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Lafenestre, Georges E.

Full Name: Lafenestre, Georges E.

Other Names:

  • Georges Edouard Lafenestre

Gender: male

Date Born: 1837

Date Died: 1919

Place Born: Orléans, Centre-Val de Loire, France

Place Died: Bourg-la-Reine, Île-de-France, France

Home Country/ies: France

Career(s): art critics and curators


Overview

Curator at the Louvre; professor of art history; art critic; poet. Lafenestre was born in a wholesale dealer’s family. He attended the Lycée in Orleans and subsequently the Lycée Charlemagne in Paris, where he graduated with a bachelor’s degree. Being in poor health, he was discouraged from attending the École normale. After having obtained a second degree of bachelor of law, he did not continue his studies. By that time he was orphaned. In 1859, at age 22, he left Paris and moved to Barbizon, where his nephew, Gaston Lafenestre, introduced him to his circle of artists. Lafenestre soon began to travel abroad, to England, Belgium, the Netherlands, Germany and, most frequently, to Italy, where he thoroughly explored the rich culture of the country. A passionate lover of art and literature, he became an art critic and he began publishing poems. In 1870 he became secretary to the director of the Beaux-Arts administration (Ministère de l’Instruction publique et des Beaux-Arts), and soon, after his marriage, under-manager of the Beaux-Arts bureau. He held this post until 1876. In 1880 he was appointed inspector of the Beaux-Arts and chief commissioner of the French and international Beaux-Arts exhibitions. In France, however, his duties soon diminished, because the Salons became separated from government control from 1881 onwards. From this year until 1885 Lafenestre instead traveled to Vienna, Munich, Amsterdam, and Antwerp, to be present at international exhibitions. In 1885 he published. in the collection of the Bibliothèque de l’Enseignement des Beaux-Arts, La peinture italienne, an overview of Italian painting, from antiquity until the end of the fifteenth century,. In 1886 his career considerably changed when he was appointed adjunct curator at the Louvre, and professor of the history of painting at the École du Louvre. In that year he published a prize winning monograph on Titan, La vie et l’oeuvre de Titien. In 1888 he rose to the rank of curator, a position he held until 1907. In 1889 he in addition became professor of esthetics and of the history of art at the Collège de France. In 1892 he was elected a member of the Académie des Beaux-Arts. In the 1890s and early 1900s, in collaboration with Eugène Richtenberger, he published a series of seven catalogs of European painting, La peinture en Europe. In 1904 he was actively involved in the exhibition, “Les Primitifs français”, in collaboration with Henri Bouchot. This exhibition was a patriotic response to the 1902 exhibition held in Bruges, Belgium, of the Flemish Primitives. Lafenestre wrote the introduction of the Paris catalog, and in that same year he also published Les Primitifs à Bruges et à Paris. A monograph on Jean Fouquet followed in 1905, Jehan Fouquet. In 1908, after his retirement, he was appointed curator at the Condé Museum in Chantilly, near Paris. In 1911 he wrote a second history of Italian art, focusing on Saint Francis and Savonarola, who both, in his view, had deeply influenced Italian culture and art, Saint Francois d’Assise et Savonarole, inspirateurs de l’art italien. In 1920, a two-volume album of masterpieces of European painting in the Louvre appeared. Lafenestre was the author of the critical documentation of the paintings in the first volume. The preface, which contains Lafenestre’s biography, is written by Léonce Bénédite, and the introduction by Louis Demonts. Lafenestre’s La Peinture italienne is a well-written art history, in the tradition of Giorgio Vasari, focusing on the artists, their lives and their works. It was one of the early required texts to be listed in the course catalog for the art history classes of Princeton University. In the preface Lafenestre explains that his overview is based on recent studies in the field as well as on his own observations of most of the art works. The book is illustrated with engravings of paintings, including frescoes, some of which nowadays are faded or damaged. In the introduction to the 1904 catalog, Les Primitifs français, Lafenestre pays homage to the national tradition of French painting, tracing its history from the first centuries up to the sixteenth century. He chided, however, “those stupid exaggerations of patriotic vanity” (“…nous voulons, avant tout, nous garder de ces sottes exaggerations de vanité patriotique…”).


