Art Historians

Hill, Dorothy Kent

November 8, 2023April 25, 2024

Full Name: Hill, Dorothy Kent

Gender: female

Date Born: 1907

Date Died: 1986

Place Born: New York, NY, USA

Place Died: USA

Home Country/ies: United States

Subject Area(s): Classical

Career(s): curators

Overview

First curator of classical art at the Walters Gallery, Baltimore. Hill studied at Vassar (class of 1928) and continued Johns Hopkins University, graduating in 1933. Her dissertation, on Greek pottery, was titled Conventions of Attic Black-figured Drawing, written under David Moore Robinson (1880-1958). Hill was immediately hired by the nascent Walters Art Gallery. Henry Walters had bequeathed over 23,000 art works in 1931 to the city. Other curators hired for the new museum included Dorothy E. Miner. Hill set about cataloging the collection of ancient art, rising to curator of Classical Art in 1937. In 1948 she began editing the Journal of the Walters Art Gallery. Hill was part of the Archaeology Club, an informal group of classical art historians, whose ranks included Otto J. Brendel of Columbia University and his wife Maria, Homer Thompson (1906-2000) and his wife Dorothy Burr Thompson of the Institute for Advanced Study, Frances Follin Jones of the Princeton Art Gallery, and Evelyn B. Harrison. Hill retired in 1977 and was succeeded by Diana Buitron [Oliver]. He died returning from Princeton, NJ.

Sources

Poultney, James. W., and Low, Theodore L. “Dorothy Kent Hill Retires.” Walters Art Gallery Bulletin (February 1977): 1-2; [obituary:] Poultney, James. W. “Dorothy Kent Hill, 1907-1986.” American Journal of Archaeology 90, no. 4 (October 1986): 473-474.

Hildebrandt, Hans

November 8, 2023April 25, 2024

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Full Name: Hildebrandt, Hans

Gender: male

Date Born: 29 January 1878

Date Died: 25 August 1957

Place Born: Staufen, Hesse, Germany

Place Died: Stuttgart, Baden-Württemberg, Germany

Home Country/ies: Germany

Institution(s): Technische Hochschule Stuttgart

Overview

Advocate for 19th and 20th century art, professional career in Germany, 1908 to 1949. Hildebrandt was born in Staufen (Baden), Germany. He studied law at Mannheim until 1904, when he began his studies in art history until approximately 1912. In Munich and Heidelberg, his studies covered the areas of art history, wall painting, archaeology, and philosophy. In 1908, he completed his dissertation on German art history, titled Die Architektur bei Albrecht Altdorfer, under Henry Thode in Strasbourg. He also married Lily Uhlmann (1887-1974), a painter and photographer. In 1912, he published Elemente der Wandmalerei through his primary institution, the Technische Hochschule Stuttgart. After completing his studies in Munich alongside his work as a private scholar and art writer, Hildebrandt began his professional career as a private lecturer at the Hochschule on modern art history. During World War I, he was exempt from military service due to respiratory illness. He became art historian reviewer and was given various administrative roles on campus instead. In opposition to German militarism, Hildebrandt founded the “Süddeutsche Nachrichtenstelle für die Neutralen,” which distributed anti-war literature until the November Revolution in 1918. He condemned the war but felt isolated and persecuted for his views. From 1920 to 1937, Hildebrandt became a professor of fine arts aesthetics and modern art history. He wrote about contemporary architecture, art, and design in publications like the Deutsche Kunst und Dekoration. Through Uhlmann, he became friends with Adolf Hölzel (Uhlmann’s mentor), Oskar Schlemmer, and Willi Baumeister. He also became close friends with many contemporary architects and artists at the Bauhaus. Hildebrandt’s Stuttgart House was a focal point for them to promote and publish their ideas and work through venues, arranging exhibitions, and more. The group also collaborated on the Weissenhof settlement, the first international-style architecture. In 1933, the National Socialist Party of Germany instituted a publication ban that caused Hildebrandt to consider leaving the country, though he ultimately decided to remain in Germany. Due to racist policies issued by the Nazi party, he was dismissed from the Technische Hochschule Stuttgart for his wife’s Jewish descent and for promoting modern art and architecture. He temporarily lectured at Eidgenössische Technische Hochschule Zurich for a year. From 1940 to 1945, Hildebrandt and his family suffered economic hardship and increasingly dangerous living conditions due to discrimination on Uhlmann’s heritage; his son was arrested and temporarily imprisoned in 1943 for military subversion. After the war, Hildebrandt resumed his professor position at the Technische Hochschule Stuttgart in 1945, and retired in 1949. He resumed contact with his artist and architect friends, some of whom had fled the country, and continued teaching until his death in 1957. He spent his later years publishing essays, giving lectures, and organizing exhibition openings. The most significant publication of this period was his revised catalogue raisonné on the artist Oskar Schlemmer, published in München in 1952.

