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Geffroy, Gustave

Image Credit: Paul Cezanne

Full Name: Geffroy, Gustave

Other Names:

  • Gustave Geffroy

Gender: male

Date Born: 01 June 1855

Date Died: 24 April 1926

Place Born: Paris, Île-de-France, France

Place Died: Paris, Île-de-France, France

Home Country/ies: France

Subject Area(s): biography (general genre) and Impressionist (style)

Career(s): art critics and biographers


Overview

Art critic and novelist; first biographer of Monet and early historian of Impressionism. Geffroy’s parents moved to Paris from Morlaix, Brittany the year before his birth. He attended the Collège Chaptal, Paris between 1868-1870. At his father’s death in 1870, he left school without earning his lycée degree to work in a bank. Geffroy met Louis-Nicolas Ménard (1822-1901), a hellenist, who piqued an interest in art. With his help, Geffroy founded a journal, Paris-Revue, which lasted a year. Salon reviews were written by Geffroy’s friend, the engraver Victor-Louis Focillon (1849-1918). In 1880 Geffroy joined the editorial staff of the newly-founded newspaper La Justice under Georges Clemenseau (1841-1929), who became a mentor. A friendship with Edmond de Goncourt, begun in 1882, nutured an appreciation in Naturalist literary theories. He rose to art critic of La Justice in 1884. He met Rodin the same year. Through Goncourt’s literary salon, known as the grenier, Geffroy met other writers, including Émile Zola. On a trip researching a prison of Napoleon III’s reigme for a book, Geffroy and Focillon met Claude Monet at Belle-Ile-en-Mer, France, in 1886 whom he already greatly admired. Monet introduced him to other Impressionist painters at the Café Riche dinners in Paris. In 1892 Geffroy published a piece, “Histoire de l’impressionnisme” (History of Impressionism), the first historic treatment of the full artistic movement. The same year the first volume of his collected articles on art, La Vie artistique, appeared. The work eventually ran to eight volumes, completed in 1903. The following year, 1893 Geffroy moved to Le Journal as art critic. His early championing of Rodin was rewarded by a sponsorship of a Légion d’honneur award by the artist and Goncourt. His support of Cézanne gained him a portrait (today, Musée d’Orsay) the same year. A champion of art for the masses, he campaigned for a museum of decorative art for the working classes, the Musée du Soir, to be open evenings when laborers could visit. His later writing can largely be seen as an attempt to fill this goal. He was appointed an official for art at the 1900 Paris Expo. Together with the young Henri Focillon, Victor-Louis Focillon’s son, he published the first volume of his series Les Musées d’Europe (The Museums of Europe) in 1900, a narrative tour of art. His appointment as director of the Manufacture des Gobelins in 1908 (through Clemenseau) curtailed his criticism writing. He was named president of the l’Académie Goncourt in 1912. Perhaps feeling a rush to be the first to document the life and work of Claude Monet, Geffroy compiled the first biography and catalog of the artist’s work in 1922. By that time Geffroy had sold most of his astutely collected masterpieces to pay for debts. A final art series, Maîtres anciens et modernes (Old Masters and Modern) appeared in 1923. He died three years later. A street, rue Gustave-Geffroy, bordering the Gobelins, was named after him in 1937. Geffroy’s overview history of Impressionism was more influential the initial treatment of Théodore Duret in 1878 because of its historical distance and the personal recollections he was able to employ. The same year as his book, 1892, the writer Georges Lecomte (1867-1958) published L’Art impressionniste, d’après la collection privée de M. Durand-Ruel (The Impressionist Art, from the Private Collection of Durand-Ruel) a survey confined to an individual collection. Though Geffroy’s book drew from previous Impressionist sources such as Edmond Duranty and Duret, his work embraced a history of exhibitions and responses. Though not an avant-garde critic–the Impressionist group had disbanded and all their major battles won by his publication–he was the first to understand among other things, Monet’s series paintings, Rodin’s unorthodox poses and Cézanne’s “unfinished” pictures (Paradise, 1985). Like his friend, Edmond de Goncourt, he rejected idealistic and academic art and much of Symbolist writing in favor of naturalism. His own writing was intended to educate; his contemporaries considered him able to create verbal equivalents for works of visual art (Paradise, 1985). Methodologically, his approach his approach heralds the era of formalism; in the Musées d’Europe for example he connects Corot and Rembrandt as painters of light. Though an appreciator of later movements (Geffroy as one of the first critics to praise Cézanne in 1894)–Geffroy claimed bewilderment at the later art movements of Fauvism and Cubism. His attempt at documentary art history was less successful. He sent his friend Monet written questions for the biography which Monet famously responded with one-word answers; the book is considered important but unreliable (Paradise, Dictionary of Art). Élie Faure, Louis Vauxcelles, the poet and art critic André Salmon (1881-1969) and Apollinaire all cited him as influential to their own work.


