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Art Historians

Hess, Thomas B.

Image Credit: WNYC

Full Name: Hess, Thomas B.

Other Names:

  • Thomas B. Hess

Gender: male

Date Born: 1920

Date Died: 1978

Place Born: Rye, Westchester, NY, USA

Place Died: New York, NY, USA

Home Country/ies: United States

Subject Area(s): Modern (style or period) and painting (visual works)

Career(s): publishers


Overview

Managing editor of Art News; early exponent Willem de Kooning. Hess was the son of Gabriel Lorie Hess, a New York lawyer, and Helen Baer (Hess). He was educated in the United States and Switzerland before entering Yale University. He graduated magna cum laude in 1942 with a concentration in French art and literature. Hess worked that summer at the Museum of Modern Art under Alfred H. Barr, Jr., and Dorothy Miller before joining the army air force to serve in World War II as a pilot. He married Audrey Stern in 1944 (d. 1974). After discharge from the military, he joined the staff of the magazine Art News, under Alfred M. Frankfurter, first as an editorial assistant in 1945, rising to executive editor in 1949. Hess embraced the emerging Abstract Expressionist artists of the era. He published a 1951 book on the subject, the first serious book-length treatment on the movement, Abstract Painting: Background and American Phase. Among the artists he particularly championed were Willem de Kooning and Barnett Newman, whose work he collected. In 1953 he hired the young Lawrence Alloway to be British correspondent for the News. In 1965, at the sudden death of Frankfurter, Hess succeeded him as editor. He encouraged the poet John Ashbery (1927- ) to write about art and with whom he collaborated in a number of books. Between 1967 and 1972, Hess was New York correspondent for Le Monde. When the magazine changed ownership in 1972, Hess wrote art criticism for New York magazine and issued the film Painters Painting (1973). In 1974 he assembled the first of two important retrospective exhibitions of Abstract Expressionist art, the first for the New York Cultural Center, called “Grand Reserves.” The second show, in 1977 for the New York State Museum in Albany, was entitled “The New York School” and was generally considered to be the most spectacular display of its kind ever brought together (New York Times). He succeeded Henry Geldzahler as consultative chairman for the Department of 20th-century Art at the Metropolitan Museum of Art in 1977. The plan was to continue Geldzahler’s mission of making the Metropolitan Museum as active a leader in modern art as the Museum of Modern Art was. Hess had been in the position less than a year when he collapsed from a heart attack while working at his desk at the museum and died at age 57. His death came days after the other art critic and advocate of the New York school, Harold Rosenberg. His biographical sketch of the art historian Meyer Schapiro appeared in the journal Social Research the same year. The Thomas B. Hess-Willem de Kooning Papers reside at the Museum of Modern Art. De Kooning’s Woman, 1944, from Hess’ collection was given to the Metropolitan in 1984. The critic/art historian Barbara E. Rose described Hess as running a “propaganda vehicle for launching the New York School internationally” in the 1950s. Hess used his magazine and New York connections to champion the New York school in world media. He used the serialized book format spun off from the magazine, Art News Annual, to issue many of his books.


Selected Bibliography

Abstract Painting: Background and American Phase. New York: Viking Press, 1951; Willem de Kooning. New York: G. Braziller, 1959; edited. The Academy: Five Centuries of Grandeur and Misery, from the Carracci to Mao Tse-Tung. New York: Macmillan, 1967; Barnett Newman. New York: Museum of Modern Art/New York Graphic Society, 1971; Painters Painting: The New York Art Scene, 1940-1970. (film) 1973; “Sketch for a Portrait of the Art Historian among Artists.” Social Research 45 No. 1 (Spring 1978):


Sources

Rose, Barbara. Autocritique: Essays on Art and Anti-Art: 1963-1987. New York: Weidenfeld and Nicolson, 1988, pp. xii; [obituary:] Russell, John. “Thomas Hess, Art Expert, Dies; Writer and Met Official Was 57.” New York Times July 14, 1978, p. B2.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Hess, Thomas B.." Dictionary of Art Historians (website). https://arthistorians.info/hesst/.


