Full Name: Heinecken, Carl Heinrich von
Other Names:
Gender: male
Date Born: 1701
Date Died: 1791
Place Born: Lübeck, Schleswig-Holstein, Germany
Place Died: Aldöbern, Germany
Home Country/ies: Germany
Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 163-4.
Full Name: Heiland, Susanne
Gender: female
Date Born: unknown
Date Died: unknown
contextual art historian (Rezeptiongeschichte)
ed. Rembrandt und die Nachwelt. Leipzig: 1960. and Lüdecke, Heinz, eds. Dürer und die Nachwelt: Urkunden, Briefe, Dichtungen und wissenschaftliche Betrachtungen aus vier Jahrhunderten. Berlin: 1955.
Dilly, 41 mentioned
contextual art historian (Rezeptiongeschichte)
Full Name: Heidrich, Ernst
Gender: male
Date Born: 1880
Date Died: 1914
Place Born: Nakel, Germany
Place Died: Dixmuide, West Flanders, Flanders, Belgium
Home Country/ies: Germany
Heinrich Wölfflin student; taught at Basel (1911) and Strassbourg (1914), killed in action in World War I. Heidrich’s Beiträge zur Geschichte und Methode der Kunstgeschichte was one of the early attempts to address the discipline of art history.
Geschichte des Dürerschen Marienbildes. Leipzig: Hiersemann, 1906; Altdeutsche Malerei. Jena: Diederichs, 1908; edited, Dürer’s schriftlicher Nachlaß: Familienchronik, Gedenkbuch, Tagebuch der niederlandischen Reise, Briefe, Reime, Auswahl aus den theoretischen Schriften. Introduction by H. Wölfflin. Berlin: Bard (?), 1908; Dürer und die Reformation. Leipzig: Klinkhardt & Biermann, 1909; Vlaemische Malerei. Jena: Diederichs, 1913; Beiträge zur Geschichte und Methode der Kunstgeschichte. Edited by Heinrich Wölfflin. Basel: B. Schwabe, 1917.
Dilly, 28; DIN, 200; Rintelen, Friedrich. “Nachruf auf Ernst Heidrich,” in Reden und Aufsätze. Edited by Edith Rintelen. Basel: Schwabe, 1927.; KMP, 18 n. 33; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 161-163.
Heinrich Wölfflin student; taught at Basel (1911) and Strassbourg (1914), killed in action in World War I. Heidrich’s Beiträge zur Geschichte und Methode der Kunstgeschichte was one of the early attempts to addres
Full Name: Heider, Gustav A., Freiherr von
Other Names:
Gender: male
Date Born: 1819
Date Died: 1897
Place Born: Vienna, Vienna state, Austria
Place Died: Vienna, Vienna state, Austria
Home Country/ies: Austria
Subject Area(s): art theory and Vienna School
Precursor to the (first) Vienna school of art history. Heider gained his law degree in Vienna. In 1842 he became an adjunct (assistant) in the library of the Vienna Academy of Fine Arts (Wiener Akademie der bildenden Künste). He joined the Ministry of Education (Ministerium für Kultus und Unterricht) in 1850, and remained there until 1880. He began his art-history writing with über Tiersymbolik (On Animal Symbolism) in 1849. In 1855 he published a study of Schöngraben church outside Vienna. Part of the appeal of the church was its decaying art work. Heider became concerned about the loss of in situ art in Europe through neglect, an emerging theme in nineteenth-century art history. The following year he edited the journal dedicated to historic art preservation, Mitteliungen sant Jahrbuch der k.k. Zentralkommission zur Erforschung und Erhaltung der Kunst- und historischen Denkmale. The journal became the focal point German-speaking scholars of art history, including in Germany and the German art historians Karl Julius Ferdinand Schnaase, Wilhelm Lübke and Anton Springer. In 1858 he authored with Rudolf Eitelberger von Edelberg a survey of important medieval monuments in the Austrian empire. A book on medieval enamel work followed in 1860. In 1861 he met the elderly Karl Julius Ferdinand Schnaase, whose global art history was the first of its kind. Much of Heider’s work was done in collaboration with Albert Ritter von Camésina (1806-1881). Julius Alwin von Schlosser cast Heider as the one who laid the groundwork for the Vienna School, founded by Eitelberger. Heider viewed art within the context of its time period and according to its historic art criteria. Udo Kultermann observes that unlike Franz Kugler, roughly his contemporary and equally important for the foundation of art history, Heider’s reforms of the discipline took decades to take hold.
