Full Name: Fleischer, Inge
Gender: female
Date Born: 1947
Home Country/ies: Germany
Subject Area(s): Marxism
Marxist art historian
Caspar David Friedrich und die deutsche Nachwelt: Aspekte zum Verhältnis von Mensch und Natur in der bürgerlichen Gesellschaft. Essays by I. Fleischer, R. Mattausch, B. Hinz, et al. Edited by W. Hofmann. Frankfurt am Main: Suhrkamp, 1974.
KRG, 139 mentioned
Marxist art historian
Full Name: Flechsig, Eduard
Gender: male
Date Born: 1864
Date Died: unknown
Home Country/ies: Germany
Subject Area(s): Netherlandish, Northern Renaissance, and painting (visual works)
Cranach and northern Renaissance scholar. He published the facsimile book of the fifteenth-century engraver Adam von Fulda, Ein ser andechtig cristenlich buchlein, in 1914.
Cranachstudien. Leipzig: K. W. Hiersemann, 1900; edited, Adam, von Fulda. Ein ser andechtig cristenlich buchlein, mit 8 holzschnitten von Lucas Cranach. Berlin: B. Cassirer, 1914.
Cranach and northern Renaissance scholar. He published the facsimile book of the fifteenth-century engraver Adam von Fulda, Ein ser andechtig cristenlich buchlein, in 1914.
Full Name: Fitchen, John, III
Other Names:
Gender: male
Date Born: 1905
Date Died: 1990
Place Born: Ithaca, Tompkins, NY, USA
Place Died: Hamilton, Madison, NY, USA
Home Country/ies: United States
Subject Area(s): architecture (object genre) and sculpture (visual works)
Architect and architectural historian. Fitchen was the son of John Fitchen, Jr. and Ruth Williams (Fitchen). Fitchen graduated from Yale University with B. A. in 1927 and a Master’s Degree in architecture from Harvard University in 1932. He married Mary Elizabeth Nelson and joined the faculty of Colgate University in Hamilton, NY in 1934. He remained at Colgate his entire career. He was the construction architect for the New York Emergency Housing Project between 1946-1947. Fitchen chaired the department in 1950 (through 1965). He retired from Colgate, emeritus, in 1971. He is buried in Colgate Cemetery, Hamilton.
Construction of Gothic Cathedrals: a Study of Medieval Vault Erection. Oxford: Clarendon Press, 1961; Building Construction Before Mechanization. Cambridge, MA: MIT Press, 1986; The New World Dutch Barn: a Study of its Characteristics, its Structural System, and its Probable Erectional Procedures. Syracuse, NY: Syracuse University Press, 1968.
Who Was Who in America, 1989-1993.New Providence, NJ: Marquis Who’s Who, 1993, p. 114; [obituary:] “John F. Fitchen, Retired Profess of Architecture.” Post-Standard (Syracuse, NY) June 5, 1990, p.
Architect and architectural historian. Fitchen was the son of John Fitchen, Jr. and Ruth Williams (Fitchen). Fitchen graduated from Yale University with B. A. in 1927 and a Master’s Degree in architecture from Harvard University in 1932. He marrie
Full Name: Fischer von Erlach, Johann Bernhard
Gender: male
Date Born: 20 July 1656
Date Died: 05 April 1723
Place Born: Graz, Steiermark, Austria
Place Died: Vienna, Vienna state, Austria
Home Country/ies: Austria
Subject Area(s): architecture (object genre) and sculpture (visual works)
Austrian Architect and art historian who produced the first universal history of architecture. Fischer was born in Graz, Austria, in 1656 to parents from notable local families. His father, Johann Baptist Fischer, was a provincial sculptor who had contributed to a number of local buildings in Graz including the Landhaus — the seat of the Styrian local government — and the nearby castle of the Eggenberg family. It was in his father’s workshop that Johann Bernhard received his early training as a sculptor. With the blessing of his father’s patrons, the Eggenbergs, he travelled to Rome as a teenager around 1670 to further his training in the workshop of fellow Austrian Johann Paul Schor (1615-1674). Through Schor’s connections Fischer ultimately gained access to Gian Lorenzo Bernini’s studio, working as a sculptor and perhaps as an architect. In 1868, immediately following Austria’s imperial victoires over the Turks which marked the empire’s emergence as a great European power, Fischer returned to the country of his birth. During this period Leopold I, as Holy Roman Emperor, sought to express his absolute power through the construction of an array of extravagant buildings. These buildings, in turn, were emulated by many others subsequently designed for the aristocracy. Fischer began to achieve widespread acclaim during this architectural boom, in particular for the triumphal arches he designed for Josef I in Vienna. He also designed several Baroque palaces in Vienna and a number of churches in Salzburg for Archbishop Thun, the domes of which significantly altered the appearance of the city.