Selected Bibliography

La Peinture italienne. Paris: A. Quantin, 1885; La vie et l’oeuvre de Titien. Paris: Quantin, 1886; and Richtenberger, Eugène. La peinture en Europe. 1. Le Louvre, 2. Florence, 3. La Belgique, 4. Venise, 5. La Hollande, 6. Rome (Édifices religieux), 7. Rome (Palais et Musées); “Introduction” in Bouchot, Henry and others. Exposition des Primitifs français. Paris: Gazette des Beaux-Arts, 1904: pp. i-xxxii; Les Primitifs à Bruges et à Paris, 1900-1902-1904; vieux maîtres de France et des Pays-Bas. Paris: Librairie de l’art ancien et moderne, 1904; Jehan Fouquet. Paris: Librairie de l’art ancien et moderne, 1905; Saint Francois d’Assise et Savonarole, inspirateurs de l’art italien. Paris: Librairie Hachette et Cie, 1911; and Bénédite, Léonce, and Demonts, Louis. Le Louvre, le musée et les chefs d’Åuvre de la peinture/ The Louvre. The Museum and the Masterpieces in Paintings. 1. Paris: Lapina et fils, 1920.


Sources

Haskell, Francis. “Patriotism and the Art Exhibition” in The Ephemeral Museum: Old Master Paintings and the Rise of the Art Exhibition. New Haven: Yale University Press, 2000, pp. 105-106; [obituary :] S. R. Revue Archéologique 9 (1919): 396; Bénédite, Léonce. “Georges Lafenestre (1857-1919)” in Lafenestre, George. Le Louvre, le musée et les chefs d’Åuvre de la peinture/ The Louvre. The Museum and the Masterpieces in Paintings 1. Paris: Lapina et fils, 1920, pp. 1-34.



Contributors: Monique Daniels


Citation

Monique Daniels. "Lafenestre, Georges E.." Dictionary of Art Historians (website). https://arthistorians.info/lafenestreg/.


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Curator at the Louvre; professor of art history; art critic; poet. Lafenestre was born in a wholesale dealer’s family. He attended the Lycée in Orleans and subsequently the Lycée Charlemagne in Paris, where he graduated with a bachelor’s degree. B

Ladner, Gerhart

Full Name: Ladner, Gerhart

Other Names:

  • Gerhart Ladner

Gender: male

Date Born: 1905

Date Died: 1993

Place Born: Vienna, Vienna state, Austria

Place Died: Los Angeles, CA, USA

Home Country/ies: Germany

Subject Area(s): depictions (visual works), iconography, Medieval (European), theory, and visual culture


Overview

Medievalist. Ladner was the son of wealthy and cultured Jewish parents of Bohemian decent. His father Oscar Leopold Ladner, was a Viennese factory owner; his mother was Alice Burian (Ladner) (d. 1936). His family vacationed with among others, Sigmund Freud’s and he knew Anna Freud well. Ladner attended the Bundesgymnasium XIX in Vienna, graduating in 1924. He early fell under the spell of the poet Stefan George and contemplated a career as a poet. He began studying history, archaeology and general history in 1929 under the so-called Vienna School art historians Julius Alwin von Schlosser and Josef Rudolf Thomas Strzygowski and Karl Maria Swoboda. At the same time, he studied diplomatics exegesis with the medievalist Hans Hirsch (1878-1940) at the Austrian Institute for Historicial Studies, taking a position the same year at the Monumenta Germaniae Historica, working under its director, the medievalist church historian Paul Fridolin Kehr (1860-1944). Ladner wrote his thesis under Schlosser, Die italienische Malerei im 11. Jahrhunderts, accepted for his Ph.D., in 1930 and published in 1931 and converted from a non-practicing Jew to Roman Catholicism. His first post-doctoral position was in the employ of the Kunsthistorisches Museum, under August Oktav Loehr, cataloging portrait medals. In 1934 he entered the Österreichischen Historischen Institut in Rom (Austrian Institute in Rome), where he began his research project on papal portrait iconography in the middle ages. Ladner published his habilitation in 1938, warmly acknowledging Hirsch, on medieval church reform, assuming a privatdozent position at the university in medieval history. With the annexation of Austria in March by Hitler, Ladner had his venia legendi (permission to lecture) withdrawn because he was “non-Aryan.” He fled the Third Reich the same year to London making contact with the Warburg Institute. He moved to Canada to teach early Christian and medieval art history and history at the Pontifical Institute in Toronto. He rose to assistant professor of medieval history and archaeology in 1940 at the University of Toronto. The first volume of his study of papal portraits, begun in 1934, appeared in 1941. Between 1943 and 1946 he fulfilled Canadian war service in World War II in army intelligence. During this time he married Jocelyn Mary Plummer in 1942 (d. 1980). After the war he resettled in the United States, initially teaching at Notre Dame University in Indiana as assistant and then associate professor. He moved to Howard University in Washgington, D. C. as full professor, 1951, and then Fordham University in 1952. He was a member of the Institute for Advanced Study in Princeton, N. J., 1960-1961, following an initial association in the 1950s. His 1962 Wimmer lecture at UCLA summarized his research on image representation. It was published as Ad Imaginem Dei: The Image of Man in Medieval Art in 1965. In 1963 he accepted a position as professor of art history at the University of California, Los Angeles (UCLA), where he remained until his emeritus confirmation in 1974.

