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Juynboll, W. R.

Full Name: Juynboll, W. R.

Other Names:

  • W. R. Juynboll

Gender: male

Date Born: 20 May 1903

Date Died: 1977

Place Born: Leiden, South Holland, Netherlands

Place Died: Leiden, South Holland, Netherlands

Home Country/ies: Netherlands

Career(s): art historians


Overview

Co-editor of the encyclopedia, Winkler Prins van de Kunst. Juynboll belonged to a family of eminent scholars and university professors, particularly in the field of oriental studies. Juynboll, himself, however, after graduating from the Leiden Gymnasium, chose to study art history at Leiden University. Between 1931 and 1934 he was a research assistant at the Leiden University print room. In 1934 he earned his doctor’s degree with a dissertation on the comic genre in seventeenth- and eighteenth-century Italian painting, Het komische genre in de Italiaanse schilderkunst gedurende de zeventiende en de achttiende eeuw. Bijdrage tot de geschiedenis van de caricatuur. In 1935 he became an art contributor to the daily newspaper Nieuwe Rotterdamse Courant (NRC). The following year he began teaching the history of Italian art at this Alma Mater. His inaugural lecture was on Baroque and Classicism in Rome, Barok en Classicisme te Rome. In the mid-1930s he was invited to revise and prepare for publication the biographical dictionary of Dutch Engravers that François Gérard Waller had left unfinished. This appeared in 1938 as F. G. Waller. Biographisch Woordenboek van Noord Nederlandsche Graveurs. Uitgegeven door de beheerders van het Waller Fonds en bewerkt door Dr. W. R. Juynboll. With the closing of Leiden University by the German occupying forces in 1941, Juyboll’s teaching position was eliminated. After the war, he was appointed curator at the Rijksbureau voor Kunsthistorische Documentatie (RKD) in The Hague (Netherlands Institute for Art History) in 1947. Another major project followed in the mid-1950s, when he was asked to be the co-editor, along with the Belgian art historian Valentin Denis, of the three-volume encyclopedia Winkler Prins van de Kunst, encyclopedie van de architectuur, beeldende kunst, kunstnijverheid (1958-59). In much of his work on this he was assisted by his wife, Maria Susanna van Eysselsteyn. Juynboll was the author of the first compendium entry on the discipline of art history as well as of a number of longer entries, dealing with famous artists, periods and disciplines. Juynboll also contributed to Oudheidkundig Jaarboek, Oud Holland, Elsevier’s Maandschrift, and Emporium. In the early 1960s he sold his rich library to the Clark Art Institute (Williamstown, MA), stipulating that a number of his books would be shipped to the US only after his death. Juynboll died in 1977 in the vicinity of Leiden, Netherlands. One of his sons is the Islamic studies scholar G.H.A. Juynboll (b. 1935). In his encyclopedia article “Kunstgeschiedenis”, Juynboll argues that iconology should be considered a valuable auxiliary discipline of art history rather than serving as an essential art historical method, as it was done in his view by Erwin Panofsky and the school of the Warburg Institute.


Selected Bibliography

Het komische genre in de Italiaanse schilderkunst gedurende de zeventiende en de achttiende eeuw. Bijdrage tot de geschiedenis van de caricatuur. Leiden: N.V. Leidsche Uitgeversmaatschappij, 1934; Barok en Classicisme te Rome. Leiden: N.V. Leidsche Uitgeversmaatschappij, 1936; F. G. Waller. Biographisch Woordenboek van Noord Nederlandsche Graveurs. Uitgegeven door de beheerders van het Waller Fonds en bewerkt door Dr. W. R. Juynboll. The Hague: Martinus Nijhoff, 1938; De reis van Sir Joshua Reynolds in de Nederlanden. Assen: Van Gorcum, 1954; and Denis, Valentin (eds) Winkler Prins van de Kunst, encyclopedie van de architectuur, beeldende kunst, kunstnijverheid. 3 vols. Amsterdam: Elsevier, 1958-1959.


Sources

Biografische gegevens van Nederlanders die een vooraanstaande plaats in het maatschappelijk leven innemen, met vermelding van adressen. The Hague: Martinus Nijhoff, 1956, p. 317; personal correspondence, Dr. G.H.A. Juynboll, Leiden, July 2010.




Citation

"Juynboll, W. R.." Dictionary of Art Historians (website). https://arthistorians.info/juynbollw/.


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Co-editor of the encyclopedia, Winkler Prins van de Kunst. Juynboll belonged to a family of eminent scholars and university professors, particularly in the field of oriental studies. Juynboll, himself, however, after graduating from the L

Justi, Ludwig

Full Name: Justi, Ludwig

Gender: male

Date Born: 1876

Date Died: 1957

Place Born: Marburg, Hesse, Germany

Place Died: Potsdam, Brandenburg, Germany

Home Country/ies: Germany


Overview

Director of the National Gallery, Berlin, 1909-1933, nephew of the art historian Carl Nicolaus Heinrich Justi. When Hugo von Tschudi, the controversial director of the National-Galerie, was fired by Kaiser Wilhelm II for buying work too modern and too foreign (e.g. French Post-Impressionism and the works of van Gogh), Justi replaced him. Justi’s directorship fell under the control of the powerful Wilhelm Bode, director of the Generalverwaltung, the umbrella bureau of all Prussian art museums. However, Justi largely followed Tschudi’s progressivist acquisition policies. Dismissed by the Nazis in 1933 and succeeded by Eberhard Hanfstaengl.



