Full Name: Ehrenzweig, Anton
Gender: male
Date Born: 1908
Date Died: 1966
Home Country/ies: Austria
Subject Area(s): art theory, psychoanalysis, and psychology
Institution(s): Goldsmiths' College
Fruedian art theorist
The Hidden Order of Art: A Study in the Psychology of Artistic Imagination. London: Weidenfield & Nicolson, 1967.
KRG, 100
Contributors: Lee Sorensen
Fruedian art theorist
Full Name: Eggers, George W.
Other Names:
Gender: male
Date Born: 1883
Date Died: 1958
Place Born: Dunkirk, Chautauqua, NY, USA
Place Died: New York, NY, USA
Home Country/ies: United States
Director of the Art Institute of Chicago (1916-1921)and Worcester Art Museum. He studied at the Pratt Institute Art School to be an artist. In 1906 he moved to Chicago to teach as part of the faculty of the Chicago Normal College. He was appointed Director of the Art Institute of Chicago in 1916. Eggers was responsible for creating the Extension program for the Institute, inaugurating the international water color exhibitions. He also oversaw the first permanent installation of the Institute’s collection. In 1921 he left to become Director of the Denver Art Museum. He subsequently was Director of the Worcester Art Museum, Worcester, Massachusetts and Chairman of the Art Department for the City Colleges of New York. As Chairman of the Art Department to the City University of New York, he was instrumental in steering many students into art history, including the future medievalist of New York University, Harry Bober. In 1930 he wrote the introduction (in German) for the catalog of the American Art Exhibition
George Bellows. New York: Whitney Museum of Art, 1931; Little Churches. Denver: Church Art Commission of the Diocese of Colorad, 1923; Ausstellung Amerikanischer Kunst/Exhibition of American Art: Juni-Juli 1930. Munich: DieKunstverein München., 1930; and Fisher, William Ellsworth. A Monograph of the Work of William E. Fisher [and] Arthur A. Fisher, Architects. Colorado Springs, CO: Dentan Printing Company 1930?.
“George Eggers.” Libraries and Archives of the Art Institute of Chicago. http://www.artic.edu/aic/libraries/musarchives/archeggers ; “George Eggers, Art Professor, Dead, I Headed Department at City College.” New York Times September 26, 1958, p. 27.
Contributors: Emily Crockett and Lee Sorensen
Director of the Art Institute of Chicago (1916-1921)and Worcester Art Museum. He studied at the Pratt Institute Art School to be an artist. In 1906 he moved to Chicago to teach as part of the faculty of the Chicago Normal College. He was appointed
Full Name: Eggers, Friedrich
Other Names:
Gender: male
Date Born: 27 November 1819
Date Died: 11 August 1872
Place Born: Rostock, Mecklenburg-Vorpommern, Germany
Place Died: Berlin, Germany
Home Country/ies: Germany
Art Historian and poet. At his death he was succeeded by Eduard Dobbert.
Woltmann, Alfred. “Eggers, Hartwig Karl Friedrich.” Allgemeine Deutsche Biographie 5 (1877) pp. 671-673.
Art Historian and poet. At his death he was succeeded by Eduard Dobbert.
Full Name: Egger, Hermann
Other Names:
Gender: male
Date Born: 1873
Date Died: 1949
Home Country/ies: Austria
Subject Area(s): art theory and Vienna School
Vienna School historian. He collaborated with the classicist art historian Christian Karl Friedrich Hülsen on the edited facsimile of the notebook of Martin van Heemskerk’s important drawings of Rome. Egger’s Ph.D. students included Walter Frodl.