Ladner’s early writing shows him engaged in Geistesgeschichte, or the history of spiritual and intellectual ideas, evident in his first articles in 1931 on the history of ideas. His conversion to Roman Catholicism drove his two great research projects, the iconography of the medieval popes and the idea of reform in the middle ages (Speculum). His interdisciplinarity, especially seeing art history in terms of world and cultural history, using a variety of research techniques, is a direct result of Vienna School art historians of the 1930s. Ladner is best known for his Idea of Reform: its Impact on Christian Thought, a “study of the ways and means employed in medieval civilization to reform culture and politics, both sacred and profane, within an understood sacred order” (Van Engen, Viator).


Selected Bibliography

[complete bibliography:] “Bibliography of Gerhart Burian Ladner,” Van Engen, John. “Images and Ideas: The Achievements of Gerhart Burian Ladner.” Viator 20 (1989): 108-115; [dissertation:] Die italienische Malerei im 11. Jahrhundert. Vienna: Anton Schroll, 1931; [habilitation:] Theologie und Politik vor dem Investiturstreit, Abendmahlstreit, Kirchenreform, Cluni und Heinrich III. Baden bei Wien: R.M. Rohrer, 1936; I ritratti dei papi nell’antichità e nel medioevo (Die Papstbildnisse des Altertums und des Mittelalters). 3 vols. Vatican City: Pontificio istituto di archeologia cristiana, 1941-1984. vol. 1. Dalle origini fino alla fine della lotta per le investiture, vol. 2. Von Innozenz II. zu Benedikt XI. vol.. 3. Addenda et Corrigenda, Anhänge und Exkurse, Schlusskapitel: Papstikonographie und allgemeine Portrátikonographie im Mittelalter; “The Concept of the Image in the Greek Fathers and the Byzantine Iconoclastic Controversy.” Dumbarton Oaks papers 7 (1953):1-34; The Idea of Reform: its Impact on Christian Thought and Action in the Age of the Fathers. Cambridge, MA: Harvard University Press, 1959; Ad Imaginem Dei: The Image of Man in Medieval Art. Latrobe, PA: Archabbey Press, 1965; Images and Ideas in the Middle Ages: Selected Studies in History and Art. Rome: Edizioni di storia e letteratura, 1983; Handbuch der frühchristlichen Symbolik: Gott, Kosmos, Mensch. Stuttgart: Belser, 1992, English, God, Cosmos, and Humankind: the World of early Christian Symbolism. Berkeley: University of California Press, 1995.


Sources

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, p. 101; Kleinbauer, W. Eugene. Research Guide to the History of Western Art. Sources of Information in the Humanities, no. 2. Chicago: American Library Association, 1982, pp. 157-8; Van Engen, John. “Images and Ideas: The Achievements of Gerhart Burian Ladner.” Viator 20 (1989): 85-116: Ladner, Gerhart. Erinnerungen. Vienna: Verlag der Österreichischen Akademie der Wissenschaften, 1994; Benson, Robert L., and Constable, Giles, and Van Engen, John. “Gerhart Burian Ladner.” Memoirs of Fellows and Corresponding Fellows of the Medieval Academy of America. Speculum 71, no. 3 (July 1996): 802-804; 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. 405-11; personal correspondence, Michael Ladner, October 2011..



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Ladner, Gerhart." Dictionary of Art Historians (website). https://arthistorians.info/ladnerg/.


