Curator of Decorative Arts, Art Insititute of Chicago, 1940-51.
Selected Bibliography
0.Metzler
Sources
Wendland, Ulrike. Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. Munich: Saur, 1999, vol. 1, pp. 207-8.
Citation
"Goetz, Oswald." Dictionary of Art Historians (website). https://arthistorians.info/goetzo/.
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Subject Area(s): Antique, the, Classical, and Roman (ancient Italian culture or period)
Overview
Specialist in early Roman art, particularly art of the Roman Republic. Appointed professor at the University of Berlin in 1946, but left in 1948 for the Free University of Berlin on the West side of the Iron Curtain, where he served as first dean of the Philosophy Faculty and taught until his retirement.
Selected Bibliography
“Toga” RE VI A2 Nr. 2 (1937): 1651 ff. “Studien zur Kopienforschung” RM 54 (1939) 176ff.
Sources
Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 299-300.
Citation
"Goethert, Friedrich Wilhelm." Dictionary of Art Historians (website). https://arthistorians.info/goethertf/.
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Specialist in early Roman art, particularly art of the Roman Republic. Appointed professor at the University of Berlin in 1946, but left in 1948 for the Free University of Berlin on the West side of the Iron Curtain, where he served as first dean
Place Died: La Jolla, San Diego, San Diego, CA, USA
Home Country/ies: United States
Overview
Director of the Toledo Museum of Art. After graduating from the University of Missouri he received a Master’s Degree from Princeton from the Department of Art and Archaeology. After marrying Molly Ohl, he joined the Toledo Museum of Art in 1916 rising to become its second director in 1926. Godwin made significant purchases for the Museum, including works by el Greco and Goya. In 1946 he hired returning war veteran and “Monuments Man” Otto Wittmann, Jr., as his assistant director. Godwin, who was alway more interested in the Museum’s running than in acquisitions, recognized Wittmann’s connoisseurship training. He turned acquititions at Toledo over to Wittmann. Godwin retired in 1959 and was succeeded by Wittmann.
Selected Bibliography
Catalogue of European Paintings [at the Toledo Museum of Art]. Toledo: Toledo Museum of Art, 1939.
Sources
The National Cyclopaedia of American Biography 61. New York: James T. White & Co., 1982; [transcripts] Godwin, Blake-More.”The Toledo Museum of Art,” given at the National Gallery, Washington, D.C., January 20, 1946, and “Reminiscences of the Toledo Museum of Art,” January 27, 1969. Archives of American Art; [obituary:] “Blake-More Godwin of Toledo Museum.” New York Times June 12, 1975, p. 40
Citation
"Godwin, Blake-More." Dictionary of Art Historians (website). https://arthistorians.info/godwinb/.
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Director of the Toledo Museum of Art. After graduating from the University of Missouri he received a Master’s Degree from Princeton from the Department of Art and Archaeology. After marrying Molly Ohl, he joined the Toledo Museum of Art in 1916 ri
Place Born: Ozzano Emiliano, Emilia, Bologna, Italy
Place Died: Bologna, Emilia-Romagna, Italy
Home Country/ies: Italy
Subject Area(s): Gothic (Medieval) and painting (visual works)
Career(s): art historians
Overview
Wrote the Great Centuries of Painting (Skira) volume on Gothic art with Jacques Dupont, (1954). Giotto scholar. In Bologna, Gnudi sponsored many exhibitions with Denis Mahon, bringing Italian Baroque artists to a higher profile. Historian of Italian art, particularly Bolognese art, curator and medieval and modern art professor at University of Bologna. Gnudi attended the University of Bologna completing his studies with a thesis on the XVth century Italian sculptor Niccolò dell’Arca (Bari 1435 – Bologna, 1494). In 1940s he was a member of the Amministrazione delle Belle Arti in Bologna, in 1952 he was subsequently Soprintendente ai Beni artistici of Bologna. During his tenure, he supervised restorations, organized exhibitions and produced art-historical studies of considerable interest. In particular he played a leading role in organizing the series of splendid exhibitions which have proved such a feature of culture life in Bologna (e.g. in 1954 that of Guido Reni). These included a number of exhibitions of fine arts, organized by Gnudi with his friends and students Francesco Arcangeli and Andrea Emiliani, aimed at a new appraisal of the conspicuous fine-arts tradition that had characterized Bologna and its region since the 17th century. In 1950s he was one of the member of the staff for the reorganization