Art Historians

Kondakov, Nikodim Pavlovich

November 8, 2023March 29, 2024

Full Name: Kondakov, Nikodim Pavlovich

Other Names:

N. P. Kondakov

Gender: male

Date Born: 1844

Date Died: 1925

Place Born: Khalan, Amur Oblast, Russia

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

Home Country/ies: Russia

Subject Area(s): Byzantine (culture or style), iconography, Medieval (European), and Modern (style or period)

Overview

Byzantinist art historian and founder of modern art method for Byzantine studies primarily through iconography. He was born in Prague, Czechoslovakia, which is present-day Prague, Czech Republic. Kondakov attended Moscow University under Fedor Ivanovich Buslayev (1818-1897) between 1861 and 1865. He taught at the University of Odessa (1870-1888) spending summers traveling and researching Byzantine art. His first book, published in 1877 on Greek manuscript illumination, employed his characteristic approach to Byzantine art of envisioning a stylistic evolution through mapped on an artistic ideal. In 1888 Kondakov moved to St. Petersburg to teach at the university there. During this time, Kondakov began compiling material for the first art history of pre-Mongolian Russian art. He collaborated with Saloman Reinach in Antiquités de la Russie méridionale of 1891. His lectures greatly influenced among others, the future art historian Michael Ivanovitch Rostovtzeff. Between 1900-1917 he lectured at the Academy of Art in Petrograd continuing his concentration in Russian art. Students attending his lectures at this time included André Grabar. After the Bolshevik revolution he emigrated in 1920 to Prague where he taught at that university. After his death in 1925, his works found publication in translation before they appeared in his native Russian, such as the important The Russian Icon, 1927. His students included Dmitrii Vlas’evich Ainalov III. Kondakov established modern Byzantine art history. He organized a massive amount of Russian art, much of it largely unknown, employing iconographic principles to their study. Icons were cultural artifacts to Kondakov as much as art objects; his work places them in a historical background. He organized art by region or “common tendency” from which he portrayed an entire epoch. Kondakov’s importance was in the accumulation of knowledge about Byzantine and Russian art. His works are still a starting point for scholarship.

Selected Bibliography

[complete bibliography:] Kondakov, N. P. Vospominaniia i dumy. Moscow: Indrik, 2002, pp. 359-377; Histoire de l’art byzantin, considéré principalement dans les miniatures, par N. Kondakoff. éd. française originale, publiée par l’auteur, sur la traduction de M. Trawinski. 2 vols. Paris, 1886-1891; Russkiia drevnosti v pamiatnikakh iskusstva. 6 vols. St. Petersburg: A. Benke, 1889-1891; and Reinach, Saloman. Antiquités de la Russie méridionale. Paris: E. Leroux, 1891; Pamiatniki khristianskago iskusstva na Afonie. St. Petersburg: Izd. Imp. Akademii nauk, 1902; Ikonografiia gospoda boga i spasa nashego Iisusa Khrista. St. Petersburg: Tovarischestvo R. Golike i A. Vil’borg, 1905; Ikonografiia Bogomateri. 2 vols. St. Petersburg: Typografia Imperatorskoi Akademiia Nauk, 1914-15; The Russian Icon. Oxford: The Clarendon press, 1927.

Sources

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. 61; Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, p. 201; Dictionary of Art 18: 215-16; Kondakov, N. P. Vospominaniia i dumy. Moscow: Indrik, 2002; “Kondakov, Nikodim Pavlovich.” Entsiklopedicheskii slovar’. St. Petersburg: I. A. Efron, vol. 15, 1895: 927.

Contributors: Lee Sorensen

Koltonski, Aleksander

November 8, 2023March 29, 2024

Full Name: Koltonski, Aleksander

Other Names:

Aleksander Koltonski

Gender: male

Date Born: unknown

Date Died: unknown

Home Country/ies: Poland

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

Overview

Giotto scholar; notes about Koltanski’s opinions appear in Richard Offner‘s annotated catalog of the 1937 Mostra Giottesca.

Selected Bibliography

St. Francis of Assisi and Giotto: Art on the Altar of Faith. London: Sampson Low, Marston & Co., 1926.

Sources

Ladis, Andrew. “The Unmaking of a Connoisseur.” in, Offner, Richard. A Discerning Eye: Essays on Early Italian Painting. University Park, PA: Pennsylvania State University Press, 1998, p,19, note 1 (Offner wrote as “Khvoskinsky”);

Giotto scholar; notes about Koltanski’s opinions appear in Richard Offner’s annotated catalog of the 1937 Mostra Giottesca.