Selected Bibliography

La vie artistique. 8 vols. Paris: E. Dentu, 1894; Constantin Guys: l’historien du Second Empire. Paris: Floury, 1904; Claude Monet: sa vie, son temps, son oeuvre. Paris: G. Crés, 1922.


Sources

Gazette des Beaux-Arts 13 (June 1926): 321-325; Denommé, Robert Thomas. The Naturalism of Gustave Geffroy. Geneva: Librarie Droz, 1963; Schapiro, Meyer. Paul Cézanne. 3rd ed. New York: Abrams, 1965, p. 94; Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986 p. 492; Rewald, John. A History of Impressionism. 4th ed. New York: Museum of Modern Art, 1973, p. 566; Paradise, Joanne Culler. Gustave Geffroy and the Criticism of Painting. New York: Garland, 1985; Jensen, Robert. Marketing Modernism in fin-de-siècle Europe. Princeton, NJ : Princeton University Press, 1994, pp. 99-100; Paradise, Joanne Culler. “Geffroy, Gustave.” Dictionary of Art 12: 234; [obituaries:] Dadhilac, P.E. “Gustave Geffroy.” L’Illustration (April 1962): 349; Salmon, Andre. “Gustave Geffroy.” L’Art Vivant (April 15, 1926): 281-282.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Geffroy, Gustave." Dictionary of Art Historians (website). https://arthistorians.info/geffroyg/.


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Art critic and novelist; first biographer of Monet and early historian of Impressionism. Geffroy’s parents moved to Paris from Morlaix, Brittany the year before his birth. He attended the Collège Chaptal, Paris between 1868-1870. At his father’s d

Gébelin, François

Full Name: Gébelin, François

Gender: male

Date Born: 1884

Date Died: 1972

Home Country/ies: France

Subject Area(s): French Renaissance and Renaissance

Institution(s): École des Chartes


Overview

studied the châteaux of the French Renaissance



Sources

Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986 p. 487.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Gébelin, François." Dictionary of Art Historians (website). https://arthistorians.info/gebelinf/.


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studied the châteaux of the French Renaissance

Gebauer, Jan

Full Name: Gebauer, Jan

Gender: male

Date Born: 1884

Date Died: 1908

Home Country/ies: Czechoslovakia


Overview

Student of Max Dvořák.



Sources

Rokyta, Hugo.”Max Dvora´k und seine Schule in den Böhmischen Ländern.” Österreichische Zeitschrift für Kunst und Denkmalpflege 28 no. 3 (1974): 81-89.




Citation

"Gebauer, Jan." Dictionary of Art Historians (website). https://arthistorians.info/gebauerj/.


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Student of Max Dvořák.