of Pinacoteca Nazionale of Bologna and in 1956 he became a trustee of the National Gallery. Gnudi’s range of interests was wide. In fact, in 1979 his energy was put behind the organization of the Twenty-Fourth International Congress of Art Historians at Bologna. There, despite his great administrative responsibilities, he contributed a characteristically modest and incisive paper to the section on East-West relations in the thirteenth century. Since the 1940s Gnudi’s writings revealed his deep links with his beloved Bologna. He devoted an early study to the later sculpture of the marble shrine of Saint Dominic in Bologna Niccolò dell’Arca (Turin 1942). In 1948 he focused his research on the sculptors Arnolfo di Cambio and Giovanni Pisano and he wrote the fundamental book Nicola, Arnolfo, Lapo, (Florence, 1948) where he performed a pioneering feat of connoisseurship, which has in large part resisted the erosions of time and of later criticism. Here he focused on the problem of the original core of the shrine, and attempted to separate the respective role of Nicola Pisano and his assistants. In 1954 he wrote the Great Centuries of Painting (Skira) volume on Gothic art with Jacques Dupont, (1954). In Bologna, Gnudi sponsored many exhibitions with Denis Mahon, bringing Italian Baroque artists to a higher profile. In 1956 to the volume of essays dedicated to Lionello Venturi he contributed a perceptive paper on Simone Martini which remains one of the most important study on the artist (Grandezza di Simone in Scritti di storia dell’arte in onore di Lionello Venturi. Rome 1956). He wrote, also, important studies about Giotto, in particular in 1958 he edited the most substantial monument to his scholarship, that is his large scale monograph on Giotto (Milan 1958). In this book he commented on the fresco cycle of the Legend of Saint Francis in the Upper Church at Assisi and on the early career of the painter. About the same subject he offered a stimulating contribution to the anniversary congress Giotto e il suo tempo in 1967. In 1959 he collaborated with the Samuel Kress Foundation in New York for the important congress and book dedicated to William Suida. In 1962 he focused on the Bolognese XIV painter Vitale da Bologna (Milan 1962), in this book he traced the career of the XIV cent. Bolognese painter. In 1971, at the end of his period as Soprintendente he was able to stage an important exhibition of many acquisitions covering the previous five years, including an early Guercino (hitherto lost) which his eloquent advocacy persuaded the Ministry to buy at auction in Rome. In the same period he became Vice- President (under ministerial presidency) of the Consiglio Nazionale per I Beni Culturali e Ambientali. He wrote reviews in Italian art journals including Arte Veneta, Paragone Arte, Commentari, Bollettino d’arte, Critica d’arte and international journals e.g. The Burlington Magazine and Revue de l’Art. He wrote numerous articles and books in which discussed themes ranging from medieval and modern artists (e.g. Pittura bolognese del ‘300, 1978; L’arte gotica in Francia e in Italia, 1982) to various contemporary painters (e.g. Mario Negri) especially those of Bolognese territory. He died unexpectedly at the age of 71 while working on three important studies: the essay Il ruolo dell’Italia nel Duecento, (Bologna 1982)for C.I.H.A. Comité International d’ Histoire de l’Art proceedings edited by Hans Belting and the books L’ideale classico : saggi sulla tradizione classica nella pittura del Cinquecento e del Seicento (Bologna 1981) and L’arte gotica in Francia e in Italia (Torin 1982). At his death a portion of his library was donated to the research library at Palazzo Ghisilardi Fava in Bologna. The “Gnudi” collection is currently under arrangement but gathers a rich collection of photos mainly depicting medieval and post medieval artworks. In 1980s it was created also a Foundation dedicated to Gnudi (materials are also there), unfortunately it is now closed. His rich art collection (with Morandi, XVII cent. Bolognese artists, etc.) was donated to the National modern art Gallery of his city. Gnudi’s scholarship influenced the art historians and friends Francesco Arcangeli, Andrea Emiliani, Denis Mahon, Cesare Brandi, Francesco Riccomini and Paolo Fossati who dedicated to him obituaries and essays. He was friends of artists as for example the photographer Gianni Pezzani, the writer Giorgio Bassani, the architect Leone Pancaldi. His friend the art collector Denis Mahon reports Gnudi was an unique combination of inspiration, drive, practical common sense and invincible good humor.
