University of Innsbruck professor of art. Among students who benefitted from his lectures were Emil Kaufmann. Part of the Nazi ideology of the 1930s.
Selected Bibliography
Die Entwicklung der Barocken Deckenmalerei in Tirol. Studien zur deutschen Kunstgeschichte. Strassburg: Heitz, 1912; Der Bildhauer Alexander Colin von Mecheln. Vienna: E. Hölzel, 1922; Albin Egger-Lienz: ein Buch für das deutsche Volk. Innsbruck: Deutscher Alpenverlag 1938; Franz von Defregger. Innsbruck: Deutscher Alpenverlag, 1940; Kunstgeschichte der Stadt Innsbruck. Innsbruck: Tyrolia-Verlag 1952
Sources
Festschrift zu Ehren Prof. Dr. Heinrich Hammer’s. Innsbruck: Wagner, 1947.
Citation
"Hammer, Heinrich." Dictionary of Art Historians (website). https://arthistorians.info/hammerh/.
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Full Name: Hammacher, Abraham Marie Wilhelmus Jacobus
Other Names:
"Bram"
Gender: male
Date Born: 1897
Date Died: 2002
Place Born: Middelburg, South Holland, Netherlands
Place Died: Abano Terme, Padova, Veneto, Italy
Home Country/ies: Netherlands
Subject Area(s): Dutch (culture or style)
Career(s): art critics
Overview
Art critic; museum director (1947-1963); professor of art history (1952-1968); Van Gogh expert. Hammacher grew up in Middelburg as a sensitive child with strong affinities for music, literature, and painting. He played the violin, painted and drew. In 1917, after graduating from high school, he went to Utrecht to study law, with a view to becoming an attorney, like his uncle and grandfather. One year later, however, he changed his mind and started writing on literature and art. His first contributions in the newspaper the Utrechts Dagblad (UD) mark the beginning of his career as an art critic. The editor in chief of the UD, Pierre Henri Ritter jr. (1882-1962), offered Hammacher a regular position in 1920 where he remained until 1927. He also began publishing articles in various periodicals. In 1926, he married Anna Sophia Hooft Graafland (d. 1956). In the same year he became an art critic for the Nieuwe Rotterdamsche Courant (NRC). In 1935 he joined the editorial board of Elsevier’s Geïllustreerd Maandschrift, in which periodical he frequently published. Between 1923 and 1945 he worked in the Dutch postal services (PTT). His first studies on art history appeared in the 1930s, including a monograph on Romanesque sculpture, Vorm en Geest der Romaansche Beeldhouwkunst (1936). During World War II he published Amsterdamsche impressionisten en hun kring (1941), which won the 1941-43 Wijnaendts-Francken prize, awarded in 1947. Between 1945 and 1947, Hammacher headed the Department of Fine Arts of the Ministry of Education, Arts and Science. In 1947 he was invited to become director of the Rijksmuseum Kröller Müller in Otterlo. One of his major concerns was the completion of the museum complex, designed by the Belgian architect, Henri van de Velde (1863-1957). The new wing of the building, begun during the war, had remained unfinished. Under Van de Velde’s supervision, this part of the museum, which included a sculpture gallery, was completed in 1953. Hammacher’s comprehensive study on Van de Velde, De wereld van Henry van de Velde (The World of Henry van de Velde), which appeared in 1967, reveals his great admiration for this many-sided artist. In the same period, Hammacher’s interest in modern sculpture led to important acquisitions, with an emphasis on international artists. He also broadened the museum collection with African and Oceanic art. Acquisitions of two works of the English sculptor Barbara Hepworth in 1953, led to a life-long friendship with this artist. In the same year he also visited and befriended the sculptor Jacques Lipchitz in Hastings-on-Hudson, NY. In 1957, he married the Belgian art historian Renilde van den Brande. A major event in his career was the opening, in 1961, of the sculpture garden of the Kröller-Müller museum, illustrating the evolution of modern sculpture. His growing expertise in this field is reflected in a number of publications, including monographs on Hepworth (1958), Lipchitz (1960), Marino Marini (1969), and others. The Evolution of Modern Sculpture. Tradition and Innovation, one of his major studies, appeared in 1969. The impressive Van Gogh collection of the museum was another challenge for Hammacher. At age 16, he had read the 1914 publication of Van Gogh’s letters, Vincent van Gogh. Brieven aan zijn Broeder. As the director of the Kröller-Müller, he