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Cavalcaselle, G.B.

Image Credit: Wikipedia

Full Name: Giovanni Battista Cavalcaselle

Other Names:

  • Giovanni Battista Cavalcaselle

Gender: male

Date Born: 1819

Date Died: 1897

Place Born: Legnano, Milan, Lombardy, Italy

Place Died: Rome, Lazio, Italy

Home Country/ies: Italy

Subject Area(s): Flemish (culture or style), Italian (culture or style), painting (visual works), and Renaissance

Career(s): artists (visual artists) and museologists

Institution(s): Accademia di Belle Arti di Venezia


Overview

Artist and art historian; collaborator with Joseph Archer Crowe on the first modern history of art to be written in English. Cavalcaselle studied studio painting at the Accademia di Belle Arti in Venice. He was born in Legnago, Milan, Italy, in the Verona vicinity. When his interests changed to art history, he moved to Milan and Florence to study renaissance art. In 1847 he met Joseph Archer Crowe, a British art historian in Italy. The following year, Cavalcaselle joined in the 1848 revolutions sweeping Europe. For his part in the Italian revolt, he was condemned to death and force to flee. He settled in London in 1850 working for George Scharf as a illustrator of art. He may also have worked as a restorer. Cavalcaselle’s reputation as a connoisseur was already great. Charles Lock Eastlake, then president of the Royal Academy, employed Cavalcaselle and two other eminent art connoisseurs, Gustav Friedrich Waagen and Johann David Passavant that same year to write about pictures for the catalog of the Permanent Gallery of Art in Liverpool. In 1851 Cavalcaselle supported Seymour Stocker Kirkup (1788-1880) in Kirkup’s attribution of a portrait of Dante by Giotto in the Bargello fresco of Paradise in Florence. The following year, Cavalcaselle was asked by Crowe, with whom he shared living quarters in London, to help with Crowe’s book on fifteenth-century Flemish painters. This resulted in their famous collaboration and the earliest work in English of serious art scholarship, A History of Painting in Italy from the Second to the Sixteenth Century (1853). Cavalcaselle traveled throughout Europe, making the acquaintance of the art historian and dealer Otto Mündler in Paris, who was acquiring art for the National Gallery, London. Cavalcaselle made attributions for the Manchester Art Treasures exhibition catalog of 1857. In 1857, too, Cavalcaselle began research for an English-language edition of the masterwork by Giorgio Vasari, Most Excellent Painters, commissioned by Eastlake, the publisher John Murray, the amateur archaeologist Austen Henry Layard (1817 -1894) and the playwright Tom Taylor (1817-1880). His job was twofold: to examine the extant paintings mentioned in the Vite and compare Varsari’s claims with the documents in Italian archives. He worked until 1861 on the Vasari project, building on the research of Pietro Giordani (1774-1848) and Giuseppe B. Campori. Cavalcaselle soon developed an expertise in Italian art as he had for Flemish. Eastlake sent him on several buy trips for the National Gallery, one in 1858 which Eastlake accompanied him another the following year to evaluate a Roman sale. Cavalcaselle eventually abandoned the Vasari project for a new one with Crowe, a history of Italian painting. The ouster of religious authority in Italy by the new, unified Italian government allowed him to return, where he received a commission to inventory church holdings in the Marches and Umbria in 1861, together with the connoisseur and collector Giovanni Morelli. Cavalcasell became alarmed that the new Italian government was losing precious art through neglect and over-restoration. In 1862 to exhorted the government to establish an office within the Ministero della Pubblica Istruzione to control Italy’s art treasures. Though the proposal went unheeded, Cavalcaselle continued to work toward this end. His trips to France and Austria in 1863, the German states in 1863-1865, and elsewhere expanded his knowledge an expertise. Crowe’s and Cavalcaselle’s New History of Painting in Italy appeared from Murray beginning in 1864 and soon after in a German edition, edited by Anton Springer. The groundbreaking work recast much of art history based upon their chronologies of the artist’s individual development. Two subsequent volumes, treating the north Italian schools, appeared in 1871. In 1867, Cavalcaselle was named Inspector for the Museo Nazionale del Bargello, in Florence. He continued to consult for the National Gallery, now under the direction of William Boxall, until 1869. He moved to Rome in 1875 to accept a minister-level position as Inspector General of Painting and Sculpture. As Ministerio, he oversaw the art restoration, including of the paintings in S Francesco, Assisi, advised on museum acquisition and structure. He was instrumental in the laws prohibiting exports of art, and set the government standards for restoration of paintings and mosaics. Impressed with his organizational talents and authority, he and Crowe were called to Austria to reorganize the Belvedere Gallery in 1873. In 1877, he and Crowe issued a biography, Titian: His Life and Times which was meant to cap the History of Painting in North Italy volumes. Between 1882-1885 the two also issued Raphael: His Life and Works. Cavalcaselle retired from the Ministero in1893, issuing a much enlarged Italian-language edition of A History of Painting in Italy, 1886-1908. The collaboration between Crowe and Cavalcaselle was one of the great teams of art history. The two traveled together, Cavalcaselle making notes on the pictures, and detailed drawings. Crowe appears to have written the text entirely himself, with much input on attribution by Cavalcaselle, although the true division of work has never been established.

