Art Historians

Horne, Herbert P.

November 8, 2023April 25, 2024

Full Name: Horne, Herbert P.

Other Names:

Herbert Percy Horne

Gender: male

Date Born: 1864

Date Died: 1916

Place Born: London, Greater London, England, UK

Place Died: Palazzo Corsini, Florence, Italy

Home Country/ies: United Kingdom

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

Career(s): art collectors

Overview

Art collector and historian of Italian Renaissance art. Horne was the son of Horace Horne (d. 1894) and Hannah Louisa Gibson (Horne) (d. 1903). His father was a practicing architect. He attended the Kensington grammar school where the art critic for the Birmingham Post, D. Barron Brightwell (1834-1899), first introduced Horne to art. Horne then apprenticed to the architect George Vigers in London. Horne moved to the studio of Arthur Heygate Mackmurdo (1851-1942 ), becoming a partner in the 1880s. A social visionary, Mackmurdo, like William Morris, founded the Century Guild in 1882 with the artist Selwyn Image (1849-1930)–and likely Horne–to promote crafts of decoration and book publishing as fine arts. The Century Guild published the periodical The Hobby Horse, between 1884 and 1894, dedicated to fine design. Horne had read the Studies in the History of the Renaissance by Walter Pater which emphasized an aesthetic approach to art. Privately a libertine, his personal life amounted to frequenting bars and keeping numerous mistresses in a bohemian lifestyle. He was frequently in contact with Oscar Wilde between 1886 and 1891. Horne’s interest turned to Renaissance art in earnest. He met the art historian and Bernard Berenson in 1888 and the (then Italian renaissance) art scholar Roger Fry. In 1889 he traveled to north Italy to study architecture for a commission. In England, he lived with his parents until 1890s when he fitted himself out with an aesthete’s apartment replete with Renaissance prints. Horne left Mackmurdo in 1892 to practice on his own, designing buildings in a vague quattrocento style. Using an 1894 commission of George Bell & Sons intended for a popular treatment on Botticelli, Bell moved to Italy to study the artist seriously. From then on, Italian art history became the focus of his life. He sold his collection British of works on paper, including an important group of Alexander Cozens in order to remain in Florence. In Italy in 1897 he conducted tours of the monuments to Britishers such as Mary Costelloe (later Mary Berenson) and Julia Ady. In 1901 the first of two articles on Botticelli’s Adoration in the first issue of the Burlington Magazine. Horne moved permanently to Italy in 1904. He published his most important book in 1908, on Botticelli, in a small edition, dedicated to Pater. Fry’s elegant review in the Burlington Magazine of the same year praised Horne’s analysis. In Florence he developed his art dealing, partnering sometimes acerbically with Fry and Berenson, facilitating and possibly an accomplice to smuggling art works to Italy to Britain and the United States. He bought and restored the Palazzo Corsi in 1911, a fifteenth-century edifice which he transformed into a living museum of renaissance life. The same year he sold the Baltimore collector Henry Walters the magnificent Entombment predella by Giovanni di Paolo. The Hamburg art historian Aby M. Warburg visited a dying Horne in 1915, occupying only the tiniest rooms in his palazzo. Berenson’s wife, Mary Berenson convinced Horne to leave the palazzo to the Italian state, which he did as “Museo Horne.” Horne died there in 1916 and is buried in the Gli Allori (protestant) cemetery in Florence. Horne’s art history, clearest in his Botticelli is a narrative parsed with personalized descriptions of the paintings. His approach was compatible with Berenson and Fry, i.e., centered on the formal qualities, assigning attribution, and identifying the details in the manner of Giovanni Morelli. Horne’s archival research, unlike Berenson or Fry, was solid and stated in a forthright manner. As contrasting scholars as the museum curator John Pope-Hennessy and Warburg scholar Fritz Saxl, praised Horne’s works years after his death (1979 and 1944). Leopold D. Ettlinger described Horne’s Botticelli in 1978 as “one of the finest and still unsurpassed art-historical books ever written.” John Rothenstein was wary of his personal traits. Horne’s contrasting personality of scholar and bohemian (in her diaries Mary Berenson alluded to his bisexuality) makes his life difficult to characterize.