[complete bibliography:] Mittheilungen der kaiserlich-königlichen Central-Commission für Erforschung und Erhaltung der Kunst und historisch Denkmale 23 (neue Folge, 1897): 119ff. revised, with Came´sina, Albert. Die Darstellungen der Biblia pauperum in einer Handschrift des xiv. Jahrhunderts, aufbewahrt im Stifte St. Florian im Erzherzogthume österreich ob der Enns. Vienna: Kaiserlich-königlichen Hof- und Staatsdr./Prandel & Ewald, 1863; edited, [serial] Mittheilungen der kaiserlich-königlichen Central-Commission zur Erforschung und Erhaltung der Baudenkmale. Vienna: K.K. Hof- und Staatsdruckerei, 1856- ; and Came´sina, Albert von. Der Altaraufsatz im regul. Chorherrnstifte zu Klosterneuburg. Ein Emailwerk des XII. Jahrhunderts angefertigt von Nikolaus aus Verdun. Vienna: Prandel und Meyer, 1860; and Häufler, J. V. “Archäologische Notizen : gesammelt auf einem Ausfluge nach Herzogenburg, Göttweih, Melk und Seitenstätten im September 1849.” Archiv für Kunde österreichischer Geschichts-quellen 2 no 3 (1850): 523-606; Die romanische Kirche zu Schöngrabern in Nieder-Osterreich: ein Beitrag zur christlichen Kunst-Archäologie. Vienna: Carl Gerold & Sohn, 1855; and Eitelberger von Edelberg, Rudolph von. Mittelalterliche Kunstdenkmale des österreichischen Kaiserstaates. 2 vols. Stuttgart: Ebner & Scubert, 1858-60.
Kultermann, Udo. The History of Art History. New York: Abaris, 1993, pp. 157-58; Schlosser, Julius von. “Die Wiener Schule der Kunstgeschichte.” Mitteilungen des österreichischen Instituts für Geschforschungen 13 no. 2 (1934): 145ff.; österreichisches biographisches Lexikon 1815-1950 2: 241.
Precursor to the (first) Vienna school of art history. Heider gained his law degree in Vienna. In 1842 he became an adjunct (assistant) in the library of the Vienna Academy of Fine Arts (Wiener Akademie der bildenden Künste). He joined the Ministr
Full Name: Hefting, Victorine
Other Names:
Gender: female
Date Born: 1905
Date Died: 1993
Place Born: Utrecht, Netherlands
Home Country/ies: Netherlands
Director of the Municipal Museum The Hague, 1948-1950. Hefting attended the Gymnasium in Utrecht. Being in poor health, she left this school prematurely for a cure in Switzerland. She returned to the Netherlands to attend a school for social work in Amsterdam, but when she graduated at age 21, she still was too young for being employed in this sector. She was appointed assistant librarian at the Institute for Art History at Utrecht University. At the invitation of Professor Willem Vogelsang, she began to attend his classes. This was the beginning of her art history study, which she completed in the following years. Vogelsang, for whom she had great admiration, became her mentor and inspiration. During an internship, she set up the catalog of the Kröller-Müller collection, which had come in the possession of the State of the Netherlands. In this process she had frequent conversations with Helene Kröller (1869-1939) in Kröller’s residence in Wassenaar and in her hunting lodge Sint Hubertus in De Hoge Veluwe. Hefting’s career at the Municipal Museum in The Hague began in 1938 with an appointment as assistant. Her first marriage (married women not allowed to hold professional positions at that time) forced her resignation. When she was removed from her abusive husband, Hefting returned to the position in 1941. When Gerhardus Wzn Knuttel, director and curator of modern art (1889-1968), was arrested by the Nazis in 1942, Hefting unofficially became acting-director of the museum until the end of the war. Knuttel then returned briefly, leaving the museum again in 1947. In 1948, Hefting became his successor as curator and director, but again had to give up when she married for the second time (to the publisher Bert Bakker), in August 1950. Hefting’s short directorship was a period full of new initiatives. In the footsteps of