Kolloff, Éduard Ernst

November 8, 2023March 29, 2024

Full Name: Kolloff, éduard Ernst

Other Names:

Ed. Callow

Gender: male

Date Born: 1811

Date Died: 1879

Place Born: Tarnow, Lesser Poland Voivodeship, Poland

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

Home Country/ies: Germany

Subject Area(s): Netherlandish, nineteenth century (dates CE), Northern European, and prints (visual works)

Career(s): curators

Overview

Nineteenth-century Rembrandt “rediscoverer;” curator of the print room, Bibliothèque Nationale (1853-77). The early events of Kolloff’s life are unknown. He left Germany in 1834 to live in Paris among the Jungen Deutschland expatriate community of the 1830 German Revolution, led by Heinrich Heine (1797-1856) and Ludwig Börne (1786-1837). Beginning in 1834, he wrote architectural and art criticism based on Parisian exhibitions, for the magazine Die Kunstblatt, signing his pieces “Ed. Callow.” His vast art interest, especially in Delacroix whom he knew personally, led to a sympathy for the “painterly” artists and an art history based on the evocative styles. The director of the Musée du Louvre library, Philippe-Auguste Jeanron (1809-1877), appointed Kolloff as the Conservator Bibliothèque du Louvre, a steady income. Kolloff assisted Jeanron with the reorganization and a Giorgio Vasari translation. In 1840 Kolloff published an essay in the chapbook series Historisches Taschenbuch of Friedrich von Raumer (1781-1873), titled “Die Entwicklung der modernen Kunst aus der antiken bis zur Epoche der Renaissance” (The Development of Modern Art from the Antique to the Renaissance). Like most of his writings, he used contemporary art to critique the works of the past. Kolloff criticized the romantic view of the middle ages and particularly the hard categorization of art-historical periods. Instead, he emphasized the continuous flow of artistic production, and appreciating the medieval “dark ages” as a valid era of artistic production His association with the republican Jeanron was close enough that he was required to leave the Louvre in 1849 due to Jeanron’s activities in the 1848 revolution. After an 1853 exhibition with the Bibliothèque Nationale, Kolloff was named director of the print collection there. His duties, according to his own words, amounted to little more than helping women’s magazine editors locate historical costume. In 1854, Raumer’s Taschenbuch published Kolloff’s article championing Rembrandt, an artist still viewed as a provincial master. “Rembrandt nach neuen Aktenstücken und Gesichtspunkten geschildert” was among the first to rate the Dutch artist as a master based upon his style. For Kolloff, drawing was not the height of artistic accomplishment, as valued in the work of Raphael, but painting “effects of light and color.” It was a notion in the air, as Delacroix, another “light and color” artist, had written in his 1851 journal. Kolloff traced Rembrandt’s artistic lineage through Lastman and Elshiemer, and not through Caravaggio. In 1872, Wilhelm Bode, another Rembrandt enthusiast, offered him the directorship of the Print Room the Berlin Museum (Kupferstichkabinetts der Berliner Museen), to replace Heinrich Gustav Hotho, but Kolloff declined. He retired in 1877.Kolloff was the first historian to discard the notion, popularized by Johann Joachim Winckelmann, that ancient art embodied serene harmonies, making it the height of western art production. This de-sanctifying of the classical era art led the way for the thinking of later writers such as Jacob Burckhardt and Friedrich Nietzsche (1844-1900) (Schiff). He also disagreed with fracturing history into periods, using at one point a body metaphor of parts to a whole to explain his vision. His denial that art history experiences decline phases (degenerate art styles) anticipates the Vienna School art historian Aloïs Riegl. His re-evaluation of Rembrandt was based upon dismissing the many legends which had grown up around the artist. “The only trustworthy statements,” he wrote, “are his works themselves–his true life story, his very soul” (Kultermann, p. 117). Kolloff examined Rembrandt’s pictures closely, observing the positive portrayal of the Jews and associating that with Dutch exegetical old testament studies. He located Rembrandt in the continuum of his fellow artists, Lucas van Leyden, Pieter Lastman, and Adam Elsheimer, rather than focusing exclusively on the inner events of the artist’s life, as had been established by Arnold Houbraken. His placement of Rembrandt in the stylistic tradition beginning with Titian and continuing through Rubens and Velázquez remains today.