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Managing editor of Art News; early exponent Willem de Kooning. Hess was the son of Gabriel Lorie Hess, a New York lawyer, and Helen Baer (Hess). He was educated in the United States and Switzerland before entering Yale University. He grad

Hess, Jacob

Full Name: Hess, Jacob

Gender: male

Date Born: 1885

Date Died: 1969

Place Born: Munich, Bavaria, Germany

Place Died: Rome, Lazio, Italy

Home Country/ies: Germany

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


Overview

Scholar of Italian Renaissance and Baroque art, particularly interested in artist biographies. Hess came to art history late in life, studying the discipline beginning only in 1919 at age 34. He studied under Heinrich Wölfflin in Munich and in Vienna under literary historian Karl Vossler (1872-1949) and Vienna School art historians Max Dvořák and Julius Alwin von Schlosser. Though Hess wrote his dissertation under Wölfflin in Munich, it was Schlosser who ignited Hess’ interest in Schlosser’s field of the literary sources of art history. Hess’ thesis, a study of biographies of Giovanni Battista Passeri, was accepted in 1926 and published in 1928. He remained in Munich, working on a scholarly facsimile edition of Passeri’s Vite, Die künstlerbiographien von Giovanni Battista Passeri, financed through a grant, which he published in 1934. The result of collating various manuscripts into a magisterial commentary, it is still unsurpassed. The vast anti-Semitism associated with the Nazi’s rise to power forced Hess to leave Germany, moving to Rome the same year. Making use of a small grant from the Vatican Library, he began work on an edition of the Vite of Giovanni Baglione. The following year, 1935, he privately issued his monograph on Agostino Tassi. When World War II erupted and Italy was no longer safe, Hess fled to London in 1939, supported at the Warburg Institute and financially assisted by Ellis K. Waterhouse and Richard Krautheimer. He was interned as a German in 1940. After the war he returned to Rome in 1948, supported be grants from the Vatican Library. He was awarded compensation for persecution in 1950 by the German government. Beginning in 1953 he secured a Deutsche Forschungsgemeinschaft grant which allowed him to research independently. His house in Italy, Villa Ostia, became a meeting point for continental scholars of Italian art. A dedicated historiographer, he intended to have stucco portraits of his mentors painted on the walls of his dining room. Hess set about for his final life’s project to write the authoritative commentary to the Vite of Giovanni Baglione. He got through the first three and a half giornate, in which the work was divided before he died at age 84. His research was brought to publication by Erwarth Röttgen. In 1967 his collected studies, brought up to date by Hess himself, were published as Though Hess was a “sources” scholar, he was not particularly interested in unearthing primary documents. Rather he focused on mastering the printed literature around the events of a creation of a work of art. “The method adopted by Hess consisted of taking into account every conceivable historical circumstance, great or small, and assimilating all that could be discovered about a work of art and the literature that surrounded it.” (Salerno). An extremely modest man, a higher professional profile escaped him through an unwillingness to use his success to bolster his career. Completely devoted to research, he once wrote that cooking and shopping took him away from hours which could be devoted in the library.


Selected Bibliography

[collected essays:] Kunstgeschichtliche Studien zu Renaissance und Barock. 2 vols. Rome: Edizioni di storia e letteratura, 1967; [dissertation:] Die künstlerbiographien von Giovanni Battista Passeri: Eine quellenkritische Untersuchung zum römischen Barock. Munich, 1926, published 1928 in Wiener Jahrbuch 5; Die künstlerbiographien von Giovanni Battista Passeri: nach den handschriften des Autors. Vienna: H. Keller, 1934; Agostino Tassi, der lehrer des Claude Lorrain: Ein beitrag zur geschichte der barockmalerei in Rom. Munich: Im selbstverlag des autors, 1935; “On Raphael and Giulio Romano.” Gazette des Beaux-Arts 32 (September 1947): 73-106; edited and commentary, with Röttgen, Herwarth. Baglione, Giovanni. Le vite de’ pittori, scultori et architetti dal pontificato di Gregorio XIII del 1572 in fino a’ tempi di Papa Urbano Ottavo nel 1642. Vatican City: Biblioteca apostolica vaticana, 1995.


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. 296-298; [obituary:] Salerno, Luigi. “Jacob Hess.” Burlington Magazine 112, no. 808 (July 1970): 468-468.




Citation

"Hess, Jacob." Dictionary of Art Historians (website). https://arthistorians.info/hessj/.