H. E. Van Gelder, she maintained and broadened the special admission discount for school children and teachers. The education program included guided tours and lectures. As curator of modern art, Hefting organized yearly exhibitions of artists who worked in The Hague. In this period, and also in later years, Hefting took an active part in restoring cultural life in post-war The Hague. She belonged to a circle of writers that included the poet Martinus Nijhoff (1894-1953). Following her divorce from Bakker in 1964, she focused on her Ph.D. She obtained the doctoral degree from Utrecht University in 1968 with a dissertation on the letters of Johan Barthold Jongkind (1819-1891), a Dutch painter who settled in Paris in 1846, Jongkind d’après sa correspondance. J. G. van Gelder was her adviser. A further monograph on this painter followed in 1975, Jongkind: sa vie, son oeuvre, son époque. She gathered her information for this work from various institutions in Paris, including the Louvre Museum and the Bibliothèque Nationale. She was interested in the artistic milieu in which Jongkind had lived and worked, as well as in the French art criticism of his day. She frequently stayed at the Institut Néerlandais in Paris, where she occasionally presented papers and organized exhibitions of Dutch artists, including Jongkind (1971) and Jan Toorop (1858-1928) (1977). In 1977 she published a monograph on a contemporary painter, Christiaan de Moor (1899-1981). Her monograph on Toorop, Jan Toorop: een kennismaking, appeared in 1989. Making use of the painter’s existing correspondence, Hefting situated the person and his work in the international art scene of his day. In 1992, a year before she died, she published J. B. Jongkind: voorloper van het impressionnisme (precursor of impressionism). In 1988, the municipality of The Hague paid tribute to this remarkable woman by instituting the Victorine Hefting prize, which each year is awarded to an outstanding female contributor to the arts in and around The Hague. Hefting’s autobiography, which became a bestseller, was recorded, written down, and edited by Nienke Begemann in 1988. Hefting was a scholar with a broad knowledge of the literature, art criticism, and the cultural context of the period in which artists lived and worked. In her eighties she stated that she always had been fully committed to producing art-historical work of high quality.
[Disseratation Utrecht] Jongkind d’après sa correspondance. Utrecht: Haentjens Dekker & Gumbert, 1969; Jongkind : sa vie, son oeuvre, son époque. Paris: Arts et métiers graphiques, 1975; Christiaan de Moor. Amsterdam: Wereldbibliotheek, 1977; Schilders in Oosterbeek, 1840-1870. Zutphen: Walburga Pers, 1981; Jan Toorop: een kennismaking. Amsterdam: Bert Bakker, 1989; Jongkind, Johan Barthold in The Dictionary of Art 17 (1996), pp. 643-644; J. B. Jongkind: voorloper van het impressionnisme. Amsterdam: Bert Bakker, 1992.
Begemann, Nienke. Victorine. Amsterdam: Bert Bakker, 1988; van Lindert, Juleke. Victorine Hefting (1905-1993): un lien particulier avec la France. Septentrion (1993), 4: 70-72.
Director of the Municipal Museum The Hague, 1948-1950. Hefting attended the Gymnasium in Utrecht. Being in poor health, she left this school prematurely for a cure in Switzerland. She returned to the Netherlands to attend a school for social work
Full Name: Hedicke, Robert
Gender: male
Date Born: 1874
Date Died: unknown
Home Country/ies: Germany
Dvořák student, work influenced by him.
[dissertation:] Jacques Dubroeucq von Mons: ein niederländischer Meister aus der Fruhzeit des italienischen Einflusses. Strassburg: J. H. E. Heitz, 1904; Methodenlehre der Kunstgeschichte. Strassbourg: Heitz, 1924; Cornelis Floris und die Florisdekoration: Studien zur niederlándischen und deutschen Kunst im XVI. Jahrhundert von Robert Hedicke. Berlin: J. Bard, 1913.