Selected Bibliography

“The Story of a Famous Botticelli.” Monthly Review (February 1902): 133-145; “A Lost ‘Adoration of the Magi’ by Sandro Botticelli.” Burlington Magazine 1 no. 1 (March 1903): 63-74; The Life of Leonardo da Vinci, by Giorgio Vasari, done into English from the Text of the Second Edition of the “Lives”. London: At the Sign of the Unicorn/Edinburgh: Morrison and Gibb, 1903; translated, Condivi, Ascanio. The Life of Michelagnolo Buonarroti collected by Ascanio Condivi da la Ripa Transone. Boston: Merrymount Press, 1904; Alessandro Filipepi, Commonly Called Sandro Botticelli, Painter of Florence. London: G. Bell & sons, 1908; A Lost Adoration of the Magi, by Sandro Botticelli.” Burlington Magazine 16 no. 79 (October 1909): 40-41; “Botticelli’s Last Communion of S. Jerome.” Burlington Magazine 28 ( 1915): 44-46; Some Considerations of the Nature of Fine Art. San Francisco: Harold Seeger, Lawton Kennedy, Albert Sperisen, 1947 [paper read at Whitechapel Craft School in Little Alie Street, London, 1891];

Sources

Fletcher, Ian. “Herbert Horne: The Earlier Phase.” English Miscellany 21 (1970): 117-157; Exhibition of the Herbert Horne Collection of Drawings. London: Burlington Fine Arts Club, 1916; Saxl, Fritz. “Three ‘Florentines:’ Herbert Horne, Aby Warburg, Jacques Mesnil.” Lectures, vol. 1. 1957, pp. 331-344; Fletcher, Ian. Herbert Horne: the Earlier Phase. Rome: Edizioni di storia e letteratura, 1970; Codell, Julie Francia. Chelsea Bohemian: Herbert Percy Horne, the Critic as Artist. Ph.D., dissertation, Indiana University, 1978; Ettlinger, Leopold. [Review of Ronald Lightbown’s Botticelli]. Burlington Magazine 121, no. 920 (November 1979): 729; -Pope-Hennessy, John. “Introduction.” Horne, Herbert P. Botticelli: Painter of Florence Princeton, NJ: Princeton University Press, 1980, pp. ix-xiii; Codell, Julie. “Horne’s Botticelli: Pre-Raphaelite Modernity, Historiography and the Aesthetic of Intensity.” Journal of Pre-Raphaelite and Aesthetic Studies 2 (1989): 27-41; Fletcher, Ian. Rediscovering Herbert Horne: Poet, Architect, Typographer, Art Historian. Greensboro, NC: ELT Press, 1990; Codell, Julie, “Herbert Horne,” 1890s Encyclopedia of Art, Literature & Culture. New York: Garland, 1993, pp. 284-5; Preyer, Brenda Isabel. Il Palazzo Corsi-Horne: dal Diario di restauro di H.P. Horne. Rome: Istituto poligrafico e Zecca dello Stato, Libreria della Stato, 1993; Chaney, Edward, and Hall, Jane. “Herbert Horne’s 1889 Diary of his First Visit to Italy.” The Sixty-fourth Volume of the Walpole Society (2002): 69-82; Crawford, Alan. “Horne, Herbert Percy (1864-1916).” Oxford Dictionary of National Biography, Oxford University Press, 2004.

Horn, Walter W.

November 8, 2023April 25, 2024

**Image Credit:** Monuments Men and Women

Full Name: Horn, Walter W.

Other Names:

Walter Horn

Gender: male

Date Born: 1908

Date Died: 1995

Place Born: Waldangelloch, Baden-Württemberg, Germany

Place Died: Berkeley, Alameda, CA, USA

Home Country/ies: Germany

Subject Area(s): Medieval (European)

