Art Historians

Bolton, Arthur T.

November 8, 2023March 29, 2024

Full Name: Bolton, Arthur T.

Other Names:

Arthur Thomas Bolton

Gender: male

Date Born: 1864

Date Died: 1945

Place Born: Bayswater, City of Westminster, London, England, UK

Place Died: London, Greater London, England, UK

Home Country/ies: United Kingdom

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

Career(s): curators

Overview

Architectural historian; curator of Sir John Sloan’s Museum; co-founder of the Wren Society. Bolton was the son of Thomas Bolton (1819-1895), a lawyer, and Emily Wildman (1831-1906). He attended Haileybury College before entering University College, London, in 1882. In 1884 he apprenticed to the architect Sir Robert W. Edis (1839-1927), continuing to study architecture at the Architectural Association between 1885 and 1888. He formed his own private practice in 1890 designing minor works and some county home estates and gardens. In 1888 he was elected an associate of the Royal Institute of British Architects (RIBA), becoming fellow in 1909. In 1893 Bolton was awarded the Soane medallion for a railway terminal design. Bolton began writing architectural history during this time, earning the RIBA’s silver medal for an architectural history essay, “The Influence of Literature on Architecture” in 1895. He married Harriet Barnes Fall (1863-1944) in 1897. In 1901 Bolton became the first headmaster (principal) of the day school formed for the Architectural Association. Bolton was elected a fellow of the Society of Antiquaries in 1914. He succeeded Walter L. Spiers (1848-1917) as curator of Sir John Soane’s Museum in 1917. He fought hard for most of the 1920’s to preserve Soane’s masterwork, the Bank of England, from demolition, ultimately the interior renovation of Herbert Baker (1862-1946) prevailed. Bolton published extebsuvely on the museum, raising interest among scholars and architectural historians. In addition, a two-volume work on the Adam brothers, The Architecture of Robert and James Adam appeared in 1922. In 1923 he joined H. Duncan Hendry (b. 1890) as co-editor of the Wren Society publications, an initiative to publish documents and drawing of Christopher Wren’s life and work. Bolton published another book on Soane, The Works of Sir John Soane, in 1924. The architect Sir Lawrence Weaver (1876-1930) invited Bolton to design an Adam room for the 1924-1925 British Empire Exhibition at Wembley. A biography of Soane, The Portrait of Sir John Soane, was published in 1927 and Soane’s lectures to the Royal Academy on Architecture, edited by Bolton, appeared in 1929. In 1930 Bolton discovered a fifth volume of Wren drawings in All Souls College Library, Oxford, and in 1935 the first model of St. Paul’s Cathedral. Beginning in the 1930s Bolton added the work of architect Sir Charles Barry (1795-1860) to his research interests, but he was never able to publish on him. Bolton suffered a heart attack on the platform of Queensway London underground station in London in 1945 and died. He was succeeded at the Soane Museum by John Newenham Summerson.Bolton was better known for his scholarship than his architecture. His architectural commissions included Sanitas Company, Limehous, 1900 and the offices for the Hamburg-Amerika Linie, London, 1906-8, a country home in Hurtwood, Sussex and in the Usk valley, 1912-1914.

Selected Bibliography

The Architecture of Robert & James Adam (1758-1794). London: Country Life, 1922; edited, Engravings of St. Paul’s Cathedral and Part II of the Building Accounts for the Years 1685-95. Oxford:Wren Society/Oxford University Press, 1937; and Phillipps, Evelyn March. The Gardens of Italy. London: Country Life, 1919; Hampton Court Palace, 1689-1702: Original Wren Drawings from the Sir John Soane’s Museum and All Souls Collections. Oxford: Wren Society/Oxford University Press, 1927.

Sources

Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, p. 511; Lever, Jill. “A. T. Bolton, Architect.” Architectural History 27 (1984): 429-442; Gray, Alexander Stuart. Edwardian Architecture: a Biographical Directory. Iowa City: University of Iowa Press, 1986, p. 119-120; Architects’ Journal 101 (January 1945): 73; [obituaries:] Royal Institute of British Architects Journal 52 (1945): 115-116; “A. T. Bolton: an Architectural Historian.” The Times (London) January 18, 1945, p. 7.