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. 154 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. 98.
Dvořák student, work influenced by him.
Full Name: Heckscher, William S.
Other Names:
Gender: male
Date Born: 1904
Date Died: 1999
Place Born: Hamburg, Germany
Place Died: Princeton, Mercer, NJ, USA
Home Country/ies: Germany
Subject Area(s): Baroque, Dutch (culture or style), Dutch Golden Age, museums (institutions), and Netherlandish Renaissance-Baroque styles
Career(s): directors (administrators) and museum directors
Dutch baroque scholar; art museum director; student of Panofsky. Heckscher was raised in Hamburg, where he attended the University of Hamburg, studying under Erwin Panofsky. Heckscher described his student years in Hamburg as part of a group of deeply dedicated students whose ranks included Horst W. Janson, Walter W. Horn, Ursula Hoff, and Lotte Brand Foerster. Among the faculty at Hamburg were Charles de Tolnay, Edgar Wind whom he characterized as a “magician”, as well as Panofsky, whom he termed a “witty, acerbic and conceited genius.” It was Panofsky, according to one of Heckscher’s students, who helped steer Heckscher in the Warburg-School style of art history. Heckscher received his doctorate in 1935, emigrating almost immediately to the US in 1936, where he spent a year at the Institute of Advanced Study in Princeton. Suspicions about German aliens were so high, that Heckscher passed most of the years of World War II first as an enemy alien in an internment camp in Britain and Canada. During the latter incarceration, he tutored newer internees to pass Canadian universities’ entrance exams. After the war, Heckscher taught at universities in the United States, then returning to europe to teach at the Institute of Art History in Utrecht (1955-1965). His familiarity with art-historical institutions on both sides of the Atlantic made him in instrumental in bringing scholarship closer together, such as successfully bring a copy of the Index of Christian Art to Utrecht. In 1966 he became Chair of the Department of Art History at Duke University, a position he held until his retirement in 1974. A James B. Duke professor, he was also director of the Duke University Museum of Art, 1970-1974. Heckscher and his family retired to Princeton, where he remained active writing articles and advising the Princeton University Library. He was awarded an honorary degree from McGill University for his work with fellow prisoners in the Canadian camp.
Rembrandt’s Anatomy of Dr. Nicolaas Tulp; an Iconological Study. New York: New York University Press, 1958. “Bernini’s Elephant and Obelisk.” Art Bulletin 29 (1947): 155-82. “The Genesis of Iconology,” in Stil und überlieferung in der Kunst des Abendlandes Akten des XXI Internationalen Kongresses für Kunstgeschichte. Bonn, 1964, 3 (1967): 239-62; Art and literature : studies in relationship. Baden-Baden: V. Koerner, 1994; and Sherman, Agnes B. Emblematic Variants: Literary echoes of Alciati’s term emblema : a Vocabulary Drawn from the Title Pages of Emblem Books. New York: AMS Press, 1995; The Genesis of Iconology. Berlin: Mann, 1967; The Princeton Alciati Companion: a Glossary of Neo-Latin Words and Phrases used by Andrea Alciati and the Emblem Book Writers of his Time. New York: Garland, 1989; [memoir of Erwin Panofsky, in] Panofsky, Erwin. Three Essays on Style. Cambridge, MA: MIT Press, 1995.
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. 81 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. 65 cited; 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. 271-5; New York Times, February 7, 2000, Section B; p. 9; Sears, Elizabeth. “The Life and Work of William S. Heckscher.” Zeitschrift für Kunstgeschichte 53 no1 (1990): 107-33; [festschrift and bibliography to 1964] Nederlands Kunsthistorisch Jaarboek 15 (1964); [transcript] William S. Heckscher, and Roxanne Heckscher. Interviews with Art Historians, 1991-2002. Getty Research Institute, Malibu, CA.
