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Art Historians

Koch, Bob

Full Name: Koch, Bob

Other Names:

  • Bob Koch

Gender: male

Date Born: 1919

Date Died: 10 November 2011

Place Born: Durham, NC, USA

Place Died: Raleigh, Wake, NC, USA

Home Country/ies: United States

Subject Area(s): Netherlandish, Northern Renaissance, prints (visual works), and Renaissance

Career(s): curators


Overview

Northern Renaissance and prints scholar; Princeton University Art Museum curator and professor 1955-1990. Koch was the son of Frederick Henry Koch (1877-1944), a Harvard-educated folklorist and professor of dramatic literature at the University of North Carolina, Chapel Hill, and Loretta Jean Hanigan (Koch) [spellings as “Hannigan” are incorrect]. After graduating from the University of North Carolina, Chapel Hill with a B. A.in 1940, Koch continued there for his MA in art history, graduating in 1942. He was then drafted into the Army during World War II, rising to first lieutenant. Koch was stationed in Germany after the war until 1946 working in the Division of Monuments, Fine Arts, and Archives. It was there that he gained his first exposure to the arts of Europe (Hand). After discharge, he received a second master’s degree in art history (MFA) from Princeton in 1948. Koch was appointed assistant director of the Princeton Art Museum in 1949. His Ph.D, was awarded from Princeton in 1954 with a dissertation topic on medieval sculpture written under Erwin Panofsky. Koch held a visiting professorship at Princeton Theological Seminary 1954-1956. He joined Princeton University as an assistant professor in the Art Museum in 1955, studying in Belgium as a Fullbright fellow 1956-1957. He rose to associate professor in 1958. He was chair of the board of the College Art Association, 1961-1963. In 1962 he was promoted at the Museum to faculty curator of prints. Koch served on the board of the Mediaeval Academy of America, 1964-1966. In 1966, Koch was named Professor in the Department of Art and Archaeology, Princeton University, and faculty curator of prints at the Princeton University Art Museum. In his lifetime, Koch published comparatively little. In 1968 he issued a book on Joachim Patinir. He retired from Princeton University as professor emeritus in 1990 and in later years moved to Raleigh, NC where he died in 2011. His students included James A. Snyder, John O. Hand, Gregory T. Clark, Charles Minott, and J. David Farmer. Letters to his father (during his military posting post-war) are included with his father’s papers at the University of North Carolina. He is occasionally confused with the other art historian named Robert Koch, a professor at Southern Connecticut State University who was one year older. Koch’s area of specialty was Northern Renaissance painting and prints. He edited the illustrated re-issue of the Bartsch catalog of Adam von Bartsch in the 1970s.


Selected Bibliography

“Selected Bibliography.” A Tribute to Robert A. Koch: Studies in the Northern Renaissance. Princeton, NJ : Dept. of Art and Archaeology, Princeton University, 1994, pp. xiii-xiv; [dissertation:] The Central Portal Sculpture of the Church of Saint-Maurice at Vienne. Princeton, 1954; Joachim Patinir. Princeton, NJ: Princeton University Press, 1968; Hans Baldung Grien: Eve, the Serpent and Death/Hans Baldung Grien: Ève, le serpent et la Mort. Ottawa: National Gallery of Canada/Corporation of the National Museums of Canada, 1974.


Sources

Hand, John Oliver. “Introduction.” A Tribute to Robert A. Koch: Studies in the Northern Renaissance. Princeton, NJ : Dept. of Art and Archaeology, Princeton University, 1994, pp. ix-xi; Frederick Henry Koch Papers Inventory. Manuscripts Department, Library of the University of North Carolina at Chapel Hill. Southern Historical Collection #4124, http://www.lib.unc.edu/mss/inv/k/Koch,Frederick_H; personal correspondence, Dorothy Limouze, March 2010, Thomas A Koch, November 2011, and Barbara Ross, January, 2012.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Koch, Bob." Dictionary of Art Historians (website). https://arthistorians.info/kochra/.