was instrumental in the organization of a number of Van Gogh exhibits all over the world. The 1949-50 shows in New York and Chicago won great acclaim, as well as the 1958-59 exhibitions in Japan. In his own museum he changed the display of the paintings. In 1948 his first Van Gogh monograph appeared in the Palet series. Between 1952 and 1963 he combined his many tasks as museum director with an extraordinarius professorship of art history at the Technische Hogeschool of Delft (now Technische Universiteit Delft, University of Technology). On the initiative of J. G. van Gelder, Utrecht University granted him a doctorate honoris causa in 1958. In 1963, Hammacher became full professor at Delft University and retired from the Kröller Müller. He retired from this position in 1968. Hammacher kept traveling and publishing in the many years that followed. He was the chairman of the editorial team of the third revised 1970 edition of the Van Gogh catalog by J.-B. de la Faille, The Works of Vincent van Gogh. His Paintings and Drawings. Hammacher also contributed to this edition with “Van Gogh and the Words”, a survey on Van Gogh reception of 80 years. Hammacher and Renilde retired to Brussels in 1978. In 1982 a documentary biography on Van Gogh followed, which he co-authored with his wife. A remarkable work is his 1981 Phantoms of the Imagination: Fantasy in Art and Literature from Blake to Dali. He added a new chapter on contemporary sculpture(1960s-1980s) of his 1969 sculpture book, retitling it as Modern Sculpture. Tradition and Innovation, 1988. In 1994 he wrote a study on Georges Seurat, Silhouet van Seurat. On his hundredth birthday in 1997, the Kröller-Müller Museum honored its former director with an exhibition on four Spanish sculptors: Picasso, González, Miró, and Chillida. While traveling in Italy, he died at age 104. His son, Arno Hammacher (b. 1927) was a photographer. Hammacher’s publications demonstrate his broad interests in Dutch and international art. Inspired by his readings of Sigmund Freud and others, he saw the subconscious as a key to the creation of works of art. In Phantoms of the Imagination, Hammacher explored dreams, vision, and surreal imagination as psychic experiences of writers and artists. Generally Hammacher used a formalistic approach on visual art; his study on modern sculpture focuses on the stylistic and spatial aspects of art works. He was one of the art historians who accepted Abraham Bredius and the authentication of the Vermeer Christ at Emmaus, actually painted by forger Han van Meegeren (1889-1947).
Selected Bibliography
[for a complete bibliography, including his UD and NRC articles, see] “Publicaties A. M. Hammacher” in De Ruiter, Peter. A. M. Hammacher: Kunst als levensessentie. Baarn: de Prom, 2000, pp. 521-582; Vorm en Geest der Romaansche Beeldhouwkunst. Amsterdam: De Spieghel, 1936; Amsterdamsche impressionisten en hun kring. Amsterdam: J. M. Meulenhoff, 1941; Jacques Lipchitz; his Sculpture. New York: H. N. Abrams, 1960; Barbara Hepworth. London: A. Zwemmer, 1959; Le monde de Henry van de Velde. Antwerp: Fonds Mercator, 1967; Marino Marini. Sculpture Painting Drawing. New York: H. N. Abrams, 1970; “Van Gogh and the Words” in de la Faille, J.-B. The Works of Vincent van Gogh. His Paintings and Drawings. Amsterdam: Meulenhoff International, 1970, pp. 9-37; The Evolution of Modern Sculpture. Tradition and Innovation. New York: H. N. Abrams, 1969, [enlarged edition:] Modern Sculpture. Tradition and Innovation. New York: H. N. Abrams, 1988; Phantoms of the Imagination. Fantasy in Art and Literature from Blake to Dali. New York: H. N. Abrams, 1981; and Hammacher, Renilde. Van Gogh, a documentary Biography. New York: Macmillan, 1982; Silhouet van Seurat. Otterlo: Kröller-Müller Museum, 1994.
Sources
Van Gelder, J. G. “A.M. Hammacher en zijn geschriften” in Bibliografie der geschriften van prof. dr. A. M. Hammacher. Otterlo, 1963, pp. 7-16; De Gruyter, W. Jos. “Een persoonlijke herinnering” in Bibliografie der geschriften van prof. dr. A. M. Hammacher. Otterlo, 1963, pp. 17-22; De Standaard, 26 April 2002; Il Giornale dell’arte, 24 June 2002; De Ruiter, Peter. A. M. Hammacher: Kunst als levensessentie. Baarn: de Prom, 2000 [with a list of additional biographical literature on p. 584].
Contributors: Monique Daniels
Citation
Monique Daniels. "Hammacher, Abraham Marie Wilhelmus Jacobus." Dictionary of Art Historians (website). https://arthistorians.info/hammachera/.