Selected Bibliography

“Das Empfangsgebäude des künftigen Stuttgarter Hauptbahnhofs.” Neudeutsche Bauzeitung 10 (1914): 490-495 and 497-503;
“Der Platanenhain.” Ein Monumentalwerk Bernhard Hoetgers. Berlin, 1915;
Krieg und Kunst. Munich, 1916;
“Die zweite Sommer-Ausstellung der Münchener ‘Neuen Secession’.” Deutsche Kunst und Dekoration (1916): 293-307;
“Franz Marc.” Deutsche Kunst und Dekoration (1916): 159-168;
“Der Expressionismus in der Malerei.” Ein Vortrag zur Einführung in das Schaffen der Gegenwart. Stuttgart, 1919;
Wandmalerei, ihr Wesen und ihre Gesetze. Stuttgart, Berlin, 1920;
“Kunst und Nationalität.” Deutsche Kunst und Dekoration (1922): 328-332;
Einleitung zu: Alexander Archipenko. Berlin, 1922;
Hans Brühlmann. Sein Leben und seine Werke. Zurich, 1923;
Alexander Archipenko. Berlin, 1923 (English Translation);
Ed., Zeppelin-Denkmal für das deutsche Volk. Aus Anlaß des fünfund-zwanzigjährigen Jubiläums des ersten Luftschiff-Aufstiegs des Grafen Zeppelin. Stuttgart, 1926;
Die Frau als Künstlerin. Berlin, 1928;
“Die Kunst des 19. und 20. Jahrhunderts.” Handbuch der Kunst-wissenschaft series, 21. Potsdam, 1931;
Ein unbekanntes Goethe-Bildnis in Züricher Privatbesitz. Berlin, 1938;
Impressionisten und Avantgarde in Frankreich. [exhibition catalog] (1948);
“Deutschlands Verlust an künstlerischer Kraft.” Kunst (1948);
“L’Art dans l’Allemagne d’aujourd’hui.” Temps Modernes. (1949);
“Bau, Bild und Bildwerk.” Werk (1949);
Oskar Schlemmer. [catalogue raisonné] Munich, 1952;
Stuttgart wie es war und ist. Stuttgart, 1952;
Rudolf Wagner. Stuttgart, 1955.

Sources

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. 300-305.

Contributors: Cindy Xu and Lee Sorensen

Higgins, Reynold Alleyne

November 8, 2023March 29, 2024

Full Name: Higgins, Reynold Alleyne

Gender: male

Date Born: 1916

Date Died: 1993

Place Born: Weybridge, Surrey, England, UK

Place Died: England, UK

Home Country/ies: United Kingdom

Overview

Sources

Medwid, Linda M. The Makers of Classical Archaeology: A Reference Work. New York: Humanity Books, 2000 pp. 152-3.

