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Giedion-Welcker, Carola

Image Credit: SIK ISEA

Full Name: Giedion-Welcker, Carola

Other Names:

  • Carola Giedion-Welcker
  • Carola Welcker

Gender: female

Date Born: 25 April 1893

Date Died: 21 February 1979

Place Born: Cologne, North Rhine-Westphalia, Germany

Place Died: Zürich, Switzerland

Home Country/ies: Germany

Career(s): art historians


Overview

Collector, historian, and scholar of Modernist art and literature, particularly of sculpture. Carola Welcker was born in Cologne in 1893 to German banker Carl Welcker (1848-1928) and his American wife, Mary Legien (1865-1919). Welcker began studying art history at the University of Munich in 1915 under Heinrich Wölfflin. While studying at Munich, she met fellow student Sigfried Giedion, a prominent architectural historian, whom she married in 1919, adopting the surname Giedion-Welcker. Shortly thereafter, she pursued her doctorate at the University of Bonn under the direction of Paul Clemen, writing her thesis on rococo sculpture in Bavaria. In 1922, both she and her husband completed their degrees.

The couple quickly developed a large web of social connections within the art world after becoming friends with László Moholy-Nagy in 1923. The following year Moholy-Nagy introduced the couple to Dadaist Hans (Jean) Arp who further connected them to the Surrealist scene. Arp and Giedion-Welcker were close friends, with Arp further inspiring her interest in literature and taking her to the Surrealist exhibition in Paris in 1925. This friendship with Arp allowed Giedion-Welcker and her husband to enter the exclusive artistic social circle of artists such as Piet Mondrian, Constantin Brâncuși, Paul Klee, and Max Ernst. During this time both Giedion-Welcker and her husband collaborated on exhibitions for Modernists and Surrealists.

Often called “the power pair of Modernism,” the couple moved to the Giedion family villa in Doldertal, Zurich in 1925, where they then created a community and important meeting-place for Modernist artists through frequent parties and social gatherings. Gideon-Welcker was the primary facilitator of their social web, bringing a myriad of artists to the villa, some of which were Kurt Schwitters, Aldo Van Eyck, Fernand Léger, Antoine Pevsner, Franz Roh, Theo van Doesburg, Wassily Kadinsky, Alberto Giacometti, Jan Tschichold, Alvar Aalto, and Marcel Breuer. They were also close with eminent art historians of the time such as Albert Brinkmann, Alexander Dorner, and Christian Zervos. Her husband’s time at the Bauhaus also expanded their circle. Notably, both Giedion-Welcker and her husband were quite close with Walter Gropius and Le Corbusier; her husband co-founded the Congrès internationaux d’architecture moderne (International Congresses of Modern Architecture) with Le Corbusier and collector Hélène de Mandrot in 1928. She discussed this concept in detail in her 1937 manuscript and later book on modern sculpture, Moderne Plastik: Elemente der Wirklichkeit, first published  in English as Modern Plastic Art, Elements of Reality, Volume and Disintegration.  Her husband worked as a professor in the United States beginning in 1938.  When war broke out, her husband was stranded in the United States and she in Switzerland.  Giedion-Welker used the couple’s villa in Switzerland as a safe space for artists and scholars who were fleeing persecution.  She befriended Paul Klee and his family in Bern.  After Klee’s untimely death in 1940, Klee’s wife selected Giedion-Welcker to manage his artistic estate. After the War, she published a  monograph on Klee in 1952.  The 1937 version of her sculpture survey appeared in 1955 as, Plastik des xx. Jahrhunderts.  A monograph on Constantin Brâncuși followed in 1958, the first full-length study written on the sculptor.

She died on February 21, 1979 at the age of 85 after a brief illness in the Zurich villa. She and her husband kept thousands of photographs, documents, and artworks from their work. The Swiss Institute for Art Research (SIK-ISEA) houses their personal archive.  In 2016, over a thousand letters and other items were discovered at their villa. The Institute for the History and Theory of Architecture at ETH Zurich and International Congress for New Building (CIAM) holds material. Their son, Andres Giedion (1925-2013) was a pioneer of pediatrics and pediatric radiology in Switzerland.

