Full Name: Hürlimann, Martin
Gender: male
Date Born: 1897
Date Died: 1984
Place Born: Zürich, Switzerland
Place Died: Zürich, Switzerland
Home Country/ies: Switzerland
Institution(s): Universität Zürich
Contributors: Lee Sorensen
Full Name: Hunter, Sam
Other Names:
Gender: male
Date Born: 05 January 1923
Place Born: Springfield, Hampden, MA, USA
Home Country/ies: United States
Subject Area(s): Modern (style or period)
Modernist art historian and Princeton University professor. Hunter’s parents were Morris Hunter and Lottie Sherman (Hunter). Hunter attended Williams College, receiving an A.B. in 1943, Phi Beta Kappa. During World War II, Hunter served in the U.S. Navy, 1943-1946 where he rose to lieutenant junior grade and awarded five battle stars. He joined the New York Times as art critic in 1947 (through 1949), continuing study at the University of Florence where he was awarded a Certificate of Studies in 1951. In 1952 Hunter began a long association with the art publisher Harry N. Abrams, Inc., then only a three-year-old company–both publishing and editing–as an editor, though initially only one year, before moving to Arts (magazine) editor in 1953. He married Edys Merrill in 1954. His first book for Abrams, Raoul Duffy was published for the Library of Great Painters series the firm was developing in 1954. In 1955 he was appointed associate professor of art history, University of California, Los Angeles, associate professor, but a call to the Museum of Modern Art, New York to be a curator of painting and sculpture took him from UCLA in 1956. Hunter moved again to the Minneapolis Institute of Arts to be chief curator and acting director in 1958. Hunter merged academics and museum work, teaching at Brandeis University, Waltham, MA, at the rank of associate professor of fine arts and director of Rose Art Museum and of Poses Institute of Fine Arts in 1960. He was appointed director of the Jewish Museum, New York City in 1965, succeeding Alan Solomon (1920-1970), who had moved the museum into contemporary art. He also began lecturing as a visiting professor, Cornell University, 1967-1969. Hunter fell into a public disagreement with the board of the museum regarding how much the museum should focus on contemporary art. He resigned in in 1969 and appointed (full) professor of art and archaeology and curator of modern art at Princeton University Art Museum the same year and returning to advising Harry N. Abrams, as consulting editor. He acted as vice-president and editor-in-chief for the firm 1971-1972, followed by a Guggenheim fellowship for the 1971-1972 year. In the 1970s, Abrams attempted to follow the success of their survey of the history of art by Horst Woldemar Janson; Hunter wrote the first edition of his survey on modern American art, American Art of the 20th Century in 1972 and a monograph on Larry Rivers. He was the Robert Sterling Clark Visiting Professor, Clark Art Institute and Williams College for 1976 and divorced his first wife. Hunter and Milton W. Brown combined Brown’s History of American Art to 1900, 1977, with Hunter’s to form one survey of American art in general, released in 1979. He wrote the history of MoMA and its collection for the Museum, published in 1984. He married Maia Natasha Spiegelman (b. 1958), a painter and arts administrator, in 1986.
Raoul Dufy. New York: H. N. Abrams, 1954; American Art of the 20th Century. New York, H. N. Abrams, 1972; Rivers. New York, H. N. Abrams, 1972; and Brown, Milton. American Art: Painting, Sculpture, Architecture, Decorative Arts, Photography. New York: Abrams, 1979; The Museum of Modern Art, New York: the History and the Collection by Museum of Modern Art. New York: H. N. Abrams/Museum of Modern Art, New York, 1984;
Esterow, Milton. “Director of Jewish Museum Quits in Policy Rift, Hunter Decries ‘Increasing Emphasis on Judaica,’ He Stressed Avant-Garde Art in Two-Year Tenure.” New York Times October 25, 1967, p. 42; Halasz, Piri. “Art Criticism (and Art History) in New York: the 1940s vs the 1980s–Part one: the Newspapers.” Arts Magazine 57 (February 1983): 91-3ff.; personal correspondence, Maia Hunter, August 2012.
Contributors: Lee Sorensen
Modernist art historian and Princeton University professor. Hunter’s parents were Morris Hunter and Lottie Sherman (Hunter). Hunter attended Williams College, receiving an A.B. in 1943, Phi Beta Kappa. During World War II, Hunter served in the U.S
Full Name: Humbert, Agnès
Gender: female
Date Born: unknown
Date Died: unknown
Home Country/ies: France
Subject Area(s): French (culture or style) and Marxism
Marxist art historian; published the first Marxist work of art history in France; assistant at the Musée national d’Art moderne in Paris;
Louis David peintre et conventionnel. Essai de critique marxiste. 1936.
