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Filarete

Image Credit: Wikipedia

Full Name: Filarete

Other Names:

  • Antonio di Pietro Averlino

Gender: male

Date Born: c. 1400

Date Died: c. 1469

Place Born: Florence, Tuscany, Italy

Place Died: Rome, Lazio, Italy

Home Country/ies: Italy

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

Career(s): theorists


Overview

Sculptor and architect, theorist who wrote on the origins of architecture. Antonio di Pietro Averlino assumed the name Filarete, adopted from the Greek term for “lover of excellence” (φιλάρετος). Filarete is first documented, already an artist, in 1433 in Rome, where he attended the coronation of the Emperor Sigismund. Pope Eugenius IV commissioned him to create the bronze door of the main porch of the old St. Peter’s (dated, 1445). In 1451 Filarete moved to Milan at the invitation of the Duke Francesco Sforza (1401-1466). There he worked as an architect and architectural theorist. His most important work was the Ospedale Maggiore. He remained in Milan until 1465. In Milan Filarete wrote Trattato di architettura somewhere between 1461 and 1464. The Trattato, unlike the architectural treatises of Vitruvius or Alberti, is written as a court dialogue between an architect and his patron. Its importance as architectural history lies in his remarks on the origin of architecture–an proto architectural history–and the anthropomorphic proportions it postulates. Following Vitruvius, Filarete conceived domestic houses as the first architecture, speculating that Adam, as the first man, was also the first architect. The human head was therefore the basic unit for architectural measurement. Filarete continued his architectural theory with the orders of architecture (Doric, Ionic and Corinthian), reversing Vitruvius: the Doric column is nine, the Ionic seven and the Corinthian eight heads high. Following Vitruvius and Alberti he organized a history of buildings into public–subdivided into religious and secular–and private constructions. Filarete created a historical category, dividing structures between contemporary and ancient buildings, though the examples he uses are all fantastic or utopian. Like his fellow architectural historian/theorists Antonio Manetti di Marabottin and Giorgio Vasari, Filarete sees Gothic architecture as barbaric, contrasting it against the civilized architecture of antiquity that serves as a model for the buildings of Sforzinda, the visionary ideal city named after Duke (Grodecki). The Trattato di architettura was the first treatise on architecture in the Renaissance written in Italian, i.e., the vernacular instead of Latin and illustrated (Werdehausen). It remains an important work in the development of Renaissance architectural theory. It remained in manuscript. In the late 19th century it was published but by then the original had been lost. The Codex Magliabechianus copy (Florence, Bib. N. Cent., MS. ii. i. 140) is considered the closest to Filarete’s original.



Sources

Spencer, John R. Filarete: Treatise on Architecture: Being the Treatise by Antonio di Piero Averlino, Known as Filarete. New Haven: Yale University Press, 1965; Grodecki, Louis. “Definitions and Theories/Historical and Physical Circumstances.” Gothic Architecture. New York: Harry N. Abrams, 1977, p. 9; Werdehausen, A.E. “Filarete.” Dictionary of Art 11: 72-74.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Filarete." Dictionary of Art Historians (website). https://arthistorians.info/filarete/.


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Sculptor and architect, theorist who wrote on the origins of architecture. Antonio di Pietro Averlino assumed the name Filarete, adopted from the Greek term for “lover of excellence” (φιλάρετος). Filarete is first documented, already an artist, in 14

Figueiredo, José de

Image Credit: Wikidata

Full Name: Figueiredo, José de

Other Names:

  • José de Figueiredo

Gender: male

Date Born: c. 1871-1872

Date Died: 1937

Home Country/ies: Portugal

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

Career(s): curators


Overview

historian of Portuguese art; curator of the Museu do Arte antiga; rediscovered and restored the paintings of Nuno Gonçalves; studied at l’école du Louvre; friends with Rodin; president of the Academia de Belas Artes


Selected Bibliography

O pinto Nuno Gonçalves. Lisbon, 1910.; Arte portugues primitivo. Lisbon.


