Evers, Hans Gerhard
Full Name: Evers, Hans Gerhard
Other Names:
- Hans Gerhard Evers
Gender: male
Date Born: 1900
Date Died: 1993
Place Born: Lübeck, Schleswig-Holstein, Germany
Place Died: Hofgeismar, Hesse, Germany
Home Country/ies: Germany
Overview
Evers studied literature at the university in Göttingen, writing his thesis on Johann Joachim Winckelmann and Gotthold Ephraim Lessing. He moved to Heidelberg where the lectures of Ludwig Curtius, the Egyptologist Hermann Ranke and the literary historian and member of the Stefan George circle, Friedrich Gundolf (1880-1931), converted his interest to art history. After his Die Breitrichtung der Basilika appeared in 1932, written under Wilhelm Pinder Evers was appointed a lecturer at the university in Munich. He became Professor at Munich in 1942. That year he published the first of his two books on Rubens–this written in the form of a historical novel–yet nevertheless accounting for Rubens as both artist and statesman. After World War II he accepted a teaching position in 1950 at the Technischen Hochschule in Darmstadt where he remained until his retirement in 1968. He was one of the motivating figures behind the 1950 Darmstädter Gespräch. In Vom Historismus zum Funktionalismus (1967) he offered a revisionist account of nineteenth-century historicist architecture. His interest in art historiography was instrumental in his co-editing the bibliography volume in the Bibliographie zur Kunstgeschichte des 19. Jahrhunderts,1968. He was selected to write the volume in the Art of the World series by Crown [Die Kulturen des Abendlandes in Germany] on modern art, Art of the Modern Age (1970). In his final years, Evers attempted to counter the legend that Ludwig II of Bavaria was a mad king. He cast the famous Ludwig der Verrückt as the last enlightened monarch who was able to imprint his stylistic vision on his architectural commissions. His students included Otto von Simson, who, though he officially wrote his dissertation under Pinder, saw Evers as his most influential teacher, and Josef Adolf Schmoll genannt Eisenwerth, who wrote his habilitation under Evers.
Selected Bibliography
Schriften. Darmstadt : Techn. Hochschule, 1975; and Lietzmann, Hilda, and Lankheit, Klaus and Novotny, Fritz. Bibliographie zur Kunstgeschichte des 19. Jahrhunderts. Publikationen der Jahre, 1940-1966. Munich: Prestel-Verlag, 1968; and Rathke Ewald, and Herzog, Erich, and Gertz, Ulrich. Kunst des 20. Jahrhunderts in Hessen. 3 vols. Hanau, Hessen: Peters, 1965-1969; Die Engelsbrücke in Rom. Berlin: Mann, 1948; Zeugnisse der Angst in der modernen Kunst. Darmstadt: Darmstädter Gespräch, Mathildenhöhe1963; Vom Historismus zum Funktionalismus. Zürich: Schweizer Verlagshaus, Neue Schweizer Bibliothek, 1967; Vom Historismus zum Funktionalismus. Baden-Baden: Holle, 1967, English, The Art of the Modern Age. New York: Crown Publishers, 1970; Dürer bei Memling. Munich: Fink, 1972; Ludwig II. von Bayern: Theaterfürst, König, Bauherr: Gedanken zum Selbstverständnis. Munich: Hirmer, 1986; Peter Paul Rubens. Munich: F. Bruckmann, 1942; Rubens und sein Werk: neue Forschungen. Brüssels: De Lage Landen, 1943; Tod, Macht und Raum als Bereiche der Architektur. Munich: Neuer Filser-verlag; inhaber: dr. Benno Filser, 1939.
Sources
Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. 2nd ed. Stuttgart: Metzler, 2007, pp. 84-86; Stonard, John-Paul. Art and National Reconstruction in Germany 1945-55. Ph.D. dissertation, University of London, 2004, pp. 233-234; [transcript] “Otto von Simson, interviewed by Richard Cándida Smith.” Art History Oral Documentation Project. Malibu, CA: Getty Research Institute,p. 9.
Archives
- Archief van Hans Gerhard Evers, Rubenianum. https://anet.be/isadtree/rub/opacrubisad/isad:rub:3130, BE-ANN14/010EVERS.
