Galavaris, George P.
Full Name: Galavaris, George P.
Gender: male
Date Born: unknown
Date Died: 2003
Place Born: Athens, Region of Attica, Greece
Home Country/ies: Greece
Subject Area(s): Byzantine (culture or style) and Medieval (European)
Overview
Byzantinist art historian. Galavaris studied at the University of Athens. He received his Ph.D. from the department of art and archaeology at Princeton University in 1958, writing a thesis on Byzantine liturgical illustration under Kurt Weitzmann. He joined the faculty of McGill University, Montreal. In 1990 in collaboration with Weitzmann, he co-published the reseach collected on the Monastery of St. Catherine’s at Mount Sinai, Egypt, The Illuminated Manuscripts. He retired in 1994. Galavaris’ area was Byzantine manuscript illuminations. A scholar of broad interests, his research areas ranged from philosophy to poetry and liturgy. He painted professionally, played piano avocationally, and published short stories.
Selected Bibliography
[dissertation:] The Illustration of the Liturgical Homilies of Gregory of Nazianzenus. Ph.D., Princeton University, 1958, “Symbolism of the Imperial Costume as Displayed on Byzantine Coins.” Museum Notes (American Numismatic Society) 8 (1958): 99-117; “Seals of the Byzantine Empire.” Archaeology 12 (December 1959): 264-70; Bread and the Liturgy; the Symbolism of Early Christian and Byzantine Bread Stamps. Madison, WI: University of Wisconsin Press, 1970; The Illustrations of the Prefaces in Byzantine Gospels. Vienna: Verl. d. Österr. Akad. d. Wiss., 1979; “Alexander the Great Conquerer and Captive of Death: his Various Images in Byzantine Art.” RACAR, Revue d’Art Canadienne/Canadian Art Review 16 no. 1 (1989): 12-18; and Weitzmann, Kurt. The Monastery of Saint Catherine at Mount Sinai: the Illuminated Greek Manuscripts. vol. 1, From the Ninth to the Twelfth Century. Princeton, NJ: Princeton University Press, 1990, Holy Monastery of Iveron: the illuminated Manuscripts. Mount Athos: The Monastery, 2002.
Sources
“George Galavaris *58.” Princeton Alumni Weekly December 17, 2003. http://paw.princeton.edu/memorials/23/61/index.xml
Byzantinist art historian. Galavaris studied at the University of Athens. He received his Ph.D. from the department of art and archaeology at Princeton University in 1958, writing a thesis on Byzantine liturgical illustration under
Full Name: Gaillard, Georges Gender: male Date Born: 1900 Date Died: 1967 Home Country/ies: France Subject Area(s): Medieval (European) Institution(s): Université de Lille Medievalist. Scholar of Romanesque art. Crozet, René. “Georges Gaillard.” Le Moyen-Age 3- 4 (1967): 607-613. Contributors: Lee Sorensen Medievalist. Scholar of Romanesque art. Full Name: Gage, John Gender: male Date Born: 1938 Date Died: 2012 Home Country/ies: United Kingdom Institution(s): University of Cambridge Turner scholar. Turner: Rain, Steam, and Speed. New York, Viking Press, 1972. Contributors: Lee Sorensen Turner scholar. Full Name: Gaertner, Johannes A. Other Names: Gender: male Date Born: 1912 Date Died: 1996 Place Born: Berlin, Germany Place Died: Easton, Clarion, PA, USA Home Country/ies: Germany Subject Area(s): aesthetics and art theory Career(s): educators Aesthetician, art educational theorist, professor of art history at Lafayette College, Easton, PA,1947-1977. Gaertner was the son of Carl Eugen Gaertner (1884-1937) and Fanny Hurwitz (Gaertner). Though his mother was Jewish, he was raised a Christian. Gaertner received his doctorate in theology from the University in Heidelberg in 1936, writing a dissertation on Johann Gottfried Herder’s position on Christian art. His intent was to become a Christian minister. Despite being half Jewish, Gaertner was eligible for conscription in the German army. To avoid this, he emigrated to Peru immediately after graduation. There he met and married a Jewish refugee, also from Berlin, Gerda Meyer (1916-2004), a fashion designer, in 1941. The coupled lived in the South American country until the end of the World War II where Gaertner worked as a private language tutor in Lima and subsequently for a book importer. He and his wife moved to the United States in 1946, initially settling in New York working for a book publisher. He was sponsored in the United States by the director of the Boston Athenaem, Walter Muir Whitehill (1905-1978), through a mutual interest in Latin. Gaertner was hired at Lafayette College