Full Name: Clouas, Anne
Gender: female
Date Born: unknown
Date Died: unknown
Spanish art; wrote critically of the omissions made in scholarship on the art of Spain
“Notes de lectures. Art espagnol,” in Information d’histoire de l’art. 4. 1964. p.180-181.
Bazin 439
Spanish art; wrote critically of the omissions made in scholarship on the art of Spain
Full Name: Clément, Charles
Other Names:
Gender: male
Date Born: 1821
Date Died: 1887
Home Country/ies: France
Subject Area(s): catalogues raisonnés, French (culture or style), and painting (visual works)
Géricault scholar, wrote major attribution catalog on Géricault. Lorenz Eitner described as “one of the very best art-historical monographs produced in the nineteenth-century.” His granddaughter was the art historian Françoise Henry.
Prud’hon: sa vie, ses Åuvres et sa correspondance. Paris: Didier, 1872; Géricault: étude biographique et critique, avec le Catalogue raisonné de l’oeuvre du maître. Paris: Didier, 1868, English, edited and enlarged by Lorenz Eitner, Géricault: a Biographical and Critical Study with a Catalogue Raisonné of the Master’s Works. New York: Da Capo, 1974.
Eitner, Lorenz. “Letters to the Editor.” Art Bulletin 36 (June 1954): 167-8; Tinterow, Gary. Acknowledgements. “Gericault’s Heroic Landscapes.” Metropolitan Museum of Art Bulletin 48 no. 2 (Winter 1990/91): 4.
Contributors: Emily Crockett and Taylor Leigh Robinson
Géricault scholar, wrote major attribution catalog on Géricault. Lorenz Eitner described as “one of the very best art-historical monographs produced in the nineteenth-century.” His granddaughter was the art historian
Full Name: Clemen, Paul
Gender: male
Date Born: 1866
Date Died: 1947
Place Born: Leipzig, Saxony, Germany
Place Died: Bad Endorf, Hesse, Germany
Home Country/ies: Germany
Subject Area(s): Medieval (European)
Medievalist; professor of art history at Bonn 1902-1935; close associate of Heinrich Wölfflin. He was born in Sommerfeld, Germany, which is present-day Leipzig, Germany. Clemen studied art history and philology at the universities of Leipzig, Bonn and Strassburg. His mentors included Carl Nicolaus Heinrich Justi and Anton Springer. His interest for the Middle Ages was triggered in Bonn by the historian Karl Lamprecht, who himself had begun in art history. Clemen attained his doctorate in 1889 in Leipzig under Hubert Janitschek. His dissertation was titled Strassburg Die Porträtdarstellungen Karls des Grossen. His monumental survey of the Rheinland, the 56-volume Kunstdenkmälern der Rheinprovinz appeared beginning in 1891. In 1893 he was director of monument conservation for the Rheinland (Provinzialkonservator). He received an assistant professorate for art history at Bonn in 1898. Clemen continued to research art and literature from 1899 onward at the academy of art in Düsseldorf. He succeeded Carl Nicolaus Heinrich Justi as full professor in Bonn in 1902, a position he held until his retirement in 1935. His work for the monuments commission resulted in some of the most important research done for the Middle Ages of the Rhineland. In addition to the Kunstdenkmälern, he published a multi-volume work on roman and gothic wall paintings, Die gotischen Monumentalmalereien der Rheinlande in 1905 and 1930. Between 1907-1908 he was a guest professor at Harvard University. Clemen championed modern art as well including Rodin, Hildebrand, Maillol, Renoir and (Hans) Thoma. His popular expositions of contemporary art appeared in Westphalia and Düsseldorf 1902 and 1904, in New York in 1909 and Cologne in 1925. In his 1916 published work Die romanische Monumentalmalerei der Rheinlande, a work on the history and building process of Churches. During World War I Clemen was involved with the protection of art at the Western front beginning in 1915 and on the Eastern front (or wherever German troops were stationed) from 1917. In 1917/18 in Belgium he developed a list of Belgian art monuments, the Kunstschutz im Kriege (1919) and Belgische Kunstdenkmäle (1923). Clemen was a participant in the controversy in the nineteenth and early twentieth century debating the merits of conservation vs. restoration. In opposition to art historians and critics such as Georg Dehio and John Ruskin, Clemen urged the active restoration of monuments to preserve their current state as long as possible. He criticized the conservationist group as historians as willing to let buildings “die” from natural age. He used his key positions as provincial director of the Rhineland and later his founding membership in the Denkmalrates der Rheinprovinz (Rhineland club for Monument Preservation and Protection) to promote monument protection. He was responsible for the introduction of a Monument Protection Day. His students included Günter Bandmann, Hanns Swarzenski, Wolfgang Braunfels and Heinrich Lützeler. He maintained a long friendship with Heinrich Wölfflin and was an important adviser for Wilhelm Vöge in his dissertation at Bonn. Clemen’s 56-volume Kunstdenkmälern der Rheinprovinz master work remains an important survey of medieval monuments. A connoisseur-style historian who believed Augensinnlichkeit, visual understanding, was the highest form of artistic discretion.
His students included Aenne Liebreich and Elizabeth Moses.
