Full Name: Herding, Klaus
Gender: male
Date Born: unknown
Date Died: unknown
Home Country/ies: Germany
Subject Area(s): art theory, French (culture or style), and Marxism
Hamburg Marxist art historian of French art
KRG, 141 mentioned
Hamburg Marxist art historian of French art
Full Name: Herbig, Reinhard
Other Names:
Gender: male
Date Born: 1898
Date Died: 1961
Place Born: Munich, Bavaria, Germany
Place Died: Rome, Lazio, Italy
Home Country/ies: Germany
Subject Area(s): Antique, the, Classical, and Etruscan (culture or style)
Specialist in Etruscan and classical Greek and Roman art, particularly architectural history, and large mosaics and paintings. Herbig was the son of Etruscan scholar Gustav Herbig (1868-1925). He was wounded while fighting in World War I. After the war he studied at the universities of Rostock, Breslau and finally Heidelberg, where he was awarded his degree. His dissertation was on windows in ancient architecture, Das Fenster in der Architektur des Altertums, granted in 1925 (published in 1929). He further studied during travels to Italy and Greece. His professional career began as a privatdozent in Heidelberg in 1930. Professor of Archaeology at the University of Jena (1933-1936), then University of Würzburg (1936-1941), before returning to the University of Heidelberg 1941 (remaining until 1956). In 1942 he accepted the editorship of the Denkmäler der Malerei des Altertums, founded by Paul Herrmann. The work was completed in 1950. While at Heidelberg, he published his corpus on Etruscan stone sarcophagi, Die jungerestruskischen Steinsarcophage in 1952. He also assumed the editorship of the Handbuch der Archäologie beginning with volume 3, from Walter G. A. Otto (1878-1941). He assumed the directorship of the deutsches archäologisches Institut (German Archaeological Institute, or DAI) in Rome, 1956-1961. Herbig’s work on stone sarcophagi and his later book on the gods of Etruria, Götter und Dämonen der Etrusker, are his greatest contribution to the discipline. However, he also published significant studies on Roman painting, Greek architecture and even Renaissance painting. Brendel’s obituary mentions his caustic wit and steady judgment.
[dissertation:] Das Fenster in der Architektur des Altertums. Heidelberg, 1925 and published, same title, Athens: Buchdruckerei “Hestia”, 1929; Neue[n] Beobachtungen am Fries der Mysterien-Villa in Pompeji. Baden-Baden: B. Grimm, 1958; “Untersuchungen am dorischern Peripteraltempel auf Kap Sunion” Mitteilungen des deutschen archäologischen Instituts, athenische Abteilung 66 (1941): 87ff.; “Die Skulpturen vom Bühnenhaus.” Das Dionysos-Theater in Athen. vol. 2. Sächsische Forschungsinstitute in Leipzig. Forschungsinstitut für klassische Philologie und Archäologie. Antike griechische Theaterbauten, Stuttgart: W. Kohlhammer, 1935; Götter und Dämonen der Etrusker. Heidelberg: Scherer, 1948; “Griechischen Harfen.” Mitteilungen des deutschen archäologischen Instituts, athenische Abteilung 54 (1929): 164 ff.; Die Jüngeretruskischen Steinsarkophage. Die antiken Sarkophag-Reliefs 7. Berlin: Gebr. Mann, 1952; “Ganymed und der Adler,” and “Lekythenmeister in Heidelberg.” in, Ganymed: Heidelberger Beiträge zur antiken Kunstgeschichte: anlässlich der 100-Jahr-Feier der Sammlungen des Archäologischen Instituts der Universität Heidelberg. Heidelberg: F. H. Kerle, 1949; and Krauss, Friedrich. Der korintisch-dorische Tempel am Forum von Paestum. Berlin: W. de Gruyter & Co., 1939; Nugae Pompeianorum: unbekannte Wandmalereien des dritten pompejanischen Stils. Tübingen: E. Wasmuth, 1962; edited, Handbuch der Archäologie vol. 3 ff. Munich: Beck, 1939ff.
Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988, pp. 274-275; Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 1, pp. 583-84; [obituary:] Brendel, Otto J. “Reinhard Herbig.” American Journal of Archaeology 67 (1963): 81.
Contributors: Lee Sorensen
Specialist in Etruscan and classical Greek and Roman art, particularly architectural history, and large mosaics and paintings. Herbig was the son of Etruscan scholar Gustav Herbig (1868-1925). He was wounded while fighting in World War I. After th
Full Name: Herbert, Robert L.
Other Names:
Gender: male
Date Born: 1929
Place Born: Worcester, Worcester, MA, USA
Home Country/ies: United States
Seurat and Impressionism specialist; Robert Lehman Professor of Art, Yale University, 1974-1990. Herbert’s parents were John Newman Herbert and Rosalia Harr (Herbert). His father operated a drawbridge. While at Wesleyan University, he developed an interest in the history of science. After graduation in 1951, he studied at the University of Paris until 1952. He returned to the U. S., marrying Eugenia W. Herbert in 1953 and pursued graduate work at Yale University. His M.A. was awarded in 1954. Herbert taught as an instructor at Yale University beginning in 1956, completing his degree the following year with a dissertation, written under George Heard Hamilton on Seurat. A friendship with the Columbia art historian Meyer Schapiro encouraged a socialist outlook in his personal politics and art history. He rose to assistant professor at Yale in 1960. Throughout his career, Herbert used the museum exhibition essay to publish his findings on art. His 1962 exhibition, Barbazon Revisited won the Frank Jewett Mather, Jr., award from the College Art Association. The exhibition and his focus on Millet renewed interest in this art movement. He became associate professor at Yale in 1963. His introductory essay to The Art Criticism of John Ruskin examined the critic John Ruskin in a social context. He chaired the department of art at Yale between 1965-1968. Herbert was appointed full professor of history of art in 1967 and a Guggenheim fellow for the 1971-1972 year. In the early 1970s, He was asked to contribute a text for the innovative Art in Context series, launched by Hugh Honour and John Fleming for Allen Lane publishers. His volume, addressing Jacques Louis David’s “Lictors Returning to Brutus the Bodies of his Sons,” 1789, was an outgrowth of a 1955 graduate school course under John W. McCoubrey. The book, David, Voltaire, ‘Brutus’ and the French Revolution: An Essay in Art and Politics is a concise paradigm of his scholarship, typical of the freedom allowed to art historians of the series. Herbert was named the Robert Lehman Professor in 1974. The 1978-1979 year he taught as Slade Professor, Oxford University. He was awarded a distinguished teaching honor by the College Art Association of America in 1982. Herbert’s summation of the social history of French Impressionism was issued in 1988 as Impressionism: Art, Leisure, and Parisian Society. He resigned from Yale in 1990 to join his wife, a professor at Mount Holyoke College, South Hadley, MA, teaching as professor of art. The following year he helped organize the Seurat retrospective held at the Grand Palais (France) and Metropolitan Museum of Art. He retired from Mount Holyoke in 1997 as Andrew W. Mellon Professor Emeritus. A second Seurat major exhibition, “Seurat and the Making of the Grande Jatte,” was mounted in 2004. In 2008 he was awarded the College Art Association’s Distinguished Service Award. Herbert approached the well-examined period of Neoimpressionism through social history. His attention to subject matter–something that had been little done with Seurat–changed and deepen the understanding of that artist. Herbert disparaged purely chronological or historical approaches to art history, asserting that paintings are more than just historical documents to be read. Much of his writing was associated with museum exhibition catalogs. Herbert cited his early influences as art historians, in addition to McCoubrey, Jean Locquin, J. Renouvier, and Bob Rosenblum, as well as the historians F. A. Aulard (1849-1928) and David L. Dowd (1918-1968).