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Northern Renaissance and prints scholar; Princeton University Art Museum curator and professor 1955-1990. Koch was the son of Frederick Henry Koch (1877-1944), a Harvard-educated folklorist and professor of dramatic literature at the University of

Knuttel, Gerhardus Wzn

Full Name: Knuttel, Gerhardus Wzn

Gender: male

Date Born: 1889

Date Died: 1968

Place Born: The Hague, South Holland, Netherlands

Home Country/ies: Netherlands

Career(s): art critics and curators


Overview

Museum curator; art critic. Knuttel was the son of Willem Knuttel (1854-1921), who was a librarian at the Royal Library in The Hague. His mother, Elize Fabius, was a writer. Knuttel attended the Gymnasium in The Hague and from 1909 to 1913 he took painting classes at the Hague Academy. In 1914 he was appointed an assistant at the Rotterdam Museum Boymans, a position he held for one year. He then decided to study art history. In Germany he enrolled at the universities of Berlin and Heidelberg. From Heidelberg University, where he studied under Carl Neumann, he earned, in 1917, his doctoral degree with a dissertation on a painting by Adriaan van de Venne, “Fishing for Souls”, Das Gemälde des Seelenfischfangs von Adriaen Pietersz. van der Venne. The painting (1614) is an allegory of the fight between the Protestants in the Northern Netherlands and the Catholics in the Southern Netherlands. After his return to the Netherlands, Knuttel began, in 1919, his yearlong career at the Hague Gemeentemuseum, under H. E. Van Gelder. In addition, between 1926 and 1938, he taught modern art at Utrecht University as a privaat-docent. In the museum, where he climbed in rank from assistant to curator of modern art, he stimulated the acquisition of works of contemporary Dutch and foreign painters. This collection became one of the highlights of the new museum designed by Hendrik Petrus Berlage (1856-1934), and completed in 1935. In 1938 Knuttel published his synthesis on Netherlandish painting, De Nederlandsche schilderkunst van Van Eyck tot Van Gogh. Between 1939 and 1941 he published, in the Palet-series, three monographs: Hubert en Jan van Eyck, Hercules Seghers, and Willem van Konijnenburg. In the Gemeentemuseum Knuttel eventually succeeded H. E. van Gelder as director in 1941. Unwilling to collaborate with the Nazis during the German Occupation, Knuttel was held hostage for two years in Michielgestel, a municipality in the southern part of the Netherlands. During those empty days the hostages organized courses on various topics. Knuttel contributed to the program with art history classes. After the war he resumed his position at the museum. In 1947 he published a book on leading painters in art history, Fakkeldragers van de Nederlandse Schilderkunst. Van Eyck, Bruegel, Rubens, Rembrandt, Vermeer, Van Gogh. In 1948, the year of his retirement, followed his study, Tot het hart der mensheid, het Nederlandse in de beeldende kunst. In 1949 his monograph on a contemporary painter appeared, Charles Eyck. As an art critic he regularly published in the journals Nieuwe Rotterdamsche Courant and Het Vaderland, and in the magazine Kroniek voor Kunst en Kultuur. In 1950 he was one of the co-founders of the Association Internationale des Critiques d’Art, and for years he was the president of the Dutch section. In 1951 he published a study on the evolution of the artistic design of letters throughout different style periods, De letter als kunstwerk; beschouwingen en confrontaties met andere gelijktijdige kunstuitingen van de Romeinse tijd tot op heden. His publication on Rembrandt’s etchings was translated into English, German, French, and Swedish. His Rembrandt monograph was published in 1956, a Rembrandt commemoration year. His last work (1962) is a critical study on the oeuvre of the Flemish painter Adriaen Brouwer. Knuttel saw his synthesis, De Nederlandsche schilderkunst van Van Eyck tot Van Gogh, as belonging to Geistesgeschichte and he pointed to the art history approach of Max Dvořák. In this perspective the personality of the artist is a component in the intellectual evolution of a specific period. Knuttel’s observations also reveal his personal engagement with the artworks and their creators. In his earlier publications he paid more attention to the iconological content of art works, as appears from his dissertation and from his 1926 essay on the Dutch still life (Eddy de Jongh, 1999). In his 1962 monograph on Adriaen Brouwer, which Knuttel intended as a necessary improvement on the earlier monographs by F. Schmidt-Degener, published in 1908, and Wilhelm Bode, published in 1924, Knuttel offers a new picture of the master’s life and personality, and of his artistic development,. As an art critic, privaat-docent, curator, and writer, Knuttel saw himself as a mediator between art and his audience as well as the contemporary public. (Jaffé, 1974).