Sources

Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 200-203; 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. 341-7; Gaehtgens, Thomas, and Winkler, Kurt, eds. Ludwig Justi: Werden, Wirken, Wissen: Lebenserinnerunge aus fünf Jahrzehnten. 2 vols. Berlin: Nicholai, 2000.




Citation

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Director of the National Gallery, Berlin, 1909-1933, nephew of the art historian Carl Nicolaus Heinrich Justi. When Hugo von Tschudi, the controversial director of the National-Galerie, was fired by Ka

Justi, Carl Nicolaus Heinrich

Full Name: Justi, Carl Nicolaus Heinrich

Other Names:

  • Karl Justi

Gender: male

Date Born: 1832

Date Died: 1912

Place Born: Marburg, Hesse, Germany

Place Died: Bonn, North Rhine-Westphalia, Germany

Home Country/ies: Germany

Subject Area(s): biography (general genre), Italian (culture or style), painting (visual works), Portuguese (culture or style), Renaissance, and Spanish (culture or style)


Overview

Scholar of Spanish, Portuguese and Italian Renaissance painting; employed a biographical approach to art history. Justi was the son of a pastor. From 1850 he studied theology in Marburg before switching to philosophy in Berlin. His interest was always in philology and esthetics, particularly classical esthetics. After graduation in 1859, Justi’s initial appointment was in Philosophy at the university in Marburg. While teaching at Marburg, he read the works of Johann Joachim Winckelmann and his enthusiasm for art history was confirmed. Beginning in 1866, Justi published a massive 3-volume account of Winckelmann’s writings. That same year he was appointed extraordinarius professor. Justi traveled to Italy to examine the monuments Winckelmann had seen. It was while researching Winckelmann and his numerous acquaintances, that Justi discovered the portrait of Innocent X by Velázquez in the Doria Palazzo Pamphili. Justi resolved to write the second major work of his career, a critical biography on the artist. He was made ordinarius (full) professor in 1869. He briefly taught at Kiel before succeeding Anton Springer as professor for art history at the University of Bonn in 1872, which position he held until 1901. That same year, 1872, Justi traveled to Spain to research on Spanish art. After numerous visits to Spain, Justi published on Bartolomé Esteban Murillo. He made excursions to St. Petersburg and England in 1875. Justi’s students in Bonn at this time included Aby M. Warburg, but Warburg’s interdisciplinary approach toward resulted in a stalemate and Warburg left for Berlin. Another student attending his classes was Wilhelm Vöge, who found him to be a poor teacher but charming bachelor scholar. At Bonn, Justi taught courses in esthetics (“with special reference to the Visual Arts”) and a seminar of Giorgio Vasari. In 1888, Justi’s Diego Velázquez und sein Jahrhundert appeared. Though generally well researched and innovative, a French scholar discovered that one of the letters by Velázquez quoted by Justi had been fabricated. Justi admitted the deceit in a 1905/06 discussion in Kunst-chronik, but stopped short of an apology. This caused one French journal to accuse German art history as little more than “trickery” in what it termed “Un faussaire boche.” In 1900, the third of his critical/biographical monographs appeared, this one on Michelangelo. After his death, the Carl Justi Vereinigung (Carl Nicolaus Heinrich Justi Society) was founded “to provide a forum for mutual scholarly and personal exchange for those art historians who address Spanish, Portuguese and Latin American art history in their research.” The Carl-Justi Straße in Bonn is named for him. His nephew, Ludwig Justi, was the director of the National Gallery in Berlin, 1909-1933. Methodologically, Justi’s art history centers around the concept of “artist as hero” (Heldengeschichte). A major historian of the Gründerzeit (foundational era of modern Germany), he, like Herman Grimm, rejected an art history constructed around art movements or Hegelian philosophy, favoring instead biography. This view contrasts the positivism of scholars such as Hippolyte Taine or the cultural history or Karl Lamprecht. In affirming Gründerzeit values, he, along with Jacob Burckhardt, disapproved of contemporary art. His study of Michelangelo employs psychology to understand the artist. His Spanish-artist studies helped establish the link, if unwittingly, between Impressionism and the work of baroque artists. Udo Kulterman cites Justi’s identification of modernity (in the case of El Greco) with degeneration (“Entartung”). In the nineteenth century this had the effect of pushing the notoriously conservative Kaiser Wilhelm II’s opinion against modern art. It led to the belief in the twentieth century by the Nazi’s that German Expression was sick, manifested in the famous “Entartete Kunst” (degenerate art) exhibition. Justi had a great disdain for photographic reproductions in books or as study aids of any kind. He believed that machine-made images corrupted the eye and accused them of distorting the original object. Vöge, who studied with Justi four semesters beginning hin 1887, recalled him as “not a good teacher but a heavenly old bachelor, his study papered with books, a charming chamber of antiquities, milk jug, butter dish, ashtray, books and papers, old vases and other heirlooms mixed up in a wild carnival on his desk and cupboard.” Warburg, who studied with him during the same time, found him conservative, for example, Justi’s doubting that classical art had much effect on the Renaissance or his denying northern Renaissance painters such as Jan van Eyck as part of the Renaissance.


