Full Name: Guinard, Paul
Gender: male
Date Born: unknown
Date Died: unknown
Home Country/ies: France
Subject Area(s): painting (visual works) and Spanish (culture or style)
Professor at Toulouse; wrote monograph on Zubarán; Director of Casa Velázquez, Institut français at Madrid
Bazin 446-447
Professor at Toulouse; wrote monograph on Zubarán; Director of Casa Velázquez, Institut français at Madrid
Full Name: Guilbaut, Serge
Other Names:
Gender: male
Date Born: unknown
Date Died: unknown
Home Country/ies: France
Subject Area(s): art theory and Marxism
Professor of art history at the University of British Columbia; Marxist (methodology) art historian. Guilbaut graduated from the University of Pau, Pau, France in 1965 with a B.A. in philosophy. He moved to University of Bordeaux where he was granted his Licence in 1969 and master’s degree in 1972. Guilbaut entered the graduate program at U.C.L.A., attracted to the progressivest/Marxist (methodology) program there led by O. K. Werckmeister and T. J. Clark. In 1976, as a part of the nascent Caucus for Marxism and Art of the College Art Association, Guilbaut delivered a paper along with other prominent Marxist art historians, including Werckmeister, Lee Baxandall, and Clark. Guilbaut mounted an art history symposium at U.C.L.A., “War Crisis: Art Production in Times of Turmoil” with fellow students Thomas E. Crow, Ken Silver, Liz Baldewicz, and Marcia Byrstryn. He received his Ph.D. in 1979 with a dissertation (written in French) on the ideology of Abstract Expressionism, supervised by Clark. After graduation he was appointed to the art history department at the University of British Columbia, Canada. In 1983 Guilbaut published a revised version of this thesis as How New York Stole the Idea of Modern Art: Abstract Expressionism, Freedom and the Cold War. He was appointed (full) professor in 1990. In 2003 he was awarded a Getty Research Institute Distinguished Research scholarship.
[dissertation:] Création et développement d’une avant-garde à New York: et son antagonisme idéologique avec Paris, 1945-1955. University of Carlifornia, Los Angeles, 1979; “The New Adventures of the Avant Garde in America: Greenberg, Pollock, or Trotskyism to the New Liberalism of the ‘Vital Centre’:” October 15, (Winter 1980): 61-78; “Art History After Revisionism: Poverty and Hopes”, Art Criticism 2, no. 1, (1985): 39-50; How New York Stole the Idea of Modern Art: Abstract Expressionism, Freedom and the Cold War. Chicago: University of Chicago Press, 1983; “Post-war Painting Games: the Rough and the Slick,” in Reconstructing Modernism. Cambridge, MA: M.I.T. Press, 1990, pp 30-85; “The New Adventures of the Avant Garde in America.” in Frascina, Francis, ed. Pollock and After: The Critical Debate (second ed.). London: Routledge, 2001. pp.197-211.
curriculum vitae http://www.ahva.ubc.ca/FacultyCVs/guilbaut_5_051310_010101.pdf;
Professor of art history at the University of British Columbia; Marxist (methodology) art historian. Guilbaut graduated from the University of Pau, Pau, France in 1965 with a B.A. in philosophy. He moved to University of Bordeaux where he was gran
Full Name: Guiffrey, Jules
Other Names:
Gender: male
Date Born: 1840
Date Died: 1918
Place Born: Paris, Île-de-France, France
Place Died: Paris, Île-de-France, France
Home Country/ies: Ukraine
Subject Area(s): eighteenth century (dates CE), French (culture or style), seventeenth century (dates CE), and tapestries
Administrator and historian of tapestries and 17th and 18th century French art. Guiffrey studied law and paleography. In 1866, he was appointed Keeper of the Archives Nationale, where he worked until 1893. While working at the Archives, Guiffrey became the editor of the publications of the Société de l’Art Francais, renaiming them Nouvelles archives de l’art francais. He contributed articles on a wide range of topics to dozens of scholarly journals, including the Gazette des beaux-arts and the Bulletin de la Société des antiquaires. In 1881, Guiffrey published Comptes des Batiments du roi sous le regne de Louis XIV, the first of two important works on 17th and 18th century French painting. The second book, Inventaire général du mobilier de la couronne sous Louis XIV (1885-6), was a compilation of Paris Salon exhibition catalogues. Guiffrey was appointed director of the Mobilier National in 1893, where he worked until 1908.