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Medievalist. Ladner was the son of wealthy and cultured Jewish parents of Bohemian decent. His father Oscar Leopold Ladner, was a Viennese factory owner; his mother was Alice Burian (Ladner) (d. 1936). His family vacationed with among others, Sigm

Ladis, Andrew

Full Name: Ladis, Andrew

Other Names:

  • Andrew Ladis

Gender: male

Date Born: 30 January 1949

Date Died: 02 December 2007

Place Born: Athens, Region of Attica, Greece

Place Died: Athens, Clarke, GA, USA

Home Country/ies: Greece

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


Overview

Giotto and early Italian Renaissance scholar; Franklin Professor of Art History at the Lamar Dodd School of Art, University of Georgia. Ladis was son of Thomas and Marina Ladis. His family moved to the United States when he was still a child. Ladis attended Thomas Jefferson High School in Richmond, VA. After graduating from the University of Virginia in history in 1970. That year he met William Underwood Eiland (later the the director of the Georgia Museum of Art) who became his life partner. Ladis enter the University of Virginia Law School, beswitch to art history, pursuing his master’s degree, 1974, and Ph.D. at UVa. His dissertatin was accepted in 1978 wrting on the topic of Taddeo Gaddi. He initially taught at Peay State University in Clarksville, TN. His dissertation became the basis for his first book, Taddeo Gaddi: A Critical Review and Catalogue Raisonné, published in 1983. He subsequently taught at State University of New York at Potsdam; Vanderbilt University (as Andrew W. Mellon Fellow), and at Wright State University in Dayton, OH. He was appointed assistant professor at the University of Georgia in 1987; he remained at Georgia the rest of his career. Ladis held the Hohenberg Chair of Excellence in Art History at the University of Memphis, and was twice visiting professor at Villa I Tatti in Florence, Harvard University Center for Italian Renaissance Studies. In 1993 he published The Brancacci Chapel, Florence which was awarded the University of Georgia’s Creative Research Medal. In 2001 his collected studies, Studies in Italian Art, appeared. Ladis contracted cancer and died at age 58 at a hospice in Athens, Georgia. Two books appeared posthumously, Fools of Fortune: Victims and Villains in Vasari’s “Lives” in 2008, and Giotto’s “O”: Narrative, Figuration, and Pictorial Ingenuity in the Arena Chapel. Ladis was a major scholar of Giotto di Bondone, the founder of the Florentine school. He was greatly influenced by the New York University scholar Richard Offner for whom he edited a memorial volume. Like Offner, he spearheaded a corpus of Italian paintings for his region of the United States. His catalogue raisonné on Taddeo Gaddi was the first major study of that artist in English.


Selected Bibliography

[dissesrtation:] Taddeo Gaddi: Style and Chronology. University of Virginia, 1978; edited, with Wood, Carolyn. The Craft of Art: Originality and Industry in the Italian Renaissance and Baroque Workshop. Athens, GA: University of Georgia Press, 1995; Giotto’s O: Narrative, Figuration, and Pictorial Ingenuity in the Arena Chapel. University Park, PA: Pennsylvania State University Press, 2008; edited, with Roberts, Perri Lee. Corpus of Early Italian Paintings in North American Public Collections: The South. Athens, GA: Georgia Museum of Art, the University of Georgia, 2009.


Sources

[obituaries;] Classic Ground [website] http://classicground.blogspot.com/2007/12/andrew-ladis-d-2007;




Citation

"Ladis, Andrew." Dictionary of Art Historians (website). https://arthistorians.info/ladisa/.


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Giotto and early Italian Renaissance scholar; Franklin Professor of Art History at the Lamar Dodd School of Art, University of Georgia. Ladis was son of Thomas and Marina Ladis. His family moved to the United States when he was still a child. Ladi

Ladendorf, Heinz

Full Name: Ladendorf, Heinz

Gender: male

Date Born: 1909

Date Died: 1992

Place Born: Leipzig, Saxony, Germany

Place Died: Cologne, North Rhine-Westphalia, Germany

Home Country/ies: Germany


Overview



Sources

Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 235-7.




Citation

"Ladendorf, Heinz." Dictionary of Art Historians (website). https://arthistorians.info/ladendorfh/.