Sources

Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, p. 449.




Citation

"Figueiredo, José de." Dictionary of Art Historians (website). https://arthistorians.info/figueiredoj/.


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historian of Portuguese art; curator of the Museu do Arte antiga; rediscovered and restored the paintings of Nuno Gonçalves; studied at l’école du Louvre; friends with Rodin; president of the Academia de Belas Artes

Fierens, Paul

Full Name: Fierens, Paul

Gender: male

Date Born: 1895

Date Died: 1957

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

Place Died: Brussels, Brussels-Capital Region, Belgium

Home Country/ies: France

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

Career(s): art critics and curators


Overview

Chief Curator of the Royal Museums of Fine Art in Brussels; professor of aesthetics and the history of modern art at Liège University; art critic and poet. Fierens was born in Paris of Belgian parents, the art historian Hippolyte Fierens-Gevaert and Jacqueline Marthe Gevaert. The family moved to Belgium in 1902. Fierens attended high school at the Collège Saint-Michel in Brussels and he studied philosophy and classics in Brussels at the Institut St. Louis, where he graduated as bachelor in 1914. After World War I he enrolled at the Free University of Brussels to study law, where he obtained his doctoral degree in 1921. In that year he returned to Paris and joined the editorial staff of the Journal des Débats, where his father also began his career. In addition he was a contributor to French and foreign journals, such as Nouvelles littéraires, La Nouvelle Revue française, The Art News, and Der Cicerone. Upon his father’s death, in 1926, Fierens obtained a teaching position at the Institut supérieur d’Histoire de l’Art et d’Archéologie at Liège University, teaching aesthetics and modern art. However, he continued to live in cosmopolitan Paris until 1934, where famous writers, musicians, and painters, including Marc Chagall and Georges Braque, were among his friends. In 1929, he published La maturité de l’art flamand, as the third volume of a multi-volume work, Histoire de la peinture flamande des origines à la fin du XVe siècle, the first two volumes of which had been written by his father and were posthumously published (1927-1929). In addition to his position at Liège University, Fierens taught at the Institut supérieur d’Histoire de l’Art et d’Archéologie, housed in the Brussels Museums of Fine Arts; at the Chapelle musicale Reine Élisabeth; at the École du Louvre in Paris; and at the universities of Montpellier and Aix-en-Provence. An elaborate study on the paintings of the 17th-century French brothers Antoine, Louis and Mathieu Le Nain appeared in 1933. Fierens identified and cataloged the oeuvre of each of the brothers separately. In the same year he published L’art hollandais contemporain (Dutch contemporary art). In 1934, he moved to Brussels. In 1936, he was appointed professor at Liège University. Between 1938 and 1942, Fierens published a two-volume study on Flemish painting, from the beginnings until the 18th century, La peinture flamande. At the same time, he was the editor and one of the authors of L’art en Belgique du moyen âge à nos jours, an overview of Belgian art from the Middle Ages up to the twentieth century (1939). His own contribution to this book dealt with modern and contemporary art. More publications on Dutch and Flemish art followed. In 1945, Fierens was appointed curator of the Museums of Fine Arts in Brussels, replacing Arthur Laes (1876-1959), and two years later chief curator, as the successor of Léo Van Puyvelde. Between 1919 and 1926, Fierens’ father had held the same position in the Brussels museum. Fierens was a well-known and highly appreciated personality in the museum world. He served as president of the International Association of Art Critics, from its foundation in 1950. He also headed the Belgian Committee of the International Council of Museums (ICOM). In 1953 he became secretary to the Executive Council of this institution. Fierens died at the age of 61 in 1957.


