Numismatist and Keeper of the Department of Coins and Medals, British Museum; his Historia Numorum changed the study of Greek coins by studying them systematically. Head was educated at Ipswich Grammar School, entering the British Museum in 1864. He became joint editor of the Numismatic Chronicle in 1869 and married Mary Harley Corkran (d. 1911). He held the Chronicle editorship until 1910. In 1873 he began to publish the major catalogs of the Greek coin collections at the British Museum. In the end, he wrote eight of the nearly thirty volumes in the series. In 1887 he issued his most important work a general history on Greek coinage under the title Historia Numorum. This treatise proved invaluable to archaeologist and scholars outside the field of numismatics and a second edition appeared in 1911. He retired in 1905. His work was continued by George Francis Hill, later a Director of the British Museum. He held honorary degrees from the universities of Oxford, Durham and Heidelberg. A prize was established at Oxford in Head’s honor in 1910, the first recipient being Edward Stanley Gotch Robinson, later of the British Museum.
Selected Bibliography
Historia Numorum: a Manual of Greek Numismatics. Oxford: Clarendon Press, 1887; and Poole, Reginald S. Catalogue of Greek Coins: Attica-Megaris-Aegina. London: British Museum, 1888; and Poole, Reginald S. Catalogue of Greek Coins: Macedonia, etc. London: British Museum, 1879; Catalogue of Greek Coins. Corinth, Colonies of Corinth, etc. London: The British Museum, 1889; and Gardner, Percy, and Poole, Reginald. Catalogue of Greek coins. The Tauric Chersonese, Sarmatia, Dacia, Moesia, Thrace, etc. London: British Museum, 1877.
Sources
[obituary:] A Great Coin Expert. Death Of Dr. Barclay Head. The Times (London). June 13, 1914; p. 5.
Citation
"Head, Barclay Vincent." Dictionary of Art Historians (website). https://arthistorians.info/headb/.
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Numismatist and Keeper of the Department of Coins and Medals, British Museum; his Historia Numorum changed the study of Greek coins by studying them systematically. Head was educated at Ipswich Grammar School, entering the British Museum
Arms and metalwork scholar of the Victoria and Albert Museum, 1949-1965 and Sothby’s. Hayward was the son of an army musician at the Royal Military School of Music. He was educated, through scholarships, at St. Paul’s and then Magdalen College, Oxford University, graduating in history 1937. Hayward joined the Economic Research Department, a conservative think tank run by the Tory party. His avocation, however, was collecting arms and amour; he volunteered at the Wallace Collection under James G. Mann. During World War II, Hayward worked in Special Operations, interrogating enemy agents and fitting their British counterparts with false papers and identities before they were parachuted behind enemy lines. After the war, Hayward was appointed to the Monument and Fine Arts Office in Austria, assigned to restoring the looted cultural artifacts in Carinthia, Austria, to its rightful owners. The cache, books seized from Jews and other enemies of the Reich and objects of the Tanzenberg monastery, came under his direct control. He was appointed Principal to the Austrian Central Commission für die Erforschung und Erhaltung der Baudenkmale (Imperial and royal commission for researching and preserving of monuments) in 1947, where he gained a thorough knowledge of armor and du Paquier porcelain. He worked intimately with the Imperial armor collection as well. In 1949 he was offered a position at the Victoria and Albert Museum’s metalwork department. This position allowed him broader exposure to metal arts, including gold, silver plate, and jewelry. Hayward continued to publish on armor, leading the way among English-speaking scholars in the post-war era. In 1952 his book Viennese Porcelain book appeared. Hayward transferred to the Department of Furniture, a related division at the V&A, in 1956. His Art of the Gunmaker appeared in 1962. He was promoted to Deputy Keeper (curator), cataloging on a visit to the United States the collection of Carl Otto Kretzschmar von Kienbusch (1884-1976) which had been promised to the Philadelphia Museum of Art. In 1965 he joined Sotheby’s as Associate Director in their arms division. His finest monographic publication, Virtuoso Goldsmiths and the Triumph of Mannerism, was published in 1976. He was thereafter awarded on honorary doctorate from Oxford. Hayward died unexpectedly at age 67.
Selected Bibliography
Huguenot Silver in England, 1688-1727. London: Faber and Faber, 1959; Virtuoso Goldsmiths and the Triumph of Mannerism, 1540-1620. New York: Rizzoli International, 1976; Viennese Porcelain of the Du Paquier Period. London: Rockliff 1952; contributed, The Kretzschmar von Kienbusch Collection of Armor and Arms. Princeton, NJ: Princeton University Library, 1963; “The Tudor Plate of Magdalen College, Oxford.” Burlington Magazine 125, no. 962 (May 1983): 260-265.