Bolognini Amorini, Antonio

November 8, 2023March 29, 2024

Full Name: Bolognini Amorini, Antonio

Other Names:

Antonio Bolognini Amorini

Gender: male

Date Born: 1767

Date Died: 1845

Place Born: Bologna, Emilia-Romagna, Italy

Place Died: Bologna, Emilia-Romagna, Italy

Home Country/ies: Italy

Subject Area(s): Bolognese and Italian (culture or style)

Overview

Author of Vite dei pittori ed artefici bolognesi, (1841-3), modernist revision of Bolognese artists dictionary.

Selected Bibliography

Vite dei pittori ed artefici bolognesi, 2 vols. Bologna: 1841-3;

Author of Vite dei pittori ed artefici bolognesi, (1841-3), modernist revision of Bolognese artists dictionary.

Bologna, Ferdinando

November 8, 2023March 29, 2024

Full Name: Bologna, Ferdinando

Gender: male

Date Born: 1925

Home Country/ies: Italy

Overview

Quattrocentist art historian. In 1954 he organized, in collaboration with his friend Raffaello Causa launched the original exposition “Scultura lignea” and the important catalog, Sculture lignee nella Campania.

Selected Bibliography

L’incredulità del Caravaggio e l’esperienza delle “cose naturali” Turin: Bollati Boringhieri, 1992; La pittura italiana delle origini. Rome: Riuniti, 1962, English, Early Italian painting; romanesque and early medieval art. Princeton, NJ: Van Nostrand, 1964; Il soffitto della Sala magna allo Steri di Palermo e la cultura feudale siciliana nell’autunno del Medioevo. Palermo : S. F. Flaccovio, c1975; Novità su Giotto Giotto al tempo della cappella Peruzzi. Torino, G. Einaudi, 1969;I pittori alla corte angioina di Napoli, 1266-1414, e un riesame dell’arte nell’età fridericiana. Roma, U. Bozzi, 1969;Gli affreschi della Cappella Brancacci. Milano] Fratelli Fabbri; [distributore nazionale A. & G. Marco; c1965;. Francesco Solimena. Napoli, L’Arte tipografica [1958; Gli affreschi di Simone Martini ad Assisi by Martini, Simone, 1283-1344. Milan: Fabbri, 1965; 1952;Sculture lignee nella Campania Napoli, Palazzo reale, Comitato cittadino per l’anno giubilare, Naples. Napoli, 1950

Boisserée, Sulpiz

November 8, 2023March 29, 2024

Full Name: Boisserée, Sulpiz

Other Names:

