Full Name: Börger, Hans
Other Names:
Gender: male
Date Born: 1880
Date Died: 1971
Home Country/ies: Germany
student of Heinrich Wölfflin and Goldschmidt, the Kunsthalle (Hamburg)
Wölfflin, Heinrich. Heinrich Wölfflin, 1864-1945: Autobiographie, Tagebücher und Briefe. Joseph Ganter, ed. Basel: Schwabe & Co., 1982, p. 489.
student of Heinrich Wölfflin and Goldschmidt, the Kunsthalle (Hamburg)
Full Name: Borenius, Carl Tancred
Other Names:
Gender: male
Date Born: 14 July 1885
Date Died: 02 September 1948
Place Born: Vyborg, Leningrad Oblast, Russia
Place Died: Coombe Bissett, Wiltshire, England, UK
Home Country/ies: Finland
Subject Area(s): Italian (culture or style), Italian Renaissance-Baroque styles, and Renaissance
Career(s): art dealers
Italian Renaissance scholar, dealer, and art magazine editor. He was born in Viipuri or Wiborg, Finland, which is present-day Vyborg, Russia. Borenius was the son of Carl Borenius, a member of the Finnish Diet. Borenius was educated at the Swedish Lyceum and before Helsinki University (Helsingfors), then Berlin and Rome. In Helsinki, he studied under J. J. Tikkanen. After receiving his Ph.D. in Helsingfors in 1909, he moved to London where he published a version of his dissertation, Painters of Vincenza (1909). The same year he married Anne-Marie Rüneberg (1885-1976, granddaughter of the Finnish poet J. L. Rüneberg (1807-1877). Roger Fry became a close friend, providing him entré into the art circles of London. An updated 1912 edition of The History of Painting in North Italy by Joseph Archer Crowe and G. B. Cavalcaselle bore notes by Borenius. In 1914 he was appointed lecturer at University College, London, in the position vacated by Fry. When Finland achieved independence, he acted as secretary of the diplomatic mission (1918) and later as representative of Finland in London (1919). From 1922-1947 he was Durning-Lawrence Professor at the College. It was during this period that he published his major books. In 1925 he contributed commentary to the new edition of the standard Finnish-language art survey of Carl Gustaf Estlander. Although initially an historian of Italian art, Borenius also became an expert of the art of his adopted country. His methodology employed significant connoisseurship. He helped found Apollo in 1925, to which he often contributed. Borenius’ opinion on art was highly valued in England; he was advisor to the Earl of Harewood’s art collection and, in 1924, Sotheby’s auction house. Together with E. W. Tristram he published English Medieval Painting in 1929. In 1932 he became active in archaeology by launching the dig at Clarendon Palace (Salisbury). Borenius played an influential role in two scholarly art journals. After admission to the Burlington Fine Arts Club, he contributed many articles to the Burlington Magazine, later acting as its editor between 1940-1944 after the brief tenure of A.C. Sewter. Borenius suffered a nervous breakdown and was no longer considered reliable on attributions at Sotheby’s (and considered himself too grand to do the work of cataloging), and was replaced in 1945 by Hans-D. Gronau at Sotheby’s and by Ellis K. Waterhouse at the Magazine. Among his book editing duties, in addition to the History of Painting in Italy, he assisted with the volume On Art and Connoisseurship (1942) by Walter Friedlaender. He died after a long illness. His students included Enriqueta Harris and Mary Chamot.
and Tristram, E. W. English Medieval Painting. New York: Harcourt, Brace, 1929; English Painting in the XVIIIth Century. Paris: Hyperion Press, 1938; The Picture Gallery of Andrea Vendramin. London: Medici Society, 1923; revised with Douglas, Langton, and Strong, S. Arthur: Crowe, J. A., and Cavalcaselle, Giovanni Battista. A History of Painting in Italy, Umbria, Florence and Siena, from the Second to the Sixteenth Century. London: J. Murray, 1903-14; edited: Friedländer, Max J. On Art and Connoisseurship. London, B. Cassirer, 1942.
Sutton, Denys. Dictionary of Art 4: 302-3; Encyclopedia Britannica Online; Vakkari, Johanna. “Alcuni contemporanei finlandesi di Lionello Venturi: Osvald Siren, Tancred Borenius, Onni Okkonen.” Storia dell’Arte 101 (2002): 108-17; [obituaries:] Douglas, R. Langton, and Evans, Joan, et al. “Dr Tancred Borenius.” Burlington Magazine 40 (1948): 327-8; “Professor Tancred Borenius.” The Times (London) September 4, 1948; p. 6; [Sotheby’s appraisal:] “Carmen Gronau.” Times (London), March 11, 1999; Watling, Lucy. “Émigré to Editor: Edith Hoffmann and the Burlington Magazine 1938–1951.” Tate Art Writers in Britain https://www.tate.org.uk/about-us/projects/art-writers-britain/hodin-hoffman/emigre-editor.