Sources
[obituaries:] “Dr J. F. Hayward, Distinguished Art Historian.” Times (London) March 2, 1983, p. 14; Lightbown, R. W. “John Hayward.” Burlington Magazine 125, no. 963 (June 1983): 361.
Contributors: Lee Sorensen
Citation
Lee Sorensen. "Hayward, J. F.." Dictionary of Art Historians (website). https://arthistorians.info/haywardjf/.
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Arms and metalwork scholar of the Victoria and Albert Museum, 1949-1965 and Sothby’s. Hayward was the son of an army musician at the Royal Military School of Music. He was educated, through scholarships, at St. Paul’s and then Magdalen College, Ox
Place Died: Oxford, Oxfordshire, England, England, UK
Home Country/ies: United Kingdom
Subject Area(s): ancient, Ancient Greek (culture or style), Antique, the, antiquities (object genre), Classical, and Roman (ancient Italian culture or period)
Career(s): curators
Overview
Keeper of the Department of Greek and Roman Antiquities, British Museum, 1956-1976. Haynes’ father was Hugh Lankester Haynes (1878-1956), an Episcopal minister and his mother, Emmeline Marianne Chaldecott (1885-1968). After attending Marlborough College between 1926 and 1932 he entered Trinity College, Cambridge, concentrating in classical archaeology and graduating in 1936. He studied Roman provincial archaeology at Bonn before admission to the British School at Rome between 1936 and 1937. The result of this study was his first publication, Porta Argentariorum, 1939, produced with P. E. D. Hirst. In 1937 Haynes joined the Victoria and Albert Museum, London in the department of metalwork. When the scandal in the British Museum’s over-cleaning of portions of the Elgin marbles erupted, Bernard Ashmole was appointed head of the Greek and Roman Antiquities Department. Haynes become one of Ashmole’s pre-war hires in 1939 to bring the department back to publish credibility. At the declaration of World War II, Haynes was one of the staff enjoined to pack and sent the treasures in his department to safe hiding. In 1941 he enlisted in the Royal Artillery, later moving to military intelligence. There he served in the map division of the Italian campaign of General Harold Alexander (1891-1969). He was appointed antiquities officer in Libya in 1945. He used this time and experience to write the Historical and Archaeological Guide to Ancient Tripolitania published in 1946. Haynes returned to the British Museum in 1946 reinstalling the objects he had helped to remove. He married the archaeologist Sybille Edith Overhoff (b. 1926) in 1951. In 1953 Haynes became a member of the Deutsche Archäologische Institut (German Archaeological Institute or “DAI”). The following year he advanced to deputy keeper of Greek and Roman antiquities at the Museum. He succeeded Ashmole as Keeper of Greek and Roman antiquities in 1956. Haynes focused his writing on the Museum’s most important Greek objects, the Elgin marbles and the accompanying sculptures of the Parthenon. His Parthenon Frieze appeared in 1958. In 1962 Haynes oversaw the opening of the new Duveen gallery containing the Elgin marbles. Haynes revised the brief guide to the marbles originally written by A. H. Smith and amended by Ashmole, issuing it as A Historical Guide to the Sculptures of the Parthenon to accompany this opening In 1964 he published the most scholarly of his BM writings, The Portland Vase. Haynes oversaw the renovation of the ground floor of the Museum, next to the Duveen gallery, into fourteen new galleries devoted to the range of Greek and Roman acquisitions. It opened in 1969 accompanied by the publication of Fifty Masterpieces of Classical Art in the British Museum the following year. He taught as Geddes-Harrower professor of Greek art and archaeology at the University of Aberdeen for the 1972-1973 year. He published his book The Arundel Marbles, under the auspices of the Ashmolean Museum in 1975. He retired from the Museum in 1976, moving to Oxfordshire. There he was a visitor (member of the advisory board) to the Ashmolean Museum between 1979 and 1987. In 1981 his University of Aberdeen lectures were published as Greek Art and the Idea of Freedom. Throughout his career his major research interest was in ancient bronzes. In 1994 he succumbed to heart disease. His major work on The Technique of Greek Bronze Statuary, appeared posthumously in 1992. The annual Haynes lectures at the British Museum were founded in 1996 in his memory.
Selected Bibliography
The Parthenon Frieze. London: Batchworth Press, 1959; “The Portland Vase: A Reply.” The Journal of Hellenic Studies 115 (1995): 146-152; Fifty Masterpieces of Classical Art in the British Museum. London: British Museum, 1970; The Portland Vase. London: British Museum, 1964; The Technique of Greek Bronze Statuary. Mainz am Rhein: P. von Zabern, 1992.