In 1705 he was given the title of Chief Inspector by the Emperor but he struggled to find work and turned his attention to his five-part book Entwurff einer Historischen Architektur (A Project for Historical Architecture). In its plan and general conception, the work bears a strong resemblance to Jacques Androuet du Cerceau’s (c.1520 – c. 1585) Livre des Édifices Antiques Romains (1584). Fischer presented the book, in manuscript form, to the emperor in 1712 — a gesture that earned him the commission for building of the Karlskirche (Church of St. Charles of Borromeo) — and published in 1721. The book, which was accompanied by Fisher’s own drawings, is the first successful attempt at a comparative, universal history of architecture (Aurenhammer). A landmark in architectural history, it covered regions as diverse as Israel, Egypt, Persia, Greece, Rome, Arabia, Turkey, Siam, and China, although Fischer often relied on conjecture in his reconstruction of ancient works. Erik Iveren notes that such peculiarities mean that Fisher’s book is of more interest for what it can tell us about the author himself rather than the historical works in question. While much of the work is painstakingly researched, Fischer fails to acknowledge his dependence on several key sources, particularly his debt to the work of Athanasius Kircher. Furthermore, a significant number of works were completely invented by Fischer. For Iverson, “he was an artist more than a scientist” whose aim “was to please more than to instruct” (Iverson).
Contributors: Lee Sorensen and Shane Morrissy
Austrian Architect and art historian who produced the first universal history of architecture. Fischer was born in Graz, Austria, in 1656 to parents from notable local families. His father, Johann Baptist Fischer, was a provincial sculptor who had
Full Name: Fischel, Oskar
Gender: male
Date Born: 1870
Date Died: 1939
Place Born: Gdańsk, Pomeranian Voivodeship, Poland
Place Died: London, Greater London, England, UK
Home Country/ies: Germany
Subject Area(s): drama (discipline), Italian (culture or style), Italian Renaissance-Baroque styles, performing arts (discipline), Renaissance, and theater arts
Career(s): educators
Italian Renaissance and Raphael scholar, Berlin university professor. He was born in Danzig, Prussia which is present-day Gdańsk, Poland. Fischel was the son of Margarete Fischel (father’s name not documented). He studied art history in Königsberg and Strassburg, the latter under Georg Dehio. He earned his doctorate in 1896 Straßburg with the dissertation, Raphaels Zeichnungen: Versuch einer kritischen Sichtung der bisher veröffentlichten Blätter (“Raphael’s Drawings: Critical Review of Previously Published Papers“). From 1900-1901, he was employed at the Wallraf-Richartz Museum in Cologne, helping in the reorganization of their copperplate engraving collection (Kupferstichsammlung). Shortly after, Fischel received a position in the Staatlichen Museen Berlin in the Lipperheidischen Kostümbibliothek. He wrote his habilitation in Berlin, accepted in 1914, with the title, Die bildende Kunst und die Bühne, allowing a status of Privatdozent there. In 1923 he became a non-tenured professor (nichtbeamteter außerordentlicher) at the Universität Berlin while working on the first exhibition of originals in the Kaiser Friedrich Museum. He also lectured in the United States school for free and applied art and the State Art School, as well as the theatre school of Max Reinhardt. In April of 1933 he was dismissed of all agency on “non-Aryan” grounds and according to the “Gesetzes zur Wiederherstellung des Berufsbeamtentums” (Law on the Restoration of the Professional Civil Service). Despite his dismissal, he continued to live in Berlin and write for publications but avoided German journals and magazines. Initially refused to emigrate due to his advanced age and didn’t leave Germany until 1939, when the persecution became life threatening. At the beginning of 1939, he moved to England. Friends provided him with a place to live and collected money for the guarantee sum necessary for the residence permit. He was invited by the Windsor Castle’s librarian, Owen Morshead (1893-1977), to help him rearrange the drawing collection. He died in London shortly after beginning his work there. His Raphael was translated into English after his death by Victoria and Albert Museum curator Bernard Rackham in 1948.