Hibbard, Howard

November 8, 2023March 29, 2024

Full Name: Hibbard, Howard

Other Names:

Howard Hibbard

Gender: male

Date Born: 1928

Date Died: 1984

Place Born: Madison, WI, USA

Place Died: New York, NY, USA

Home Country/ies: United States

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

Career(s): educators

Overview

Columbia University professor of Italian Baroque art; documentary and psychoanalytic approach; connoisseur. Hibbard’s father was the distinguished professor of agricultural economics at the University of Wisconsin, Benjamin H. Hibbard (1870-1955). The younger Hibbard graduated from the University of Wisconsin in 1949, receiving an M. A. in 1952. Hibbard attended Harvard University where Rudolf Wittkower exerted a significant influence on him. Hibbard received his doctorate in 1958, writing his dissertation on the Palazzo Borghese. He married Shirley Griffith. He joined the faculty at Columbia University the following year, 1959, by which time Wittkower was chairing the department. The early years of Hibbard’s research centered around archival research, following the lead by J. A. F. Orbaan. Hibbard’s analysis of his archival findings were deeper than Orbaan’s, publishing research which had mined the neglected archival (documentary) collections of the baroque era in Rome. These included the published form of his dissertation (1962) and two important publications of the early 1970s. One was an essay on the programs for the altarpieces of Il Gesù, and the second, a monograph on Carlo Moderno, still considered the definitive study on that architect. He was appointed full professor in 1966. During this period, too, Hibbard became fascinated with psychoanalytic theory. He applied for special research training at Columbia’s Psychoanalytical Clinic for Training and Research, College of Physicians and Surgeons, during the years 1967-1970. The earliest of his periodic artist biographies had already appeared, Bernini (1965). In 1973 Hibbard was tapped to writing the Pousin volume in the important monographic series on single works of art, Art in Context. He chose Poussin’s Holy Family on the Steps (1666-88) from the National Gallery of Art. The second of Hibbard’s artists biographies, on Michelangelo, appeared in 1975. In 1976-1977 he was Slade professor at Oxford University. He chaired the Art History Department at Columbia 1978-1981. As chair, he hired Joseph Connors, the outstanding Renaissance/Baroque architectural historian, among others, to Columbia. Hibbard agreed to write the survey volume on the collections for the Metropolitan Museum of Art, which appeared in 1980. A difficult book for a serious art historian to write, Hibbard mastered his material and made sense out of the large and diverse objects the museum encompasses. He completed his third artist biography, on Caravaggio, in 1984. He was diagnosed with cancer, dying in a New York hospital at age 56. His biography on Rubens remained unfinished. Hibbard’s biographies of majors artists formed both readable accounts as introductions and original perspectives on the artists for the scholar. After an initial hard-back printing, they appeared in paperback versions as required reading by most undergraduate courses in the United States. Irving Lavin characterized Hibbard’s research skills and writing on a par with Ludwig Pastor (1854-1928), the great documentary historian of the popes.

Selected Bibliography

[dissertation:] The Architecture of the Plazzo Borghese. Harvard University, 1958, published under the same title, Rome: American Academy, 1962. (Memoirs of the American Academy in Rome: 27); edited, Essays in the history of architecture presented to Rudolf Wittkower. London: Phaidon, 1967; Bernini. Baltimore: Penguin Books, 1966;Carlo Maderno and Roman Architecture, 1580-1630. University Park, PA: Pennsylvania State University Press, 1971; Michelangelo. New York: Harper & Row, c1974; Poussin: The Holy Family on the Steps. London: Allen Lane, 1973; Masterpieces of Western Sculpture: from Medieval to Modern. New York: Harper & Row, 1977; The Metropolitan Museum of Art. New York: Harper & Row, 1980; Caravaggio. New York: Harper & Row, 1983.

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. 51 mentioned; 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. 51; [obituaries:] McGill, Douglas C.”Howard Hibbard Dies at 56; Professor and Art Authority.” New York Times October 30, 1984, p. B6; Lavin, Irving. “Howard Hibbard: 1928-84.” The Burlington Magazine 127, no. 986 (May, 1985):305

Contributors: Lee Sorensen

Heyne, Christian Gottlob

November 8, 2023April 25, 2024

Full Name: Heyne, Christian Gottlob

Other Names:

Christian Gottlob Heyne

Gender: male

Date Born: 1729

Date Died: 1812

Place Born: Chemnitz, Saxony, Germany

Place Died: Göttingen, Lower Saxony, Germany

Home Country/ies: Germany

Subject Area(s): ancient, Ancient Greek (culture or style), Classical, Greek sculpture styles, Roman (ancient Italian culture or period), Roman sculpture styles, and sculpture (visual works)

Overview

Greek and Roman sculpture scholar, early professor of Archaeology and Ancient History at University of Göttingen. Heyne studied at the university in Leipzig where he heard courses by Johann Friedrich Christ. Heyne was a prominent critic of Johann Joachim Winckelmann.

Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 8-9

Heydenreich, Ludwig H.

November 8, 2023April 25, 2024

Full Name: Heydenreich, Ludwig H.

Other Names:

Ludwig H. Heydenreich

Gender: male

Date Born: 23 March 1903

Date Died: 14 September 1978

Place Born: Leipzig, Saxony, Germany

Place Died: Munich, Bavaria, Germany

Home Country/ies: Germany

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

Overview

Director of the Zentralinstitut für Kunstgeschichte, Munich; historian of Italian renaissance architecture. Heydenreich grew up in Dresden in one of the city’s prominent military families. He studied at Dresden’s military academy and was expected, like his father, to join the officer class. But Germany’s defeat in World War I forced the academy’s closure and Heydenreich was forced to look for other areas of interest. He initially studied art history at the university in Berlin, but quickly changed to Hamburg in 1919 in order study with Erwin Panofsky. Although Heydenreich wrote his dissertation under Panofsky (Die Sakralbau-Studien Leonardo da Vincis, 1929), he never adopted the iconographic methodology of his teacher in his own research. He remained in Hamburg, writing his Habilitationschrift in 1934 and teaching until 1937. Among his students during this period was the architectural historian Wolfgang Lotz. For most of the 1930s, Heydenreich published on Leonardo. However, a number of important articles on Michelozzo and Brunelleschi in 1930 and 1931 show his ability to apply stylistic criteria to renaissance architecture. That year Heydenreich accepted a lecturer position in Berlin offered by Wilhelm Pinder. While other art historians and intellectuals were fleeing Nazi control over German life, Heydenreich advanced rapidly. He was appointed to a chair at the University of Berlin in 1941 and director of the Kunsthistorisches Institut (Florence) in 1943 after its director was killed in an bombing raid. It was Heydenreich as director of the Kunsthistorisches Institut who moved the institute’s library to Milan as the Allies advanced north through Italy in 1944. After the war, Heydenreich helped found the Zentralinstitut für Kunstgeschichte in Munich, a research center devoted to art history in the former NSDAP (Nazi) headquarters. In 1947 he became its first director, holding the position until 1970, when Willibald Sauerländer succeeded him. In another effort to rebuild post-war German art history, Heydenreich took over the publication of the Reallexikon zur deutschen Kunstgeschichte, begun in 1937 by Otto Schmitt. Together with Ernst Gall and others, he edited volumes 3-6 of the dictionary. He published continually after his retirement, including his most popular book, the Pelican History of Art’s Architecture in Italy, 1400 to 1600 (1974) co-written with his former student, Lotz. Heydenreich wrote the first portion of the book (the period 1400-1500), which was issued as a separate volume in 1996. He continued to publish actively until his death. In 2012, his office files at the Zentralinstitut revealed the long-thought-lost typewritten habilitation manuscript of Panofsky. Heydenreich’s methodology, as characterized by Paul Davies, was “empirical and positivist.” Especially in Heydenreich’s later work, he focuses on the final product itself, paying less attention to the design process or proportional systems. He had little interest in theoretical issues; his writings often gloss over abstract issues of architecture. To his credit, perhaps, he was equally unaffected by the fashions of German architectural theory of his time. Heydenreich never adopted Wölfflin’s anthropomorphic categories of Renaissance or Baroque. He likewise ignored much of the well-known work on architectural principles by Rudolf Wittkower.