in Easton PA in 1947, initially as the Latin teacher. He parlayed his skills in the small college to teaching a variety of humanities courses of the years. He published poetry in Latin and German between 1954 and 1964. At Lafayette, Gaertner instituted the first art history courses, a single one-term class. He was promoted to associate professor in 1958. Gaertner collecting his thoughts on American painting in a German-language book, Prisma der Demokratie: Ausdruck und Selbstkritik in der Malerei Amerikas, published in 1961. He was promoted to professor of art history in 1967, remaining teaching there for the next ten years until he retired emeritus. Students inspired by Gaertner included the Yale University art historian Jules Prown. He died at a local hospital at age 83. Gaertner was characteristic of many one-person art history departments in the second half of the 20th Century in the United States. He taught all areas of art as a way to bring cultural studies to a small college. His early publishing career was on Latin instruction (his appointment at the time) and later on art articles on art instruction. Prown described Gaertner as “an inspirational but idiosyncratic undergraduate teacher.” [dissertation:] Johann Gottfried Herders Anschauungen über eine christliche Kunst. Ph.D., Heidelberg, 1936, published Berlin, 1938; “Myth and Pattern in the Lives of Artists.” Art Journal 30, no. 1 (Autumn, 1970): 27-30; Prisma der Demokratie: Ausdruck und Selbstkritik in der Malerei Amerikas. Berlin: B. Hessling, 1961.0.Metzler [Staff Biographical Form, Lafayette College, complete December 7, 1965]; 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. 184-5; Bliwise, Robert. “Dr. Johannes Gaertner: The Many Dimensions of a Lafayette Scholar.” The Lafayette May 11, 1972; Ruthizer, Jeffery. “My Lafayette Experience – Connecting My Life After Lafayette.” Lafayette Alumni News Summer 2006. http://www.lafayette.edu/press/magazine/June06/reflect; Prown, Jules David. [comments from the symposium dinner, October 20, 1995] Yale Journal of Criticism 11 no. 1 (1998): 9-10; [obituaries:] “Johannes Gaertner, 83, Lafayette Professor of Foreign Languages.” Morning Call January 30, 1996, p. B5; Express Times (Easton, PA) January 30, 1996, p. B6; personal conversation, Susanna Gaertner, February 13, 2008. Aesthetician, art educational theorist, professor of art history at Lafayette College, Easton, PA,1947-1977. Gaertner was the son of Carl Eugen Gaertner (1884-1937) and Fanny Hurwitz (Gaertner). Though his mother was Jewish, he was raised a Christ Full Name: Gablik, Suzi Other Names: Gender: female Date Born: 1934 Place Born: New York, NY, USA Home Country/ies: United States Subject Area(s): aesthetics Career(s): art critics and artists (visual artists) Artist, art critic and art historian. Gablik was born to Anthony J. Gablik and Geraldine Schwarz (Gablik). She briefly attended Black Mountain College during the summer of 1951 before entering Hunter College (now part of the City University of New York) where she studied with Robert Motherwell. She received her B. A. in 1955. Gablik began as an artist working in college paintings. In 1966 held her first one-woman show in New York. She and the New York Times art critic John Russell wrote the exhibition catalog, Pop Art Redefined in 1969. Another solo show was held in 1972 in New York. In the late 1970s she ceased making art to devote herself to writing art history and criticism. She became a university lecturer. In 1977 she authored Progress in Art. Her writing became increasingly concerned with the social aspects. Her book Has Modernism Failed? appeared in 1984. In it she argued that the early modern art movement’s commitment to social change ceased in the art of the 1980s. Gablik claimed she stopped being a visual artist because her writing was more satisfying and was more able to alter people’s thinking through books than art. She was the London critic for Art In America for most of the 1980s. Her Re-Enchantment of Art, 1991 pitted a new “connective aesthetics” against what she termed “deconstruction and despair.” The dominant art, she believed, was part of the problem. Re-Enchantment suggested a new “connective aesthetics” arguing against what she saw as the dominant trends of deconstruction and despair. Art should heal, she argued, something that contemporary art did not do. Magritte. Greenwich, CT: New York Graphic Society, 1970; and Russell, John. Pop Art Redefined. New York: Praeger, 1969; Has Modernism Failed? New York: Thames and Hudson, 1984; Progress in Art. New York: Rizzoli, 1977; The Re-Enchantment of Art. London: Thames and Hudson, 1992. 