Though essentially an historian of renaissance art, Fischel’s second love was theatrical art history and fashion. A prolific writer, he authored or edited thirteen books and catalogs on the arts, many issued in subsequent editions. His early article contributions in English with the Burlington Magazine gave him international exposure, something which aided him when he needed to flee Germany.
[dissertation:] Raphaels Zeichnungen. Versuch einer Kritik der bisher veröffentlichten Blätter. Strassburg, 1898; Ludwig von Hofmann. Bielefeld und Leipzig: Velhagen & Klasing, 1903; Tizian. Des Meisters Gemälde. Stuttgart, Leipzig: Deutsche Verlags-Anstalt, 1904; and von Boehn, Max, ed. Die Mode. Menschen und Moden im 19. Jahrhundert. Nach Bildern und Kupfern der Zeit. vols 1-4. Munich: Bruckmann, 1907/1908; and von Boehn, Max, ed., Die Mode. Menschen und Moden im 18 Jahrhundert. Nach Bildern und Stichen der Zeit. Munich: Bruckmann, 1909; Die Meisterwerke des Kaiser-Friedrich-Museum zu Berlin. Munich: Hanfstaengl, 1912; “Some Lost Drawings by or near to Raphael.” Burlington Magazine 20 (1911/12): 294-300; “A Dürer subject in the Price Consort’s Collection of Photographs after Raphael.” Burlington Magazine 23, 1913): 35ff; “A Composition by Raphael.” Burlington Magazine 23 (1913): 216-221; Die Zeichnungen der Umbrer. Berlin: G. Grote, 1917; Das moderne Bühnenbild. Berlin: E. Wasmuth A.G. , 1923; Chronisten der Mode. Mensch und Kleid in Bildern aus drei Jahrtausenden. Potsdam: Müller & Co., 1923; Hans Meid, Zeichnungen. Berlin-Zehlendorf: Rembrandt-Verlag, 1924; Paul Scheurich, Zeichnungen. Berlin-Zehlendorf: Rembrandt-Verlag, 1925; “An unknown drawing by Raphael in Zurich.”Burlington Magazine 47 (1925): 134-139; “A forger of Raphael drawings. Burlington Magazine 51 (1927): 26-31; “Die Sammlung Joseph Spiridon, Paris.” (Auktionskatalog Paul Cassirer) Berlin: Cassirer, 1929; “Art and Theatre.” Burlington Magazine 66 (1935): 4-14 and 54-66; “Raphael’s Auxiliary Cartoons.” Burlington Magazine 71 (1937): 167ff.; “Raphael’s Pink Sketchbook.” Burlington Magazine 74 (1939): 181-187; “An unknown Holy Family by Raphael.” Burlington Magazine 86 (1945): 82ff.