[dissertation:] Seurat: Paintings, Drawings and Theory, 1875-1886. Yale University, 1957; [collected essays:] From Millet to Léger: Essays in Social Art History. New Haven: Yale University Press, 2002; edited, The Art Criticism of John Ruskin. Garden City, NY: Anchor Books, 1964; David, Voltaire, ‘Brutus’ and the French Revolution: An Essay in Art and Politics. London: Allen Lane, 1972; Impressionism: Art, Leisure, and Parisian Society. New Haven: Yale University Press, 1988. and Cachin, Françoise. Georges Seurat, 1859-1891. New York : Metropolitan Museum of Art/Abrams, 1991; and Harris, Neal and Druick, Douglas W. Seurat and the Making of La Grande Jatte. Chicago: Art Institute of Chicago/University of California Press, 2004.
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. 128 mentioned; “Robert L. Herbert is 2008 Distinguished Scholar.” CAA News November 2007, pp. 4-5.
Seurat and Impressionism specialist; Robert Lehman Professor of Art, Yale University, 1974-1990. Herbert’s parents were John Newman Herbert and Rosalia Harr (Herbert). His father operated a drawbridge. While at Wesleyan University, he developed an
Full Name: Herbert, Eugenia W.
Other Names:
Gender: female
Date Born: 1929
Place Born: Summit, Union, NJ, USA
Home Country/ies: United States
Subject Area(s): African (general, continental cultures), art theory, Central African (cultural or regional style), colonialism, and social history
Career(s): art historians and educators
Africanist historian; associate Professor of History, Mount Holyoke college and social historian of art. Warren was the daughter of Robert Beach Warren and Mildred Fisk (Warren). Her father was an engineer. She attended Wellesley College receiving her B.A. in 1951. She spent the following year as a Fulbright scholar at the University of Vienna, before entering Yale University, graduating with an M.A., 1953. The same year she married fellow graduate student, the art historian Robert L. Herbert, changing her name to Herbert. She spent a year at Sorbonne, University of Paris, 1955-1956, on an American Association of University Women fellowship, researching her dissertation on French and Belgian late nineteenth-century art. Her Ph.D. was granted in 1957. While her husband taught at Yale University, Herbert lectured as assistant professor at Quinnipiac College, Hamden, CT, in 1970. Her research interest in African history was acknowledge by a year appointment at Yale in that topic, 1972-1973. A 1975 book, co-written with Claude-Anne Lopez, The Private Franklin: The Man and His Family, won numerous awards. Herbert founded the Center for Independent Study, New Haven in 1977. She joined Mount Holyoke College as an assistant professor of history in 1978. Red Gold of Africa: Copper in Precolonial History and Culture appeared in1984. She was named E. Nevius Rodman professor of African history in 1985, retiring emeritus in 1997.
[dissertation:] The Artist and Social Reform: France and Belgium, 1885-1898. Yale University, 1957, published, New Haven: Yale University Press, 1961; The Private Franklin: the Man and his Family. New York: Norton, 1975; Twilight on the Zambezi: Late Colonialism in Central Africa. New York: Palgrave, 2002.
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. 128 mentioned.
Africanist historian; associate Professor of History, Mount Holyoke college and social historian of art. Warren was the daughter of Robert Beach Warren and Mildred Fisk (Warren). Her father was an engineer. She attended Wellesley College receiving
Full Name: Hentzen, Alfred
Gender: male
Date Born: 1903
Date Died: 1985
Place Born: Remscheid, North Rhine-Westphalia, Germany
Place Died: Hamburg, Germany
Home Country/ies: Germany
He was born in Lennep, Germany, which is present day Remscheid.
Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 171-4.