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Art critic; museum director (1947-1963); professor of art history (1952-1968); Van Gogh expert. Hammacher grew up in Middelburg as a sensitive child with strong affinities for music, literature, and painting. He played the violin, painted and drew
Subject Area(s): architecture (object genre), art history, and sculpture (visual works)
Career(s): art historians
Overview
His book, Text-book of the History of Architecture (1896) was one of the early required texts to be listed in the course catalog for the art history classes of Princeton University.
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"Hamlin, Alfred D. F.." Dictionary of Art Historians (website). https://arthistorians.info/hamlina/.
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His book, Text-book of the History of Architecture (1896) was one of the early required texts to be listed in the course catalog for the art history classes of Princeton University.
Professor of art history at Yale 1936-1966; director of the art museum at Williams College from 1966 to 1977. Hamilton was raised in Pittsburgh, the son of Frank A. Hamilton and Georgia Heard (Hamilton). He studied entirely at Yale University where he received his BA (English) in 1932, his MA (History) in 1934. Hamilton began as a medievalist, publishing his master’s thesis on medieval manuscripts in 1933. From 1934 Hamilton was research assistant at the Walters Art Gallery. In 1936 he returned to New Haven, joining the faculty of Yale University where he remained until his retirement. He became curator of modern art at the Yale University Art Gallery in 1940. He was granted his Ph.D in 1942 with a dissertation topic on Delacroix. In 1946 he married Polly Wiggin. In 1954 he published two of the first of his three most important books on disparate subjects, Manet and his Critics and, for the Pelican History of Art, The Art and Architecture of Russia. Politics in the Stalin era prevented Hamilton from visiting the Soviet Union in person. In 1963 Hamilton accepted a year’s visiting fellowship at Williams College. After his retirement from teaching and curating atYale in 1966, he joined the faculty at Williams. Hamilton taught at Williams between 1966-75 and directed of the Sterling and Francine Clark Institute 1971-75, thereafter director emeritus. In 1967 he issued a second volume in the Pelican History of Art series (the only art historian to do so), Painting and Sculpture in Europe. Hamilton was Slade professor at Cambridge 1971-192 and Kress professor at the National Gallery of Art, Washington DC, 1978-79. He was long associated with the Museum of Modern Art in New York, serving as a trustee and as chairman of the museum’s painting and sculpture committee. His students included Robert L. Herbert. Hamilton oversaw the Clark Institute during a period of tremendous growth. He implemented a graduate school program at Williams College that trained many of the leading curators and art historians in the United States in the late twentieth century. He oversaw the construction of the 82,000-square-foot Williams building containing the offices, galleries, and art library. He was one of the first historians to recognize the importance Marcel Duchamp, with whom he maintained a long friendship. Manet and His Critics, a recounting of the reception of Manet’s paintings, is considered the first book to look at art criticism contemporary to Manet’s time, now an established method of the history of modern art.
Selected Bibliography
[dissertation:] Delacroix and the Orient: Studies in the Iconography of the Romantic Experience. Yale, 1942; The Art and Architecture of Russia. Pelican History of Art 6. Baltimore: Penguin Books 1954; Manet and his Critics. New Haven: Yale University Press, 1954; Painting and Sculpture in Europe, 1880-1940. Pelican History of Art 29. Baltimore: Penguin Books 1972; An Anonymous Fourteenth-century Treatise, De arte illuminandi, the Technique of Manuscript Illumination. New Haven: Yale University Press, 1933; translated and edited. Lebel, Robert. Marcel Duchamp. New York: Grove Press, 1959.
Sources
Kleinbauer, W. Eugene. Modern Perspectives in Western Art History: An Anthology of 20th-Century Writings on the Visual Arts. New York: Holt, Rinehart and Winston, 1971, p. 42 mentioned; Art Historian George Heard Hamilton. Oral History Collection, Dept. of Special Collections, University of California, Los Angeles Library, 1993; [transcript] George Heard Hamilton. Interviews with Art Historians, 1991-2002. Getty Research Institute, Malibu, CA; [obituaries:] George H. Hamilton, at 93, Influential Art Scholar, Director.” Boston Globe April 2, 2004, p. C23; Sisario, Ben. “George Heard Hamilton, 93, Museum Director and Author.” New York Times April 1, 2004 , p. 21
Citation
"Hamilton, George Heard." Dictionary of Art Historians (website). https://arthistorians.info/hamiltong/.