Overview

Medievalist professor of art history at the University of California, Berkeley. Horn was the son of a Karl Horn, a Lutheran minister, and Matilde Peters (Horn). He grew up in Heidelberg, attending the university there, and in Berlin and Hamburg studying art history. He settled on the newly establish art history department there, writing his disseration under Erwin Panofsky. Horn served as a research associate beginning in 1934 at the Kunsthistorisches Institut in Florence. His disseration was on the fascade of the church of St-Gilles, was granted for his Ph.D.from Hamburg in 1937. Horn’s first article, “Das Florentiner Bapisterium,” 1938, disproved a Roman or early Christian date for the famous baptistry, based on a careful study of the building materials. Horn’s strong opposition to National Socialism forced him to emigrate to the United States the same year. He secured an appointment at the University of California, Berkeley as a visiting lecturer in 1939 and assistant professor the following year. He remained there his entire career.He married Ann Binkley Rand. Horn became a U.S. citizen in 1943 and joined the army to fight the Nazis. He became part of General George S. Patton’s 3rd Army in Europe. Given his art background, he was transferred to the division to investigate looted treasures in Germany, Third Army Intelligence Center, interviewing Germans responsible for the thefts. He was discharged from the army with the rank of captain in 1946 and returned to Berkeley and was appointed professor in 1948. In 1949. He married a second time to Alberta West Parker, a physician. Together with the classicist Darrell A. Amyx, he helped found the History of Art Department at Berkeley. After participating in a conference on the plan of St. Gall in 1957, he published a 1958 article on the bay system in stone architecture. Horn concluded that stone structures of the Romanesque period owed much to the wood churches of the era which had all disappeared. Horn employed a San Francisco architect and draftsman, Ernst Born, to assist him with his drawings. Beginning in 1960, Born and Horn began collaborating on the measurement of medieval buildings, publishing several studies of related Cistercian buildings in England and France. Born went on to a career in architectural history at Berkeley through Horn’s encouragement. Horn retired emeritus from the University in 1974. In 1979, Horn and Born published a complete study of the plan of St. Gall which received twelve major awards and the AIA medal. His students include W. Eugene Kleinbauer, Jr. (master’s degree). The hallmark of Horn’s methodology was the precise date of medieval buildings by a study of their building techniques and materials. Throughout his career, Horn contended that the plan of St. Gall was a copy of a lost master plan of 816 or 817. This proved controversial and many of Horn’s greatest critics argued that the plan was an ideal plan rather than actual.

Selected Bibliography

[dissertation:] Die Fassade von St. Gilles: Eine Untersuchung zur Frage des Antikeneinflusses in der südfranzösischen Kunst des 12. Jahrhunderts. Hamburg, 1937; “Das florentiner Baptisterium.” Mitteilungen des Kunsthistorischen Institutes in Florenz. Sonderdruck, 5 no.2, (December 1938): 99-151; “Romanesque Churches in Florence.” Art Bulletin 25 (1943): 112-321; “On the Origins of the Medieval Bay System.” Journal of the Society of American Historians 17 (1958): 2-23; The Barns of the Abbey Beaulieu at its Granges of great Coxwell and Beaulieu-St. Leonards. Berkeley: University of California Press, 1965; “On the Author of the Plan to the Monastic Reform Movement.” in Duft, Johannes, ed. Studien zum St. Galler Klosterplan. St. Gallen: Fehr, 1962; and Born, Ernst. The Plan of St. Gall: A Study of Architecture and Economy of, and Life in a Paradigmatic Carolingian Monastery. 3 vols. Berkeley: University of Califirnia Press, 1979.

Sources

Kleinbauer, W. Eugene. Research Guide to the History of Western Art. Sources of Information in the Humanities, no. 2. Chicago: American Library Association, 1982, p. 125 mentioned; 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. 39, mentioned, pp. 50, 85 mentioned; Kleinbauer, W. Eugene and Mellinkoff, Ruth, and Marrow, James. “Memoir of Walter W. Horn.” Speculum 71 (July 1996): 800-802; 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. 324-326.

Horn, Rudolf

November 8, 2023March 29, 2024

Full Name: Horn, Rudolf

Gender: male

Date Born: 1903

Date Died: 1984

Place Born: Waldangelloch, Baden-Württemberg, Germany

Place Died: Göttingen, Lower Saxony, Germany

Home Country/ies: Germany

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

Overview

Specialist in classical greek sculpture. Particularly concerned with the differentiation between the High and Late Hellenistic periods. Called to a professorship in Classical Archaeology at the University of Göttingen in 1941, but did not assume the position until 1945, in the meantime serving in the Foreign Office during World War II. Educated many future archaeologists and art historians of classical Greece, although not affiliated or responsible for a particular “school” or method.

Selected Bibliography

“Stehende weibliche Gewandstatuten in der hellenistischen Plastik” RM 2. Ergh. (1931); “Hellenistische Köpfe” RM 52 (1937): 140ff. and RM 53 (1938): 70ff.; “Das hellenistische Bildnis” Gnomon 24 (1952): 241ff.; “Hellenistische Bildwerke auf Samos” Samos XII (1972)

Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 276-277.