Inv. Gén. du mobilier de la Couronne sous Louis XIV. 2 vols. Paris, 1885-1886. L’Histoire générale de la tapisserie. 3 vols. 1880.
Bazin 482, The Dictionary of Art
Contributors: LaNitra Michele Walker
Administrator and historian of tapestries and 17th and 18th century French art. Guiffrey studied law and paleography. In 1866, he was appointed Keeper of the Archives Nationale, where he worked until 1893. While working at the Archives, Guiffrey b
Full Name: Guiffrey, Jean
Other Names:
Gender: male
Date Born: 1870
Date Died: unknown
Home Country/ies: France
Career(s): curators
Prud’hon scholar and curator Museum of Fine Arts, Boston and later conservator at the Musée du Louvre. In 1924 he authored the catalogue raissone on P. P. Prud’hon. Guiffrey’s two areas of specialty were French primitives and eighteenth-century French painting.
L’oeuvre de P. P. Prud’hon. Paris: A. Colin, 1924.
“New Curator for Boston, Jean Guiffrey of the Louvre, Paris, Coming to Art Museum.” New York Times April 11, 1911 p. 11.
Prud’hon scholar and curator Museum of Fine Arts, Boston and later conservator at the Musée du Louvre. In 1924 he authored the catalogue raissone on P. P. Prud’hon. Guiffrey’s two areas of specialty were French primitives and eighteenth-century Fr
Full Name: Guicciardini, Lodovico
Other Names:
Gender: male
Date Born: 19 August 1521
Date Died: 22 March 1589
Place Born: Florence, Tuscany, Italy
Place Died: Antwerp, Flanders, Belgium
Home Country/ies: Italy
Subject Area(s): biography (general genre) and Netherlandish
Career(s): art historians
Institution(s): none
Merchant, writer and biographer Netherlandish artists. Guicciardini was the son of Jacopo Guicciardini (d. 1552) and Camilla d’Agnolo des Bardi (d. 1557). His uncle was the historian Francesco Guicciardini (1483-1540). He was well educated according to the affluent means of his family including learning Latin and some Greek. He moved to Antwerp by 1542 where he remainded his whole life. In 1567, after publishing some minor works, collections of anecdotes and maximes, etc., he published Descrittione di m. Lodouico Guicciardini patritio fiorentino, di tutti i Paesi Bassi, a geopolitical description of the area which included a significant discussion of artists. The work is a major source of information on the artists of the period. A French edition appeared the same year. The same year, Guicciardini suffered the first of a series of political incarcerations, imprisoned and his home confiscated for criticism of the ruling Duque de Alba, Governor of the Netherlands. In 1569 he was denounced for alleged dealings with Protestants and again imprisoned, this time in Brussels. In 1582 he was arrested in connection with a plot to assasinate William the Silent, Prince of Orange and in 1588 arrested again during the last years of the war against the Protestants. He was released because of his age. A third and final edition of Descrittione was printed by Plantin the same year. Guicciardini was pensioned his final years (50 livres d’artois) from Antwerp. He died at 68 and is buried in the Antwerp Cathedral. An English edition of the Descrittione appeared in 1593. The artistic biographical section of the Descrittione is an amalgam of personal experience, the input of artists (Lucas de Heere and Dominicus Lampsonius) and portions of the first edition of the Vite (1550) by Giorgio Vasari. Guicciardini adopts Vasari’s assertion that Jan van Eyck discovered oil painting and reference to the (presumed) Portinari Altarpiece of Hugo van der Goes. Vasari clearly read Guicciardini’s work for in his second edtion of the Vite, 1568, Vasari includes Jan’s brother, Hubert van Eyck, mentioned in Guicciardini’s work. As a whole, Descrittione is one of the first accounts to treat the Low Countries as a whole (Dizionario Biografico degli Italiani)