Contributors: Emily Crockett and Lee Sorensen
Evers studied literature at the university in Göttingen, writing his thesis on Johann Joachim Winckelmann and Gotthold Ephraim Lessing. He moved to Heidelberg where the lectures of
Full Name: Evelyn, John Gender: male Date Born: unknown Date Died: unknown Home Country/ies: United Kingdom Subject Area(s): architecture (object genre) and sculpture (visual works) Architectural historian. Downs, Kerry. “John Evelyn and Architecture: A First Inquiry.” in, Concerning Architecture: Essays on Architectural Writers and Writing presented to Nikolaus Pevsner. Baltimore: Penguin Books, 1968, pp. 28-39. Contributors: Emily Crockett and Lee Sorensen Architectural historian. Full Name: Evans, Joan, Dame Gender: female Date Born: 1893 Date Died: 1977 Place Born: Abbots Langley, Hertfordshire, England, UK Place Died: Wotton under Edge, Gloucestershire, England UK Home Country/ies: United Kingdom Subject Area(s): Medieval (European) Career(s): art collectors Oxford-trained private medievalist art historian and collector. Evans was the daughter of Sir John Evans (1823-1908) an archaeologist, and his third wife, Maria Millington Lathbury (1856-1944). Her mother attended Oxford at age 30 and married at 36. Joan Evan’s half-brother by more than forty years was the archaeologist Arthur J. Evans. The girl had a lonely childhood, essentially raised by her nanny. She suffered a nervous breakdown at the death of her father in 1908 and was only restored by a family friend, Margaret Jourdain, who insisted she write a history of jewelry. She attended St. Hugh’s College, Oxford, from 1914 graduating in archaeology (with honors) in 1916 under J. D. Beazley. But a lack of sympathy with Beazley’s attributions methodology led her to pursue later periods. In 1917 she took a temporary position as St. Hugh’s librarian which lasted until 1922. A B.Litt was awarded in 1920. In 1921 she published her book, English Jewellery from the 5th Century BC to 1800. English art, however, was not her primary focus. Her scholarly interest was established in 1925 by the book Life in Mediaeval France. The University of London awarded her a D. Litt, in 1930. In 1931 she used her research in adornment to write Pattern: a Study of Ornament in Western Europe from 1180 to 1900, a monumental study which reframed the scholarly concept of decoration. That same year she was named honorary librarian of the Courtauld Institute, London. Oxford University bestowed a D. Litt, on her in 1932. Evans produced the second of her studies of French medieval life in 1936, Monastic Life at Cluny, 930-1157, followed in 1939 by Taste and Temperament. In rapid succession, Art in Mediaeval France (1948), English Art, 1307-1461 (1949), Cluniac Art of the Romanesque Period (1950), and Dress in Mediaeval France (1952) were published. A second history of ornament, A History of Jewellery, 1100-1870 was issued in 1953. These were interspersed by histories of more contemporary subjects, such as her biography of Chateaubriand in 1939, on Madame de Sérilly in 1946, and Joseph Joubert, published in 1947. In 1943 she published a family memoir, Time and Chance: the Story of Arthur J. Evans and his Forebears. Evans bought a medieval Cluniac chapel, Chappelle des Moines de Berzé and donated it to the town of Mâcon in 1947. In 1948 she was elected president of the Royal Archaeological Institute (through 1951). Evans greatly admired the Victorian age and indeed saw herself as an extension of it in many ways. After a biography of John Ruskin in 1954, she co-edited with John Howard Whitehead, Ruskin’s diaries in 1956, a work demonstrating almost a personal understanding of the work of the most influential art writer of the nineteenth century in Britain. That same year her A History of the Society of Antiquaries appeared in 1956, as well as an honorary doctor of letters from Cambridge. Evans was elected the first woman president of the Society of Antiquaries in 1959 (through 1964) a position which had previously been held by both her father and half brother, and awarded the gold medal the Society in 1973. She donated her gem and jewelry collection to the Victoria and Albert Museum beginning in 1960. She was a trustee of the British Museum (1963-1967). In 1966 she published a view of the middle ages in general, The Flowering of the Middle Ages and a biography of the family of Netherlandish scholar Martin Conway. In her personal life, she donated time and money to many charitable historic causes, nearly all of them anonymously. Most publicly, she helped purchase the ridge above Wotton under Edge for the National Trust. She resided there at Thousand Acres, the family home at Wotton, for the remainder of her life. Evans died at Wotton under Edge in 1977 and her body cremated. Her will left collections to the Ashmolean Museum, Oxford, and the Birmingham City Art Gallery. Evans never had an academic appointment. Scholarly opinion of her work is generally that she too strongly felt the urge to match the publishing output of other family members to match their excellence. Her books lack evidentiary detail which a slower publication schedule might have allowed. Her work on Ruskin is one of great sensitivity and her study on ornament remains important. English Jewellery from the Fifth Century A.D. to 1800. London, Methuen & co., 1921; Pattern, a Study of Ornament in Western Europe from 1180 to 1900. 