Bazin 338-339
Marxist art historian; published the first Marxist work of art history in France; assistant at the Musée national d’Art moderne in Paris;
Full Name: Humann, Carl
Other Names:
Gender: male
Date Born: 1839
Date Died: 1896
Place Born: Steele, Essen, Germany
Place Died: Izmir, Turkey
Home Country/ies: Germany
Subject Area(s): Ancient Greek (culture or style), archaeology, architecture (object genre), Greek sculpture styles, and sculpture (visual works)
Self-educated archaeologist who discovered the Pergamon altar and later led the excavation. Humann was an innkeeper’s son. He studied engineering until a diagnosis of tuberculosis necessitated a move to a southern European climate. He worked as a surveyor in Turkey assigned to the railway and road construction departments. There, Humann gained a personal familiarity with the classical-era ruins. In 1878 he began excavating the site of Pergamon, secretly supported with funds from Alexander Conze. In 1884, he made a squeeze (paper impression) of the Monumentum Ancyranum at the request of Theodor Momsen (1817-1903). The same year he was named foreign director of Royal Museum in Berlin, responsible for all Prussian archaeological expeditions in the Near East. His further excavations included Tralles (1888, Magnesia-on-the-Maeander (1890-93), Priene (1895), and Ephesos (1895). He continued at the Pergamon site until 1886, assisted by Wilhelm Dörpfeld. Between 1878-1886 he excavated at Pergamon, discovering the great altar, located now in the Berlin Museum, the finest example of Hellenistic sculpture. He died in Smyrna, Greece, which is present-day İzmir, Turkey. At his death in 1896 he was buried at the Catholic cemetery in Smyrna. In 1967 his remains were re-interred at Pergamon, the site of his spectacular find, just south of the altar. Humann never studied archaeology or took an advanced degree of any kind. He exemplified the nineteenth-century self-made archaeologist, akin to Heinrich Schliemann and Dörpfeld.
and Conze, Alexander, and others. Die ergebnisse der ausgrabungen zu Peramon. Berlin: Weidmannsche buchhandlung, 1880; Der Pergamon Altar. Dortmund: Ardey Verlag, 1959; [and other members of] Orient-komitee, Berlin. Ausgrabungen in Sendschirli. 4 vols. Berlin, W. Spemann, 1893-1911.
Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 69-70; Calder, William, III. Carl Humann. Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, p. 600.
Self-educated archaeologist who discovered the Pergamon altar and later led the excavation. Humann was an innkeeper’s son. He studied engineering until a diagnosis of tuberculosis necessitated a move to a southern European climate. He worked as a
Full Name: Hulst, Roger-Adolf, d'
Other Names:
Gender: male
Date Born: 20 December 1917
Date Died: 15 February 1996
Place Born: Ghent, East Flanders, Flanders, Belgium
Place Died: Brussels, Brussels-Capital Region, Belgium
Home Country/ies: Belgium
Rubens and Jordaens scholar: professsor of art history at the University of Ghent, 1957-1985. d’Hulst worked as a curator at the Royal Museum of Fine Arts in Brussels begiining in 1949. He received a Ph.D. in art history from the University of Ghent in 1955, writing his dissertation on Jacob Jordaens’s drawings, De tekeningen van Jakob Jordaens: bijdrage tot de geschiedenis van de XVIIe-eeuwse kunst in de Zuidelijke Nederlanden. He joined the University beginning in 1957, teaching art history. In 1959 he co-founded the Belgian Institute for the study of 16th- and 17th-century Flemish art, serving as its director for most of the rest of his life. D’Hulst and Burchard co-wrote a book on Rubens’s drawings in 1963. A book on Rubens’s oil sketches appeared in 1968. A book Flemish tapestries written in 1971. d’Hulst succeeded in getting Ludwig Burchard to will his extensive library to the Institute, which then became the Centrum Rubenianum. There he began assigning scholars to write volumes for an eventually twenty-volume catalogue raisonné. The Corpus Rubenianum Ludwig Burchard. In 1974 d’Hulst published a four-volume work on Jordaens’s drawings followed by a monograph on the artist in 1982
D’Hulst’s documentation on other artists and schools was for the greater part integrated in the artwork documentation of the Rubenianum. His library was added to the Rubenianum’s library..He was largely responsible for the reconstruction of Jordaens work. (New York Times).