Sulpice Boisserée

Gender: male

Date Born: 1783

Date Died: 1854

Place Born: Cologne, North Rhine-Westphalia, Germany

Place Died: Bonn, North Rhine-Westphalia, Germany

Home Country/ies: Germany

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

Career(s): art collectors

Overview

Collector and architectural historian, who, with his brother, Melchior, introduced a romantic conception to art history. Sulpiz came from an old wealthy family who hoped he would follow in the family business (and that his brother, Melchior Boisserée, would become a scientist). The two were raised during the Napoleonic occupation of Cologne. Sulpiz attended school in Hamburg but returned to Cologne in 1799. Through his friend Johann B. Bertram he and Melchior became interested in art and especially that of the medieval era, a period well represented by the so-called Cologne school of painting, though much under appreciated. A family inheritance enabled the brothers to study the art monuments, traveling to the Netherlands and France. In 1803 they studied at the Musée Napoleon, (i.e., Louvre Museum, which had been greatly expanded through Napoleon’s looted art from other countries). The brothers and Bertram were well versed in the budding romantic theorists Ludwig Tieck (1773-1853), Wilhelm Heinrich Wackenroder, and Karl Wilhelm Friedrich Schlegel. In Paris, Sulpiz, Melchior and Bertram met Schlegel who lectured to them on the history of philosophy, art and literature, imbuing them with his romantic vision of the medieval world. They traveled with Schlegel to Belgium and Switzerland in 1804-05. The nationalizing of church property and its destruction through sales greatly alarmed the three. Beginning in 1804 the Boisserée brothers began to medieval collect art with as much intent to save it as own it, together with others such as Franz Ferdinand Wallraf (1748-1824). The brothers formed a team, Melchior concentrating on acquisition and Sulpiz on researching. For him this meant establishing new categories. They watched, however, as many works of art they could not buy, architecture for example, be destroyed before them. In 1810 the brothers publicly displayed their collection in a baroque palace on Karl’s Square, Heidelberg, in one of the early attempts both to interest the public in medieval art and publicize a collection. The Boisserée collection stature grew, attracting visitors from the Heidelberg Romantic circles and elsewhere. The included Antonio Canova, the Brothers Grimm, the historian Leopold von Ranke (1795-1886), the poets Johann Ludwig Uhland (1787-1862) and Jean Paul (1763-1825), as well as the art historians Karl Friedrich von Rumohr and Karl Julius Ferdinand Schnaase. Schlegel himself was most enthusiastic. Goethe also visited the collection, thought still devoted to classicism as he was, embraced their enthusiasm less. In 1817, however, he wrote the prologue for Sulpiz’s essay Altdeutsche Baukunst. The “museum” closed in 1819. Sulpiz wrote a catalog of the collection, commissioning Johann Nepomuk Strixner (1782-1855) to document the works in lithographs, published between 1821 and 1840. The brothers hoped the collection could be incorporated into the Universität zu Köln (the university in Cologne), building on the growing interest in aesthetics and art history in universities. The university turned them down. Attempts to interest the cites of Frankfurt-am-Main and Berlin also failed. Director of the nascent royal collection of Ludwig I of Bavaria, Georg von Dillis bought their total collection for 240,000 Gulden in 1827. The brothers and Bertram settled in Munich where Sulpiz was appointed general curator of the sculptural monuments in Bavaria in 1835, when the museum was finally opened as the Alte Pinakothek. Sulpiz concomitantly devoted these years to the reconstruction of the cathedral (Dome in German) at Cologne, which was in ruin. The defeat of Napoleon meant that royal funds would be required. Sulpiz was able to interest Frederick William of Prussia (later King Frederick William IV), who commissioned a report from the architect Karl Friedrich Schinkel (1781-1841). Sulpiz himself research similar medieval churches, resulting in his book Geschichte und Beschreibung des Domes von Köln of 1823. Through the auspices of Antoine Quatremère de Quincy, he presented his findings at the Académie des Beaux-Arts in Paris. After Bertram’s death in 1841, he Melchior returned to their Cologne, where they witnessed the resumption of the church construction (beginning in 1842), although the church was not completed until near the end of the century. His autobiography was published in 1862. Sulpiz was one of the founders of modern art-historical studies outside the museum/academic field. His Geschichte und Beschreibung des Domes von Köln is the first architectural history. His dedication to classifying art by schools and eras, instead of the “curiosity jumble” of previous centuries was important for subsequent historians and museum curators. His confidence in collecting and publicizing underappreciated genres of art places him in the fore of modern art education and collection studies. True to their romantic inclination, the Boisserée brothers conceived of their art history in terms patriotism. It would be Rumohr who would take their connoisseurship and meld it into the discipline of art history. Sulpiz’s notes on buildings being destroyed comprise the only documentation on briefly exposed medieval paintings. The brother’s writings embrace a religious and mystical view of the gothic style typical of romanticism of Schlegel and Wilhelm Heinrich Wackenroder. Sulpiz even attempted a reconstruction in (in a gothic style!) of the Temple of the Holy Grail, based upon the description in Albrecht von Scharfenberg’s epic. Their collection, today in the Alte Pinakothek, Munich, includes the triptych of the Adoration of the Magi “Columba altarpiece” (1455) by Rogier van der Weyden, Cardinal Charles of Bourbon, Archbishop of Lyon by the Master of Moulins, and the Seven Joys of the Virgin (1480) by Hans Memling, and the Winged Altar “Pearl of Brabant”1465 by Dieric Bouts the elder.