Contributors: Lee Sorensen
Italian Renaissance scholar, dealer, and art magazine editor. He was born in Viipuri or Wiborg, Finland, which is present-day Vyborg, Russia. Borenius was the son of Carl Borenius, a member of the Finnish Diet. Borenius was educated at the Swedish
Full Name: Borea, Evelina
Gender: female
Date Born: 1931
Home Country/ies: Italy
Institution(s): Università degli Studi di Firenze
Domenichino. Milan: Il Club del Libro,1965; Caravaggio e caravaggeschi nelle gallerie di Firenze. Florence: Palazzo Pitti, 1970; Il Chiostrino dell’Annunziata a Firenze. Milan: Fratelli Fabbri, 1965; L’idea del bello: viaggio per Roma nel Seicento con Giovan Pietro Bellori. Rome: Edizioni de Luca, 2000; edited. Bellori, Giovanni Pietro. Le vite de’ pittori, scultori e architetti moderni. Turin: G. Einaudi, 1976.
Contributors: Lee Sorensen
Full Name: Borchardt, Ludwig
Other Names:
Gender: male
Date Born: 1863
Date Died: 1938
Place Born: Berlin, Germany
Place Died: Paris, Île-de-France, France
Home Country/ies: Germany
Subject Area(s): ancient, archaeology, architecture (object genre), Egyptian (ancient), Egyptology, Old Kingdom (Egyptian), and sculpture (visual works)
Egyptian archaeologist; discoverer of the Nefertiti bust and expert and Old Kingdom temples. Borchardt was the son of a Jewish Berlin merchant, Hermann Borchardt (1830-1890) and Bertha Levin (Borchardt) (1835-1910). He studied architecture in Berlin between 1883-1887, intent on becoming an architect. He switched to Egyptology, training under the renowned Egyptologist Adolf Erman (1854-1937). In 1895 he joined the department of Egyptian art at the Berlin Museum. Under the auspices of the Prussian Academy of Sciences he traveled to Egypt, excavating Aswan. His findings allowed him to revise the interpretation of Egyptian building. Borchardt’s interest was in pyramids. He excavated a number of these publishing monographs on their development. Between 1896 and 1899 he was an official of the French-led the Egyptian Antiquities Service, where as an employee of the Egyptian Museum (Àgyptisches Museum), he helped write the general catalog of antiquities for the Egyptian Museum, Cairo, (Catalogue général des antiquitiés egyptiennes du Musée du Caire) with Gaston C. C. Maspero, beginning in 1897 (his entries appeared in 1911). Borchardt worked as a scientific attaché at the German Consulate General of Egyptology in Cairo in 1899. There he bought a house in Cairo in 1903 from Henry Charles Barwick Hopkinson (1867-1946), Captain of the British Army and Commander of police in Alexandria. The same year he married Emilie “Mimi” Cohen (1877-1948), a wealthy Frankfurt woman in Frankfurt. In 1907 Borchardt founded the German Institute for Ancient Egyptian Archaeology (Deutsches Institut für Àgyptische Altertumskunde) in Cairo, acting as its first director. He purchased he house next door in 1909, to be the Institut. He directed the archaeological mission in Amarna, a concession of and financed by the German Oriental Society in Berlin (Deutsche Orient-Gesellschaft). He excavated at Tell el-Amarna where Akhenation (Amenophis IV, 1379-1362 B.C.) had lived, exhuming the workshop studio of the court sculptor Thutmose, and discovering many carved portraits. One of these, found late in 1912, is the now-famous bust of Queen Nefertiti (today Neues Museum in Berlin). Borchardt was named Geheimer Regierungsrat (privy councilor) in recognition of his work in Egypt in 1913. Excavation was interrupted in 1914 by World War I and he returned to Germany. Following the war and Germany’s defeat he resumed the Amarna excavation as part of the Egypt Exploration Society, based in London. Borchardt took up his duties as director of the Institute in Cairo again after 1923, recording monuments and working on publications, but participating in no more excavations. After living with the Nefertiti bust in his home for eleven years–and never publishing it, Borchardt moved the bust to the Berlin Museum in 1924. By this time Borchardt had become fascinated with searching for the lost city of Atlantis, which he suggested was most likely Bahr Atala (Schott el Jerid), a south Tunisian site in the Sahara, submerged about 1250 B. C. (Paris Atlantidean Society conference, 1926). A recently enacted retirement law for German institutions required Borchardt to step down from the Institute in January 1929 at age 65. Borchardt created of his own “Ludwig Borchardt-Institute” in 1931 as a Swiss foundation precipitating the Institute to move from the building to Sh. Kamel Mohamed in 1931. After the assumption of the Nazis to power in Germany, Borchardt’s Egyptian finds were less valued (the Nazis favored the Roman Empire as their model). Reichsmarschall Hermann Göring offered the bust as a present to King Fuad I (1868-1936) of Egypt in 1933 to commemorate his Jubilee, but was forced to cancel the offer when Hitler learned of the gift. Borchardt and his wife maintained residency in Switzerland, resigning all association with the Reich the same year. While en route to London, Borchardt died in Paris. Borchardt’s younger brother was the writer Georg Hermann Borchardt (1871-1943), who wrote under the name Georg Hermann and perished at Auschwitz. As an Egyptologist, Borchardt was the first to conclude that the pyramid formed part of the overall temple area (Kahane). His study of Egyptian column types led him to an accurate archaeological history of the temple at Thebes. In the twenty-first century, new challenges arose as to how honest Borchardt had been in exporting the Nefertiti head to Germany. Borchardt had an agreement with the Egyptian government to divide half of the finds the financing mission/holder of concession (Germany) and half with the Egyptian Antiquities Authorities. Recent repatriation researchers accuse Borchardt of hiding the identification of the bust to customs officials in order to export it. In 2009, several other authors maintained the Nefertiti bust is actually a modern fake (Ercivan, Stierlin).