[complete list:] Vander Auwera, Joost. “Bibliografie R.-A. d’Hulst” Rubens and his World. Antwerp: Het Gulden Cabinet, 1985, pp xix-xxviii; [dissertation:] De tekeningen van Jakob Jordaens: bijdrage tot de geschiedenis van de XVIIe-eeuwse kunst in de Zuidelijke Nederlanden. Ghent University, published, Brussels: Academie voor Wetenschappen, Letteren en Schone Kunsten, Paleis der Academiën, 1956; Drawings and Watercolors by Flemish and Dutch Masters. Washington, Cambridge, Baltimore, Cleveland, San Francisco, New York, 1954; and Burchard, Ludwig. Tekeningen van P. P. Rubens. Antwerp: Uitgeverij ontwikkeling, 1956; and Burchard, Ludwig. Rubens Drawings. Brussels: Arcade Press, 1963; and Vey, Horst. Antoon Van Dyck, tekeningen en olieverfschetsen. Deurne-Antwerp: Rubenshuis/C. Govaerts, 1960; and Liebaers, Herman and Duverger, Jozef. Vlaamse wandtapijten van de XIVe tot de XVIIIe eeuw. Brussels: Arcade, 1960, English: Flemish Tapestries, from the Fifteenth to the Eighteenth Century. New York: Universe Books, 1967; Tekeningen van Jacob Jordaens. 1593-1678. Antwerp: Rubenshuis, 1966; The Royal Museum, Brussels. London, Oldbourne Press, 1966; and Baudouin, Frans. Rubens en zijn tijd. Tekeningen uit Belgische verzamelingen. Antwerp: Rubenshuis, 1971; Flemish Drawings of the Seventeenth Century from the Collection of Frits Lugt, Institut néerlandais, Paris. Paris: Institut néerlandais, 1972; Jordaens Drawings. 4 vols. New York: Phaidon Press, 1974; Jacob Jordaens, tekeningen en grafiek: catalogus. Antwerp: Museum Plantin-Moretus, 1978; Jacob Jordaens. Antwerp: Mercatorfonds, 1982, English: Ithaca, NY: Cornell University Press, 1982; and Vandenven, M. Rubens: the Old Testament. Corpus Rubenianum Ludwig Burchard 3. London: Harvey Miller, 1989; “Elk volgens zijn begaafdheid” in D’Hulst and others, (Buyle, Marie-Anne ed) De Kruisoprichting van Pieter Paul Rubens. Brussels: Ministerie van de Vlaamse Gemeenschap. Bestuur Monumenten en Landschappen. Roularta Books, 1992, pp. 23-41; and De Poorter, N. and Vandenven, M. Jacob Jordaens (1593-1678). 1. Schilderijen en wandtapijten, 2. Tekeningen en prenten. Antwerp, 1993.
Baudouin, Frans. “Woord vooraf/Preface.” Rubens and his World: Bijdragen – Études – Studies – Beiträge. Opgedragen aan Prof. Dr. Ir. R.-A. d’Hulst naar aanleiding van het vijfentwintigjarig bestaan van het Natioinaal Centrum voor de Plastische Kunsten van de 16de en de 17de Eeuw. Antwerp: Het Gulden Cabinet, 1985, pp. ix-xvii; Baudouin, Frans. “Hulst, Roger-Adolf d’ ” Nationaal Biografisch Woordenboek 16. Brussel: Paleis der Academiën, 2002, pp. 458-465; [obituaries:] “Roger-A. d’Hulst, Rubens Expert, 77” New York Times (24 February 1996); Bruyn, J. “Levensbericht R. A. d’Hulst” in Koninklijke Nederlandse Akademie voor Wetenschappen. Levensberichten en herdenkingen. Amsterdam, 1997, pp.15-18; Baudouin, Frans. “In Memoriam R.-A. d’Hulst.” in Jaarboek 2000. Koninklijke Vlaamse Academie van België voor Wetenschappen en Kunsten. Brussel, 2001, pp. 113-117.
The Roger-A. d’Hulst Collection. Rubenianum archive. https://www.rubenianum.be/en/page/roger-d‘hulst-collection
Rubens and Jordaens scholar: professsor of art history at the University of Ghent, 1957-1985. d’Hulst worked as a curator at the Royal Museum of Fine Arts in Brussels begiining in 1949. He received a Ph.D. in art history from the University of Ghent
Full Name: Hülsen, Christian Karl Friedrich
Other Names:
Gender: male
Date Born: 29 November 1858
Date Died: 19 January 1935
Place Born: Berlin, Germany
Place Died: Florence, Tuscany, Italy
Home Country/ies: Germany
Subject Area(s): architecture (object genre), Classical, Medieval (European), and sculpture (visual works)
Architectural historian of the classical era who later changed to medieval and Renaissance. Hülsen studied classical philology, ancient history and archaeology with Ernst Curtius, Johann Gustav Droysen (1808-1884), Ernst W. E. Hübner (1834-1901), Johannes Vahlen (1830-1911), and Theodor Mommsen (1817-1903). His dissertation, on Ovid, was directed by Mommsen and Hübner. Through Mommsen, he was awarded a stipend from the DAI (Deutsches Archäologisches Institut or German Archaeological Institute) to travel to Rome where he assisted in the corpus of Latin inscriptions from the city of Rome. In 1904 he published his Das Forum Romanum, an important and widely translated work on the Roman Forum. As a topographical scholar he gained equal fame for another volume, this one on Roman topography, appearing as volume three of Topographie der Stadt Rom in Altertum, in 1907. Hülsen’s knowledge of architecture was not as sound as other disciplines, however; his conclusions in the Topographie often belie the Beaux-Arts assumptions of the architects who advised him (Richardson). Despite these accomplishments and his service as second secretary to the DAI in Rome, 1887-1909, he was twice denied the appointment of first secretary. In disillusionment, he left the Institute to live in Florence, where he changed focus to medieval and Renaissance art. His collaboration with Wladimir de Grüneisen on the paintings for Santa Maria Antiqua, Rome resulted in a significant monograph (1911). In Florence he published studies on the historic drawings of Rome by Marten van Heemskerck (in collaboration with the Vienese art historian Hermann Egger), as well as Guilio San Gallo, Giovanni Antonio Dosio and other artists. In 1927 his study on the churches of medieval Rome, Le Chiese di Roma nel Medio Evo, appeared. Like his other books in the many disparate fields, it represented significant original scholarship. He remained in Florence the remainder of his life except for five years as professor at the University of Heidelberg. He was the recipient of honorary degrees from Oxford, Erlangen, and New York. Hülsen’s counterpart and rival in Roman topographic studies was Rodolfo Lanciani, an engineer who’s knowledge of architecture was better than Hülsen’s. His Roman Forum book, distinctive by its deep jade buckram cover, was a staple of libraries and used books stores for years.
