Place Born: Busto Arsizio, Varese, Lombardy, Italy
Place Died: Milan, Lombardy, Italy
Home Country/ies: Italy
Subject Area(s): Italian (culture or style), Italian Renaissance-Baroque styles, and Renaissance
Career(s): secretaries (public officers)
Overview
Del Cenacolo di Leonardo da Vinci, 1810; secretary to the Accademia di Brera, 1801-1807. He was responsible for their inclusion in the Pinacoteca di Brera, his most famous acquisitions include Raphael’s Marriage of the Virgin (1504) and the Virgin and Child by Giovanni Bellini (1460).
Del Cenacolo di Leonardo da Vinci, 1810; secretary to the Accademia di Brera, 1801-1807. He was responsible for their inclusion in the Pinacoteca di Brera, his most famous acquisitions include Raphael’s Marriage of the Virgin (1504) and t
Subject Area(s): Ancient Italian, Early Western World, Mediterranean (Early Western World), painting (visual works), seventeenth century (dates CE), Venetian (Republic, culture or style), and Viennese
Career(s): art historians
Overview
Leading Venetian writer on art in the seventeenth century; wrote a patriotic and polemical defense of Venetian painting, La carta del navegar pittoresco, (The Map of Painting’s Journey), 1660). Le ricche miniere della pittura veneziana, 1674, (The Rich Mines of Venetian Painting). Boschini writing, like Ridolfi’s, countered Vasari’s claims that Florence was the birthplace of Renaissance art. However, Boschini’s books were more orderly and well-thought-out than Ridolfi’s. Instead of just biographical account of artists, Boschini focused on how the paintings were created, emphasizing color, the central element to the Venetian school (Bondanelli). Boschini drew from various sources. He appears to have used the first edition of Vasari (1550) and thereby restated a number of errors in attribution (such as giving Titian’s “Storm at Sea” to Giorgione).
Sources
Hope, Charles. “Historians of Venetian Painting.” in The Genius of Venice, 1500-1600. New York: Abrams, 1984; Hope, Charles. Giorgione or Titian? History of a Controversy. Council of The Frick Collection Lecture series. New York: Frick Collection, 2003, p. 13; “Literature and Art.” in Dictionary of Italian Literature. Peter Bondanella, Julia Conaway Bondanella, and Jody Robin Shiffman, eds. Westport, CT: Greenwood Press, 1996
Citation
"Boschini, Marco." Dictionary of Art Historians (website). https://arthistorians.info/boschinim/.
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Leading Venetian writer on art in the seventeenth century; wrote a patriotic and polemical defense of Venetian painting, La carta del navegar pittoresco, (The Map of Painting’s Journey), 1660). Le ricche miniere della pittura venezian
Subject Area(s): Italian (culture or style), Italian Renaissance-Baroque styles, and Renaissance
Overview
Scholar of Renaissance art at the Center for Italian Renaissance Studies, Harvard. Borsook was the daughter of Henry Borsook (1897-1984), a renowned biochemist, and Lisl Hummel (Borsook). The year she was born, her father joined the Department of Biology at California Institute of Technology. She attended Vassar College, receiving her B.A in art history in 1949. The same year, Borsook won a competition given by Harper’s Bazaar (magazine) the same year and entered New York University, Institute of Fine Arts, as a graduate student. She worked for the Metropolitan Museum of Art for over three years, receiving her M.A. there in 1952 writing a thesis on the early Baroque painter Carlo Saraceni under Walter Friedlander. Borsook moved to London and the Courtauld Institute, University of London, to study under Johannes Wilde for her doctorate. Using a Fulbright scholarship, she studied in Italy. There she collaborated with the group of mural conservators in Florence headed by Leonetto Tintori (1908-2000), a relationship lasting over thirty years. Early articles in the Burlington Magazine followed. She wrote her thesis on Italian mural painting at the Courtauld. In 1960 Borsook published a revised version of her dissertation, which was quickly recognized as a groundbreaking survey of Italian mural painting. She collaborated with Tintori on a book on the Peruzzi Chapel in 1965. The following year she published the first edition of what would be considered one of the most readable scholarly guidebooks for Florence. A volume on the frescos of Monesiepi appeared in Italian in 1969. Borsook assisted Richard Offner in his later years in Florence on his life-project, A Critical and Historical Corpus of Florentine Painting. The interest in Italian mural painting raised by the flood spurred Borsook to research this art form more; an expanded and revised version of Mural Painters appeared in 1980. A book on the Sassetti and Ghilandaio frescos at Santa Trinita was co-authored with Johannes Offerhaus in 1981. She declined a Samuel H. Kress Professorship at the National Gallery of Art in Washgington, D. C., because the year-long fellowship would take her way from Italy for too long. In 1990, Borsook’s interest in mosaics resulted in Messages in Mosaic: The Royal Programmes of Norman Sicily, 1130-1187 a consideration of the medieval mosaics at Cefalu, the Cappella Palatina at Palermo, and Monreale. She was appointed to the advisory commision on the cleaning of the Sisteen Chapel ceiling by the Vatican. Since 1979 research associate on the Italian renaissance at the Villa I Tatti.