Sources
“D. E. L. Haynes.” The Times (London) October 11, 1994.
Citation
"Haynes, Denys Eyre Lankester." Dictionary of Art Historians (website). https://arthistorians.info/haynesd/.
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Keeper of the Department of Greek and Roman Antiquities, British Museum, 1956-1976. Haynes’ father was Hugh Lankester Haynes (1878-1956), an Episcopal minister and his mother, Emmeline Marianne Chaldecott (1885-1968). After attending Marlborough C
Place Born: New York, NY, USA [Hempstead, Long Island]
Place Died: New York, NY, USA
Home Country/ies: United States
Subject Area(s): Egyptian (ancient) and Egyptology
Career(s): art historians and curators
Institution(s): Metropolitan Museum of Art
Overview
Egyptologist; Curator of the Department of Egyptology, Metropolitan Museum of Art, New York. William C. Hayes’ father William C. Hayes Sr. was a British national, and his mother Helen Hawthorne Maule (Hayes) was from a prominent Philadelphia family. Growing up in Warrenton, Virginia, Hayes then attended William Penn Charter School (then known as Penn Charter) in Pennsylvania and Saint George’s School in Newport, Rhode Island. He obtained an M.A. in 1924 and an M.F.A. in 1926, both from Princeton University. During his time at Princeton, Hayes won a Carnegie scholarship for the study of medieval and Byzantine art and traveled to Scotland, England, France, and Italy. He also participated in the excavations at Carthage led by the University of Michigan.
In 1927 Hayes was appointed by Albert Lythgoe as an assistant for the excavations of the Metropolitan Museum at Deir el Bahri. He was an accomplished archeologist, based on his previous excavation experience, though he had little acquaintance with Egyptian art. This job directed him toward a new field. He stayed at Deir el Bahri until 1931 and then went to the excavation site at Lisht for another five years. In 1932, Hayes married Mary Isom (d.1958) , who later married George H. Forsyth after their divorce. His work in Egypt impressed Alan Gardiner (1897-1963), one of the premier Egyptologists of that time. During a break from excavations in 1933, Hayes went to Oxford to study hieroglyphics with Gardiner. In 1935, he obtained his Ph.D. from Princeton with a dissertation Royal Sarcophagi of the XVIII Dynasty, inspired by Herbert Winlock (1884-1950) and written under Charles R. Morey (1877-1955). His dissertation was published as a book by the Princeton University Press in the same year.
After nine years of working on the excavations in Egypt, Hayes was appointed Assistant Curator of Egyptian Art at the Metropolitan Museum of Art in 1936. He served as a lieutenant commander in the Navy during World War II from 1941 to 1945. He married Elise Scheffler of Princeton (d.1961), a portrait painter better known as Tokio. After the war, he resumed his work at the Met as Associate Curator and was promoted to Curator of the museum’s Egyptian Department in 1952, replacing Herbert Winlock. Although finished in 1946, the first volume of his book, The Scepter of Egypt: a Background for the Study of the Egyptian Antiquities in The Metropolitan Museum of Art, was finally published in 1953. He was sent to Egypt in 1954 and in 1959 to communicate archaeological discoveries. The second volume of The Scepter of Egypt was released in 1959, two years after its completion. Hayes contributed four chapters on Egyptian history to the revised Cambridge Ancient History, published in 1961 and 1962. Hayes married his old friend Leigh Ramsay Pollack three months before his death. William C. Hayes died suddenly in New York on July 10, 1963. He was succeeded at the Met by Henry G. Fischer (1964–1970).
Hayes was a leading authority on the history of Egyptian art and translations of texts during his time. His best-known book, The Scepter of Egypt, is “an admirable introduction to Egyptian art, archaeology and history” (Dunham and Ficher). Serving as a handbook to the Metropolitan Museum’s collection of Egyptian art, The Scepter of Egypt remains a valuable reference for Egyptologists. His publications exemplify his ability to combine archaeological observation with philosophical knowledge (Dawson). Based on his work experience at Deir el Bahri, Hayes produced Glazed Tiles from a Palace of Ramesses II at Kantīr (1937), Ostraka and name stones from the tomb of Sen-Mūt (no. 71) at Thebes (1942), among other publications (Dawson). The Texts in the Maṣṭabeh of Seʾn-Wosret-ʻankh at Lisht (1937) compiles Pyramid Texts discovered at Lisht (Dawson).
Hayes’ ambition was to create a comprehensive history of Egypt, better interpreting Egyptian culture to his contemporaries. At the end of his life, he was working on an encyclopedic four-volume work on Egyptian history, which he never finished, and planning for a second and more ambitious re-exhibition of the collections at the Met (Dunham and Ficher). He was a prolific writer with eight books, thirty-eight articles, and numerous book reviews (Seele).