[dissertation] Varronianae doctrinae quaenam in Ovidii fastis vestigia extent. Berlin: Goetsch und Mann, 1880; Das Forum romanum; rekonstruktion nach angaben und mit erläuterunger. Rome: Spithöversche, 1892; and Kiepert, H. Formae Urbis Romae antiquae. 1896, English, The Forum and the Palatine. New York: A. Bruderhausen, 1927; Das Forum Romanum: seine Geschichte und seine Denkmäler. Rome: Loescher, 1905; and Jordan, Henri. Topographie der Stadt Rom im Alterthum. volume I, part 3. Berlin: Weidmannsche Buchhandlung, 1907; “Le monument payen et la topographie du lieu.” in, Sainte-Marie-Antique, le caractère et le style des peintures du VIe au XIIIe siècle. Rome: M. Bretschneider, 1911, pp. 61-70; and Egger, Hermann. Die Skizzenbücher des Marten van Heemskerck. 2 vols. Berlin: J. Bard, 1912-1916; Römischen Antikengärten des XVI. Jahrhunderts, 1917; ed., with Fiechter, Ernst. Römische Gebälke. Toebelmann-Stiftung der Heidelberger Akademie der Wissenschaften. Heidelberg: C. Winter, 1923; Le chiese di Roma nel medio evo, cataloghi ed appvnti. Florence: L.S. Olschki, 1927; edited, Dosio, Giovanni Antonio. Das Skizzenbuch des Giovannantonio Dosio im Staatlichen Kupferstichkabinett zu Berlin. Berlin: H. Keller, 1933.
Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 126-127; Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 1, pp. 598-600; Richardson, Lawrence, Jr. A New Topographical Dictionary of Ancient Rome. Baltimore: John Hopkins University Press, 1992, p. xxv.
Contributors: Lee Sorensen
Architectural historian of the classical era who later changed to medieval and Renaissance. Hülsen studied classical philology, ancient history and archaeology with Ernst Curtius, Johann Gustav Droysen (1808-1884), Ernst W.
Full Name: Hulin de Loo, Georges Nicolas Marie
Other Names:
Gender: male
Date Born: 1862
Date Died: 1945
Place Born: Ghent, East Flanders, Flanders, Belgium
Place Died: Brussels, Brussels-Capital Region, Belgium
Home Country/ies: Belgium
Specialist and professor in early Flemish painting. After having attended high school (Koninklijk Atheneum) in Ghent, Hulin studied at the State University of Ghent, where he received his first doctorate from the Faculty of Arts in 1883, and his second one from the Faculty of Law in 1886. He continued his academic education abroad, in Berlin, Strasbourg, and Paris. During his stay in Paris, in 1888-1889, he studied at the Collège de France, the École des Hautes-Études and the École libre des Sciences Politiques. Upon his return in Belgium, he obtained, in 1889, an extraordinarius professorship at his Alma Mater in Ghent, where he taught psychology, logic, ethics and law. In 1892 he was promoted to full professor. He also taught economic history at the faculty of law. However, exploring early Flemish art was his real vocation. Around 1900, his first publications in this field began to appear. He wrote the critical catalog of the famous 1902 exhibition of Flemish paintings from the fourteenth to the sixteenth centuries in Bruges, Exposition de tableaux flamands des XIVe, XVe et XVIe siècles, with an introduction on the identity of a number of anonymous masters. This introduction also appeared separately in the same year, De l’identité de certains maîtres anonymes. He in addition published his research on a number of painters, including Jan Provoost, who worked in Bruges in the first half of the sixteenth century, Quelques peintres brugeois de la première moitié du XVI siècle. In 1907 he contributed a catalog of the paintings of Pieter Bruegel the Elder to a monograph by the Belgian art historian René van Bastelaer (1865-1940), Pieter Bruegel l’Ancien, son Åuvre et son temps. In 1908 he began teaching the history of Flemish painting at Ghent University. In his 1909 article, “An Authentic Work by Jacques Daret, Painted in 1434,” Hulin identified the Master of Flémalle with Robert Campin. Daret, as well as Rogelet de le Pasture, later known as Rogier van der Weyden, entered Campin’s workshop in 1427. In 1911 Hulin’s important study of the Heures de Milan appeared. In the introduction, Hulin set out the history of this Book of Hours that once had belonged, before it was finished, to the so called Très-Belles Heures de Jean de France, Duc de Berry. A different part of the same Book of Hours, preserved in the Biblioteca Nazionale in Turin and known as the Heures de Turin, had been studied and reproduced in black and white by the French art historian Paul Durrieu in 1902. Unfortunately, the original was destroyed by fire in 1904. Durrieu discovered in the Turin Book of Hours a number of exquisite miniatures in which he recognized the hands of Hubert and Jan van Eyck. This important finding, which Durrieu first communicated to the Société nationale des Antiquaires de France in June 1901 (it was published in the same year in the Bulletin of this association), was corroborated by Hulin in his November 1902 paper, “L’atelier de Hubrecht van Eyck et les Heures de Turin”, published in Annuaire de la Société pour le progrès des études philologiques et historiques. Both Hulin and Durrieu continued publishing on this topic. In his 1910-11 study of the Heures de Milan, Hulin made the connection between the Milan and the Turin Hours, today jointly known as the Turin-Milan Hours, and