Die aegyptische Pflanzensaüle: ein Kapitel zur Geschichte des Pflanzenornaments. Berlin: E. Wasmuth, 1897; Statuen und Statuetten von Königen und Privatleuten im Museum von Kairo, Nr. 1-1294. 5 vols. Berlin: Reichsdruckerei, 1911, 1936, Catalogue général des antiquités égyptiennes du Musée du Caire Nos. 1-1294, vols. 53, 77, 88, 94, 96; [English abstract of Mitteilungen der deutschen Orient-Gesellschaft zu Berlin, no. 55 (December 1914): 1-45, in:] Excavations at Tell el-Amarna, Egypt, in 1913-1914. Smithsonian Institution Publication 2399. Washington, DC: Govt. Print. Office, 1921; Porträts der Königin Nofret-ete aus den Grabungen 1912/13 in Tell el-Amarna. Leipzig: Hinrichs, 1923; Die Entstehung der Pyramide an der Baugeschichte der Pyramide bei Meidum Nachgewiesen. Berlin: J. Springer, 1928; Die Entstehung des Generalkatalogs und seine Entwicklung in den Jahren 1897-1899. Berlin: Reichsdruckerei, 1937, Catalogue général des antiquités égyptiennes du Musée du Caire, vol. 44.
Ricke, Herbert. “Borchardt, [¶ 2] Ludwig.” Neue Deutsche Biographie 2 1953: 455; Schweizer Lexikon 1 1991: 232; Deutsche Biographische Enzyklopädie 2 1995: 28; Kahane, Penuel P. “Borchardt, Ludwig.” Encyclopedia Judaica 4. 2nd ed.: 80-81; Voß, Susanne, and von Pilgrim, Cornelius. “Ludwig Borchardt und die deutschen Interessen am Nil.” in, Charlotte Trümpler, ed. Das Grosse Spiel: Archäologie und Politik zur Zeit des Kolonialismus (1860-1940). [exhibition catalog] Ruhr Museum Essen. Cologne: DuMont Buchverlag, 2008, pp. 295-305; Bloom, Julie. “Seeking Bust’s Return, Egypt Cites Diary Entry.” New York Times December 21, 2009, p. C2; Edrogan, Ercivan. Missing Link der Archäologie: verheimlichte Funde, gefälschte Museumsexponate und als Betrüger entlarvte Archäologen. Rottenburg: Kopp, 2009; Stierlin, Henri. Le buste de Néfertiti: une imposture de l’égyptologie? Gollion, Switzerland: Infolio, 2009; Fiechter, Jean-Jacques. Egyptian Fakes: Masterpieces that Duped the Art World and the Experts Who Uncovered Them. Paris: Flammarion, 2009; [obituary:] Steindorf, L. G. Journal of Egyptian Archaeology 24 (1938): 248.
Contributors: Lee Sorensen
Egyptian archaeologist; discoverer of the Nefertiti bust and expert and Old Kingdom temples. Borchardt was the son of a Jewish Berlin merchant, Hermann Borchardt (1830-1890) and Bertha Levin (Borchardt) (1835-1910). He studied architecture in Berl
Full Name: Boon, Karel G.