Gautier, Théophile

Image Credit: Artvee

Full Name: Gautier, Théophile

Other Names:

  • Pierre-Jules-Théophile Gautier

Gender: male

Date Born: 1811

Date Died: 1872

Place Born: Tarbes, Occitanie, France

Place Died: Paris, Île-de-France, France

Home Country/ies: France

Subject Area(s): Modern (style or period)

Career(s): art critics


Overview

French art critic and poet; primary exponent of the art-for-art’s sake approach. Gautier was the son of bureaucrat in the French tax office, Pierre Gautier, and his mother was mother was Antoinette-Adelaïde Concarde. In 1814 his family moved to Paris where Gautier received a formal education at the Collège Charlemagne. In 1829 he entered the studio of Louis-Edouard Rioult (1790-1855), a pupil of Jacques-Louis David. Though he did not remain there long, he adopted a bohemian lifestyle, joining the Romantic circle of Victor Hugo. Following the July Revolution (1830), he was among the esthetes who embraced the notion of art’s autonomy and freedom from supporting ideology. Gautier’s preface to his 1835 book, Mademoiselle de Maupin became an early statement of the “l’art pour l’art” ideology, i.e., art need bear no deep meaning or be for any purpose other than its own beauty to be important. When Emile de Girardin (1806-1881) founded his La Presse in 1836, Gautier was one of its first regular art and theatre critics. Gautier covered nearly all the Salons for La Presse during Louis-Philippe’s reign, 1830-1848. He wrote on architecture and the applied arts as well. Gautier promoted the work of Ingres and Delacroix largely through his technique of actively and personally entering into the picture’s story. Gautier’s 1843 travelogue, Tra los montes, and reissued as Voyage en Espagne in 1845, introduced France to the work of Francesco Goya. He fell in love with the ballerina Carlotta Grisi (1819-1899), whose performances he reviewed, eventually marrying her sister Ernestina Grisi. After the 1848 revolution, Gautier focused on sculpture as the prime medium. In 1854 he joined Le Moniteur universel, leaving La Presse the following year, to write a book on the Exposition Universelle of 1855, Les Beaux-arts en Europe (1855-56). He assumed the editorship of L’Artiste in 1856. The following year his poem “L’Art” appeared. “L’Art” is the most specific statement of his view of sculpture, the naked, idealized body as expressing a metaphor of the primacy of the life (Snell). Gautier became the Second Empire’s chief arbiter of artistic sensibility, both artistic and literary. He framed both Delacroix and Ingres as modern Old Masters. He was instrumental in the official acceptance of Gustav Courbet, though he condemned the artist as a willful, misguided anti-idealist. Gautier did not approve of Impressionism, criticizing Manet’s “Olympia” (1863) because it could not allow a nostalgic interpretation. His later Salon reviews, from the 1860s onward are simple descriptions of paintings, resorting to ghost-writers to handle the ever-increasing size of the shows. He secured a sinecure as the librarian to Princess Mathilde Bonaparte (1820-1904) in 1868. His final Salon review was in 1872. He succumbed to cardiac failure at age 61 and is interred at the Cimetière de Montmartre, Paris. The notion “l’art pour l’art” (art for art’s sake) preceded Gautier’s use. It had been popularized in the early 19th century in De l’Allemagne (1813) by Madame de Staël (1766-1817) and in the philosophy lectures delivered by Victor Cousin (1792-1867) at the Sorbonne, “Du vrai, du beau et du bien” 1816-1818. Gautier however, was the first to publish the phrase in 1833, followed closely by Cousin’s published lectures three years later. Gautier’s art theory views art as a microcosm of an inner world, perceived and translated through the outer world of appearances by the viewer. Art appreciation for Gautier “transported” him to a world of pure emotions, violence and sensations that heightened the dramatic truth of art. This idealism lead to a religious experience of art, which he termed the “temple of art,” a somewhat ironic position for a person who viewed himself as a modern pagan. His interest in 18th-century art led to a reappraisal of the style. His emphasis on the subjective in art appreciation greatly influenced Edmond and Jules de Goncourt as well as the younger Charles Baudelaire (1821-1867). His approach continued its appeal in twentieth century, though it was replaced by other methodologies. Nicos Hadjinicolaou, in his 1978 Art History and Class Struggle provided a strong critique against “l’art pour l’art.” A passionate temperament during revolutionary times, he had caught the imagination of revolutionary young artists and writers and yet balanced his reputation with the cautious bourgeoisie (Licht).