Cavalcaselle’s connoisseur’s sensitivity to the pictorial language of art history is documented in his drawings. He was adept at establishing on formal basis, the various periods within an artist’s oeuvre. Crowe’s autobiography (1895) discusses Cavalcaselle’s method in detail. A New History of Painting in Italy was the first serious study to cast personal experience of a large amount of art into a conceptual framework. The numerous new attributions and chronologies set their works as classics for nascent discipline of art history. Adolfo Venturi called Cavalcaselle a “second Vasari” and the most complete Italian art history since Luigi Antonio Lanzi.


Selected Bibliography

[all the following written in conjunction with: Crowe, Joseph Archer.]  The Early Flemish Painters: Notices of their Lives and Works. London, J. Murray, 1857, Italian: Storia dell’antica pittura fiamminga. Florence: Le Monnier, 1899; and Springer, Anton. Geschichte der altniederlaendischen Malerei. Leipzig: S. Hirzel, 1875; A New History of Painting in Italy from the Second to the Sixteenth Century. 3 vols. London: J. Murray, 1864, enlarged Italian edition, Storia della pittura in Italia dal secolo II al secolo XVI. 11 vols. Florence: Le Monnier, 1885-1908;  Titian: His Life and Times, with Some Account of His Family. 2 vols. London: J. Murray, 1877; Raphael: His Life and Works, with Particular Reference to Recently Discovered Records, and an Exhaustive Study of Extant Drawings and Pictures. 2 vols. London: J. Murray, 1882-1885.


Sources

Moretti, Lino. G. B. Cavalcaselle: Disegni da antichi maestri. Vicenza: N. Pozza, 1973; Levi, Donata. Cavalcaselle: il pioniere della conservazione dell’arte italiana. Turin: G. Einaudi, 1988; 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. 44 (and n.88-9); Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, p. 236; Allgemeines Künstlerlexikon. Munich: K. G. Saur, 1999, vol. 17, p. 358; Kultermann, Udo. The History of Art History. New York: Abaris, 1993, pp.111-114.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Cavalcaselle, G.B.." Dictionary of Art Historians (website). https://arthistorians.info/cavalcaselleg/.


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Artist and art historian; collaborator with Joseph Archer Crowe on the first modern history of art to be written in English. Cavalcaselle studied studio painting at the Accademia di Belle Arti in Venice. He was born in L

Causa, Raffaello

Full Name: Causa, Raffaello

Gender: male

Date Born: 1923

Date Died: 1984

Place Born: Pozzuoli, Naples, Campania, Italy

Place Died: Naples, Campania, Italy

Home Country/ies: Italy

Subject Area(s): eighteenth century (dates CE), Italian (culture or style), and seventeenth century (dates CE)