Selected Bibliography

[dissertation:] Das Gemälde des Seelenfischfangs von Adriaen Pietersz. van de Venne. Heidelberg, 1917, published, The Hague: M. Nijhoff, 1917; Het classicisme en de kunst van heden: openbare les op 21 October 1926. Utrecht: Oosthoek, 1926;”Het Nederlandsch stilleven” Mededeelingen van den Dienst voor Kunsten en Wetenschappen der Gemeente ‘s-Gravenhage (1926, 2): 1-31; De Nederlandsche schilderkunst van Van Eyck tot Van Gogh. Amsterdam: H. J. W. Becht, 1938; Fakkeldragers van de Nederlandse Schilderkunst. Van Eyck, Bruegel, Rubens, Rembrandt, Vermeer, Van Gogh. Antwerp: De Sikkel, 1947; Tot het hart der mensheid, het Nederlandse in de beeldende kunst. Amsterdam: Ploegsma, 1948; Charles Eyck. Amsterdam: Van Munster, 1949; De letter als kunstwerk; beschouwingen en confrontaties met andere gelijktijdige kunstuitingen van de Romeinse tijd tot op heden. Amsterdam: Lettergieterij “Amsterdam” voorheen N. Tetterode, 1951; Rembrandt: etsen. The Hague: L. J C. Boucher, 1954; Rembrandt, de meester en zijn werk. Amsterdam: Ploegsma, 1956; Adriaen Brouwer, the Master and his Work. The Hague: L. J. C. Boucher, 1962.


Sources

Jaffé, H. L. “Gerhardus Knuttel WZN” in Jaarboek van de Maatschappij der Nederlandse Letterkunde te Leiden 1972-1973. Leiden, 1974, pp. 153-159; Jansen, H. ” ‘Zingen, lief, is zich versteken, in een vindbaarheid zoo schoon'” Jaarboek Haags Gemeentemuseum 1995-1996. The Hague, 1997, pp. 64-85; Blotkamp, Carel “Kunstgeschiedenis en moderne kunst: een lange aanloop.” in Hecht, Peter; Stolwijk, Chris; Hoogenboom, Annemieke, eds., Kunstgeschiedenis in Nederland. Negen opstellen. Amsterdam: Prometheus, 1998, pp. 97-98; De Jongh, E. “The Iconological Approach to Seventeenth-Century Dutch Painting” in Grijzenhout, Frans and Van Veen, Henk, eds., The Golden Age of Dutch Painting in Historical Perspective. Cambridge: Cambridge University Press, 1999, pp. 208-210.



Contributors: Monique Daniels


Citation

Monique Daniels. "Knuttel, Gerhardus Wzn." Dictionary of Art Historians (website). https://arthistorians.info/knuttelg/.


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Museum curator; art critic. Knuttel was the son of Willem Knuttel (1854-1921), who was a librarian at the Royal Library in The Hague. His mother, Elize Fabius, was a writer. Knuttel attended the Gymnasium in The Hague and from 1909 to 191