Descrittione di m. Lodouico Guicciardini patritio fiorentino, di tutti i Paesi Bassi, altrimenti detti Germania inferiore : con piu carte di geographia del paese, & col ritratto naturale di piu terre principali : con amplissimo indice di tutte le cose piu memorabili. Antwerp: Guglielmo Siluio, 1567, English, The Description of the Low Countreys and of the Prouinces thereof, Gathered into an Epitome out of the Historie of Lodouico Guicchardini. London: Peter Short, 1593
Dictionary of Art 13: 806; Aristodemo, Dina. “Lodovico Guicciardini e la ‘Descrittione di tutti i Paesi Bassi’.” Studi e problemi di critica testuale 16 (April 1978): 217-224; Aristodemo, Dina. “La figura e l’opera di Lodovico Guicciardini: prospettive di ricerca, in Lodovico Guicciardini (1521-1589).” Actes du Colloque international, Bruxelles… 1990, edited by Pierre Jodogne. Leuven: Peeters Press, 1991, pp. 19-36; “Guicciardini, Lodovico.” Dizionario Biografico degli Italiani http://www.treccani.it/enciclopedia/lodovico-guicciardini_(Dizionario-Biografico)/.
Contributors: Lee Sorensen
Merchant, writer and biographer Netherlandish artists. Guicciardini was the son of Jacopo Guicciardini (d. 1552) and Camilla d’Agnolo des Bardi (d. 1557). His uncle was the historian Francesco Guicciardini (1483-1540). He was well educated accordi
Full Name: Gudlaugsson, Sturla
Other Names:
Gender: male
Date Born: 1913
Date Died: 1971
Place Born: Skagen, Nordjylland, Denmark
Place Died: Rotterdam, South Holland, Netherlands
Home Country/ies: Denmark
Subject Area(s): connoisseurship, Dutch (culture or style), iconography, Northern Renaissance, painting (visual works), and seventeenth century (dates CE)
Connoisseur; specialist in Dutch seventeenth-century painting and iconography; Director of the Netherlands Institute for Art History and the Mauritshuis in The Hague. Gudlaugsson was born in Skagen as the son of the Icelandic poet Jonas Gudlaugsson (1887-1916). His mother, Maria Ingenohl, was a Dutch woman raised in Germany. After the death of her husband, she moved with Gudlaugsson, her only child, to Berlin. Gudlaugsson studied art history in Berlin and in Munich. His teachers in Berlin included Oskar Fischel and Wilhelm Pinder. In spring 1936, he did research in the Netherlands, in the Amsterdam Rijksprentenkabinet. In 1939, he obtained his doctoral degree at the University of Berlin with the dissertation: Ikonographische Studien über die holländische Malerei und das Theater des siebzehnten Jahrhunderts with Pinder as his advisor. The study deals with the rather complicated relationship between scenes in theater plays and representations in Dutch genre painting. The book of his Dutch friend, Frithjof W. S. van Thienen (1901-1969), Das Kostüm der Blütezeit Hollands (Berlin, 1930), had been an important source of inspiration. After his student years, Gudlaugsson worked as a volunteer in the Berlin Schlossmuseum. In 1939, however, he decided to leave Nazi Germany, and moved first to Denmark, where he was appointed assistant in the Nationalhistoriske Museum Frederiksborgslot in Hilleröd. Early in 1942, he immigrated to the Netherlands, where he found employment in the Municipal Museum of The Hague. He joined the Rijksbureau voor Kunsthistorische Dokumentatie (Netherlands Institute for Art History) in The Hague in 1943 (remaining there until 1970). In 1965, he succeeded his life-long colleague Horst Gerson as the director of the institute. With accuracy and connoisseurship he documented the art historical collection, including thousands of photographs of works of art. His interest in portraits and his knowledge of the history of the costume were often useful. He continued his research on the relationship between theater and Dutch seventeenth-century painting. In 1945 De komedianten bij Jan Steen en zijn tijdgenoten (Comediants by Jan Steen and his contemporaries) appeared. In a series of articles he focused on Dutch paintings depicting scenes from the popular plays “Lucelle” and “Granida”, the former translated