Borsook’s contribution to art history was to explain mural painting within its architectural context and to concentrate on mural painting technique as part of the art-historical analysis (Smyth, 1999). The photographs and details taken by herself were so techically excellent that she advised Roman officials in their photographic documentation of Roman churches.
Selected Bibliography
[complete bibliography:] “Eve Borsook, a Bibliography.” in Osti, Ornella Francisci, ed. Mosaics of Friendship: Studies in Art and History for Eve Borsook. Florence: Centro Di, 1999, pp. 11-14; [dissertation:] The Mural Painters of Tuscany, from Cimabue to Andrea del Sarto. Courtauld Insititue of Art, University of London, published, London: Phaidon Press, 1960; and Tintori, Leonetto. Giotto: the Peruzzi Chapel. New York: H. N. Abrams, 1965; The Companion Guide to Florence. London: Collins, 1966; and Offerhaus, Johannes. Francesco Sassetti and Ghirlandaio at Santa Trinità, Florence: History and Legend in a Renaissance Chapel. Doornspijk, Holland: Davaco Publishers, 1981; Messages in Mosaic: the Royal Programmes of Norman Sicily, 1130-1187. New York: Oxford University Press, 1990; edited, with Gioffredi Superbi, Fiorella. Italian Altarpieces, 1250-1550: Function and Design. New York: Oxford University Press, 1994; edited, with Gioffredi Superbi, Fiorella. and Pagliarulo, Giovanni. Medieval Mosaics: Light, Color, Materials. Cinisello Balsamo, Milan: Silvana Editorale, 2000.
Sources
Smyth, Craig Hugh. “Glimpses of Richard Offner.” in, Offner, Richard. A Discerning Eye: Essays on Early Italian Painting. University Park, PA: Pennsylvania State University Press, 1998, p. 38; Smyth, Craig Hugh. “Preface.” in Osti, Ornella Francisci, ed. Mosaics of Friendship: Studies in Art and History for Eve Borsook. Florence: Centro Di, 1999, pp. 7-10; personal correspondence, February 26, 2019.
Citation
"Borsook, Eve." Dictionary of Art Historians (website). https://arthistorians.info/borsooke/.
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Scholar of Renaissance art at the Center for Italian Renaissance Studies, Harvard. Borsook was the daughter of Henry Borsook (1897-1984), a renowned biochemist, and Lisl Hummel (Borsook). The year she was born, her father joined the Department of
Place Born: Graudenz, Kuyavian-Pomeranian Voivodeship, Poland
Place Died: Berlin, Germany
Home Country/ies: Germany
Subject Area(s): archaeology, architecture (object genre), and sculpture (visual works)
Overview
Architect and archaeologist. he was born in what was Germany and is now Graudenz, Poland. His students included Paul Zucker.
Selected Bibliography
Die Keramik in der Baukunst. Stuttgart: s.n., 1897; and Neuwirth, Josef. Geschichte der Baukunst. 2 vols. 1) Die Baukunst des Altertums und des Islam in Mittelalter, 2) Die Baukunst des Mittelalters. Leipzig: E. A. Seemann, 1904; edited 8th edition: Mauch, Johann Matthäus von., and Lohde, Ludwig. Die Architektonischen Ordnungen der Griechen und Römer. Berlin: W. Ernst & Sohn, 1896; Die Baudenkmäler von Olympia. vol. 2 of, Curtius, Ernst, et al. Olympia: die Ergebnisse der von dem Deutschen Reich veranstalteten Ausgrabung, im Auftrage des Königlich preussischen Ministers der geistlicher, unterrichts- und medicinal-Angelegenheiten. Berlin: A. Asher & Co., 1890-97; Moderne Keramik. Leipzig: H. Seemann Nachfolger 1902; and Clauswitz, P. Die Bau- und Kunstdenkmäler von Berlin. Berlin: J. Springer, 1893; and Dörpfeld, Wilhelm, et al. über die Verwendung von Terrakotten am Geison und Dache griechischer Bauwerke. Berlin: G. Reimer, 1881; Geschnittene Gläser des 17. und 18. Jahrhunderts. Berlin: E. Wasmuth, 1901; Aufnahmen mittelalterlicher Wand-und Decken-malereien in Deutschland. 2 vols. Berlin: E. Wasmuth, 1897-1928; [journal] edited, with Graul, Richard. Die Baukunst. Berlin: W. Spemann, 1897-1906; Vom Städtebau im islamischen Osten. Berlin: Ernst, 1914; Die Funde von Olympia. Berlin: E. Wasmuth, 1882; Geschichte der Kunst. 2 vols. Berlin: Fischer & Franke, s.d.