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Professor of art history at Yale 1936-1966; director of the art museum at Williams College from 1966 to 1977. Hamilton was raised in Pittsburgh, the son of Frank A. Hamilton and Georgia Heard (Hamilton). He studied entirely at Yale University wher
Etcher, art critic and art book author. Hamerton was born to John Hamerton, a lawyer, and Anne Cocker (Hamerton). Hamerton’s mother died shortly after his birth and he was raised by his aunts in Burnley, England. He studied at the grammar schools in Burnley and Doncaster. In 1853 he moved to London to study painting under Joseph Paul Pettitt (1812-82) and later with William Wyld (1806-1889) in Paris. Hamerton lived and painted in the Lake District as well as the Scottish island of Innistrynich, Loch Awe. Here he authored his first book in 1855, collected poems entitled The Isles of Loch Awe and other Poems of My Youth. He also engaged in art criticism, heavily influenced by John Ruskin. He moved to Sens, France where he married Eugénie Gindriez, the daughter of a French republican magistrate. By the early 1860’s the couple were living in Pré-Charmoy were Hamerton engaged in writing salon and other art criticism. A Painter’s Camp in the Highlands, his memoirs of painting in Scotland, and Thoughts About Art both appeared in 1862. Some of his earliest criticism involved the famous 1863 Paris Salon, appearing in The Fine Arts Quarterly Review in October 1863. Other articles and book reviews appeared in the Cornhill Magazine, Macmillan’s Magazine and the Fortnightly Review. Hamerton succeeded Francis T. Palgrave as art critic for the Saturday Review in 1866, a position he held until 1868. In 1868 he published Etching and Etchers, a biographical and critical account of etchers, helping to revive the interest in the medium. From 1869 until his death in 1894, Hamerton edited and co-owned The Portfolio, one of the most important British art journals of the 19th-century. In 1879 he brought out a biography on J. M. W. Turner. He was made an Officier d’Académie in France in 1882 and received a LL.D. degree from the University of Aberdeen, Scotland.Hamerton’s art criticism could be pedantic, a fact highlighted in the famous exchange with the artist James McNeill Whistler. Hamerton noted in an 1867 piece critiquing Whistler’s Symphony in White, No. 3 that the painting was “not precisely a symphony in white”, since yellow, brown, blue, red and green were also used. Whistler’s witty retort was that Hamerton must believe “that a symphony in F contains no other note, but…a continued repetition of F, F, F”. Hamerton’s conservative aesthetics emphasized technique as the major criterion in art appreciation. However, his writing on etching is considered, along with the work of Sir F. Seymour Haden (1818-1910), to have contributed to the revival of etching in American and Britain.
Selected Bibliography
The Etcher’s Handbook. Boston: Roberts, 1881; The Etchings of Rembrandt. New York: Macmillan and Co., 1894; The Graphic Arts: a Treatise on the Varieties of Drawing, Painting, and Engraving in Comparison with Each Other and with Nature. London: Seeley, Jackson, and Halliday, 1882; The Life of J. M. W. Turner, R.A.. Boston: Roberts Brothers, 1879; A Painter’s Camp. Boston: Roberts Brothers, 1867; Painting in France: after the Decline of Classicism: an Essay. Boston: Little, Brown, 1895; Paris in Old and Present Times. Boston: Roberts Brothers, 1888; Thoughts about Art. Boston: Roberts Brothers, 1871; [edited] The Portfolio. London: Seeley and Co., 1870-94 [continues to 1907].
Sources
Hamerton, Philip Gilbert, and Hamerton, Eugénie. Philip Gilbert Hamerton: an Autobiography, 1834-1858, and a Memoir by His Wife, 1858-1894. London: Seeley, 1897; Center for Whistler Studies. The Correspondence. “Philip Gilbert Hamerton.” http://www.whistler.arts.gla.ac.uk/biog/Hame_PG.htm; Czach, Marie.”Philip Gilbert Hamerton.” Dictionary of Art ; Czach, Marie. Philip Gilbert Hamerton: Victorian Art Critic. dissertation, University of Illinois at Urbana-Champaign, 1985.
Citation
"Hamerton, Philip Gilbert." Dictionary of Art Historians (website). https://arthistorians.info/hamertonp/.