Selected Bibliography

[bibliography (academic articles only):] Willers, Heinrich, ed. Verzeichnis der bis zum 2. August 1912 erschienenen Schriften Carl Justis: Carl Justi zum achtzigsten Geburtstage dargebracht von Rektor und Senate der Rheinischen Friedrich-Wilhelms-Universität zu Bonn. Bonn: C. Georgi, 1912; [dissertation:] Die ästhetischen Elemente in der platonischen Philosophie: ein historisch-philosophischer Versuch. Marburg, 1859, published, Marburg: N. G. Elwert, 1860; Diego Velázquez und sein Jahrhundert. Bonn: M. Cohen, 1888, English, Diego Velázquez and His Times. London: H. Grevel, 1889; Michelangelo: Beiträge zur Erklärung der Werke und des Menschen. Leipzig: Breitkopf & Härtel, 1900; Winckelmann: sein Leben, Seine Werke und sein Zeitgenossen. 3 vols. Leipzig: F. C. W. Vogel, 1866-72; “Die Portugiesische Malerei der 16ten Jahrhunderts.” Jahrbuch der preussischen Kunstsammlungen 20; “Der Fall Cleve.” Jahrbuch der preussischen Kunstsammlungen 16 (1895): 13 – 33; Miscellaneen aus drei Jahrhunderts Spanischen Kunstleben. 2 vols. Berlin: G. Grote,1908; Briefe aus Italien. Bonn: Cohen 1922; Carl Justi/Otto Hartwig: Briefwechsel: 1858-1903. Leppla, Rupprecht, ed. Bonn: L. Röhrscheid, 1968; edited. Stosch, Philipp, Baron von. Antiquarische Briefe dis Baron Philipp von Stosch. Marburg: C. L. Pfeilii, 1871; [explanation of Justi’s forged Velázquez letter] Kunst-chronik: Beiblatt zur Zeitschrift für bildende Kunst 17 (February 23, 1906) p.246 (1905-06).


Sources

Kehrer, Hugo. Deutschland in Spanien. Beziehung, Einfluss und Abhängigkeit. Munich: G. D. W. Callwey, 1953; [Vöge reminiscence] Panofsky, Erwin. “Wilhelm Vöge: A Biographical Memoir.” Art Journal 28 no. 1 (Fall 1968): 28-29; Kleinbauer, W. Eugene. Modern Perspectives in Western Art History: An Anthology of 20th-Century Writings on the Visual Arts. New York: Holt, Rinehart and Winston, 1971, pp. 92, 25 n. 51; Dilly, Heinrich. Kunstgeschichte als Institution: Studien zur Geschichte einer Diziplin. Frankfurt am Main: Suhrkamp, 1979, p. 22; 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. 89, 147 mentioned; Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 447, 531; Gombrich, Ernst H. Aby Warburg: An Intellectual Biography. 2nd ed. Chicago: University of Chicago Press, 1986, pp. 26-28; German Essays on Art History. Gert Schiff, ed. New York: Continuum, 1988, p. lii mentioned; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 197-199.




Citation

"Justi, Carl Nicolaus Heinrich." Dictionary of Art Historians (website). https://arthistorians.info/justic/.


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Scholar of Spanish, Portuguese and Italian Renaissance painting; employed a biographical approach to art history. Justi was the son of a pastor. From 1850 he studied theology in Marburg before switching to philosophy in Berlin. His interest was al

Junius, Franciscus

Full Name: Junius, Franciscus

Other Names:

  • Franciscus Junius du Jon the younger

Gender: male

Date Born: 29 January 1591

Date Died: 19 November 1677

Place Born: Heidelberg, Saxony, Germany

Place Died: Windsor, Windsor and Maidenhead, England, UK

Home Country/ies: Germany

Subject Area(s): art history, historiography, and philology

Career(s): patrons (philanthropists)