Other Names:
Gender: male
Date Born: 1909
Place Born: Lawang, Jawa Timur, Indonesia
Home Country/ies: Netherlands
Subject Area(s): connoisseurship, drawings (visual works), Dutch (culture or style), and prints (visual works)
Director of the Amsterdam Rijksprentenkabinet; connoisseur of drawings and prints. Boon studied art history at Amsterdam University, with professor Ferrand Whaley Hudig (1883-1937), and at the Sorbonne in Paris. He finished his studies at the école du Louvre with a thesis on the relationship between the School of Cologne and Netherlandish painting in the second half of the fifteenth century, Les rapports entre l’école de Cologne et la peinture néerlandaise dans la deuxième moitié du quinzième siècle. Early Netherlandish painting was to become one of his main fields of specialization. He held the stylistic approach of Max J. Friedländer in high esteem. In 1937, Boon started working in the Amsterdam Rijksmuseum as a volunteer and soon he became an assistant to the keeper of the drawings in the Print Room, M. D. Henkel (1879-1944). In 1940, just before the outbreak of World War II, he was appointed assistant at the Municipal Museum of The Hague. In this capacity, he assisted in some of the entries for the Algemeene kunst geschiedenis, a Dutch-language art-history survey edited by Frithjof W. S. van Thienen, beginning in 1941. Refusing to collaborate with the German authority in the museum, he quit his position in 1942. Later on he was forced to stay in hiding, because his wife, Serlina Rosenberg Polak, was Jewish. After the war, he worked successively at the Stichting Nederlands Kunstbezit (Art Property Foundation, dealing with works of art repatriated from Germany), the Central Museum in Utrecht, and the Leiden University Print Room. In 1948, he returned to the Amsterdam Rijksprentenkabinet, where he obtained a position as curator under I. Q. van Regteren Altena. Actively involved in the 1958 exhibition Mediaeval Art in the Northern Netherlands in the Rijksmuseum, he wrote an introductory essay in the catalog. In 1962, he became the director of the print room, a position he held until his retirement in 1974. In the footsteps of his predecessor he collected Dutch graphic art as well as works from foreign schools. In order to make the collection accessible to the public, he frequently held exhibitions in his own print room. In 1962, he organized his first show of Japanese woodcuts. Since the acquisition, in 1956 and 1958, of a significant number of these prints, Japanese graphic art became one of his favorite fields, and he continued to expand the collection. Between 1977 and 1990, his daughter, the art historian Charlotte van Rappard-Boon, cataloged the Japanese prints collection of the Rijksmuseum in five volumes. Boon also became particularly interested in Italian drawings and in French nineteenth-century prints, and to the collection of early Dutch graphic art he added hundreds of prints and 62 drawings. He was one of the editors of the Dutch and Flemish Etchings Engravings and Woodcuts, and of the German Engravings Etchings and Woodcuts series, began by F. W. H. Hollstein. His critical two-volume catalog of the drawings in the collection, Netherlandish Drawings of the Fifteenth and Sixteenth Centuries, eventually appeared in 1978, four years after his retirement. Among his earlier works are catalogues of the prints of several artists, including Rembrandt, Hercules Seghers and Goya. Rembrandt, de etser. Het volledige werk appeared in 1963. In collaboration with Christopher White, he published, in 1969, a new catalog in the Hollstein series: Rembrandt’s Etchings. On the prints of Seghers, Boon wrote the foreword and introduction in the 1967 exhibition catalog, Grafiek van Hercules Seghers. A successful show on Goya was held in 1970-71, accompanied with a catalog: De grafiek van Goya. Boon regularly organized exhibitions in collaboration with other print rooms in the Netherlands and abroad. In 1969, he took the initiative for the foundation of the International Advisory Committee of Keepers of Public Collections of Graphic Art. He was the chairman for the first two bi-annual conferences, dealing with the protection of works of art in exhibitions. At the occasion of his retirement, in 1974, he was honored with a special show, Veelzijdig verzameld, which reflected his wide and versatile interest in collecting graphic art. His last major contribution to the history of art was published in 1992, a three-volume edition of The Netherlandish and German Drawings of the XVth and XVIth Centuries of the Frits Lugt Collection. The introduction includes a study on sixteenth-century religious iconography, a summary of two articles on this subject, earlier published by him in Gazette des Beaux-Arts (1984 and 1985). In the 1974 Liber amicorum Karel G. Boon, Christopher White portrays Boon as a scholar for whom a painting, a drawing or a print is not primarily a social or historical document but a work of art, and what counts most of all is the presence, or indeed absence, of that indefinable essence, quality, for which he has always shown an immediate and instinctive feeling, whatever the medium or school.
[For a complete list]: De Hoop Scheffer, Dieuwke in Bulletin van het Rijksmuseum 46, no. 2-3 (1998): 304-315; [Thesis-typescript école du Louvre] Les rapports entre l’école de Cologne et la peinture néerlandaise dans la deuxième moitié du quinzième siècle. Paris, 1938; De eerste bloei van de Noord-Nederlandse kunst in [Exhibition catalog] Middeleeuwse kunst der Noordelijke Nederlanden. Amsterdam: Rijksmuseum, 1958: pp. 16-37; Rembrandt, de etser. Het volledige werk. Amsterdam: Becht, 1963; Rembrandt: the Complete Etchings. New York: H.N. Abrams, 1963; and White, Christopher Rembrandt’s Etchings. Amsterdam: Van Gendt, 1969; Netherlandish Drawings of the Fifteenth and Sixteenth Centuries. 2 vols. The Hague: Government Publishing Office, 1978; The Netherlandish and German Drawings of the XVth and XVIth Centuries of the Frits Lugt Collection. 3 vols. Paris: Institut Néerlandais, 1992; contributor, Algemeene kunst geschiedenis, de kunst der menscheid van de oudste tijden tot heden. 6 vols. Utrecht: W. de Haan, 1941-1951.