Selected Bibliography
[dissertation] “Royal Sarcophagi of the XVIII Dynasty” Princeton Monographs in Art and Archaeology 19, (1935)
[biography] Seele, Keith C., ed. Most Ancient Egypt. Chicago: University of Chicago Press, 1965.
Glazed Tiles from a Palace of Ramesses II at Kantīr. New York: The Metropolitan Museum of Art, 1937.
The Texts in the Mastabeh of Se’n-Wosret-‘ankh at Lisht. New York, 1937.
Ostraka and Name Stones from the Tomb of Sen-Mūt (no. 71) at Thebes. New York: Metropolitan Museum of Art, Egyptian Expedition, 1942.
The Scepter of Egypt, a Background for the Study of the Egyptian Antiquities in the Metropolitan Museum of Art, Part I: From the Earliest Times to the End of the Middle Kingdom. New York: Harper/Metropolitan Museum of Art, 1953.
A Papyrus of the Late Middle Kingdom in the Brooklyn Museum (Papyrus Brooklyn 35.1446). Edited with Translation and Commentary. Brooklyn Museum, 1955.
The Scepter of Egypt, a Background for the Study of the Egyptian Antiquities in the Metropolitan Museum of Art, Part II: The Hyksos Period and the New Kingdom (1675-108 B.C.). Cambridge, Massachusetts (Published for the Metropolitan Museum of Art by Harvard University Press), 1959.
The Cambridge Ancient History, Revised Edition of Volumes I and II. Cambridge University Press, 1962.
[obituary] “William C. Hayes, Museum Curator: Egyptian Art Chief at the Metropolitan Is Dead”, New York Times July 11, 1963, p. 28.
Dunham, Dows, and Henry G. Fischer. “William Christopher Hayes.” Journal of the American Research Center in Egypt, 1963. 2:7–14.
Dawson, Warren R.; Uphill, Eric P. Who Was Who in Egyptology: a Biographical Index of Egyptologists; of Travellers, Explorers, and Excavators in Egypt; of Collectors of and Dealers in Egyptian Antiquities; of Consuls, Officials, Authors, Benefactors, and Others whose Names Occur in the Literature of Egyptology. – 2nd rev. ed. – London: Egypt Exploration Society, 1972, p.136-137.
Shavit, David: The United States in the Middle East: a Historical Dictionary. – New York: Greenwood Press, 1988, p.160.
Contributors: Yuhuan Zhang
Citation
Yuhuan Zhang. "Hayes, William C.." Dictionary of Art Historians (website). https://arthistorians.info/hayesw/.
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Gainsborough scholar and director of the National Portrait Gallery, 1974-1994. Hayes was the son of an actuary, Leslie Thomas Hayes and Gwendolyn (Hayes). After attending Ardingly college in Sussex he graduated in modern history from Keble College, Oxford. He received an advanced degree at the Courtauld Institute of Art in 1954. That year he was appointed curator of the London Museum, then in the Kensington Palace. His first exhibition, on Anna Pavlova, included her Swan dress which the Museum owned. He was awarded a Commonwealth Fund fellowship in 1958-59 to study at the Institute of Fine Arts, New York University; examining Gainsboroughs in the United States. In 1960, Hayes launched an exhibition of Gainsborough’s drawings for the Arts Council of Great Britain. He issued permanent holdings catalogs of the London Museum collection in 1961 and 1970. Hayes’s completed his Ph.D. in 1962 on Gainsborough’s landscapes, among the first serious study of that British painter. A general exhibition of Gainsborough’s landscapes under Hayes’ direction was held at Nottingham in 1962. Hayes was a visiting professor at Yale University in 1969, a visit he used to strengthened his ties with American collections. Returning to the London Museum, he published a catalog of the Gainsborough drawings in 1970. Hayes initiated artist reference files, akin to the Witt library system he had known at the Courtauld, today the core of the Museum of London’s resources. In 1970 he was appointed director, establishing a department of modern history under Colin Sorensen. In 1971 Hayes published the definitive work on Gainsborough’s prints. Hayes wrote two popular introductions, one to Thomas Rowlandson’s watercolors and drawings in 1972. He assisted with the 1974 