Selected Bibliography

Geschichte und Beschreibung des Domes von Köln. Stuttgart, 1823; Die Sammlung alt-nieder und ober-deutscher Gemälde der Brüder Boissere´e und Bertram, lithographirt von J. N. Strixner. Stuttgart: Verlag der Literarisch-Artistischen Anstalt der Cotta’schen Buchhandlung, 1821-1836, [re-issue as exhibition catalog:] and Boissere´e, Melchior, and Strixner, Johann Nepomuk. Gemälde der Sammlung Sulpiz und Melchior Boissere´e und Johann B. Bertram. catalog entries by Irmgard Feldhaus. Neuss: Clemens-Sels-Museum, 1980; Ueber die Beschreibung des Tempels des heiligen Grales in dem Heldengedicht Titurel Kap. III.. Munich: G. Jaquet, 1834; Ansichten, Risse und einzelne Theile des von Doms von Köln, mit Ergänzungen nach dem Entwurf des Meisters, nebst Untersuchungen über die alte Kirchen-Baukunst und vergleichenden Tafeln der vorzüglichsten Denkmale. Stuttgart: Cotta, 1821; Denkmale der Baukunst vom 7ten bis zum 13ten Jahrhundert am Nieder-Rhein. Munich: J. G. Cotta’schen literarisch-artistischen Anstalt, 1833; Sulpiz Boisere´e. 2 vols. Stuttgart, Cotta’scher verlag, 1862; Weitz, Hans-Joachim, ed. Tagebücher: 1808-1854. 5 vols. Darmstadt: Roether, 1978-1995; and Boissere´e, Melchior, and Weyden, Ernst. Die neuen Dom-Fenster: ein Weihe-Geschenk Sr. Maj. des Königs Ludwig I. von Bayern. Cologne: F. C. Eisen, 1848.

Sources

Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 128-9; Kultermann, Udo. The History of Art History. New York: Abaris, 1993, pp. 80-81; German Essays on Art History. Gert Schiff, ed. New York: Continuum, 1988, p. xxv, mentioned; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. 2nd ed. Stuttgart: Metzler, 2007, pp. 35-37; Feldhaus, Irmgard, ed. Gemälde der Sammlung Sulpiz und Melchior Boissere´e und Johann B. Bertram. Neuss: Vreden & Rennefeld, 1980; Heckmann, Uwe. Die Sammlung Boisseree: Konzeption und Rezeptionsgeschichte einer romantischen Kunstsammlung zwischen 1804 und 1827. Munich: Wilhelm Fink, 2003; Goldberg, Gisela. “History of the Boisserée Collection I-VI.” Apollo 116 (1982): 210-262; Moisy, A “Sauveurs de chefs-d’oeuvre: Wallraf et les frères Boisserée.” L’Oeil, 63 (1960): 36-47; Griener, Paschal. “Boisserée.” Dictionary of Art; Waeztoldt, Wilhelm. Die deutsche Kunsthistoriker. vol.1, pp. 272-83; Gethmann-Siefert, Annemarie, and Pöggeler, Otto. Kunst als Kulturgut: die Bildersammlung der Bruder Boisserée: ein Schritt in der Begründung des Museums. Bonn: Bouvier, 1995.

Boisserée, Melchior

November 8, 2023March 29, 2024

Full Name: Boisserée, Melchior

Other Names:

Melchior Hermann Josef Georg Boisserée

Gender: male

Date Born: 1786

Date Died: 1851

Place Born: Cologne, North Rhine-Westphalia, Germany

Place Died: Bonn, North Rhine-Westphalia, Germany

Home Country/ies: Germany

Subject Area(s): catalogues raisonnés, German (culture, style, period), Netherlandish, Northern Renaissance, and painting (visual works)