Selected Bibliography

[list of publications before 1936:] Halkin, Léon (ed.) Liber Memorialis. L’Université de Liége. De 1867 à 1935. Notices biographiques. 1. Faculté de Philosophie et Lettres. Faculté de Droit. Liège: Rectorat de l’Université, 1936, pp. 569-572; Van Dongen, l’homme et l’ouvre. Paris: Les Écrivains réunis, 1927; Henry Parayre. Paris: Les Écrivains réunis, 1928; James Ensor. Paris: G. Crès, 1929; Marc Chagall. Paris: G. Crès, 1929; Permeke. Paris: G. Crès, 1929; and Fierens-Gevaert. La maturité de l’art flamand. volume 3 of Histoire de la peinture flamande des origines à la fin du XVe siècle. Paris: Les Éditions G. van Oest, 1929; Choix de cinquante dessins de Rembrandt van Rijn. Paris: Braun, 1929; Marcel Gimond. Paris: Éditions de la Nouvelle Revue française, 1930; Jean van Eyck. Paris: G. Crès, 1931; Survage. Paris: Éditions des Quatre Chemins, 1931; Rubens. Paris: G. Crès, 1931; Joseph Stevens. Brussels: Éditions des Cahiers de Belgique, 1931; Hermann Hubacher. Paris: Éditions des Quatre Chemins, 1932; Les Le Nain. Paris: Floury, 1933; Sculpteurs d’aujourd’hui. Paris: Éditions des Chroniques du jour, exclusivité M.L.F., 1933; L’art hollandais contemporain. Paris: Éditions Le Triangle, 1933; Martin Lauterberg. Paris: Éditions des Quatre Chemins, 1933; Wilhelm Thöny. Paris: Éditions des Chroniques du jour, 1933; Rembrandt. Paris: Braun, 1934; Dessins de la vie juive. Paris, Éditions Le Triangle, 1934; Max Band. Paris: Éditions des Quatre Chemins, 1935; Memlinc. Paris: Braun, 1935; Theo van Rysselberghe. Brussels: Éditions de la Connaissance, 1937; La peinture flamande. vol. 1. Des origines à Quentin Metsys. vol. 2. De Bruegel au XVIIIe siècle. Paris: Les Éditions d’art et d’histoire, 1938-1942; Lasar Segall. Paris: Éditions des Chroniques du jour, 1938; ed. L’art en Belgique du moyen âge à nos jours. Brussels: La Renaissance du livre, 1939; Peinture flamande des origines à 1550. Paris: Braun, 1940; Peinture flamande de 1550 à 1800. Paris: Braun, 1940; Peinture hollandaise. Paris: Braun, 1940; Chaires et confessionnaux baroques. Brussels: Éditions du Cercle d’art, 1943; L’art flamand. Paris: Larousse, 1945; Les grandes étapes de l’esthétique. Brussels: Éditions Formes, 1945; Bruegel l’ancien. Paris: Éditions du Chêne, 1946; Le fantastique dans l’art flamand. Brussels: Éditions du Cercle d’art, 1947; Van Gogh. Paris: Braun, 1947; Trois sculpteurs belges: Charles Leplae, Georges Grard, Pierre Caille. Brussels: Éditions de la Connaissance, 1949; Faut-il nettoyer les tableaux anciens? Brussels: Ad. Goemaere, 1949; Chefs-d’Åuvre des Musées Royaux des Beaux-Arts de Belgique. Brussels: Éditions de la Connaissance, 1950; Pierre Caille. Antwerp: De Sikkel, 1950; Jan Vermeer de Delft, 1632-1675. Paris: Braun, 1952; H.V. Wolvens. Antwerp: De Sikkel, 1953; Antoine Mortier. Brussels: Elsevier, 1956; Musées royaux des beaux-arts de Belgique. Catalogue de la peinture ancienne. Brussels: Éditions de la Connaissance, 1957.