Selected Bibliography

Mademoiselle de Maupin: double amour. Paris: E. Renduel, 1835-1836; Tra los montes. Paris: G. Charpentier et cie, 1843 [most commonly cited edition is the 2nd, corrected ed. Voyage en Espagne. Paris: G. Charpentier, 1845]; Les Beaux-Arts en Europe, 1855. 2 vols. Paris, Michel Lévy, 1855-1856; L’art moderne. Paris: Michel Lévy Frères, 1856; Abécédaire du Salon de 1861. Paris: E. Dentu, 1861.


Sources

Richardson, Joanna. Théophile Gautier, his Life & Times. London: Coward-McCann 1959; Spencer, Michael C. The Art Criticism of Theophile Gautier. Geneva: Droz, 1969; Licht, Fred. Goya in Perspective. Engelwood Cliffs, NJ: Prentice-Hall, 1973, p. 170; Snell, Robert. Théophile Gautier, a Romantic Critic of the Visual Arts. New York: Oxford University Press, 1982; Lacoste-Veysseyre, Claudine. La critique d’art de Théophile Gautier. Montpellier: Sup Exam, 1985 [includes an index of artists discussed by Gautier]; Snell, Robert. “Gautier, (Pierre-Jules-)Théophile.” Dictionary of Art.




Citation

"Gautier, Théophile." Dictionary of Art Historians (website). https://arthistorians.info/gautiert/.


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French art critic and poet; primary exponent of the art-for-art’s sake approach. Gautier was the son of bureaucrat in the French tax office, Pierre Gautier, and his mother was mother was Antoinette-Adelaïde Concarde. In 1814 his family moved to Pa

Gaunt, William

Full Name: Gaunt, William

Gender: male

Date Born: 1900

Date Died: 1980

Place Born: Kingston-Upon-Hull, Yorkshire, England, UK

Place Died: London, Greater London, England, UK

Home Country/ies: United Kingdom

Subject Area(s): drawings (visual works) and Pre-Raphaelite

Career(s): art critics, artists (visual artists), and authors


Overview

Artist, art critic and art historian. Born the son of a graphic designer and chromolithographer, Gaunt dabbled in drawing and writing as a youth. In 1914, after winning a literary contest in the Connoisseur for an essay on Shakespeare’s The Tempest, his thoughts seriously turned to criticism. He served briefly in World War I, fighting in the Durham Light Infantry, 1918, until the war ended that year. The following year he attended Worcester College, Oxford, where he read modern history and participated in the Art Society. At Oxford his friends included John Rothenstein and Cyril Connolly. Graduating with honors in 1922, he studied at the Ruskin School of Drawing and wrote reviews of art exhibitions. He worked as a free-lance contributor for The Studio magazine, editing several special issues. Gaunt was fascinated by the Pre-Raphaelites, at that time undervalued as Victorian. He published in 1924 his most enduring title on that subject, The Pre-Raphaelite Tragedy. He completed an M.A. in 1926. In 1930 he published a collection of his drawings, called London Promenade. 1935 he married Mary Catherine Reilly Connolly (died, 1980). The years 1930-39 were spent writing various literary and artistic criticism, including The Pre-Raphaelite Tragedy. During the Second World-War, he took a special appointment for the war effort and researched for the book The Aesthetic Adventure. The Gaunts lived in a country cottage near the Surrey Hampshire borders.



Sources

Kunitz, Stanley J. Twentieth Century Authors. First supplement. New York: H. W. Wilson, 1955, p. 355-6; “Mr William Gaunt” [obituary] Times [London]. May 26, 1980, p. 10.




Citation

"Gaunt, William." Dictionary of Art Historians (website). https://arthistorians.info/gauntw/.


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Artist, art critic and art historian. Born the son of a graphic designer and chromolithographer, Gaunt dabbled in drawing and writing as a youth. In 1914, after winning a literary contest in the Connoisseur for an essay on Shakespeare’s <

Gaugh, Harry F.

Full Name: Gaugh, Harry F.