Van Schendel, A Afscheid van K.G. Boon Bulletin van het Rijksmuseum 22 (1974): 63-64; Schatborn, P. Bij het overlijden van K.G. Boon (1909-1996) Bulletin van het Rijksmuseum 46, no. 2-3 (1998): 299-315 (with English Summary: 353-354); De Hoop Scheffer, Dieuwke; Van Hasselt, Carlos; White, Christopher (eds.) Liber amicorum Karel G. Boon. Amsterdam: Swets & Zeitlinger bv, 1974; [interview with Charlotte van Rappard-Boon] Lien Heyting Oorlogskunst NRC Handelsblad 8-3-2002.
Contributors: Monique Daniels
Director of the Amsterdam Rijksprentenkabinet; connoisseur of drawings and prints. Boon studied art history at Amsterdam University, with professor Ferrand Whaley Hudig (1883-1937), and at the Sorbonne in Paris. He f
Full Name: Bony, Jean
Other Names:
Gender: male
Date Born: 1908
Date Died: 1995
Place Born: Le Mans, Pays de la Loire, France
Place Died: Brisbane, Queensland, Australia
Home Country/ies: France
Subject Area(s): architecture (object genre), Medieval (European), and sculpture (visual works)
Architectural historian of the medieval era and professor of art, UC-Berkeley, 1962-1980. Bony was the son of Henri Bony and Marie Normand (Bony). Bony’s first degree at the Sorbonne was in geography and history (Agregation d’histoire et de geographie) in 1933. As a student in art history in 1929, Bony worked under the Sorbonne’s Henri Focillon, the French medievalist responsible for incorporating German methodologies into French scholarship. Bony was assigned a dissertation topic touched upon by the German art historian Ernst Gall before World War I, but never fully articulated: the Norman Romanesque contribution to Gothic architecture. In 1935 he traveled to England through a Sorbonne research grant to study Norman buildings there. He married Clotilde Roure in 1936 (d. 1942). During his time in England he produced articles on Tewkesbury (1937) and, after his funding ran out and he supported himself as a French teacher at Eton, another article on Norman architecture (1939). He returned to France in 1939 to serve in World War II in the French infantry. He was taken a prisoner of war in Germany, spending the years 1940-1943 in an internment camp. During this time his wife died. Bony was discharged a first lieutenant in 1944 and, after a year as a research scholar at the Centre National de la Recherche Scientifique, Paris, returned to teaching at Eton in 1945. The following year he was appointed lecturer at the Institut Français in London, where he remained until 1961. He was a Focillon Fellow and visiting lecturer at Yale University for 1949. In 1951 he issued his book on French Cathedrals. He lectured in many universities in the United Kingdom and Ireland, sitting as an examiner for many students. In 1953 he remarried Mary England. Bony led the scholarship in documenting the “anti-Chartres” movement in Gothic architecture, beginning with his 1958 article in the Journal of the British Architectural Association. He was Slade Professor and fellow of St. John’s College, Cambridge University, between 1958 and 1961. About this time, he and the medievalist George Zarnecki resolved to create a corpus of Romanesque sculpture in the British isles while touring Herefordshire, which Zarnecki brought to fruition only after Bony’s death. Such scholarly activity and appointments would have implied an eventual French appointment, but in Bony’s case it never came. In 1961 he delivered the Mathews lectures at Columbia University, New York, which resulted in an offer of a chair in art history at the University of California, Berkeley. Though he briefly held a professorship at Lille (his only French appointment) he joined the Berkeley department in 1962. He edited his mentor Focillon’s book in English, Art of the West in the Middle Ages the following year. Bony delivered the Wrightsman lectures at New York University in 1969. His growing concern with the so-called “New Art History” resulted partially in his 1978 lecture in Melbourne, “La genese de l’architecture gothique: accident ou nécessité?” (“The Genesis of Gothic: Accident or Necessity?”). His Wrightsman lectures resulted in his 1979 book The English Decorated Style. After his retirement as a professor emeritus in 1980, he continued lecturing at various American universities until 1988. These included a Kress professorship at the National Gallery in 1982. In 1983, the topic of his Mathews lectures appeared as his French Gothic Architecture of the 12th and 13th Centuries (dedicated to Focillon). Bony’s early influences were the medievalist and French Annales-School founder and “total-history” historian Marc Bloch (1866-1944). Though Bony never supervised a British dissertation, his influence on English medievalist art-historians was significant, largely his Chartes-style training (Kidson). Bony’s focus was (again, in Kidson’s estimation) on “how the artistic imagination manifested itself in the work of particular architects.” This set him at ever greater odds with the forensic-method of medieval architectural history emerging in Britain. His lecture “The Genesis of Gothic” was his clearest methodological manifesto, one setting him against the architectural historians insisting that patrons and priests–and not architects–were responsible for the advent of the style. His insistence on writing perfection delayed the publication of his French Gothic lectures for twenty years to a time when their conclusions were much less startling; his manuscript on English Gothic architecture was never completed. Bony’s work on medieval influences outside Chartres was developed by Robert Branner. “Bony’s magisterial vision of French Gothic in the twelfth and thirteenth centuries by-passed the problem of historical geography by ignoring the political, the institutional and even the theological: it centered around the ‘accidents’ of the masons’ choice and invention, and the exhilarating demands of modernity. French Gothic, for Bony (as it was for Paul Frankl), was a progressive style, a style of the avant-garde, but it was also a laboratory of diverse ideas, all of which Bony lucidly organizes into trends and movements.” Bony’s “beguiling formalism” approach to French Gothic architecture was countered by the socio-political approach of Dieter Kimpel (b. 1942) and Robert Suckale in 1985, two years after Bony’s “La genese de l’architecture gothique,” (quotation and estimation, Crossley).