Full Name: Henry, Joseph
Gender: male
Date Born: 1797
Date Died: 1878
Place Born: Albany, NY, USA
Place Died: Washington, DC, USA
Home Country/ies: United States
Subject Area(s): American (North American), architecture (object genre), and sculpture (visual works)
Inventor and physicist; conducted the first classes in architectural history in the United States. Henry was the son of William and Ann Alexander (Henry). His grandparents had been immigrants from Scotland. Henry lived with his maternal grandmother at Galway, NY until he was thirteen when he returned to Albany to live with his widowed mother. He read much at the village library in Galway, particular drama. He joined a group of amateur actors, and there encountered a book on natural sciences. He attended advanced classes of the Albany Academy. He received an appointment to a surveying party for State of New York. In the spring of 1826 he was elected to the professorship of mathematics and natural philosophy in the Albany Academy. He married to Harriet L. Alexander of Schenectady, NY in 1830, his first cousin. In 1832 Henry was appointed professor of natural philosophy at the College of New Jersey at Princeton, N. J. (now Princeton University). That year he began teaching the college’s first fine arts course, a series of lectures on architecture. His course classified architecture by type (cival, military, naval), by the style or era (Greek, Roman, Italian, Chinese, Gothic) and building material (alabaster, white marble, variegated, etc.). He also taught courses in geology, mineralogy and astronomy. As an architectural “authority” he was responsible for a master plan of Princeton, much of which was followed. Henry turned over his courses to Albert B. Dod (1805-1845), a mathematician (and skillful lecturer), who focused more on spiritual development than an analysis of styles. In 1846 he was appointed the first secretary of the Smithsonian Institution in Washgington, D. C., but it was not fully realized until 1848. Henry diverted a large portion of the income of the Institution to support of the museum, art gallery, laboratory and library. He helped found the American Association for the Advancement of Science and acted as it second president. He was also a founding member of the Philosophical Society of Washington (1871). He died from nephritis at his home in Washgington, D. C. As an inventor, Henry is credited with building the first electromagnetic telegraph.
The Papers of Joseph Henry. Washington, DC: Smithsonian Institution Press/Braziller,1972ff.; [numerous titles in the physical sciences].
Lavin, Marilyn Aronberg. The Eye of the Tiger: The Founding and Development of the Department of Art and Archaeology, 1883-1923, Princeton University. Princeton, NJ: Department of Art and Archaeology and Art Museum, 1983, p. 7; Magie, William Francis. Dictionary of American Biography. New York: C. Scribner’s sons, 1928-1936.
Inventor and physicist; conducted the first classes in architectural history in the United States. Henry was the son of William and Ann Alexander (Henry). His grandparents had been immigrants from Scotland. Henry lived with his maternal grandmothe
Full Name: Henry, Françoise
Other Names:
Gender: female
Date Born: June 1902
Date Died: 10 February 1982
Place Born: Paris, Île-de-France, France
Place Died: Auxerre, Bourgogne-Franche-Comté, France
Home Country/ies: France
Subject Area(s): archaeology and Celtic (culture)
Celtic art specialist and archaeologist; one of the first four women to be admitted to the Royal Irish Academy in 1949. Henry’s maternal great-grandfather was the French art historian and Géricault scholar Charles Clément. She was raised in the Limousin region of France, spending the years of World War I (1914-1918) at the Lycée Molière in Paris. Henry graduated from the Sorbonne, Paris, studying first under Émile Mâle and then under his successor, Henri Focillon. She entered the École du Louvre hearing the lectures of André Michel and Robert Rey and studying Celtic history under the scholar Henri Hubert (1872-1927) and the archaeology under Salomon Reinach. Henry joined Hubert at the Musée Antiquités Nationales de Saint-Germain-en-Laye (Paris environs) taking up residence in a small apartment on top of the museum. In 1926 a chance trip to Ireland at the invitation of Carrie Fitzgerald at Synone, Boherlahan (near Cashel, Ireland) convinced her that the rich extant monuments of that country made it a prime focus of early Christian scholarship for her. With the support of Focillon, Henry settled on Celtic sculpture of Ireland as a dissertation topic. She returned to Ireland to primary research, traveling the landscape by bicycle with Fitzgerald and Marie Duport. She secured an appointment in the French department at University College, Dublin in 1932. Her Doctorat d’Etat was awarded the same year with a 1933 published dissertation titled La Sculpture irlandaise pendant les douze premiers siècles de l’ère chretienne. Her secondary thesis, Les tumulus du Département de la Côte d’Or was dedicated to Hubert. She delivered annual lectures on Eruopean painting as part of the Purser-Griffiths scholarship beginning in 1934. Henry continued to research Celtic art, expanding her interest to enamels, architecture as well as other kinds of Irish carved work. An important article on suspended bronze lamps and bowls appeared in Journal of Royal Society of antiquaries of Ireland in 1936. In 1940 she issued her initial examination of the broader topic as Irish Art. After World War II she received the Legion of Honor award for her war service by the French government. She joined the Department of Archaeology at University College in 1948, creating the photography collection of Celtic monuments and objects. Though offered a university teaching post in France, she refused it. The following year she and three other women became the first elected to membership of the Royal Irish Academy, a move the Academy had investigated as early as 1931. The other three were Phyllis Clinch (1901-1984), a botanist; Eleanor Knott 1886-1975), a scholar of Irish history; and the mathematician Sheila Tinney (1918-2010). Irish Art was expanded in 1963 to the three-volume L’art Irlandais, English translations appearing in 1965-1970. Under her aegis, the Department of History of Art granted degrees in that subject, beginning in 1965. Henry next published The Book of Kells and its Decoration in 1974, retiring from teaching the same year. Henry who had divided her time between Ireland and France while teaching, lived in Lindry and Yonne, France, and Dublin in her retirement. She died at age 79 and is buried in Lindry, France.