Giedion-Welcker wrote 280 articles in her lifetime.  Methodologically she viewed changes in  art forms as evolutionary, a further development of art, adopting a linear theory of art history.  Modernist forms of the time— Dadaism, Cubism, Constructivism, Surrealism—were described as a “new reality . . . a new synthesis of the concealed energies of existence.” She notably connected prehistoric’s art simplicity with Modern sculpture’s idea of the essential. Giedion-Welcker was also an accomplished and influential literary critic.  Her written defenses and praise for Ulysses by James Joyce, also a friend, contributed to the novel and the author’s continued success.


Selected Bibliography

  • [dissertation] Bayrische Rokokoplastik: J. B. Straub und seine Stellung in Landschaft und Zeit.  University of Bonn, 1922, published, Munich: O.C. Recht, 1922;
  • Moderne Plastik: Elemente der Wirklichkeit – Masse und Auflockerung 1937; English, expanded, Contemporary Sculpture: an Evolution in Volume and Space.  New York, NY: G. Wittenborn, 1961;
  • Paul Klee. London: Faber and Faber Limited, 1952;
  • Modern Plastic Art, Elements of Reality, Volume and Disintegration. Zürich: H. Girsberger, 1937, later English versions titled Contemporary Sculpture: an Evolution in Volume and Space (1963), original German, Plastik des xx. Jahrhunderts: Volumen- und Raumgestaltung.  Stuttgart: G. Hatje, 1955;
  • and Hagenbach, Marguerite. Hans Arp. Stuttgart:  G. Hatje, 1957, English, Jean Arp. New York, H.N. Abrams 1957;
  • Constantin Brancusi. Basel, B. Schwabe, 1958, English, Constantin Brancusi. New York : George Braziller, Inc., 1959;
  • and Raabe, Paul.  Paul Klee in Selbstzeugnissen und Bilddokumenten. Reinbek b. Hamburg: Rowohlt [-Taschenbuch]-Verlag, 1967;

Sources

  • [collected writings:] Hohl, Reinhold, ed. [Carola Giedion-Welcker] Schriften 1926-1971: Stationen zu einem Zeitbild. Cologne: M. DuMont Schauberg, 1973;
  • Grunewald, Almut, et al.  The Giedion World : Sigfried Giedion and Carola Giedion-Welcker in Dialogue. Zurich: Scheidegger & Spiess, 2019;


Contributors: Lee Sorensen and Malynda Wollert


Citation

Lee Sorensen and Malynda Wollert. "Giedion-Welcker, Carola." Dictionary of Art Historians (website). https://arthistorians.info/giedionwelckerc/.


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Collector, historian, and scholar of Modernist art and literature, particularly of sculpture. Carola Welcker was born in Cologne in 1893 to German banker Carl Welcker (1848-1928) and his American wife, Mary Legien (1865-1919). Welcker began studying

Gibson, William Pettigrew

Full Name: Gibson, William Pettigrew

Gender: male

Date Born: 1902

Date Died: 1960

Place Born: Glasgow, Scotland, UK

Place Died: London, Greater London, England, UK

Home Country/ies: United Kingdom

Career(s): curators


Overview

Keeper of the National Gallery, London, 1940-1960. Gibson was son of Edwin Arthur Gibson, a physician, and Ellen Shaw Pettigrew (Gibson). Gibson was educated at Westminster School and Christ Church, Oxford, graduating with a degree natural sciences and physiology in 1924 with the intention of going into medicine. He was raised a Roman Catholic. At Christ Church, he met Humfry Payne, later director of the British School at Athens, who remained friends with Gibson all of Payne’s short life and who convinced Gibson to student art history rather than medicine. Gibson secured the position as an assistant keeper of the Wallace Collection, London, in 1927. In 1936 was named a reader in the history of art at the University of London and jointly appointed deputy director of the Courtauld Institute of Art. This brought him to the attention of Kenneth Clark who, in 1939 appointed him keeper of the National Gallery. He married Christina Pamela Ogilvy in 1940, whose sister, Kyth’ Caroline Ogilvy (b. 1902), was the wife of Philip Hendy, Gibson’s predecessor at the Wallace Collection, and later his immediate superior when Hendy was director at the National Gallery. Gibson lectured at the Wallace Collection, some of his lectures published in 1930. In 1935 he issued the catalog of miniatures and illuminations for the Collection. During World War II, he spent long periods on duty at the National Gallery, London, watching for incendiary bombs (the collection had been moved to Wales for safekeeping). Gibson moved to Wyddiall Hall in north Hertfordshire after World War II, where he and his wife lived a comfortable but Spartan life without electricity or radio. Gibson died unexpectedly after being conveyed at University College Hospital, London, at age 58. He was succeeded at the Gallery by Martin Davies. Gibson specialized in eighteenth-century French art, publishing only a few articles, of which included those for the Vasari Society, Apollo and the Burlington Magazine.