2 vols. Oxford, The Clarendon Press, 1931; The Romanesque Architecture of the Order of Cluny. Cambridge: Cambridge University Press, 1938; English Art, 1307-1461. The Oxford History of English Art: 5. Oxford: Clarendon Press, 1949; Art in Mediaeval France, 987-1498. London: Oxford Univ. Press, 1948; Cluniac Art of the Romanesque Period. Cambridge: Cambridge University Press, 1950; edited, with Whitehouse, John Howard. Ruskin, John. Diaries. 3 vols. Oxford: Clarendon Press, 1956-59; Dress in Mediaeval France. Oxford: Clarendon Press, 1952; The Conways: a History of Three Generations. London: Museum Press, 1966. Evans, Joan. Prelude & Fugue, an Autobiography. London: Museum Press, 1964; Garlick, Kenneth. “Evans, Joan, Dame.” Oxford Dictionary of National Biography, 2004; Coldstream, Nicola. “Joan Evans (1893-1977): Art Historian and Antiquary.” in, Chance, Jane, ed. Women Medievalists in the Academy. Madison: University of Wisconsin Press, 2005, pp. 399-422; [obituary:] “Dame Joan Evans, Historian of French and English Medieval Art.” Times (London) July 15, 1977, p.18. Contributors: Emily Crockett and Lee Sorensen Oxford-trained private medievalist art historian and collector. Evans was the daughter of Sir John Evans (1823-1908) an archaeologist, and his third wife, Maria Millington Lathbury (1856-1944). Her mother attended Oxford at age 30 and married at 3 Full Name: Evans, Arthur J., Sir Other Names: Gender: male Date Born: 1851 Date Died: 1941 Place Born: Nash Mills, Hemel Hempstead, England, UK Place Died: Oxford, Oxfordshire, England, UK Home Country/ies: United Kingdom Subject Area(s): Aegean Bronze Age periods, ancient, Ancient Greek (culture or style), archaeology, Cretan, Minoan, and museums (institutions) Career(s): directors (administrators) and museum directors Archaeologist, Ashmolean Museum Director; discoverer of Minoan Crete civilization and publisher of Minoan (Knossos) finds. Evans’ father, Sir John Evans (1823-1908), ran a paper mill and was distinguished archaeologist and numismatist. His mother was Harriet Ann Dickinson (Evans). Evans attended Harrow School and Brasenose College, Oxford, where he graduated with first class honors in modern history in 1874. He studied a year at Göttingen, traveling to Bosnia (1871), Herzegovina, Finland, and Scandinavia (1873-4). Evans became a reporter for the Manchester Guardian in 1877, covering the Balkans. In 1878 he married Margaret Freeman (d. 1893), daughter of the historian Edward Augustus Freeman (1823-1892). In 1882 he was arrested by the Austrian authorities for complicity, but released after six weeks of imprisonment. Like many, he was fascinated by the exploits of Heinrich Schliemann at Troy, Mycenae, and Tiryns as reported in Das homerische Epos (1884) by Wolfgang Helbig and Die Anfänge der Kunst in Griechenland (1883) by Arthur Milchhöfer. In 1884 Evans was appointed keeper of the Ashmolean Museum at Oxford. The museum was in a poor state, its building dilapidated and its collecting policies duplicated by those of the Randolph Gallery under Sir W. M. Ramsay (1806-1865), the first Lincoln and Merton chair of classical archaeology and art. His first archaeological studies were published in Archaeologia in 1884 and 1885. During this time he was founding member of the British School at Athens (1886). Evans set out to make the Ashmolean a major museum. He secured the private collection of classical and medieval art of Charles Drury Fortnum. A chance gift to the Ashmolean in 1889 of a seal-stone led Evans to a greater study of them. He acquired other examples in Athens in 1893, postulating the picture-writing theory of the Cretan islands later known as “Linear A” and “Linear B”. That same year he and Percy Gardner issued a catalog on the Greek vases in the Ashmolean. He traveled in Crete in 1894, collecting other seal-stones. Between 1894 and 1897 Evans published additional theories and discoveries of Crete in the Journal of Hellenic Studies. Evans presided over the move of the Ashmolean collections to a renovated building in 1894. When the Turks evacuated Crete in 1899, Evans used the some of the fortune he had inherited to excavate an 1894 property he had bought in Crete with the British