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. 147-51
Contributors: Cassandra Klos
Italian Renaissance and Raphael scholar, Berlin university professor. He was born in Danzig, Prussia which is present-day Gdańsk, Poland. Fischel was the son of Margarete Fischel (father’s name not documented). He studied art history in König
Full Name: Fiorillo, Johann Dominico
Other Names:
Gender: male
Date Born: 1748
Date Died: 1821
Place Born: Hamburg, Germany
Place Died: Göttingen, Lower Saxony, Germany
Home Country/ies: Germany
First professor to be named to a position in art history (Göttingen); painter. Fiorillo’s family was originally from Naples, but had settled in Hamburg. He initially trained as a painter at the academy in Bayreuth. In 1761 he moved to Rome to continue his training under Pompeo Batoni and then Giuseppe Bottani. By 1765 he was working in Bologna where he was nominated to the Accademia di Belle Arti in 1769. He returned that same year to be court painter to Brunswick. In 1781 he moved to Göttingen to teach art classes and paint. The drawing lessons which he gave formed the basis to his later teachings in art history. By 1785 he had added curator duties of the Kupferstichkabinett (print collection) at Georg-August-Universität. In 1796 he was also overseeing the collection of paintings. In his connection with the museum, he researched the objects, lecturing and publishing his famous Geschichte der zeichnenden Künste von ihrer Wiederauflebung bis auf den neuesten Zeiten. In 1813 the Georg-August-Universität created the position of professor of art history for him. In 1815, Fiorillo was the first art historian to note a stylistic change in Romanesque art after the defeat of the Hungarians until roughly the reign of Henry IV. Later art historians (Franz Kugler and Gustav Friedrich Waagen) termed the period “Ottonian”. He is considered the earliest art historian to develop the concept. His appointment gained him memberships in the intellectual academies of Augsburg, Vienna, Munich, Kassel and Paris. Fiorillo stands a the beginning of art history as an academic tradition. Like Luigi Antonio Lanzi, his writing is a compilation of detailed facts about art and less interpretation. His multi-volume history of art drew on a wide range of sources which he put together in a highly innovative works, despite some stubbornness to relinquish myths. In his 1803 examination of oil painting, über das Alter der ölmahlerey, he insisted that Jan van Eyck had discovered oil painting, as Giorgio Vasari had claimed, despite the findings of Gotthold Ephraim Lessing that the technique had been known since the middle ages. His work directly affected the writings of other art writers and historians such as August Wilhelm Schlegel, Ludwig Tieck (q.v.), Karl Friedrich von Rumohr, Wilhelm Heinrich Wackenroder, and the collector August Kestner who’s romantic vision of art history immediately followed Fiorillo.
Geschichte der Zeichenenden Künste. 9 vols. 1798-1801. Specifically, Geschichte der zeichnenden Künste von ihrer Wiederauflebung bis auf die neuesten Zeiten mit einem Vorwort von Achim Hölter 6 vols., Geschichte der zeichnenden Künste in Deutschland und den vereinigten Niederlanden. 3 vols. Reprint: Sämtliche Schriften. 15 vols. Hildesheim and New York: G. Olms Verlag, 1997; Kleine Schriften artistischen Inhalts. Göttingen: H. Dieterich, 1803-06, [specifically on oil painting:] “über das Alter der ölmahlerey.” vol. 1.
Waetzoldt,Wilhelm. Deutsche Kunsthistoriker vom Sandrart bis Justi. vol. 1 Leipzig: E. A. Seeman, 1921, p. 287; Panofsky, Erwin. “The History of Art.” The Cultural Migration: The European Scholar in America. Philadelphia: University of Pennsylvania Press, 1953, p. 84; Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, p. 128; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 90-92; Hölter, Achim. “Vorwort.” Johann Dominik Fiorillo: Sämtliche Schriften. vol. 1 Hildesheim: G. Olms Verlag, 1997, pp. i-xxiii; Vietta, Silvio. “J. D. Fiorillo.” Killy, Walter, ed. Literaturlexikon. vol. 3 Munich: Gutersloh, 1989, p. 384; Schrapel, Claudia. Johann Dominicus Fiorillo: Grundlagen zur wissenschaftsgeschichtlichen Beurteilung der “Geschichte der zeichnenden Künste in Deutschland und den vereinigten Niederlanden.” New York: Olms, 2004; Brinkman, Pim. Het geheim van Van Eyck: Aantekeningen bij de uitvinding van het olieverven. Zwolle: Waanders, 1993, pp. 130-133.