Selected Bibliography
Niccolò dell’Arca, Turin: Einaudi, 1942. Nicola, Arnolfo, Lapo: l’Arca di S. Domenico in Bologna, Florence: Edizioni U, 1948. Gotische Malerei ( con Jacques Dupont), Genève: Ed. d’Art – Albert Skira, 1954 .Guido Reni, Milano: Martello, 1955. San Domenico: la basilica e l’arca , Bologna: Nuova Abes Editr., 1957. Giotto: Cappella Bardi in Santa Croce ,Milano: Martello, 1959. Vitale da Bologna, Bologna: Cassa di Risparmio, 1962. Vitale da Bologna: pittura bolognese del ‘300 ; 48 tavole a colori, 89 tavole in nero, 55 illustr. in nero, Milano: Silvana Ed., 1962. Mario Negri, sculture dal 1955 al ’60, Milano: Ed. del Milione, 1962. Pittura bolognese del ‘300 , Cassa di Risparmio in Bologna, Bologna, 1978. L’ideale classico: saggi sulla tradizione classica nella pittura del Cinquecento e del Seicento, Istituto per i Beni Artistici Culturali e Naturali della Regione Emilia-Romagna ; Ente Bolognese Manifestazioni Artistiche, Bologna: Edizioni Alfa in Komm., 1981. L’arte gotica in Francia e in Italia, Torino : Einaudi, 1982.
Sources
Berti Arnoaldi, Francesco, “La casa di Cesare Gnudi” . Fotogr. di Paolo Monti. Amici di Cesare Gnudi, Bologna: Nuova Alfa Ed., 1986. Rovinetti, Alessandro, Cesare Gnudi: Bologna 1910 – 1981 Direzione dei Servizi di Informazione e Relazioni Pubbliche del Comune di Bologna, Bologna: Parma, 1981. Triglia, Pietro Paolo, Cesare Gnudi storico dell’arte , Master’s thesis, University of Pisa, 1994. [obituaries:]. Emiliani, Andrea, “Ricordo di Cesare Gnudi” Atti e memorie; Accademia Clementina, 14 (1981): 127-129; Fossati, Paolo, “Ricordo di Cesare Gnudi” Prospettiva, 25 (1981): 92-93; Brandi, Cesare, “In memoria di Cesare Gnudi” Italia nostra, 25 (1981),195/196: 20-21; Gardner, Julian, ” Cesare Gnudi” Burlington Magazine,123 (1981): 304-307
Contributors: Giulia Savio
Citation
Giulia Savio. "Gnudi, Cesare." Dictionary of Art Historians (website). https://arthistorians.info/gnudic/.
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Wrote the Great Centuries of Painting (Skira) volume on Gothic art with Jacques Dupont, (1954). Giotto scholar. In Bologna, Gnudi sponsored many exhibitions with Denis Mahon, bringing Italian B
L’arte umbra alla Mostra di Perugia. Bergamo: Istituto italiano d’arti grafiche, 1908; Pietro Perugino. Spoleto: C. Argentieri, 1923; Pittori e miniatori nell’ Vmbria. Spoleto: C. Argentieri,1923.
Citation
"Gnoli, Umberto." Dictionary of Art Historians (website). https://arthistorians.info/gnoliu/.
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Franz Wickhoff student, Director of the Gemäldegalerie, Vienna, 1916-31, fled Nazis 1938 to London, later settled in California. Ludwig Burchard edited his collected writings. Like many Gründerzeit art historians, Glück lionized Wilhelm Bode as the “great man” of art history.
Sources
Wendland, Ulrike. Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. Munich: Saur, 1999, vol. 1, pp. 201-205.
Citation
"Glück, Gustav." Dictionary of Art Historians (website). https://arthistorians.info/gluckg/.