Selected Bibliography

“Rembrandt’s Leben und Werke.” Historisches Taschenbuch 5. Leipzig: Friedrich von Raumer, 1854, reprinted, Tümpel, Christian, ed. “Rembrandt’s Leben und Werke, nach neuen Actenstücken und Gesichtspunkten geschildert.” Deutsches Bibel-Archiv. Abhandlungen und Vorträge 4. Hamburg: F. Wittig, 1971; Paris: Reisehandbuch. Paris: Franck, 1849; Schilderungen aus Paris. 2 vols. Hamburg: Hoffmann, 1839; Der evangelische Sagenkreis: ein Beitrag zur Geschichte der religiösen Dichtung und Kunst des Mittelalters. Leipzig: 1860.

Sources

German Essays on Art History. Gert Schiff, ed. New York: Continuum, 1988, pp. xxx-xxxii, 280; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 219-21; Zell, Michael. “Eduard Kolloff and the Historiographic Romance of Rembrandt and the Jews.” Simiolus 28 no. 3 (2000/2001): 181-97; Kultermann, Udo. The History of Art History. New York: Abaris, 1993, pp.116-17; Waetzoldt,Wilhelm. Deutsche Kunsthistoriker vom Sandrart bis Justi. Volume 2. Leipzig: E. A. Seeman, 1924, pp. 95-105.

Koldewey, Robert

November 8, 2023March 29, 2024

Full Name: Koldewey, Robert

Other Names:

Robert Johann Koldewey

Gender: male

Date Born: 1855

Date Died: 1925

Place Born: Blankenburg am Harz, Brunswick, Saxony, Germany

Place Died: Berlin, Germany

Home Country/ies: Germany

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

Overview

Self-trained classical era architectural historian; discoverer of the spectacular Procession Street and Ishtar Gate. Although Koldewey studied (practicing) architecture and art history in Berlin, Munich and Vienna, little of what he learned assisted him in later life. He left the university without an advanced degree. In 1882, the Bostonian Francis H. Bacon, the son-in-law to Frank Calvert (1828-1908), consular agent for the United States at the Dardanelles and an advisor to the excavations of Heinrich Schliemann, signed Koldewey on as a participant to the excavation of ancient Assus (Assos) in western Turkey. The 1882-83 dig taught Koldewey archaeological method and sharpened a talent for architectural drawing of ancient remains. He was a surveyor for subsequent excavations of the DAI (Deutsches Archäologisches Institut or German Archaeological Institute) including Lesbos (1885-86). In 1887 he assisted in Mesopotamia (Surghul, and ancient Lagash at El Hiba). At Neandria in Greece, he discovered the Aeolian capital in 1889. Between 1890-91 and 1894 he assisted Felix von Luschan (1854-1924) unearthing the late Hellenistic city of Schamal. He was a co-contributor to Die griechische Tempel in Unteritalien und Sizilien of Otto Puchstein (1856-1911), appearing in 1898. This was followed by an unhappy teaching stint in Gölitz, Germany, from 1895-1898. Puchstein then contracted Koldewey to do a survey of Babylon in 1898, and, on Puchstein’s recommendation, was hired by Richard Schöne to do a similar rendering of Mesopotamia. Working for the Berlin Museum, Koldewey continued excavating the Babylon site, discovering the spectacular Procession Street and Ishtar Gate, both in the Pergamon Museum. His excavations ceased in 1917 when the British assumed control of Baghdad during World War I. The Koldewey Society was established to mark his architectural service. An anti-academic his whole life, dour and misogynistic, his work nevertheless marks the modern archaeological discovery in the Near East. He never held a university position.

Selected Bibliography

[architectural drawings] and Puchstein, Otto. Die griechische Tempel in Unteritalien und Sizilien. 2 vols. Berlin: A. Asher & Co., 1899.

Sources

Calder, William, III. Koldewey, Robert (1855-1925). Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 1, pp. 646-47; Hrouda, B. Koldewey, Robert. Neue deutsche Biographie 12: 459-60; Andrea, W. Babylon: Die Versunkene Weltstadt und ihr Ausgräber Robert Koldewey. Berlin: W. de Gruyter, 1952.