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Scholar of Italian Renaissance and Baroque art, particularly interested in artist biographies. Hess came to art history late in life, studying the discipline beginning only in 1919 at age 34. He studied under Heinrich Wölfflin

Hess, Hans

Image Credit: Wikipedia

Full Name: Hess, Hans

Gender: male

Date Born: 1908

Date Died: 1975

Place Born: Erfurt, Thuringia, Germany

Place Died: England, UK

Home Country/ies: Germany

Subject Area(s): Expressionist (style), German (culture, style, period), and German Expressionist (movement)


Overview

Musuem Director of German Expressionism


Selected Bibliography

0.Metzler


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. 294-5.




Citation

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


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Musuem Director of German Expressionism

Herzfeld, Ernst

Image Credit: Wikipedia

Full Name: Herzfeld, Ernst

Gender: male

Date Born: 1879

Date Died: 1948

Place Born: Celle, Lower Saxony, Germany

Place Died: Basel, Basle-Town, Switzerland

Home Country/ies: Germany

Subject Area(s): Islam, Islamic (culture or style), and religious art


Overview

Islamicist art historian.



Sources

Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 174-6.




Citation

"Herzfeld, Ernst." Dictionary of Art Historians (website). https://arthistorians.info/herzfelde/.


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Islamicist art historian.

Hersey, George

Image Credit: Yale

Full Name: Hersey, George Leonard

Gender: male

Date Born: 30 August 1927

Date Died: 23 October 2007

Place Born: Cambridge, Cambridgeshire, England, UK

Place Died: New Haven, New Haven, CT, USA

Home Country/ies: United States

Subject Area(s): art theory, computer modeling, evolution, Italian (culture or style), Italian Renaissance-Baroque styles, Neapolitan (culture or style), patronage, and Renaissance

Institution(s): Yale University


Overview

American historian of architecture whose research ranged from an initial focus on the Italian Renaissance to evolutionary theory and computer modelling. Hersey was born in Cambridge, Massachusetts, the son of Milton Leonard Hersey (1899-1983), an economist, and Katharine Hersey (Page) (1896-1991). After graduating from high school in 1945, Hersey joined the merchant marine where he assisted in transporting troops home after World War II. Following this, Hersey joined the U.S. Army, where he advised returning war veterans in planning for their future. During his military service, Hersey also attended culinary school in his spare time and learned to play the French horn, a skill he ultimately mastered. After leaving the army, Hersey attended Harvard, earning a B.A. in 1951. He earned an M.F.A. in drama at Yale in 1954, focusing on set design. Between 1954 and 1959, Hersey taught at Bucknell University where he was appointed assistant professor. It was during this period that he became increasingly interested in art history.

Hersey returned to Yale in 1959 completing an M.A. under the guidance of Henry-Russell Hitchcock (1903–1987), then a Visiting Professor at the school of Architecture. Building on his master’s research, Hersey went on to write his dissertation, Eclecticism and Associationism in High Victorian Gothic Architecture and Pre-Raphaelite Painting, under Carroll L.V. Meeks. Hersey began teaching at Yale in 1963 and published his first book, Alfonso II and the Artistic Renewal of Naples, 1485-95, in 1969. He became a full professor in the Department of the History of Art in 1971. In the same year he was appointed editor of Yale Publications on the History of Art, a position he held for almost two decades. In 1972, he published his doctoral research under the title High Victorian Gothic: A Study in Associationism. Hersey followed this with three works on the architecture of the Italian Renaissance: The Aragonese Arch at Naples, 1443-1477 (1973), Pythagorean Palaces: Architecture and Magic in the Italian Renaissance (1976), and Architecture, Poetry, and Number in the Royal Palace at Caserta (1983), the latter being the first book in English about Luigi Vanvitelli’s (1700-1773) Neapolitan masterpiece. In The Lost Meaning of Classical Architecture: Speculations on Ornament from Vitruvius to Venturi (1988) Hersey explored the persistence of the classical orders throughout architectural history.