Overview

Philologist, author of an early art history and exponent of the visual arts. Junius was born into an illustrious Calvinist family. His father, Junius the elder (or Du Jon; 1545-1602), was a French Huguenot theologian who taught in Heidelberg and Leiden. His mother was Joanna (d. 1591), daughter of a Belgian noble, Simon l’Hermite. One uncle, Johan van den Corput (1542-1611), a military engineer and another, Franciscus Gomarus (1563-1641), a theologian was an important figure in the Dutch Reformation. Fanciscus Junius was educated at Leiden in philology, theology and the sciences. In 1621 he moved to England, first to work in the library of the Bishop of Norwich, Samuel Harsnet (1561-1631). Through Bishop Lancelot Andrewes assistance he became the librarian to Thomas Howard (1585-1646), the 2nd Earl of Arundel in 1639 and then tutor to his children. As a patron of the arts second only to Charles I, Arundel owned vast collections of paintings and classical sculpture. Junius initially studied medieval manuscripts in the 1650’s before focusing his attention on compiling the extant references to art from the classical world. His brother-in-law, the Dutch scholar John Gerard Vossius (1577-1649), suggested Junius extract the references on art from John Selden’s Marmora Arundelliana (1627), a compilation of classical inscriptions on artists and artworks. This manuscript work (eventually published in 1694 as Catalogus Artificum) led Arundel to urge Junius to compile a larger compilation of art quotations, which he combined with with a philological treatise on the classical notions of art, an art history, defence of the pictorial arts, and an art manual, as De pictura veterum. Published in 1637, it was translated into English the following year by Junius himself as The Painting of the Ancients. The book became a powerful scholarly and political tool–praised by both Peter Paul Rubens and Anthony Van Dyck–in the right for art to be ranked among the highest disciplines. Junius’ relationship with his patron, the Earl, however, was never easy. Arundel wanted Junius to give up scholarship and instead look for antiquities in the Mediterranean countries to add to Arundel’s collection. Junius frequently left the Earl’s service though he was in exile with the family during the civil wars of the 1640’s. After 1642 he spent his life in the Netherlands, returning to England only in 1674 at the end of his life. The year before his death he donated his collection of Anglo-Saxon manuscripts as well as a portion of his book collection on philology to the the Bodleian Library at Oxford. While living at with his nephew, Isaac Vossius, in Windsor, he caught a fever and died. He is buried in St. George’s Chapel, Windsor. De Pictura Veterum is divided in several books. One book is composed of classical texts on the arts and Junius’ commentary on them. A second is an alphabetical list of quotations of the lives and works of artists of antiquity. Like other collections of classical quotations, De Pictura Veterum served scholars and rhetoriticians as a source for ancient thought. Junius’ commentary to the inscriptions extended the scholarly content. The tome found a second important use, as well. The renaissance debate over the primacy of the arts–the written arts vs. the graphic arts–had once again come to the fore. The most recent dispute arose between the playwright Ben Jonson (1573-1637), and court architect Inigo Jones (1573-1652) for Charles I. In The Painting of the Ancients, Junius can be clearly read as siding with Jones and the supremacy of the visual arts. Junius’s championing of the visual arts also supported the notion of art’s power to promote a virtuous life, countering the argument of William Prynne (1600-1669) in his Histrio-mastix, 1633, which attacked the Court of Charles I and its patronage of the arts. Later art historians, such as Johannes Overbeck made heavy use of Junius’ book, particularly in his influential Die antiken Schriftquellen, 1868. As a modern aside, Painting of the Ancients shows up frequently in the etomologies of the Oxford English Dictionary (OED) because of the fondness for this text of one of the early volunteer contributors to the Dictionary, the American William Chester Minor (1834-1920) (Winchester).


Selected Bibliography

De pictura veterum libri tres. Amsterdam: Johann Blaeu, 1637, English, The Painting of the Ancients, in Three bookes Declaring by Historicall Observations and Examples, the Beginning, Progresse, and Consvmmation of that Most Noble Art. London: R. Hodgkinsonne and Daniel Frere, 1638;Catalogus Artificum, in Junius, Franciscus. De pictura veterum libri tres tot in locis emendati, & tam multis accessionibus aucti, ut plane novi possint videri, accedit Catalogus, adhuc ineditus, architectorum, mechanicorum, sed præcipue pictorum, statuariorum, cælatorum, tornatorum, aliorumque artificum, & operum quæ secerunt, secundum seriem litterarum digestus. London: Prostant apud Sam. Smith & Benj. Walford, 1694; [correspondence:] Romburgh, Sophia Georgina van, ed. For My Worthy Freind [sic] Mr. Franciscus Junius: an Edition of the Correspondence of Francis Junius F.F. (1591-1677). Boston: Brill, 2004.


Sources

Howarth, David. “Franciscus Junius.” Dictionary of Art 17: 693-4; Rademaker, C. S. M. “Young Franciscus Junius: 1591-1621.” in, Franciscus Junius F. F. and His Circle. Rolf H. Bremmer, ed. Amsterdam: Rodopi, 1998, pp. 1-33; Pfehl, Philipp. “Access to the Ancients: Junius, Rubens and Van Dyck.” in, Franciscus Junius F. F. and His Circle. Rolf H. Bremmer, ed. Amsterdam: Rodopi, 1998, pp. 35-70; Fehl, Philipp. “Junius (Du Jon) Franciscus.” Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, pp. 625-27; Romburgh, Sophia Georgina van. “Introduction.” in, Romburgh, Sophia Georgina van, ed. For My Worthy Freind [sic] Mr. Franciscus Junius: an Edition of the Correspondence of Francis Junius F.F. (1591-1677). Boston: Brill, 2004, pp. 1-56; Winchester, Simon. The Meaning of Everything: The Story of the Oxford English Dictionary. New York: Oxford University Press, 2003, p. 198, note 4.