School of Archaeology at Athens. The dig was directed by Evans and the School’s director, David G. Hogarth (1862-1927), Duncan MacKenzie and John Pendlebury. Almost immediately, an elaborate Bronze Age palace with numerous clay tablets were revealed. “Kamárais” pottery (c. 2000 BC) and brilliant frescoes from a palace were exposed. The excavation continued for eight subsequent seasons. Evans exhibited the finds initially in London in 1903 and more extensively in 1936. He resigned from the Ashmolean in 1908 when the museum’s collection was merged with the Randolph Gallery into a single building at Oxford. Evans devoted his time to writing Scripta Minoa, the published account of his analysis of the Cretan language, appearing beginning in 1909 (the second in 1952). The four-volume Palace of Minos at Knossos was launched beginning in 1921 (final volume 1935). Evans named the culture “Minoan”, after the legendary King Minos of Crete. He theorized a nine classifications of the civilization including ‘early’, ‘middle’, and ‘late’, each divided into subcategories, which he published in 1905, 1906, and 1912. Evans’s villa in Crete overlooking the site which had served as a center for scholars and visitors, was transferred to the British School of Archaeology at Athens in 1926. He returned to excavate the ‘royal tomb’ in 1931. Though World War II brought many ravages, the German invasion of Crete in 1941 damaged neither the palace or the museum. After the war, Evans, a trustee of the British Museum, moved to reinstate the museum (from the wartime Air Board), rejuvenating the museum at a critical juncture. He worked at the Ashmolean until his death at his estate, Youlbury, in 1941. His biography was published in 1943 by his half-sister, Joan Evans, as Time and Chance: the Story of Arthur Evans. Though Evans discoveries were spectacular, he overrated the dominance of Crete in early Aegean history, concomitantly appreciating the role of the Greek mainland and the Cyclades. He could not believe that Minoan culture had not been the dominant one for most of the 1600-1400 B.C. era. Subsequent scholarship has proven this not to be the case. and Gardner, Percy. Catalogue of the Greek Vases in the Ashmolean Museum. Oxford: Clarendon Press, 1893; British Archaeological Discoveries in Greece and Crete, 1886-1936: Catalogue of the Exhibition Arranged to Commemorate the Fiftieth Anniversary of the British School of Archaeology at Athens. London: W. Clowes & Sons, Ltd., 1936; Antiquarian Researches in Illyricum. Parts I-IV. [collected articles from Archaeologia, vols. 48-49] Westminster: Nichols & Sons, 1883-1885; Cretan Pictographs and Prae-Phoenician Script: with an Account of a Sepulchral Deposit at Hagios Onuphrios near Phaestos in its Relation to Primitive Cretan and Aegean Culture. London: B. Quaritch/New York: G. P. Putnam’s, 1895; and Evans. Joan. The Palace of Minos: a Comparative Account of the Successive Stages of the early Cretan Civilization as Illustrated by the Discoveries at Knossos. London: Macmillan and Co., 1921; The Prehistoric Tombs of Knossos: the Cemetery of Zafer Papoura: the Royal Tomb of Isopata. London: B. Quaritch, 1906. Medwid, Linda M. The Makers of Classical Archaeology: A Reference Work. New York: Humanity Books, 2000 pp. 103-106; Myres, John L., and rev. Snodgrass, A. M. Dictionary of National Biography; Evans, Joan. Time and Chance: the Story of Arthur Evans and his Forebears. New York: Longmans, Green, 1943; MacGillivray, Joseph Alexander. Minotaur: Sir Arthur Evans and the Archaeology of the Minoan Myth. New York: Hill and Wang, 2000; Horwitz, Sylvia L. The Find of a Lifetime: Sir Arthur Evans and the Discovery of Knossos. New York: Viking Press, 1981. Contributors: Emily Crockett and Lee Sorensen Archaeologist, Ashmolean Museum Director; discoverer of Minoan Crete civilization and publisher of Minoan (Knossos) finds. Evans’ father, Sir John Evans (1823-1908), ran a paper mill and was distinguished archaeologist and numismatist. His mother Full Name: Ettlinger, Leopold D. Other Names: Gender: male Date Born: 1913 Date Died: 1989 Place Born: Kaliningrad, Kaliningrad Oblast, Russia Place Died: Berkeley, Alameda, CA, USA Home Country/ies: Germany Subject Area(s): Italian (culture or style), Italian Renaissance-Baroque styles, and Renaissance Career(s): educators Warburg Institute historian of the Italian renaissance and Berkeley Art Department Chair, 1970-80. He was bornin in Königsberg, Germany, present day Kaliningrad, Russia. Ettlinger was born to Emil Ettlinger and Dora Beer (Ettlinger), his father the university librarian in Königsberg. After receiving his Abitur from the Gynmasium in Halle in 1932, he studied at the universities of Halle and Marburg. His fields of concentration included archaeology, philosophy and art history (under Paul Frankl). He received his Ph.D. in Halle under Herbert Koch in 1937, writing on the topic of Gottfried Semper and the ancient world. Between 1935-37 he assisted Koch cataloging the the collection of Crete and Mycenean objects, photodocumenting them for the archaeological museum in Halle. Because of his Jewish background Ettlinger was forced to leave Germany for England in 1938, working at the Warburg Institute and living with Fritz Saxl. He married Amrei Jacoby in 1939 (d. 1955). Nikolaus Bernard Leon Pevsner secured him a job working as a social worker in children’s refugee camps (Movement for the Care of Children from Germany), 1940-1941. He was interned briefly in 1940 on the Isle of Man, together with other Warburg refugees. After his release he was made a member of the Warburg Institute. Ettlinger published his first English-language essays in the Journal of the Warburg and Courtauld Institutes. He supported himself during the years 1941-1948 as an assistant master of Edward VI’s school in Birmingham for six years and writing a volume for Allen Lane’s King Penguin book series in 1947 on Christmas cards. In 1948, Saxl appointed Ettlinger curator of the photographic collection of the Warburg, now part of the University of London, shortly before Saxl’s sudden death. Ettlinger also lectured at the University of Reading. After 1956 he was a lecturer at the Warburg (to 1964). At the suggestion of Erwin Panofsky, Ettlinger spent part of the1956 year at the Institute for Advanced Study in Princeton, studying the Sixtus’ early painting patronage. The result would be his well-received 1965 book, The Sistine Chapel before Michelangelo: Religious Imagery and Papal Primacy. In 1959 he married Madeleine Jay Noirot and replaced E. H. Gombrich as the Durning Lawrence Professor of the History of Art at the Slade School, University College. His 1961 inaugural lecture was on the current status of art history (“Art History Today”). He lectured for the academic year 1963-1964 at Yale University. While chair of the department (1966-70) he helped created joint degree programs in the art history department. In 1970 Ettlinger accepted the chairmanship of the Department of the History of Art at the University of California at Berkeley. There he had many students and earned a reputation as an outstanding lecturer: persuasive arguments, perfect delivery and moving elocution. Ettlinger married a third time to Helen Shahrokh Lewis (later divorced), with whom he wrote a monograph on Botticelli in 1976. At Berkeley he issued his catalogue raisonné of the Pollaiuolo, Antonio and Piero Pollaiuolo: Complete Edition with a Critical Catalogue. He remained on the Berkeley faculty until 1980. On Easter, 1979 he was received into the Roman Catholic faith, surprising to some, but to others the culmination of his engagement with Christianity through his work on the Sistine Chapel. In 1983 he headed a panel discussing the Vienna School of art history at the 25th International Congress of the History of Art, later published as Wien und die Entwicklung der kunsthistorischen Methode. [dissertation] Gottfired Semper und die Antike; Beiträge zur Kunstanschauung des deutschen Klassizismus. Halle, 1937; and Holloway, R. G. Compliments of the Season. London: Penguin Books, 1947; Kandinsky’s “At Rest”. Charlton lecture 1960; London: Oxford University Press, 1961; Art History Today. [inaugural address for University College] London: H. K. Lewis, 1961; “On Science, Industry and Art: Some Theories of Gottfried Semper.” Architectural Review 86 (July 1964): 57-60; The Sistine Chapel Before Michelangelo: Religious Imagery and Papal Primacy.Oxford: Clarendon Press, 1965; and Ettlinger, Helen S. Botticelli. London: Thames and Hudson, 1976; Antonio and Piero Pollaiuolo: Complete Edition with a Critical Catalogue. Oxford: Phaidon, 1978; Wien und die Entwicklung der kunsthistorischen Methode. Akten des XXV. Internationalen Kongresses für Kunstgeschichte 1. 3 vols. Vienna: Böhlau, 1984. Kleinbauer, W. Eugene. Research Guide to the History of Western Art. Sources of Information in the Humanities, no. 2. Chicago: American Library Association, 1982, pp. 20 n. 36, 25 n. 49; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 78-80; 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. 