attributed two series of miniatures to Jan and Hubert van Eyck. The Eyckian authorship of these famous miniatures, however, has remained a subject of scholarly debate among Van Eyck scholars, and is questioned by most of them. Hulin was a member of many committees and associations. In 1910 and 1911 he successively became a corresponding and active member of the Fine arts section of the Académie royale de Belgique. In 1912 he joined the committee of the Biographie Nationale, published by the Académie. In the same year, he became a member of the consultative committee of the Burlington Magazine, to which journal he regularly contributed. In 1920 Hulin began to teach the history of painting at the newly founded Higher Institute for Art History and Archaeology at Ghent University. In 1927 he was involved in the organization of the exhibition Flemish and Belgian Art, 1300-1900, held in the London private art club, the Burlington House. He wrote the introduction to the catalog of early Flemish paintings in the Renders Collection. The owner of this collection was the Bruges banker Émile Renders. When the director of the Berlin Zentralbibliothek Friedrich Winkler expressed serious doubts on the authenticity of several paintings from this and other collections, Hulin tried to save his reputation as distinguished connoisseur. In 1929 Hulin held an exchange professorship at the University of Lyon in France, and in the same year he received a doctorate honoris causa from Utrecht University in the Netherlands. In 1930 Ghent University was converted into an exclusively Flemish institution and Flemish (the southern variant of Dutch) became the mandatory language for all classes. Hulin, who was French speaking, refused to conform to this governmental decision. His protest led to serious conflicts at the university and even in the Belgian government. He retired from Ghent University in 1932, but he continued to teach in French at the Ghent École des Hautes Études, as well at the Institut supérieur d’Histoire de l’Art et d’Archéologie in Brussels, located at the Musées royaux des Beaux-Arts. He regularly wrote articles in the Bulletin de la Classe des Beaux-Arts. In 1931 Belgian and international scholars honored him with a Festschrift, Mélanges Hulin de Loo. In 1935 he was elected president of the Académie royale. His Van der Weyden biography appeared in 1938 in the Biographie nationale. In 1942 he published a monograph on Pedro Berruguete, Pedro Berruguete et les portraits d’Urbin. Hulin, who remained single, died in an accident in 1945. Hulin was one of the first connoisseurs of early Flemish painting. His critical contributions following the 1902 Bruges exhibition and his continuing research on Flemish painters and miniaturists became the foundation for further studies in this field. During his frequent travels he had the opportunity to see many art works in situ. His stylistic observations are influenced by the method of Giovanni Morelli. In the early 1930s, Renders attacked Hulin, along with other art historians, for not agreeing with his views on the Master of Flémalle and Hubert van Eyck. Although Max J. Friedländer and some others followed the views of Renders on these matters, Hulin remained firm in his opinion that Rogelet de le Pasture, apprenticed by the Master of Flémalle, was the same person as the celebrated Brussels painter Rogier van der Weyden. His students included Domien Roggen.
[complete bibliographies:] J. M. T. “Bibliographie de l’auteur” Pedro Berruguete et les portraits d’Urbin. Brussels: Librairie encyclopédique, 1942: pp. 57-68, and “Publikaties van Georges Hulin” Rijksuniversiteit te Gent. Liber memorialis 1913-1960. 1. Faculteit der Letteren en Wijsbegeerte. Ghent: Uitgave van het Rectoraat, 1960, pp. 52-55; Bruges 1902: Exposition de tableaux flamands des XIVe, XVe et XVIe siècles. Catalogue critique précédé d’une introduction sur l’identité de certains Maîtres anonymes. Ghent: A. Siffer, 1902 ; “L’atelier de Hubrecht van Eyck et les Heures de Turin.” Annuaire de la Société pour le progrès des études philologiques et historiques (1902): 69-74; Quelques peintres brugeois de la première moitié du XVI siècle. Ghent: Librairie générale, 1902; and Van Bastelaer, René. Peter Bruegel l’Ancien, son Åuvre et son temps: étude historique suivie des catalogues raisonnés de son Åuvre dessiné et gravé, par R. van Bastelaer et d’un catalogue raisonné de son Åuvre peint, par Georges H. de Loo. Brussels: G. van Oest, 1907; “An authentic Work by Jaques Daret, Painted in 1434” Burlington Magazine 15 (1909): 202-208; Heures de Milan. Troisième partie des Très-Belles Heures de Notre Dame, enluminées par les peintres de Jean de France, Duc de Berry, [etc.]. Brussels: G. van Oest, 1910-1911; Early Flemish Paintings in the Renders Collection at Bruges. Exhibited at the Belgian Exhibition, Burlington House, January, 1927. With an Introduction by G. Hulin de Loo and Notices by Edouard Michel. London: B. T. Batsford, 1927; “Weyden (Rogier de le Pasture, alias Van Der)” in Biographie nationale publiée par l’Académie royale des sciences, des lettres et des beaux-arts de Belgique 27. Brussels: Établissements Émile Bruylant, 1938, pp 222-245; Pedro Berruguete et les portraits d’Urbin. Brussels: Librairie encyclopédique, 1942.