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Philologist, author of an early art history and exponent of the visual arts. Junius was born into an illustrious Calvinist family. His father, Junius the elder (or Du Jon; 1545-1602), was a French Huguenot theologian who taught in Heidelberg and L

Jullian, René

Full Name: Jullian, René

Gender: male

Date Born: 1903

Date Died: 1992

Home Country/ies: France

Subject Area(s): Romanesque and sculpture (visual works)

Career(s): curators


Overview

Curator and professor of the history of art, université de Lyon; contributed to wave of Post-WWII scholarship on Romanesque sculpture; disciple of Henri Focillon and his successor at l’université de Lyon and as curator for the Lyon Musée des Beaux-Arts.


Selected Bibliography

[complete bibliography:] Lerrant, Jean-Jacques. “René Jullian, les maires et la Commission. Bulletin des musées et monuments lyonnais 1992, no. 3-4, pp. 6-16; [dissertation:] L’éveil de la sculpture italienne. University of Paris, also issued as volume one of, L’éveil de la sculpture italienne. I. La sculpture romane en Italie du Nord. 2 vols. Paris: Van Oest, éditions d’art et d’histoire, 1945-1949; Les Sculptures romanes dans l’Italie septentrionale. Paris: éditions d’art et d’histoire, 1952; L’Art de la draperie dans la sculpture romane de Provence. Paris: Gazette des Beaux-Arts, 1928; Le Mouvement des arts, du romantisme au symbolisme : arts visuels, musique, littérature. Paris: A. Michel, 1979; La sculpture gothique. Paris: H. Laurens, 1965.


Sources

Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 230, 469; Durey, Philippe. “Le bulletin a quarante ans.” Bulletin des musées et monuments lyonnais 1992, no. 3-4, pp. 2-5;




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Curator and professor of the history of art, université de Lyon; contributed to wave of Post-WWII scholarship on Romanesque sculpture; disciple of Henri Focillon and his successor at l’université de Lyon and as curator for

Jullian, Philippe

Full Name: Jullian, Philippe

Other Names:

  • Philippe Jullian

Gender: male

Date Born: c. 1919-1921

Date Died: 1977

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

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

Home Country/ies: France

Subject Area(s): French (culture or style), painting (visual works), and Symbolist

Career(s): artists (visual artists) and biographers


Overview

Artist, writer and art book author. Julian was born Philippe Simounet. His grandfather was the historian Camille Jullian (1859-1933) and his father André Simounet, a military officer. At age eight he took his mother’s family name of Jullian. His whole life, he was part of the Society world which he both criticized and belonged. Jullian studied at the Sorbonne, but lacked the discipline to finish. His first published book, Dictionnaire du snobisme appeared in the same year as its English translation, the Snob Spotter’s Guide in 1958. During the late 1950’s he wrote under the reversed form of his name, “Julian Philip.” He wrote his first art book, a biography of Delacroix, in 1963. In the course of the following years he published a number of writer’s biographies which earned him the respect of the literary community. These included Robert de Montesquiou, Oscar Wilde, and D’Annunzio. In between these works, Jullian published one of the first re-evaluations of the work of the so-called French Decadent artists, the movement now known as Symbolism. Esthètes et magiciens: l’art fin de siècle (1969), which treated all the media and not just art, was a success and was translated into English as Dreamers of Decadence in 1971. In between, Jullian collaborated, along with Edward Lucie-Smith and John Milner on the important 1972 Hayward Gallery exhibition, “French Symbolist Painters.” This was followed in 1973 by his lighter survey of the visual arts, Les Symbolistes (English, The Symbolists, 1974). He died in his Paris apartment at age 58. Politically conservative and a protestant, Jullian was always somewhat of an outsider of his native France. His art books were always the survey genre, few if any footnotes and a concentration on literary style at the cost of factual precision.


Selected Bibliography

Delacroix. Paris: A. Michel, 1963; Robert de Montesquiou, un prince 1900. Paris: Librairie académique Perrin 1965, English, Prince of Aesthetes: Count Robert de Montesquiou, 1855-1921. New York: Viking Press 1968; Esthètes et magiciens: l’art fin de siècle. Paris: Librairie académique Perrin, 1969, English, Dreamers of Decadence: Symbolist Painters of the 1890s. New York: Praeger, 1971; Les collectioneurs. Paris: Flammarion, 1966, English, The Collectors. Rutland, Vt.: C.E. Tuttle, 1970; Les Symbolistes. Neuchatel: Ides et Calendes, 1972, English, The Symbolists. New York: Phaidon/Praeger, 1973; The Triumph of Art Nouveau: Paris Exhibition, 1900. New York: Larousse, 1974; DeMeyer. New York: Knopf/Random House, 1976; Les Orientalistes: la vision de l’Orient par les peintres européens au 19e siècle. Freiburg: Office du livre, 1977, English, The Orientalists: European Painters of Eastern Scenes. Oxford: Phaidon, 1977.