Selected Bibliography

“Nicholas Egon: an Appreciation.” Apollo 55 (April 1952):. 110-11; “Paul Nash Memorial Exhibition at Tate Gallery.” The Burlington Magazine 90 (April 1948): 118-19; “On Watteau’s Draughtsmanship.” Apollo 12 (October 1930): 275-9; “Italian drawings at Burlington House.” Apollo 11 (March 1930): 171-8; “Renaissance Drawings at Burlington House.” Apollo 11 (January 1930): 24-9; Three Lectures upon French Painting. London: Hertford House, 1930; Barbara Hepworth: Sculptress. London: Faber and Faber, 1946; Wallace Collection Catalogues: Miniatures and Illuminations. London: Wallace Collection, 1935.


Sources

Baker, Anne Pimlott, and Shaw, James Byam. “William Pettigrew Gibson.” Oxford Dictionary of National Biography; “Mr. W. P. Gibson: Keeper of the National Gallery.” The Times (London) April 23, 1960, p. 8; J. B. S. [John Byam Shaw] The Burlington Magazine 102 (September 1960): 414.




Citation

"Gibson, William Pettigrew." Dictionary of Art Historians (website). https://arthistorians.info/gibsonw/.


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Keeper of the National Gallery, London, 1940-1960. Gibson was son of Edwin Arthur Gibson, a physician, and Ellen Shaw Pettigrew (Gibson). Gibson was educated at Westminster School and Christ Church, Oxford, graduating with a degree natural science

Gibson, Walter

Image Credit: Case Western Reserve University

Full Name: Gibson, Walter

Other Names:

  • Walter Samuel Gibson

Gender: male

Date Born: 1932

Place Born: Columbus, Franklin, OH, USA

Home Country/ies: United States

Subject Area(s): Northern Renaissance and Renaissance

Career(s): educators


Overview

Norther Renaissance, particularly Bosch scholar, professor, Case Western Reserve University. Gibson’s father was Walter Samuel Gibson, an engineer and his mother, Grace B. Wheeler (Gibson), worked as a secretary. After high school, Gibson was drafted by U.S. Army during the Korean Conflict, working in the Finance Corps between 1952 and 1954. He entered Ohio State University after discharge, graduating cum laude with a B.F.A. in 1957. He matriculated at Harvard University, receiveing his M.A., in 1960. He was awarded a Fulbright scholarship, traveling to Europe for the 1960-1961 year to research his dissertation. While completing his Ph.D., he joined Case Western Reserve University in Cleveland, Ohio, as an assistant professor in 1966. He remained at Case the rest of his career. His doctorate was awarded in 1969 with a dissertation on Cornelis Engebrechtsz written under Seymour Slive. He rose to associate professor at Case in 1971, chairing the department from then until 1979. The following year, 1972 Gibson married Sarah Scott, an educator and college administrator in 1972. His book on Hieronymus Bosch, appeared in 1973 followed by a revision of his dissertation and a monograph on Pieter Bruegel the Elder in 1977. Gibson was appointed Andrew W. Mellon Professor of the Humanities in 1978. He was awarded a Fulbright scholarship, traveling to Europe for the 1960-1961 year. Gibson was named a Guggenheim fellow in 1978.


Selected Bibliography

[dissertation:] The Paintings of Cornelis Engebrechtsz. Harvard, 1969, published, Outstanding Dissertations in the Fine Arts [series]. New York: Garland Pub., 1977; Bruegel. New York: Oxford University Press, 1977;Hieronymus Bosch: an Annotated Bibliography. Boston : G. K. Hall, 1983; Mirror of the Earth: the World Landscape in Sixteenth-century Flemish Painting. Princeton: Princeton University Press, 1989; Bruegel and Netherlandish Landscape Lainting from the National Gallery Prague. Tokyo: National Museum of Western Art, 1990; Pleasant places: the Rustic Landscape from Bruegel to Ruisdael. Berkeley: University of California Press, 2000; Pieter Bruegel and the Art of Laughter. Berkeley: University of California Press, 2006.


Sources

Dixon, Laurinda S., ed. In Detail: New Studies of Northern Renaissance Art in Honor of Walter S. Gibson. Turnhout: Brepols, 1998.