Kolb, Carolyn

November 8, 2023March 29, 2024

Full Name: Kolb, Carolyn

Gender: female

Date Born: 1940

Date Died: 1994

Place Born: Little Rock, Pulaski, AR, USA

Place Died: New Orleans, Orleans, LA, USA

Home Country/ies: United States

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

Overview

Architectural historian of the Italian Renaissance. Kolb’s parents were boths, Bronelle Thomas Kolb, a surgeon, and Agnes Carpenter (Kolb), an anesthesiologist. Her junior year of high school witnessed the famous forced integration of the Little Rock Central Hight School by the national guard through governor Orvil Faubus in 1957. She entered Newcomb College, Tulane University in 1958, where Tulane faculty Jesse Poesch and Alfred Kummer Moir encouraged her interest in art history. After spending a year at the Courtuald Institute, London, she returned to New Orleans completing her degree in 1962. She wrote her M.A. thesis under Sydney Joseph Freedberg at Harvard University. Harvard’s John P. Coolidge and MIT’s Hank Millon brought an interest in architecture to her. Under James S. Ackerman, Kolb won a Fulbright grant to study at the Palladio Center (Centro Internazionale di Studi di Architettura) (CISA) in Vincenza. Her connections with Renato Cevese and Wolfgang Lotz, Rudolf Wittkower and Michaelangelo Muraro. Kolb was enrolled as a student at the Facoltà di Storia dell’Arte at the University of Padua during this time (1966-67), studying under Lionello Puppi and the chairman of the department, Rodolfo Pallucchini. She returned to teach at Dickinson College, Carlisle, PA in 1968, marrying Douglas Lewis in 1969. Her 1973 dissertation focused on the Barco della Regina (1491-1492) and the villa-castello d Agnesina Badoer and Girolamo Giustinian at Roncade. She taught at the University of Maryland (1972-1973) before a post-doctoral research appointment and a Junior Fellowship at the Center for Studies in the History of Landscape Architecture at Dumbarton Oaks in Washington, 1973-1974. A Kress Fellowship to Villa I Tatti (Harvard) in 1974 and a semester George Mason University, Virginia in 1975 followed. Kolb divorced the same year, teaching at Vassar College (1976-1977) before returning to New Orleans and an assistant professorship at the University of New Orleans in 1977. She married a second time to Professor David Berman, a professor of Mathematics in 1980. She rose through the ranks rising to associate in 1984 and full professor in 1990. Kolb was appointed as Coordinator for Art History at her UNO in 1987 (through 1993) and an Adjunct Curator at the New Orleans Museum of Art in 1988. She and Myra Nan Rosenfeld began collaboration n 1988 on the project “From Model Book to Treatise: the Development of the ltalian Renaissance Architectural Sketchbook.” A Kress Senior Fellow appointment came in 1991 for the Center for Advanced Study in the Visual Arts (CASVA) at the National Gallery of Art, Washgington, D. C. Kolb was diagnosed with lung cancer and retired from active teaching in 1993. She died the following year. Kolb was at work on an Annotated Bibliography on Andrea Palladio, commissioned by G.K. Hall & Co., (completed by Tracy E. Cooper). Her research material in architectural theory became the Carolyn Kolb Memorial Archive at the Canadian Centre for Architecture in Montreal. Kolb’s interest was with theories of architectural proportion, especially Vitruvius and Francesco di Giorgio Martini.

Selected Bibliography

[complete bibliography:] Brown, Clifford, and Lewis, Douglas, and Pincus, Debra. “Carolyn Kolb Bibliography, 1962-1994.” Artibus et Historiae 18, no. 35. (1997): 12-13; [dissertation:] The Villa Giustinian at Roncade.Harvard, 1973, published, New York: Garland, 1977; [same author?] New Orleans. Garden City, NY: Doubleday, 1972.

Sources

[obituary:] Brown, Clifford, and Lewis, Douglas, and Pincus, Debra. “Carolyn Kolb (1940-1994).” Artibus et Historiae 18, no. 35. (1997): 9-13.