Selected Bibliography

[dissertation] Die Sakralbau-Studien Leonardo da Vincis: Untersuchungen zum Thema: Leonardo da Vinci als Architekt. Engelsdorf-Leipzig: C. u. M. Vogel, 1929; “Die Tribuna der SS Annunziata in Florenz.” Mitteilungen des Kunsthistorischen Institutes in Florenz 3 (July 1930): 268-85; “Spätwerke Brunelleschis.” Jahrbuch der Preussischen Kunstsammlungen 52, no1, (1931): 1-28; and Dibner, Bern; Reti, Ladislao. Leonardo the Inventor. New York: McGraw Hill, 1980; Leonardo: The Last Supper. New York, Viking Press, 1974; ; Reallexikon zur deutschen Kunstgeschichte. vols. 3, 4, 5, 6. Stuttgart, J. B. Metzler, 1937ff.; and Lotz, Wolfgang. Architecture in Italy: 1400-1600. Pelican History of Art 38. Baltimore: Penguin Books, 1974, revised and published separately as, Architecture in Italy: 1400-1500. Revised by Paul Davies. Pelican History of Art. New Haven, CT: Yale University Press, 1995.

Sources

Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, p. 435; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 181-183; Braunfels Esche, Sigrid. “In Memoriam: L. H. Heydenreich.” Raccolta Vinciana 22 (1987): 585-90; Davies, Paul. “Introduction.” Architecture in Italy: 1400-1500. Revised by Paul Davies. Pelican History of Art. New Haven, CT: Yale University Press, 1995, pp. 1-5.

Contributors: Lee Sorensen

Heydemann, Heinrich

November 8, 2023April 25, 2024

Full Name: Heydemann, Heinrich

Gender: male

Date Born: 1842

Date Died: 1889

Place Born: Greifswald, Mecklenburg-Vorpommern, Germany

Place Died: Halle, Saxony-Anhalt, Germany

Home Country/ies: Germany

Overview

Selected Bibliography

Katalog der Vasensammlung im MuseoNazionale zu Neapel, 187?; Die antiken Marmor-Bildwerke in der sog. Stoa des Hadrians, 1874.

Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 81-82.

Heusinger, Lutz

November 8, 2023March 29, 2024

Full Name: Heusinger, Lutz

Gender: male

Date Born: 1908

Date Died: 20 June 1987

Home Country/ies: Germany

Overview

Founder of the Bildarchiv Marburg.

Hetzer, Theodor

November 8, 2023March 29, 2024

Full Name: Hetzer, Theodor

Gender: male

Date Born: 1890

Date Died: 1946

Place Born: Kharkiv, Kharkivs'ka Oblast', Ukraine

Place Died: Überlingen am Bodensee, Baden-Württemberg, Germany

Home Country/ies: Ukraine

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

Overview

Hetzer studied art history under Wilhelm Vöge and Heinrich Wölfflin. However, it was at Basel that the teaching of Friedrich Rintelen greatly affected his work, particularly his appreciation for Giotto. He wrote his dissertation under Rintelen on the early paintings of Titian with a degree granted in 1919. Hetzer was appointed professor of art history at the University of Leipzig in 1923, focusing on the art of the Italian and northern Renaissance, Giotto, Titian and Raphael, and Dürer. He also wrote on the Baroque artists Peter Paul Rubens and Rembrandt. He was appointed Ordinarius professor in 1935. His book of the same year, Titian: A History of His Color, is a history of the use of color in Eurpean art. Hetzer’s Geistesgeschichte-style art history resulted in his theorizing of a crisis in painting ocurring around 1800. To Hetzer, the work of Francisco de Goya was the change point to a resurgence of painting, culinating in the work of Paul Cézanne.His 1950 “Francisco Goya und die Krise der Kunst um 1800,” (Goya and the Crisis of Art around 1800), became his most important essay and a signicant study in Goya scholarship. Hetzer suffered with poor health most of his life, finally succombing to a heart aliment at Überlingen on Lake Constance shortly after World War II. His students included Gertrude Berthold.