Knoef, Jan

Full Name: Knoef, Jan

Gender: male

Date Born: 1896

Date Died: 1948

Place Born: Amsterdam, North Holland, Netherlands

Place Died: Amsterdam, North Holland, Netherlands

Home Country/ies: Netherlands

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


Overview

Self educated art historian specializing in Dutch art of the eighteenth and the first half of the nineteenth century. Knoef spent his short life in Amsterdam, where he attended, between 1911 and 1915, the Normaalschool with the view to becoming a school teacher. However, after his time of duty in the army, he found employment in a library, where he began collecting reproductions of art culled from old periodicals. After this short period, he became an employee of the Dutch Railways in 1919. In his free time he devoted himself to studying art history on his own and he regularly traveled by train to visit libraries, archives and print rooms all over the country. From 1919 onward, his articles appeared in Elseviers Geïllustreerd Maandschrift, and later also in other periodicals, including Oud Holland and Maandblad voor Beeldende Kunsten. He increasingly felt attracted to a rather neglected field, the history of Dutch art of the eighteenth and first half of the nineteenth century. He shared this field of interest with another pioneering art historian, Adolph Staring. These two self-made art historians agreed that Knoef would focus on nineteenth-century art and leave the earlier period to Staring. Meanwhile Knoef continued studying and publishing. In 1936, he contributed to Kunstgeschiedenis der Nederlanden, edited by H. E. Van Gelder, with an essay on painting before 1860. Knoef was a shy and withdrawn person, who led a solitary life after his mother’s dead. In 1942, he was appointed keeper of the Rijksbureau voor Kunsthistorische Documentatie in The Hague, under J. G. van Gelder. During the war, in 1943, a collection of his essays appeared under the title, Tusschen Rococo en Romantiek (Between Rococo and Romanticism). In 1947, another collection followed, Van Romantiek tot Realisme appeared, largely a collection of essays previously published. In the same year, his monograph on Cornelis Troost (1697-1750) appeared in the Palet series. By that time however, Knoef was in very poor health, due to deprivation suffered during the hunger winter, in the last year of the war. Before his untimely death, in 1948, he published a survey on nineteenth-century Dutch painting, Een eeuw Nederlandsche schilderkunst. Knoef’s pioneering and conscientious research as a self-made art historian is generally acknowledged. In his monograph on Cornelis Troost, he situates the artist in the broader cultural context of the eighteenth century, looking beyond the borders of The Netherlands, and beyond the boundaries of his own particular field, the first half of the nineteenth century. Knoef also did archival research in Amsterdam on the eighteenth-century painter Jacob de Wit (1695-1754). He shared his interest in this painter with Staring. They wanted to co-author on De Wit, but this plan was not realized. Ten years after Knoef’s death, Staring eventually published a monograph on De Wit, in which Knoef’s research was incorporated and respectfully acknowledged.


Selected Bibliography

[For a complete bibliography, see] Berkhout, J. G. Bulletin Koninklijke Nederlandse Oudheidkundige Bond 6 series 2 (1949): 140-142; De schilderkunst voor 1860. in H. E. van Gelder, ed. Kunstgeschiedenis der Nederlanden. Utrecht: W. De Haan, 1936: 420-440; Tusschen Rococo en Romantiek. The Hague: A. A. M. Stols, 1943; Van Romantiek tot Realisme. The Hague: A. A. M. Stols, 1947; Cornelis Troost. Amsterdam: H. J. W. Becht, 1947; Een eeuw Nederlandsche schilderkunst. Amsterdam: E. M. Querido, 1948.


Sources

Gerson, H. Kunsthistorische mededelingen van het Rijksbureau voor Kunsthistorische Documentatie 3 (1948): 43-44; Van Regteren Altena, J. Q. In memoriam J. Knoef. Oud Holland 63 (1948): 147-148; Veth, C. Maandblad voor beeldende kunsten 24 (1948): 310; Van Gelder, J. G. In memoriam J. Knoef (1896-1948). Bulletin Koninklijke Nederlandse Oudheidkundige Bond 6 series 2 (1949): 138-140; De la Fontaine Verwey, H. Amstelodamum, Maandblad voor de kennis van Amsterdam 36 (1949): 5-7; Staring, A. Jaarboek van de Maatschappij der Nederlandse Letterkunde te Leiden 1950-1951: 131-139; Staring, A. Aan de lezer in Jacob de Wit, 1695-1754. Amsterdam: P. N. van Kampen & Zoon, 1958, p. 7; Ekkart, R. E. O. In J. Charité, ed. Biografisch Woordenboek van Nederland 2. The Hague: M. Nijhoff, 1985, pp. 307-308.



Contributors: Monique Daniels


Citation

Monique Daniels. "Knoef, Jan." Dictionary of Art Historians (website). https://arthistorians.info/knoefj/.


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Self educated art historian specializing in Dutch art of the eighteenth and the first half of the nineteenth century. Knoef spent his short life in Amsterdam, where he attended, between 1911 and 1915, the Normaalschool with the view to becoming a

Knipping, Jean Baptist

Full Name: Knipping, Jean Baptist

Gender: male

Date Born: 1899

Date Died: unknown

Subject Area(s): iconography


Overview

compiler of iconographic encyclopedia


Selected Bibliography

De Iconografie van de Contra-Reformatie in de Nederlanden. 2 vols. Hilversum: 1939-40.


Sources

KMP, 57 mentioned; EWA 7: 769ff “Iconography”




Citation

"Knipping, Jean Baptist." Dictionary of Art Historians (website). https://arthistorians.info/knippingj/.