139-42; [obituaries] Trapp, Joseph B. “Leopold D. Ettlinger.” The Burlington Magazine 131 (December 1989): 851-2; The Times [London], July 22 1989; Svetlana Alpers, Michael Baxandall, Jacques de Caso. University of California In Memoriam 1992. “Leopold David Ettlinger, History of Art: Berkeley.” http://dynaweb.oac.cdlib.org:8088/dynaweb/uchist/public/inmemoriam/inmemoriam1992/@Generic__BookTextView/867 Contributors: Emily Crockett and Lee Sorensen Warburg Institute historian of the Italian renaissance and Berkeley Art Department Chair, 1970-80. He was bornin in Königsberg, Germany, present day Kaliningrad, Russia. Ettlinger was born to Emil Ettlinger and Dora Beer (Ettlinger), his father th Full Name: Ettinghausen, Richard Gender: male Date Born: 1906 Date Died: 1979 Place Born: Frankfurt am Main, Hesse, Germany Place Died: Princeton, Mercer, NJ, USA Home Country/ies: Germany Subject Area(s): Islam and Islamic (culture or style) Historian of Islamic art. Ettinghausen received his Ph.D. from the University of Frankfurt in 1931 in Islamic history and art history. While pursuing his studies he worked, beginning at 24, on the excellent Islamic collection of the State Museum (Kaiser-Friedrich Museum) in Berlin between 1929 and 1931, under the direction of Ernst Kühnel and the collector/archaeologist Friedrich Sarre. In 1934 at the assumption of power by the Nazis, he emigrated first to Britain and then to the United States where he joined the staff of Arthur Upham Pope at the Institute of Persian Art and Archaeology in New York. His research, which had previously focused on Egypt and Syria, increased to the Islamic art of Iran. During the 1937-38 academic year, he taught his first class at the Institute of Fine Art, New York University. The following fall he was appointed an associate professor at the University of Michigan. In 1944 Ettinghausen left Michigan to join the Freer Gallery, Department of Near Eastern Art, part of the Smithsonian Institution. The following year he married the art historian Elisabeth Sgalitzer. He also lectured at Princeton University. His 1941 lecture, “The Character of Islamic Art,” presented at the third summer seminar in Arabic and Islamic studies at Princeton University, was published in the collection The Arab Heritage. It defined succinctly the character and qualities of the genre. Nikolaus Bernard Leon Pevsner, editor of the Pelican History of Art, contacted Ettinghausen to write a single-volume history of all of Islamic art. In 1959, Ettinghausen secured Oleg Grabar to write on the architecture and he on the independent arts. Partially due to its scope and partially because of the commitments of the two men, the project developed slowly. In 1961 he was appointed chief curator of the Freer. During his tenure at the Freer, he built the collection into one of the finest collections on Islamic art in the world. In 1966 Ettinghausen left the Freer to become Hagop Kevorkian Professor of Islamic Art at the Institute of Fine Art, New York University. Together with the Middle East historian R. Bayly Winder he founded the Kevorkian Center the same year at NYU. Three years later he added the duties of Consultative Chairman of the Islamic Department of the Metropolitan Museum of Art. At the Metropolitan, he was instrumental in installing the galleries to their sensitive arrangement. Ettinghausen died of cancer. Grabar completed the remaining portions of Ettinghausen’s manuscript for the Pelican book, which appeared only in 1987 as The Art and Architecture of Islam 650-1250, the first of two volumes envisioned. The library in the Kevorkian Center is named in Ettinghausen’s memory. Ettinghausen published the groundbreaking early books in English on Islamic art. His major interest was in Islamic painting. His 1962 Arab Painting was translated into five languages by Skira publishers. Ettinghausen combined a knowledge of classical Greek and Roman authors to the Islamic sources made him aptly able to identify iconography, his major methodology. His 1950 book The Unicorn: Studies in Muslim Iconography, is a monumental source of iconographical information for scholars not only of Islamic studies but also for medieval western art. Both a Jew and an avid Islamicist, his ties to Israel found expression in his promotion of the establishment of a museum for Islamic art in Jerusalem. [complete bibliography:] “Bibliography of the Writings of Richard Ettinghausen.” in Chelkowski, Peter J., ed. Studies in Art and Literature of the Near East in Honor of Richard Ettinghausen. Salt Lake City: Middle East Center, University of Utah/New York: New York University Press, 1974, pp. 5-25; “The Bobrinski Kettle: Patron and Style of an Islamic Bronze.” Gazette des Beaux Arts 24, 6th series (1943): 193-208; “The Character of Islamic Art.” in, The Arab Heritage. Faris, Nabih Amin, ed . Princeton, NJ: Princeton University Press, 1944; “Notes on the Lusterware of Spain.” Ars Orientalis I (1954): 145-8; “Interaction and Integration in Islamic Art.” in, Unity and Variety in Muslim Civilization. Grunebaum, Gustave E., ed. Chicago: University of Chicago Press, 1955; edited, Aus der Welt der islamischen Kunst: Festschrift für Ernst Kühnel zum 75. Geburtstag am 26. 10. 