First professor to be named to a position in art history (Göttingen); painter. Fiorillo’s family was originally from Naples, but had settled in Hamburg. He initially trained as a painter at the academy in Bayreuth. In 1761 he moved to Rome to cont
Full Name: Fiocco, Giuseppe
Gender: male
Date Born: 1884
Date Died: 1971
Place Born: Giacciano, Rovigo, Italy
Place Died: Padua, Veneto, Italy
Home Country/ies: Italy
Subject Area(s): Italian (culture or style) and Renaissance
Pioneer of art history in the Veneto area; first chair of art history at the University of Padua. Fiocco received his undergraduate degree (laurea) at Rome University in 1904 in jurisprudence. After winning the Vittorio Emanuele Prize to the University of Bologna, Faculty of Letters, he returned to the University of Rome studying art history under Adolfo Venturi.His important publication appeared in 1911 as the article, “Di alcune opere dimenticate di Sebastiano Del Piombo,” in the Bollettino d ‘Art. The following year he announced his interest in Paolo Vernese, a life interest, with his article, “Paolo Farinati e le sue opere per il Frassino,” published in Venturi’s periodical L’Arte. He joined the Soprintendenza alle Gallerie di Venezia. In 1924 his first article in English for the Burlington Magazine (“‘A Historical Titian”) appeared, thereby attracting an international reputation for him. He moved within the Soprintendenza to Florence in 1925. The following year he was appointed to the Chair of the History of Art in the University of Florence. A monograph on Veronese, published in 1928 in Bologna; it remains an important contribution to the study of that artist’s work. In 1929 the University of Padua created a Chair of Art History and Fiocco became its first occupant. From this position at Padua, Fiocco trained some of the most important Italian art historians of the next generation. His interests ranged from minor artists, such as Lattanzio da Rimini and Domenico da Tolmezzo to major artists and the history of sculpture and architecture. Fiocco’s principal interests, however, were the artists of Venice and the Veneto. He wrote important studies on Falconetto, Fra Giocondo, and Zelotti. His book on Carpaccio, published in Rome in 1930, remains a standard work on the artist. A second book on Vernese was published in 1934 in Rome. His book on Pordenone, 1939, is “a model definition in depth of an artist of the second rank” (Mullaly). A substantial part of his energies in his later years went to the Fondazione Giorgio Cini, a research center devoted to the scholarly study of art. Shortly before his death Fiocco opened the exhibition of ‘Disegni veronesi del Cinquecento’ in Venice. His students included Rodolfo Pallucchini. Fiocco can be seen as the last of the founders of Italian art history, G. B. Cavalcaselle, [Adolfo] Venturi, and Bernard Berenson scholars who defined the shape of Italian art. When Fiocco began the study of art history, the discipline was principally based upon connoisseur’s intuition. While he kept these skills, he founded the Fondazione Cini to foster a scientific study of Venetian art, including a research library and photo archives. Later practitioners of the discipline, such as Roberto Longhi, only six years his junior, developed new critical working methods still widely pursued. Methodologically, Fiocco’s attention to detail, perhaps springing from his legal training, was his hallmark. Iconographical problems, though important, were never the whole story for him. He focused on an artistic personality, placing in a cultural context. He was a prolific writer of certificates of authenticity of pieces, many of which have been subsequently discredited. His work on the problem of the figure paintings in Francesco Guardi and Gian Antonio Guardi was controversial.
Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, p. 420;Bettagno, Alessandro. “Birth of a new collection.” [Drawings in the Cini foundation] Apollo 104 (July 1976): 48-53; [obituary:] Mullaly, Terence. “Giuseppe Fiocco.” Burlington Magazine 114, no. 828 (March 1972): 177-178; Mullaly, Terence. “Giuseppe Fiocco.” Gazette des Beaux-Arts 6 no. 78 (December 1971): supplement 36.