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compiler of iconographic encyclopedia

Knight, Richard Payne

Full Name: Knight, Richard Payne

Gender: male

Date Born: 1750

Date Died: 1824

Place Born: Wormesley Grange, Herefordshire, England, UK

Place Died: Downton Castle, UK

Home Country/ies: United Kingdom

Subject Area(s): ancient, Ancient Greek (culture or style), connoisseurship, Greek sculpture styles, and sculpture (visual works)

Career(s): art critics


Overview

Connoisseur art historian; critic of the Elgin marbles debate. Knight was the grandson of a Shropshire ironmaster, Richard Knight, whose fortune he inherited. His parents were Thomas Knight, a clergyman, and his mother, his father’s onetime servant girl, Ursula Nash. Knight was educated at home. He made many trips to Italy during his youth, collecting coins and antique bronzes. In 1774 he inherited the Downton Castle property, on which he built a “castle” beginning in 1772, transforming the grounds into an important example of British landscape architecture of the time. Knight became a Member of Parliament from 1780 (through 1806). He joined the famous group of scholars of classical studies, the Society of Dilettanti, in 1781. In 1786, he published a study on Priapus, arguing for a prominence of the erotic god in the classical world. This shocking treatise was typical of Knight’s brand of partisan writing and from then on set the religious community against his work. In 1791 he attacked Abbé Fourmont’s inscriptions from Lakonia as a forgery. During this period textual criticism occupied most of his efforts. He published a discussion of Homer in 1808, republishing it in 1820 with the full-text of Homer, incorporating the many drastic and incorrect changes. In 1809 he published his suspicion that many admired Roman sculptures were in fact copies of Greek bronze originals. His knowledge of bronze work, developed from his personal collections, became the basis for this astute (and ultimately correct) art criticism. Published by the Society of Dilettanti, the work discussed such widely admired examples as the Belvedere Apollo, the Niobe group, and the Borghese Gladiator. He did not suspect the Laocoon. Knight’s reputation was profoundly and permanently damaged through the Elgin marble incident. When Lord Elgin offered the pedimental sculpture to the government, Knight berated them in his typical outspoken manner. He characterized them as Roman copies and inferior quality. His 1816 testimony before a select committee of the House of Commons attempted to dissuade the government from buying the sculptures. The marbles were purchased, but only after Knight’s criticism had reduced Elgin’s finances and his own reputation. As an art historian and aethete, Knight is important as one of the leaders convincing British taste that Roman art was inferior to the Greek examples. He argued for the modern sensibility of Greek art as the more authentic and original of the two classical cultures. His book on phallic worship, The Worship of Priapus, not only proposed that a religious cult existed venerating the phallus, but that this veneration manifested itself in other modes through the present time. Knight was among the first to argue Pagan ideas persisted though modern Christian culture. As a landscape theorist, he was a proponent of picturesque and against the gentle and natural layouts of Capability Brown.


Selected Bibliography

An Account of the Remains of the Worship of Priapus. London: 1786; An Analytical Essay on the Greek Alphabet. London: 1791; An Inquiry into the Symbolical Language of Ancient Art and Mythology. London: 1818.


Sources

Kopff, E. C. Knight, Richard Payne. Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 1, pp. 641-642; Penny, Nicholas, and Clarke, M. The Arrogant Connoisseur: Richard Payne Knight, 1751-1824. Manchester: University of Manchester Press, 1982.




Citation

"Knight, Richard Payne." Dictionary of Art Historians (website). https://arthistorians.info/knightr/.


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Connoisseur art historian; critic of the Elgin marbles debate. Knight was the grandson of a Shropshire ironmaster, Richard Knight, whose fortune he inherited. His parents were Thomas Knight, a clergyman, and his mother, his father’s onetime servan

Knackfuss, Hubert

Full Name: Knackfuss, Hubert

Other Names:

  • Hurbert Knackfuss

Gender: male

Date Born: 25 June 1866

Date Died: 30 April 1948

Place Born: Gut Dahlheim, Aachen, Germany

Place Died: Munich, Bavaria, Germany

Home Country/ies: Germany

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


Overview

Specialist in the architecture of ancient Greece; founder of the discipline of archeological architectural history. Knackfuß hailed from an artistic family. His elder brothers were artists (and the oldest of his brothers, a writer of artistic biographies, Hermann Joseph Wilhelm Knackfuss). He studied architecture at Aachen beginning in 1901. Together with Theodor Wiegand he led the excavation of the Roman buildings of Miletus and Didyma through the auspices of the Royal Berlin Museums (Königliche Museen zu Berlin). These included the theater, municiple building and the Market Gate. Knackfuß made a careful reconstruction of the gate for the Berlin Pergamon Museum in 1929. However, the final installation was so much different than Knackfuss had suggested that he boycotted its opening in the Museum. After the gate reconstruction Knackfuß focused his attention on ancient building research and reconstruction. Using the structural remains of ancient monuments as documents, he conjectured the appearance of buildings as accurratedly as possible. Knackfuss remained active in Asia Minor, leading excavations at Miletus the Apollo sanctuary of Didyma, except for the years of the first world war. He published his results in 1941, the most comprehensive study of an ancient architectural history. As the second director of the Deutsche Archäologische Institut (German Archaeological Institute or DAI) in Athens, he oversaw the excavations at Olympia and other ancient Greek sites. In 1919 Knackfuss returned to Germany as professor at the Technische Universität (Technical University) lecturing on ancient architecture. With the rise of the Nazis in 1933, he was forced to relinquish his chair the following year to Alexander von Senger. After the war Knackfuß’ position was reinstated. He remained at the University until his death. Further volumes of Didyma were completed by Albert Rehm and Richard Harder.


Selected Bibliography

Das Rathaus von Milet. Berlin: G. Reimer, 1908; Der südmarkt und die benachbarten bauanlagen. Staatliche Museen zu Berlin. Milet vol.. I, part. 7. Berlin: Verlag von Schoetz und Parrhysius, 1924; Didyma. 2 vols. in 4 parts. Berlin: Gebr. Mann, 1941-1958 [part four, inscriptions, by Albert Rehm, edited by Richard Harder].


Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 164-165.




Citation

"Knackfuss, Hubert." Dictionary of Art Historians (website). https://arthistorians.info/knackfussh/.


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Specialist in the architecture of ancient Greece; founder of the discipline of archeological architectural history. Knackfuß hailed from an artistic family. His elder brothers were artists (and the oldest of his brothers, a writer of artistic biog

Knackfuss, Hermann Joseph Wilhelm

Full Name: Knackfuss, Hermann Joseph Wilhelm

Other Names:

  • Hermann Knackfuss

Gender: male

Date Born: 11 August 1848

Date Died: 17 May 1915

Place Born: Wissen Rhineland Palatinate, Germany

Place Died: Kassel, Hesse, Germany

Home Country/ies: Germany


Overview

Author of many of the immensely popular Künstler-Monographien series of Velhagen & Klasing publisher. Knackfuß entered the Dusseldorf Academy in 1869 to study (studio) art under E. von Bendemann and E. von Gebhardt. He joined the Hussar regiment for the Franco-Prussian war making drawings of the conflict. He received a travel prize to study in Rome, 1875-1878. Upon his return he married the daughter of the sculptor H. M. Imhof. In 1880 he was called to the Dusseldorf academy to learn art anatomy. He travelled to Greece, Egypt and Asia Minor to sharpen his skills as a history painter. Beginning in 1895, Knackfuß began issuing popular brief monographs on individual artists through the Velhagen & Klasing publishing house under the series title “Künstler-monographien.” He personally wrote twelve volumes, some of which were translated into English by the Keeper of the Department of Prints and Drawings of the British Museum, Campbell Dodgson. His younger brothers were the painter Eduard Knackfuß (1855-1945) and the architectural historian and archaeologist Hubert Knackfuss. He was harshly criticized by the German academic art historian Anton Springer for his simplistic methodology.


Selected Bibliography

Tizian. Bielefeld/Leipzig: Velhagen & Klasing, 1897; Rembrandt. Bielefeld: Velhagen & Klasing, 1899; Van Dyck. Leipzig: Velhagen & Klasing, 1896, English, Van Dyck. Translated by Campbell Dodgson. New York : Lemcke & Buechner, 1899.


Sources

Stern, Dorothea. “Knackfuß, Hermann.” Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart. 20 Leipzig: W. Engelmann, 1927, p. 560-561; Stolz, Christa. Hermann Knackfuss: Monographie über e. im 19. Jahrhundert in Wissen geborenen Künstler. Wissen: Nising, 1975.