Sources

Halkin, Léon (ed.) Liber Memorialis. L’Université de Liége. De 1867 à 1935. Notices biographiques. 1. Faculté de Philosophie et Lettres. Faculté de Droit. Liège: Rectorat de l’Université, 1936, pp. 569-572; “Paul Fierens, conservateur en chef.” Arts, Beaux-Arts, Littérature, Spectacles (October 31 1947): 1; Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 196, 253, 499, 502; Devillez, Virginie. “Paul Fierens conservateur en chef (1947-1957).” Les Musées royaux des Beaux-Arts de Belgique: Deux siècles d’histoire. Brussels: Dexia Banque et Racine, 2003, 1, pp 370-374; [obituaries :] F.C. Legrand “Paul Fierens” Burlington Magazine 99 (July 1957): 241-242; Gazette des Beaux-Arts 49 (May-June 1957): suppl. 16 ; J[anson], Cl. “In memoriam Paul Fierens.” Bulletin Musées royaux des Beaux-Arts de Belgique/Koninklijke Musea voor Schone Kunsten van België 6, no. 1 (1957): 3-4.



Contributors: Monique Daniels


Citation

Monique Daniels. "Fierens, Paul." Dictionary of Art Historians (website). https://arthistorians.info/fierensp/.


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Chief Curator of the Royal Museums of Fine Art in Brussels; professor of aesthetics and the history of modern art at Liège University; art critic and poet. Fierens was born in Paris of Belgian parents, the art historian

Fierens Gevaert, Hippolyte

Image Credit: Wikipedia

Full Name: Fierens Gevaert, Hippolyte

Other Names:

  • né Hippolyte Fierens

Gender: male

Date Born: 1870

Date Died: 1926

Place Born: Brussels, Brussels-Capital Region, Belgium

Place Died: Liège, Wallonia, Belgium

Home Country/ies: France

Subject Area(s): aesthetics

Career(s): art historians, curators, and educators


Overview

First chief curator of the Royal Museums of Fine Arts in Brussels; professor of aesthetics and art history; art critic; writer. At age seventeen, Fierens-Gevaert enrolled at the Brussels Royal Conservatory of Music. In 1890 he won the Premier Prix de Chant. In this year he married Jacqueline Marthe Gevaert, the daughter of the famous musician François Auguste Gevaert (1828-1908). Fierens then joined the Opera of the city of Lille, but he unfortunately damaged his voice, which meant the end of his career as a singer. After this misfortune the couple moved to Paris, where Fierens began a new career as a journalist, writer and art critic. He changed his last name to Fierens-Gevaert, adopting the name of his wife and father-in-law. From 1893 onwards he contributed articles to several periodicals including the Journal des Débats. He also wrote various essays. For his Essai sur l’art contemporain, published in 1897, he received an award from the Académie française, and in 1899 the Académie des Sciences morales et politiques awarded him for another essay, La tristesse contemporaine: essai sur les grands courants moraux et intellectuels du XIXe siècle. In 1901, Fierens-Gevaert published Psychologie d’une ville, essai sur Bruges, in which he studied the artistic development of the Flemish city of Bruges. In 1902, he returned to Belgium, accepting an offer to teach aesthetics at the University of Liège. In addition, he was charged with the courses of art philosophy, art history of the Renaissance and the New Era, and, in 1906, with the history of music. In 1903 he collaborated for the government reform regulating the university education of art history in the country. Among other things, this resulted in the creation in Brussels of the Société des cours d’art et d’archéologie, the later Institut supérieur d’Histoire de l’Art et d’Archéologie de Bruxelles. Fierens-Gevaert obtained here a teaching position, in addition to his position at Liège University. At the same time he was deeply involved in international exhibitions, in Belgium as well as in the cities of Turin, Milan, and Venice, in which latter city he became the official delegate for the Belgian sections of the Venice Biennales held between 1907 and 1926. In 1907 Fierens-Gevaert was appointed secretary to the Board of the Brussels Royal Museums of Painting and Sculpture of Belgium. In this year he published L’art au XXe siècle et son expression en Belgique. Between 1905 and 1909, he wrote two studies on early Flemish art: La Renaissance septentrionale et les premiers maîtres des Flandres (1905) and Les primitifs flamands (2 vols. 1908-1909); a revised edition of those studies was to appear in 1927-1929 (see below). In 1910, he was appointed professor at the newly founded Institut supérieur d’Histoire de l’Art et d’Archéologie at Liège University. In 1914 he published an article on art history education in Belgium. He was involved in the International Conference of Art History in Rome (1912) and later in Paris (1921). In 1914 he became a member of the Board of the Royal Museum of Fine Arts of Belgium, and in 1919, after the first World War, he climbed to the rank of chief curator. As the first chief curator Fierens-Gevaert played an important role in reorganizing the Royal Museum of Fine Arts in Brussels. For the purpose of art historical education he created a documentation department, including the library, the periodicals, and the photographic collection. He also saw the museum as a place in which a larger public, including young people, was invited to enjoy beauty and to learn about art. The first guided school visits were held in 1920. In 1924, the “Diffusion artistique des Musées Royaux” was founded, aimed at organizing guided tours and lectures. Temporary exhibitions were frequently organized. The Van Eyck-Bouts exhibition (1920) proudly showed the famous Ghent Altarpiece of the Van Eyck brothers, after its shutters were returned to Belgium, following a decision made at the Treaty of Versailles, and subsequently reunited with the central panels. In 1924, Fierens-Gevaert published Les Très Belles Heures de Jean de France, duc de Berry. For this study he won the “Prix quinquennal de critique historique et littéraire” in 1925. Fierens-Gevaert suddenly died in 1926. His three-volume Histoire de la peinture flamande des origines à la fin du XVe siècle was published posthumously in 1927-1929. The first two volumes, with the subtitles Les créateurs de l’art flamand and Les continuateurs des Van Eyck, were completed by Fierens-Gevaert himself, revising his earlier work, while the third volume, La maturité de l’art flamand, was put together by his son, Paul Fierens, who used notes and earlier works of his father. In 1927, Léo Van Puyvelde succeeded Fierens-Gevaert as chief curator of the Royal Museum of Fine Arts in Brussels and as professor of art history of the Renaissance at Liège University. Fierens-Gevaert’s son, Paul Fierens, began teaching aesthetics and modern art at the same university.