Overview

Historian of 17th- and 18th-century Italian art; Soprintendente ai Beni Artistici of Campania, 1965-1984. Causa attended the University of Naples completing his studies with a thesis on the 17th-century Neapolitan painter Micco Spadaro (1609-1675). In 1946 Causa was appointed Ispettore of the Soprintendenza (Naples), where he remained until 1965. During his tenure, he supervised restorations, organized exhibitions and produced art-historical studies of considerable interest. He organized the important exhibition “Bozzetti napoletani del Sei e del Settecento” in 1947 where he described and analyzed the figure of the painter Luca Giordano (1634-1705). Causa became a member of the editorial staff of Paragone Arte, the art review founded by Roberto Longhi. In 1954 he organized, in collaboration with his friend, the specialist in 15th-century art and professor Ferdinando Bologna, the original exposition “Scultura lignea” and the important catalog, Sculture lignee nella Campania. In 1956 he was one of the member of the staff for the reorganization of Pinacoteca Nazionale of Naples in its new seat at Capodimonte, under Bruno Molajoli (1905-1985). In 1962 he focused his research on Certosa di San Martino and he wrote Tarsie cinquecentesche nella certosa di S. Martino a Napoli, 1962. He wrote important studies about Anton Sminck Pitloo (1790-1837), a Dutch painter who was invited to Naples by the Russian diplomat and art connoisseur Count Grigory Vladimirovich Orloff and became one of the founding members of School of Posillipo, a group of landscape painters that worked en plein air. He wrote numerous articles and books in which discussed themes ranging from Caravaggio (e.g. I seguaci del Caravaggio a Napoli, 1966.) to various Neapolitan painters (e.g. Pittura napoletana dal XV al XIX secolo, 1957), especially those of still life. He wrote reviews in Italian art journals including Napoli nobilissima, Paragone Arte, Emporium, Bollettino d’arte, Arte veneta and international journals e.g. The Art Quarterly. After his appointment as Soprintendente in 1965, he organized important international exhibitions such as the “Civiltà del Settecento a Napoli” (1979) and “La pittura napoletana da Caravaggio a Luca Giordano” (1984), which traveled internationally. He contributed two volumes to the 10-volume survey Storia di Napoli, beginning 1972 Neapolitan 18th-century painters, La pittura del Seicento a Napoli: dal naturalismo al barocco. He was also a member of the Scientific Committee of the project with the historians Franco Venturi (1914-1994) and Giuseppe Galasso (b. 1929), the archaeologist Domenico Mustilli (1899-1966), etc. Causa oversaw two exhibitions in his final years which traveled to American museums “The Age of Caravaggio” at the Metropolitan Museum, 1985, and “Bernardo Cavallino of Naples, 1616-1656” at Cleveland and Fort Worth, TX. He died unexpectedly at the age of 61 while working on the exhibition, “La pittura napoletana da Caravaggio a Luca Giordano.” The show was exhibited in a revised version, dedicated to its creator, at Capodimonte in Naples the same year as his death, 1984. Specialist in XVII and XVIII centuries Italian art especially Caravaggio, and the Neapolitan painters (School of Posillipo). Causa’s scholarship influenced the art historians Ferdinando Bologna, Luigi Salerno who dedicated to him Scritti di storia dell’arte in onore di Raffaello Causa, 1988. A volatile personality (“aloof and self assured”) he was adept at negotiating the myriad red-tape and corruption of the Neapolitan cultural-property world in order to create important exhibitions (González-Palacios). An historian whose judgments could be uneven, his Certosa di San Martino was considered a high-watermark in his scholarship (González-Palacios).


Selected Bibliography

La Madonna nella pittura del ‘600 a Napoli. Naples: Azienda Autonoma di Soggiorno, Cura e Turismo, Napoli, 1954; Vedute napoletane dell’Ottocento: disegni di Giacinto Gigante.Napoles: L’Arte Tipografia, 1955; Pitloo. Naples: Mele, 1956; Pittura napoletana dal XV al XIX secolo.Bergamo: Istituto Italiano d’Arti Grafiche, 1957; Tarsie cinquecentesche nella certosa di S. Martino a Napoli. Milan: Ricordi, 1962; Sant’Angelo in Formis. Milan: Ricordi, 1963; Andrea Belvedere, pittore di fiori. Milan: Ricordi, 1964; Antonello da Messina. Milan: Fabbri, 1964; Gli affreschi di Sant’Angelo in Formis.Milan: Fabbri, 1965; Napoletani dell’800. Naples: Montanino, 1966; Caravaggio: prima parte.Milan: Fabbri, 1966; Vincenzo Gemito.Milan: Fabbri, 1966; La Scuola di Posillipo. Milan: Fabbri, 1967; Opere d’arte nel Pio Monte della Misericordia a Napoli. Cava dei Tirreni: Di Mauro, 1970; La pittura del Seicento a Napoli: dal naturalismo al barocco. Storia di Napoli [series]. Naples: Soc. Ed. Storia di Napoli, 1972; L’arte nella Certosa di San Martino a Napoli.Cava Dei Tirreni: Di Mauro, 1973; Giuseppe De Nittis. Bari: Dedalo, 1975; Gioacchino Toma. Bari: Edizioni Dedalo, 1975; La Campania nelle immagini del Settecento nel “Voyage pittoresque” del Saint-Non.Naples: Edizioni scientifiche italiane, 1980; Le collezioni del Museo di Capodimonte: Napoli. Touring Club Italiano.Milan: Rizzoli, 1982.