1957. Berlin: Gebr. Mann, 1959; Arab Painting. Geneva: Skira, 1962; From Byzantium to Sasanian Iran and the Islamic world; three modes of artistic influence. Leiden, Brill, 1972; and Evans, Bruce H. and Ackerman, Gerald M. Jean-Léon Gérôme (1824-1904). Dayton, OH: Dayton Art Institute, 1972; Islamic Art in the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, 1972; “The Impact of Muslim Decorative Arts and Painting on the Arts of Europe.” in, The Legacy of Islam. Schacht, Joseph, and Bosworth, C. E., eds. Oxford: Oxford University Press, 1974, pp. 290-320; and MacDougall, Elisabeth B., eds. The Islamic Garden. Fourth Dumbarton Oaks Colloquium on the History of Landscape Architecture, 1974. Washington, DC: Dumbarton Oaks/Harvard University, 1976; and Yarshater, Ehsan. Highlights of Persian Art. Boulder, CO: Westview Press 1979; Islamic Art and Archaeology: Collected Papers. Berlin: Gebr. Mann,1984; and Grabar, Oleg. The Art and Architecture of Islam 650-1250. Pelican History of Art 51. Harmondsworth: Penguin, 1987. 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. 89; Porada, Edith. “Richard Ettinghausen.” Yearbook of the American Philosophical Society 1979 pp.58-61; Blair, Sheila S. “Preface.” The Art and Architecture of Islam: 1250-1800. New Haven, CT: Yale University Press, 1994, p. vii; [obituaries] Cook, Joan. “Richard Ettinghausen, Teacher, A Leading Islamic Art Authority, Planned Turkish Exhibition, Taught at Princeton.” New York Times April 3, 1979, p. C18 Contributors: Emily Crockett and Lee Sorensen Historian of Islamic art. Ettinghausen received his Ph.D. from the University of Frankfurt in 1931 in Islamic history and art history. While pursuing his studies he worked, beginning at 24, on the excellent Islamic collection of the State Museum ( Full Name: Estlander, Carl Gustaf Other Names: Gender: male Date Born: 1834 Date Died: 1910 Home Country/ies: Finland Subject Area(s): aesthetics Professor of esthetics at the University of Helsinki; first to teach art history courses in Finland. Estlander taught a course in the history of painting at Helsinki in 1862-1863 academic year. For the 1866-1867 another course on art history in general, and in the 1871-1872 one on the Italian Renaissance. Follow that his art courses focused on historic art theory. His art lectures were based on the texts of the seminal German writers on art Wilhelm Lübke, Franz Kugler and Karl Julius Ferdinand Schnaase. Estlander had travelled to Italy and made personal notes on artwork, from which he drew his remarks on the Renaissance. He published a book on art history, De bildande konsternas historia från slutet av aderetonde arhundradet till våra dagar in 1867. This book was the influence to the writing and teaching of the first fully-appointed chair of art history in Finland, J. J. Tikkanen. A subsequent edition appeared in 1925, with commentary by Tancred Borenius. Estlander was one of the self-taught art historians, precursor to the first professional generation of art historian in Finland. His only work to appear in a major European language was in a Sicilian journal. De bildande konsternas historia från slutet av aderetonde arhundradet till våra dagar. Stockholm: L. J. Hiertas, 1867; [collected works] Skrifter. 3 vols. Helsingfors: Tidnings- och Tryckeri-Aktiebolagets, 1914-1925. Ringbom, Sixten. Art History in Finland before 1920. Helsinki: 1986, pp. 51-56, 62; Vakkari, Johanna. “J. J. Tikkanen and the Teaching of Art History.” in, Suominen-Kokkonen, Renja, ed. The Shaping of Art History in Finland. Helsinki: Taidehistorian Seura, 2007, pp. 69-70 and notes 9-11, p.79. Professor of esthetics at the University of Helsinki; first to teach art history courses in Finland. Estlander taught a course in the history of painting at Helsinki in 1862-1863 academic year. For the 1866-1867 another course on art history in ge Full Name: Esdaile, Katharine Ada Other Names: Gender: female Date Born: 1881 Date Died: 1950 Place Born: London, Greater London, England, UK Place Died: East Grinstead, West Sussex, England, UK Home Country/ies: United Kingdom Career(s): educators Katharine Esdaile was born to Andrew McDowall, secretary to the Girl’s Public Day School Trust, and his wife, Ada Benson, the first Headmistress of Norwich, Oxford and Bedford High Schools. She went to Notting Hill High School and Lady Margaret Hall, Oxford. At Oxford, she focused her interest on classics, fascinated by the study of antique sculpture. From 1904 onwards, Esdaile published articles in the Journal of Hellenic Studies and Numismatic Chronicle, primarily on Greek and Roman coins and on classical portrait sculpture. Her first article was published in the Journal of Hellenic Studies, titled “The So-Called Sardanapolus” in 1911. A year later, she completed her work Walpole and Chatham (1714-1760), later published by G. Bell & Sons. While studying at the British School in Rome in 1907, she