Citation

"Gibson, Walter." Dictionary of Art Historians (website). https://arthistorians.info/gibsonws/.


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Norther Renaissance, particularly Bosch scholar, professor, Case Western Reserve University. Gibson’s father was Walter Samuel Gibson, an engineer and his mother, Grace B. Wheeler (Gibson), worked as a secretary. After high school, Gibson was draf

Ghiberti, Lorenzo

Image Credit: The Art Story

Full Name: Ghiberti, Lorenzo

Gender: male

Date Born: 1378

Date Died: 1455

Place Born: Florence, Tuscany, Italy

Place Died: Florence, Tuscany, Italy

Home Country/ies: Italy

Subject Area(s): architecture (object genre), fourteenth century (dates CE), and sculpture (visual works)

Career(s): authors, biographers, and memoirists


Overview

Sculptor and architect; his Book II of his memoirs forms an important account of 14th-century artists. Ghibert’s parents were Cione Paltami Ghiberti (d. 1406), somewhat of a n’er-do-well, and Mona Fiore. Shortly after his birth his mother left Cione to live with the goldsmith Bartolo di Michele (d 1422), known as Bartoluccio, marring him after Cione’s death. Ghiberti learned goldsmithing from Bartoluccio. He left Florence in 1400 along with another artist to serve the ruling Malatesta of Pesaro. Learning of a competition for the design of bronze doors for the Florence Baptistery he returned to the city, winning the commission. Bartoluccio also collaborated bronze doors (today the north doors) of the Baptistery in Florence. He was elevated to the rank of master in the goldsmith’s guild in 1409. At the end of his life, Ghiberti wrote his memoirs, I commentarii, a work in three sections (or books) begun around 1447 and never completed. The first book theoretical, an assessment of classical art, quoting from the writings of Vitruvius and Pliny the Elder. Because Ghiberti was a sculptor, he understandibly praised ancient art (mostly sculpture) and the necessity of the artist to know both the liberal arts and theoretical sciences. Like Pliny before him, Ghiberti saw ancient sculputre’s strength in its naturalism. He supplemented this, again from Pliny, with a long discourse on classical bronze statuary and clay modelling. Book 2 is an art history, begining with Giotto’s resurrection of art from its moribund state in the middle ages. To Ghiberti, Giotto “abandoned the crudeness of the Greeks and rose to be the most excellent painter in Etruria.” Ghiberti continued with a history of painting and sculpture in Florence and Siena the 13th and 14th centuries. He largely confined himself in these histories to style rather than the anecdotal treatment other art narratives did. The history ends with an account of his own life, the earliest autobiography of an artist, largely a list in chronology of his works. The work ends with Book 3, a discussion of the knowledge (“sciences”) necessary for a sculptor: optics, anatomy, and human proportion. Ghiberti’s I commentarii is unique among 15th-century writings on art in its goal as a developmental art history from antiquity to his own time. Ghiberti was the first to insist upon the humanistic belief that ancient art was unequaled. He praised Sienese painters, Ambrogio Lorenzetti in particular, whose naturalistic settings Ghiberti felt his own art was indebted. Ghiberti as an art historian interested two of the top art historians of the twentieth century, Julius Alwin von Schlosser and Richard Krautheimer.


Selected Bibliography

English [second book], Fengler, Christie Knapp, trans. Lorenzo Ghiberti’s Second Commentary: the Translation and Interpretation of a Fundamental Renaissance Treatise on Art. Ann Arbor, MI: University Microfilms International, 1979


Sources

KGK, 19-20; Schlosser, Julius. Denkwürdigkeiten des florentinischen Bildhauers Lorenzo Ghiberti. Berlin: J. Bard, 1920, Die Kunstliteratur: ein Handbuch zur Quellenkunde der neueren Kunstgeschichte. Vienna: Anton Schroll, 1924, pp. 87-91; and Leben und Meinungen des florentinischen Bildners Lorenzo Ghiberti. Basel: Holbein-Verlag, 1941; Bartoli, Lorenzo. “Rewriting History: Vasari’s Life of Lorenzo Ghiberti: Why Vasari Classified Ghiberti as a Painter.” Word & Image 13 (1997): 245-52; Krautheimer, Richard, and Krautheimer-Hess, Trude. Lorenzo Ghiberti. Princeton,NJ: Princeton University Press, 1982, pp. 3-




Citation

"Ghiberti, Lorenzo." Dictionary of Art Historians (website). https://arthistorians.info/ghibertil/.