[dissertation:] Die Porträtdarstellungen Karls des Grossen. Leipzig, 1889, published, Aachen: Cremer, 1890; and Lepel, Burkhard Freiherrn von, and Remy, Margot. Die gotischen Monumentalmalereien der Rheinlande. 2 vols. Düsseldorf: L. Schwann, 1905, 1930; and Maberly-Oppler, G. E. Exhibition of Contemporary German Art. [Exhibition at the Metropolitan Museum of Art, New York, January, 1909]. Berlin: G. Stilke, 1908; Die romanische Monumentalmalerei in den Rheinlanden. Düsseldorf: L. Schwann, 1916; Kunstschutz im Kriege: Berichte über den Zustand der Kunstdenkmäler auf den verschiedenen Kriegsschauplätzen und über die deutschen und österreichischen Massnahmen zu ihrer Erhaltung, Rettung, Erforschung. 2 vols. Leipzig: E. A. Seemann, 1919; Belgische Kunstdenkmäler. 2 vols. München, F. Bruckmann, 1923; and Falke, Otto von, and Swarzenski, Georg. Die Sammlung dr. Leopold Seligmann. Berlin: H. Ball, 1930; Die deutsche Kunst und die Denkmalpflege, Berlin: Deutscher Kunstverlag, 1933; Kunstdenkmäler der Rheinprovinz. [series], (example); Der Dom zu Köln. Dusseldorf: L. Schwann, 1937 (vol. 6, fasc. 3).
Medievalist; professor of art history at Bonn 1902-1935; close associate of Heinrich Wölfflin. He was born in Sommerfeld, Germany, which is present-day Leipzig, Germany. Clemen studied art history and philology at the universities of Leipzig, Bonn
Full Name: Clay, Jean
Gender: male
Date Born: unknown
Date Died: unknown
Subject Area(s): Modern (style or period) and structuralism
structuralist modern art historian
Modern Art: 1880-1918. New York: Vendome, 1978.
KRG, 86, mentioned
structuralist modern art historian
Full Name: Claudel, Paul
Gender: male
Date Born: 06 August 1868
Date Died: 23 February 1955
Place Born: Villeneuve-sur-Fère, Hauts-de-France, France
Place Died: Paris, Île-de-France, France
Home Country/ies: France
Career(s): art critics, authors, essayists, playwrights, and poets
French playwright, poet, essayist and art writer. Claudel was born in Villeneuve-sur-Fère in the north of France in 1868. His father, Louis Prosper Claudel, was a petit-bourgeois registrar. His mother, Louise-Athanaïse Cerveaux (Claudel) came from a local farming family in Champagne. Claudel’s sister Camille, four years his senior, would go on to achieve widespread acclaim as sculptor. Although the family was Roman Catholic, they were not particularly devout. Claudel was educated privately in Champagne before the family moved to Paris around 1882. There he attended the Lycée Louis-le-Grand and studied at the Ecole de Droit and the Ecole des Sciences Politiques. In 1886, two experiences shaped his aesthetic attitudes: he discovered the poetry of Arthur Rimbaud and, on Christmas of the same year, a sudden conversion revived his Catholicism in a manner that would endure throughout his life. These experiences contributed to his religious interpretation of Symbolism as well as his insistently right-wing political views. The style that emerged from this combination of influences — characterised by unrhyming free verse — became known as ‘verset claudélien.’ Claudel began working for the French diplomatic corps in 1890 and, until his retirement in 1936, spent much of his working life abroad: primarily in the United States, China, Germany, Japan, and Belgium. Claudel’s career would influence his writing which was often set in temporally or spatially distant locations.
In addition to his poetry and plays, Claudel also wrote occasionally about art. His collections of essays, Positions et Propositions (1928-1934), for example, included “Note sur l’art chrétien” in which the author identifies three main phases of Christian Art: Hieratic, Symbolic, and Idealist. The first phase is based on Byzantine art, the function of which was to illustrate the world inhabited by God. From the 6th century C.E. until the Renaissance, the purpose of art was to contribute symbolic, visual content that would enhance a congregation’s communion with God. In the final phase, which took place following the Renaissance, Christian art came to reflect the cleavage between religion and daily life. As Christianity’s authority began to wane the site of its influence shifted towards smaller, portable artworks which could be placed in a chapel or a home.
In the early 1930s, inspired by Eugène Fromentin’s Les Maîtres d’Autfois (1876), Claudel visited Holland with the intention of discovering Dutch art. He described this experience in Introduction à la Peinture Hollandaise, a survey of the work of Dutch artists including Rembrandt, Johannes Vermeer, and Frans Hals. Typical of the essay is its energetic ekphrasis of Rembrandt’s Night Watch (1642) which combined an analysis of various conaspects notations of the image — it’s implied sounds, dynamism, themes of conquest, as well the figure’s individual psychology — with religious overtones.