into Dutch by G.A. Bredero (1585-1618), and the latter written by P.C. Hooft (1581-1647). In this same period, Gudlaugsson started working on the Dutch painter Gerard ter Borch. In his article “De datering van de schilderijen van Gerard ter Borch” he dealt with the chronology of a series of paintings of Ter Borch, correcting the dates previously given by Eduard Plietzsch in his 1944 monograph on Ter Borch. Gudlaugsson criticized the method followed by Plietzsch and argued that along with the stylistic analysis different approaches are necessary to establish a valuable chronology for the oeuvre of Ter Borch. In his own research, Gudlaugsson took into account distinctive aspects of the representations: the costume, decorative features of interiors, and the resemblance between persons in different paintings. In 1959-1960 appeared his magnum opus: Geraert ter Borch. In the first volume the artistic evolution of the painter’s oeuvre is described in close relation with the succeeding periods of his life. The second volume, the critical catalog, contains an amount of information, including references to the history of costume and emblemata. The book won the 1960 “Karel Van Mander Prize”. It was praised in the Connoisseur (146, January 1961: 270) and Oud Holland (79, 1964: 135-139). In a remarkable lecture, Gudlaugsson elucidated his broad knowledge on emblematic iconography in Dutch seventeenth-century genre painting, but the manuscript remained unpublished. As director of the Rijksbureau, Gudlaugsson coordinated the revision and re-edition of J.-B. de la Faille‘s Van Gogh catalog. In 1966 he joined the editorial board of Oud Holland, in which journal he published frequently. Between 1964 and 1968 he wrote a series of contributions in Kindlers Malerei Lexicon. Along with his position in the Rijksbureau, Gudlaugsson had a caring interest for the Royal Cabinet of Paintings the Mauritshuis in The Hague. Its successive directors, J. G. van Gelder and A. B. de Vries frequently consulted Gudlaugsson on ongoing affairs in the museum. On June 1st, 1970, Gudlaugsson eventually succeeded De Vries as director of the Mauritshuis. To honor the retiring director, Gudlaugsson organized an exhibition of the paintings acquired by De Vries for the Mauritshuis, and wrote the catalog: Vijfentwintig jaar aanwinsten Mauritshuis [1945-1970]. Gudlaugsson had only just begun his new position when he unexpectedly died in March 1971, at the age of 57. For many years, Gudlaugsson did investigations on nineteenth-century painting, focused on the Biedermeier period, but his premature death left the work unfinished. Walter Liedtke wrote that Gudlaugsson’s 1959-1960 work on ter Borch the opening of a golden age in Dutch scholarship.
[For a selection of his publications, see:] Gerson, Horst. Jaarboek van de Maatschappij der Nederlandse Letterkunde te Leiden 1971-1972: 161-164; Ikonographische Studiën über die holländische Malerei und das Theater des siebzenhten Jahrhunderts. Wurzburg: Dissertions-Verlag K.J. Triltsch, 1938; De komedianten bij Jan Steen en zijn tijdgenoten. The Hague, 1945; “Bredero’s Lucelle door eenige zeventiende eeuwsche meesters uitgebeeld.” Nederlandsch Kunsthistorisch Jaarboek 1 (1947): 177-195; “Representations of Granida in Dutch Seventeenth-Century Painting I” Burlington Magazine 90 (1948): 226-230; II: 348-351; III 91 (1949): 39-43; “Adriaen Pauw’s intocht te Munster, een gemeenschappelijk werk van Gerard ter Borch en Gerard van der Horst” Oud Holland 63 (1948): 39-47; “De datering van de schilderijen van Gerard ter Borch” Nederlandsch Kunsthistorisch Jaarboek 2 (1948-1949): 235-267; “Aanvullingen omtrent Pieter Post’s werkzaamheid als schilder” Oud Holland 69 (1954): 59-71; Geraert ter Borch. 2 vols. The Hague: Martinus Nijhoff, 1959-60; “Kanttekeningen bij de ontwikkeling van Metsu” Oud Holland 83 (1968: 13-43; Vijfentwintig jaar aanwinsten Mauritshuis. The Hague, 1970.