Pioneer of art history in the Veneto area; first chair of art history at the University of Padua. Fiocco received his undergraduate degree (laurea) at Rome University in 1904 in jurisprudence. After winning the Vittorio Emanuele Prize to the Unive
Full Name: Finley, David
Other Names:
Gender: male
Date Born: 1890
Date Died: 1977
Place Born: York, SC, USA
Place Died: Washington, DC, USA
Home Country/ies: United States
First director of the National Gallery of Art, Washgington, D. C., 1938-1956. Finley’s father, David Edward Finley, Sr. (1861-1917), moved the family from South Carolina to Washgington, D. C. when Finley was 8, as a new member of Congress. His mother, Elizabeth Gist Finley (1862-1954) was related to Francis Preston Blair (1791-1876) of Blair House fame. Raised in a conservative family (one brother was actually named States Rights Gist Finley) he attended the University of South Carolina, graduating in 1910, continuing to law school at George Washington University, degreed in 1913. He joined a Philadelphia law firm, but in 1917 volunteered in World War I, rising to second lieutenant in the Army Signal Corps. After the War, he worked as a tax attorney before joining the federal government, initially as an assistant counsel at the War Finance Corporation. Finley was dubbed “Little David, the rich man’s pal” in the 1920s by Saturday Evening Post for his service to the Washington powerful, such as Col. Arthur Woods (1870-1942), later president of Rockefeller Center and Colonial Williamsburg, and financier Eugene Meyer (1875-1959), who eventually owned The Washington Post. Finley next accepted a job in the Treasury Department as a member of the War Loan staff. There, Finley met Andrew Mellon (1855-1937), Secretary of the Treasury under President Coolidge. Finley once again became a retainer for a rich and powerful man. He wrote Mellon’s book, Taxation: The People’s Business, though unacknowledged, published in 1924. Mellon appointed Finley his special assistant in 1927. Finley married Margaret Eustis (1903-1977) in 1931, spending that year in London as an adviser to the American delegation to the London Financial Conference. When Mellon was named ambassador to Britain, Finley spent a second year as honorary counselor at the American Embassy there. During their intercourse, Mellon discussed his idea for a national art gallery in Washington akin to Britain’s. Finley was assigned to acquire masterworks for Mellon, whose intent was to donate them to a national museum. Neither Finley nor Mellon knew much about art and relied on the unscrupulous London dealer, Joseph Duveen (1869-1939), for masterpieces. Duveen did have treasures, which Finley helped Duveen present to Mellon. Duveen once used the apartment below Mellon’s where Finley had selected the potential pictures for his boss to decide on. Through Duveen, Mellon took advantage of the cash-strapped USSR to purchase twenty-one paintings from the Hermitage Museum in Leningrad between 1930 and 1931. His $6.6 million investment included “The Annunciation” by Jan van Eyck, the “Alba Madonna” by Raphael, and “A Polish Nobleman” by Rembrandt. Mellon left government service in 1933 after Franklin Roosevelt’s election and Finley returned to private law practice in Washington with Mellon as his principal client. Mellon and Finley continued to collect art and plan for a national gallery. The gift of building and seed collection was accepted by the federal government in 1937. Mellon’s death the same year left Finley to oversee the completion of the Gallery. He supervised construction of the museum on the Washington Mall and coordinated three other founding art collections for the Museum, those of Joseph Widener (1871-1943) in 1939, Samuel H. Kress (1863-1955) beginning in 1941, and Chester Dale (1883-1962), whose extended loans transferred to bequests at Dale’s death. His vision of the museum as an institution in public service led him to create the Sunday afternoon concerts, the Gallery’s scholarly lecture series, as well as the library. The directorship was largely a reward for faithful service, however. Finley was never in charge of artistic aspects. Art selection from the beginning was placed in John Walker III a pupil of Bernard Berenson, with Museum financial support from Mellon’s children, Paul Mellon (1907-1999) and Ailsa Mellon Bruce (1901-1969). Both children were subsequently major benefactors to the Museum. As the Allies began to win World War II, Finley was appointed vice chairman of the American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas in 1943 (through 1946). Immediately after the War, he was elected president of the American Association of Museums (1945-1949). In 1950, Finley assumed the chair of both the Fine Arts Commission of Washgington, D. C.–a group aimed at protecting the beauty of the nation’s capitol (to 1963)–and the National Trust for Historic Preservation (to 1962). Finley retired from the National Gallery in 1956, more than gently nudged by Paul, at Finley’s 65th birthday, and was succeeded by Walker. He died at his Washgington, D. C. home at age 86. A full-length biography of Finley was financed by Paul Mellon. Finley’s art knowledge was modest and acquired largely from experience with dealers. He wrote no books on art. A founding member of the National Trust for Historic Preservation, the White House Historical Association and the National Portrait Gallery, he helped save Washington’s Old Patent Office Building as well as important homes on Lafayette Square. Self-effacing, but not demur, Finley’s chief contribution to art history was as a facilitator to those who worked for a national art museum for the United States.