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. 26; Bryson, Greg. “Suzi Gablik.” Art Criticism 14 no. 1 (1999):11-15, and “An Interview with Suzi Gablik.” 16-19; Gablik, Suzi. Living the Magical Life: An Oracular Adventure. Grand Rapids, MI: Phanes Press, 2002; Conversations Before the End of Time. New York: Thames and Hudson, 1995. Artist, art critic and art historian. Gablik was born to Anthony J. Gablik and Geraldine Schwarz (Gablik). She briefly attended Black Mountain College during the summer of 1951 before entering Hunter College (now part of the City University of New Full Name: Gabburri, Francesco Maria Niccolo Other Names: Gender: male Date Born: 1676 Date Died: 1742 Place Born: Florence, Tuscany, Italy Place Died: Florence, Tuscany, Italy Home Country/ies: Italy Subject Area(s): biography (general genre) Career(s): art collectors and biographers Art historian and collector; Gabburri compiled after 1719 an ambitious encyclopedic dictionary of artists’ lives, ranging from the primitives to his contemporaries, called the Vite, it remains in manuscript. Art historian and collector; Gabburri compiled after 1719 an ambitious encyclopedic dictionary of artists’ lives, ranging from the primitives to his contemporaries, called the Vite, it remains in manuscript. Full Name: Fuseli, Henry Other Names: Gender: male Date Born: 06 February 1741 Date Died: 16 April 1825 Place Born: Zürich, Switzerland Place Died: Putney Hill, Surrey, England, UK Home Country/ies: Switzerland Subject Area(s): German (culture, style, period) Painter and Royal Academy teacher; translator of German art histories and art historian. Fuseli, born Heinrich Füssli, was one of eighteen children (five living to adulthood) born to Johann Caspar Füssli (1706-1782), in later life a city clerk, and his wife, Anna Elisabeth Waser (Füssli) (1714-1759). His father devoted his life to art, painting portraits, writing on art and collecting master drawings and prints. The father’s correspondence with theorists such as Johann Joachim Winckelmann and artists inspired the young Heinrich; the elder Füssli’s Geschichte der besten Künstler in der Schweitz (History of the Best Painters in Switzerland) (2 vols. 1755-1757) may have been written or researched in part by his son. After home tutoring by his mother, Fuseli attended Caroline College, Zürich, studying literature, aesthetics, Greek, and Latin under Johann Jakob Bodmer (1698-1783) and Johann Jakob Breitinger (1701-1776). He gained a strong command of Greek and Latin. Fuseli was ordained a minister in 1761, according to his father’s wishes. In 1762 he and two colleagues issued a pamphlet accusing the corrupt Zürich magistrate Felix Grebel of graft and Fuseli was forced to flee to Prussia in 1763 to avoid retribution. There he met another Swiss expatriate, the art theorist and mathematician Johann Georg Sulzer (1720-1779). Fuseli assisted Sulzer with his book Allgemeine Theorie der schönen Künste (General Theory of the Fine Arts), 1773, published in 1774. In 1764 Sir Andrew Mitchell (1708-1771), the British chargé d’affaires in Berlin, took Fuseli to London with the hopes that Fuseli would broaden British knowledge of German-language literature through writing and lectures. In England, Fuseli met the publisher Joseph Johnson (1738-1809) who provided him support through journalism and book illustrations. Fuseli translated one of the first serious art histories, Winckelmann’s 1755 Gedanken über die Nachahmung der griechischen Werke in der Malerei und Bildhauerkunst, as Reflections on the Painting and the Sculpture of the Greeks in 1765. A published poety, he entered the work of theory with his work, Remarks on J. J. Rousseau, 1767, which endorsed Rousseau’s views on the separation of art and morality. He met Sir Joshua Reynolds in 1768, who urged him to return to painting, which he did, continuing his study of art literature as well. His translation of the Delle virtù e dé premj, 1766, by Giacinto Dragonetti (1738-1818) appeared as Treatise on Virtues and Rewards in 1769. After a disasterous house fire, Fuseli traveled to Rome in 1770 to study art further, though he did not take classes there. His Rome experience