Hetzer’s work as an art historian has been littled studied since his death, somewhat ironically given his importance for the discipline. His major influence for art historiography was as a teacher (Licht). Methodologically, Hetzer continued Wölfflin’s predominantly formalist art history, adding to it a transcendental significance to form (Schiff). This Geistesgeschicte approach, that artists represented the spirit of their age in their work, was characteristic of the dominant intellectural approach of his time. Hetzer believed that there was one continuous period of high achievement in art history, the years 1300-1800. These centuries, Hetzer said, were the time when the strict mathematical design of the picture plane formed the “Bild” (image/significance) of art. He found rhythmic kinship between the great artists of the Renaissance and Baroque era. Hetzer’s career was marked by a certain shyness. He “never took his share of the public applause gathered by many of his contemporaries in a Germany that was willing to pay respect and even homage to art historians” (Licht). His approach, particularly on Goya, influenced later art historians including Fred Licht.

Selected Bibliography

[dissertation:] Die frühen Gemälde des Tizian. Basel, 1919, published, Basel: Verlag Benno Schwabe, 1920; [bibliography:] Berthold, Gertrude. “Verzeichnis der Schriften Theodor Hetzers.” in Klingner, Friedrich. Theodor Hetzer. Frankfurt: V. Klostermann, 1947 p. 22-23; [collected essays:] Aufsätze und Vorträge. 2 vols. Leipzig: 1957; [collected works:] Schriften Theodor Hetzers. Mittenwald: Mäander, 1981-1998, specifically, 1. Giotto: Grundlegung der neuzeitlichen Kunst, 2. Die Bildkunst Dürers, 3. Das Ornamentale und die Gestalt, 4. Bild als bau: elemente der Bildgestaltung von Giotto bis Tieplo, 5. Rubens und Rembrandt, 6. Italienische Architektur, 7. Tizian: Geschichte seiner Farbe, die frühen Gemälde, Bildnisse, 8. Venezianische Malerei: von ihren Anfängen bis zum Tode Tintorettos, 9. Zur Geschichte des Bildes: von der Antike bis Cézanne; Giotto, seine Stellung in der europäischen Kunst. Frankfurt am Main: V. Klostermann 1941; Die sixtinische Madonna. Frankfurt am Main: Vittorio Klostermann, 1947; [two essays are among the very few works to be translated in to English:] “The Creative Union of Classical and North Elements in the High Renaissance.” in, German Essays on Art History. Gert Schiff, ed. New York: Continuum, 1988, pp.146-164; “Francisco Goya und die Krise der Kunst um 1800.” Wiener Jahrbuch für Kunstgeschichte 14 (1950): 7-22, English, “Francesco de Goya and the Crisis of Art Around 1800.” translated by Vivian Volbach, in Licht, Fred, ed. Goya in Perspective. Englewood Cliffs, NJ: Prentice-Hall, 1973, pp. 92-113.

Sources

Klingner, Friedrich, ed. Theodor Hetzer: Gedächtnisrede, gehalten in der Universität Leipzig am 15. Januar 1947. Frankfurt: V. Klostermann, 1947; 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. 49 and n. 99; Goya in Perspective. Edited by Fred Licht. Englewood Cliffs, NJ: Prentice-Hall, 1973: 171, [short, personal summary]; Wölfflin, Heinrich. Heinrich Wölfflin, 1864-1945: Autobiographie, Tagebücher und Briefe. Joseph Ganter, ed. Basel: Schwabe & Co., 1982, p. 492; ; German Essays on Art History. Gert Schiff, ed. New York: Continuum, 1988, pp. xxxix-xlii (excellent summary of his importance), 280; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 178-180.

Hetzer studied art history under Wilhelm Vöge and Heinrich Wölfflin. However, it was at Basel that the teaching of Friedrich Rintelen greatly affected his work, particularly hi

Hess, Walter

November 8, 2023March 29, 2024

Full Name: Hess, Walter

Gender: male

Date Born: 1913

Date Died: 1987

Place Born: Bochum, Lower Saxony, Germany

Place Died: Fürstenfeldbruck, Bavaria, Germany

Home Country/ies: Germany

Overview

Sources

Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 176-8.

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