move of the Museum to the Barbican Centre, which, combined with the Guildhall Museum, was renamed “the Museum of London.” In 1974, Hayes was denied the directorship of the new Museum London. Instead he was appointed director the National Portrait Gallery, London, succeeding Roy C. Strong. A second popular treatment book, on Gainsborough’s painting and drawings, appeared in 1975. At the NPG, Hayes instituted commissioning portraits and established a consistent policy for acquisition, something the flamboyant Strong was accused of neglecting. Under Hayes’ direction, the National Portrait Award was established. He created two annexes for the NPG, one devoted to Victorian portraits, Beningborough Hall in Yorkshire and another, Bodelwyddan, in north Wales. He also pioneered the agreement of keeping portraits in situ in important locations, such as at Arundel Castle. His acquisitions for the Gallery included three Van Dycks (acquired in four years), the Queen Elizabeth portrait at Warwick Castle, a full-length portrait of Edward VI, portrait busts of Lord Chesterfield by Roubiliac (successfully outbidding the Victoria & Albert Museum), another of Alexander Pope by Rysbrack, one of William Pitt the Elder by Joseph Wilton, and accepted a self-portrait by Graham Sutherland. He also commissioned a portrait of Diana, Princess of Wales by Bryan Organ in 1979. Hayes partnered with other museums to host Oliver Millar‘s show on Sir Peter Lely, another on the Raj, and photographic exhibitions by Helmut Newton and Robert Mapplethorpe. His catalog of the Gainsborough landscape paintings appeared in 1982. After a series of aborted plans to move the Gallery to new locations, Hayes oversaw the creation of 20th-century galleries and the Wolfson exhibition gallery as well as new the Heinz Library. His deputy, Malcolm Rogers, became director of the Museum of Fine Arts in Boston. Hayes retired in 1994, mounting a special retirement exhibition at the Gallery on Thomas Eakins. In 1996 he was made a Commander of the British Empire (CBE). Hayes was hired to catalog the British paintings in the National Gallery of Art, Washgington, D. C. in 1997. His pioneering exhibition at the Tate Gallery in 1980 led to others in Paris (1981) and Ferrara in 1998. A catalog on the collection of the late Sir Edwin Manton, who holdings featured Gainsborough and Rowlandson prominently, appeared as A New York Private Collection the same year. An edition of Gainsborough’s letters appeared by him in 2000. Hayes suffered a stroke in 2004 and died the following January. A draft a book about Gainsborough’s subject pictures remained unpublished along with the collection catalog for the Cincinnati Art Museum. Methodologically, he was cool to the so-called “new art history” considering newer interpretations of Gainsborough’s landscapes speculative at best. Where his predecessor at the Portrait Gallery, Strong, used the gallery as an instrument of public history, Hayes focused on portraiture as an art form
Selected Bibliography
[Tate exhibition] Thomas Gainsborough. London: Tate Gallery, 1980; Gainsborough: Paintings and Drawings. London: Phaidon, 1975; edited, The Letters of Thomas Gainsborough. New Haven: Yale University Press, 2001; [Ferrara exhibition] Thomas Gainsborough: Ferrara, Palazzo dei diamanti. Ferrara: Ferrara arte, 1998; The Landscape Paintings of Thomas Gainsborough: a Critical Text and Catalogue raisonné. 2 vols. London: Sotheby Publications, 1982; The Art of Graham Sutherland. Oxford: Phaidon, 1980; Catalogue of the Oil Paintings in the London Museum. London: H. M. Stationery Office, 1970.
Sources
[obituaries:] Butlin, Martin. “John Hayes: Prolific Art Historian and Gainsborough Expert who Reinvigorated the National Portrait Gallery Collection.” Guardian (London), January 13, 2006 p. 40; “John Hayes.” The Times (London), January 14, 2006, p. 78; “John Hayes Head of the National Portrait Gallery and the Leading Authority on Gainsborough.” The Daily Telegraph (London), January 4, 2006, p. 19.