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Etcher, art critic and art book author. Hamerton was born to John Hamerton, a lawyer, and Anne Cocker (Hamerton). Hamerton’s mother died shortly after his birth and he was raised by his aunts in Burnley, England. He studied at the grammar schools
Professor of art history at the University in Marburg (1913-1949); one of the first to employ a social history of art (Metzler). Hamann’s father Heinrich Hamann (1847-1933), was a small-town mailman and his mother Elisabeth Banko (b. 1853); Hamann himself traced his interest in social history from this humble background. After graduating with his abitur from the Gymnasium in Magdeburg in 1898, Hamann initially studied philosophy and literary history in Berlin, then history under the historian Wilhelm Dilthey (1833-1911) and art history under Adolph Goldschmidt (though Goldschmidt was technically only a privatdozent). After only six semesters, Hamann was award his Ph.D. under Dilthey in 1902, his dissertation on the historical theory of symbolism. Hamann wrote a series of articles for the journal Àsthetik und Kunstwissenschaft. He adopted the social psychology method of Karl Lamprecht and the art philosophy of the aesthetician Max Dessoir (1867-1947) (Feist). Hamann married a Scottish woman, Emily MacLean (1875-1961/3) in Berlin in 1907. That year, too, Hamann wrote a sketch titled Der Impressionismus in Leben und Kunst relating contemporary art–an impulse he called “expressionism”–to the art of early eras, especially Rembrandt, Beethoven and Goethe. Hamann wrote his habilitation under Heinrich Wölfflin in Berlin in 1911 on a stylistic analysis of the church in Magdeburg. Appointed Professor für Kunstgeschichte at the university in Posen, Germany (modern Poznań, Poland), he moved to Philipps University, the university in Marburg, in 1913 to become the first professional chair of art history at that university. Because the university was comparatively late in establishing an art history department among German universities, Hamann set about building a department and art-history research center almost immediately (tempered by World War I). After the war, and despite the hard economic conditions of the Weimar Republic years in Germany, Hamann sold the idea of an art institute in the 1920s to coincide with the 400th-anniversary of the founding of the University (1527). First was a publishing arm of the department, the Verlag der Kunstgeschichtlichen Seminars, founded in 1923. But the acme was the Jubiläums-Kunstinstitut, inaugurated in 1929, designed to be a cultural focal point for Hessian state as well as an art-history think-tank for the university. In 1933 at the 13th International Congress of the History of Art, Stockholm, he traveled with a group of medievalists including Hans R. Hahnloser, Kenneth John Conant and Paul Frankl, lead by Johnny Roosval, to see the discovery of the only gothic church still with its wooden arch scaffolding remaining (Frankl). He published the first of two-volumes on a general history of art in 1933, including Expressionist art, a particular interest of his along with medieval. The third and perhaps most important initiative Hamann began at Marburg was the founding of a photographic archive in 1939 as a way both of employing the latest technology and making the University a center of art study. After World War II, Hamann accepted a chaired guest lecturer at Humboldt University in (East) Berlin, beginning in 1947, though the university was under the ideological control of the Sozialistische Einheitspartei Deutschlands (Socialist Unity Party of Germany), or SED. He was named emeritus at Marburg appointment in 1949. The second volume of his art history appeared in 1952. In 1954 he founded the “working group on art history” for the Academy of Sciences in Berlin. He retired from Humboldt University in 1957. With the scholar Jost Hermand, he wrote a three-volume synthetic treatment of art and literature, Deutsche Kunst und Kultur von der Gründerzeit bis zum Expressionismus. Students under his tutelage at Marburg included Rudolf Zeitler, Richard Krautheimer (habilitation) and Heinrich Kohlhaussen. His Bildarchiv Foto Marburg is today one of the most important image-study collections for art in the world. Hamann’s son was the medievalist art historian Richard H. L. Hamann-MacLean. As a medievalist, Hamann’s writing concentrates on stylistic analysis, largely because the nascent field of medieval art history focused at the time on sites of origin and attribution (Brush). His approach to art was what Udo Kultermann termed “Impressionist aesthetics.” According to Kultermann, Impressionism as a concept was the acme of style itself for Hamann. He used “Impressionism” to explain art from the Hellenistic, Roman Imperial and Rococo periods. Like many German-speaking intellectuals, he made the bridge between historic and contemporary accomplishment in his area, promoting modern artists. His art-historical writing was so valued by Margarete Bieber that she included a passage in her German Readings reader of 1946.