Selected Bibliography

[For a list of publications, see] Van Puyvelde, Leo “Hippolyte Fierens Gevaert” in Halkin, Léon (ed.) Liber Memorialis. L’Université de Liége. De 1867 à 1935. Notices biographiques. 1 Faculté de Philosophie et Lettres. Faculté de Droit. Liége: Rectorat de l’Université, 1936, pp. 458-460; Essai sur l’art contemporain. Paris: Alcan, 1897; La tristesse contemporaine. Paris: Alcan, 1899; Psychologie d’une ville, essai sur Bruges. Paris: Alcan, 1901; L’Hôtel de ville de Paris. Paris: Librairie de l’art ancien et moderne, 1902; Van Dyck. Paris: H. Laurens, 1903; Nouveaux essays sur l’art contemporain. Paris: Alcan, 1903; Jordaens: biographie critique. Paris: H. Laurens, 1905; Études sur l’art flamand. La Renaissance septentrionale et les premiers maîtres des Flandres. Brussels: G. van Oest, 1905; L’Art au XXe siècle et son expression en Belgique. Brussels: Éditions de la Belgique, 1907: La peinture en Belgique, musées, églises, collections, etc. Les Primitifs Flamands. 2 vols. Brussels: G. van Oest, 1908-1909; La peinture au Musée ancien de Bruxelles. Brussels: G. van Oest, 1913; `”L’enseignement de l’histoire de l’art en Belgique” Revue de Synthèse historique 28, 82 (1914): 82-90; Les Très Belles Heures de Jean de France, duc de Berry. Brussels: Weckesser, 1924; [and Fierens, Paul: 3rd vol.] Histoire de la peinture flamande des origines à la fin du XVe siècle. 3 vols. Brussels: G. van Oest, 1927-1929.