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Franz Wickhoff student, Director of the Gemäldegalerie, Vienna, 1916-31, fled Nazis 1938 to London, later settled in California. Ludwig Burchard edited his collected writings. Like many Gründer
Subject Area(s): Asian, East Asian, Expressionist (style), German Expressionist (movement), graphic arts, Japanese (culture or style), Northern Renaissance, Renaissance, and sculpture (visual works)
Career(s): art collectors, curators, directors (administrators), gallerists, and librarians
Overview
Art museum and library director; Germanist art historian specializing in northern renaissance; patron of Expressionist artist and Asian art authority. Glaser was born of cultured Jewish parentage, S. Glaser and Emma Hase (Glaser). He attended the Wilhelms gymnasium in Berlin, graduating in 1897. Glaser studied medicine at the University of Freiburg and Munich, receiving his M.D. in 1902. However, art had always interested him and he immediately began a second degree in art history during the years Heinrich Wölfflin was in Berlin. He was granted a Ph.D. in art history under Wölfflin in 1907 writing his dissertation on Hans Holbein. In 1909 Glaser was appointed curator of the prints and drawings division (Kupferstichkabinett) at the Berlin Museum (Staatliche Museen Berlin). He spent the year 1912 on a study trip in Europe and Asia. When World War I was declared, Glaser served in the military as an army doctor. He married Elsa Kolker, daughter of the Ambassador Hugo Kolker, converted to protestant Christianity, and received considerable income from the family properties. His Die Graphik der Neuzeit vom Anfang des XIX. Jahrhunderts bis zur Gegenwart of 1922 helped to establish the artists he supported. In 1924 he was appointed director of the newly reconstituted (Prussian) State art library, which had separated from the Staatliche Museen in 1894. Glaser was a major supporter of the Weimar Republic and its art activities. He became a partner in the art gallery run by the publisher Paul Cassirer (1871-1926) and the art historian Karl Scheffler. The Glasers also became significant modern art collectors and patrons, including the artists Edvard Munch and Max Beckmann. Glaser himself created an early collection of Japanese graphics. In 1925 he published the volume on Asian sculpture for the monographic series Kunst des Ostens (Art of the East). Numerous portraits of Elsa Glaser were done by major modernist artists. The couple became influential art cognoscenti whose friends included other art historians such as Hanns Swarzenski and artists such as Henri Matisse and Ernst Ludwig Kirchner. The Glaser home on the Prinz-Albrecht Strasse became a meeting point for art intellectuals. In 1933 the Nazis succeeded to power in Germany. The implementation of the “Gesetzes zur Wiederherstellung des Berufsbeamtentums,” the law which forbade Jews from holding civil servant positions, forced Glaser to leave the art library and disperse his art collection (Max Perl, dealer, May 1933). The Gestapo confiscated their home. Glaser remarried Maria Milch (later Maria Glaser-Ash) (b. 1901) and fled to Switzerland. The couple settled in Florence. After World War II was declared and Italy became part of the Axis powers, Glaser emigrated to New York, where he died at age 64. Together with Ernst Diez and Ernst Grosse, Glaser established the theoretic foundation for Asian art in the German-speaking world (Metzler). He was instrumental in the late 1920s in influencing the young art historian Hertha Wescher into becoming a modernist.
Selected Bibliography
[published dissertation:] Hans Holbein der ältere. Leipzig: Hiersemann, 1908; Die Graphik der Neuzeit vom Anfang des XIX. Jahrhunderts bis zur Gegenwart. Berlin: B. Cassirer, 1922; Ostasiatische Plastik. Berlin: B. Cassirer, 1925; Zwei Jahrhunderte deutscher Malerei: von den Anfängen der deutschen Tafelmalerei im ausgehenden vierzehnten bis zu ihrer Blüte im beginnenden sechzehnten Jahrhundert. Munich: F. Bruckmann, 1916.
Sources
Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 119-122; Wendland, Ulrike. Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. Munich: Saur, 1999, vol. 1, pp. 197-200; Curt Glaser: Kunsthistoriker. Cologne: Bohlau, 2006; [obituary:] “Dr. Curt Glaser, Art Authority, 64, German Refugee, Ex-Director of State Art Library of Berlin Museums, Dies Up-State.” New York Times. November 25, 1943, p. 26.
Citation
"Glaser, Curt." Dictionary of Art Historians (website). https://arthistorians.info/glaserc/.
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Art museum and library director; Germanist art historian specializing in northern renaissance; patron of Expressionist artist and Asian art authority. Glaser was born of cultured Jewish parentage, S. Glaser and Emma Hase (Glaser). He attended the