In spite of earlier anti-Semitic comments and, later, statements of support for Spain’s dictator Francesco Franco, Claudel was quick to condemn Nazism and was a vocal critic of the Vichy government’s anti-Jewish legislation. It was not until the mid-1940s that his plays — typically difficult and lengthy — began to receive widespread recognition, decades after they were written. Jean-Louis Barrault (1910-1994), in particular, played a large part in this revival beginning with his production of Le Soulier de satin in 1943. Barrault’s enthusiasm was due to the fact that he interpreted many of Claudel’s works as exemplary of the Gesamtkunstwerk of “total theatre”. In 1946 Claudel was elected to the Académie Française. Barrault went on to produce many more of his plays including Partage de midi (1948), The Exchange (1951), Christopher Columbus (1953), Tête d’or (1959), and Sous le vent des îles Baléares (1972).
Contributors: Emily Crockett, Lee Sorensen, and Shane Morrissy
French playwright, poet, essayist and art writer. Claudel was born in Villeneuve-sur-Fère in the north of France in 1868. His father, Louis Prosper Claudel, was a petit-bourgeois registrar. His mother, Louise-Athanaïse Cerveaux (Claudel) came from
Full Name: Clasen, Karl-Heinz
Other Names:
Gender: male
Date Born: 09 July 1893
Date Died: 16 April 1979
Place Born: Remscheid, North Rhine-Westphalia, Germany
Place Died: Mettmann, North Rhine-Westphalia, Germany
Home Country/ies: Germany
Subject Area(s): architecture (object genre), Medieval (European), and sculpture (visual works)
Institution(s): Universität Greifswald and Universität Rostock
Medievalist, principally architecture; produced scholarlship predominantly in Nazi and DDR (communist) Germany. Clasen studied art history in Munich under Heinrich Wölfflin beginning in 1913 and then with Adolph Goldschmidt in Berlin, from 1918. In 1921 he received his doctorate under Arthur Haseloff at Christian-Albrechts-Universität in Kiel with a thesis titled Wehrbau und Kirchenbau (defense and church building). In 1923 he wrote his habilitation in Königsberg, Der Hochmeisterpalast der Marienburg and as a private lecturer in the following years, contributed to Handbuch der Kunstwissenschaft: Die gotische Baukunst. In 1930 Clasen became a professor at Königsberg with Wilhelm Worringer, however the two frequently clashed in their views of art history. After the rise to power of the Nazis in German and the occupation of Poland, 1939-1940, Clasen taught at the Reich university in Poznań. In 1940 he was appointed the University of Rostock. After World War II, he accepted a teaching chair at the university in Greifswald in 1949, East Germany. Clasen was one of the first members of the German Academy of Architecture of the (communist) German Democratic Republic in 1951. His numerous publications were dedicated to the medieval architecture of the Baltic region, raising the profile of this region for the middle ages. Clasen retired emeritus in 1958 and taught as guest professor at the Humboldt University in Berlin through 1968. In his retirement he also wrote a particularly readable tome on the paintings of the Louvre in 1965. His book on the sculpture of the 14th century Der Meister der Schönen Madonnen (1974) was finished when he went to West Germany.
Clausen’s work emphasized the Teutonic origins of the decorative vaulting in late Gothic architecture. He employed the notion of a collective will in art and architecture. Unusual for medievalists of his time, he was unafraid to examined both commonplace as well as the royal and religious architecture of the Middle Ages to reach his conclusions. Clasen used aesthetic and structural elements (in the case of architecture) in order to prove his theory. Unlike Hans Jantzen, he seldom looked into a building’s interior, preferring the exterior and its surroundings as a basis of comparison. Clasen saw Gothic art as a unified distinct artistic expression, in contrast to, for example, Georg Vitzthum von Eckstädt who viewed it as a degenerate precursory of the Italian Renaissance. Occasionally, in works such as Gotische Baukunst (1930) Clasen was criticized for failing to prove some of his conclusions (Schenkluhn).
[bibliography:] Hahn, Gudrun. “Schriften und Veröffentlichungen von Karl Heinz Clasen.” in, Müller, Hans, and Hahn, Gudrun, eds. Aspekte zur Kunstgeschichte von Mittelalter und Neuzeit; Karl Heinz Clasen zum 75. Geburtstag. Weimar: H. Böhlau, 1971, pp. 387-390; [dissertation:] Wehrbau und Kirchenbau, Kiel, 1921; [habilitation:] Der Hochmeisterpalast der Marienburg, Königsberg, 1923; Kant-Bildnisse. Königsberge Ortsgruppe Kantgesellschaft (Halle): Königsberg, 1924; Baukunst des Mittelalters; die gotische Baukunst. Wildpark-Potsdam: Akadamische Verlagsgesellschaft Athenaion, 1930; “Deutschland Anteil am Gewölbebau der Spätgotik” Zeitschrift des deutschen Vereins für Kunstwissenschaft. 4, (1937): 163-185; Die mittelalterliche Bildhauerkunst im Deutschordensland Preussen; die Bildwerke bis zur Mitte des 15. Jahrhunderts. 2 vols. Berlin: Deutscher verein für Kunstwissenschaft, 1939; “Der Graudenzer altar der Marienburg.” Marburger Jahrbuch für Kunstwissenshaft 13 (1944): 111-28; Kloster Maulbronn. Aufnahem von Helga Schnidt-Glassner. Königstein im Taunus: K.R. Langewiesche Nachfolger H. Kösters, 1965; Die Gemäldegalerie des Louvre: die Werke des 13. – 18. Jh. Leipzig: Seemann, 1964; Die Gemäldegalerie des Louvre: die Werke des 19. Jahrhunderts. Leipzig: Seemann, 1965; Der Meister der Schönen Madonnen; Herkunft, Entfaltung und Umkreis. Berlin: De Gruyter, 1974.