Selected Bibliography
[complete bibliography:] “Schrifttum von Richard Hamann.” Richard Hamann in Memoriam, mit zwei nachgelassenen Aufsätzen und einer Bibliographie der Werke Richard Hamanns. Berlin: Akademie-Verlag, 1963, pp. 111-121; [dissertation:] Das Symbol. Berlin, Friedrich-Wilhelms-Universität, 1902, published, Grafenhalnichen: W. Hecker, 1902; Der Impressionismus in Leben und Kunst. Cologne: M. Dumont-Schaubergschen Buchhandlung, 1907; Die Frührenaissance in der italienischen Malerei. Jena: E. Diederichs, 1909; Der Impressionismus in Leben und Kunst. 2nd ed. Marburg: Verlag der Kunstgeschichtlichen Seminars, 1923; edited, Marburger Jahrbuch für Kunstwissenschaft. Marburg: Philipps-Universität Marburg, Kunstgeschichtliches Seminar. 1924- ; Geschichte der Kunst von der Vorgeschichte bis zur Spätantike. 1932; Geschichte der Kunst: von der altchristlichen Zeit bis zur Gegenwart. Berlin: Th. Knaur Nachf., 1933; Die Abteikirche von St. Gilles und ihre künstlerische Nachfolge. 3 vols. 1955; and Hermand Jost. Deutsche Kunst und Kultur von der Gründerzeit bis zum Expressionismus. Berlin: Akademie-Verlag, 1959-1965, specifically Gründerzeit, Naturalismus, Stilkunst um 1900, Expressionismus; Theorie der bildenden Künste. Berlin: Akademie-Verlag, 1980.
Sources
Habel, Walter, ed. Wer ist Wer? das Deutsche Who’s Who 12th ed. Berlin: Arani, 1955, p. 401; Frankl, Paul. The Gothic: Literary Sources and Interpretations through Eight Centuries. Princeton: Princeton University Press, 1960, p. 15, n. 20; Dilly, Heinrich. Kunstgeschichte als Institution: Studien zur Geschichte einer Diziplin. Frankfurt am Main: Suhrkamp, 1979, p. 26 mentioned; Warnke, Martin. “Richard Hamann.” Marburger Jahrbuch für Kunstwissenschaft 20 (1981): 11-20; 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. 153 mentioned; Warnke, Martin. “Händel zwischen Hamann und Panofsky.” Marburger Jahrbuch für Kunstwissenschaft 22 (1989): 251-255; Kultermann, Udo. The History of Art History. New York: Abaris, 1993, p. 149; “Hamann, (Heinrich) Richard.” Dictionary of German Biography 4. Munich: K.G. Saur, 2001, p. 372; Brush, Kathryn. “Marburg, Harvard and Purpose-Built Architecture for Art History, 1927.” in, Mansfield, Elizabeth, ed. Art History and its Institutions: Foundations of a Discipline. New York: Routledge, 2002, pp. 65-84; Feist, Peter H. “Hamann, Richard.” Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. 2nd ed. Stuttgart: Metzler, 2007, pp. 156-159; Schürmann, Anja. “‘Rechte’ und ‘linke’ Ideologisierungen: Wilhelm Pinder und Richard Hamann beschreiben staufische Kunst.” in, Heftrig, Ruth, and Peters, Olaf, eds. Kunstgeschichte im ‘Dritten Reich’: Theorien, Methoden, Praktiken. Berlin: Akademie Verlag, 2008; Hermand, Jost. Der Kunsthistoriker Richard Hamann: Eine politische Biographie. 1879-1961. Cologne: Böhlau, 2009; Tieze, Agnes. Wege zur Moderne: Richard Hamann als Sammler. Marburg: Museum für Kunst und Kulturgeschichte der Philipps-Universität Marburg, 2009; Reifenberg, Bernd, and Heftrig, Ruth. Wissenschaft zwischen Ost und West der Kunsthistoriker Richard Hamann als Grenzgänger. Marburg: Jonas 2009; [webpage] “Richard Hamann.” Hessian Biography, Landesgeschichtliches Informationssystem. http://www.lagis-hessen.de/en/subjects/idrec/sn/bio/id/5132.
Contributors: Lee Sorensen
Citation
Lee Sorensen. "Hamann, Richard." Dictionary of Art Historians (website). https://arthistorians.info/hamannr/.
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Professor of art history at the University in Marburg (1913-1949); one of the first to employ a social history of art (Metzler). Hamann’s father Heinrich Hamann (1847-1933), was a small-town mailman and his mother Elisabeth Banko (b. 1853); Hamann
Medievalist, professor of art history at Marburg 1945-1967 and Mainz 1967-1973. Hamann-MacLean was the son of the eminent Marburg art historian Richard Hamann and his Scottish mother, Emily MacLean (1875-1961). He studied art history, archaeology and philosophy at Marburg, Munich, and Paris; in Berlin he worked under Adolph Goldschmidt and the archaeologist/art historian Gerhart Rodenwaldt before final study in Frankfurt under Hans Jantzen. Jantzen supervised his dissertation written on the topic of the grave at the cathedral of Saint-Lazare, Autun. He was part of the 1940/1941 inventory of Baltic and French sources for his father’s project, the Photo-archive of art at the University in Marburg. After the war, Hamann-MacLean was appointed professor at the Phillips-Universität in Marburg in 1945. He was appointed Ordinarius (full) professor at the Universität Mainz in 1967, which he held until 1973.