[collected essays and complete bibliography:] and Marsh-Micheli, Geneviève. Studies in Early Christian and Medieval Irish Art. 2 vols. London: Pindar, 1983-1985; [master’s thesis:] Les Tumulus du département de la Côte-d’Or. Sorbonne (?), 1930, published, Paris: Leroux, 1932; [dissertation:] La sculpture irlandaise pendant les douze premiers siècles de l’ère chrétienne. Paris: E. Leroux, 1933; “Hanging Bowls.” Journal of Royal Society of Antiquaries of Ireland 66 (December, 1936): 209-246; Irish Art in the Early Christian Period. London: Methuen & Co. 1940; L’art irlandais. 3 vols. La Pierre-qui-Vire,Yonne: Zodiaque, 1963-1964, English, Irish Art in the Early Christian Period, to 800 A.D. Ithaca, NY: Cornell University Press, 1965, Irish Art During the Viking Invasions, 800-1020 A.D. Ithaca, NY: Cornell University Press, 1967, Irish Art in the Romanesque Period, 1020-1170 A.D. Ithaca, NY: Cornell University Press, 1970; The Book of Kells: Reproductions from the Manuscript in Trinity College, Dublin. New York: Knopf, 1974.
“[Sheila Tinney:] Pioneer in Field of Mathematical Physics.” Irish Times [online] June 26, 2010; Curle, Cecil. “Preface.” in Henry, Françoise, and Marsh-Micheli, Geneviève. Studies in Early Christian and Medieval Irish Art. volume 1. London: Pindar, 1983, pp. i-iii; [obituaries:] C[ecil] L. C[urle] and E. K. “Françoise Henry.” Journal of the Royal Society of Antiquaries of Ireland 112, (1982): 142-146; “Dr Francoise Henry.” Times (London) February 19, 1982, p. 12.
Contributors: Lee Sorensen
Celtic art specialist and archaeologist; one of the first four women to be admitted to the Royal Irish Academy in 1949. Henry’s maternal great-grandfather was the French art historian and Géricault scholar Charles Clément.