Citation

"Knackfuss, Hermann Joseph Wilhelm." Dictionary of Art Historians (website). https://arthistorians.info/knackfussh1848/.


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Author of many of the immensely popular Künstler-Monographien series of Velhagen & Klasing publisher. Knackfuß entered the Dusseldorf Academy in 1869 to study (studio) art under E. von Bendemann and E. von Gebhardt. He joined the Hussar regiment f

Klipstein, August

Full Name: Klipstein, August

Other Names:

  • August Klipstein

Gender: male

Date Born: 1885

Date Died: 1951

Home Country/ies: Switzerland

Subject Area(s): graphic arts

Career(s): art dealers


Overview

Bern gallery graphics dealer, partner of Gutekunst und Klipstein and later of Kornfeld and Klipstein, author of Käte Kollwitz catalogue raisonné.


Selected Bibliography

[dissertation:] Die Persistenz gotischer Kunstanschauung und gotische Rückfallserscheinungen in der Entwicklung der Renaissance des italienischen Quattrocento. Bern, 1916; Käthe Kollwitz: Verzeichnis des graphischen Werkes. New York: Galerie St. Etienne, 1955, English, The Graphic Work of Käthe Kollwitz: Complete Illustrated Catalogue. New York: Galerie St. Etienne, 1955.





Citation

"Klipstein, August." Dictionary of Art Historians (website). https://arthistorians.info/klipsteina/.


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Bern gallery graphics dealer, partner of Gutekunst und Klipstein and later of Kornfeld and Klipstein, author of Käte Kollwitz catalogue raisonné.

Klingender, F. D.

Full Name: Klingender, F. D.

Other Names:

  • F. D. Klingender

Gender: male

Date Born: 1907

Date Died: 1955

Place Born: Goslar, Lower Saxony, Germany

Place Died: Manchester, Manchester, City and Borough of, England, UK

Home Country/ies: United Kingdom

Subject Area(s): Marxism


Overview

Marxist art historian of British art; employed Kunstsoziologie in his writings. Klingender’s father, Louis Henry Weston Klingender (1861-1950), a native of Liverpool, was a painter of animals, a subject which the younger Klingender would return to himself late in life. His mother, also British, was Florence Hoette (Klingender) (d. 1944). In 1902 the family moved to Goslar in the Harz Mountain region of Germany. The younger Klingender was born there in 1907. At the outbreak of World War I, his father was interned on suspicion spying for England at a camp near Berlin. Francis Klingender attended the Goslar Gymnasium, graduating in 1925. His family returned to England shortly thereafter, but his father’s old-fashioned pictures were unsellable and the family lived in poverty, supported only by their son. Klingender attended evening classes at the London School of Economics and Political Science, where he specialized in sociology, working in the daytime for an advertising agency. He graduated in 1930, doing field research for the New Survey of London Life and Labour, organized by Sir Hubert Llewellyn Smith (1864-1945). He was a Ratan Tata research student between 1930 and 1932. He received his Ph.D. in 1934, writing his dissertation on the London workforce. In 1935 he published his Condition of Clerical Labour in Britain. Klingender’s unpopular views of the the British labor force made getting an academic job difficult. He lectured privately, becoming a member of the Executive Committee of the Artists International Association. John Grierson commissioned him to examine the financial underpinnings of the British film industry. His book Money Behind the Screen, appeared, meeting a controversial reception. Further work on British agriculture led to a Leverhulme research fellowship for 1939-40. Although his political views were troubling to military authorities, Klingender was prevented from acceptance in the military for health reasons. During the war, he researched the effects of the industrial revolution on the fine arts in England. The result, Art and the Industrial Revolution, was published in 1947. The following year his Goya in the Democratic Tradition appeared, another work researched during the war. Klingender came as a lecturer in sociology at the University of Hull, beginning in 1948. In 1951 he married Winifred Margaret Kaye. His work at Hull focused again on British labor issues. However, in 1953 and 1954 two articles appeared in the prestigeous, if maverick, Journal of the Warburg and Coutauld Institute on bird iconography in Franciscan altar pieces and Paleolithic art. Shortly before his death, he completed the manuscript for Animals in Art and Thought, what he hoped would be his magnum opus. Never in robust health and a life-long asthmatic, Klingender collapse and died suddenly in 1955. His manuscript for Animals in Art was edited by the wife of fellow Marxist art historian Frederick Antal. Klingender was an early exponent in English-language writing of Kunstsozialogie, a later more widely accepted art-historical method in the translated works of Arnold Hauser. In 1968 Arthur Elton revised and edited Klingender’s Art and Industrial Revolution softening many of Klingender’s hard-line Marxist arguments to make the book more palatable for newer audiences (Kitson). His arguments centered around the notion that a continuous tradition of realism began with prehistoric art and lasted until the age of non-objectivism, which was the sign of ultimate social decline. His book on Goya stated that it examine the artist’s art without concern for style, another tenet of strict Marxist view of art history.