C[ust], L[ionel]. [review] “Heures de Milan” Burlington Magazine 20, no. 104 (November 1911): 118-119; Winkler, Friedrich. “Die flämisch-belgische Ausstelling in London” Der Kunstwanderer 7 (1927): 221-224; Bergmans, Paul. Introduction [Festschrift] Mélanges Hulin de Loo. Brussels: G. Van Oest, 1931, pp V-IX; Duverger, Jozef. “Georges Hulin de Loo (1862-1945)” Rijksuniversiteit te Gent. Liber memorialis 1913-1960. 1. Faculteit der Letteren en Wijsbegeerte. Ghent: Uitgave van het Rectoraat, 1960, pp. 50-52; Lavalleye, Jacques. “Notice sur Georges Hulin de Loo. Membre de l’Académie” Annuaire de l’Académie (1961) Brussels : Académie royale de Belgique; Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 244-246, 505; Laemers, Suzanne. ” ‘A Matter of Character’ Max J. Friedländer et ses relations avec Émile Renders et Jef van der Veken” in Vanwijnsberghe, Dominique (ed.) avec la collaboration de Bourguignon, Catherine and Debergh, Jacques. Autour de la Madeleine Renders: Un aspect de l’histoire des collections, de la restauration et de la contrefaçon en Belgique dans la première moitié du XXe siècle. Brussels: Institut royal du Patrimoine artistique, 2008, pp. 147-176 ; [obituaries:] Popham, Arthur E. Burlington Magazine 88 (March 1946): 75; Bautier, Pierre. “Un eminent historien de l’art Flamand.” Revue Belge d’Archéologie et d’Histoire de l’Art 16, 1-2 (1946): 88-90; Arts, Beaux-Arts, Litterature, Spectacles (February 1946): 3; Phoebus 1, 2 (1946): 82; Marquet-Tombu, J. ” En hommage à Hulin de Loo” Phoebus 2, no. 1 (1948): 37.
Contributors: Monique Daniels
Specialist and professor in early Flemish painting. After having attended high school (Koninklijk Atheneum) in Ghent, Hulin studied at the State University of Ghent, where he received his first doctorate from the Faculty of Arts in 1883, and his s
Full Name: Huizinga, Johan
Other Names:
Gender: male
Date Born: 1872
Date Died: 1945
Place Born: Groningen, Netherlands
Place Died: De Steeg, Gelderland, Netherlands
Home Country/ies: Netherlands
Subject Area(s): Medieval (European)
Cultural historian (and champion) of the Middle Ages. Huizing’s father, Dirk Huizinga, was a professor of physiology. His mother, Jacoba Tonkens, died when Huizinga was only two. As a child, he witnessed the re-enactment of medieval procession in Groningen, which kindled an interest in history. He attended the municipal Gymnasium, intent on studying history, but, the history teachers were so poor that he changed to linguistics, learning Arabic. He entered the University of Groningen in 1891, studying Sanskrit and literature. His Indic studies were greatly influenced by the writing of the anthropologist Sir Edward Burnett Tylor (1832-1917). He studied comparative linguistics at the University of Leipzig, returning the Netherlands to receive his Ph.D. in 1897. His dissertation was written on classical Indian drama. In 1902, Huizinga saw the famous exhibition of early Netherlandish “primitives” and read the accompanying documentary catalog by William Henry James Weale. This instilled a lifelong interest in the middle ages, particularly as it was represented through the arts. He taught school in Haarlem, lecturing on ancient history between 1903-1905 at the university in Amsterdam. His history professor, Petrus Johannes Blok (1855-1929), secured a chair in History for Huizinga at the university in Groningen in 1905. Huizinga’s wife, Mary Vincentia Schorer (1877-1914) died in 1914. The following year he accepted the chair of history at Leiden. Between 1916 and 1932 Huizinga edited the periodical De Gids. Huizinga was fascinated with the United States. In 1918, he published his Mensch en menigte in Amerika, a study of what he considered the national characteristics without ever having visited the U.S. His most famous book, Herfsttij der Middeleeuwen, the Waning of the Middle Ages (retranslated as the Autumn of the Middle Ages) appeared in 1919. Using the painting of Jan and Hubert van Eyck, he theorized their time as the transition from the middle ages to the renaissance. Dutch historians were largely unimpressed by the work which was written for a wider, popular audience as much as scholars. It was translated into English and became an immediate success in the English-speaking world. A work on Erasmus was published in 1924. In 1926 he visited the U. S., producing a second book on the