Koehler, Wilhelm Reinhold Walter

November 8, 2023March 29, 2024

Full Name: Koehler, Wilhelm Reinhold Walter

Other Names:

Wilhelm Koehler

Gender: male

Date Born: 1884

Date Died: 1959

Place Born: Tallinn, Harjumaa, Estonia

Place Died: Munich, Bavaria, Germany

Home Country/ies: Germany

Subject Area(s): Medieval (European) and museums (institutions)

Career(s): directors (administrators) and museum directors

Overview

Medievalist and museum director, professor of art at Harvard. Köhler was born in Reval, Russian Empire, which is present-day Tallin, Estonia. He attended a Gymnasium in Wolfenbüttel. Between the years 1903-1907 he studied art history in Strassburg, Bonn, and finally Vienna. His dissertation in 1906 was written under the so-called “first” Vienna-school art historians Franz Wickhoff and advisor Max Dvořák. The following year he began a project of publishing illuminated manuscripts organized by school, Die karolingischen Miniaturen, for the Deutsche Verein für Kunstwissenschaft. The scope of the task was such that the first volumes appeared only in 1930-1933 and the second volume twenty-five years later. Between 1906-1909 he was an assistant for Wickhoff at the University. He served in the military in World War I in Poland and later researching in Belgium. After the war (1918) he was offered a position as director of the new art collection in Weimar (Staatlichen Kunstammlungen). He developed contacts with many Bauhaus faculty including Paul Klee and Lyonel Feininger. He married Bauhaus school student Margarete Bittkow (d. 1964) in 1920. The product of his war years research on Carolingian art appeared in 1923 as Belgische Kunstdenkmäler, edited by Paul Clemen. From 1924 he also held a professorship at Jena University. The first volumes of his Carolingian manuscript study, Die Schule von Tours (School of Tours), appeared between 1930-1933. His association with modern art brought him into increasing conflict with the national socialist government. Köhler came to Harvard in 1932 as the Kuno Franke Visiting Professor of German Art and Culture. When Harvard’s well-known medievalist A. Kingsley Porter died in a drowning accident the following year, Köhler was asked to replace him. He hereafter anglicized the spelling of his name. In 1941-1943 he served as Senior Fellow in charge of Studies at Dumbarton Oaks, contributing his imporatant essay “Byzantine Art in the West.” Koehler was named William Dorr Boardman professor in 1950. He retired emeritus in 1953. In his retirement he brought out volume two of his manuscript series, begun in the 1920s and still published in German by the Deutsche Verein, Die Hofschule Karls des Grossen, in 1958. A third volume, Die Gruppe des Wiener Krönungs-Evangeliars and Metzer Handschriften, completed before his death, was published shortly thereafter. Subsequent volumes have been published in a slightly different form, edited by Florentine Mütherich of the Zentralinstitut für Kunstgeschichte, completed on this basis of his notes. Koehler’s students included Whitney Stoddard. Koehler’s scholarship focused on Carolingian manuscript illumination. He also taught and published on the northern baroque and modern period of art history. Although he worked steadily to complete a survey of illuminated manuscripts (commissioned by the Bollingen Foundation), this was never finished. His methodology employs the Geistesgeschichte-style of art history of his mentor, Dvořák. His “Byzantine Art in the West” essay extended the psychological analysis approach of the work of Wilhelm Vöge on Chartres (Panofsky). In his manuscript treatises, he grouped schools together by handwriting as well as by stylistic similarities. As the professor at the Fogg, then Harvard student Jules Prown described him as a professor who taught students how to look at an object: “he would often give a two-hour seminar using one slide.” Student Otto Wittmann, Jr., characterized him as a spellbinding lecturer. Mütherich described Koehler’s contribution to the Carolingian Miniatures as the masterpiece that made Koehler’s reputation. Subsequent volumes (by other scholars) focused more on sources whereas Koehler’s School of Tours was written for further research into manuscripts.

Selected Bibliography

[dissertation] Michelangelos Schlachtenkarton: ein Rekonstructionsveruch. Vienna, 1906; Die karolingischen Miniaturen. Corpus der karolingischen Handschriften. Berlin: Bruno Cassirer, 1930-33, 1958; “Byzantine Art in the West.” Dumbarton Oaks Inaugural Lectures, November 2nd and 3d, 1940. [Dumbarton Oaks Papers] 1. Cambridge, MA: Harvard University Press, 1941; Rembrandt. New York: H.N. Abrams, 1953; Buchmalerei des frühen Mittelalters: Fragmente und Entwürfe aus dem Nachlass. Munich: Prestel Verlag, 1972.

Sources

Panofsky, Erwin. “Wilhelm Vöge: A Biographical Memoir.” Art Journal 28 no. 1 (Fall 1968): 30; [transcript] Smith, Richard Cándida, interviewer. Otto Wittmann: The Museum in the Creation of Community. Los Angeles: J. Paul Getty Trust, 1995, p. 73; Prown, Jules David. [comments from the symposium dinner, October 20, 1995] Yale Journal of Criticism 11 no. 1 (1998): 9-10; 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. 372-6; Mütherich, Florentine. “Wilhelm Koehler und der Deutsche Verein für Kunstwissenschaft.” Zeitschrift des Deutschen Vereins für Kunstwissenschaft 52/53 (1998/1999): 9-15; [obituary] Deknatel, Frederick. “Wilhelm Koehler.” Art Quarterly 23 (Spring 1960): 88.