Sources

Scritti di storia dell’arte in onore di Raffaello Causa. Naples: Electa Napoli, 1988; Savio, Giulia. Roberto Longhi e gli altri, le prime annate di Paragone Arte. Master’s thesis, University of Genoa, 2006. [obituaries:] Torricelli, Raffaello. “Raffaello Causa: da non dimenticare” Amici dei musei 30 (1984): 8; González-Palacios, Alvar. “Raffaello Causa (1923 – 1984)” Burlington Magazine,128 (1986): 677-678; Salerno, Luigi. “Raffaello Causa.” Apollo 120 (August 1984): 152.



Contributors: Giulia Savio


Citation

Giulia Savio. "Causa, Raffaello." Dictionary of Art Historians (website). https://arthistorians.info/causar/.


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Historian of 17th- and 18th-century Italian art; Soprintendente ai Beni Artistici of Campania, 1965-1984. Causa attended the University of Naples completing his studies with a thesis on the 17th-century Neapolitan painter Micco Spadaro (1609-1675)

Caumont, Arcisse de

Image Credit: Wikipedia

Full Name: Caumont, Arcisse de

Other Names:

  • Arcisse de Caumont

Gender: male

Date Born: 1801

Date Died: 1873

Place Born: Bayeaux, Normandie, France

Place Died: Magny, Bourgogne-Franche-Comté, France

Home Country/ies: France

Subject Area(s): archaeology, French (culture or style), and Romanesque

Institution(s): Université de Caen Normandie


Overview

Archaeologist; reviver of interest in Romanesque sculpture in France; first to use the term (but not the concept); founder of the Société Française d’Archéologie. Caumont was born to a prominent Normandy family. He studied at the University in Caen under Abbé Gervais de la Rue (1751-1835) and Charles Gerville, who, exiles to England during the first empire, imbued Caumont with English ideas. In 1819 he graduated and began legal studies. In 1823 he helped found the Société Linnéenne du Calvados and the following year, with Gerville, the abbé Gervais, and Auguste Le Prévost, the Société des Antiquaires de Normandie later becoming secretary. The same year Caumont published his Essai sur l’architecture du Moyen Age, the first of a number of books discussing archaeological method as much as history and the first instance of the use of the term Romanesque (Romane). He was was admitted to the bar in 1825. Beginning in 1830, he issued his Cours d’antiquités monumentales, which ran to six volumes through 1841. Both the Essai and the Cours detailed his archaeological method of research, classification and comparative method. He met the early British medievalist Thomas Rickman during Rickman’s visit to France. His prominence as a modern archaeologist led him to found the Société Française d’Archéologie in 1834. The Society was both national and pragmatic: it saved numerous monuments from demolition during its years of existence meeting in a different département (or state) each year and highlighting the medieval monuments there. Its Bulletin monumental became a major organ for medieval studies. A general survey of medieval architecture, Histoire de l’architecture religieuse au moyen âge, appeared in 1841. The following year, his Abécédaire ou rudiment d’archéologie was published, an important early book for the history of Church ornament (Cahn). His interest and devotion to his home province drove him to form the Association Normande and its concomitant journal, L’Annuaire des cinq départements de l’ancienne Normandie. Most of his work was discontinued in 1870 because of increasing ill health. After his death, most of the associations he had founded either disbanded or were fundamentally changed. Caumont is considered one of the founders of modern archaeology in France, which came to later include (as used in the French meaning of archéologie) the study of art history as well. His writings on Romanesque sculpture revived the interest in that period of medieval art solidified by the concept put forth by Gerville in 1818 and John Britton in England whose Cathedral Antiquities has been appearing since 1814. Essai sur l’architecture du Moyen Age marked the beginning of what became a continuous development of the modern histories of medieval art (Bober). Caumont’s work built upon the influence of Auguste Le Prévost (1787-1859), who was instrumental in fostering other commissions for monument protection, including the Société Libre de l’Eure and the Commission des Antiquités de Seine-Inférieure. It was Caumont alone who distilled and shaped the contributions of Gerville, Le Prévost and Sulpiz Boisserée into the academic structure which formally became cultural and intellectual history (Bober). Caumont’s work laid the foundation for national monument preservation in many countries. Caumont was also a champion of decentralized intellectual institutions, both scientific and historic. As both a legitimist and a devoted Roman Catholic, he criticized the “Jacobin cancer” of centralization in Paris.