Hopps, Walter C

November 8, 2023April 25, 2024

Full Name: Hopps, Walter C

Other Names:

Walter Hopps

Gender: male

Date Born: 1933

Date Died: 2005

Place Born: Eagle Rock, Santa Cruz, CA, USA

Place Died: Los Angeles, CA, USA

Home Country/ies: United States

Institution(s): Menil Collection

Overview

Selected Bibliography

Marcel Duchamp: a Retrospective Exhibition. Pasadena, CA: Padadena Museum of Art, 1963; The Art Show [of Ed Kienholz]. Washington, DC: Washington Gallery of Modern Art, 1968;

Sources

McKenna, Kristine. The Ferus Gallery: A Place to Begin. Steidl, 2009; Cool School [documentary video]; [obituaries:] Richard, Paul. “Walter Hopps, Museum Man With a Talent For Talent.” Washington Post March 22, 2005 [see correction], p. C01; Lamb, Yvonne Shinhoster. “Walter Hopps; Curator of 20th-Century Art.” Washington Post March 22, 2005,p. B06; Smith, Roberta. “Walter Hopps, 72, Curator With a Flair for the Modern.” New York Times March 23, 2005 , p. C15.

Contributors: Lee Sorensen

Hoppin, Joseph Clark

November 8, 2023March 29, 2024

Full Name: Hoppin, Joseph Clark

Gender: male

Date Born: 1870

Date Died: 1925

Place Born: Providence, RI, USA

Place Died: Boston, Suffolk, MA, USA

Home Country/ies: United States

Subject Area(s): Ancient Greek (culture or style), archaeology, ceramic ware (visual works), Greek pottery styles, and pottery (visual works)

Career(s): art collectors

Overview

Archaeologist, historian of Greek classical vases, and collector. Hoppin graduated from Harvard University in 1893 and studied at the American School of Classical Studies in Athens and the universities in Berlin and Munich, receiving his Ph. D., at the latter in 1896. Hoppin’s interest was from the first and throughout his career in classical Greek vases; his dissertation was on the vase painter Euthymides. Between 1894-1896 he was a participant in the archaeological dig at Argive Heraeum, Athens, under Charles Waldstein whose finds Hoppin published in 1898. That same year he joined Wellesley College as an instructor. The following year he moved to Bryn Mawr as an Associate in Greek Art and Archaeology. In 1901 he was appointed associate professor. He resigned in 1904, teaching at the American School in Athens for the 1904-05 year. In 1910, he and Richard Norton among others excavated the former Greco-Roman outpost Cyrene in North Africa (modern Libya). In 1916 he revised and published his dissertation in English. He returned to teaching at Bryn Mawr for the 1917-1919 years. Two handbooks of Greek vases appeared in 1918 and 1924. He and A. E. Gallatin co-published the first fascicule of the prestigious Corpus Vasorum Antiquorum for a United States collection, which appeared after his death. The Greek vase artist, the Hoppin Painter, is named for a vase formerly in Hoppin’s collection now in the Arthur M. Sackler Museum, Harvard University.

Selected Bibliography

and Gallatin, Albert. Corpus vasorum antiquorum. United States of America (fasc 1:). Hoppin and Gallatin collections. Paris: Champion, 1926; Euthymides and his Fellows. Cambridge, Harvard University Press, 1917; A Handbook of Attic Red-figured Vases signed by or Attributed to the Various Masters of the Sixth and Fifth Centuries B. C. 2 vols. Cambridge, MA: Harvard University Press, 1919; A Handbook of Greek Black-figured Vases, with a Chapter on the Red Figured Southern Italian Vases. Paris: E. Champion, 1924.

Sources

[obituaries:] G[eorge] H[enry] C[hase]. “Joseph Clark Hoppin 1870-1925.” American Journal of Archaeology 29, No. 1 (January1925): 1-2; “Dr. Joseph C. Hoppin Dies: Noted Archaeologist was an Authority on Greek Vases.” New York Times February 1, 1925, p. E7.

Hopkins, Henry T.

November 8, 2023April 25, 2024

Full Name: Hopkins, Henry T.