“French Influences on the Origins of English Gothic Architecture.” Journal of the Warburg and Courtauld Institutes 12 (1949): 1-15; French Cathedrals. Boston, Houghton Mifflin, 1951;”The Resistance to Chartres in Early Thirteenth-Century Architecture.” Journal of the British Architectural Association 20-21 (1958):35-52; The English Decorated Style: Gothic Architecture Transformed, 1250-1350. Ithaca, NY : Cornell University Press, 1979; French Gothic Architecture of the 12th and 13th Centuries. Berkeley: University of California Press, 1983; “La genese de l’architecture gothique: accident ou necessite?” Revue de l’Art Ancien et Moderne no. 58-59 (1983): 9-20.
Fernie, Eric C. “Robert Branner’s Treatment of Architectural Sources and Precedents.” Gesta 39, no. 2 (2000): 158; Crossley, Paul. “Regional and National Studies.” [sect xvii of] “Introduction: Frankl’s Text: Its Achievement and Significance.” Frankl, Paul and Crossley, Paul. Gothic Architecture. 2nd ed. New Haven: Yale University Press, 2000, pp. 25-26, 28; [obituaries:] Kidson, Peter. “Jean Bony (1908-1995).” Burlington Magazine 137, No. 1111 (October 1995): 688; “Jean Bony, Art Historian, 86.” New York Times July 17, 1995, p. B8; “Professor Jean Bony.” The Times (London) August 9, 1995,
Architectural historian of the medieval era and professor of art, UC-Berkeley, 1962-1980. Bony was the son of Henri Bony and Marie Normand (Bony). Bony’s first degree at the Sorbonne was in geography and history (Agregation d’histoire et de geogra
Full Name: Bonnefoy, Yves
Gender: male
Date Born: 1923
Place Born: Tours, France
Place Died: Paris, Île-de-France, France
Home Country/ies: France
Subject Area(s): art history, art theory, deconstruction (theory), Marxism, and semiotics
Career(s): art critics
Institution(s): Université de Paris (Sorbonne)
Poet, literary critic and historian whose work became representative of the so-called New Art History. Bonnefoy was born to [Marius] élie Bonnefoy (1888-1936), a railroad worker, and Hélène Maury (Bonnefoy) (1889-1972), a teacher. As a child he spent summers at his grandfather’s house in the southern France town of Toirac, near the River Lot. His father died when Bonnefoy was just thirteen, affecting the boy deeply. Bonnefoy graduated with honors from the Lycée Descartes in 1941, continuing study at the Université de Poitiers, 1942, in mathematics. During the German occupation of Paris he pursued philosophy at the Sorbonne in 1944, graduating from the University with a degree in philosophy. His early professional years were spent writing on English literature and publishing poetry at various universities. His first writing on art, in 1947, was an essay on the image in the Belgian Surrealist periodical Les Deux Soeurs. He issued his Peintres murales de la France gothique in 1954. In 1959 L’improbable appeared, a collection of essays including some on the fifteen-century Italian painting. He taught literature at severa; American universities, including Brandeis University, 1962-1964, the City University of New York, Johns Hopkins University, Princeton University, and Yale University. Bonnefoy co-founded the art and literary journal L’éphémère in 1967 (ceased publication in 1972). He married Lucille Vines in1968 and assumed an associate professorship at the University Center, Vincennes, France 1969-1970. In 1970 Bonnefoy published Rome: 1630, an analysis of baroque architecture using largely metaphysical observations of space and presence as its core. Bonnefoy’s 1972 L’arrière-pays, his second art-historical book on the Quattrocento, examined spatial representation in the Renaissance. He taught at University of Nice as an associate professor, 1973-1976 and then as associate professor at Provence University, Aix-en-Provence, 1979-1981. The year 1981 was an important year for Bonnefoy. He issued his Dictionnaire des mythologies, a work connecting myths and art history together by psychology; his 1959 “Le temps et l’imtemporel,” appeared in English as “Time and the Timeless in Quattrocento Painting” in a collection of French art-history writing by literary critics, edited by Norman Bryson. The same year he was elected a the chair of Comparative Poetics at Collège de France, previously held by Roland Barthes (1915-1980). He received the Prix Goncourt in 1987 for