Selected Bibliography

[dissertation:] The Black-coated Worker in London. London School of Economics, 1934; Animals in Art and Thought to the End of the Middle Ages. Edited by Evelyn Antal and John Harthan. London: Routledge & Paul, 1971; Art and Industrial Revolution. London: N. Carrington, 1947; Goya in the Democratic Tradition. London: Sidgwick & Jackson, 1948; Marxism and Modern Art: An Approach to Social Realism. London: International Publishers, 1945; Hogarth and English Caricature. New York: Transatlantic Arts ltd., 1944; and Legg, Stuart. Money Behind the Screen. New York: Arno Press, 1978 (1937).


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, pp. 132 mentioned, 134; 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. 79; Goya in Perspective. Edited by Fred Licht. Englewood Cliffs, NJ: Prentice-Hall, 1973, p. 171 (personal account); Kitson, Michael. “Introduction to the Fifth Edition.” Waterhouse, Ellis K. Painting in Britain, 1530 to 1790. 5th ed. New Haven: Yale University Press, 1994, pp. xvi and note 9, p. xxviii; Read, Herbert. “Intgroduction.” in Goya in the Democratic Tradition. 2nd ed. New York: Schocken Books, 1968; “Editors’ Foreword and Acknowledgements.” in Animals in Art and Thought to the End of the Middle Ages. Edited by Evelyn Antal and John Harthan. Cambridge, MA: M. I. T. Press, 1971, pp.xxiii-xxiv; Elton, Arthur. “Francis Donald Klingender 1907-1955.” Art and Industrial Revolution. 2nd ed. New York: Augustus M. Kelley, 1968, pp. vii-xi [obituaries:] “Dr. F. D. Klingender.: The Times (London) July 12, 1955, p. 11; addendum by J. S. H. “Dr. F. D. Klingender .” The Times (London), July 18, 1955, p. 11.




Citation

"Klingender, F. D.." Dictionary of Art Historians (website). https://arthistorians.info/klingenderf/.


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Marxist art historian of British art; employed Kunstsoziologie in his writings. Klingender’s father, Louis Henry Weston Klingender (1861-1950), a native of Liverpool, was a painter of animals, a subject which the younger Klingender would

Kleiner, Gerhard

Full Name: Kleiner, Gerhard

Gender: male

Date Born: 1908

Date Died: 1978

Place Born: Seelow, Brandenburg, Germany

Place Died: Mileto, Vibo Valentia, Calabria, Italy

Home Country/ies: Germany

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


Overview

Specialist in classical Greek art and its subsequent influence on Renaissance art. Kleiner wrote his dissertation under Ernst Buschor. Ordentliche (full) Professor at Hamburg University, 1950-1952. Second Director of the Deutsches Archäologisches Institut, Istanbul (German Archaeological Institute, or DAI) 1954-1956. Professor at the University of Frankfurt, 1956-. Led excavation efforts at Milet in the final years of his life. His students included Helga von Heintze.


Selected Bibliography

Tanagrafiguren. 1942; Bildnis Alexander des Großen. 1951; Die Begegnungen Michelangelos mit der Antike. 1950; Die Inspiration des Dichters. 1949; Alt Milet. 1966.


Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 305-306.




Citation

"Kleiner, Gerhard." Dictionary of Art Historians (website). https://arthistorians.info/kleinerg/.


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Search for materials by & about this art historian:

Specialist in classical Greek art and its subsequent influence on Renaissance art. Kleiner wrote his dissertation under Ernst Buschor. Ordentliche (full) Professor at Hamburg University, 1950-1952. Second Director of the De