Koechlin, Raymond

November 8, 2023March 29, 2024

Full Name: Koechlin, Raymond

Gender: male

Date Born: 1860

Date Died: 1931

Home Country/ies: France

Institution(s): Musée du Louvre

Overview

Sources

Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986 p. 374

Contributors: Lee Sorensen

Koch, Robert

November 8, 2023March 29, 2024

Full Name: Koch, Robert

Gender: male

Date Born: 1918

Date Died: 2003

Place Born: New York, NY, USA

Place Died: Stamford, Fairfield, CT, USA

Home Country/ies: United States

Overview

Early scholar of Louis Comfort Tiffany and Southern Connecticut State College professor. Koch was born to Millard and Ella Heidelberg (Koch). He gained his bachelor’s degree from Harvard in 1939 and a master’s degree from New York University. He married Gladys L. Rooff in 1942. During World War II, he served in the United States Army from 1942 to 1945. He was appointed assistant instructor at Queen’s College from 1951 to 1953, returning to graduate school at Yale University, working as an assistant. He joined Southern Connecticut State College, New Haven, as an assistant professor in 1956. Koch, received his Ph. D., in art history from Yale in 1957. The following year he curated an exhibition of Louis Comfort Tiffany’s work for the Museum of Contemporary Crafts in New York. The exhibition is credited with reving the interest in Tiffany Art Nouveau objects. He was appointed associate in 1959. Koch published his Ph.D thesis in a revised form as “Louis Comfort Tiffany, Rebel in Glass,” in 1964. He was promoted to (full) professor in 1966. With his wife, Koch also ran an antiques dealership. In 1972 Koch discovered a very early, and very rare, Tiffany, one that had probably been made by the designer personally. He retired as a professor emeritus in 1979. In 2002 Koch donated his rare Tiffany find to the Metropolitan Museum of Art. He should not be confused with the Princeton art historian Robert Koch born only one year later.

Selected Bibliography

[dissertation:] The Stained Glass Decades: A Study of Louis Comfort Tiffany (1848-1933) and the Art Nouveau in America, Yale, 1957; Louis Comfort Tiffany, 1848-1933. New York: Museum of Contemporary Crafts of the American Craftsmen’s Council, 1958; Louis C. Tiffany: Rebel in Glass. New York:Crown Publishers, 1966; Louis C. Tiffany’s Art Glass. New York: Crown Publishers, 1977.

Sources

[obituary:] Hecker, Don R. “Robert Koch, 85, an Arts Expert Who Helped Popularize Tiffany.” New York Times September 3, 2003 p. 17.

Koch, Herbert

November 8, 2023March 29, 2024

Full Name: Koch, Herbert

Gender: male

Date Born: 1880

Date Died: 1962

Place Born: Reichenbach, Thuringia, Germany

Place Died: Hamburg, Germany

Home Country/ies: Germany

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

Overview

Specialist in antique architecture. Dozent at the University of Bonn, 1914-1923. Professor at the University of Jena (1923-1929), University of Leipzig (1929-1931) and Halle (1931-?). His art-historical writing was so valued by Margarete Bieber that she included a passage in her German Readings reader of 1946. His students included Leopold D. Ettlinger.

Selected Bibliography

Römische Kunst, 192?. Der griech.-dorische Tempel, 1951 Von ionischer Baukunst, 1956.

Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 206-207.

Koch, Carl

November 8, 2023March 29, 2024

Full Name: Koch, Carl

Gender: male

Date Born: 1884

Date Died: 1969

Overview

Greatly influenced by the art historian Robert Vischer, student (?)

Selected Bibliography

Die Zeichnungen Hans Baldung Griens. Berlin: Deutscher Verein für Kunstwissenschaft, 1941; “Zu Robert Vischers achtzigsem Geburtstag.” Repertorium für Kunstwissenschaft 48 (1927):

Sources

Kultermann, Udo. The History of Art History. New York: Abaris, 1993, p.151, note 5.

Greatly influenced by the art historian Robert Vischer, student (?)

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