Müller, Hans. “Karl Heinz Clasen.” in, Müller, Hans, and Hahn, Gudrun, eds. Aspekte zur Kunstgeschichte von Mittelalter und Neuzeit; Karl Heinz Clasen zum 75. Geburtstag. Weimar: H. Böhlau, 1971, pp. 5-7; Schenkluhn, Wolfgang. “Wiedergelesen ‘Die gotische Baukunst’ von Karl-Heinz Clasen.” Kritische Berichte zur kunstgeschichtlichen Literatur 10 (1982): 3, 61-66; Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, p. 286; Feist, Peter H. “Karl-Heinz Clasen.” Metzler Kunsthistoriker Lexikon. 2nd ed. Stuttgart: J. B. Metzler, 2007, pp. 52-54. Buddrus, Michael. Die Professoren der Universität Rostock im Dritten Reich. Munich: Saur, 2007, pp. 104-106.
Contributors: Lee Sorensen
Medievalist, principally architecture; produced scholarlship predominantly in Nazi and DDR (communist) Germany. Clasen studied art history in Munich under Heinrich Wölfflin beginning in 1913 and then with
Full Name: Clarke, Caspar Purdon, Sir Other Names: Gender: male Date Born: 1846 Date Died: 1911 Place Born: Richmond, County Dublin, Ireland Place Died: London, Greater London, England, UK Home Country/ies: United Kingdom Subject Area(s): Italian (culture or style) Second director of the Metropolitan Museum of Art, New York (1905-10) and the South Kensington Museum. Clarke was the son of Edward Marmaduke Clarke, of Somerset family and Mary Agnes Close. He studied architecture at the National Art Training Schools at South Kensington between 1862-1865. In that year he joined the government office assigned to rebuilding the Houses of Parliament. Clarke married Frances Susannah Collins in 1866. In 1867 he moved to the South Kensington Museum where he oversaw mosaic reproduction. Beginning in 1874, Clarke accepted various foreign assignments as supervising architect to the crown, most notably Tehran. In 1876, Clarke traveled to Turkey, Syria, and Greece and in 1879 to Spain, Italy, and Germany buying artifacts for the Museum. Commissions to design architecture in the Indian style resulted in the Indian hall at Elvedon, Suffolk, 1899 with the architect William Young. In 1880 he installed the Indian collections at the South Kensington Museum. This led to a position special commissioner in India, 1880-82, and in 1883, ultimately to keeper of the India Museum at South Kensington. He was elevated to keeper of all art collections at the Museum in 1892 and, the same year, published a significant catalog of south-Asian carpets, whose other entries included those by Wilhelm Bode and Aloïs Riegl. The following year he was made assistant director of the South Kensington Museum, and, in 1896, director. In 1899 Museum was renamed the Victoria and Albert Museum. When Luigi Palma di Cesnola, president and director of the Metropolitan Museum of Art in New York died in 1904, the American millionaire and art collector J. P. Morgan (1837-1913) assumed the duties as President of the Museum. In an attempt to raise the nascent Metropolitan Museum to an international level, Morgan, who had dominance of the Board and Museum, hired Clarke to be its second director. Clarke, however, was not able to reform the museum into the efficient type the Victoria & Albert was. In 1905 Clarke hired Edward Robinson, the recently-resigned director of the Museum of Fine Arts, Boston, to be his assistant director. Clarke’s physical and perhaps emotional health declined. He returned to England on a leave of absence in 1909 and resigned his as director in 1910. Robinson succeeded him as director. A catalog of Arms and Armour at Sandringham written by him appeared in 1910. He died at home the following year and is buried at Kensal Green cemetery. His son, C. Stanley Clarke, was also an assistant keeper of the Indian section of the Victoria and Albert Museum. edited, and Bode, Wilhelm von, and Riegl, Alois, et al. Oriental Carpets. 2 vols. Vienna: österreichisches Handelsmuseum/London: Cousins & Co., 1892; Arms and Armour at Sandringham: the Indian Collection Presented by the Princes, Chiefs and Nobles of India to His Majesty King Edward VII, when Prince of Wales. London: W. Griggs & Sons, 1910. Tomkins, Calvin. Merchants and Masterpieces: The Story of the Metropolitan Museum of Art. 2nd. ed. New York: Henry Holt, 1989, pp. 102-103; Lane, John. Sir Caspar Purdon Clarke, kt. New York: J. Lane, 1905; MacBean, Edward. “In memoriam. Sir Caspar Purdon Clarke, W. M., 1899-1900. Born 1846. – Died 1911.” Transactions, Quatuor Coronati Lodge 24 (1911); Konody, P. G., and Murdoch, Tessa. “Clarke, Sir Caspar Purdon.” Oxford Dictionary of National Biography. Contributors: Lee Sorensen Second director of the Metropolitan Museum of Art, New York (1905-10) and the South Kensington Museum. Clarke was the son of Edward Marmaduke Clarke, of Somerset family and Mary Agnes Close. He studied architecture at the National Art Training Sch Full Name: Clark, T. J. Other Names: Gender: male Date Born: 1943 Place Born: Bristol, England, UK Home Country/ies: United Kingdom Subject Area(s): Marxism and Modern (style or period) Marxist-approach art historian; Chancellor’s Professor of Modern Art at the University of California, Berkeley. Clark attended Bristol Grammar School, before graduating with a A. B., from St. John’s College, Cambridge University earning a first class distinction in 1964. He joined the Situationalist International in 1966, whose theorist, Guy Debord (1931-1994), developed