Selected Bibliography

Essai sur l’architecture religieuse du moyen âge, principalement en Normandie. Memoires de la Société des Antiquaries de Normandie, 1824; Cours d’antiquités monumentales professé à Caen, en 1830: histoire de l’art dans l’ouest de la France depuis les temps les plus reculés jusqu’au XVIIe siècle. 12 vols. Paris: Lance/Caen: T. Chalopin/Rouen: Frère, 1830-1841; Abécédaire ou rudiment d’archéologie. Caen: F. Le Blanc-Hardel, 1869.


Sources

Summerson, John. “Viollet-le-Duc and the Rational Point of View.” Heavenly Mansions and Other Essays on Architecture. New York: Norton, 1963, p. 138; Bober, Harry. “Editor’s Foreward.” in, Mâle, émile. Religious Art in France: the Twelfth Century: a Study of the Origins of Medieval Iconography. Princeton, NJ: Princeton University Press, 1978, pp. viii; Leniaud, Jean-Michel. “Caumont, Arcisse de.” Dictionary of Art; DBF; Huchet, B. “Arcisse de Caumont (1801-1873).” Positions des thèses soutenues par les élèves de la promotion de … pour obtenir le diplôme d’archiviste paléographe [of the] Ecole nationale des chartes. Paris: Ecole nationale des chartes, 1984, pp. 49-53; Cahn, Walter. “Henri Focillon.” Medieval Scholarship: Biographical Studies on the Formation of a Discipline. Volume 3: Philosophy and the Arts. Edited by Helen Damico. Garland Reference Library of the Humanities 2110. New York: Garland Publishing, 2000, p. 265, mentioned.


Archives


Contributors: Emily Crockett and Lee Sorensen


Citation

Emily Crockett and Lee Sorensen. "Caumont, Arcisse de." Dictionary of Art Historians (website). https://arthistorians.info/caumonta/.


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Archaeologist; reviver of interest in Romanesque sculpture in France; first to use the term (but not the concept); founder of the Société Française d’Archéologie. Caumont was born to a prominent Normandy family. He studied at the Universi

Castiglione, Baldassare

Image Credit: Brittanica

Full Name: Castiglione, Baldassare

Gender: male

Date Born: 1478

Date Died: 1528

Home Country/ies: Italy


Overview

The Coutier (1527) describes artists



Sources

KGK, 23


Archives


Contributors: Emily Crockett and Lee Sorensen


Citation

Emily Crockett and Lee Sorensen. "Castiglione, Baldassare." Dictionary of Art Historians (website). https://arthistorians.info/castiglioneb/.


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The Coutier (1527) describes artists

Cassou, Jean

Full Name: Cassou, Jean

Gender: male

Date Born: 1897

Date Died: 1986

Home Country/ies: France


Overview




Archives


Contributors: Emily Crockett and Lee Sorensen


Citation

Emily Crockett and Lee Sorensen. "Cassou, Jean." Dictionary of Art Historians (website). https://arthistorians.info/cassouj/.


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Casson, Stanley

Image Credit: Monuments Men and Women

Full Name: Casson, Stanley

Gender: male

Date Born: 1889

Date Died: 1944

Place Born: England, UK

Place Died: Greece [World War II casualty, specific location not recorded]

Home Country/ies: United Kingdom

Subject Area(s): Ancient Greek (culture or style), Antique, the, Classical, Greek sculpture styles, Modern (style or period), and sculpture (visual works)


Overview

Historian of modern sculpture and ancient Greece; studied effect of technique upon style in Greek art. Casson attended Merchant Taylors School and Lincoln and St. John’s College, Oxford, initially studying anthropology before changing to archaeology. His major area was Hellenism. He was appointed assistant director of the British School in Athens in 1919, which he held until 1922. As editor of the Catalogue of the Acropolis Museum, the set appeared the same year. In 1927 he was made a reader at Oxford University. He was Special Lecturer in Art, Bristol University in 1931. A scholar of historical geography, particularly in Macedonia, he turned his interests to art, publishing his important Technique of Early Greek Sculpture in 1933. His interest in sculpture turned to contemporary artists as well. Casson was a visiting Professor at Bowdin College, ME, 1933-34. He volunteered for British army during World War II and achieved the rank of Lt. Colonel before he was killed in action.