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Sculptor and architect; his Book II of his memoirs forms an important account of 14th-century artists. Ghibert’s parents were Cione Paltami Ghiberti (d. 1406), somewhat of a n’er-do-well, and Mona Fiore. Shortly after his birth his mother left Cio

Geymüller, Heinrich von

Image Credit: Wikidata

Full Name: Geymüller, Heinrich von

Gender: male

Date Born: 1839

Date Died: 1909

Place Born: Switzerland

Home Country/ies: Switzerland

Subject Area(s): architecture (object genre), Renaissance, and sculpture (visual works)


Overview

Architectural historian of Renaissance buildings; one of the first to attempt the complex structural history of St. Peter’s Basilica in Rome; first to study Raphäel’s architectural work


Selected Bibliography

Heinrich von Geymüllers nachgelassene Schriften. Volume 1. Architektur und Religion. Basel: Spittler, 1911; Notizen über der Entwürfe zu St. Peter in Rom. 2 vols. Karlsruhe, 1868; Raffaelo Sanzio studiato come architetto con l’aiuto di nuovi documenti.


Sources

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. 126 mentioned; Kleinbauer, W. Eugene. Modern Perspectives in Western Art History: An Anthology of 20th-Century Writings on the Visual Arts. New York: Holt, Rinehart and Winston, 1971, p. 85 mentioned; Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 433-434, 486.




Citation

"Geymüller, Heinrich von." Dictionary of Art Historians (website). https://arthistorians.info/geymullerh/.


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Architectural historian of Renaissance buildings; one of the first to attempt the complex structural history of St. Peter’s Basilica in Rome; first to study Raphäel’s architectural work

Gestoso y Pérez, José

Image Credit: Wikidata

Full Name: Gestoso y Pérez, José

Gender: male

Date Born: 1852

Date Died: 1917

Home Country/ies: Spain

Subject Area(s): Spanish (culture or style)

Career(s): art historians


Overview

Published the volume on Seville in the “Art in Spain” series by the Hispanic Society of America.


Selected Bibliography

Guadalajara. Alcaláde Henares. Art in Spain, [published] under the Patronage of the Hispanic Society of America. Barcelona: Hijos de J. Thomas, 1913 [1915].





Citation

"Gestoso y Pérez, José." Dictionary of Art Historians (website). https://arthistorians.info/gestosyperezj/.


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Published the volume on Seville in the “Art in Spain” series by the Hispanic Society of America.

Gesner, Johann Matthias

Image Credit: Wikimedia

Full Name: Gesner, Johann Matthias

Gender: male

Date Born: 1691

Date Died: 1761

Home Country/ies: Germany

Subject Area(s): Antique, the and antiquities (object genre)


Overview

lectured on art and antiquities, Göttingen (Gooch,25)



Sources

WBD, 590, mentioned




Citation

"Gesner, Johann Matthias." Dictionary of Art Historians (website). https://arthistorians.info/gesnerj/.


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lectured on art and antiquities, Göttingen (Gooch,25)

Gerville, Charles Duhérissier de

Image Credit: Conchology

Full Name: Gerville, Charles Duhérissier de

Other Names:

  • Charles Alexis Gerville

Gender: male

Date Born: 19 September 1769

Date Died: 26 July 1853

Place Born: Gerville-la-Forêt, Manche, Normandy, France

Place Died: Valognes, Normandy, France

Home Country/ies: France

Subject Area(s): archaeology, architecture (object genre), Romanesque, and sculpture (visual works)