the concept of “spectacle” that Clark would use later in his work. He received his Ph. D. in art history from the Courtauld Institute of Art, University of London in 1973. Clark lectured at Essex University 1967-1969 and then at Camberwell School of Art as a senior lecturer, 1970-1974. During that time he published two books in 1973 which launched his international career as an art historian. The Absolute Bourgeois: Artists and Politics in France, 1848-1851 and Image of the People: Gustav Courbet and the Second French Republic, 1848-1851 were seen as a manifesto of the new art history in the English language, provoking controversy as an unabashed Marxist interpretation of some of the most traditionally-researched topics in art history. In 1974, Clark accepted a visiting professor position University of California, Los Angeles (UCLA) which was subsequently turned into an associate professor position. In 1976, Clark became a founding member of Caucus for Marxism and Art of the College Art Association. The Caucus session delivered papers by other prominent Marxist art historians, including O. K. Werckmeister, Lee Baxandall, Serge Guilbaut. He returned to Britain and Leeds University to be chair of the Fine Art Department in 1976. In 1980 he joined the School of Fine Arts faculty at Harvard University, setting off a furor among many conservative and connoisseurship-based faculty. Chief among his Harvard detractors was the Renaissance art historian Sydney Joseph Freedberg. Freedberg’s and Clark’s rivalry at Harvard was public. Clark disallowed any students of his to study with Freedberg, a stance for which Clark was formally reprimanded by Harvard’s visiting committee for intolerance and for violating students’ academic freedom. Freedberg, however, retired early in 1983 largely in opposition to Clark, continuing to teach at the University of Virginia. In 1985 Clark published, The Painting of Modern Life: Paris in the Art of Manet and his Followers. He joined the Department of History of Art at the University of California, Berkeley in 1988, becoming George C. and Helen N. Pardee Chair of Art History. There he published a book of essays in 1999, Farewell to an Idea: Episodes from a History of Modernism. In addition to 19th-century topics, he broadened his view to include Picasso and Jackson Pollock. Clark identified an end to the modernist tradition, which he saw aligned with leftist politics, both coinciding with the fall of the Berlin wall. In 2005, writing under the name “Retort”, he co-authored Afflicted Powers: Capital and Spectacle in a New Age of War with Iain Boal, Joseph Matthews, and Michael Watts. His most theoretic, The Sight of Death: An Experiment in Art Writing, looked at the social and intellectual phenomenon re-examining art works. His students include Thomas E. Crow and Guilbaut. Clark’s Image of the People and The Painting of Modern Life provided a new form of art history that transcended traditional preoccupations with style and iconography. His books brought out the political implications of the work of Courbet and Manet, suggesting that the paintings of these artists may have served an active role in the creation of social and political attitudes. Clark made a distinction between “ideology” and the work as a representation, a rejection ideology as theorized by Louis Althusser. (Moxey). Characteristic of Clark’s method is to identify distinctions or disparities within a painting, and then pin those incongruities to a psycho-sexual or sociological interpretation, using a semiotics to come to a new meaning of the work of art. Clark’s detractors, most eloquent among them Nicholas Penny, have charged him with a selective view of art, asserting that in the case of Manet for example, not all of the artist’s canvases show the disjuncture that Clark characterizes. Eunice Lipton termed him “the most dazzling bad boy in the Art History Community,” characterizing his essay on Olympia (in his book Painting of Modern Life), “obfuscating and tortured.” Clark’s work was blind to gender issues, a fact pointed out by Griselda Pollock (and acknowledged by Clark). The Absolute Bourgeois: Artists and Politics in France, 1848-1851. London: Thames & Hudson, 1973; Image of the People: Gustav Courbet and the Second French Republic, 1848-1851. London: Thames & Hudson, 1973; “Marxism and Art History” [session of the College Art Association of America annual meeting February 2, 1976, Chicago]. unpublished manuscript of the papers; “Manet’s Bar at the Bolies-Bergère.” In The Wolf and the Lamb: Popular Culture in France from the Old Regime to the Twentieth Century. Edited by Jacques Beauroy et al. Saratoga Springs, NY: Anma Libri, 1977, pp. 233-52; “Courbet the Communist and the Temple Bar Magazine.” in, Malerei und Theorie. Courbet-Colloquium (1979). Frankfurt am Main: Städtische Galerie im Städelschen Kunstinstitut Frankfurt am Main, 1980; The Painting of Modern Life: Paris in the Art of Manet and his Followers / New York : Knopf, 1985; “Arguments about Modernism: a Reply to Michael Fried.” in, Pollock and After. New York: Harper & Row, 1985; White, Laurens P. Painting from Memory: Aging, Dememtia, and the Art of Willem de Kooning. Berkeley: Doreen B. Townsend Center for the Humanities, University of California, 1996; Farewell to an Idea: Episodes from a History of Modernism. New Haven: Yale University Press, 1999. 