1875, which gave him entre into scientific and academic circles among U.S. archaeologists. Lanciani was appointed vice-director of the Museo Kircheriano in 1876. By 1878 he had been named director of excavations for the city of Rome and professor of Roman topography at the University of Rome; he remained at the University until two years before his death. He rose to chair of Roman topography in 1882. Lanciani assisted museum acquistion of antiquities, such as the Boston Museum of Arts’ purchase of over 300 ancient objects from Italy. In 1893 he issued the first sheet of perhaps his most important publication, Forma Urbis Romae. An intricate map of the ancient city with modern streets overlaid. As one of the few Italian professors to speak fluently English, he edited, together with important British art historians Austen Henry Layard the 15th edition of the original 1843 A Handbook of Rome and its Environs, a guidebook to Rome for John Murray publishers in 1894.  Despite his success as both an archaeologist and scholar, the newly unified Italian government dismissed him from the archaeological service for improprieties in 1890. These included accusations of aiding looters of archaeological sites and misidentifying the archaeological record. These charges reveal the tensions between the city of Rome and the Italian state on the conservation, preservation and displaying the nation’s antiquities (Dixon). He was a member of the Accademia dei Lincei and the Academia di S. Lucia. He composed several works in English for that readership, his most important in the language, The Ruins & Excavations of Ancient Rome: a Companion Book for Students and Travelers appeared in 1897. By the end of the century, Lanciani was responsible for and supervising all the excavations within the city. He carried out a number of excavations making, most notably, the discovery of the House of Vestals in the Roman Forum. In addition, Lanciani produced maps of this work. His Storia degli scavi di Roma, in four volumes, is a collection of all information available about excavation and discoveries in the city to 1605. He continued to write first-hand descriptions of current archaeological discoveries, and he built a sizable collection of excerpts from Renaissance records and from the albums of Renaissance artists, the archaeological significance of which Lanciani was among the first to recognize. Other English-language works followed as well, including Wanderings in the Roman Campagna, which he published in 1909. At the retirement of Giacomo Boni in 1910 from the Commission of the Zona Monumentale, Lanciani replaced him. In that capacity, he helped prevent the implementation of a city park at the cite of the Baths of Caracalla. Poor health forced him to curtail his writing in 1912. He received numerous honorary degrees, including those from Aberdeen, Würzburg, Oxford, Harvard, and Glasgow. After his first wife succumbed to the influenza epidemic in Europe in 1917, Lanciani remarried a second time in 1920 to the widow of Prince Marco Antonio Colonna, Princess Teresa Caracciolo Colonna. He died in Rome in 1929. Much of this material has been preserved through Lanciani’s own donation of his schedario, or series of portfolios, to the Vatican Library, and through his heirs’ gift of his books, prints, plans, and manuscripts to the Istituto Italiano di Archeologia e Belle Arti. His students at the University of Rome included the archeologist Giulio Quirino Giglioli.

Lanciani was a pioneer of a rational, modern approach to Roman cartography and archaeology. He formed part of a core of distinguished late nineteenth-century scholars of the Roman forum who included Thomas Ashby, Heinrich Jordan (1833-1886), Christian Huelsen, and Samuel B. Platner (1863-1921). In 1967, Richard Brilliant described Lanciani’s Ruins and Excavations of Ancient Rome as undiminished in vitality as a study of ancient Roman ruins. His Forma Urbis Romae was “a magnificent map of the city and a marvellous example of cartography as well as an encyclopaedia of typographical information. It is still an essential tool for anyone working on the ancient city” (Richardson). City maps of the twenty-first century typically have a scale of 1:20,000 (five cm on the map equivalent to one km on the ground). The forty-six maps of the Forma Urbis have a scale of 1:1,000. The work is still unsurpassed to this day. Many of his English-language books on Rome were subsequently translated into Italian.