led him embrace the mannerists and Michelangelo, particularly their use of line and emotional, discarding the Winckelmann canon of cool classicism. Rome, too, afforded him multiple sexual forays, rendered, perhaps, in Fuseli’s erotic drawings, eventually purchased by art historian Herbert P. Horne for his museum in Florence (Weinglass). Fuseli returned to England with a pause in Switzerland, 1778-1779. In Zürich, he fell deeply in love with the 21-year-old niece of the scientist Johann Caspar Lavater (1741-1801), Anna Landolt (Lavater) vom Rech, unrequited. He and his father brought out a book on selected Winckelmann letters, Winckelmanns Briefe an seine Freunde in der Schweiz. In London, Fuseli exhibited enough history paintings at the Royal Academy between 1780 and 1786 to establish him a reputation in this important genre. He also reacquainted himself with Reynolds, now the president of the Royal Academy. Fuseli’s most famous painting, “The Nightmare,” was painted during this time, bringing him celebrity status and eventual posthumous fame as a forerunner of Romanticism. A cycle of forty-one paintings devoted to Milton’s life and works in 1799 was a financial failure. During this time, he authored more than sixty anonymous critiques of books and exhibition reviews in Johnson’s Analytical Review (1788-1798). In 1788 Johnson published Fuseli’s translations of Lavater’s Vermischte unphysiognomische Regeln as Aphorisms on Man, heavily modified by Fuseli. William Blake met Fuseli around 1787 and became close friends, engraving occasional works for Fuseli. The same year, 1787, he was elected associate of the Royal Academy. Fuseli married Sophia Rawlins (1762/3-1832), a woman more than twenty years younger than him in 1788. About the same time Fuseli met the feminist writer Mary Wollstonecraft (1759-1797) who fell deeply in love with the painter, eventually approaching Fuseli’s young wife’s to share the man between them. Fuseli was elevated to Royal Academician in 1790 (though opposed by Reynolds) and professor of painting in 1799. His three lectures on painting were published in 1801. The final period in Fuseli’s life focused on teaching and formulating his art-historical ideas. A supporter of the French Revolution, he visited Paris in 1802 during the brief Peace of Amiens, visiting the Musée Napoleon and drafting a commentary for British visitors of the paintings looted from Italy as well as other pictures in the museum (present Musée du Louvre). The guide was never published. However, Fuseli revised and published a new edition of Dictionary of Painters originally by Matthew Pilkington in 1805 and issued a radically reworked version in 1810. The new work was noted for its accuracy if occasional personalized view of art (Fuseli disparaged Albrecht Dürer, for example). In 1818 John Knowles (1781-1841)–his future biographer–collaborated with Fuseli in compiling the artist’s notes for the book, Aphorisms on Art and a drafted of Italian Renaissance art history. In 1816 Fuseli, Sir Thomas Lawrence and John Flaxman were elected honorary academicians of the Accademia di San Luca at Rome, likely through the urging of Antonio Canova. He died at the home of the countess of Guilford at Surrey in 1825 and is buried in St. Paul’s Cathedral. Knowles’ posthumous biography included Fuseli’s Aphorisms and A History of Art in the Schools of Italy. Fuseli’s painting students included the leading artists of the next generation, including John Constable, Edwin Landseer, William Mulready, Charles Robert Leslie and Benjamin Robert Haydon. Fuseli’s brother, Rudolf (1737-1806), named his son Johann Heinrich Füssli, who assumed editing a dictionary of painters after Rudolf’s death in 1806. Fuseli’s reputation as an important artist overshadows his work as an art historian and documenter of art. His “uncommonly tenacious visual memory helped him become one of the most perceptive art historians of the eighteenth and nineteenth centuries” (Weinglass). He introduced scores of new art-historical terms into English. Neither trained formally in studio or art history, Fuseli’s tastes could be uneven; he failed to recognize the worth of the Elgin marbles. translated, Winckelmann, Johann Joachim. Reflections on the Painting and Sculpture of the Greeks: with Instructions for the Connoisseur, and an Essay on Grace in Works of Art. London: Printed for the Translator, and sold by A. Millar, 1765; and Sulzer, Johann Georg.Allgemeine Theorie der schönen Künste. 