Other Names:

Henry Tyler Hopkins

Gender: male

Date Born: 1928

Place Born: Idaho Falls, Bonneville, ID, USA

Home Country/ies: United States

Subject Area(s): Modern (style or period)

Career(s): curators and educators

Overview

Director of several California modern-art museums and professor and chair of the department of art, UCLA. Hopkins was the son of Talcott Thompson Hopkins and Zoe Erbe (Hopkins). After initially studying at the College of Idaho in 1946, he moved to the School of the Art Institute of Chicago in 1949 as a painting student, graduating in 1952 with a B.A. in art education. The Korean Conflict in full swing, he was drafted into the army, but spent his time as a photographer in Augsberg, Germany. His travels in Europe sparked an interest in art history. After discharge in 1954, he returned to th AIC, receiving an M.A. in 1955. He entered UCLA in 1957 completing coursework for his Ph.D. Hopkins never completed his dissertation. Though he taught art history in UCLA’s extension program through 1968, he left his studies in 1960 to direct the important but short-lived Huysman Gallery which featured the art of Ed Rucha, Larry Bell and other California artists. His controvercial “War Babies” exhibition closed the gallery, but Hopkins moved to the Los Angeles County Museum of art as curator of modern exhibitions and art education in 1961. He rose to head of museum programs. In 1968 he left both positions to direct the Fort Worth Art Museum (today, the Modern Art Museum of Fort Worth), lecturing at Texas Christian University, Fort Worth. During that time he headed the U.S. component at the Venice Bienale in 1970. In 1974 Hopkins moved the directorship of the San Francisco Museum of Modern Art, where he remained until 1986. During his tenure the Museum doubled in size and depth of its collections and advised on the collections for the Federal Reserve Bank of San Francisco and the Crocker Bank. At the calling of Frederick R. Weisman, the Los Angeles businessman and art collector, Hopkins became the director of Weisman’s art collection foundation. He joined the art department of UCLA (University of California, Los Angeles) in 1991 chairing the department and the Frederick S. Wight Gallery. His assistance in the negotiations with the Armand Hammer Museum led to its merger with UCLA (now the Armand Hammer Museum and Cultural Center, UCLA) and his appointment as director of the Center in 1994. He resumed his professorship at UCLA in 1999 after leaving the Museum, where he became emeritus in 2002. He returned to painting and exhibiting in retirement.

Selected Bibliography

and Bullis, Douglas. 50 West Coast Artists: a Critical Selection of Painters and Sculptors Working in California. San Francisco: Chronicle Books, 1981; Miro: Exhibition Catalogue of Paintings, Sculpture and Graphics. New York: Wittenborn, 1981

Sources

Hopkins, Henry T. A Life in art Oral History Transcript, 1995: Henry T. Hopkins. Ratner, Joanne L., interviewer. Los Angeles: Oral History Program, University of California, Los Angeles, 1998.

Hope, Charles

November 8, 2023April 25, 2024

Full Name: Hope, Charles

Gender: male

Date Born: 1945

Home Country/ies: United Kingdom

Institution(s): Warburg Institute

Overview

Director of the Warburg Institute, London, 1990-.

Selected Bibliography

and Penney, Nicholas, Campbell, Caroline and Jaffé, David. Titian: Essays. London: National Gallery, 2003; and Martineau, Jane, eds. The Genius of Venice, 1500-1600. New York : H.N. Abrams, 1983; Titian. New York: Harper & Row, Publishers, 1980.

Contributors: Lee Sorensen

Director of the Warburg Institute, London, 1990-.

Hoogstraeten, Samuel van

November 8, 2023March 29, 2024

Full Name: Hoogstraeten, Samuel van

Gender: male

Date Born: unknown

Date Died: unknown

Place Born: Dordrecht, Gemeente, South Holland, Netherlands

Home Country/ies: Netherlands

Subject Area(s): Dutch (culture or style), Netherlandish, and painting (visual works)

Overview

painter; student of Rembrandt; wrote an early account of painters in the Netherlands

Selected Bibliography

Inleyding tot de hoog Schoole der Schilderkonst: anders de zichtbare werelt. Verdeelt in negen Leerwinkels yder bestiert door eene der zang-godinnen. Middelbourg, 1641.

painter; student of Rembrandt; wrote an early account of painters in the Netherlands

Hoogewerff, G. J.

November 8, 2023March 29, 2024

Full Name: Hoogewerff, G. J.