Architektonische Handzeichnungen alter Meister. Vienna/Leipzig: F. Wolfrum & co., 1910; Codex escurialensis, ein skizzenbuch aus der werkstatt Domenico Ghirlandaios Vienna: A. Hölder, 1906, 1905; and Christian Hülsen. Die römischen Skizzenbücher [of Martin van Heemskerk]. 2 vols. Berlin: J. Bard, 1913-1916; Kritisches Verzeichnis der Stadtrömischen Architektur-Zeichnungen der Albertina. [part I}: Aufnahmen antiker Baudenkmäler aus dem XV. bis XVIII. Jahrhundert. Vienna: Schroll, 1925; and Ehrle, Franz. Die Conclavepläne; Beiträge zu ihrer Entwicklungsgeschichte. Vatican City: Biblioteca apostolica vaticana, 1933; and Ehrle, Franz. Der vaticanische Palast in seiner Entwicklung bis zur Mitte des XV. Jahrhunderts. Vatican City: Biblioteca apostolica vaticana, 1935.
KRG, 19; KMP, 21 mentioned
Vienna School historian. He collaborated with the classicist art historian Christian Karl Friedrich Hülsen on the edited facsimile of the notebook of Martin van Heemskerk’s important drawings of Rome. Egger’s Ph.D. students
Full Name: Egbert, Donald Drew
Other Names:
Gender: male
Date Born: 1902
Date Died: 1973
Place Born: Norwalk, Fairfield, CT, USA
Place Died: Princeton, Mercer, NJ, USA
Home Country/ies: United States
Subject Area(s): American (North American), architecture (object genre), Medieval (European), and sculpture (visual works)
Medievalist and American architectural historian. Egbert was born to Rev. George Drew Egbert (1865-1940) and Kate Estelle Powers (Egbert) (d. 1938); his father was a Congregational minister and collector of early American furniture. The younger Egbert received his B.A. from Princeton University in 1924. He studied architecture, receiving an M.F.A. in 1927. Egbert continued graduate between 1927-1929 under Charles Rufus Morey, who was at that time engaged in cataloging the collection of the Museo Cristiano, part of the Vatican library. Several of Egbert’s first articles were on Vatican ivories which he was assisting Morey in researching. Like Morey, too, he never completed a Ph.D. He joined Princeton as an instructor in 1929. His perceptive and scathing 1930 review of the book by Henry-Russell Hitchcock, Modern Architecture, debuted not only his interest in the medium, but an early tendency to look beyond stylistic continua as an explanation of art history. He was a lecturer in ancient architecture at Bryn Mawr College for 1930, but witnessed Frank Lloyd Wright’s Princeton lectures the same year. He continued graduate work at the University of Paris, receiving a Brevet d’Art de la Sorbonne in 1931. In 1935 he was promoted to assistant professor. His early work was on medieval art manifested itself in his first book, which appeared in 1940, The Tickhill Psalter. Egbert had also been working during the 1930’s on a manuscript on the beaux-arts tradition in French architecture, which he completed in 1941. His interest in American art and architecture now came to the fore. At the beginning in World War II, he helped found and teach the undergraduate program “American Civilization” at Princeton in 1942, which he continued until his retirement. In 1943 Egbert was awarded the Haskins Medal from Mediaeval Academy of America for distinguished scholarship for the Tickhill Psalter book. He was promoted to associate professor in 1944. That year, too, Egbert published an innovative study on the foreign influences to American architecture. Two years later, at age 44, he married another medievalist art historian, Virginia Grace Wylie (1912-1998), and was named (full) professor of art, archaeology, and architecture. He never wrote on medieval art after the war, concentrating on social history, architecture and American art. As a photographer, he exhibited photos at Princeton University Library in 1957, and George Eastman House, Rochester, NY, in 1958. Egbert was appointed Butler Professor of the History of Architecture in 1968. He retired, professor emeritus in 1970, continuing to teach the Civilization course. In retirement, he worked on revising his beaux-arts manuscript, but suffered a stroke in late 1972 and died in early 1973. The book The Beaux-Arts Tradition in French Architecture, was published posthumously. His students included David Van Zanten, Neil Levine and the architect Robert Venturi. Egbert was a social and intellectual historian. His writing examined the political forces and cultural influences that shaped the arts, especially architecture, frequently choosing stances and subjects currently out of vogue. His interdisciplinary articles, such as “Art History and the Study of American Civilization” (1945) or “The Idea of the ‘Avant-garde’ in Art and Politics,” in 1967, appeared in a wide variety of academic journals. As an architectural historian, he was at odds with the dominant modernist (and Bauhaus) view of architecture propounded by Hitchcock and Philip Johnson and publicized by the Museum of Modern Art, NY, which de-emphasized the social content of contemporary architecture in favor of formalist values. This distinction is no where clearer than in his book, Social Radicalism and the Arts. A dramatic teacher, his lectures, read from nearly a complete text and while he was seated, were extremely popular at Princeton.