Selected Bibliography
[dissertation:] Das Lazarusgrab in Autun. Marburg: Verlag des Kunstgeschichtlichen Seminars der Universität Marburg an der Lahn, [special number of the] Marburger Jahrbuch für Kunstwissenschaft 8/9 (1936):182-328; and Verrier, Jean. Frühe kunst im west frankischen reich: merowingische kunst, karolingische kunst, romanische kunst. Leipzig: H. Schmidt & C. Günther 1939; and Gischia, Léon; Mazenod, Lucien. Frühe Kunst im westfränkischen Reich: merowingische Kunst, karolingische Kunst, romanische Kunst Leipzig: Schmidt & Günther 1939; and Hamann, Richard. Rembrandt. Berlin: Safari-Verlag 1969; and Hallensleben, Horst. Die Monumentalmalerei in Serbien und Makedonien vom 11. bis zum frühen 14. Jahrhundert. Giessen: Wilhelm Schmitz, 1963-1976; Die Kathedrale von Reims. 6 vols. Stuttgart: Steiner 1993.
Sources
Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. 2nd ed. Stuttgart: Metzler, 2007, pp. 159-161; Genealogische Daten von Frank Schliefkowitz [genealogical website] http://www.schliefkowitz.de/Genealogy/; [obituary;] Claussen, Perter Cornelius. “Zum Tode von Richard Hamann-MacLean.” Zeitschrift für Kunstgeschichte 63 no. 3 (2000): 443-447.
Contributors: Lee Sorensen
Citation
Lee Sorensen. "Hamann-MacLean, Richard H. L.." Dictionary of Art Historians (website). https://arthistorians.info/hamannmacleanr/.
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Medievalist, professor of art history at Marburg 1945-1967 and Mainz 1967-1973. Hamann-MacLean was the son of the eminent Marburg art historian Richard Hamann and his Scottish mother, Emily MacLean (1875-1961). He studied ar
Place Born: Burg Hiltpoltstein, Nuremburg, Germany
Place Died: Ampelakia, Thessaly, Greece
Home Country/ies: Germany
Subject Area(s): Ancient Greek (culture or style), archaeology, architecture (object genre), and sculpture (visual works)
Overview
Architect to Ludwig I of Bavaria; one of the earliest archaeological excavators of sculpture in Greece. Haller was born to a noble family and studied architecture in Karlsruhe at the Karls-Akademie, and later under David Gilly (1748-1808) at the Bauakademie in Berlin. His fellow pupils in Berlin were the later architects Karl Friedrich Schinkel (1781-1841) and Leo von Klenze (1784-1864). Haller made a visit to Italy in 1808 where he studied early Christian architecture and drew the views of Rome. Haller returned to Nuremburg briefly as a building official. In 1810 he moved to Athens, accompanied by Jakob Linkh (1786-1841), P. O. Brøndsted, Otto von Stackelberg (1787-1837) and Georg H. C. Koës (1782-1811), where he spent the remainder of his life excavating archaeological sites. In 1811 he met the British architect/archaeologist C. R. Cockerell, and John Foster (1887-1846). Together with Linkh and Stackelberg, he discovered and excavated the Temple of Aphaia at Aigina. Haller and Cockerell agreed to let their respective governments bid at auction for the stones. Haller persuaded (then Prince) Ludwig of Bavaria to acquire the pediment sculptures for Ludwig’s new museum in Munich when the British failed to appear for the bidding. Late in 1811, the group (minus Cockerell who was in Sicily) excavated at Bassai, with Haller in charge this time, exhuming the frieze of the Temple of Apollo. This time Cockerell prevailed upon his government and the sculptures were acquired by the British Museum, London. Haller made and collated many notes of the digs (now at the University of Strasbourg, published 1976). He also did some architectural commissions. His architectural designs included the commemorative temple, for Ludwig I, Walhalla, near Regensburg, in 1813 and early plans for the Glyptothek sculpture gallery in Munich. Neither of these designs was executed. It is likely that Leo von Klenze used Haller’s notion of a hill setting, for his design of Walhalla, which was executed between 1830 and 1842. Haller caught a fever in Thessaly in 1817 and died. He was buried there but later re-interred at the Protestant cemetery in the Hephaisteion in Athens. The Carl Haller von Hallerstein Gesellschaft, Munich, is named in his honor. Haller’s precise drawings and systematic approach to excavation (one of the earliest to do so) are his lasting contribution to art history. Cockerell used many of Haller’s drawings in his publications The Temple of Jupiter Panhellenius at Aegina, and of Apollo Epicurius at Bassae near Phigaleia in Arcadia (1860).