Sources

De Seyn, Eugene. Dictionnaire biographique des Sciences, des Lettres et des Arts en Belgique. 1, Brussels: Éditions L’Avenir, 1935: 454; Van Puyvelde, Leo “Hippolyte Fierens Gevaert” in Halkin, Léon (ed.) Liber Memorialis. L’Université de Liége. De 1867 à 1935. Notices biographiques. 1 Faculté de Philosophie et Lettres. Faculté de Droit. Liège: Rectorat de l’Université, 1936: 458-460; Fierens, Paul, Catalogue de la peinture ancienne. Brussels: Éditions de la Connaissance, 1957: 11-12; Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 150, 245, 502; Van Kalck, Michele. “Hippolyte Fierens-Gevaert. Un premier conservateur en chef aux talents multiples (1919-1926)” Les Musées royaux des Beaux-Arts de Belgique. Deux siècles d’histoire. Brussels: Dexia Banque et Racine, 2003, 1, pp. 332-335; [obituary:] Mouseion 1 (April 1927): 82.



Contributors: Monique Daniels


Citation

Monique Daniels. "Fierens Gevaert, Hippolyte." Dictionary of Art Historians (website). https://arthistorians.info/fierensgevaerth/.


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First chief curator of the Royal Museums of Fine Arts in Brussels; professor of aesthetics and art history; art critic; writer. At age seventeen, Fierens-Gevaert enrolled at the Brussels Royal Conservatory of Music. In 1890 he won the Premier Prix

Fiedler, Konrad

Image Credit: Wikipedia

Full Name: Fiedler, Konrad

Gender: male

Date Born: 1841

Date Died: 1895

Place Born: Oederan, Saxony, Germany

Place Died: Munich, Bavaria, Germany

Home Country/ies: Germany


Overview

Fiedler studied at the Fürstenschule in Meissen and then law at the university in Heidelberg, Berlin and Leipzig between 1856 and 1861. He passed his states exam in 1865. After only briefly practicing, Fiedler used his private fortune to travel in Europe and the Middle East beginning in 1866. Italy remained his home base in these travels. There, he met the German master artists including Hans von Marées, whom he subsidized, Adolf Hildebrand, Arnold Bocklin, Anselm Freuerbach and later Franz von Lehnbach and Hans Thoma. Through this intercourse, he developed a general theory of the visual arts, drawing from the prevailing neo-Kantian philosophy. In 1876 he married the daughter of Julius Meyer Berliner Gemäldegalerie director. In 1887 he published his major work, Über den Ursprung der künstlerischen Tätigkeit, which postulated a kind of radical solipsism, maintaining that the objects of our knowledge are, in fact, simply our own experiences. In his later Drei Bruchstüke he reasserted that our experience of viewing can never fully comprehend the matter it’s apprehending. Fiedler’s work both drew upon and was developed Hildebrand in Hildebrand’s Das Problem der Form in den bildenden Kunst (1893) where perception along the visual plane (akin to the classical relief) was theorized as the only way perception happened. Fiedler’s theory of art overall maintained that art was parallel but distinct to conceptual knowledge. His writings embraced three major theoretical thrusts. First he asserted that the external world and the mind cannot know and reconcile things independently of each other, implying (almost diametrically) that either everything said about the world must be said from some standpoint, or more extreme, that objects of our knowledge are just our experiences. Second Fiedler denied the privileged position of language as the medium of mental life; visual perception does not employ our mental construct of words. Third, Fiedler made a distinction between the theory of art (knowledge or cognition) and aesthetics, the latter concerned with beauty, taste, and subjective responses to the world. This view of esthetics was drawn from Kant’s Kritik der Urteilskraft (1790). Much like Kant purged the pure judgement of taste from other judgements, Fiedler separated art from other intellectual pursuits (Podro). His theories influenced much of late-nineteenth and early twentieth-century art history, most notibly Wilhelm Worringer, Paul Frankl particularly in Frankl’s Die Entwicklungsphasen der neueren Baukunst (1914) and Italian scholars such as Carlo Ludovico Ragghianti.