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. 140-1; Haskell, Francis. [review of The Painting of Modern Life] New Republic (February 18, 1985): 32-34; Penny, Nicholas. London Review of Books (March 20, 1986): 13-14; Tassel, Janet. “Reverence for the Object: Art Museums in a Changed World.” Harvard Magazine 105 no. 1 (September-October 2002): 48 ff.; Moxey, Keith. “Semiotics and the Social History of Art.” New Literary History 22 (1991): 985-999; Lipton, Eunice. “History of an Encounter.” in Behar, Ruth, ed. Autobiographical Writing Across the Disciplines A Reader. Durham, NC: Duke University Press, 2003, p. 261; Harris, Jonathan. Writing Back to Modern Art: After Greenberg, Fried, and Clark. New York: Routledge, 2005. Marxist-approach art historian; Chancellor’s Professor of Modern Art at the University of California, Berkeley. Clark attended Bristol Grammar School, before graduating with a A. B., from St. John’s College, Cambridge University earning a first cl Full Name: Clark, Kenneth, Sir Other Names: Gender: male Date Born: 13 July 1903 Date Died: 21 May 1983 Place Born: London, Greater London, England, UK Place Died: Hythe, Kent, England, UK Home Country/ies: United Kingdom Director of the National Gallery, London, 1933-1945, and early television popularizer of art history. Clark’s family was heir to the fortune amassed by his Scottish great-grandfather, the inventor of the cotton spool. His parents were Kenneth MacKenzie Clark and Margaret Alice Clark. Clark himself was raised in Edwardian idle elegance as an only child. Growing up he attended Winchester. Clarke won a scholarship to Trinity College, Oxford, gave up hopes of becoming an artist, and set his sights on art history. In 1922 he met Charles F. Bell, keeper at the Ashmolean Museum, whom he learned the elements of connoisseurship Bell introduced Clark to Bernard Berenson in Florence in 1925. Clark was immediately enthralled by Berenson. Though still a student at Oxford, he assisted Berenson with the revision of Berenson’s corpus of Florentine drawings. Clark worked for Berenson for over two years, honing his skills connoisseurship skills in Italian museums and in Berenson’s library of I Tatti. He married his Oxford classmate Elizabeth Winifred “Jane” Martin (1902-1976) in 1927. Despite concentration on Italian Renaissance painting, Clark’s first book was a suggested topic of Bell’s, The Gothic Revival, published in 1928, an expansion of Bell’s numerous notes on the topic. Clark’s work with Berenson resulted in a 1929 commission to catalog the rich holdings of Leonardo da Vinci manuscripts at Windsor castle (published 1935). Leonardo was still largely undocumented, the previous century viewing Leonardo as a dark genius of largely unfinished work. Clark co-organized the famous exhibition of Italian painting at the Royal Academy, with Lord Balniel (David Lindsay, the future Earl of Crawford and Balcarres, 1900-1975), displaying works from Italy which had never before (or since in many cases) left Italy. The show influenced many, including T. S. R. Boase, later director of the Courtauld and Warburg Institutes, whose art career can be traced to this show and Clark’s friendship. Though personally dissatisfied with his contribution to the exhibition catalog, Clark found himself lecturing widely as a result of the high profile show. In 1931 Bell retired from the Ashmolean and Clark assumed his position as keeper of the department of Fine Art. The years 1933 to 1945 were ones of great accomplishment for him. In 1933 he was appointed director of the National Gallery, London, at age 31 the youngest director ever. Clark used his position to launch a major expansion of its collection. Ruben’s Watering Place (1617), Constable’s Hadleigh Castle (1829), Rembrandt’s Saskia as Flora (1635), and Poussin’s Golden Calf (1634) were among the many major additions to the Gallery. The following year, King George V appointed him surveyor of the King’s pictures. This led to a knighthood in 1938. Unlike his predecessors, Clark took charge of the museum directly. His brash approach and direct involvement in acquisitions led to large-scale dissatisfaction among the Gallery staff, most publicly with Keeper Martin Davies. These years before World War II Clark rightly saw as “the Great Clark Boom.” He and Jane lived in the palatial Portland Place, she the president of the Incorporated Society of London Fashion Designers and he the Director of the National Gallery, hosting parties for London society and intelligentsia. In 1939 he published his Leonardo da Vinci: His Development as an Artist. During World War II, Clark and Davies evacuated nearly the entire collection to safe haven in a quarry cavern in Wales and instituted the Dame J. Myra Hess concerts in the empty museum. After the war, Clark resigned as director and focused on art writing. He was succeeded at the Gallery by Philip Hendy. Clark taught as Slade Professor of fine art at Oxford, previously held by Hendy, between 1946-1950. In 1951 he published his book on Piero della Francesca. In 1953 he became the chairman of the Arts Council of Great Britain, an organization whose early incarnation, the CEMA (Council for the Encouragement of Music and the Arts), he helped found. That same year he delivered the Mellon Lectures in Washgington, D. C., which, in book