In the 1990s, Hersey became interested in the possibilities of (what would come to be known as) the Digital Humanities. Possible Palladian Villas (Plus a Few Instructively Impossible Ones), co-authored with computer programmer Richard Freedman in 1992, tested the rigid geometric structures of Palladio’s work and used these rules to generate facades that are ostensibly indistinguishable from those of the architect. In the final years of his career — he retired from Yale in 1998 — Hersey produced two books that linked Darwinian ideas to art history. The Evolution of Allure: Sexual Selection from the Medici Venus to the Incredible Hulk (1996) argued that art has had a significant impact on human evolution. The Monumental Impulse: Architecture’s Biological Roots (1999), builds on the thesis of his prior book by exploring the relationship between microscopic organisms and architecture. The breath of his interested was acknowledged by Edward Cooke, Professor of American Decorative Arts at Yale, who noted that “George was as comfortable talking about Vitruvius as about Venturi, about Baroque as about Butterfield … he was above all a broad humanist whose curiosity about the architectural subconscious led to the exploration of classical, Victorian and modern architecture.”


Selected Bibliography

  • Alfonso II and the Artistic Renewal of Naples, 1485-95. New Haven: Yale University Press, 1969;
  • High Victorian Gothic: A Study in Associationism. Baltimore: Johns Hopkins University Press, 1972;
  • The Aragonese Arch at Naples, 1443-1477. New Haven: Yale University Press, 1973;
  • Pythagorean Palaces: Architecture and Magic in the Italian Renaissance. New York: Cornell University Press, 1976;
  • Architecture, Poetry, and Number in the Royal Palace at Caserta. Cambridge, MA: MIT Press, 1983;
  • The Lost Meaning of Classical Architecture: Speculations on Ornament from Vitruvius to Venturi. Cambridge, MA: MIT Press, 1988;
  • (With Richard Freedman) Possible Palladian Villas (Plus a Few Instructively Impossible Ones). Cambridge, MA: MIT Press, 1992;
  • High Renaissance Art in St. Peter’s and the Vatican: An Interpretive Guide. Chicago, IL: University of Chicago Press, 1993;
  • The Evolution of Allure: Sexual Selection from the Medici Venus to the Incredible Hulk. Cambridge, MA: MIT Press, 1996;
  • The Monumental Impulse: Architecture’s Biological Roots. Cambridge, MA: MIT Press, 1999;
  • Architecture and Geometry in the Age of the Baroque. Cambridge, MA: MIT Press, 2000.

Sources



Contributors: Lee Sorensen and Shane Morrissy


Citation

Lee Sorensen and Shane Morrissy. "Hersey, George." Dictionary of Art Historians (website). https://arthistorians.info/herseyg/.


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American historian of architecture whose research ranged from an initial focus on the Italian Renaissance to evolutionary theory and computer modelling. Hersey was born in Cambridge, Massachusetts, the son of Milton Leonard Hersey (1899-1983), an

Herrmann, Wolfgang

Full Name: Herrmann, Wolfgang

Gender: male

Date Born: 1899

Date Died: unknown

Place Born: Berlin, Germany

Home Country/ies: Germany

Subject Area(s): architecture (object genre), art theory, nineteenth century (dates CE), sculpture (visual works), and twentieth century (dates CE)

Career(s): curators


Overview

Museum Curator, architectural historian and theorist of the 19th and 20th centuries. Hermann first studied engineering at the Eidgenössischen Technischen Hochschule in Zürich before switching to art history and philosophy at the University of Freiburg. After sojourns at Wilhelm Humboldt University in Berlin and the University of Munich, he was granted a doctorate from Leipzig in 1923/4 under Wilhelm Pinder. Other scholars under who Hermann studied included Adolph Goldschmidt, Hans Jantzen and Heinrich Wölfflin His formal career began as assistant keeper of prints and drawings at the Staatliches Kunstgewerbemuseum in Berlin in 1925. He served there, advancing to keeper, until 1933 when he fled to London because of Jewish persecution. Hermann pursued a career as a manufacturing entrepreneur until 1950 when he returned to architectural scholarship. During this period he produced some of his most notable works, including monographs on Gottfried Semper and architectural theory in general.


Selected Bibliography

Laugier and Eighteenth-Century French Theory. London: A. Zwemmer, 1962; Gottfried Semper: In Search of Architecture. Cambridge, MA: MIT Press, 1984; The Theory of Claude Perrault. London, A. Zwemmer,1973.


Sources

KMP, 4; 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. 292-4; Journey from Berlin: Wolfgang Hermann. Oral History Collection, Dept. of Special Collections, University of California, Los Angeles Library, 1992.




Citation

"Herrmann, Wolfgang." Dictionary of Art Historians (website). https://arthistorians.info/herrmannw/.