Full Name: Hendy, Philip, Sir
Other Names:
Gender: male
Date Born: 1900
Date Died: 1980
Place Born: Carlisle, Scotland, UK
Place Died: Oxford, Oxfordshire, England, England, UK
Home Country/ies: United Kingdom
Director of the National Gallery, London, 1946-1967. Hendy was the son of Frederick James Robert Hendy, who would become director of the department of education at Oxford University, and Caroline Isabelle Potts (Hendy). He attended the Westminster School and Christ Church, Oxford, graduating in 1923 in modern history. That year, with no training in art, he was appointed assistant to the keeper (curator) of the Wallace Collection under Samuel James Camp, and a lecturer. He married Kythé Caroline Ogilvy (b. 1902) in 1925. Hendy was assigned to research objects for the Wallace catalog of the collections. His work there and articles in the Burlington Magazine so impressed officers of the Isabella Stewart Gardner Museum in Boston that Hendy was contracted live in Italy for three years, beginning in 1927, to research the Gardner catalog. As the Gardner publication neared press, (it appeared in 1931), Hendy was appointed curator of paintings for the Museum of Fine Arts in Boston in 1930. At Boston, Hendy purchased modern European paintings by Braque, Severini, Tchelitchew, and British artists W. R. Sickert, S. F. Gore, John Nash, and Robert Bevan. Hendy’s purchase of Matisse’s nude Carmelina (1903) in 1933 brought about a major dispute with the conservative Trustees and Hendy resigned. He returned to Britain and in 1934 accepted the director position at the Leeds City Art Gallery. Hendy was in charge of the evacuation the Leeds collection to Temple Newsam House during World War II. He was appointed Slade Professor at Oxford in 1936 (which he held until 1946), receiving his M.A. in 1937. His monograph on Giovanni Bellini appeared in 1945. In 1946, Kenneth Clark resigned as director of the National Gallery and Hendy succeeded him. One of his immediate hires was Cecil Gould, who, under Hendy, became an important museum professional as well. When, under Hendy, the Gallery paintings were returned from their safe-storage in the Manod caves of Wales and Lord Lee’s Gallery, Gloucestershire after the War, he ordered many cleaned (much of it done by Helmut Ruhemann, 1891-1973). Accusations of over-cleaning were charged by the artist Sir Gerald Kelly (1879-1972) in the London Times, especially the paintings Chapeau de paille (Susanna Fourment), 1622, by Rubens, Rembrandt’s Woman Bathing in a Stream (Hendrickje Stoffels?), 1654, and the portrait bust of Philip IV by Velázquez, 1656. The Trustees set up a committee in 1948 (the so-called Weaver Committee) to evaluate the paintings. Hendy was cleared of wrong-doing. A second book on an Italian Renaissance artists, Masaccio, appeared from Hendy in 1957. In 1961 Goya’s portrait of the Duke of Wellington was stolen and Hendy again had to justify his administration. He retired from the Gallery in 1967, succeeded by Martin Davies, spending three years (1968-1971) as adviser to the Israel Museum in Jerusalem. He published a book on Piero della Francesca in1968. He divorced his first wife and married Cicely Prichard Martin, the widow of (Charles) Christopher Martin. Hendy suffered a stroke in 1975 but lived for five more years. Hendy’s generation of museum officials was the last one in Britain where amateurs, well-educated but self-taught in art history could immediately move into museum curation. His natural eye led him to many astute observations and a few prejudices (he disliked the Pre-Raphaelites). Among his writings, the Gardner catalog is considered the longest-lasting.
Piero della Francesca and the Early Renaissance. New York: Macmillan, 1968; Art Treasures in the British Isles: Monuments, Masterpieces, Commissions, and Collections. New York: McGraw-Hill, 1969; Art Treasures of the National Gallery, London. New York: H. N. Abrams, 1960; Masaccio: Frescoes in Florence. Greenwich, CT: New York Graphic Society, 1956; Catalogue of the exhibited paintings and drawings [of the] Isabella Stewart Gardner Museum. Boston: Isabella Stewart Gardner Museum, 1931; Loan Exhibition of One Hundred Colonial Portraits, Museum of Fine Arts, Boston. Boston: Museum of Fine Arts, Boston, 1930.
Shaw, James Byam. “Philip Hendy.” Oxford Dictionary of National Biography; Cox, Trenchard. “Sir Philip Hendy.” The Burlington Magazine 123, No. 934 (January1981): 33; Hall, Helen. “Early Twentieth-century British Paintings in the Museum of Fine Arts, Boston.” Apollo 120 (September 1984): 195-200.
Director of the National Gallery, London, 1946-1967. Hendy was the son of Frederick James Robert Hendy, who would become director of the department of education at Oxford University, and Caroline Isabelle Potts (Hendy). He attended the Westminster
Full Name: Henderson, George D. S.