form appeared in 1956 as the much-praised study, The Nude. In 1954 Clark agreed to become the first chairman of the Independent Television Authority in Britain, the commercial television competitor to the BBC. Clark and his wife bought Saltwood Castle in 1955, the home where they spent the rest of their days. When his appointment was not renewed in 1957 at ITA, Clark was hired by the rival BBC. Though 1966 saw both his New York Wrightsman lectures, and their publication as the book Rembrandt and the Italian Renaissance, it was the other event of that year that would create a new reputation for him. That year, he wrote and produced the first serious television series to tackle art history. The television series, Civilisation, was actually cancelled by the BBC and only broadcast three years later in 1969. But its affect on audiences, both in the United Kingdom and United States, was undeniable. Clark became a television star of sorts, a fame he likened to Ruskin’s in the nineteenth century. His first wife, Jane, fell into alcoholism and though nursed by Clark sincerely, she died in 1976. Shortly thereafter he remarried another fashion designer, Nolwen de Janze-Rice (1924-1989). As his health declined, he suffered from depression. Clark died in a nursing home shortly before his 80th birthday. His son, Colin Clark (1932-2002), was a filmmaker and writer; the figure of Lord Clark appears in the 2011 film about the younger Clark, “My Week with Marilyn.” Clark’s reputation as an art historian is mitigated somewhat by the necessary intrigues as a director of a major art museum. His insistence, for example, to hang minor Venetian School paintings in 1937 he bought as autograph Giorgiones attracted harsh criticism and “a lingering mistrust of his integrity” according to the DNB. However, his adamancy against reappointment of Lord Duveen as a trustee on the grounds of conflict of interest took much courage. Clark’s patronage of such artists as Henry Moore and Graham Sutherland during their struggling years was a mark of both of his charity and understanding of art. He was a critic of most modern art (he expressed incomprehension at the work of Cézanne, for example), and his televised series Civilisation ends immediately before the period of abstraction in art. His most appreciated book, The Nude, shows the influence of Aby M. Warburg, though elsewhere in Clark’s writing this broad psychological method is hard to see. The popularity of his televeision and book, Civilization, made him a target for much of the New Art History historians who saw his work as traditionalist and ignoring social factors of art production. The Gothic Revival: An Essay in the History of Taste. New York: Scribner’s, 1929; A Commemorative Catalogue of the Exhibition of Italian Art Held in the Galleries of the Royal Academy, Burlington House, London, January-March, 1930. London: Oxford University Press, H. Milford, 1931; A Catalogue of the Drawings of Leonardo da Vinci in the Collection of His Majesty the King, at Windsor Castle. 2 vols. New York: The Macmillan, 1935; edited. Last Lectures by Roger Fry. New York: The Macmillan, 1939; Leonardo da Vinci: An Account of His Development as an Artist. Cambridge: 1939; Leon Battista Alberti on Painting. London: G. Cumberlege,1945; [H. R. Bickley Memorial Lecture] A Failure of Nerve: Italian Painting: 1520-1535. Oxford: Clarendon Press, 1967; John Constable: The Hay Wain, in the National Gallery, London. Gallery Books 5. London: P. Lund, Humphries, 1944; [first year’s lectures as Slade Professor] Landscape Painting. New York: Scribner, 1950, revised and retitled as, Landscape Into Art. London: J. Murray, 1976; [Romanes Lecture 1954] Moments of Vision. Oxford: Clarendon Press, 1954; The Nude: a Study in Ideal Form. A.W. Mellon Lectures in the Fine Arts 1953, Bollingen Series 35-2. New York: Pantheon Books, 1956; The Study of Art History. Plymouth, Eng.,: Bowering Press, 1956; Rembrandt and the Italian Renaissance. New York: New York University Press, 1966; Civilisation: a Personal View. New York: Harper & Row, 1969; “Roger Fry.” Dictionary of National Biography 1931-1940: 298-301; [Rede Lectures] The Artist Grows Old. London: Cambridge University Press, 1972; The Romantic Rebellion: Romantic Versus Classic Art. New York: Harper & Row,1973; Another Part of the Wood: a Self-portrait. New York: Harper & Row, 1975; and Ciardi, John, and Robinson, George. The Drawings by Sandro Botticelli for Dante’s Divine Comedy: after the Originals in the Berlin Museums and the Vatican. New York: Harper & Row, 1976.Estate: Sotheby Parke Bernet & Co. Paintings and Works of Art from the Collection of the Late Lord Clark of Saltwood, O.M., C.H., K.C.B.: Sold by Order of his Executors and his Family. London: Sotheby Parke Bernet, 1984. 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. 