Selected Bibliography

The Technique of Early Greek Sculpture. Oxford: The Clarendon Press, 1933; Some Modern Sculptors. London: Oxford University Press, H. Milford, 1928; XXth Century Sculptors. London: Oxford University Press, H. Milford, 1930; and Dickins, Guy, and, Nicholson, Dorothy L. Catalogue of the Acropolis Museum. 2 vols. Cambridge, UK: The University Press, 1912-1921.


Sources

Kleinbauer, W. Eugene. Research Guide to the History of Western Art. Sources of Information in the Humanities, no. 2. Chicago: American Library Association, 1982, p. 42 ; Medwid, Linda M. The Makers of Classical Archaeology: A Reference Work. New York: Humanity Books, 2000 pp. 55-56; Ridgway, David. “Casson, Stanley.” Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 1, p. 253.


Archives


Contributors: Emily Crockett and Lee Sorensen


Citation

Emily Crockett and Lee Sorensen. "Casson, Stanley." Dictionary of Art Historians (website). https://arthistorians.info/cassons/.


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Historian of modern sculpture and ancient Greece; studied effect of technique upon style in Greek art. Casson attended Merchant Taylors School and Lincoln and St. John’s College, Oxford, initially studying anthropology before changing to archaeolo

Cassirer, Ernst

Image Credit: Wikipedia

Full Name: Cassirer, Ernst

Gender: male

Date Born: 1874

Date Died: 1945

Place Born: Wrocław, Poland

Place Died: New York, NY, USA

Home Country/ies: Germany

Subject Area(s): art history, historiography, and philosophy

Career(s): philosophers


Overview

Philosopher whose work was influential for art history and historiography. Cassirer was born in Breslau, Silesia, Prussia which is present-day Wroclaw, Poland. He attended the Gymnasium in Breslau before admission to the University of Berlin where he studied jurisprudence and philosophy. Like many students of the era, he also attended university lectures at the universities of Leipzig, Munich, and Heidelberg. He settled at the University of Marburg in 1886. His Ph.D. in philosophy (summa cum laude) appeared in 1899. He became a privatdozent at the University of Berlin in the years before World War I. He married Toni Bondy in 1902. Cassirer served (was drafted) for the German civil service during World War I. After Germany’s defeat, he was appointed professor at the University of Hamburg in 1919. He was named rector in 1930. The advent of the Nazi regime in 1933 forced Cassirer to resign. He immigrated to England were he taught as a lecturer at All Souls College, Oxford University until 1935 He received a professorship at the University of Goeteborg, Sweden, in philosophy, in 1935. He became naturalized Swedish citizen in the 1930s. Cassirer remained there until 1941 when he became a visiting professor at Yale University in 1941. He moved to Columbia University under the same status as visiting professor of philosophy, 1944-45.


Selected Bibliography

The Philosophy of Ernst Cassirer. Paul A. Schilp, ed. Evanston, IL: Northwestern University Press, 1949.


Sources

KMP, 61-62 mentioned. Silvia Ferretti. Cassierer, Panofsky, and Warburg: Symbol, Art and History. New Haven: Yale University Press, 1989.


Archives


Contributors: Emily Crockett and Lee Sorensen


Citation

Emily Crockett and Lee Sorensen. "Cassirer, Ernst." Dictionary of Art Historians (website). https://arthistorians.info/cassirere/.


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Philosopher whose work was influential for art history and historiography. Cassirer was born in Breslau, Silesia, Prussia which is present-day Wroclaw, Poland. He attended the Gymnasium in Breslau before admission to the University of Berlin where

Caskey, Lacey D.

Full Name: Caskey, Lacey D.