Other Names:

  • Harry F. Gaugh

Gender: male

Date Born: 1938

Date Died: 1992

Place Born: Indianapolis, Marion, IN, USA

Place Died: Glens Falls, Warren, NY, USA

Home Country/ies: United States

Subject Area(s): Abstract Expressionist, American (North American), and Expressionist (style)


Overview

Americanist, especially on Abstract Expressionism and particularly Franz Kline. Gaugh graduated from Indiana University in 1960. He initially considered a career in journalism, working as a police and court reporter in Chicago while earning an M.A. in journalism in 1963. He became interested in art history, writing a second M.A. in art history in 1966 and joining the faculty of Skidmore College, Saratoga Springs, NY. A 1972 dissertation on Franz Kline, the first ever, was granted also from Indiana University. In 1979 Gaugh organized a show for Franz Kline at the Phillips Gallery in Washgington, D. C. His first monograph from Abrams (Abbeville) Press was a 1983 short work on Willem de Kooning. In 1985, he wrote the first full-length biography of Kline as part of an exhibition on the artist he organized at the Cincinnati Art Museum. He delivered the Edwin M. Moseley Faculty Research Lecture at Skidmore College in 1986. Gaugh considered himself an art critic and throughout his career published art criticism, mostly on modern art. He contracted lymphoma at age 53 from which he died. He is buried in Indiana. Gaugh was responsible for providing the standard account of one of the most important and difficult Abstract Expressionists, Franz Kline, who, like Gaugh, died early. A painter himself, Gaugh approached the movement on formal terms connecting Kline’s work to the events of his life. Gaugh largely brought the painter back into scholarly focus.


Selected Bibliography

[dissertation:] The Art of Franz Kline 1930-1950: Figurative to Mature Abstraction. Indiana University, 1972; The Vital Gesture, Franz Kline: Cincinnati Art Museum. New York: Abbeville Press, 1985; Willem de Kooning. New York: Abbeville Press, 1983.


Sources

[obituaries:] “Harry F. Gaugh Dies, Art Professor Was 53.” New York Times September 16, 1992, p. D25; “Harry F. Gaugh, 53, Art Instructor.” [Albany] Times Union September 14, 1992.




Citation

"Gaugh, Harry F.." Dictionary of Art Historians (website). https://arthistorians.info/gaughh/.


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Americanist, especially on Abstract Expressionism and particularly Franz Kline. Gaugh graduated from Indiana University in 1960. He initially considered a career in journalism, working as a police and court reporter in Chicago while earning an M.A

Gassier, Pierre

Full Name: Gassier, Pierre

Gender: male

Date Born: 01 September 1915

Date Died: 28 May 2000

Place Born: Étampes, Île-de-France, France

Place Died: Marbella, Málaga, Andalusia, Spain

Home Country/ies: France and Spain

Subject Area(s): painting (visual works) and Spanish (culture or style)


Overview

Art Historian whose research centered primarily on Francisco Goya. Gassier was born in 1915 in Étampes outside Paris. After attending the Lycée Henri-IV and the Sorbonne, he was appointed professor of French literature at the French Institute in Barcelona 1941, later moving to Madrid. Gassier’s involvement with the publication of Drawings by Goya at the Prado Museum in 1947, prefaced by André Malraux, would establish his reputation as a specialist on Francisco Goya’s work (Delcroix).

Gassier returned to France in 1957 and remained there until 1968 when he was appointed cultural attaché at the French embassy in Greece. Shortly afterwards, in 1971, Gassier was appointed cultural advisor to the French embassy in Italy. In the same year, Gassier published The Life and Work of Francisco Goya in collaboration with Juliet Wilson. The book, which would earn its authors international recognition, explores the evolution of Goya’s work over the course of his life. Through subtle readings of the images, Gassier and Wilson demonstrated how Goya’s work explored contemporary issues from a range of perspectives, examining what the author’s describe as “the many-sided expression of an idea or theme.”