Sources

Diesbach, Ghislain de. Philippe Jullian: 1919-1977. Paris: Editions Axium, 1980; Diesbach, Ghislain de. Philippe Jullian: un esthète aux enfers. Paris: Pion, 1993 ; Van Tieghem and Blémont, H. ” Jullian (Philippe).” Dictionnaire de biographie française. Paris: 1994, p. 1002. [obituary:] “M. Philippe Jullian Author and Painter.” Times [London] October 1, 1977, p. 16;




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Artist, writer and art book author. Julian was born Philippe Simounet. His grandfather was the historian Camille Jullian (1859-1933) and his father André Simounet, a military officer. At age eight he took his mother’s family name of Jullian. His w

Judson, J. Richard

Full Name: Judson, J. Richard

Other Names:

  • Jay Richard Judson
  • J. R. Judson

Gender: male

Date Born: 5 July 1925

Date Died: 29 June 2020

Place Born: Long Island, NY, USANew York, NY, USA [Long Island]

Home Country/ies: United States

Subject Area(s): Baroque, Dutch (culture or style), Dutch Golden Age, and Netherlandish Renaissance-Baroque styles

Career(s): art historians and educators

Institution(s): Dartmouth


Overview

First generation of American-born scholars of the Dutch Baroque; authority of Honthorst, Rembrandt, and Rubens. Born in Long Island, NY, Judson was the son of Bernard Judson and Sylvia Siegl (Judson). After graduating from Horace Mann School in 1943, Judson served with the United States Naval Reserve during WWII. Following his military service, he pursued a history degree at Oberlin College, where he studied under Wolfgang Stechow, forming a significant mentor-mentee relationship. Judson earned a B.A. from Oberlin in 1948 and an M.A. in art history from the Institute of Fine Arts at New York University in 1953. At the Institute, he was taught by prominent scholars including Craig Hugh Smyth, Walter Friedländer, and Erwin Panofsky. His master’s thesis about Italian sources of Honthorst was written under the guidance of Walter Friedländer. In 1953, Judson married Caroline French, who also pursued a career in art history.

Pursuing his interest in Dutch art, Judson attended the Rijksuniversiteit Utrecht, later Universiteit Utrecht (University of Utrecht), the Netherlands, for his Ph.D. under a United States Board of Foreign Scholarships grant. Inspired and overseen by J. G. van Gelder, Judson’s dissertation on Gerrit van Honthorst expanded upon his master’s thesis and later became the subject of his first book (1959). Gerrit van Honthorst. A Discussion of His Position in Dutch Art (1959) was a monograph that eliminates Honthorst’s portraits produced in his late period, which is believed to be less important than his allegorical and historical paintings (Stechow). Upon graduation, he joined Smith College as an assistant professor (1956-1962), later becoming an associate professor (1962-1967) and professor (1967-1974). He also served as a visiting associate professor at Columbia University (1966-1967).

In 1970, he published a notable book, Dirck Barendsz. 1534-1592: Excellent Painter from Amsterdam, followed by The Drawings of Jacob de Gheyn II in 1973. In 1974, he joined UNC Chapel Hill as a W. R. Kenan Jr. Professor. In 1977, he received the Rubens Medal from the City of Antwerp for his contributions to Dutch art history. His first volume for the Corpus Rubenianum, Book Illustrations and Title-pages, was published in 1978 and led to an exhibition at the Museum Plantin-Moretus in Antwerp. After retiring, Judson and his wife Caroline moved to New Hampshire, where he lectured at Dartmouth until his death. In 1999, he collaborated with Rudolf E. O. Ekkart on Gerrit van Honthorst, 1592-1656, discussing exclusively on Honthorst’s portraitures, which complemented his monograph on Honthorst. His second book in the Rubens series, Rubens, the Passion of Christ, was published in 2000. Judson passed away in New Hampshire in 2020.

Judson was a member of the first generation of American-born scholars who worked on Dutch art, an author of several monographs on Dutch and Flemish art, and an acknowledged expert on Gerrit van Honthorst, Rembrandt van Rijn, and Peter Paul Rubens. Judson’s interest in cultural exchange between Italy and the Netherlands was evident in the exhibitions he curated in Milan (1951), Antwerp (1952), and Utrecht (1952), likely influenced by his mentor, Walter Friedländer (Nicolson). This focus is also reflected in his scholarly work, Gerrit van Honthorst: A Discussion of His Position in Dutch Art, where he dedicated an entire chapter, “Honthorst in Italy,” to examining the influence of Caravaggism on Honthorst.

During his career, he received fellowships from the American Council of Learned Societies (ACLS), Fulbright, Guggenheim (1960), the American Academy of Rome, and the Institute for Advanced Studies at Wassenaar in the Netherlands (1986). He was also a member of the Historians of Netherlandish Art and the College Art Association of America from 1951.

Beyond his scholarly achievements, Judson was revered as a devoted educator who continued to teach even after his retirement. One of his students at UNC, Jane Carroll, recalled, “Jud believed in the primacy of the object. Art could be enhanced by cultural information, but the object itself had things to tell … He allowed the art to have a voice and taught us to listen to it.”


Selected Bibliography

  • [dissertation]: ​​Gerrit van Honthorst. A discussion of his position in Dutch art. Springer Science+ Business Media Dordrecht, 1956.
  • ​​Gerrit van Honthorst. A discussion of his position in Dutch art. The Hague: Martinus Nijhoff,1959
  • Dirck Barendsz. 1534-1592: Excellent Painter from Amsterdam. Ghent: Van Gendt, 1970.
  • The Drawings of Jacob de Gheyn II. Grossman Publishers, 1973.
  • [and] Carl Van de Velde, Book Illustrations and Title-pages. Philadelphia : Harvey Miller-Heyden & Son, c1978.
  • and Rudolf E. O. Ekkart. Gerrit van Honthorst, 1592-1656. Davaco, 1999
  • Rubens, the Passion of Christ. Harvey Miller, c2000.