Other Names:

Godefridus Johannes Hoogewerff

Gender: male

Date Born: 1884

Date Died: 1963

Place Born: Amersfoort, Utrecht, Netherlands

Place Died: Florence, Tuscany, Italy

Home Country/ies: Netherlands

Subject Area(s): Early Christian and iconography

Overview

Art historian and professor in Iconography and Early Christian Art. Hoogewerff attended the Gymnasium in Amersfoort and studied Dutch Language and Literature at the University of Utrecht between 1903 and 1908. In 1912 he received his doctorate, writing his dissertation on Dutch painters working in Italy: Nederlandsche schilders in Italië in de XVIe eeuw. De geschiedenis van het Romanisme. His advisor was Willem Vogelsang, the first full professor in art history in the Netherlands (beginning 1907). Hoogewerff became his assistant in 1908. During this time, Otto A. Oppermann, lector in medieval history and paleography, encouraged him to do archival research. Samuel Muller, archivist of Utrecht, invited him to describe and to catalog the illuminated manuscripts conserved in the Aartsbischoppelijk Museum of Utrecht (the museum of the Archbishopric Utrecht). In 1909, Hoogewerff went to Rome, as assistant at the Nederlands Historisch Instituut te Rome, to research the daily lives of Dutch artists and scholars who had worked in Italy. He remained at the Institute, even after obtaining his doctor’s degree, first as Secretary and later, from1924, as Director. Several publications, in addition to his dissertation mentioned above, were the result of his research in the Italian archives. Hoogewerff also pursued research in early Dutch painting and Dutch book illumination. Together with A. W. Byvanck, he edited, between 1922 and 1925, Noord-Nederlandsche Miniaturen, in three volumes, including a text with 240 reproductions. Between 1936 and 1947, Hoogewerff published a comprehensive five-volumes study on early painting in the Northern Netherlands (to the end of the sixteenth century): De Noord-Nederlandsche Schilderkunst. His study on Dutch painters and their guilds in The Netherlands: De Geschiedenis van de St. Lucasgilden in Nederland appeared in 1947 and a similar monograph on Dutch artists in Italy: De Bentvueghels, in 1952. These books draw heavily from archival information documenting the social life of the painters. Hoogewerff’s particular interest was in Jan van Scorel, who became the subject of more than one article. In 1923, he published a monograph in French on this painter, and a new Dutch version in 1941. After his retirement, in 1950, he became Professor in Iconography and Early Christian Art at Utrecht University. Four years later, in 1954, he retired from this post and went to live in Florence, where he took the initiative in founding the Dutch Institute for Art History. Although generally lauded for his scholarship and archival investigation, Hoogewerff faced criticism as well, in particular concerning his De ontwikkeling der Italiaansche Renaissance, published in 1921. A. W. Byvanck does not agree, in Hoogewerff’s obituary, with the judgment of one of his critics on this book, declaring that Hoogewerff more often has been misunderstood and treated unfairly. Wessel Krul, exploring Hoogewerff’s oeuvre, including Verbeelding en Voorstelling (edited in 1939 and re-edited in 1942 and 1948), remarks that there is in general some unbalance in his style, and some weakness in the presentation of his ideas about culture and esthetics. Krul explains that for this reason the greater part of is his oeuvre is largely forgotten, but he states that it is nevertheless of great importance for the history of art history. In 1928, in a lecture, and in 1931, in his article “L’iconologie et son importance pour l’étude systématique de l’art chrétien”, Hoogewerff was dealing with iconology, distinguishing it from iconography. While iconography aims to identify and to describe the represented theme of the work of art, iconology seeks to understand the deeper meaning of works of art, behind the representation itself. Iconology, as a method to study the cultural content in which the work of art was made and was perceived, aims to reveal the true sentence of the work of art and the values it was, and still is, representing. Though this theory was rather innovative in a time when the stylistic, esthetic and technical approach of the work of art was more in use by art historians, Jan Białostocki remarked in 1973 that Hoogewerff’s part in the expansion of iconology was limited, because he did not endorse his methodical proposals with examples of historical interpretation.