his art criticism. In 1991 Mythologies appeared in English, reworked by the religion historian Wendy Doniger (b.1940). A survey of mythological and religious traditions (excluding Judaism and Christianity), Mythologies defines the psycho-sexual implications of religious tradition using art to illustrate his point. That same year Bonnefoy published his biography and near catalogue raissoné of his late friend, Alberto Giacometti. Here Bonnefoy excelled by using his own Surrealist sympathies (he had briefly been a member of the Surrealist circles) and his sensitivity to spatial form. Bonnefoy’s art history, as part of what Bryson termed the “New Art History,” places fundamental importance on the act of interpretation. The poet sensitive to the meaning of spatial arrangement in gothic murals or baroque churches is best suited to make sense of the monuments of art. In “Time and the Timeless in Quattrocento Painting,” Bonnefoy argued against Lessing’s Laocoon notion that poetry and art are incompatibly separate media of time and space. In Rome: 1630, Bonnefoy characterized baroque architecture (and particularly the architecture of Borromini) as an attempt to create a space for the divine. As a literary critic and historian, Bonnefoy is associated with nineteenth-century French poets Charles Baudelaire and Arthur Rimbaud. His translations of Shakespeare are among the best in French.
Peintures murales de la France gothique. Paris: P. Hartmann, 1954; L’improbable. Paris: Mercure de France, 1959; Miró. London: Faber, 1967; Rome 1630: l’horizon du premier baroque. Paris: Flammarion, 1970; Dictionnaire des mythologies et des religions des sociétés traditionnelles et du monde antique. Paris: Flammarion, 1981, English: [“restructured” by Wendy Doniger]. Mythologies. 2 vols. Chicago: University of Chicago Press, 1991; Chillida. New York: Galerie Lelong, 1990; Alberto Giacometti: biographie d’une œuvre. Paris: Flammarion, 1991; Yves Bonnefoy: écrits sur l’art et livres avec les artistes. Paris: Flammarion, 1993; Dessin, couleur et lumière. Paris: Mercure de France, 1995.
Caws, Mary Ann. Yves Bonnefoy. Boston: Twayne, 1984; Bryson, Norman. “Introduction.” Calligram: Essays in the New Art History from France. New York: Cambridge University Press, 1988, pp. 15-16; Ragot, Françoise, ed. Yves Bonnefoy: écrits sur l’art et livres avec les artistes. Paris: Flammarion, 1993; Stamelman, Richard. “Introduction.” The Lure and the Truth of Painting. Chicago: University of Chicago Press, 1995, pp. 3-16; Williams, Adelia V. “Yves Bonnefoy: Art Historian.” L’Esprit Créateur 36 no. 3 (1996): 34ff.
Contributors: Lee Sorensen
Poet, literary critic and historian whose work became representative of the so-called New Art History. Bonnefoy was born to [Marius] élie Bonnefoy (1888-1936), a railroad worker, and Hélène Maury (Bonnefoy) (1889-1972), a teacher. As a child he sp
Full Name: Bonicatti, Maurizio
Gender: male
Date Born: unknown
Date Died: unknown
Home Country/ies: Italy
Subject Area(s): Medieval (European)
Medievalist art historian. Together with André Grabar his work documented how the dehumanized styles of late Roman Constantinian art led directly to to the spiritualized de-corporal images of the middle ages.
[collected lectures] and Argan, Giulio Carlo. L’architettura barocca in Italia: appunti delle lezioni tenute durante l’anno accademico raccolti dal Prof. Maurizio Bonicatti. Rome: Edizioni dell’ Ateneo, 1960; Lezioni sul concetto di rinascimento: fonte e testimonianze per l’iconologia e la storia della critica. Compiled by Marina Zorzi and Serenella Mauro. Rome: M. Bulzoni, 1966; “Dürer nella storia delle idee umanistiche fra quattrocento e cinquecento.” Journal of medieval and Renaissance studies 1, no. 2, (Fall 1971): 131-250; Studi sull’Umanesimo. Secoli XIV-XVI. Florence: La Nuova Italia, 1968; Trecentisti Riminesi: sulla formazione della pittura riminese dell ‘300. Rome: Edizioni dell’Ateneo, 1963; Appunti sull’arte moderna, ca. 1870-1960. Rome: M. Bulzoni, 1965; “Considerazioni su alcuni affreschi medioevali della Campania.” Bollettino d’arte 43 (1958): 12-25; Per una introduzione alla cultura medio bizantina di Costantinopoli. Rome: L’Erma di Bretschneider, 1960; Studi di storia dell’arte sulla tarda antichità e sull’alto Medioevo. Rome: De Luca, 1963.