[obituaries:] De Vries, A.B. “S.J. Gudlaugsson” Burlington Magazine 113 (July-December 1971): 742-743; “In Memoriam S.J. Gudlaugsson” Oud Holland 86 (1971): 1-2; Emmens, J.A. “In Memoriam Dr. Sturla Gudlaugsson” Simiolus 4, 3 (1971); Gerson, Horst. Kunstchronik 24 (1971) 274-276; Gerson, Horst. “Sturla Jonasson Gudlaugsson” Jaarboek van de Maatschappij der Nederlandse Letterkunde te Leiden 1971-1972 (1973): 150-164; Bergström, Ingvar. “In memoriam Sturla J. Gudlaugsson 1913-1971” Konsthistorisk Tidskrift 42 (June 1973): 67; Müller-Hofstede, Cornelius Weltkunst 41 (1971): 350; Liedtke, Walter. “The Study of Dutch Art in America.” Artibus et Historiae 21, no. 41 (2000): 214.
Contributors: Lee Sorensen and Monique Daniels
Connoisseur; specialist in Dutch seventeenth-century painting and iconography; Director of the Netherlands Institute for Art History and the Mauritshuis in The Hague. Gudlaugsson was born in Skagen as the son of the Icelandic poet Jonas Gudlaugsso
Full Name: Gudiol, José
Other Names:
Gender: male
Date Born: 1904
Date Died: 1985
Home Country/ies: Spain
Subject Area(s): Spanish (culture or style)
Historian of Spanish art. Two important works appeared by him in 1948; he and José Pijoán y Soteras issued their Las pinturas murales románicas de Cataluña and he and Juan Antonio Gaya Nuño published their Arquitectura y escultura románicas, the latter for the important Ars Hispaniae series. Gudiol introduced the Spanish symbologist Juan Eduardo Cirlot to Gothic art. 1985 saw the death of three emenent Spanish-subject art historians, Harold E. Wethey, Enrique Lafuente Ferrari and Gudiol.
Goya. 4 vols. Barcelona, 1970; and Pijoán, José. Las pinturas murales románicas de Cataluña. Barcelona: Alpha 1948; and Gaya Nuño, Juan Antonio. Arquitectura y escultura románicas. Madrid: Editorial Plus-Ultra 1948.
Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986 p. 443; [obituary:] Archivo Espanol de Arte 58 (October/December 1985): 466-467.
Historian of Spanish art. Two important works appeared by him in 1948; he and José Pijoán y Soteras issued their Las pinturas murales románicas de Cataluña and he and Juan Antonio Gaya Nuño
Full Name: Guattàni, Giuseppe Antonio
Gender: male
Date Born: 1748
Date Died: 1830
Place Born: Rome, Lazio, Italy
Place Died: Rome, Lazio, Italy
Home Country/ies: Italy
Subject Area(s): Classical
Classical art historian. Guattàni initially studied law. His acquaintance with Giovanni Piranesi (1720-1778) and Ennio Guirino Visconti led him to the study of ancient art. As he accompanied his wife, the famous singer Marianna Bianchi (c1735-after 1790), throughout Europe, Guattàni visited museums and art collections. He collaborated with Visconti and later Visconti’s sons on their Museo Pio-Clementino. In 1784 he began publishing his Monumenti antichi, an authoritative supplement to the writings of Johann Joachim Winckelmann. In 1804, after an extended stay in Paris, he returned to Rome at the invitation of Pope Pius VII to become perpetual secretary of the Pontificia Accademia Romana di Archeologia as well as the Accademia di San Luca. He was also the supervisor of antiquities for sculpture discovered in Rome. He served as well as the advisor to the Polish monarch Augustus III on antiquities. A scholarly description of Rome by Guattàni, the two-volume Roma descritta ed illustrate, appeared in 1805. Another art-historical volume, the result of his travels with his wife to the cultural capitals of Europe, was the 1806 as Memoire enciclopediche, an initially four-volume account of the paintings and sculpture he had seen. Guattàni envisioned this as a continuation of the Monumenti. The via Giuseppe Antonio Guattàni in Rome is named for him.