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Laclotte, Michel

Full Name: Laclotte, Michel

Gender: male

Date Born: 1923

Home Country/ies: France


Overview

Louvre director 1987-1994. As a school boy during the German occupation of Paris, Laclotte resolved to be a museums person. During the war, he traveled with his family to provincial museums, redesigning on paper how he would install the works he saw. After the liberation, Laclotte was amazed by Picasso’s works at the Salon d’Automne in 1944. When the paintings returned to the Louvre from the war’s safekeeping, he was appalled at how curator René Huyghe hung the works in no apparent order. As curator of painting, he mounted major Poussin show of 1960. He ordered an inventory of provincial French museums, unifying the thinking of what a country’s art should be thought of. Laclotte lobbied and succeeded in having the Gare d’Orsay rennovated into a museum to replace the Jeu de Paume, completed in 1986. He was appointed director of the Louvre in 1987. He consolidated the Louvre’s spaces directly under his control (for years the museum’s ballroom had been used as a state reception area). Laclotte retired in 1994, succeeded by Pierre Rosenberg.



Sources

Russell, John. “The Man Who Reinvented the Louvre; At one of the worst moments of the German occupation of France, he decided to ‘make museums.” New York Times June 6, 1993, p. H39




Citation

"Laclotte, Michel." Dictionary of Art Historians (website). https://arthistorians.info/laclottem/.


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Louvre director 1987-1994. As a school boy during the German occupation of Paris, Laclotte resolved to be a museums person. During the war, he traveled with his family to provincial museums, redesigning on paper how he would install the works he s

Lacerda, Aaron de

Full Name: Lacerda, Aaron de

Gender: male

Date Born: 1890

Date Died: 1947

Home Country/ies: Portugal

Subject Area(s): Portuguese (culture or style)

Institution(s): Escola Superior de Belas Artes do Porto


Overview

historian of Portuguese art


Selected Bibliography

Historia da Arte em Portugal. vol I. Porto, 1942. [vol II by several authors, 1948; vol III by Raynaldo dos Santos, 1953]


Sources

Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986 p. 450



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Lacerda, Aaron de." Dictionary of Art Historians (website). https://arthistorians.info/lacerdaa/.


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historian of Portuguese art

Laborde, Léon-Emmanuel-Simon-Joseph, Comte de

Full Name: Laborde, Léon-Emmanuel-Simon-Joseph, Comte de

Gender: male

Date Born: 1807

Date Died: 1869

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

Place Died: Fontenay-sur-Eure, Centre-Val de Loire, France

Home Country/ies: France

Career(s): archivists and curators


Overview

Archivist, curator, draughtsman and engraver. De Laborde was the son of count (Louis-Joseph-) Alexandre de Laborde and Marie-Anne-Thérèse de Sabatier de Cabre. His family was for generations associated with government public-service appointments. His grandfather, Jean Joseph de Laborde was a Privy Councillor and banker to Louis XV (and guillotined in 1794). Alexandre de Laborde was a Privy Councillor and deputy for the Seine and Oise district. Léon de Laborde’s education also focused on a political career. In 1824 his father lost his assignment and he and his seventeen-year-old son traveled throughout the Middle East, from Damascus to Cairo. There Léon met the engineer Louis Linant de Bellefonds (1799-1883) The two Frenchmen decided to set up an expedition to the newly-discovered site of Petra with a view to making drawings of the monuments. The team of Linant and de Laborde spent more time at the site than any previous Western visitors, documenting the remains through drawings. After his return, De Laborde served as an embassy secretary in Rome, London, and Cassel. In 1830 he published a detailed day-to-day report of his 1828 travel, Voyage de l’Arabie Pétrée, richly illustrated with lithographs of his own drawings as well as a number of those by Linant. It includes various maps and plans, and an introductory essay on different aspects of the region, such as travel, pilgrimage, and trade. An engraver himself, he wrote a study on the history of mezzotint engraving, Histoire de la gravure en manière noire (1839) and another on the discovery of printing, Nouvelles recherches sur la découverte de l’imprimerie (1840). In 1841 he was elected Deputy of the town of étampes, succeeding his father. He married Louise-Félicie Cousin-Corbin. In 1842 he was elected a member of the Académie des Inscriptions et Belles Lettres. In 1847 he was appointed curator of the Department of Antiquities at the Louvre, and a year later he became the curator of the collections of the Middle Ages and the Renaissance. His research of the archives of Burgundy led to important art historical studies covering the period 1384-1482. Among these, his three-volume publication on the dukes of Burgundy, Les ducs de Bourgogne (1849-1852) deserves to be singled out. His pioneering study on sixteenth-century French Renaissance painting (1850 and 1855), La renaissance des arts à la cour de France, is also based on archival sources. De Laborde was involved in the contemporary art scene, such as the 1851 London World’s Fair and the 1855 Paris Exposition Universelle. In 1857 he was appointed general director of the Archives de l’Empire. In 1868, the year before he died, he became a member of the Senate. A son, Alexandre-Léon-Joseph (1853-1944), was a specialist of illuminated manuscripts. Laborde is among the first western explorers of the region around Petra. His travelogue Voyage de l’Arabie Pétrée provides a remarkable contribution to the documentation of the archaeological sites of Petra. His archival research was pioneering as well. Louis-Charles-Léon Courajod, who also later held Laborde’s position at the Louvre, maintained a special admiration for De Laborde’s work as curator.