Other Names:
Gender: male
Date Born: 1931
Place Born: Aberdeen, Scotland, UK
Home Country/ies: United Kingdom
Subject Area(s): architecture (object genre), manuscripts (documents), Medieval (European), and sculpture (visual works)
Cambridge University medievalist, particularly architecture and manuscripts. Henderson was the son of a professor of ecclesiastical history, George David Henderson and Janet Smith (Henderson). He attended the University of Aberdeen, receiving his B.A. in 1953. He moved to the University of London, completed an M.A., 1956. He married Isabel Bisset Murray, a librarian at National Library of Scotland in 1957. He was then admitted to Cambridge University, where he secured an M.A. and finally Ph.D., in 1961. He was a Research fellow at Barber Institute of Fine Art, University of Birmingham, Birmingham, England, between 1960-1961. Henderson was appointed to Downing College, Cambridge University, in 1961 (remaining until 1964). He won the Reginald Taylor Prize of British Archaeological Association in 1962 for the paper “The Sources of the Genesis Cycle at St.-Savin-sur-Gartempe.” In 1963 he began as a lecturer in the history of art at University of Manchester. He was named lecturer in art history at the University of Edinburgh, Scotland, in 1966. Henderson authored the two small introductory volumes for the Penguin scholarly survey initiatives, one on gothic art in 1967 and another on Chartres in 1968. He remained at Edinburgh until 1973 when he was appointed to Cambridge University as lecturer in the history of art and fellow of Downing College, beginning in 1974. He published his From Durrow to Kells: the Insular Gospel-books, 650-800 in 1987. His students included Michael Camille.
“The Meaning of Leaf 5 of Fitzwilliam MS 330.” Burlington Magazine 133 (October 1991): 682-6; “Apocalypse Manuscript in Paris: B.N. MS Lat. 10474.” Art Bulletin 52 (March 1970): 22-31; “Late-Antique Influences in some English Mediaeval Illustrations of Genesis: the Caedmon, Aelfric and Egerton MSS.” Journal of the Warburg and Courtauld Institutes 25 (July 1962): 172-198; and Henderson, Isabel. The Art of the Picts: Sculpture and Metalwork in Early Medieval Scotland. New York: Thames & Hudson, 2004; Chartres. Harmondsworth: Penguin, 1968; Gothic. Harmondsworth: Penquin, 1967; Vision and Image in Early Christian England. Cambridge: Cambridge University Press, 1999; From Durrow to Kells: the Insular Gospel-books, 650-800. New York, NY: Thames and Hudson, 1987.
Cambridge University medievalist, particularly architecture and manuscripts. Henderson was the son of a professor of ecclesiastical history, George David Henderson and Janet Smith (Henderson). He attended the University of Aberdeen, receiving his
Full Name: Hempel, Eberhard
Gender: male
Date Born: 1886
Date Died: 1967
Place Born: Dresden, Saxony, Germany
Place Died: Dresden, Saxony, Germany
Home Country/ies: Germany
Subject Area(s): architecture (object genre), Baroque, and sculpture (visual works)
Architectural historian of the baroque period. Author of first modern monograph on Borromini (1924) (Montagu/Connors).
Baroque art and architecture in central Europe: Germany, Austria, Switzerland, Hungary, Czechoslovakia, Poland. Painting and sculpture: seventeenth and eighteenth centuries; architecture: sixteenth to eighteenth centuries. [Translated from the German by Elisabeth Hempel and Marguerite Kay]. Baltimore, MD: Penguin Books, 1965; Geschichte der deutschen Baukunst. Munich: F. Bruckmann, 1949; Michael Pacher.Vienna: A. Schroll, 1931; Der Zwinger zu Dresden: Grundzuge und Schicksal seiner künstlerischen Gestaltung. Berlin: Deutscher Verein für Kunstwissenschaft, 1961.
Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 169-71; [mentioned] Jennifer Montagu and Joseph Connors. “Rudolf Wittkower 1901-1971.” Introduction to Art and Architecture in Italy: 1600-1750. 6th edition, volume 1, Painting in Italy. Pelican History of Art. pp. ix.
Architectural historian of the baroque period. Author of first modern monograph on Borromini (1924) (Montagu/Connors).