Brilliant, Richard. “Introduction.” Roman Art: from the Republic to Constantine. New York: Phaidon, 1974, p. 16, mentioned.
Medievalist art historian. Together with André Grabar his work documented how the dehumanized styles of late Roman Constantinian art led directly to to the spiritualized de-corporal images of the middle ages.
Full Name: Boni, Giacomo
Gender: male
Date Born: 1859
Date Died: 1925
Place Born: Venice, Veneto, Italy
Place Died: Rome, Lazio, Italy
Home Country/ies: Italy
Subject Area(s): ancient, archaeology, decorative art (art genre), and Roman (ancient Italian culture or period)
Archaeologist; wrote works on Column of Trajan and decorative art. Boni was orphaned early and attended a commercial school in Venice. At nineteen, he assisted in the Doge’s Palace restoration, but quarreled with the superintendent of the project, Forcinelli, over the restoration. This led to a crusade against over-zealous restoration. In the course of these activities, he corresponded with John Ruskin and William Morris (1834-1896). He entered the Venice Academy, studying architecture. In 1885 he became a corresponding member of the Royal Institute of British Architects. That same year he began excavation of San Marco. As secretary to the Calcografia in Rome, beginning in 1888, he began duties as an inspector of monuments, helping establish a photographic archive as part of the Ministry of Education. He assisted in the Pantheon excavation in 1892 with L. Beltrami (1854-1933) and the architect (and later designer of the Victor Emmanuel monument) Giuseppe Sacconi (1854-1905). In 1898 he was appointed director of the excavation of the Roman Forum. He demolished the church of Santa Maria Liberatrice in order to expose the ruins of Santa Maria Antiqua. His other discoveries included the Archaic cemetery and portions of the Column of Trajan. During World War I he invented a winter camouflage uniform. Toward the end of his life, he embraced fascism and became a senator in 1923. As an archaeologist, Boni was careful to observe strata to the Forum excavations. His finds at the Forum included the Lapis Niger, discovered near the Arch of Septimus Severus. His like-minded contemporaries include Giovanni Teresio Rivoira.
“Trajan’s column.” Proceedings of the British Academy, London (1912). vol. 3 p. 93-98; Santa Maria dei Miracoli in Venezia. Venice: Stabilimento tipografico dei fratelli Vicentini, 1887; La torre de S. Marco: communicazione. s.l. : s.n., 1903; The Roman marmorarii. Rome: s.n., 1893; “Il duomo di Parenzo ed i suoi mosaici.” Archivio storico dell’Arte 7 (1894) [unnumbered, 28 pp.]
Whitehouse, David. “Boni, Giacomo.” Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 1, pp. 171-72.
Contributors: Emily Crockett and Lee Sorensen
Archaeologist; wrote works on Column of Trajan and decorative art. Boni was orphaned early and attended a commercial school in Venice. At nineteen, he assisted in the Doge’s Palace restoration, but quarreled with the superintendent of the project,
Full Name: Bond, Francis
Gender: male
Date Born: 1852
Date Died: 1918
Home Country/ies: United Kingdom
Subject Area(s): architecture (object genre), British Isles Medieval architecture styles, English (culture or style), Gothic (Medieval), and sculpture (visual works)
Architectural historian; published first standard work on the English Gothic. Bond was educated at King Edward’s Grammar School, London and Lincoln College, Oxford. He lectured, mostly on Gothic architecture at the Oxford University extension Delegacy, beginning in 1893. He retired in 1914. He was headmaster of the Hull and East Riding College.Bond was more of a serious scholar than T. Francis Bumpus. His work lacks the charm of Edward S. Prior (Watkin).
Gothic Architecture in England: an Analysis of the Origin & Development of English Church Architecture from the Norman Conquest to the Dissolution of the Monasteries. London: B. T. Batsford, 1905; An Introduction to English Church Architecture from the Eleventh to the Sixteenth Century. 2 vols. London: H. Milford, 1913. Westminster Abbey. London: H. Frowde, 1909.
Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 287, 514; Watkin, David. The Rise of Architectural History. London: Architectural Press, 1980, pp. 108-109.
Contributors: Emily Crockett and Lee Sorensen
Architectural historian; published first standard work on the English Gothic. Bond was educated at King Edward’s Grammar School, London and Lincoln College, Oxford. He lectured, mostly on Gothic architecture at the Oxford University extension Dele