married Arundell James Kennedy Esdaile, the secretary of the British Museum from 1926 to 1940. Together, they had two sons and one daughter: James, Emmeline, and Martin. James Esdaile, later known as Edmund Esdaile, continued his mother’s work, researching English sculpture after her death in 1950. After the birth of her children, in 1919, she began studying post-medieval sculpture rather than her previous emphasis on Greco-Roman antiquity, focusing primarily on churches and the notebooks of George Vertue in the British Museum. Between 1930 and 1934, the Walpole Society published her work titled Notebooks, on George Vertue. Her emphasis within the art world was often on sculptors and artists with little name but great importance, clearly revealed in her later work on Louis François Roubiliac. In 1927, she published her work: English Monumental Sculpture since the Renaissance, although she is most commonly known for her 1928 work titled The Life and Works of Louis François Roubiliac. Other names she attempted to dignify and promote were Edward Stanton, William Stanton of Holborn, Epiphanius Evesham, and Sir Robert Taylor. Also, in 1928, Esdaile received the Royal Society of Arts Medal for her work on Roubiliac. In 1933, Esdaile published her work titled Temple Church Monuments. And for years, Esdaile worked as a writer for the Times and Burlington Magazine, publishing a large quantity of articles on often seventeenth century artists, like Rysbrack. During WWII, Esdaile urged for the safeguarding of church treasures in countries under attack. She became the first and only woman on a committee working to preserve stained glass, sculptures, and other important church items during air raids. In 1946, she continued her studies in post-medieval sculpture, publishing English Church Monuments 1510 – 1840. She intended to publish a comprehensive dictionary of british sculptors, a task later completed by Rupert Gunnis in 1953 (Dictionary of British Sculptors). After writing nearly 300 articles, many books, and keeping extensive notes throughout her lifetime, Katharine Esdaile died in 1950 in Queen Victoria Hospital, Grinstead, Sussex. Her son sold her notebooks and correspondence to the Henry H. Huntington Art Collection in San Marino, California. Contributors: Kerry Rork Katharine Esdaile was born to Andrew McDowall, secretary to the Girl’s Public Day School Trust, and his wife, Ada Benson, the first Headmistress of Norwich, Oxford and Bedford High Schools. She went to Notting Hill High School and Lady Margaret Ha Full Name: Ertz, Klaus Gender: male Date Born: unknown Date Died: unknown Home Country/ies: Germany Subject Area(s): Netherlandish and Northern Renaissance historian of Netherlandish art Jan Breughel der ältere. die Gemälde. Köln, 1979.; Jan Breughel der Jüngere. Flemish Painters in the Cycle of the Great Masters. Freren, 1984. [published in German and English] Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986 p. 506 historian of Netherlandish art Full Name: Erlande-Brandenburg, Alain Gender: male Date Born: 1937 Home Country/ies: France Subject Area(s): Medieval (European) Career(s): curators Medievalist, chief curator of the Musee de Cluny and the Musee d’Ecouen; president of the French Society of Archaeology. Erlande-Brandenburg was chosen to write a number of French-language surveys on medieval art. In 1983 he produced the Gothic art volume for the Editions d’Art Mazenod and in 1987 volume 34 in the Univers des formes (survey) series on medieval art, 1260-1380. The Cluny Museum. Paris: Ministère de la Culture et de la Communication, 1979. L’art gothique. Paris: Editions d’Art L. Mazenod, 1983, English, Gothic Art. New York: Abrams, 1989; La conquête de l’Europe: 1260-1380. Paris: Gallimard, 1987; Cathedrals and Castles: Building in the Middle Ages. [New York: H. N. Abrams, 1995; The International Who’s Who. 72nd edition. London: Routledge, 2008. Medievalist, chief curator of the Musee de Cluny and the Musee d’Ecouen; president of the French Society of Archaeology. Erlande-Brandenburg was chosen to write a number of French-language surveys on medieval art. In 1983 he produced the Gothic arEvelyn, John
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Evans, Joan, Dame
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Evans, Arthur J., Sir
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Ettlinger, Leopold D.
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Ettinghausen, Richard
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Estlander, Carl Gustaf
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Esdaile, Katharine
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Ertz, Klaus
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Erlande-Brandenburg, Alain
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