The Tickhill Psalter and Related Manuscripts: a School of Manuscript illumination in England during the Early Fourteenth Century. New York: The New York Public Library/Department of Art and Archaeology of Princeton University, 1940; “Religious Expression in American Architecture.” in, Religious Perspectives in American Culture. Smith, James Ward, and Jamison, A. Leland, eds. Vol. 2 Religion in American Life. Princeton, NJ: Princeton University Press, 1961, pp. 361-408.; [expanded form of his 1952 essay] Socialism and American Art in the Light of European Utopianism, Marxism, and Anarchism. Princeton, NJ: Princeton University Press, 1967; Social Radicalism and the Arts, Western Europe: A Cultural History from the French Revolution to 1968. New York: Alfred A. Knopf, 1970; Van Zanten, David, ed. The Beaux-Arts Tradition in French Architecture. Princeton, NJ: Princeton University Press, 1980; “The Idea of the ‘Avant-garde’ in Art and Politics.” American Historical Review 73 (1967): 339-66; “The Idea of Organic Expression and American Architecture.” In, Persons, Stow, ed. Evolutionary Thought in America. New Haven: Yale University Press, 1950; “Art History and the Study of American Civilization.” College Art Journal 4, no. 4 (May 1945): 182-186; “North Italian Gothic Ivories in the Museo Cristiano of the Vatican Library.” Art Studies 7 (1929): 169-206; [review of Hitchcock book:] “Modern Architecture by Henry-Russell Hitchcock Jr.” Art Bulletin 12, no. 1 (March 1930): 98-99.
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. 128, 126, 159 mentioned; 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, pp. 85, 103, 312, mentioned 51, 59, cited 88; Venturi, Robert. “Donald Drew Egbert–A Tribute,” and Van Zanten, David, “Editor’s Note.” in, Van Zanten, David, ed. Egbert, Donald D. The Beaux-Arts Tradition in French Architecture. Princeton, NJ: Princeton University Press, 1980, pp. xiii-xvii; [obituary:] Shirley, David L. “Donald D. Egbert, an Art Historian.” New York Times January 5, 1973, p. 28.
Contributors: Emily Crockett and Lee Sorensen
Medievalist and American architectural historian. Egbert was born to Rev. George Drew Egbert (1865-1940) and Kate Estelle Powers (Egbert) (d. 1938); his father was a Congregational minister and collector of early American furniture. The younger Eg
Full Name: Edgerton, Samuel Youngs, Jr.
Other Names:
Gender: male
Date Born: 30 September 1926
Date Died: 25 April 2021
Home Country/ies: United States
Subject Area(s): Renaissance
Career(s): art historians
Institution(s): Williams College
Art historian of the medieval and Italian Renaissance, principally on linear perspective; Professor of Williams College. Edgerton was born in Cleveland, Ohio on September 30, 1926. Later, Edgerton moved with his family to Wynwood, Pennsylvania, where he studied for his B.A., M.A., and Ph.D. all at the University of Pennsylvania. He received a B.A. in 1950. Before Edgerton pursued further education, he briefly worked as a sales representative. A year later, he started pursuing an M.F.A. in painting from the University of Pennsylvania while being an art teacher and a wrestling coach at a private school. He married Dorothy D. (“Dottie”) Dugan (1929-2022) in 1952. Upon his graduation in 1956, he taught English in Lingen, Germany, on a Fulbright exchange program from 1957 to 1958. Edgerton earned his M.A. in Art History from Pennsylvania in 1960 and completed his Ph.D. in 1965 with the dissertation titled Alberti’s Optics under David M. Robb.