Gainsborough scholar and director of the National Portrait Gallery, 1974-1994. Hayes was the son of an actuary, Leslie Thomas Hayes and Gwendolyn (Hayes). After attending Ardingly college in Sussex he graduated in modern history from Keble College
Place Born: Dulwich, Southwark, London, Greater London, England, UK
Place Died: Whiteley Village, Surrey, England, UK
Home Country/ies: United Kingdom
Subject Area(s): Byzantine (culture or style), conservation (discipline), conservation (process), Medieval (European), and mosaics (visual works)
Career(s): conservators (people in conservation)
Overview
Byzantinist and mosaics conservator. Hawkins received no formal training in art history. He apprenticed as a sculptor to the architectural carver Lawrence A. Turner from 1922 until 1927. As a sculptor he worked in a neo-Romanesque style, producing work for Westminster Cathedral (the staircase to the pulpit, added at the time of remodeling in 1934) and the screen to St. Patrick’s Chapel. He married Hilda Routen in 1930. Hawkins joined the private Byzantine Institute of America project founded by the wealthy scholar Thomas Whittemore as a technical assistant in Istanbul in 1938. His motivation was apparently less scholarly than the need to make a living. Hawkins quickly became Whittemore’s lieutenant in the field projects restoring the mosaics of Hagia Sophia there. It was Hawkins who proposed the priorities for how the mosaics of the church/mosque should be revealed. Leading the team, Hawkins cleaned the gallery mosaics of Hagia Sophia to reveal the Deësis, imperial portraits, the apse mosaic and the archangel depicted there, as well as the saints of the north tympanum wall of the nave. When Whittemore died suddenly in 1950, Hawkins served under his successor, Paul A. Underwood, of the Dumbarton Oaks Center for Byzantine Studies, a research center run by Harvard University outside Washington DC. The Center gradually assumed control of the Institute’s projects. In 1963 Hawkins became Assistant Field Director and Research Associate at the Dumbarton Oaks Center. He led the initiative to re-examine the apse mosaic of the Hagia Sophia in 1964, a project which answered the dating issues of the various phases of work. Hawkins was able to conclusively proved that the Virgin and Child mosaics were completed at 867 A. D. Hawkins also led persuasive campaigns at Dumbarton Oaks to document and restore the buildings and decorations of the Kariye Camii, Fetiye Camii (Pammakaristos), Zeirek Camii (Pantocrator), Bodrum Camii, Kalenderhane Camii, Church of Constantine Lips and St. Eirene. In addition, he participated in projects at Cordoba, Spain, San Marco at Venice, Jerusalem and monuments in Cyprus, the latter monuments whose importance he largely identified. As a restorer, Hawkins was noted for his knowledge of medieval pigment (and just as important, where to buy it locally). Hawkins received an OBE in 1971. He retired in 1975. He was among the most conservative restorers: he never remade or repainted pictures. His techniques were recorded in the 1988 Die Mosaikkuppel von Centcelles by Helmut Schlunk. He campaigned–successfully in the case of the church of the Chora, now the Kariye Camii–against removing mosaics from the wall and resetting them for fear original surface nuances would be lost His photographs and field notes reside at the Courtauld Institute of Art. Steven Runciman called Hawkins ”the world’s finest authority on the uncovering of mosaics and frescoes.” Runciman termed Hawkins’ restoration of the Kariye Camii as turning it into ”the loveliest thing to see in all Istanbul.” Hawkins was more than a craftsman/conservator. He carefully brought the mosaics to their present form without “restoration”, i.e., adding to them to make their appearance seem orginal. He investigated a large proportion of the surviving mosaics from the Byzantine empire under the major authorities of the day; his co-operation with these trained art historians helped set the standard and program for Byzantine excavation and restoration for succeeding generations. He changed the widely held views of how medieval mosaics were created: the tesserae were set directly into the walls, not on panels in the studio and subsequently transferred. His publications for the Dumbarton Oaks Papers are extensive. At the monastery of St. Catherine’s at Sinai, Hawkins discovered that art historians had arrived at their conclusions of the Justinian-era mosaics not realizing the work was clouded by layers of 19th-century varnish. He cleaned the sixth-century apses of Livadhia and Kanakaria only to have them later looted or stolen completely (as in the case of Livadhia) after 1974.
Selected Bibliography
and Cormack, Robin. The Mosaics of St. Sophia at Istanbul the Rooms above the Southwest Vestibule and Ramp. Washington, DC: Dumbarton Oaks Center for Byzantine Studies, 1977; and Mango, Cyril. The Mosaics of St. Sophia at Istanbul: the Church Fathers in the North Tympanum. Washington, DC: Dumbarton Oaks Center for Byzantine Studies, 1972; and Megaw, A. H. S. The Church of the Panagia Kanakariá at Lythrankomi in Cyprus: its Mosaics and Frescoes. Washington, DC: Dumbarton Oaks Center for Byzantine Studies/Locust Valley, NY: J. J. Augustin, 1977; [technique described:] Schlunk, Helmut. Die Mosaikkuppel von Centcelles . . . mit Beiträgen von Ernest Hawkins und Hans-Gert Bachmann. Mainz am Rhein: P. von Zabern, 1988.
Sources
Runciman, Steven. A Traveller’s Alphabet: Partial Memoirs. New York: Thames & Hudson, 1991, p. 57; Hofstadter, Dan. “Annals of the Antiquities Trade: The Angel on Her Shoulder, part I.” New Yorker 68 no. 21 (July 13, 1992): 36; MacDonald, William L. “Whittemore, Thomas.” Dictionary of Art 33: 151; [obituary:] Cormack, Robin. “Ernest Hawkins.” Independent (London), June 10, 1993, p. 30.
Citation
"Hawkins, Ernest J. W.." Dictionary of Art Historians (website). https://arthistorians.info/hawkinse/.