Selected Bibliography

Guida del Palatino. Con pianta delineata da Alessandro Zangolini. Rome: Bocca, 1873; Scavi di Ostia. Rome: Salviucci, 1881; Il Tempio di Apolline Palatino: il Tempio della Vittoria. Rome: Salviucci, 1883; Ancient Rome in the Light of Recent Discoveries. Boston: Houghton, Mifflin & Co., 1889; and Salomone, Luigi, and Hoepli, Ulrico. Forma urbis Romae. 8 parts. Mediolani: Apud Ulricum Hoepli, 1893-1901; Pagan and Christian Rome. Boston: Houghton, Mifflin and Co., 1893; The Ruins & Excavations of Ancient Rome: a Companion Book for Students and Travelers. Boston: Houghton, Mifflin & Co., 1897; New Tales of Old Rome. London: Macmillan & Co., 1901; Storia degli scavi di Roma e notizie intorno le collezioni romane di antichità. 4 vols. Rome: Loescher, 1902-1912; revised section on “Ancient Art,” in, Layard, Austen Henry, and Murray, Alexander Stuart, and Pullen, Henry William. A Handbook of Rome and its Environs. 15th ed. London: J. Murray, 1894; Wanderings in the Roman Campagna. London: Constable & Co. Limited, 1909.


Sources

Encyclopedia Britanica, 11th ed. (1911); “Signora Rodolfo Lanciani, Wife of the Italian Archaeologist Dies of Influenza.” New York Times.February 18, 1914, p. 5; Brilliant, Richard. “Forward.” The Ruins and Excavations of Ancient Rome. New York: Bell (reprint), 1967, pp. iii-iv; Buonocore, Marco. “Sui codici di Rodolfo Lanciani vaticani latini 13031-13047.” in Miscellanea Bibliothecae Apostolicae Vaticanae 4 (1990): 13-35; Soprintendenza Archeologica di Roma. L’attività di Rodolfo Lanciani sul Palatino by Alessandro Capodiferro in Gli Orti farnesiani sul Palatino, Ecole Française de Rome. Rome: De Boccard, 1990, pp. 109-119; Richardson, Lawrence, Jr. A New Topographical Dictionary of Ancient Rome. Baltimore: John Hopkins University Press, 1992, p. xxv; “Rodolfo Lanciani e la ‘storia degli scavi di Roma.'” Xenia Antiqua 1 (1992): 155-160; Lefevre, Renato. “1889: Rodolfo Lanciani e il palazzo Piombino di piazza Colonna.” Strenna dei Romanisti 58 (1997): 233-237; Lilli, Manlio. Lanuvium: avanzi di edifici antichi negli appunti di R. Lanciani. Rome: L’Erma di Bretschneider, 2001; Palombi, Domenico. Rodolfo Lanciani: l’archeologia a Roma tra Ottocento e Novecento. Rome: L’Erma di Bretschneider, 2006; “L’architettura a Roma fra il 1750 ed il 1823 nei disegni della Collezione Lanciani by Alessandro Spila.” Architetti e ingegneri a confronto a cura direzione scientifica di Elisa Debenedetti. Rome: Bonsignori, 2006, p. 355-374; [obituaries:] “Lanciani, Roberto.” in “Archaeological News” American Journal of Archaeology 34 no.1 (January 1930): 62; “Prof. Lanciani Dies, Famous Scientist.” New York Times May 23, 1929. p. 26; “Professor Lanciani. The Great Roman Topographer.” Times (London) May 23, 1929, p. 16;
Dixon, Susan M. “Rodolfo Lanciani’s Dismissal.” Bulletin of the History of Archaeology https://www.archaeologybulletin.org/articles/10.5334/bha-592/print/




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"Lanciani, Rodolfo." Dictionary of Art Historians (website). https://arthistorians.info/lancianir/.


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Romanist archaeologist and art histoiran; known for his studies of the topography and monuments of the city of Rome. Lanciani hailed from ancient noble family. His father, Pietro Lanciani, was an engineer and his brother-in-law, Comte Virginio Ves