5 vols. Leipzig: Weidemann & Reich, 1774 ; andFüssli, Johann Caspar. Winckelmanns Briefe an seine Freunde in der Schweiz. Zürich: bey Orell, Gessner, Füesslin u. Comp., 1778; and Pilkington, Mathew. A Dictionary of Painters from the Revival of the Art to the Present Period. London: J. Johnson, 1805; [reorganized ed,] London: J Walker, 1810. [complete bibliography:] “Füssli-Literatur.” in Schiff, Gert. Johann Heinrich Füssli, 1741-1825. Zürich: Verlag Berichthaus/Munich: Prestel, 1973, vol. 1, p. 683; Knowles, John. The Life and Writings of Henry Fuseli. London: H. Colburn and R. Bentley, 1831; Tomory, P. A. The Life and Art of Henry Fuseli. New York: Praeger, 1972; Schiff, Gert. Johann Heinrich Füssli, 1741-1825. 2 vols. Zürich: Verlag Berichthaus/Munich: Prestel, 1973; Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986 p. 378; Schiff, Gert. “Essay, Catalogue Entries and Biographical Outline.” in, Hofmann, Werner. Henry Fuseli, 1741-1825. London: Tate Gallery Publications, 1975;Weinglass, D.H. Oxford Dictionary of National Biography; Lentzsch, Franziska Fuseli: the Wild Swiss. Zürich: Scheidegger & Spiess, 2005. Contributors: Lee Sorensen Painter and Royal Academy teacher; translator of German art histories and art historian. Fuseli, born Heinrich Füssli, was one of eighteen children (five living to adulthood) born to Johann Caspar Füssli (1706-1782), in later life a city clerk, an Full Name: Furumark, Arne Gender: male Date Born: 1903 Date Died: 1982 Home Country/ies: Sweden Subject Area(s): Aegean, ancient, archaeology, bronzes (visual works), and metalwork (visual works) Archaeologist, specialist in late Aegean Bronze Age art; professor at Uppsala University 1952-70. Furumark’s major work, The Chronology of Mycenaean Pottery appeared in 1941. It remains the standard work on the subject. After World War II, his innovative research into the prehistory of Italy was published in 1947 as Detäldsa Italien. He excavated Cyprus 1947-48 (at Sinda). In 1950 his “Settlement at Ialysos and Aegean History c. 1550-1400 BC,” was published. He was director of the Swedish Institute in Athens, 1956-57. Furumark returned to Cypriot excavations 1962-63.Furumark employed Ventri’s desciphering of Linear B for his own work; he was one of the first. Chronology of Mycenaean Pottery made use of formal shape typologies to date the pottery. “Furumark” 1 through 333 is used internationally in the description of Mycenean and Minoan pottery. [complete writings:] Hägg, Robin. “The published writings of Arne Furumark: A bibliography.” in Arne Furumark dedicata. Acta Instituti Atheniensis Regni Sueciae Series in quarto. Opuscula Atheniensia VIII (1968): 213-17; The Chronology of Mycenaean Pottery. Stockholm: Kungl. Vitterhets, historie och antikvitets akademien,1941; The Mycenaean Pottery, Analysis and Classification. Stockholm: Kungl. Vitterhets, historie och antikvitets akademien, 1941;[those two previous volumes appearing again, with new plates, as] Mycenaean Pottery. Skrifter utgivna av Svenska institutet i Athen. Stockholm: s.n, 1972-1992. Hägg, Robin. “Furumark, Arne.” Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 1, p. 476; Furumark, Arne, and Adelman, Charles M. Swedish Excavations at Sinda, Cyprus: Excavations Conducted by Arne Furumark 1947-1948. Stockholm: Paul Åströms Förlag, 2003. Archaeologist, specialist in late Aegean Bronze Age art; professor at Uppsala University 1952-70. Furumark’s major work, The Chronology of Mycenaean Pottery appeared in 1941. It remains the standard work on the subject. After World War II Full Name: Furtwängler, Adolf Other Names: Gender: male Date Born: 30 June 1853 Date Died: 11 October 1907 Place Born: Freiburg im Breisgau, Hesse, Germany Place Died: Athens, Region of Attica, Greece Home Country/ies: Germany Subject Area(s): Ancient Greek (culture or style), archaeology, ceramic ware (visual works), Classical, Greek pottery styles, pottery (visual works), and vase Professor of classical archaeology and museum director; established modern methods of ancient Greek vase analysis. Furtwängler’s father was a classical scholar and schoolmaster. From 1870 onward, Furtwängler studied at Leipzig, under Johannes Overbeck and Freiburg where he received his undergraduate degree. His dissertation, Eros in der Vasenmalerei, was written in 1874, (published 1876) in Munich under