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Byzantinist and mosaics conservator. Hawkins received no formal training in art history. He apprenticed as a sculptor to the architectural carver Lawrence A. Turner from 1922 until 1927. As a sculptor he worked in a neo-Romanesque style, producing
Professor of art history at the Institute of Fine Arts, NYU and Yale University. He moved permanently to the United States in 1959. While a professor at Yale in the 1970s, Haverkamp helped convert a colleague in the economics department, Mike Montias, to study the art markets of the Dutch republic. Haverkamp was named John Langeloth Loeb professor emeritus at New York University’s Institute of Fine Arts. His students included Ronni Baer, Alan Chong, Stephanie Dickey, Wayne Franits, Thomas Kren, Otto Naumann, Nanette Salomon, Joaneath Spicer and Peter Sutton.
Selected Bibliography
[complete bibliography:] Essays on Northern European Art Presented to Egbert Haverkamp Begemann on his Sixtieth Birthday. Doornspijk (Netherlands): Davaco, 1983, pp.309-14; The Achilles Series. Corpus Rubenianum Ludwig Burchard, Part X. London and New York: Phaidon, 1975; Rembrandt: The Nightwatch. Princeton Essays on the Arts, 12. Princeton, NJ: Princeton University Press, 1982.
Sources
Liedtke, Walter. “The Study of Dutch Art in America.” Artibus et Historiae 21, no. 41 (2000): 207-220;
Citation
"Haverkamp Begemann, Egbert." Dictionary of Art Historians (website). https://arthistorians.info/haverkampbegemanne/.
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Professor of art history at the Institute of Fine Arts, NYU and Yale University. He moved permanently to the United States in 1959. While a professor at Yale in the 1970s, Haverkamp helped convert a colleague in the economics department,
Subject Area(s): Dutch (culture or style) and painting (visual works)
Overview
His book, The Dutch School of Painting (1881) was one of the early required texts to be listed in the course catalog for the art history classes of Princeton University.
Selected Bibliography
L’art et les artistes hollandais. 4 vols in 1. Paris: A. Quantin,1879-1881; Histoire de la peinture hollandaise. Paris: A. Quantin, 1882, English, The Dutch School of Painting. New York: Cassell, 1885; Dictionnaire de l’ameublement et de la décoration depuis le XIIIe siècle jusqu’à nos jours. 4 vols. Paris: Ancienne maison Quantin, Librairies-imprimeries réunies, May & Motteroz, 1887-1890; and Vachon, Marius. Les manufactures nationales: Les Gobelins, La Savonnerie, Sèvres, Beauvais. Paris: Georges Decaux, 1889; Michiel van Mierevelt et son gendre. Paris: Librarie de l’Art, 1894
Sources
Curinier, C-E. Dictionnaire national des contemporains. 6 vols. Paris: Office général d’édition, 1889-1906.
Citation
"Havard, Henry." Dictionary of Art Historians (website). https://arthistorians.info/havardh/.
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His book, The Dutch School of Painting (1881) was one of the early required texts to be listed in the course catalog for the art history classes of Princeton University.
Musée du Louvre curator of paintings. Hautecoeur was born in Paris in 1884, the son of a bookshop owner who sold prints and catalogues on the Rue de Rivoli. An excellent student, Hautecoeur graduated from the Ecole Normale Supérieure in 1908 and went on to study at the Ecole de France in Rome. In Italy he explored the art of Rome during the neoclassical era and published his research on the topic under the title Rome et la renaissance de l’antiquité à la fin du XVIIIe siècle in 1912. Following this, Hautecoeur spent a short period in St. Petersburg as a lecturer at the Institut Français — one of the few foreign scholars to gain first hand experience of Tsarist Russia. His research there led to the publication of L’Architecture classique à Saint-Pétersbourg à la fin du XVIIIe siècle (1912).
During the First World War, Hautecoeur was assigned to the Ministry of War which saw him travel to Lugano, Switzerland, in a diplomatic capacity. Upon his return to Paris in 1920 he was appointed Deputy Curator at the Louvre. He took a position teaching classical architecture in France at the Écoles des Beaux-Arts the following year and was appointed Deputy Curator of paintings at the Louvre in 1923. Hautecoeur published a history of the institution, Histoire du Louvre, in 1928. The following year he published a heavily illustrated historical overview of architecture since the medieval period in the Burgundy region, L’Architecture en Bourgogne. In the same year Hautecoeur was also appointed chief curator at the Musée du Luxembourg and, briefly, director of Fine Arts in Egypt (1928-31). In 1932, he published Les Mosquées du Caire, a product of his experience in this role.