country, Amerika Levend en Denkend the same year. His reputation as a cultural historian found a strong following in Germany; his studies were translated into German in 1930 by Werner Kaegi (1901-1979). However, as fascist dictators in Germany, Italy and Spain came to power, Huizinga found himself ever at odds with them. He authored In de schaduwen van morgen (In the Shadow of Tomorrow), 1935. In 1937 Huizinga remarried to a twenty-eight year old woman, Auguste Schölvinck. He delivered a lecture at the Warburg Institute the same year on the concept of play in history and linguistics. The talk was expanded and published the following year as Homo ludens. In 1938, too, he accepted the vice-presidency of the International Committee of Intellectual Cooperation with the League of Nations in 1938 to defend Western intellectual traditions against totalitarianism. During the German occupation of the Netherlands the Nazis closed the University of Leiden. Huizinga was arrested after a speech criticizing the Nazis and banished to the village of De Steeg in Gelderland, near Arnhem, in 1942. Huizinga died during the harsh winter of 1945, shortly before the town’s liberation, ever confident of the ideals for which he had stood and written about. Kaegi published both an ecomium and a biography shortly after Huizinga’s death. Huizinga was a conservative historian who favored the positivists of the previous century, such as Thomas Babbington Macaulay (1800-1859) and Leopold van Ranke (1795-1886), to the methodologies of his day. He criticized the work of Jacob Burckhardt and its attribution of the rise of the individual to the renaissance instead of the middle ages. From Tylor, Huizinga adopted the view that cultures functioned the same worldwide; it was only in their particulars that they varied (Payton). Though his book on the middle ages employs the biomorphic rise-and-decline analogies, Huizinga denied a cyclical view of history, such as Marxism, asserting that historical knowledge is essentially intuitive and subjective, not based upon material. The Autumn of the Middle Ages is his most clear thesis of this. He emphasized history as an esthetic concept and declared that art museums should be incorporated in the general museums. The art historian E. H. Gombrich praised Huizinga’s Homo ludens (1938) for its Warburg-like concept of broad cultural phenomenon. His belief that art history made sense only through the outline of general (cultural) history, stated in Cultuurhistorische verkenningen was criticized by subsequent art historians, notably Horst Gerson.
[collected works:] Verzamelde Werken. 9 vols. Haarlem: H. D. Tjeenk Willink, 1948-1953; Herfsttij der Middleeuwen: Studie over Levens- en Gedachtenvormen der Veertiende en Vijftiende eeuw in Frankrijk en de Nederlanden. Haarlem: H. D. Tjeenk Willink, 1919, English, The Waning of the Middle Ages: A Study of the Forms of Life, Thought, and Art in France and the Netherlands in the XIVth and XVth Centuries. London: E. Arnold, 1924, retranslated and published as, The Autumn of the Middle Ages. Chicago: University of Chicago Press, 1996; Nederlands beschaving in de zeventiende eeuw: Een schets. Haarlem: H. D. Tjeenk Willink,1941, English, Dutch Civilisation in the Seventeenth Century: and Other Essays. New York: F. Ungar, 1968; Nederland’s geestesmerk. Leiden: A.W. Sijthoff, 1935; Leven en werk van Jan Veth. Haarlem: H. D. Tjeenk Willink, 1927; Cultuurhistorische verkenningen. Haarlem: H.D. Tjeenk Willink, 1929, German, Wege der Kulturgeschichte: Studien. Munich: Drei Masken, 1930; In de schaduwen van morgen: Een diagnose van het geestelijk lijden van onzen tijd. Haarlem: H. D. Tjeenk Willink, 1935, English, In the Shadow of Tomorrow. New York: W. W. Norton; Philosophy and History; Essays Presented to Ernst Cassirer. Oxford: The Clarendon Press, 1936; De wetenschap der geschiedenis. Haarlem: H. D. Tjeenk Willink, 1937; Homo ludens: Proeve eener bepaling van het spelelement der cultuur, 1938, English, Homo ludens: a Study of the Play Element in Culture. New York: Roy Publishers, 1950; Geschonden wereld: een beschouwing over de kansen op herstel van onze beschaving. Haarlem: H. D. Tjeenk Willink, 1945; Men and Ideas: History, the Middle Ages, the Renaissance: Essays. New York: Meridian Books, 1959; De Nederlandse natie: vijf opstellen. Haarlem: H. D. Tjeenk Willink & Zoon N.V., 1960.