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Museum Curator, architectural historian and theorist of the 19th and 20th centuries. Hermann first studied engineering at the Eidgenössischen Technischen Hochschule in Zürich before switching to art history and philosophy at the University of Frei

Herrmann, Paul

Image Credit: Wikidata

Full Name: Herrmann, Paul

Gender: male

Date Born: 14 December 1859

Date Died: 30 August 1935

Place Born: Halle, Saxony-Anhalt, Germany

Place Died: Dresden, Saxony, Germany

Home Country/ies: Germany

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


Overview

Specialist in ancient Greek and Roman painting. Professor at the Technische Hochschule Dresden 1909-1925, and Director of the sculpture collection of the Albertinum Museum, Dresden, 1915-1925. He founded the Denkmäler der Malerei des Altertums and was its first editor. He was succeeded in the Denkmäler by Reinhard Herbig.


Selected Bibliography

ed., Denkmäler der griechischen und römischen Malerei, first series; Denkmäler der Malerei des Altertums


Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 134-135.




Citation

"Herrmann, Paul." Dictionary of Art Historians (website). https://arthistorians.info/herrmannp/.


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Specialist in ancient Greek and Roman painting. Professor at the Technische Hochschule Dresden 1909-1925, and Director of the sculpture collection of the Albertinum Museum, Dresden, 1915-1925. He founded the Denkmäler der Malerei des Altertums

Hernández Díaz, José

Full Name: Hernández Díaz, José

Gender: male

Date Born: 1906

Date Died: 1998

Place Born: Seville, Andalusia, Spain

Place Died: Seville, Andalusia, Spain

Home Country/ies: Spain

Subject Area(s): Andalusian, Spanish (culture or style), and Spanish-American


Overview

Director of Laboratorio de Arte at the University of Seville; historian of Spanish, Spanish-American and Andalousian art. Hernández Díaz attended the Instituto general y tecnico in Sevilla, and then the Faculty of Philosophy and Letters. He moved to Madrid for his Ph. D., where he earned his doctoral degree under the direction of Manuel Gómez Moreno. He started his teaching career with a temporary position at the Faculty of Philosophy and Letters in Sevilla, and as a professor and director of the Instituto de enseñanzas medias Murillo in Madrid. He then held a permanent position at the Faculty of Philosophy and Letters, and, from 1950 until his retirement in 1976, chaired the Art History and Spanish Art History department. He was appointed vice-rector in 1951, and four years later became rector of the Sevilla University, position he held until 1963. He was also the President of the Initiative Board of the University. 1940, he founded in Sevilla the School of Arts Saint Isabel of Hungary, where he was a professor and director until 1976. Along with these teaching jobs, he was a member of the Royal Academy of Arts Saint Isabel of Hungary, institution he also presided between 1951 and 1992. He was associated with a number of Spanish universities, among which the Royal Academy of Letters in Sevilla, the Academy of Arts San Fernando in Madrid, the Academy of Arts San Jorge in Barcelona, the Academy of Arts San Carlos in Valencia. Between 1963 and 1966 he was the mayor of Sevilla, then the director of the university education department (1966-1968), attorney and president of the Education Committee in the Spanish Parliament. He continued to research until his death in 1998. José Hernández Díaz is the author of numerous monographs and articles on Andalousian art Sevillan iconography. Much of his professional correspondence is preserved, as well as his research work in the field of the Andalousian artistic patrimony and Sevillan art in particular.


Selected Bibliography

De arte sacro sevillano. Sevilla: Academia de Bellas Artes de Santa Isabel de Hungría, 1976. and Sancho Corbacho, Antonio. Edificios religiosos y objetos de culto saqueados y destruídos por los marxistas en los pueblos de la provincia de Sevilla. Sevilla: Imp. de la Gavidia, 1937; Precisiones en torno al arte sagrado. Madrid: Consejo Superior de Investigaciones Científicas, 1953. La Virgen de los Reyes, patrona de Sevilla y de la archidiócesis: estudio iconográfico. Sevilla: Guadalquivir, 1996.


Sources

Archivo General de Andalucía, http://www.juntadeandalucia.es/cultura/aga/Cenfocoa/DetalleFondo.jsp?id=138.