Other Names:

  • Lacey Davis Caskey

Gender: male

Date Born: 1880

Date Died: 1944

Place Born: Honesdale, Wayne, PA, USA

Place Died: Wellesley, Norfolk, MA, USA

Home Country/ies: United States

Subject Area(s): ancient and Classical

Career(s): curators


Overview

Curator of Classical Art, Boston Museum of Fine Arts, 1912-1944. Caskey was the son of Rev. Taliaferro F. Caskey and Phoebe Lacey. He was raised in Dresden, Germany, where his father had a chaplaincy, and though educated in English-language schools (1882-1897), acquired numerous languages early on. He graduated from Yale, his father’s alma mater, class of 1901, joining the American School of Classical Studies in Athens, first as a Fellow and then between 1905-1908 as the Secretary. At the British and American classical schools in Athens, he met fellows scholars such as Sidney Norton Deane (1878-1943), Guy Dickins, Bert Hill (1874-1958) and later J. D. Beazley. He returned to America only briefly during these years to teach at Yale. Initially, Caskey’s interest was in architecture and architectural inscriptions. The later book on the measurements of the Erechtheum on which he helped contains research dating from this time. At his return to the United States in 1908, Caskey was appointed Assistant Curator of Classical Art at the Boston Museum of Fine Arts. He received his Ph.D. in 1912 and was immediately appointed Curator at the Boston Museum. He remained at Boston Museum until his death. At the BMFA, Caskey’s initial duties were to study and publish the important finds acquired by the Museum by Edward P. Warren (1860-1928) and John Marshall (1862-1928), the gay couple who formed a team securing important works of sculpture and vase painting in Europe for the Museum earlier in the century, under the direction of Arthur Fairbanks. Under his curatorship, the Museum acquired the Minoan Snake Goddess, the gold bowl of the Kypselids (Olympia) and the Syracusan Demareteion. Caskey married Dickins widow, Mary Hamilton Dickins, after her first husband’s death in World War I. At Caskey’s death he was succeeded by George Henry Chase as acting Curator. Caskey left a relatively modest body of publications. He wrote laboriously and without the encouragement to publish academics find for themselves. W. G. Constable characterized him as, though interested in archaeology, an art historian. He disparaged museum practice of spotlighting objects, extensive explanation or other techniques that detracted from experiencing the object directly.


Selected Bibliography

[dissertation:] The Building-Inscriptions of the Erectheum. Yale, 1912; and Beazley, John D. Attic Vase Paintings in the Museum of Fine Arts, Boston. 3vols. Boston: Museum of Fine Arts/Oxford University Press, 1931-1963; and Paton, James Morton, and Stevens, Gorham P., and Fowler, Harold North, and Paton, James Morton. The Erechtheum, Measured. Cambridge, MA: Harvard University Press/American School of Classical Studies at Athens, 1927; Geometry of Greek Vases: Attic vases in the Museum of Fine Arts Analysed According to the Principles of Proportion. Boston: Boston Museum of Fine Arts, 1922.


Sources

[obituaries:] “Lacey D. Caskey, Curator of Classical Antiquities at Boston Fine Arts Museum.” New York Times May 23, 1944, p. 23; Constable, William G. “Lacey D. Caskey.” (Archaeological News and Discussions). American Journal of Archaeology 48, No. 3 (July 1944): 275-276; Boston Museum of Fine Arts 42 (1944): 37-38.


Archives


Contributors: Emily Crockett and Lee Sorensen


Citation

Emily Crockett and Lee Sorensen. "Caskey, Lacey D.." Dictionary of Art Historians (website). https://arthistorians.info/caskeyl/.


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Curator of Classical Art, Boston Museum of Fine Arts, 1912-1944. Caskey was the son of Rev. Taliaferro F. Caskey and Phoebe Lacey. He was raised in Dresden, Germany, where his father had a chaplaincy, and though educated in English-language school