In 1964, a year before he got his Ph.D., Edgerton joined the art history faculty of Boston University. He was a member of the Institute for Advanced Study in Princeton at the School of Historical Studies from 1967-1968. In 1969, He was promoted to full professor. Edgerton received the 1971-72 I Tatti fellowship for post-graduate research in the Italian Renaissance. His first book The Renaissance Rediscovery of Linear Perspective, published in 1975, set the tone of his lifelong interest in Renaissance art. He was an ACLS fellow from 1976-77. Subsequently, in 1977, he won a Guggenheim fellowship. In 1980, he became the director of the Graduate Program in the History of Art, a joint program of Williams College and the Clark Art Institute. During his 27-year tenure at Williams, he contributed greatly to the institution and the academia. In 1985, his book Pictures and Punishment: Art and Criminal Prosecution during the Florentine Renaissance was published. In the same year, he was named the Amos Lawrence Professor of Art, a position he held until his retirement in 2007.
He furthered his interest in the intersection of art and science during the Renaissance. He wrote the book The Heritage of Giotto’s Geometry: Art and Science on the Eve of the Scientific Revolution, which was released in 1991. Later, he drastically shifted his academic focus to Mesoamerican art and published the book Theaters of Conversion: Religious Architecture and Indian Artisans in Colonial Mexico in 2001. After his retirement, in 2009, he returned to his initial topic on perspective and published his book The Mirror, the Window, and the Telescope.
Edgerton is renowned for his contributions to the study of Renaissance linear perspective, which encourages understanding art and science as an inseparable whole. John Spencer, a specialist in Italian quattrocento theory at Oberlin College, inspired Edgerton. His expertise in linear perspective led him to compile an annotated bibliography on the historiography of the linear perspective for Oxford University Press. His books, The Renaissance Rediscovery of Linear Perspective (1975), Pictures and Punishment: Art and Criminal Prosecution during the Florentine Renaissance (1985), The Heritage of Giotto’s Geometry: Art and Science on the Eve of the Scientific Revolution(1991), and The Mirror, the Window, and the Telescope (2009), examine the intricate dynamics among the development of science, the power of the church and the rise of secular activities.
As a social historian, he was a NAACP member as well as a civil rights activist. His enthusiasm for exploring societies drove him to study the arts of both pre-Columbian and Spanish colonial America. His book Theaters of Conversion: Religious Architecture and Indian Artisans in Colonial Mexico (2001) focuses on the interaction of introduced Christianity and native Mexicans.
Although Edgerton’s interests range from medieval, Renaissance to Mesoamerican art, his methodology has always been consistent. Edgerton himself wrote that “the single thread that unites the seemingly diverse subjects of my books is the desire to reveal how the history of art interacted with the ideologies and social institutions of these diverse cultures. There can never be, and probably never was, a neutral, completely apolitical art, created solely for aesthetic enjoyment without any other social motivation. A work of art is a tool for performing some distinct social function.” (Mark Haxthausen)
Contributors: Yuhuan Zhang
Art historian of the medieval and Italian Renaissance, principally on linear perspective; Emeritus Professor of Williams College.