Citation

"Hernández Díaz, José." Dictionary of Art Historians (website). https://arthistorians.info/hernandezdiasj/.


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Director of Laboratorio de Arte at the University of Seville; historian of Spanish, Spanish-American and Andalousian art. Hernández Díaz attended the Instituto general y tecnico in Sevilla, and then the Faculty of Philosophy and Letters. He moved

Hermann, Wolfgang

Full Name: Hermann, Wolfgang

Gender: male

Date Born: 17 August 1899

Date Died: unknown

Place Born: Berlin, Germany

Place Died: London, Greater London, England, UK

Home Country/ies: United Kingdom

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

Institution(s): Kunstbibliothek Berlin


Overview

Schlossmuseum Berlin curator, private London art history scholar. Hermann was born in Berlin in 1899 to Richard Hermann, a timber merchant, and Hannah Kirstein Hermann. He attended the Joachimsthaler Gymnasium, a private boy’s secondary school, but was drafted for World War I before his graduation. From 1919 to 1924, Hermann studied Art History, Philosophy, and Archeology in Munich under Adolph Goldschmidt, Heinrich Wölffin, Hans Jantzen, and Wilhelm Pinder, and wrote his dissertation on Baroque cloisters. From 1924 to 1933, worked at The Kunstbibliothek Berlin, a state museum under Curt Glaser. Around 1927, he was elevated to curator. He penned articles about modern architecture between 1925-1928, including Kompositionsgesetze deutscher Profanbauten um 1600 (Composition laws of German secular buildings around 1600) in 1925, and Neue Berliner Baukunst (New Berlin Architecture) in 1927.

In October of 1933, Hermann was dismissed from his role at The Kunstbibliothek Berlin on grounds of being non-aryan, part of the racial laws instituted by the new Nazi government. Shortly thereafter, he migrated to London, and found employment at a literary agency. Five years later, he managed a zipper factory for fifteen years. From 1953, after receiving a pension as reparations from Germany, Hermann returned to art history as a private scholar. During this period, he wrote his main work, Gottfried Semper, theoretischer Nachlass, published in 1981.


Selected Bibliography

  • Kompositionsgesetze deutscher Profanbauten um 1600. Zeitschrift für bildende Kunst: [volume] (1925): 210–219;
  • ”Neue Berliner Baukunst.” Kunst und Künstler 3 (1927): 30–37;
  • Translated and introduced In what style should we build? Two decades of German architectural debate. Santa Monica, CA: Getty Center for the History of Art and the Humanities, 1992; http://www.getty.edu.proxy.lib.duke.edu/publications/virtuallibrary/0892361980.html;
  • Gottfried Semper, theoretischer Nachlass an der ETH Zürich: Katalog und Kommentare. Birkhäuser. 1981;
  • Smith, Richard Cándida. Journey from Berlin: Wolfgang Hermann. University of California, Los Angeles, and the Getty Center for the History of Art and the Humanities. (1992).

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. 292-293.

Archives

  • Oral History Program, Getty Center, Santa Monica: CA

Contributors: Lee Sorensen and Zahra Hassan


Citation

Lee Sorensen and Zahra Hassan. "Hermann, Wolfgang." Dictionary of Art Historians (website). https://arthistorians.info/hermannw/.


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Schlossmuseum Berlin curator, private London art history scholar. Hermann was born in Berlin in 1899 to Richard Hermann, a timber merchant, and Hannah Kirstein Hermann. He attended the Joachimsthaler Gymnasium, a private boy’s secondary school, bu

Hermann, Karl Friedrich

Image Credit: ArchInForm

Full Name: Hermann, Karl Friedrich

Gender: male

Date Born: 1804

Date Died: 1855

Home Country/ies: Germany

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

Career(s): educators


Overview

University of Heidelberg classical professor, taught Greek art. He was succeeded by Karl Bernhard Stark, who was named the first chair in archaeology.


Selected Bibliography

updated by Stark, Karl B. and Bähr, Johann Christian Felix. Lehrbuch der griechischen Antiquitäten. 3 vols. Heidelberg, J.C.B. Mohr, 1855.





Citation

"Hermann, Karl Friedrich." Dictionary of Art Historians (website). https://arthistorians.info/hermannk/.


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University of Heidelberg classical professor, taught Greek art. He was succeeded by Karl Bernhard Stark, who was named the first chair in archaeology.