Sources



Contributors: Yuhuan Zhang


Citation

Yuhuan Zhang. "Judson, J. Richard." Dictionary of Art Historians (website). https://arthistorians.info/judsonj/.


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First generation of American-born scholars of the Dutch Baroque; authority of Honthorst, Rembrandt, and Rubens.

Jucker, Hans

Full Name: Jucker, Hans

Gender: male

Date Born: 1918

Date Died: 1984

Place Born: Mogelsburg, Switzerland

Place Died: Bern, Bern, Switzerland

Home Country/ies: Switzerland

Subject Area(s): Antique, the, Classical, and Roman (ancient Italian culture or period)


Overview

Specialist in classical Roman art. First recipient of the Schweizer Institut in Rome (Swiss Institute in Rome) fellowship in 1946. Professor at the University of Bern 1957-. Jucker and Giovanni Becatti were among the first to show the extent Roman art was indebted to Greek artists for the late Republic and early empire.


Selected Bibliography

Das Bildnis im Blätterkelch – Geschichte und Bedeutung einer römischen Porträtform. 1961.


Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 323-324; Brilliant, Richard. “Introduction.” Roman Art: from the Republic to Constantine. New York: Phaidon, 1974, p. 16, mentioned.




Citation

"Jucker, Hans." Dictionary of Art Historians (website). https://arthistorians.info/juckerh/.


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Specialist in classical Roman art. First recipient of the Schweizer Institut in Rome (Swiss Institute in Rome) fellowship in 1946. Professor at the University of Bern 1957-. Jucker and Giovanni Becatti were among the first

Jourdain, Margaret

Image Credit: Elisa Rolle

Full Name: Jourdain, Margaret

Gender: female

Date Born: unknown

Date Died: 1951

Place Born: Ashbourne, Derbyshire, England, UK

Place Died: London, Greater London, England, UK

Home Country/ies: United Kingdom

Subject Area(s): decorative art (art genre), decorative arts (discipline), eighteenth century (dates CE), English (culture or style), and furniture


Overview

Scholar of eighteenth-century English furniture and decorative arts. Jourdain was the daughter of an impoverished cleric, Reverend Francis Jourdain of Ashburne, Derbyshire. She and her sister, Eleanor, were required to be independent and on their own early in life. Eleanor became principal of a girl’s school and then St. Hugh’s College, Oxford. Margaret supported herself throughout her life by writing on art. In 1908, Jourdain came to the rescue of a former pupil of her sister’s boarding school, Joan Evans. Jourdain urged Evans to bury the girl’s grief and lack of self-confidence by writing a history of English jewelry, which not only built the woman’s self esteem, but launched Evans on a career as a private art historian. Jourdain appears to have written the text for The Decoration and Furniture of English Mansions During the Seventeenth & Eighteenth Centuries, 1909, ostensibly by Francis Henry Lenygon (1877-1943). Jourdain began writing articles for Country Life, Apollo and the Burlington Magazine on decorative arts in the 1920s. Her first book under her own name, English Decoration and Furniture of the Later XVIIIth Century (1760-1820), appeared in 1922. She produced other volumes in the series. A close professional association developed between her and Victoria and Albert curator John Charles Rogers. When Margaret’s estranged sister, Eleanor, died and left some symbolic possessions to Evans, Margaret took personal offense and never spoke with Evans again. A year before her death she both revised Roger’s 1923 book, English Furniture and co-published with British Museum curator R. Soame Jenyns (1904-1976) Chinese Export Art in the Eighteenth Century. She died after a brief illness at her home. Jourdain was not formally trained in art history. Her works show a keen attention to detail. Jourdain’s furniture books were some of the first to describe construction methods of eighteenth-century makers.


Selected Bibliography

[ghostwriter for] Lenygon, Francis Henry. The Decoration and Furniture of English Mansions During the Seventeenth & Eighteenth Centuries. London: T. Werner Laurie, 1909; English Decoration & Furniture of the XVIth-XIXth Centuries (series) [Library of Decorative Art]: English Decoration and Furniture of the Later XVIIIth Century (1760-1820): an Account of its Development and Characteristic Forms. London: B. T. Batsford, 1922; English Decoration and Furniture of the Early Renaissance (1500-1650): an Account of its Development and Characteristic Forms. London: B. T. Batsford, 1924; and Edwards, Ralph. Georgian Cabinet-makers. London: Country Life Limited, 1944; The Work of William Kent, Artist, Painter, Designer and Landscape Gardener. London: Country Life, 1948; (revised) Rogers, John Charles. English Furniture. London: Country Life, 1950; and Jenyns, R. Soame. Chinese Export Art in the Eighteenth Century. London: Country Life, 1950.