Sources
Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 108-109.
Citation
"Borrmann, Richard." Dictionary of Art Historians (website). https://arthistorians.info/borrmannr/.
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Art dealer and Director of the Galerie für Alte Kunst in Munich during the Nazi era. Bornheim purchased numerous artworks for Hermann Goering as he was under Goering’s protection, together with Kajetan Mühlmann who held the title The Special Commissioner for the Safekeeping of Works of Art in the Occupied Territories. Borchers, employed through the Einsatzstab Rosenberg, researched and cataloged the newly acquired art pieces, many of which were acquired through Karl Haberstock, a Berlin art dealer who sold plundered art works from the occupied nations to Hitler and Goering.
Sources
Rothfeld Anne. “Building Hermann Göring’s Art Collection.” Recovering Hidden Primary Resources: Harnessing the power of new technologies for a new generation of History scholarship. Lecture presented at the American Historical Association 2002 Meeting, San Francisco, January 3-6, 2002, http://www.h-net.org/aha/2002/papers02/rothfeld
Citation
"Bornheim, Walter." Dictionary of Art Historians (website). https://arthistorians.info/bornw/.
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Art dealer and Director of the Galerie für Alte Kunst in Munich during the Nazi era. Bornheim purchased numerous artworks for Hermann Goering as he was under Goering’s protection, together with Kajetan Mühlmann who held th
Subject Area(s): Byzantine (culture or style), Medieval (European), Modern (style or period), nineteenth century (dates CE), painting (visual works), Russian (culture or style), and twentieth century (dates CE)
Overview
Byzantine and Russian art specialist, later historian of 19th- and 20th-century painting (U.S. career). Born was born in Breslau, Silesia, Prussia, which is present-day Wroclaw, Poland. Born’s parents were Gustav Born (1850-1900), a professor of anatomy and embryology at the University in Breslau, and Berthe Lipstein (Born). Born served in World War I in the sanitary corps. After the war he married Susi Bial in 1918 studying studio art at schools between 1919-1923 in Munich and under Édouard Vuillard in Paris. As an artist, Born issued a series of lithographs in 1921 to illustrate the 1912 novella Der Tod in Venedig (Death in Venice) by Thomas Mann (1875-1955). Mann so approved of the art that he wrote Born, revealing for the first time that the protagonist was drawn from the composer Gustav Mahler (1860-1911). Born moved to Vienna the same year, divorcing Bial in 1925. In Vienna he worked as a free-lance journalist, book illustrator, radio art critic and extension professor at the Volkshochschule. He turned to art history in 1928, attending classes at the universities of Munich, under Heinrich Wölfflin and Vienna under Josef Rudolf Thomas Strzygowski. Born wrote his dissertation under Strzygowski in 1931 on the topic of animal representation in interlace design of illustrated books. He worked briefly as an expertizer at the Dorotheum in Vienna, but the rise of the Nazis in Germany in 1933 prevented further publishing there (though Roman Catholic, he was of Jewish extraction). Shortly before the annexation of Austria by the Third Reich, Born emigrated to the United States in 1937 to avoid persecution. In the United States he secured a job as Art Director at Maryville College, St. Louis, MO, teaching art and art history. He became a U.S. citizen in 1943. The following year he moved to New York, taking a position at Queens College, New York, then professor of Art History at Louisiana State University, New Orleans, 1945-1948. Born wrote the obituary for Wölfflin in the College Art Journal in 1945. In Louisiana Born married a second time to Mary Mercer in 1946. He returned to New York in 1948 as professor of art history at Hunter College (City University of New York). The same year Born published American Landscape Painting; an Interpretation, which brought to the attention of the American reading public the importance of American art (Wickiser). He suffered a heart attack and died in 1949. Born’s half brother (through his father’s first marriage) was the Nobel-prize-winning physicist Max Born (1882-1970). Born’s publications were largely journal articles, ranging from the scholarly to the non-art publications. From Strzygowski, he drew an appreciation of psychological aspects of art, publishing articles in art in several psychology journals. He had begun to publish monographs in his new-found area of American art at the time of his death.