67 cited, 70 cited, 89 cited; Dictionary of National Biography 1981-1985, pp. 85-87; Clark, Kenneth. Another Part of the Wood: a Self-portrait. New York: Harper & Row, 1975; The Other Half: a Self Portrait. New York: Harper & Row, 1977; Secrest, Meryle. Kenneth Clark: a Biography. New York: Holt, Rinehart, and Winston, 1985; Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, p. 511. Contributors: Emily Crockett and Lee Sorensen Director of the National Gallery, London, 1933-1945, and early television popularizer of art history. Clark’s family was heir to the fortune amassed by his Scottish great-grandfather, the inventor of the cotton spool. His parents were Kenneth MacK Full Name: Clark, Anthony M. Other Names: Gender: male Date Born: 1923 Date Died: 1976 Place Born: Philadelphia, Philadelphia, PA, USA Place Died: Rome, Lazio, Italy Home Country/ies: United States Subject Area(s): museums (institutions) Career(s): curators, directors (administrators), and museum directors Museum director; Metropolitan Museum of art curator and specialist in Roman baroque painting. He was raised in a Quaker household. Clark’s boyhood fascination with birds led him to consider a career in ornithology. However, he graduated from Harvard in 1945 with a degree in fine arts. The following ten years he spent as a working artist. After World War II, Clark painted in New York, joining the American Abstract Artists’ Association. Beginning in 1948, he toured Europe. Although he was looking for inspirational material, his interests were gradually changing to art history and specifically, 18th-century Roman painting. He worked as a field working in the excavation sites in Istanbul of the Byzantine Institute, repainting the Chora’s frescos and the Pantocrator’s inlaid floor, he returned to the United States in 1955. He worked as the first secretary to the museum of the Rhode Island School of design, under John Maxon. There, Clark demonstrated his interest in seventeenth and eighteenth century Italian art, and particularly Pompeo Batoni. In 1959 he left Rhode Island, accepting one of the first two David M. Finley fellowships at the National Gallery of Art in Washgington, D. C. Clark spent the fellowship in Rome, where he became known as “Batoni Clark.” When the fellowship concluded in 1961, Clark became curator of painting for the Minneapolis Institute of Art, rising to Director in 1963. He was credited at the Museum of doubling the collections, tripling attendance, and making the museum bulletin into a scholarly publication. The new building, though completed after his departure, was largely due to his planning. In 1973, Clark accepted the offer to become Curator of European Painting at the Metropolitan Museum, under the quixotic Thomas Hoving. Clark mounted two major exhibitions at the Met. Impressionism: A Centenary and The Age of Revolution: French Painting, 1774-1830. Both shows met which huge acclaim. The latter exhibition, however, after touring Paris and Detroit, was greatly reduced in size for the Metropolitan exhibit at Hoving’s insistence. Clark disagreed on intellectual grounds, insisting that the fifty paintings to be cut were in fact crucial to the integrity of the exhibition. Hoving won out, and Clark, resigned shortly thereafter in public accusations of Hoving’s meddling. Another curator, John Walsh, Jr., also resigned during this time. Hoving replaced Clark more than a year later with John Pope-Hennessy. Clark was named adjunct professor at the Institute of Fine Arts, NYU, and a Clark professor at Williams College, Williamstown, MA. He was named a fellow at the American Academy in Rome and moved there to complete work on his survey of Roman baroque painting. While jogging in the Villa Doria-Pamphili park in Rome, he succumbed to a heart attack. He was 53. His magnum opus on Batoni was completed by Edgard P. Bowron in 1985. Clark held the reputation of having been a publishing curator, producing a significant body of scholarly material while at the same time directly administering major museums. The Age of Canova: An Exhibition of the Neo-classic held in the Museum of Art, Rhode Island School of Design. Providence, RI: Rhode Island School of Design Museum, of Art, 1957; and Bowron, Edgar Peters. Pompeo Batoni: a Complete Catalogue of his Works with an Introductory Text. New York: New York University Press, 1985; and Sachs, Samuel, II. The Minneapolis Institute of Arts, 1915-1965. New York: The Museum, 1966; Bowron, Edgar Peters, ed. Studies in Roman Eighteenth-century Painting. Washington, DC: Decatour House Press, 1981; The J. Paul Getty Collection. [exhibition at the Minneapolis Institute of Art] Minneapolis, MN: Minneapolis Institute of Art, 1972. A Scholar Collects: Selections from the Anthony Morris Clark Bequest. Philadelphia: Philadelphia Museum of Art, 1981; [obituaries:] Pinto, John A. “Anthony M. Clark: In Memoriam.” Art Journal 36, No. 3. (Spring, 1977): 242-243; Waterhouse, Ellis. The Burlington Magazine119, no. 888 (March 1977): 195-196; Russell, John. “Anthony Clark, 52, Museum Director, Head of Minneapolis Institute of Arts and Chairman of Met’s European Paintings Department Dies.” New York Times November 24, 1976, p. 31; “Mr. Anthony M. Clark American Art Historian.” The Times (London) December 3, 1976 p. 19. Contributors: Emily Crockett and Lee Sorensen Museum director; Metropolitan Museum of art curator and specialist in Roman baroque painting. He was raised in a Quaker household. Clark’s boyhood fascination with birds led him to consider a career in ornithology. However, he graduated from Harva
Clarke, Caspar Purdon, Sir
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Clark, T. J.
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Clark, Kenneth, Sir
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Clark, Anthony M.
Overview
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