Monumenti antichi inediti, ovvero notizie sulle antichità e belle arti di Roma Rome: Nella stamperia Pagliarini, 1784-89, 1805; Roma descritta ed illustrate 2 vols. Rome: Pagliarini,1805; Memorie enciclopediche sulle antichita´ e belle arti di Roma. 7 vols. Rome: Pel Salomoni, 1806-19; and Visconti, Ennio Quirino, and Visconti, Giovanni Battista, and Visconti, Filippo Aurelio. Il Museo Pio-Clementino, descritto da Giambattista Visconti. 7 vols. Rome: Luigi Mirri, 1782-1807.
Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 1, pp. 546-47; Cressedi, G. Guattani, Giuseppe Antonio. Enciclopedia dell’arte antica 3, p. 1067.
Classical art historian. Guattàni initially studied law. His acquaintance with Giovanni Piranesi (1720-1778) and Ennio Guirino Visconti led him to the study of ancient art. As he accompanied his wife, the famous singer Mar
Full Name: Guarnacci, Mario
Gender: male
Date Born: 1701
Date Died: 1785
Place Born: Volterra, Pisa, Tuscany, Italy
Place Died: Volterra, Pisa, Tuscany, Italy
Home Country/ies: Italy
Subject Area(s): ancient, Antique, the, archaeology, and Etruscan (culture or style)
Historian of Etruscans including their art; early excavator of Etruscan tombs. Guarnacci was born to a wealthy, noble family. In 1726 he moved to Rome to participate as a cleric in the church. Returning to his native Volterra on holidays, he began excavating the recently discovered Etruscan tombs. He did so with this two brothers, Piero and Giovanni Guarnacci. Their first excavation in 1738 resulted in the discovery of ten vases. He and his friend and colleague Antonio Francesco Gori (1691-1757) developed an acumen for discerning forgeries, of which there were many during this time and even a few in Guarnacci’s own collection. An excellent scholar, he was advanced by both Pope Clement XII and Benedict XIV. Guarnacci retired to Volterra in 1757. In 1761 he willed his extensive library and his collection (which he called his museum’) to the city of Volterra, today known as the Museo Etrusco Guarnacci in his honor.
Origini italiche, o siano memorie istorico-etrusche: sopra l’antichissimo regno d’Italia e sopra i di lei primi abitatori nei secoli piu remoti. 3 vols. Lucca: Appresso Leonardo Venturini, 1767-72..
Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 1, p. 546
Historian of Etruscans including their art; early excavator of Etruscan tombs. Guarnacci was born to a wealthy, noble family. In 1726 he moved to Rome to participate as a cleric in the church. Returning to his native Volterra on holidays, he began
Full Name: Gualandi, Michelangelo
Gender: male
Date Born: 1795
Date Died: 1865
Home Country/ies: Italy
Subject Area(s): architecture (object genre) and sculpture (visual works)
Updated Ticozzi’s Nuova raccolta di lettere sulla pittura, scultura ed architettura
Nuova raccolta di lettere sulla pittura, scultura ed architettura, scritte da’ più celebri personaggi dei secoli XV. a XIX. con note ed illustrazioni di Michelangelo Gualandi, in aggiunta a quella data in luce da mons. Bottari e dal Ticozzi. 3 vols. Bologna: A spese dell’editore ed annotatore, 1844-56.
Updated Ticozzi’s Nuova raccolta di lettere sulla pittura, scultura ed architettura