Full Name: Edgell, George Harold
Other Names:
Gender: male
Date Born: 1887
Date Died: 1954
Place Born: St. Louis, Saint Louis City, MO, USA
Place Died: Newport, Sullivan, NH, USA
Home Country/ies: United States
Harvard Professor of Fine Arts and Director of the Museum of Fine Arts, Boston, 1935-1954. Edgell was the son of George Stephen Edgell (d. 1915), a banker, whose New England lineage traced back to 1636. His mother was Isabella Wallace Corbin (Edgell). Edgell entered Harvard University, receiving his B.A. in 1909 magna cum laude in the new area of history and literature (interdisciplinary studies), focusing on the Renaissance. Appointed an assistant at his alma mater’s Department of Fine Arts the same year, he continued for his Ph.D., which he earned in 1913, the first Harvard Ph.D. awarded in the fine arts. Edgell remained on the Harvard faculty. His inaugural year course included the first course in the United States on central Italian painters. In this he followed the writings of another Harvard alumnus, Bernard Berenson. His “Fine Arts 1d” course became a staple at the University. Together with Fiske Kimball, Edgell authored A History of Architecture, with Edgell writing the chapters on medieval architecture. He became Dean of the Architecture faculty in 1922 and full professor in 1925. He joined the board of Trustees in 1927 of the Museum of Fine Arts, Boston. Edgell, an architectural historian of the Renaissance with no practicing architecture experience, became increasing uncomfortable as the architecture school felt the need to incorporate Bauhaus-style modernism. He resigned from Harvard to accept the position of curator of painting at the MFA in 1934. The following year he was named Director, retaining the curatorship until 1938. Edgell received an honorary doctorate from Harvard in 1948. The following year he published his History of Sienese Painting. He died unexpectedly at his summer home in New Hampshire after a brief illness and was succeeded by Perry T. Rathbone. His papers are held at Harvard. Students whose dissertation he supervised may have included Robert C. Smith. In his memoirs, Otto Wittmann, Jr., described Edgell as a brilliant lecturer.
[dissertation:] The Development of the Architectural Background in the Painting of the Umbrian Renaissance. Harvard University, 1913;
Whitehill, Walter. Museum of Fine Arts, Boston: a Centennial History. vol. 2. Cambridge, MA: Belknap Press, 1970, pp. 443ff.; [transcript] Smith, Richard Cándida, interviewer. Otto Wittmann: The Museum in the Creation of Community. Los Angeles: J. Paul Getty Trust, 1995, p. 12; mentioned, Wohl, Helmut. “Robert Chester Smith and the History of Art in the United States.” in, Sala, Dalton, and Tamen, Pedro, et al. Robert C. Smith, 1912-1975: A investigação na História de Arte/ Research in History of Art. Lisbon: Fundação Calouste Gulbenkian, 2000, p. 24; [obituary:] “G. H. Edgell Dead: Head of Boston Fine Arts Had Taught at Harvard.” New York Times June 30, 1954, p. 27; Dooley, William Germain. “George Harold Edgell, 1887-1954.” College Art Journal 14, no. 2 (Winter, 1955): 165-166.
Contributors: Emily Crockett and Lee Sorensen
Harvard Professor of Fine Arts and Director of the Museum of Fine Arts, Boston, 1935-1954. Edgell was the son of George Stephen Edgell (d. 1915), a banker, whose New England lineage traced back to 1636. His mother was Isabella Wallace Corbin (Edge
Full Name: Eddy, Arthur Jerome
Other Names:
Gender: male
Date Born: 05 November 1859
Date Died: 21 July 1920
Place Born: Flint, Genesee, MI, USA
Place Died: New York, NY, USA
Home Country/ies: United States
Subject Area(s): Modern (style or period)
Career(s): art collectors and lawyers
First American to present nonobjective and modernist art in a book positively, modernist art collector and lawyer. Eddy’s parents were Jerome Eddy (1829-1905) a Flint, MI businessman and politician, and Ellen M. Case (Eddy). Arthur Eddy entered Harvard Law School in 1877 but in 1879 returned to be publisher of the Genesee Democrat newspaper. He continued studying law with a local expert. In 1888 he moved to Chicago to begin his legal career, passing the Illinois Bar in 1890 and marrying Lucy C. Orrell, the granddaughter of Michigan governor Henry Howland Crapo (1804-1869). He joined the firm of Wetten, Matthews & Pegler where he practiced anti-trust law and setting up corporations. Eddy’s liberal convictions about monopolies and competition (he insisted cooperation in business was better for the consumer than competition) led him to write books. After authoring a number of titles on law