Contributors: Lee Sorensen
Dutch baroque scholar; art museum director; student of Panofsky. Heckscher was raised in Hamburg, where he attended the University of Hamburg, studying under Erwin Panofsky. Heckscher described his student years in Hamburg
Full Name: Heberdey, Rudolf
Other Names:
Gender: male
Date Born: 1864
Date Died: 1936
Home Country/ies: Austria
Subject Area(s): Classical and sculpture (visual works)
Classical sculpture historian. Students who studied under Heberdey included Walter Frodl.
Altattische Porosskulptur: ein Beitrag zur Geschichte der archaischen griechischen Kunst. Vienna: A. Hölder, 1919
Classical sculpture historian. Students who studied under Heberdey included Walter Frodl.
Full Name: Heaton, Mary Margaret
Other Names:
Gender: female
Date Born: 1836
Date Died: 1883
Home Country/ies: United Kingdom
Subject Area(s): biography (general genre) and Northern Renaissance
Author of the first biography of Albrecht Dürer in English (1870). Keymer’s father was James Keymer, a silk printer. Her maternal uncle was the writer [Samuel] Laman Blanchard (1803-1845). She was raised among the writers of the 19th-century associated with Blanchard, including the playwright Douglas Jerrold (1803-1857) and Charles Dickens (1812-1870). She married an academic chemist, Charles William Heaton (1835-1893) in 1862. The photographer and publisher Joseph Cundall (1818-1895) encouraged her to write professionally. After an initial work of nursery rhymes in 1862, Heaton published a work of art history, The Great Works of Sir David Wilkie (1868). The Wilkie book included catalogue raisonné and personal memoir of the artist. The following year she published Masterpieces of Flemish Art. In 1870 Heaton wrote the first biography in English of Albrecht Dürer, her History of the Life of Albrecht Dürer to coincide with the artist’s 400th birthdate. Heaton’s book included her personal translation of all the known writings by the artist at the time. Shortly thereafter, William Bell Scott, published his own biography of the artist–borrowing substantially from her translation of Dürer’s journal without acknowledging her–the same year as her book. The caustic Scott attacked her book as “hysterical and prejudiced.” The publisher of the arts journal, The Academy, Charles Appleton (1841 – 1879), invited Heaton to join the staff in 1869, and she became a constant contributor to the periodical whose goal was “sound information and correct taste in intellectual matters.” In 1873 Heaton published A Concise History of Painting, an art survey covering ancient Egyptian to modern Britain. Though the book avoids the anecdotal approach to art history so popular in the 19th century, it unfortunately is little more lists of painters with brief (and somewhat speculative) biographies. With Charles Christopher Black she co-authored Leonardo da Vinci and his Works in 1874. In 1876 she translated the Correggio biography by Julius Meyer. In 1879, she issued a new edition of Lives of the Most Eminent British Painters by Allan Cunningham. She also authored entries for the latest edition of Bryan’s Biographical and Critical Dictionary of Painters and Engravers (3rd edition, 1884-1889). After a protracted illness, she died in 1883.Heaton was among the best of the 19th-century female art historians. As a woman, her formal education and travel to examine primary sources were limited. Nevertheless, she read all the published accounts, mostly German-language, and presented these along with her original translation of the documents into both a popular and important artistic biography. Because she drew primarily the [then current] Romantic-era German historians, her biography of Dürer reflects the biases toward Nationalism and idealism of continental scholarship.
and Black, Charles Christopher. Leonardo da Vinci and his Works, Consisting of a Life of Leonardo da Vinci by Mrs. Charles W. Heaton, an Essay on his Scientific and Literary Works by Charles Christopher Black, M.A., and an Account of his Most Important Paintings. London: Macmillan, 1874; translated, edited, with an introduction, Meyer, Julius. Antonio Allegri da Correggio from the German of Dr. Julius Meyer. New York: Macmillan, 1876.