Selected Bibliography
Roux, Georges, ed. Le temple de Bassae: relevés et dessins du temple d’Apollon à Bassae, conservés à la Bibliothèque nationale et universitaire de Strasbourg. Strasbourg: La Bibliothèque, 1976.
Sources
Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 16-17; Bankel, Hansgeorg. Carl Haller von Hallerstein in Griechenland 1810 – 1817: Architekt, Zeichner, Bauforscher. Berlin: Reimer, 1986; –Und die Erde gebar ein Lächeln: der erste deutsche Archäologe in Griechenland Carl Haller von Hallerstein 1774-1817. Munich: Süddeutscher Verlag, 1983; Frässle, Klaus. Carl Haller von Hallerstein (1774-1817). [Ph.D. dissertation] Freiburg im Breisgau, 1971; Dictionary of Art; Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 1, pp. 561-62.
Contributors: Lee Sorensen
Citation
Lee Sorensen. "Haller von Hallerstein, Carl, Freiherr." Dictionary of Art Historians (website). https://arthistorians.info/hallervonhallersteinc/.
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Architect to Ludwig I of Bavaria; one of the earliest archaeological excavators of sculpture in Greece. Haller was born to a noble family and studied architecture in Karlsruhe at the Karls-Akademie, and later under David Gilly (1748-1808) at the B
Temple University professor of Renaissance art. Marcia Brown’s father was Charles Edward Brown (1894-1949), a business executive, and mother Frances Peebles [later Ocheltree] (1901-1991). Brown attended Wellesley College, graduating in 1960. She married the Dean of Wellesley’s Chapel, Charles Arthur Mann Hall (1924-1990), fifteen years her senior, in 1961, receiving her master’s degree from Radcliffe College the following year. Brown, now Hall, was awarded a Fulbright Fellowship in 1963 to research her dissertation on the late-16th-century renovations to S. Maria Novella and S. Croce, a thesis supervised primarily by Sydney Joseph Freedberg. Her Ph.D. was granted from Harvard in 1967. In 1971 she was awarded a fellowship for the Harvard Center for Italian Renaissance Studies, Villa I Tatti. Hall was appointed assistant professor at the Tyler School of Art, Temple University, in 1973. Her first NEH fellowship was granted in 1979 (others in 1995 and 2006). That same year, her first book, Renovation and Counter-Reformation, was published. The book examines the renovations of two principal Mendicant churches in Florence which the Council of Trent mandated be more accessible to the laity in image and space. Hall’s second interest, artist’s materials, resulted in several conferences on Renaissance artists’ color. She was a visitor at the Institute for Advanced Study, Princeton, for the 1987-1988 year. Together with John Kinder Gowran Shearman, she organized 1983 The Princeton Raphael Symposium, which combined the scholarship of conservators and art historians, co-editing the conference papers as Color & Technique in Renaissance Painting, 1990. Hall produced her Color and Meaning: Practice and Theory in Renaissance Painting in 1992. In 1999, her book After Raphael, focused on the art of 16th-century Mannerism. She held a second I Tatti fellowship, now as a Senior Visitor, in 2006.
Selected Bibliography
[dissertation:] Art of the Counter-Maniera in Florence: the Renovation of S. Maria Novella and S. Croce, 1565-1576. Harvard, 1967; Renovation and Counter-Reformation: Vasari and Duke Cosimo in Santa Maria Novella and Santa Croce, 1565-77. New York: Oxford University Press, 1979; and Shearman, John, eds. Science in the Service of Art History. Princeton Raphael Symposium. Princeton, NJ: Princeton University Press, 1990; Color and Meaning: Practice and Theory in Renaissance Painting. New York: Cambridge University Press, 1992; Michelangelo: The Sistine Ceiling Restored. New York: Rizzoli, 1993; After Raphael: Painting in Central Italy in the Sixteenth Century. New York: Cambridge University Press, 1999; Michelangelo: The Frescoes of the Sistine Chapel. New York: Abrams, 2002.
Temple University professor of Renaissance art. Marcia Brown’s father was Charles Edward Brown (1894-1949), a business executive, and mother Frances Peebles [later Ocheltree] (1901-1991). Brown attended Wellesley College, graduating in 1960. She m