Sources

Coldstream, Nicola. “Joan Evans (1893-1977): Art Historian and Antiquary.” in, Chance, Jane, ed. Women Medievalists in the Academy. Madison: University of Wisconsin Press, 2005, pp. 402-404; [obituaries:] Ralph Edwards. “Margaret Jourdain.” Burlington Magazine 93, no. 580 (July 1951): 239; “Miss M. Jourdain.” Times (London) April 7, 1951, p. 8; “Margaret Jourdain.” Apollo 53 (May 1951): 143.




Citation

"Jourdain, Margaret." Dictionary of Art Historians (website). https://arthistorians.info/jourdainm/.


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Scholar of eighteenth-century English furniture and decorative arts. Jourdain was the daughter of an impoverished cleric, Reverend Francis Jourdain of Ashburne, Derbyshire. She and her sister, Eleanor, were required to be independent and on their

Jordy, William H.

Image Credit: "Symbolic Essence" and Other Writings on Modern Architecture and American Culture

Full Name: Jordy, William Henry

Other Names:

  • William Henry Jordy

Gender: male

Date Born: 1917

Date Died: 1997

Place Born: Poughkeepsie, Dutchess, NY, USA

Place Died: Riverside, RI, USA

Home Country/ies: United States

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


Overview

Americanist architectural historian. Jordy was the son of Elwood Benjamin and Caroline May Hill (Jordy). He graduated from Bard College with a B.A. in 1939. After attending New York University between 1939 and 1941, he married Sarah Stoughton Spock in 1942 and entered the U. S. Army serving in the infantry in World War II from 1942-1945. He completed his Ph.D. at Yale University in 1947, writing his disseration on Henry Adams. He joinied the faculty at Yale as an assistant professor in 1948. In 1952 his Henry Adams: Scientific Historian was published. A Guggenheim Fellowship allowed Jordy to travel in Europe during 1953, he returned to find his position in the history of art department usurped by the dominant architectural historian at Yale, Vincent Scully, Jr. “I was on a collision course with Scully,” he remarked. In 1955 he moved to Brown University as an assistant professor, advancing to associate professor the following year and becoming full professor in 1960. He co-edited with Ralph Coe an anthology of the writings of the architecture critic Montgomery Schuyler (1961). Jordy was director of the Society of Architectural Historians from 1960 to 1963 and again, (1965-1968, 1978-1980). He chaired the department from 1963 until 1966, and again between 1976 and 1977. His two volumes in the series “American Buildings and Their Architects” appeared in 1972. He was Henry Ledyard Goddard professor and later emeritus professor of art history. He suffered a heart attack while swimming in his pool at his Rhode Island home and died at age 79.

Jordy was one of the first historians to chronicle the rise of modern architecture in the United States, charting the impact of international-style architects of Marcel Breuer, Ludwig Mies van der Rohe on American design and education in the postwar years. He was long affiliated with Columbia University’s Buell Center for the Study of American Architecture. Jordy refrained from the polarizing arguments such as classical versus gothic (or organic) as advanced by Lewis Mumford, allowing him to address order, aestheticism and naturalism in architecture. As critic, he promoted formalism over functionalism, in for example, his analysis of the Seagram building (1958), demonstrating the inadequacies of the building and energy efficiency. In his article “The Symbolic Essence of European Modern Architecture of the Twenties and Its Continuing Influence” (1963), Jordy defended modernism (over post-modernism), citing its “symbolic objectivity.” Jordy objected to Scully’s 1961 book Architecture of Democracy, a brusquely dismissive treatment of modern architecture and Robert Venturi’s 1966 Complexity and Contradiction in Architecture, which Scully had unabashedly called second in importance only to Le Corbusier’s Vers une Architecture (1923). For Jordy’s symbolic objectivity, the “non-human realms of weather, minerals, plants, animals, microbes, galaxies, existences of all sorts” were more important for architecture than semiotics or Freudian theory.


Selected Bibliography

  • [dissertation:] Henry Adams: Science and Power in History, a Study in the Historical Temperament, Yale University, 1947, revised and published as Henry Adams: Scientific Historian. New Haven,CT: Yale University Press, 1952; “PSFS: Its Development and Its Significance in Modern Architecture.” Journal of the Society of Architectural Historians 21 (1962): 47-83; [volumes 3 and 4] Pierson, William Harvey. American Buildings and their Architects. 5 vols. Garden City, N.Y: Doubleday, 1970 ff.

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. 84; Jackson, Neil. “The Duckman Proves Triumphant.” Building Design, July 22, 2005, p. 20
  • [obituaries:] Muschamp, Herbert. “William H. Jordy, 79, Architectural Historian.” New York Times, August 18, 1997, p. B 8; Bacon, Mardges. “Introduction.” in, “Symbolic Essence” and Other Writings on Modern Architecture and American Culture.  New Haven: Yale University Press, 2005, pp. 1-52.


Contributors: Lee Sorensen


Citation

Lee Sorensen. "Jordy, William H.." Dictionary of Art Historians (website). https://arthistorians.info/jordyw/.


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Americanist architectural historian. Jordy was the son of Elwood Benjamin and Caroline May Hill (Jordy). He graduated from Bard College with a B.A. in 1939. After attending New York University between 1939 and 1941, he married Sarah Stoughton Spoc