Kaegi, Werner. Johan Huizinga: zum Gedächtnis. Bern: Presseabteilung der Kgl. Niederländischen Gesandtschaft, 1945; Polman, Pontien. Huizinga als kultuurhistoricus. Haarlem: H. D. Tjeenk Willink & Zoon, 1946; Kaegi, Werner. Das historische Werk Johann Huizingas. Leiden: Universitaire pers Leiden, 1947; Schallenberg-Van Huffel, Wa. C. Huizinga. Baarn: Hollandia, 1950; Weintraub, Karl J. “Huizinga 1872-1945.” in Visions of Culture. Chicago: University of Chicago Press, 1966, pp. 208-292; Huizinga, Johan. “My Path to History.” in, Dutch Civilisation in the Seventeenth Century: and Other Essays. New York: F. Ungar, 1968; Gerson, Horst. “Huizinga und die Kunstgeschichte.” Bijdragen en mededelingen betreffende de geschiedenis der Nederlanden 88 no. 1 (1973): 348-364; 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. 147; Gombrich, Ernst. “The High Seriousness of Play: Reflections on Homo ludens by J. Huizinga (1872-1945).” in, Tributes: Interpreters of Our Cultural Tradition. Ithaca, NY: Cornell University Press, 1984, pp. 138-163; Payton, Rodney J. “Renaissance, Interpretation of the, ‘Johan Huizinga’.” The Encyclopedia of the Renaissance (1999) 5: 296-297; Strupp, Christoph. Johan Huizinga: Geschichtswissenschaft als Kulturgeschichte. Göttingen: Vandenhoeck & Ruprecht, 2000.
Cultural historian (and champion) of the Middle Ages. Huizing’s father, Dirk Huizinga, was a professor of physiology. His mother, Jacoba Tonkens, died when Huizinga was only two. As a child, he witnessed the re-enactment of medieval procession in
Full Name: Hugo, Victor
Gender: male
Date Born: unknown
Date Died: unknown
Home Country/ies: France
Subject Area(s): architecture (object genre) and sculpture (visual works)
French romantic author who also wrote about architecture. In 1832 Hugo wrote a book on the famous cathedral in Paris, Notre Dame. Hugo’s publications were the backdrop for a number of important French illustrators. Among Hugo’s favorite was Célestin Nanteuil (1813-73), who provided the frontispieces for the first edition of Notre-Dame de Paris. Later illustrated editions of Notre-Dame de Paris included those by Louis Boulanger and the Johannot Brothers in 1836, Aimé de Lemud (1816-87) in 1844, and Luc Olivier Merson in 1889. Dessins de Victor Hugo a book of his own drawings, appeared in 1862. His chapter “Paris à vol d’oiseau” in Notre dame de Paris was the inspiration for topographical analysis of Georgian architecture by John Newenham Summerson in Summerson’s book of 1946.
[regarding his influence on Summerson] Middleton, Robin. “John Summerson.” Burlington Magazine 135 (April 1993): 278;
French romantic author who also wrote about architecture. In 1832 Hugo wrote a book on the famous cathedral in Paris, Notre Dame. Hugo’s publications were the backdrop for a number of important French illustrators. Among Hugo’s favorite was Célest
Full Name: Huemer, Frances
Gender: female
Date Born: 1921
Place Born: Newark, Essex, NJ, USA
Home Country/ies: United States
Subject Area(s): Baroque, Flemish (culture or style), Northern European, and painting (visual works)
Career(s): educators
Rubens scholar and University of North Carolina, Chapel Hill professor, 1959-77. Huemer graduated from the Woman’s College of Duke University in 1944. She moved to New York where she wrote her Master’s thesis (1952) at New York University. She taught art history at Smith College while pursuing her dissertation, co-supervised under Richard Krautheimer and Walter F. Friedländer. It was granted in 1959 on baroque architectural decoration in Rome. That year she joined the faculty of the University of North Carolina at Chapel Hill. She remained there the rest of her career. She received a Kress fellowship in 1972 to study the portraits of Rubens. This resulted in the 1977 volume on Rubens’ portraiture (I) for the catalogue raisonné on Rubens.
[dissertation:] A Study of Roman Architectural Decoration of the Seventeenth Century. New York University, 1959; “Raphael and the Villa Madama: General Plan Attributed to Battista da Sangallo.” Marsyas 2nd Supplement I (1965): 92-9; [Rubens’] Portraits pt. 1. Corpus Rubenianum Ludwig Burchard 19. London: Harvey Miller, 1977; “Dionysiac Connection in an Early Rubens.” Art Bulletin 61 (December 1979): 562-74; “A New View of the Mantuan Friendship Portrait.” in, Papers Presented at the International Rubens Symposium: April 14-16, 1982, the John and Mable Ringling Museum of Art. Sarasota, FL: John and Mable Ringling Museum of Art Foundation, 1983; Rubens and the Roman Circle: Studies of the First Decade. New York: Garland, 1996; “Borromini and Michelangelo.” [series of articles] Source 18, no. 4, (summer 1999): 19-29, Source 20, no. 4, (summer 2001): 12-22, Source 20, no. 4, (summer 2001): 23-29, Source 21, no. 1, (fall 2001): 17-23, Source 21, no. 2 (winter 2002): 30-35.
Directory of American Scholars. 8th edition, vol. 1. New York: R. R. Bowker, 1982, p. ; personal information.
Rubens scholar and University of North Carolina, Chapel Hill professor, 1959-77. Huemer graduated from the Woman’s College of Duke University in 1944. She moved to New York where she wrote her Master’s thesis (1952) at New York University. She tau