Selected Bibliography

Voyage de l’Arabie Pétrée. Paris: Girard, 1830; Histoire de la gravure en manière noire. Paris: Impr. de J. Didot l’aîné, 1839; Nouvelles recherches sur la découverte de l’imprimerie. Paris: Techener, 1840; De l’organisation des bibliothèques dans Paris. Paris: A Franck, 1845-1846; Les ducs de Bourgogne, études sur les lettres, les arts et l’industrie pendant le XVe siècle et plus particulièrement dans les Pays-Bas et le duché de Bourgogne. 3 vols. Paris: Plon, 1849-1852 ; La renaissance des arts à la cour de France: études sur le seizième siècle. 2 vols. Paris: L. Potier, 1850-1855. Les comptes des bâtiments du roi (1528-1571) suivis de documents inédits sur les châteaux royaux et les beaux-arts au 16e siècle, recueillis et mis en ordre par le marquis Léon de Laborde. Paris: J. Baur 1877-80; and Linant de Bellefonds, Louis Maurice Adolphe. [Augé, Christian, and Linant de Bellefonds, Pascale, eds.] Pétra retrouvé. Voyage de l’Arabie Pétrée, 1828. Paris: Pygmalion-Gérard Watelet, 1994.


Sources

Nagler, G. K. Graf Léon de Laborde Die Monogrammisten 4 (1871): nr. 1170, pp. 382-383; Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, p. 482; De Morembert, T. Laborde (Léon-Emmanuel-Simon-Joseph De). Dictionnaire de Biographie Française 18 (1994) p. 1373-1374; www.jordanjubilee.com/history/laborde-linant.htm.



Contributors: Monique Daniels


Citation

Monique Daniels. "Laborde, Léon-Emmanuel-Simon-Joseph, Comte de." Dictionary of Art Historians (website). https://arthistorians.info/labordel/.


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Archivist, curator, draughtsman and engraver. De Laborde was the son of count (Louis-Joseph-) Alexandre de Laborde and Marie-Anne-Thérèse de Sabatier de Cabre. His family was for generations associated with government public-service appointments.

L’Orange, Hans Peter

Full Name: L'Orange, Hans Peter

Gender: male

Date Born: 1903

Home Country/ies: Norway


Overview

Geistgeschichte art historian


Selected Bibliography

Fra Principat til Dominat. Oslo: H. Aschehoug, 1958. Art Forms and Civil Life in the Late Roman Empire. Translated by Dr. and Mrs. Knut Berg. Princeton: Princeton University Press, 1965.


Sources

KRG, 154-5; KMP, 98-9




Citation

"L’Orange, Hans Peter." Dictionary of Art Historians (website). https://arthistorians.info/loraangeh/.


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Geistgeschichte art historian

Kutschera-Woborsky, Oswald von

Full Name: Kutschera-Woborsky, Oswald von

Other Names:

  • Oswald von Kutschera-Worborski

Gender: male

Date Born: 1887

Date Died: 1922

Place Born: Prague, Praha, Hlavní Město, Czech Republic

Place Died: Vienna, Vienna state, Austria

Home Country/ies: Austria

Subject Area(s): eighteenth century (dates CE), Italian (culture or style), and painting (visual works)


Overview

He was born in Prague, Austrian Empire, which is present-day Prague, Czech Republic. His collection of fourteen Italian eighteenth-century paintings was donated to the Gemäldegalerie der Bildenden Künste in Vienna in 1922.


Selected Bibliography

Die Wiener Hofburg. österreichische Kunstbücher 5. Vienna: Hölzel, 1920.


Sources

Trenk, Renate. The Picture Gallery of the Academy of Fine Arts in Vienna. Vienna: Böhlau, 2002, pp. 10-11; österreichisches biographisches Lexikon 1815-1950. Graz: H. Böhlaus Nachf., 1954 ff., vol. 4, p. 376.