Eisler, Colin. “Lady Dilke (1840-1904): The Six Lives of an Art Historian.” in, Sherman, Claire Richter and Holcomb, Adele M., eds. Women as Interpreters of the Visual Arts, 1820-1979. Westport, CT: Greenwood Press, 1981, pp. 155, and pp. 13-14; Monkhouse, Cosmo. “Mrs. Charles Heaton.” The Academy (9 June 1883): 408-9; Eaton, Frederick A. “Preface.” in Thausing, Moriz. Albert Dürer, his Life and Works. 1882, vol. 1 p. iv; Saturday Review, 35 (1873): 459-61.
Author of the first biography of Albrecht Dürer in English (1870). Keymer’s father was James Keymer, a silk printer. Her maternal uncle was the writer [Samuel] Laman Blanchard (1803-1845). She was raised among the writers of the 19th-century assoc
Full Name: Head, Edmund Walker, Sir
Gender: male
Date Born: 1805
Date Died: 1868
Place Born: Wierton Place, Kent, England, UK
Place Died: London, Greater London, England, UK
Home Country/ies: United Kingdom
Subject Area(s): painting (visual works)
Career(s): art historians and public administrators
Co-contributor to the first English version of Kugler’s Handbook of the History of Painting (1842) with Charles Lock Eastlake; Governor-in-chief of British North America. Head was born to the clergyman Sir John Head (d. 1838) and Jane Walker (Head) in Wiarton Place, Kent, England, UK, near Maidstone. He attended Winchester joining Oriel College, Oxford University in 1823, and receiving his B. A. in classics in 1827. The following year he traveled in Europe, becoming a fellow of Merton College, Oxford in 1830 in the meantime. He returned to England in 1835 and in 1836 was chosen as an assistant poor-law commissioner. When his father died in 1838, Head became the eighth Baron Head. He married Anna Maria Yorke (1808-1890), the same year. Head’s marriage forced him to leave his fellowship at Merton, and the salary that came with it. In 1841 he became a chief commissioner of the poor-law commission. Head wrote books in the humanities and political science throughout his career. In 1846 he contributed the section on the German, Flemish, and Dutch schools of painting for the English edition of Handbook of the History of Painting by Franz Kugler, which Charles Lock Eastlake issued beginning in 1842. The dissolution of the poor-law committee in 1847 struck another financial blow to Head. He accepted the lieutenant-governorship of New Brunswick, British North America (modern Canada). Head’s skill as an administrator and politic nature lead to his appointment as Governor-in-chief of the entire colony. The Dictionary of National Biography credits him with with the selection of Ottawa as Canada’s capital (though officially selected by Queen Victoria). Head’s tenure as Governor-in-chief was stormy, focusing primarily on better relations with the United States until his departure from office in 1861. Head was elected governor of the reconfigured Hudson’s Bay Company in 1863 after his return to England, which he held until his death. He suffered a heart attack at home in 1868 and is buried in Kensal Green cemetery. Ballads and other Poems, his collected poetry and translations, appeared posthumously in 1868.
“The German, Flemish, and Dutch schools of painting” pt. 2 of, Kugler, Franz. A Hand-book of the History of Painting: from the Age of Constantine the Great to the Present Time [translation of Handbuch der Geschichte der Malerei von Constantin dem Grossen bis auf die neure Zeit by by Margaret Hutton.] 2 vols. London: J. Murray, 1842-1846; A Hand-book of the History of the Spanish and French Schools of Painting, Intended as a Sequel to “Kugler’s Hand-books of the Italian, German, and Dutch schools of Painting.” London: J. Murray, 1848; and Propertius, Sextus. Ballads and Other Poems. London: Smith, Elder and Co., 1868.
Gibson, J. A. “Head, Sir Edmund Walker.” Dictionary of Canadian Biography 9; St. Leger, A. “Head, Sir Edmund Walker, eighth baronet (1805-1868).” Oxford Dictionary of National Biography 2004; Robertson, David. Sir Charles Eastlake and the Victorian Art World. Princeton, NJ: Princeton University Press, 1978.
Co-contributor to the first English version of Kugler’s Handbook of the History of Painting (1842) with Charles Lock Eastlake; Governor-in-chief of British North America. Head was born to the clergyman Sir John He