Overview

Early French archaeologist and early architectural historian; coiner of the concept “Romanesque” for art. Gerville was born to a noble family in Normandy. He attended the college of Coutances, and then Caen where he studied law. As a noble, the French Revolution forced him to flee to England. He returned in 1801 with Napoleon on the throne, taking control of his family estates at Gerville. Though his scholarly interests were initially natural history, he began an antiquarian research in local history as well. In 1811 he moved to Valognes studying botany and geology and continuing regional history. In 1814 he began an inventory of the churches of La Manche numbering close to five-hundred examples. This same year in a letter to Auguste Le Prévost, Gerville advanced the concept that this period in art was one deriving from the Roman style, “opus romanum dénaturé ou successivement degradé par nos rudes ancêtres.” The term as Gerville intended it included architecture from the post-Roman era to the twelfth century (Quicherat). In 1824, he and the abbé Gervais de la Rue in Rouen (1751-1835), Auguste Le Prévost and Arcisse de Caumont formed the Société des Antiquaires de Normandie to further architectural connoisseurship. That same year, 1824, Caumont made the first reference to “Romanesque” in his Essai sur l’architecture du Moyen Age which forever sealed its use in art history (Bober). The Revolution of 1830 forced him to withdraw from official scholarly activity; even declining the cross of the Légion d’honneur offered him under Louis Philippe. In Valognes, Gerville hired Léopold Victor Delisle in the 1840s to copy manuscripts in Gerville’s collection. Gerville’s paleographic instruction to the man started Delisle on a career in manuscripts, eventually leading Delisle to training at the École des Chartres and head the Bibliothèque National. At Gerville’s death his collection of manuscripts was divided between the archives of La Manche and to Delisle. The following year his study on the Roman roads of the Cotentin peninsula, on Merovingian history and Mont-Saint-Michel was published as Études géographiques et historiques sur le département de la Manche in 1854. His church inventory was eventually published in 1999 as Voyage archéologique dans la Manche (1818-1820). Gerville and Prévost laid the groundwork for the methodical characterization of pre-Gothic architecture, Romanesque (Bober). It was, however, Caumont who in 1824 confirmed the term “Romanesque” for the rest of art history in his Essai sur l’architecture du Moyen Age.


Selected Bibliography

Monuments romains d’Alleaume. Valognes: Vve H. Gomont, 1844; Recherches sur le Mont-Saint-Michel. s.l. : s.n.; Des Villes et voies romaines en Basse-Normandie et de leur communication avec Le Mans et Rennes. Valognes: Carette-Bondessein, 1838; and Feuardent, Félix-Bienaimé. Etudes géographiques et historiques sur le département de la Manche. Cherbourg: Feuardent, 1854; Guibert, Michel, ed. Voyage archéologique dans la Manche (1818-1820). Saint-Lô: Société d’archéologie et d’histoire de la Manche, 1999-2002.


Sources

Quicherat, Jules. “De l’Architecture romane.” Revue archéologique 8 (1951): 145-158; Bober, Harry. “Editor’s Foreward.” in, Mâle, émile. Religious Art in France: the Twelfth Century: a Study of the Origins of Medieval Iconography. Princeton, NJ: Princeton University Press, 1978, pp. viii; Bizzarro, Tina Waldeier. Romanesque Architectural Criticism: a Pre-History. New York: Cambridge University Press, 1992; Noell, Matthias. “Classement und Classification. Ordnungssysteme der Denkmalpflege in Frankreich und Deutschland.” Nachdenken über Denkmalpflege (Symposium) part 4. Berlin: Berlin-Brandenburgische Akademie der Wissenschaften, April 2005.




Citation

"Gerville, Charles Duhérissier de." Dictionary of Art Historians (website). https://arthistorians.info/gervillec/.


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Early French archaeologist and early architectural historian; coiner of the concept “Romanesque” for art. Gerville was born to a noble family in Normandy. He attended the college of Coutances, and then Caen where he studied law. As a noble, the Fr

Gerstinger, Hans

Full Name: Gerstinger, Hans

Other Names:

  • Hans Gerstinger

Gender: male

Date Born: 1885

Date Died: unknown

Home Country/ies: Austria

Subject Area(s): manuscripts (documents)

Institution(s): Karl-Franzens-Universität Graz


Overview

Manuscripts scholar.


Selected Bibliography

Die griechische Buchmalerei. Vienna: Druck un Verlag der Österreichischen Staatsdruckerei, 1926; and Buberl, Paul. Die byzantinischen Handschriften. 2 vols. Leipzig: Karl W. Hiersemann, 1937-1938;




Contributors: Lee Sorensen


Citation

Lee Sorensen. "Gerstinger, Hans." Dictionary of Art Historians (website). https://arthistorians.info/gerstingerh/.


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Manuscripts scholar.

Gerstenberg, Kurt

Full Name: Gerstenberg, Kurt

Gender: male

Date Born: 1886

Date Died: 1968

Place Born: Chemnitz, Saxony, Germany

Place Died: Würzburg, Bavaria, Germany

Home Country/ies: Germany


Overview



Sources

Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 115-117.




Citation

"Gerstenberg, Kurt." Dictionary of Art Historians (website). https://arthistorians.info/gerstenbergk/.


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