Casier, Joseph

Full Name: Casier, Joseph

Gender: male

Date Born: 1852

Date Died: 1925

Place Born: Ghent, East Flanders, Flanders, Belgium

Place Died: Ghent, East Flanders, Flanders, Belgium

Home Country/ies: Belgium

Subject Area(s): Antique, the


Overview

Antiquarian; organized important early exhibion on the van Eyck. Casier was the son of Désiré Casier (1824-1815), joint owner of a textile company, Casier Frères, and Henriette Le Grand (1825-1899). He was raised in a conservative Roman Catholic home, tutored by his parents and parish priest. He attended the Ghent Sint Barbara College and then entered the Collège Notre-Dame de la Paix, Namur where he graduated in 1870. Casier was awarded a Doctor of Rights (law degree) at Katholieke Universiteit Leuven, in 1873. His interest, however, was never in law. He joined the family business studying mechanics and industrial statistics, under Henri de Wilde at Ghent University. Casier became interested in archaeology and medieval art in Leuven. He studied under the bibliographer Father Augustin de Backer (1809-1873) and the theologian Edmond H. J. Reussens. Casier joined the Guild of St. Thomas and Sint-Lucas in 1877, whose interested was promoting strict archaeological history.He married Henriette Leirens (1856-1886) in 1878, daughter of a textile manufacturer from Aalst. Casier was fired from the family firm in Casier Frères, becoming a partner in 1883 in another textile mill in Aalst. By 1886 his wife and two of his four children had died and Casier watched as the declining economy closed his and many other textile mills by 1896. He then worked as an insurance inspector for the Flanders Royale Belge, supplementing his income in a glass window design studio. When the gothic revival architect Jean Baptiste Bethune (1821-1894) an exponent of the Guild, died in 1894, Casier took over. He began experimenting with photography, then a medium reserved for wealthy hobbiests. He published articles in the Bulletin of the Guild and in the Revue de l’Art Chrétien which included photographs and drawings by him. Casier began photographing church architecture and picturesque rural life. He was elected a member of the Association Belge de Photographie in 1890 and president by 1895, which he held with brief interruptions until 1904. Changes in the mission of the Catholic church’s social mission led Casier to membership in ‘Le Bien Public’ in 1885. With the mayor of Ghent, Emile Braun, he worked toward the historic preservation of Ghent, including the Castle of the Counts and the “cockpit” (the area around the St. Bavo’s Cathedral, the Belfry, St. Nicholas Church and the Town Hall). The 1912 death of Ferdinand van der Haeghen (1830-1913), known as “the father of archeology in Ghent,” Casier became chair of the Municipal Commission for Monuments. In his capacity, he promoted the restoration of the Gothic abbey and Bijloke in order to turn them into an archaeological museum. The World Exhibition in Ghent in 1913 was an opportunnity for Casier to launch the retrospective exhibition “L’Art Ancien dans les Flandres,” together with Paul Bergmans (1868-1935) and create a monument in honor of the brothers Van Eyck. Late in 1923 Casier was diagnosed with a heart condition. He continued his heady pace of research and succomed to a heart attack in 1925 from which he died serveral months later.


Selected Bibliography

and Bergmans, Paul. L’art ancien dans les Flandres (région de l’Escaut): mémorial de l’exposition rétrospective organisée à Gand en 1913. Brussels/Paris: G. van Oest & cie,1914; Les orfèvres flamands et leurs poinçons, XVe – XVIIIe. siècles. Ghent: Museum van Oudheden der Byloke/Commission des monuments et des sites de la ville de Gand, 1914; Le Musée des Beaux-Arts de Gand: Notice historique. Ghent: F.I. Vanderpsoort, 1922.


Sources

Bergmans, Paul. “Notice sur la Vie et les Travaux the Joseph Casier (1852-1925).” Gent, 1925; “Inventaris van het Achief van de Familie Casirer.” KADOC, http://kadoc.kuleuven.be/db/inv/107.pdf




Citation

"Casier, Joseph." Dictionary of Art Historians (website). https://arthistorians.info/casierj/.


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Search for materials by & about this art historian:

Antiquarian; organized important early exhibion on the van Eyck. Casier was the son of Désiré Casier (1824-1815), joint owner of a textile company, Casier Frères, and Henriette Le Grand (1825-1899). He was raised in a conservative Roman Catholic h

Carter, John

Full Name: Carter, John

Other Names:

  • John Carter

Gender: male

Date Born: 1748

Date Died: 1817

Home Country/ies: United Kingdom

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


Overview

Architectural historian. Attempted to write a survey of English medieval architecture following History of Gothic and Saxon Architecture in England(1798) by Browne Willis.



Sources

Crook, J. Mordaunt. John Carter and the Mind of the Gothic Revival. London: W.S. Maney & Son/Society of Antiquaries of London, 1995




Citation

"Carter, John." Dictionary of Art Historians (website). https://arthistorians.info/carterj/.


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Search for materials by & about this art historian:

Architectural historian. Attempted to write a survey of English medieval architecture following History of Gothic and Saxon Architecture in England(1798) by Browne Willis.