Selected Bibliography

For a complete list (225 items up to 1960), see Singelenberg, P. “Bibliografie van de geschriften van prof. Dr. G.J. Hoogewerff.” Mededelingen van het Nederlands Historisch Instituut te Rome 31. The Hague, 1961: 21-45; completed in 1985 by Van Kessel, P.J. in Biografisch woordenboek van Nederland, mentioned above. Nederlandsche Schilders in Italië in de 16e eeuw. De Geschiedenis van het Romanisme. Academisch proefschrift. Utrecht: A. Oosthoek, 1912; De ontwikkeling der Italiaansche Renaissance. Zutphen: W.J. Thieme, 1921; and A.W. Byvanck Noord-Nederlandsche Miniaturen in handschriften der 14e, 15e en 16e eeuwen, verzameld en beschreven. 3 vols. The Hague: Martinus Nijhoff, 1922-1925; “L’iconologie et son importance pour l’étude systématique de l’art chrétien.” Rivista di Archeologia Cristiana 8 (1931): 53-82; De Noord-Nederlandsche Schilderkunst. 5 vols. The Hague: Martinus Nijhoff, 1936-1947; Jan van Scorel en zijn navolgers en geestverwanten. The Hague: Martinus Nijhoff, 1941; Verbeelding en Voorstelling. De Ontwikkeling van het Kunstbesef (Encyclopaedie in Monografieën der Wereldbibliotheek) Amsterdam, 1939, reprint 1942, 3rd ed.: Verbeelding en Voorstelling. De Ontwikkeling van het kunstzinnig Inzicht. Amsterdam-Antwerp: De Wereld-Bibliotheek N.V., 1948; De Geschiedenis van de St. Lucasgilden in Nederland (“Patria”. Vaderlandsche Cultuurgeschiedenis in monografieën: 41) Amsterdam: P.N. van Kampen en Zoon N.V., 1947; De Bentvueghels (Utrechtse Bijdragen tot de Kunstgeschiedenis: 1) The Hague: Martinus Nijhoff, 1952.

Sources

Lugt, Frits “History of Art.” Barnouw, A.J. and Landheer, B. (eds.) The Contribution of Holland to the Sciences. New York: Querido, 1943: 193; Poelhekke, J.J. “Beknopte levensschets van prof. Dr. G.J. Hoogewerff.” Mededelingen van het Nederlands Historisch Instituut te Rome 31. The Hague, 1961: 7-20; Luijdjens, Adriaan H. “Hoogewerff als directeur van het Nederlands Historisch Instituut. Persoonlijke herinneringen.” ibidem, 47-54; Heckscher, W.S. “In memoriam Godefridus Ioannes Hoogewerff 1884-1963.” Jaarboek der Rijksuniversiteit te Utrecht 1962-1963. Utrecht, 1963: 18-25; idem in Hollands Maandblad 189 (april 1963): 40-44; Duverger, J. Jaarboek Koninklijke Vlaamse Academie voor Wetenschappen en Schone Kunsten in België 25 (1963): 318-319; Poelhekke, J.J. “Aantekening. In memoriam G.J. Hoogewerff.” Bijdragen voor de Geschiedenis der Nederlanden 18 (1963) 23-26; Byvanck, A.W. “Herdenking van Godefridus Johannes Hoogewerff (20 juni 1884 – 25 maart 1963).” Jaarboek der Koninklijke Nederlandse Akademie van Wetenschappen 1963-1964. Amsterdam: N.V. Noord-Hollandsche Uitgevers Maatschappij, 1964: 461-466; idem “Prof. G.J. Hoogewerff.” Oud Holland 79 (1964): 3-4; Bia?ostocki, Jan Iconography. in P.P. Wiener (ed.) Dictionary of the History of Ideas 2. New York: Charles Scribner’s Sons, 1973: pp. 524-541, 536; Van Kessel, P.J. “Godefridus Johannes Hoogewerff.” in J. Charité (ed.) Biografisch woordenboek van Nederland 2. Amsterdam: Elsevier, 1985, pp. 241-243; Krul, Wessel “Geschiedenis en ikonologie: G.J. Hoogewerff (1884-1963)” in Hecht, Peter; Hoogenboom, Annemieke; Stolwijk, Chris (eds.) Kunstgeschiedenis in Nederland. Negen opstellen. Amsterdam: Prometheus, 1998: 105-125. Festschrift: Mededelingen van het Nederlands Historisch Instituut te Rome 31 Huldigingsbundel opgedragen aan Prof. Dr. G.J. Hoogewerff bij zijn 75ste verjaardag. The Hague, 1961.