Enrico Brunn. Furtwängler would later write a memoir of von Brunn. The academic years 1876-1877 and 1877-1878 he worked under a stipend at the Deutsches Archäologisches Institut (DAI), in several Mediterranean countries. In 1878 he participated in the Olympia excavation site of Heinrich Schliemann in Greece. He completed his habilitation the following year under Reinhard Kekulé in Bonn. In 1879 he published together with his colleague Georg Loeschcke, Mykenische Thongefäße. This groundbreaking study established the difference between Mycenaean and Geometric pottery. Furtwängler achieved appointments in 1880 both as assistant director at the Königliche Museen zu Berlin and as a privatdozent at the University in Berlin. In later years Furtwängler concluded he had dedicated his best years to the museum. His book on the Sabouroff collection (1883-1887) demonstrated his mastery on classical terracottas. He married in 1885 to Adelheid Wendt. The same year, his two-volume Beschreibung der Vasensammlung im Antiquarium (Writings on Vase Paining in Antiquity) appeared, a book describing over four thousand objects in a manner still emulated today. Meisterwerke der griechischen Plastik (Masterworks of Greek Sculpture) appearing in 1893, served to initiate his method to a larger audience than his earlier works and impress scholars. In 1894 he left Berlin to succeed his mentor, von Brunn, as professor of classical archaeology in Munich, adding to his duties the Director of the Glyptothek Museum. The English translation to Meisterwerke, Masterpieces of Greek Sculpture, translated by Eugenie Strong, appeared in 1895. These two editions formed what Johannes Sieveking called “the Book of Books,” the “Bible of archaeologists.” Furtwängler issued a study on Greek gems and their inscriptions in 1900, Die Antiken Gemmen, demonstrating again his breadth of classical knowledge. In the same year, he renewed the excavations at the temple of Aphaia in Aigina. Furtwängler and Karl W. Reichhold began issuing a corpus of Greek vases, Griechische Vasenmalerei in 1904, issued in six “Lieferungen.” He published his research on Aphaia in Aigina in a monograph of 1906. Furtwängler embarked on writing a history of ancient art the following year, but contracted a case of dysentery in Aigina and died at age 54, cutting short a brilliant career. His students formed the most eminent of the next generation of classical art historians and archaeologists. These included, in addition to Sieveking, Ludwig Curtius, Oskar Waldhauer (1883-1935), Georg Lippold, Eduard Schmidt, Anton Hekler and initially Ernst Buschor. His research significantly influenced many major scholars, most notable among them J. D. Beazley, and the classicists Carl Blegen (1887-1971) and A. J. B. Wace (1879-1957). The eminent orchestra conductor, Wilhelm Furtwängler (1886-1954), was his son. After his death, Friedrich Hauser assumed editorship of the project. Buschor completed volume three of Furtwängler’s Griechische Vasenmalerei in 1932. Furtwängler is buried in Athens. Furtwängler’s accomplishment cannot be overstated. He developed a pioneering method for prehistorical stylistic categorization of small artworks, principally pottery sherds. At the time, pottery fragments were thought to be of little importance by archaeologists. Furtwängler demonstrated that documenting the specific strata where vases were discovered could establish both the dating of pottery as well as the chronology of the cites. His belief in the importance of sherds also led him to assemble many many, theorizing the artists and schools of Greek vase painting. It was a technique he learned from his mentor, von Brunn, who had developed a similar method for Greek sculpture. (Furtwängler, like most of his contemporaries, still largely ignored the value of unpainted pottery). Furtwängler and Reichhold’s Griechische Vasenmalerei raised the standard for accurate drawings of vase paintings to an exceptional level. His volume on gems, Die Antiken Gemmen of 1900, remained his most influential work of his lifetime. featured exceptionally accurate drawings of vase paintings. Furtwängler’s attribution of Roman copies of Greek sculpture to artists was also influential in augmenting interest in style and artistic personalities of classical art. Following in the tracks of Winckelmann, he conceived of a history of ancient art built upon an aesthetic appreciation of “masterpieces” of ancient art that served as “records of Western art-historical development” (Marchand). Furtwängler’s work on attributing Roman copies of Greek sculpture to artists spurred an interest in the study of style and artistic personalities in classical art (Rouet). He was perhaps the last classicist to fulfill the Totalitätsideal of Friedrich Gottlieb Welcker, the goal that a classical historian could master all aspects of the studies he pursued. Together with Welcker and Brunn, and Loeschcke, Georg. Mykenische Thongefäße. Festschrift zur Feier des fünfzigjährigen Bestehens des Deutschen Archaeologischen Institutes in Rom. Berlin: In Commission bei A. Asher und Co., 1879; Beschreibung der Vasensammlung im Antiquarium. 2 vols. Berlin: W. Spemann, 1885; Katalog der Vasensammlung im Berliner Antiquarium, 1885; Meisterwerke der griechischen Plastik: kunstgeschichtliche Untersuchungen Leipzig: Giesecke & Devrient, 1893, English, Masterpieces of Greek Sculpture: a Series of Essays on the History of Art. Sellers, Eugénie, trans. London: W. Heinemann, 1895; and Urlichs, H. L. Denkmäler griechischer und römischer Skulptur: im Auftrag des K. Bayer, Staatsministeriums des Innern für kirchen- und schulangelegenheiten. Munich: F. Bruckmann, 1898, English, Greek & Roman Sculpture. Taylor, Horace, trans. London: J. M. Dent & Sons Ltd/New York: E. P. Dutton & Company, 1914; Die antiken Gemmen: Geschichte der Steinschneidekunst im klassischen Altertum. Berlin: Gesecke & Devrient, 1900; and Reichhold, Karl, and Hauser, Friedrich. Griechische Vasenmalerei: Auswahl hervorragender Vasenbilder. 3 vols. Munich: F. Bruckmann, 1904, 1909, and 1932 [only the first volume under Furtwängler]; Die Aegineten der Glyptothek König Ludwigs I: nach den Resultaten der neuen bayerischen Ausgrabung. Munich: In Kommission bei A. Buchholz, 1906; “Heinrich von Brunn” in, Geist und Gestalt: Biographische Beiträge zur Geschichte der bayerischen Akademie der Wissenschaften vornehmlich im zweiten Jahrhundert ihres Bestehens. Vol. 1, Munich: Beck, 1959. Furtwängler was the most important and influential German archaeologist of the nineteenth century (Lullies); John Boardman in 2001 termed Furtwängler “probably the greatest classical archaeologist of all time.” LS 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. 46 mentioned; Lullies, Reinhard. “Adolf Furtwängler 1853-1907” Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 110-111; Ridgway, Brunhilde Sismondo. “The State of Research on Ancient Art,” Art Bulletin 68 (March 1986): 8, mentioned; Marchand, Suzanne L. Down from Olympus: Archaeology and Philhellenism in Germany, 1750-1970. Princeton, NJ: Princeton University Press, 1996: 87, 144-146; John Boardman. The History of Greek Vases. New York: Thames and Hudson, 2001, pp. 129, mentioned; Medwid, Linda M. The Makers of Classical Archaeology : a Reference Work. Amherst, NY: Humanity Books, 2000; Calder, William. “Adolf Furtwängler.” Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 1, pp. 475-76. Professor of classical archaeology and museum director; established modern methods of ancient Greek vase analysis. Furtwängler’s father was a classical scholar and schoolmaster. From 1870 onward, Furtwängler studied at Leipzig, under
Full Name: Fürst, Viktor Gender: male Date Born: unknown Date Died: unknown Subject Area(s): architecture (object genre) and sculpture (visual works) Architectural historian. John Newenham Summerson described Fürst’s important book on Wren as the one that explored “the workings of his mind.” Summerson, John. “Margaret Dickens Whinney, 1894-1975.” Proceedings of the British Academy 68 (1982): 641. Architectural historian. John Newenham Summerson described Fürst’s important book on Wren as the one that explored “the workings of his mind.”Gaillard, Georges
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Gage, John
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Gaertner, Johannes A.
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Gablik, Suzi
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Gabburri, Francesco Maria Niccolo
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Fuseli, Henry
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Furumark, Arne
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Furtwängler, Adolf
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Fürst, Viktor
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