Between 1973 and 1975 Gassier published a two-volume work, The Drawings of Goya, which explores the artist’s work in much greater detail than his previous survey. Volume I, The Complete Albums (1970), focuses on the final thirty years of the artist’s life during which he produced numerous sketchbooks including the series that would form the basis for his Caprichos. Volume II, The Sketches, Studies and Individual Drawings (1975), looks at the artist’s preparatory drawings.

In 1975, Gassier was elected ordinary professor of art history at the University of Neuchâtel. In Switzerland he went on to produce two more books, both of which extended beyond his earlier concentration on Goya. In Léopold Robert, he argued that the nineteenth century painter’s suicide was the result of mental instability, exacerbated by the death of his brother. The monograph was awarded the prize for Most Beautiful Swiss Book in 1983. In the same year he also published a study of the early career of French artist Henri Manguin, Manguin Parmi Les Fauves.


Selected Bibliography

  • Goya: biographical and critical study. New York: Skira, 1955;
  • with Juliet Wilson. The life and complete work of Francisco Goya: with a catalogue raisonné of the paintings, drawings and engravings. New York: Reynal, 1971;
  • Drawings: the complete albums. New York: Praeger; London: Thames and Hudson, 1973;
  • Goya: A witness of his times. Secaucus, N.J.: Chartwell Books, 1983;
  • The drawings of Goya: the sketches, studies and individual drawings. New York: Harper and Row, 1975;
  • Léopold Robert. Neuchâtel: Ides et Calendes, 1983;
  • Manguin parmi les Fauves. Martigny: Fondation Pierre Gianadda, 1983.

Sources

  • Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986: 443;
  • Ceron, Mercedes. “Goya.” Print Quarterly, 33 (3), 2016: 313-315;
  • Delcroix, Olivier. “Disparition; Pierre Gassier”. Le Figaro. 02 November 2000. Accessed Aug 20, 2021 https://advance-lexis-com.proxy.lib.duke.edu/api/document?collection=news&id=urn:contentItem:4B00-PD40-TWK5-W1ST-00000-00&context=1516831;
  • Mayor, A. Hyatt. Review of Francisco Goya. Drawings. The Complete Albums by Pierre by Pierre Gassier. Master Drawings, vol. 12, no. 3 (Autumn, 1974): 285-286;
  • Paulson, Ronald. Review of The Drawings of Goya: Vol. I, The Complete Albums by Pierre Gassier: The Drawings of Goya: Vol. II, The Sketches, Studies and Individual Drawings by Pierre Gassier. The Georgia Review, vol. 30, No. 4 (Winter 1976): 1010-1015;
  • Whiteley, J. J. L. Review of Léopold Robert by Pierre Gassier. The Burlington Magazine, vol. 126, no. 975 (1984): 364.


Contributors: Lee Sorensen and Shane Morrissy


Citation

Lee Sorensen and Shane Morrissy. "Gassier, Pierre." Dictionary of Art Historians (website). https://arthistorians.info/gassierp/.


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Art Historian whose research centered primarily on Francisco Goya. Gassier was born in 1915 in Étampes outside Paris. After attending the Lycée Henri-IV and the Sorbonne, he was appointed professor of French literature at the French Institute in B

Gasparini, Graziano

Image Credit: Wikidata

Full Name: Gasparini, Graziano

Other Names:

  • Graciano Gasparini

Gender: male

Date Born: 1924

Home Country/ies: Italy

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

Institution(s): Bolivarian Museum


Overview

Faculty of architecture and urbanism, Caracas


Selected Bibliography

Templos coloniales de Venezuela. Caracas, 1959.; La Arquitectura colonial en Venezuela. Caracas, 1965.


Sources

Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986 p. 456



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Gasparini, Graziano." Dictionary of Art Historians (website). https://arthistorians.info/gasparinig/.


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Faculty of architecture and urbanism, Caracas

Garger, Ernst von

Full Name: Garger, Ernst von

Gender: male

Date Born: c. 1892-1893

Date Died: 1948

Home Country/ies: Austria


Overview

Director of the Kunstgewerbemuseum (Arts and Industry Museum), Vienna. In 1933 he secured the assistance of Ludwig Münz in reorganizing the antiquities collection of the Kunstgewerbemuseum, which was regarded as a model of its kind (Burlington Magazine).