Doheny, David A. David E. Finley: Statesman of the Arts: the Founding of the National Gallery of Art and the National Trust for Historic Preservation. Washington, DC: National Trust for Historic Preservation, 1999; [obituaries:] Hailey, Jean R. “David Finley, 1st Director of National Gallery, Dies.” Washington Post February 2, 1977, p. B6.
First director of the National Gallery of Art, Washgington, D. C., 1938-1956. Finley’s father, David Edward Finley, Sr. (1861-1917), moved the family from South Carolina to Washgington, D. C. when Finley was 8, as a new member of Congress. His mot
Full Name: Finlay, Ian
Other Names:
Gender: male
Date Born: 1906
Date Died: 1995
Place Born: Auckland, New Zealand
Place Died: Edinburgh, Scotland, UK
Home Country/ies: Scotland
Director of the Royal Scottish Museum in Edinburgh, 1961 -71. Although born in New Zealand, his parents soon returned to Scotland where he was educated at Edinburgh Academy and Edinburgh University. He joined the staff of the Royal Scottish Museum in 1932. He married Mary Pringle in 1933. During the World War II, he was assigned to the Ministry of Information and was deputy regional information officer for Scotland 1942-44. He was promoter to keeper (curator) of the department of art and ethnography in 1955. He wrote A History of Scottish Gold and Silver Work, an abiding passion of his, in 1956. Among the exhibitions he curated was “Byzantine Art” in 1958, brought together by David Talbot Rice and Tamara Talbot Rice. He was made director of the museum from 1961. As director, he began a building program for the museum, created its education department, and began a program of public lectures at the museum’s lecture theatre. He was awarded the CBE in 1965. He retired as director in 1971. He was Professor of Antiquities to the Royal Scottish Academy between 1971 and 1995. His book on museology, Priceless Heritage, was published in 1977, followed by one on St. Columba (521-597) in 1979. Ian Finlay made many BBC broadcast talks on art and other topics.
Columba. London: Gollancz, 1979; Priceless Heritage: the Future of Museums. London : Faber and Faber, 1977; Celtic Art: an Introduction. Park Ridge, NJ: Noyes Press, 1973; Art in Scotland. London: Oxford University Press, 1948; Scotland. London: Oxford University Press, 1945.
Waterston, Charles D. [obituary:] “Ian Finlay.” The Independent (London), December 21, 1995, p.12; Reekie, Christopher. “Ian Finlay.” The Herald (Glasgow), December 23, 1995, p. 16
Director of the Royal Scottish Museum in Edinburgh, 1961 -71. Although born in New Zealand, his parents soon returned to Scotland where he was educated at Edinburgh Academy and Edinburgh University. He joined the staff of the Royal Scottish Museum
Full Name: Fillitz, Hermann
Gender: male
Date Born: 1924
Home Country/ies: Germany
Subject Area(s): Medieval (European)
Career(s): art historians
Author of volume one of the second revision of the Propyläen Kunstgeschichte volume on the middle ages along with Otto von Simson.
Das Mittelalter I. Propyläen Kunstgeschichte 5. Berlin: Propyläen Verlag, 1969.
Author of volume one of the second revision of the Propyläen Kunstgeschichte volume on the middle ages along with Otto von Simson.