Selected Bibliography

Über die Beurteilung von Werken der bildenden Kunst. Leipzig, 1876, English 1957; “Moderner Naturalismus und künstlerische Wahrheit.” Wissenschaftliche Beilage der Leipziger Zeitung. Leipzig, 1881; Über den Ursprung der künstlerischen Tätigkeit. Leipzig, 1887; ed. Konnerth, H. ed. Schriften über Kunst, 2 vols. Munich, 1913-14


Sources

Podro, Michael. The Manifold in Perception: Theories of Art from Kant to Hildebrand. New York: Oxford University Press, 1972; Beyer, Andreas. Zehn Klassiker der Kunstgeschichte: Eine Einführung. Cologne: Dumont, 1996, pp. 9-12; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 88-90.




Citation

"Fiedler, Konrad." Dictionary of Art Historians (website). https://arthistorians.info/fiedlerk/.


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Fiedler studied at the Fürstenschule in Meissen and then law at the university in Heidelberg, Berlin and Leipzig between 1856 and 1861. He passed his states exam in 1865. After only briefly practicing, Fiedler used his private fortune to travel in

Fiechter, Ernst Robert

Full Name: Fiechter, Ernst Robert

Gender: male

Date Born: 1875

Date Died: 1948

Place Born: Basel, Basle-Town, Switzerland

Place Died: St. Gallen, Sankt Gallen, Switzerland

Home Country/ies: Switzerland

Subject Area(s): Ancient Greek (culture or style), archaeology, architecture (object genre), Classical, and sculpture (visual works)


Overview

Architect and archaeologist, specialist in late classical Greek temple and theater architecture. Professor at the Technical University of Stuttgart, 1911-1937. Active in excavations at Aphaia and Aegina.


Selected Bibliography

Die baugeschichtliche Entwicklung des antiken Theaters, 1914. Antike Theaterbauten, vols.1-9 (1930-1950). “Der ionische Tempel am Ponte Rotto in Rom” RM 21, 1906, 220 ff.


Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 190-191




Citation

"Fiechter, Ernst Robert." Dictionary of Art Historians (website). https://arthistorians.info/fiechtere/.


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Architect and archaeologist, specialist in late classical Greek temple and theater architecture. Professor at the Technical University of Stuttgart, 1911-1937. Active in excavations at Aphaia and Aegina.

Ffoulkes, Constance Jocelyn

Full Name: Ffoulkes, Constance Jocelyn

Gender: male

Date Born: unknown

Date Died: unknown

Home Country/ies: United Kingdom

Subject Area(s): Italian (culture or style), Italian Renaissance-Baroque styles, and Renaissance


Overview

Scholar of the Italian renaissance, collaborator and disciple of Giovanni Morelli. After the death of Morelli in 1891, the archaeologist Austen Henry Layard financed the second and more comprehensive English edition which Ffoulkes co-edited and translated, of Morelli’s Italian Painters.


Selected Bibliography

Handbook of Italian Schools in the Dresden Gallery. London: W. H. Allen, 1888; Vincenzo Foppa of Brescia, Founder of the Lombard School, his Life and Work. London: J. Lane, 1909; translated, Morelli, Giovanni. Italian Painters: Critical Studies of their Works. 2 vols. London: John Murray, 1892-1893.





Citation

"Ffoulkes, Constance Jocelyn." Dictionary of Art Historians (website). https://arthistorians.info/ffoulkesc/.


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Scholar of the Italian renaissance, collaborator and disciple of Giovanni Morelli. After the death of Morelli in 1891, the archaeologist Austen Henry Layard financed the second and more comprehensive

Feulner, Adolf

Image Credit: Makk

Full Name: Feulner, Adolf

Gender: male

Date Born: 1884

Date Died: 1945

Place Born: Schwabhausen bei Dachau, Bavaria, Germany

Place Died: Wiesentheid, Bavaria, Germany

Home Country/ies: Germany


Overview

Together with Theodor Müller, he authored the second volume of the Deutsche Kunstgeschichte, Geschichte der deutschen Plastik. Feulner was among the first group of art historians to consider the Baroque an area worthy of art historical study, including Cornelius Gurlitt, Heinrich Wölfflin, Robert Dohme, August Schmarsow, Aloïs Riegl, and Albert Brinckmann.