Sources

N. M. “Dr Ludwig Münz.” Burlington Magazine 99 no. 657 (Dec., 1957), pp. 419-420; Österreichisches biographisches Lexikon 1815-1950; Neue Deutsche Biographie. Berlin: , 1953 ff.; Czeike, Felix. Historisches Lexikon Wien. Wien: Kremayr & Scheriau, 1992-1997, www.kremayr-scheriau.at; Deutsche Biographische Enzyklopädie. Munich: Saur, 1995-1999.




Citation

"Garger, Ernst von." Dictionary of Art Historians (website). https://arthistorians.info/gargere/.


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Director of the Kunstgewerbemuseum (Arts and Industry Museum), Vienna. In 1933 he secured the assistance of Ludwig Münz in reorganizing the antiquities collection of the Kunstgewerbemuseum, which was regarded as a model of its

Gardner, Stephen

Full Name: Gardner, Stephen

Other Names:

  • William Stephen Gardner

Gender: male

Date Born: 11 March 1948

Date Died: 18 August 1991

Place Born: AR, USA

Place Died: Santa Barbara, Santa Barbara, CA, USA

Home Country/ies: United States

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


Overview

Medievalist architectural historian. Gardner was raised in Arkansas. [mother’s maiden name: Boyette?]. He graduated with a B.A. in art history from Duke University in 1970, continuing graduate work at Princeton University, earning his M.A. and Ph.D in 1976. His thesis, on the topic of British Romanesque planning was supervised by Alan Borg and Robert Branner of Columbia University. He taught as a graduate instructor at Boston University. When Branner died in 1973, several temporary hires were made until ultimately Gardner was appointed as his tenure-track replacement. Gardner supervised many of the dissertations of Branner’s graduate students and well as attracting his own. A homosexual, Gardner had been active in the lifestyle but not public to his colleagues. In 1985 his partner died of an AIDS-related disease the same year his bid for tenure appointment at Columbia was denied. Gardner spent his terminal year as a fellow at the Center for Advanced Study in the Visual Arts (CASVA) at the National Gallery of Art, Washington, D. C. Gardner contracted AIDS shortly before moving to Santa Barbara where he joined the Department of Art History at the University there. In May of 1991, his health declining, a symposium in his honor was organized by his former students and held at Riverside Church, New York. Gardner succumbed to an AIDS-related illness in 1991. He was succeeded at Santa Barbara by C. Edson Armi. Gardner’s papers, including his unfinished manuscript on the origins of Gothic in the Ile-de-France, are deposited at The Cloisters Museum NYC.


Selected Bibliography

[dissertation] The Role of Central Planning in English Romanesque Chapter House Design. Princeton University, 1976; “Notes on a view of St. Lucien at Beauvais.” Gazette des Beaux-Arts (November 1980): 149-156; “The Nave Galleries of Durham Cathedral.” Art Bulletin 64 no 4 (December 1982): 564-579; “Two Campaigns in Suger’s Western Block at St.-Denis.” Art Bulletin 66 no. 4 (December 1984): 574-587;”Sources for the Façade of Saint-Lucien in Beauvais.” Gesta 25 no 1, (1986): 93-100; “L’église Saint-Julien de Marolles-en-Brie et ses rapports avec l’architecture parisienne de la génération de Saint-Denis.” Bulletin Monumental 144 no.1 (1986): 7-31.


Sources

Duke University Alumni Association archives; Columbia University Archives; [Mary Parvo, personal correspondence, February 2012].




Citation

"Gardner, Stephen." Dictionary of Art Historians (website). https://arthistorians.info/gardners/.


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Medievalist architectural historian. Gardner was raised in Arkansas. [mother’s maiden name: Boyette?]. He graduated with a B.A. in art history from Duke University in 1970, continuing graduate work at Princeton University, earing his M.A. and Ph.D