and economics, Eddy’s attention turned to art. He edited a Chicago literary magazine, Contributor’s Magazine. While attending the 1893 World Columbian Exposition in Chicago, he encountered the work of James McNeill Whistler (awarded the Fair’s Gold Medal) and Auguste Rodin which he positively reviewed in the magazine. He traveled to Paris to commission his full-length portrait by Whistler, titled Arrangement in Flesh Color and Brown: Portrait of Arthur Jerome Eddy (1894). In Paris he purchased a Manet and Monet, exceeding his personal budget at the time. Rodin sculpted a portrait bust of Eddy which were issued in bronze. An automobile enthusiast, he made a 2900-mile tour in 1901 to briefly hold the record in an auto trip. Eddy established a winter home in California where he spent part of the year, the conception of which he wrote about in the Craftsman magazine. He lectured on art and aesthetics in Chicago. His first art book, one of art appreciation, Delight, the Soul of Art, was published in 1902. This was quickly followed by Recollections and Impressions of James A. McNeill Whistler in 1903. He concentrated as a collector on late 19th-century art until 1912. Already interested in non-objective art (he had bought a chalk drawing by Arthur Dove at the first Chicago exhibition of the artist’s work in 1912), Eddy’s visit to the famous Armory Show of 1913 confirmed him as a devotee of modern art. Eddy purchased works at the show, his conversion to Avant-garde art was almost immediate. Traveling to London he bought a Brâncuși sculpture and in Munich he met Wassily Kandinsky and began adding this artist’s work to his collection, among the first Americans to do. In 1914 Eddy published his ground-breaking Cubists and Post-Impressionism, a book drawing from his experiences and personal statements of the artists directly and presenting modernist art in a positive light. Perhaps most important Eddy was the first author to discuss Kandinsky in an American book. Eddy practiced what he preached building a collection which amounted to more than one hundred works including those by Winslow Homer, Gabriele Münter, Franz Marc, André Derain and Maurice de Vlaminck and eventually four Kandinskys (including Improvisation no. 30, 1913). Eddy focused on collecting American modern art in later years. Among his acquisitions were paintings by Arthur Dove. He contracted an acute appendicitis while in New York and died two days after an appendectomy. After his death some of his art collection was dispersed. In 1931 the Art Institute of Chicago director Robert B. Harshe (1879-1938) accepted 23 paintings of Eddy’s–including all four Kandinskys–for the Institute from Eddy’s widow, known today as the Arthur Jerome Eddy Memorial Collection. Eddy is significant as an early modernist-art exponent (the first in Chicago) and collector. His book Cubists and Post-Impressionism is an important book for the history American art history. It was the first book published in the United States on modern art to endorse the art form enthusiastically. It was particularly important for the dissemination of Kandinsky’s art and thought. The artist had previously only been known by a single painting in the Armory Show; Eddy was the first to publish the artsti’s theoryies in the English language (Robson). Harriet Monroe (1860-1936), a friend and founder of Poetry Magazine, characterized Eddy as not profound, but quick to seize on ideas and use them.
Delight, the Soul of Art. Philadelphia: J. B. Lippincott, 1902; Recollections and Impressions of James A. McNeill Whistler. Philadelphia: J. B. Lippincott Co., 1903; Ganton & Co.: a Story of Chicago Commercial and Social Life. Chicago: McClurg, 1908; Cubists and Post-impressionism. Chicago: A. C. McClurg, 1914.
Rich, Daniel Catton. “Introduction.” The Arthur Jerome Eddy Collection of Modern Paintings and Sculpture. Chicago: Art Institute of Chicago, 1931; Monroe, Harriet. A Poet’s Life: Seventy Years in a Changing World. New York: Macmillan, 1938, p. 216; Sweet, Frederick A. “Great Chicago Collectors.” Apollo 84 (September 1966): 197; Kruty, Paul. “Arthur Jerome Eddy and his Collection: Prelude and Postscript to the Armory Show.” Arts Magazine 61 no. 6 (February 1987): 40-47; Robson, A. Deirdre. “Eddy, Arthur Jerome.” Dictionary of Art 9: 715-716; [obituaries] “Arthur Jerome Eddy Dies After Operation: Leading Chicago Lawyer, Financier and Author a Victim of Acute Appendicitis.” New York Times July 22 1920: 10; Washington Post July 22 1920: 5; “Arthur J. Eddy, Lawyer and Art Critic is Dead.” Chicago Daily Tribune July 22 1920: 7.