Selected Bibliography

and Müller, Theodor. Geschichte der deutschen Plastik. Deutsche Kunstgeschichte 2. Munich: F. Bruckmann, 1953.


Sources

Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 85-88.




Citation

"Feulner, Adolf." Dictionary of Art Historians (website). https://arthistorians.info/feulnera/.


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Together with Theodor Müller, he authored the second volume of the Deutsche Kunstgeschichte, Geschichte der deutschen Plastik. Feulner was among the first group of art historians to consider the Baroque an area wort

Ferree, Barr

Full Name: Ferree, Barr

Gender: male

Date Born: 1862

Date Died: 1924

Home Country/ies: United States

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


Overview

Architectural historian and connoisseur. Establish Foundation for book publishing. Ferree graduated from the University of Pennsylvania in 1884 and lectured there on architectural subjects in the recently founded School of Architecture. Although subsequently entering the world of business, he continued to lecture, achieving the presidency of the Department of Architecture and Fine Arts at the Brooklyn Institute of Arts and Sciences. He was also the first American to be elected to honorary membership of the Royal Institute of British Architects. Ferree published an influential catalog of French cathedrals which he compiled through a vast personal library (now the Barr Ferree Library of Princeton). His efforts to save French architecture from destruction during World War I won him the Legion of Honor in 1922. When he died unexpectedly in 1924, his estate became the core of the Barr Ferree Foundation, dedicated to publication of books on architecture and the related fine arts. E. Baldwin Smith dedicated his work, The Dome (1950) to Ferree’s memory.


Selected Bibliography

The Bombardment of Reims. New York: Leonard Scott Publication Company, 1917; The Chronology of the Cathedral Churches of France. New York, [s.n.], 1894; Primitive Architecture. New York: [s.n.], 1890; Architectural Education for America. New York: [s.n.], 1894. ___ 0.DOA


Sources

E. Baldwin Smith. “To the Memory of Barr Ferree” Introduction to The Dome: A Study in the History of Ideas. Princeton, NJ: Princeton University Press, 1950, p. v.




Citation

"Ferree, Barr." Dictionary of Art Historians (website). https://arthistorians.info/ferreeb/.


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Architectural historian and connoisseur. Establish Foundation for book publishing. Ferree graduated from the University of Pennsylvania in 1884 and lectured there on architectural subjects in the recently founded School of Architecture. Although s

Fernow, Carl

Image Credit: Wikipedia

Full Name: Fernow, Carl

Other Names:

  • Carl Ludwig Fernow

Gender: male

Date Born: 19 November 1763

Date Died: 04 December 1808

Place Born: Blumenhagen bei Pasewalk, Mecklenburg-Vorpommern, Germany

Place Died: Weimar, Thuringia, Germany

Home Country/ies: Germany

Subject Area(s): archaeology, art theory, and Classical


Overview

Classicism art theorist, archaeologist and historian. In the early nineteenth century Fernow befriended the ambitious widow literati (and art historian) Johanna Henrietta Schopenhauer, advising her on art and family matters (such as how to school her son, the later famous philosopher Athur Schopenhauer). At his death, Johanna Schopenhauer wrote his biography, Fernows Leben, which she published in 1810. The book began her on a literary and art-writing career.



Sources

Schopenhauer, Johanna. Fernows Leben. Tübingen and Stuttgart: Cotta, 1810; Kultermann, Udo. Geschichte der Kunstgeschichte: Der Weg einer Wissenschaft. 2nd ed. Frankfurt am Main and Vienna: Ullstein, 1981, 123-124; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 84-85.




Citation

"Fernow, Carl." Dictionary of Art Historians (website). https://arthistorians.info/fernowc/.


More Resources

Search for materials by & about this art historian:

Classicism art theorist, archaeologist and historian. In the early nineteenth century Fernow befriended the ambitious widow literati (and art historian) Johanna Henrietta Schopenhauer, advising her on art and family ma