Citation

"Kutschera-Woborsky, Oswald von." Dictionary of Art Historians (website). https://arthistorians.info/kutschera-woborskyo/.


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He was born in Prague, Austrian Empire, which is present-day Prague, Czech Republic. His collection of fourteen Italian eighteenth-century paintings was donated to the Gemäldegalerie der Bildenden Künste in Vienna in 1922.

Kuspit, Donald

Full Name: Kuspit, Donald

Other Names:

  • Donald Kuspit

Gender: male

Date Born: 26 March 1935

Place Born: New York, NY, USA

Home Country/ies: United States


Overview

A.D. White Professor at Large, Cornell University and art critic. Kuspit’s parents were Morris Kuspit, employed as a manager, and Celia Kuspit. Kuspit graduated from Columbia University, in 1955 with a B.A., continuing to Yale University for his M.A.in 1958. He moved to Germany, studying at the University of Frankfurt, lecturing in English at the school, 1957-1959, and receiving his Ph.D. in philosophy at Frankfurt in 1960. He returned to the United States to teach at the Pennsylvania State University as an assistant professor of philosophy in 1960, marrying a Judith Clements Price, a literature scholar (and later psychologist) in 1962. Kuspit became increasingly interested in art history and pursued a second M.A. in art history at Pennsylvania, granted in 1964. He secured a Fulbright lectureship in philosophy and American studies to teach at the University of Saarland, Saarbruecken, Germany, 1964-1965 before teaching at the University of Windsor, Windsor, Ontario, as associate professor of philosophy, between 1966 and 1970. During this time he worked on a Ph.D. in art history at the University of Michigan. Awarded in 1971, his dissertation topic, written under Clifton C. Olds, focused on the critical reception of Albrecth Dürer. He joined the department of art history at the University of North Carolina, Chapel Hill, as professor of art history in 1970, contributing criticsm for Artforum and Arts Magazine. Kuspit researched as a National Endowment for the Humanities younger humanist fellowship for the 1973-1974 year and a Guggenheim fellowship for 1977-1978. In 1978 Kuspit was recruited by the State University of New York at Stony Brook (Long Island) as professor of art history and chair of department, which he held until 1983. At Stony Brook, he and felllow Stony Brook professor Lawrence Alloway co-founded the magazine Art Criticism. Kuspit received a Frank Jewett Mather, Jr., Award for Distinction in Art Criticism from the College Art Association in 1983. In 1991 he became A. D. White Professor at Large, Cornell University, 1991, remaining until 1997. Kuspit’s art writing has always been highly impued with philosophical underpinnings. His interest in the philosophy of art historiography (his article on Meyer Schapiro) and the theory of perception were early works in the field.


Selected Bibliography

[dissertation:] Dürer and the Northern Critics, 1502-1572. University of Michigan, 1971; “Dewey’s Critique of Art for Art’s Sake.” Journal of Aesthetics and Art Criticism 27 no. 1 (Fall 1968):. 93-8; “Phenomenological approach to artistic intention.” Artforum 12 (January 1974): 46-53; Critical Notes on Adorno’s Sociology of Music and Art.” Journal of Aesthetics and Art Criticism 33 no. 3 (Spring 1975): 321-7; “Meyer Schapiro’s Marxism.” Arts Magazine 53 (November 1978): 142-4; “Two Critics: Thomas B. Hess and Harold Rosenberg.” Artforum 17 (September 1978): 32-3; Clement Greenberg, Art Critic. Madison: University of Wisconsin Press, 1979; The Critic is Artist: The Intentionality of Art. Ann Arbor, Michigan: University of Michigan Press, 1984; The Dialectic of Decadence. New York: Stux Press, 1993.


Sources

Directory of American Scholars 8th ed (1982): 425; Halasz, Piri. “Art Criticism (and Art History) in New York: the 1940s vs the 1980s–Part Three: Clement Greenberg.” Arts Magazine 57 (April 1983): 80-89.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Kuspit, Donald." Dictionary of Art Historians (website). https://arthistorians.info/kuspitd/.


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A.D. White Professor at Large, Cornell University and art critic. Kuspit’s parents were Morris Kuspit, employed as a manager, and Celia Kuspit. Kuspit graduated from Columbia University, in 1955 with a B.A., continuing to Yale University for his M