Between 1930 and 1939 he also taught at the Ecole du Louvre while continuing to teach at the Écoles des Beaux-Arts. During World War Two, in 1940, Hautecoeur was part of the team responsible for securing the French national collection in remote locations. Following this, he was appointed to the Vichy cabinet, where he served as Secrétaire d’Etat aux Beaux-Arts amongst other positions. During this time Hautecoeur published Littérature et peinture du XVIIIe au XXe siècle (1942). The book, based on a course he taught at the Louvre, attempted to delineate the main strands in French thinking using examples drawn from works of literature and art. Hautecoeur’s cautious and conservative approach to his cabinet position, however, led to the suspicion that he was part of a “secret resistance.” As a result, he was forced to resign by Minister of National Education Abel Bonnard — at the insistence of Hermann Göring, according to some accounts (Karlsgodt). Bonnard, a follower of Charles Maurras (1868-1952) and an enthusiastic collaborationist, replaced Hautecoeur with Georges Hilaire who it was believed would be more amenable to using French art as a diplomatic tool. Ultimately both heads of the department, Hautecourt and Hilarie, were called before tribunals. Hautecoeur was acquitted of any wrongdoing and Hilarie was sentenced to five years in prison in absentia (Spotts). It was also during his period that the first volume of Hautecoeur’s monumental Histoire de l’Architecture Classique en France (1943) was published followed by the publication of six successive volumes between 1948 and 1957.
Hautecoeur moved to Geneva following the war in large part as a result of the damage done to his reputation by serving in the Vichy government. In Switzerland he became a curator of the Musée des Beaux-Arts and a professor between 1946-49. After returning to Paris in 1952 he published Architecture classique en France (1952) alongside a biographical account of Jacques-Louis David in 1954. He was appointed a member of the Institut de France and from 1955 until 1964 he served as perpetual secretary of the Académie des Beaux-Arts, Paris. During this time he continued to write, authoring a number of texts including Mystique et architecture: Symbolisme du cercle et de la coupole (1954), a three-volume survey Histoire de l’art (1959), and Les Jardins des dieux et hommes (1959). During the 1960s, Hautecoeur updated the early editions of his Histoire which deal with the period between the Renaissance and the 17th century.
Hautecourt paid little attention to the emerging art-historical methodologies of the Vienna school, overlooking the work of those such as Emil Kaufmann (1891-1952) whose work tended to highlight the social-historical context in which works of art were produced. However, Hautecoeur did share the Franco-Centric perspective of art historians such as Kaufmann: Hautecoeur “took it as his mission to foster French art as the embodiment of French nationalism,” a perspective which was particularly notable in Histoire de l’Architecture Classique en France (Spotts). In spite of his myopic point of view, Hautecoeur’s scholarship was erudite, analytical, and solidly constructed. His writing drew on primary sources and prints, as well as existing scholarly studies. His use of archival collections, however, was limited to those available at the Louvre.
Selected Bibliography
Rome et la renaissance de l’antiquité à la fin du XVIIIe siècle. Paris: Fontemoing, 1912;
L’Architecture classique à Saint-Pétersbourg à la fin du XVIIe siècle. Paris: Champion, 1912;
Histoire du Louvre. Paris: l’Illustration, c.1928;
L’Architecture en Bourgogne, 3 vols. Paris: G. Vanoest, 1929;
Les Mosquées du Caire. Paris, n.p., 1932;
Littérature et peinture du XVIIIe au XXe siècle. Paris: Colin, 1942, rev. 1963;
Histoire de l’architecture classique en France, 7 vols. Paris: Picard, 1943–57;
Louis David. Paris: La Table ronde. 1954;
Mystique et architecture: Symbolisme du cercle et de la coupole. Paris: Picard, 1954;
Histoire de l’art, 3 vols. Paris: Flammarion, 1959;
Les Jardins des dieux et hommes. Paris: Hachette, 1959;
Fierens Paul. “Hautecœur (Louis). Littérature et peinture en France du XVIIe au XXe siècle.” Revue belge de Philologie et d’Histoire, Année 1942, 21: 367-370;
Musée du Louvre curator of paintings. Hautecoeur was born in Paris in 1884, the son of a bookshop owner who sold prints and catalogues on the Rue de Rivoli. An excellent student, Hautecoeur graduated from the Ecole Normale Supérieure in 1908 and w
Place Died: Baden-Baden, Baden-Württemberg, Germany
Home Country/ies: Germany
Overview
Selected Bibliography
Die Neuattischen Reliefs. Stuttgart: Verlag von KonradWittwer, 1889.
Sources
Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 132-133.
Citation
"Hauser, Friedrich." Dictionary of Art Historians (website). https://arthistorians.info/hauserf/.
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