Contributors: Lee Sorensen
First American to present nonobjective and modernist art in a book positively, modernist art collector and lawyer. Eddy’s parents were Jerome Eddy (1829-1905) a Flint, MI businessman and politician, and Ellen M. Case (Eddy). Arthur Eddy entered Ha
Full Name: Eberlein, Kurt Karl
Other Names:
Gender: male
Date Born: 15 August 1890
Date Died: c. 1944-1945
Place Born: Rastatt, Baden-Württemberg, Germany
Place Died: Europe [presumably Eastern war front]
Home Country/ies: Germany
Berlin-trained art historian who became part of the Nazi-propanda machine. Eberlein wrote his dissertation on the literary history of art writing in the eighteenth century. In 1934 he issued one of the major manifesti for art theory for the Nazi s, Was ist Deutsch in der deutschen Kunst? (What’s German in German Art?). He helped organize an art sales exhibition at the Berlin Nationalgalerie during the war in 1942, “Grosse Berliner Kunstausstellung 1942”.
[dissertation:] Die deutsche Litterärgeschichte der Kunst im 18. Jahrhundert: ein Beitrag zur Geschichte der Kunstwissenschaft. Berlin, 1916, published Karlsruhe: Müller, 1919; Was ist Deutsch in der deutschen Kunst? Leipzig: E.A. Seemann, 1934, English, partially issued as, “What is German in German art?” in Mosse, George L., Nazi Culture: Intellectual, Cultural, and Social Life in the Third Reich. New York: Grosset & Dunlap, 1966; [introduction] Grosse Berliner Kunstausstellung 1942: vom 31. Mai bis 31. August. Berlin: Nationalgalerie, 1942.
Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 68-70.
Berlin-trained art historian who became part of the Nazi-propanda machine. Eberlein wrote his dissertation on the literary history of art writing in the eighteenth century. In 1934 he issued one of the major manifesti for art theory for the Nazi s
Full Name: Eaton, Frederick Alexis, Sir
Gender: male
Date Born: 1836
Date Died: 1913
Place Born: Devon, England, UK
Home Country/ies: United Kingdom
Subject Area(s): Medieval (European)
Secretary and chronicler of the [British] Royal Academy; medievalist. Eaton’s father was Richard Eaton of Teignmouth, Devon and his mother Charlotte Short (Eaton). He attended King’s College School and St. Alban’s, Oxford, graduating in 1860. He edited Murray’s Handbooks on Egypt in 1870 and later one on South Italy. In 1871 he married Caroline Charlotte Greville (d. 1893). He was appointed secretary of the Royal Academy in 1873, whose duties required him to deal with the artists exhibiting and those who had been rejected from the annual exhibitions. In 1882 he translated the biography of Albrecht Dürer by Moriz Thausing. The preface to that book shows a comprehensive knowledge of the literature on Dürer, including a sympathetic account of the work by Mary Margaret Heaton.
translated, Thausing, Moriz. Albert Dürer, his Life and Works. London: J. Murray, 1882; revised, Hand-book to Worcester Cathedral, with a Plan and Engravings. 2nd ed. Worcester: E.G. Humphreys, 1896; and Hodgson, John Evan. The Royal Academy and its Members 1768-1830. New York: Scribner’s, 1905.
[obituaries:] “Sir Frederick A. Eaton.” The Times (London) September 12, 1913 p. 9; “The Late Sir Frederick Eaton.” The Times (London) September 26, 1913, p. 7.
Secretary and chronicler of the [British] Royal Academy; medievalist. Eaton’s father was Richard Eaton of Teignmouth, Devon and his mother Charlotte Short (Eaton). He attended King’s College School and St. Alban’s, Oxford, graduating in 1860. He e