Contributors: Monique Daniels

Honour, Hugh

November 8, 2023April 25, 2024

Full Name: Honour, Hugh

Other Names:

Hugh Honour

Gender: male

Date Born: 1927

Place Born: Eastbourne, East Sussex, England, UK

Home Country/ies: United Kingdom

Overview

Self-trained art historian whose career is inextricably connected with his partner, John Fleming. Honour was born to Herbert Percy and Dorothy Margaret Withers (Honour). He attended St. Catharine’s College, Cambridge University. In Cambridge, Honour, a homosexual, met John Fleming, an unhappy solicitor and amateur art historian, who would become Honour’s life partner. Fleming spent his holidays in Rome, touring galleries and teaching himself art history. When Fleming’s father died in 1953, Fleming quit his profession to become a freelance writer in Italy. Honour accepted a position as Assistant director of Leeds City Art Gallery and Temple Newsan House. The following year Honour resigned his position to move and live with Fleming where Fleming was a caretaker (reader) for Percy Lubbock (1879-1965) at Gli Scafari on the Gulf of Spezia, a villa designed by the architect Cecil Pinsent (1884-1963). There the two met the English-speaking expatriate community in Italy, including Bernard Berenson and his entourage at Villa I Tatti. Fleming wrote articles for The Connoisseur and other publications. Between 1955 and 1962 Honour was guest editor of an Italian issue every November for the Connoisseur. Among those Honour and Fleming came into contact with in Italy was the architectual hisorian George James Henry Lees-Milne. In 1957, Honour and Fleming moved from Lerici to Asolo, a town north of Venice, renting a house from Freya Stark (1893-1993). Honour set about writing a cultural guide to Venice, published in 1966. At Asolo they met the publisher Allen Lane (1902-1970), the founder of Penguin Books, who was renting the adjacent Villa Bronson. Lane commissioned the two men to oversee and edit what would become the three most important short-subject art history series of the twentieth century: the Style and Civilisation series (begun 1967), for which Honour wrote the volumes on Neo-classicism and romanticism; the Architect and Society series (begun 1966); and the Art in Context series (begun 1972). In 1961 Honour published his first monograph, Chinoiserie: the Vision of Cathay. The following year Fleming and Honour moved to the hills above Lucca to the town of Tofori, purchasing the Villa Marchiò, where they remained the rest of their lives. Tofori afforded them easy access to the library at the German Institute in Florence. For two months each winter they returned to England to research at the British Museum and Warburg Institute libraries. In 1966, they collaborated with Pevsner to produce The Penguin Dictionary of Architecture. Although Pevsner wrote about half of the first edition, the successive editions now nearly quadrupled in size, were the work of Honour and Fleming. The Penguin Dictionary of Decorative Arts appeared in 1977 as a collaborative effort, but the subject was widely known to be Honour’s more than Fleming’s. Honour and Fleming next collaborated on a single-volume art survey, appearing in 1982 as A World History of Art (Visual Arts: a History in the United States). Groundbreaking was its emphasis on Asian art at a time when standard histories focused on European. In 1991 Fleming and Honour produced the Venetian Hours of Henry James, Whistler and Sargent, culled from their experiences of their days with Lubbock, a Henry James disciple. In 2001, after suffering illness and blindness, Fleming died. As an art historian, Honour was both praised and criticized. Romanticism and Neo-classicism were both criticized for adhering too closely to a concept of style. Charles Rosen and Henri Thomas Zerner characterized Honour’s organization as limiting the book’s purported topic of an entire movement (New York Review of Books).

Selected Bibliography

Chinoiserie: the Vision of Cathay. London: J. Murray, 1961; and Pevsner, Nikolaus, and Fleming, John. The Penguin Dictionary of Architecture. Baltimore: Penguin Books, 1966; The Companion Guide to Venice. New York: Harper & Row, 1966; Horace Walpole. London: British Council/Longmans, Green, 1957; Neo-classicism. Harmondsworth: Penguin, 1968; Cabinet Makers and Furniture Designers. New York: Putnam, 1969; Goldsmiths & Silversmiths. New York: Putnam, 1971; The European Vision of America: a Special Exhibition to Honor the Bicentennial of the United States. Washington, DC: National Gallery of Art/Réunion des musées nationaux, Paris/Cleveland Museum of Art, 1975; The New Golden Land: European Images of America from the Discoveries to the Present Time. New York: Pantheon Books, 1975; and Fleming, John. Dictionary of the Decorative Arts. New York: Harper & Row, 1977; Romanticism. Harmondsworth: Penguin, 1979; and Fleming, John. A World History of Art. London: Macmillan Reference Books, 1982, [published in the United States as, The Visual Arts: a History. Englewood Cliffs, NJ: Prentice-Hall, 1982]; and Fleming, John. The Venetian Hours of Henry James, Whistler and Sargent. Boston: Little, Brown, 1991.

Sources

Penny, Nicholas. “John Fleming, 1919-2001.” Burlington Magazine 143, no. 1184 (November 2001): 694-5.

Contributors: Lee Sorensen

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