Selected Bibliography
[dissertation:] Das Tiergeflecht in der nordrussischen Buchmalerei. Vienna, 1931, published, Seminarium Kondakovianum 5 (1932): 63-97; edited, Strzygowski-Festschrift: zum 70. Geburtstag dargebracht von seinen Schülern. Klagenfurt, s.n.,: 1932; Johann Baptist Reiter, 1813-1890: Vienna: Galerie Neumann & Salzer, 1937; Religious Art: from St. Louis and its Vicinity. St. Louis, MO: Maryville College, 1941; “Fetisch, Amulett und Talisman.” CIBA Zeitschrift (1937), English, “Fetish, Amulet and Talisman” CIBA Symposium 7, no.7 (October 1945): 102-132; Still-life Painting in America. New York: Oxford University Press, 1947; American Landscape Painting; an Interpretation. New Haven, CT: Yale University Press, 1948; “Frühe Textilkunst Nordamerikas.” CIBA Rundschau 82 (December 1948): 3040-3074.Art: Der Tod in Venedig: neun farbige Lithographien zu Thomas Manns Novelle. Munich:: D.u[nd].R. Bischoff, 1921
Sources
National Cyclopedia of American Biography 37 (1951): 497ff; Wendland, Ulrike. Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. Munich: Saur, 1999, vol. 1, pp. 60-64; Baron, Frank. “Wolfgang Born und Thomas Mann.” in, Thomas Mann, Der Tod in Venedig: Wirklichkeit, Dichtung, Mythos. Lübeck: Schmidt-Römhild, 2003; [obituaries:] Wickiser, Ralph. “Wolfgang Born.” College Art Journal 9 (Winter 1949/1950): 208; New York Times June 16, 1949, p. 49; Journal of the Society of Architectural Historians 8 no.1/2 (January-June 1949):133-134.
Citation
"Born, Wolfgang." Dictionary of Art Historians (website). https://arthistorians.info/bornheimw/.
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Byzantine and Russian art specialist, later historian of 19th- and 20th-century painting (U.S. career). Born was born in Breslau, Silesia, Prussia, which is present-day Wroclaw, Poland. Born’s parents were Gustav Born (1850-1900), a professor of a
Subject Area(s): architecture (object genre) and sculpture (visual works)
Career(s): educators
Institution(s): University of California Berkeley
Overview
Architect and professor of Architecture at University of California, Berkeley. Born initially worked as a San Francisco architect and draftsman. He met Walter W. Horn, a UC Berkeley medievalist who asked him to assist with drawings for Horn’s publications on medieval architecture. Beginning in 1960, Born and Horn began collaborating on the measurement of medieval buildings, publishing several studies of related Cistercian buildings in England and France. Born went on to a career in architectural history at Berkeley through Horn’s encouragement. In 1979, after Horn’s retirement, he and Horn published a complete study of the plan of St. Gall.
Selected Bibliography
and Horn, Walter. The Plan of St. Gall: A Study of Architecture and Economy of, and Life in a Paradigmatic Carolingian Monastery. 3 vols. Berkeley and Los Angelos: University of Califirnia Press, 1979.
Sources
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. 50 mentioned; Kleinbauer, W. Eugene and Mellinkoff, Ruth, and Marrow, James. “Memoir of Walter W. Horn.” Speculum 71 (July 1996): 801.
Architect and professor of Architecture at University of California, Berkeley. Born initially worked as a San Francisco architect and draftsman. He met Walter W. Horn, a UC Berkeley medievalist who asked him to assist with dra
Subject Area(s): painting (visual works) and sculpture (visual works)
Overview
Wrote the celebrated, Il riposo di Raffaele Borghini in cui della pittura e della scultura si favella, de’ più famose opere loro si fa menzione, e le cose principali appartenenti a dette arti s’ insegnano in 1584. The fourth section contains important information on the artistic and cultural world of Florence. Borghini relied mainly on Vasari, and is considered Vasari’s successor.
Citation
"Borghini, Raffaele." Dictionary of Art Historians (website). https://arthistorians.info/borghinir/.
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Wrote the celebrated, Il riposo di Raffaele Borghini in cui della pittura e della scultura si favella, de’ più famose opere loro si fa menzione, e le cose principali appartenenti a dette arti s’ insegnano in 1584. The fourth section conta