Career(s): art collectors

Overview

Collector and collaborator on catalogs of German and Netherlandish paintings with his brother Sulpiz. Melchior came from an old wealthy family who hoped he would become a scientist and his older brother, Sulpiz Boisserée, run the family business. The two were raised during the Napoleonic occupation of Cologne. Through his friend Johann B. Bertram he and Sulpiz became interested in art and especially that of the medieval era, a period well represented by the so-called Cologne school of painting, though much under appreciated. A family inheritance enabled the brothers to study the art monuments, traveling to the Netherlands and France. In 1803 they studied at the Musée Napoleon, (i.e., Louvre Museum, which had been greatly expanded through Napoleon’s looted art from other countries). The brothers and Bertram were well versed in the budding romantic theorists Ludwig Tieck (1773-1853), Wilhelm Heinrich Wackenroder, and Karl Wilhelm Friedrich Schlegel. In Paris, Melchior, Sulpiz and Bertram met Schlegel who lectured to them on the history of philosophy, art and literature, imbuing them with his romantic vision of the medieval world. They traveled with Schlegel to Belgium and Switzerland in 1804-05. The nationalizing of church property and its destruction through sales greatly alarmed the three. Beginning in 1804 the Boisserée brothers began to collect medieval art intent as much to save it as to own it, together with others such as Franz Ferdinand Wallraf (1748-1824). The brothers formed a team, Melchior concentrating on acquisition and Sulpiz on researching. They watched, however, as many works of art they could not buy, architecture for example, be destroyed before them. In 1810 the brothers publicly displayed their collection in a baroque palace on Karl’s Square, Heidelberg, in one of the early attempts both to interest the public in medieval art and publicize a collection. The Boisserée collection grew in stature, attracting visitors such as Antonio Canova, the Brothers Grimm, the historian Leopold von Ranke (1795-1886), the poets Johann Ludwig Uhland (1787-1862) and Jean Paul (1763-1825), as well as the art historians Karl Friedrich von Rumohr and Karl Julius Ferdinand Schnaase. Schlegel himself was most enthusiastic. Goethe also visited the collection, thought still devoted to classicism as he was, embraced their enthusiasm less. In 1817, however, he wrote the prologue for Sulpiz’s essay Altdeutsche Baukunst. The “museum” closed in 1819. The brothers commissioned Johann Nepomuk Strixner (1782-1855) to document the works in lithographs, published between 1821 and 1840. The brothers hoped the collection could be incorporated into the Universität zu Köln (the University of Cologne), building on the growing interest in aesthetics and art history in universities. The university turned them down, however, and Ludwig I of Bavaria bought their total collection for 240,000 Gulden in 1827, as part of his museum building in Munich. The brothers and Bertram settled in Munich where Sulpiz was appointed general curator of the sculptural monuments in Bavaria in 1835, when the museum was finally opened as the Alte Pinakothek. After Bertram’s death in 1841, he and Sulpiz returned to their Cologne, where they witnessed the resumption of the gothic-style cathedral construction (beginning in 1842), although the church was not completed until near the end of the century. The Boisserée were some of the early founders of modern art-historical studies outside the museum/academic field. Their confidence in collecting and publicizing underappreciated genres of art places them in the fore of modern art education and collection studies. True to their romantic inclination, the Boisserée brothers conceived of their art history in terms patriotism. Sulpiz’s notes on buildings which were being destroyed comprise the only documentation on briefly exposed medieval wall paintings. The brother’s writings embrace a religious and mystical view of the gothic style typical of romanticism of Schlegel and Wilhelm Heinrich Wackenroder. Their collection, today in the Alte Pinakothek, Munich, includes the triptych of the Adoration of the Magi “Columba altarpiece” (1455) by Rogier van der Weyden, Cardinal Charles of Bourbon, Archbishop of Lyon by the Master of Moulins, and the Seven Joys of the Virgin (1480) by Hans Memling, and the Winged Altar “Pearl of Brabant”1465 by Dieric Bouts the elder.

Selected Bibliography

and Boissere´e, Sulpiz, and Weyden, Ernst. Die neuen Dom-Fenster: ein Weihe-Geschenk Sr. Maj. des Königs Ludwig I. von Bayern. Cologne: F. C. Eisen, 1848; Die Sammlung alt- nieder- und ober-deutscher Gemälde der Brüder Sulpiz und Melchior Boissere´e und Johann Bertram. [originally issued in parts, Stuttgart: Verlag der Literarisch-Artistischen Anstalt der Cotta’schen Buchhandlung, 1821-1836], [re-issue as exhibition catalog:] and Boissere´e, Sulpiz, and Strixner, Johann Nepomuk. Gemälde der Sammlung Sulpiz und Melchior Boissere´e und Johann B. Bertram. catalog entries by Irmgard Feldhaus. Neuss: Clemens-Sels-Museum, 1980.

Sources

Boime, Albert

November 8, 2023March 29, 2024

Full Name: Boime, Albert

Other Names:

Albert Boime

Gender: male

Date Born: 1933

Date Died: 2008

Place Born: St. Louis, Saint Louis City, MO, USA

Place Died: Los Angeles, CA, USA

Home Country/ies: United States

Subject Area(s): art theory, Marxism, and patronage

Career(s): educators

Overview

UCLA professor of art history, patronage scholar of Marxist methodology; political activist. Boime’s father was Max Boime, a salesman, and his mother Dorothy Rubin (Boime), both eastern European Jewish immigrants. His father worked in the Brooklyn naval yards during World War II. The younger Boime, his interest in art stemming from cartooning, joined the U.S. Army in 1955 and was stationed in Germany. After discharge in 1958, he entered the University of California, Los Angeles, B.A., graduating in 1961. He continued to Columbia University, receiving his M.A., in 1963. During this time he was greatly influenced by his brother Jerome Boime (1934-1977), then in Chicago. Through his brother, he met and married Myra Block, a teacher and socialist activist in 1964. His Ph.D. was granted in 1968. He began as an instructor at the State University of New York at Stony Brook in 1967 moving to associate professor in 1969. He was appointed professor of art at the State University of New York at Binghamton in 1971. The same year he published Academy and French Painting in the Nineteenth Century, a detailed description of teaching practice of the French Academy. The book revived interest in the works of many academic artists and demonstrated the academy was much more flexible in the breadth of painting it allowed than previously thought. In 1971, too, he was awarded the A. Kingsley Porter Prize for his article in the Art Bulletin, “The Second Republic’s Contest for the Figure of the Republic.” He chaired the art department at Binghampton, 1972-1974. Boime won his first Guggenheim fellowship in 1974 (second, 1984). During that time, Boime became concerned that abstract-style art was becoming elitist and that artists of verisimilitude were being marginalized. He taught at Binghamton until recruited by the University of California, Los Angeles, as professor of art history in 1978. A Rome Fellowship prize was awarded in 1979. The following year, his Thomas Couture and the Eclectic Vision appeared. In drawing the history of the teacher of Manet, Boime underscored the tenets leading up to Impressionism. Boime’s research centered in the 1990s on the ideology of representation. His examination of how blacks were represented and excluded from art resulted in the book, The Art of Exclusion Representing Black People in the 19th-Century. This was followed by a polemic on the use of images in the United States, The Unveiling of the National Icons A Plea for Patriotic Iconoclasm in a Nationalist Era. A 2006 symposium on the social history of art was convened at UCLA in his honor. Boime completed his a book form of his popular UCLA class, A Social History of Modern Art (6 vols). He died of myelofibrosis, a bone marrow disorder, at a local hospital. Boime employed a Marxist/social-history-of art approach to his art history writing. His commitment to so-called realist artists (working of objective verisimilitude) stemmed from a Marxist interpretation that meaning is derived from identifiable representation. Boime’s interest combined with his social activism resulted in an interest in the use of images for political manipulation. His choice of the French Academy and its members as subject matter caused some to accuse him of trying to rehabilitate second-rate academic artists (Broude).

Selected Bibliography

[dissertation:] Academic Instruction and the Evolution of Nineteenth-Century French Painting. Columbia University, 1968; The Academy and French Painting in the Nineteenth Century. New York: Phaidon, 1971; “The Second Republic’s Contest for the Figure of the Republic.” Art Bulletin 53 (1971): 68-73; “Entrepreneurial Patronage in Nineteenth-Century France.” in, Carter, Edward C., II, and Forster, Robert, and Moddy, Joseph N., eds. Enterprise and Entrepreneurs in Nineteenth- and Twentieth-Century France. Baltimore: Johns Hopkins University Press, 1976, pp. 137-207; Thomas Couture and the Eclectic Vision. Yale University Press, 1980; A Social History of Modern Art, 1750-1914. Chicago: University of Chicago Press, Volume I: Art in the Age of Revolution, 1987; The Art of Exclusion Representing Black People in the 19th-Century. Washington, DC: Smithsonian Institution Press, 1990; Art and the French Commune Imagining Paris after War and Revolution. Princeton: Princeton University Press, 1995; The Unveiling of the National Icons A Plea for Patriotic Iconoclasm in a Nationalist Era. Cambridge: Cambridge University Press, 1998.

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. 120 mentioned; Daneshmand, Shapour. A Toast to Al. Film; [obituaries:] Fox, Margalit. “Albert Boime, 75, Leading Art Historian.” New York Times, November 2, 2008, p. 34; Rourke, Mary. “Albert Boime, 1933 – 2008, Art historian viewed works from social, political standpoints.” Los Angeles Times, October 23, 2008 p. 6.

Bohn, Richard

November 8, 2023March 29, 2024

Full Name: Bohn, Richard

Gender: male

Date Born: 1849

Date Died: 1898

Place Born: Berlin, Germany

Home Country/ies: Germany

Subject Area(s): Anatolian (culture or style), archaeology, architecture (object genre), Early Western World, Near Eastern (Early Western World), Pergamene (culture or style), and sculpture (visual works)

Overview

Architect who worked on the Pergamon excavation (1879-1881), and determined the original architectural form of the Pergamon altar.

Selected Bibliography

Das Heiligtum der Athena Polias Nikephoros, 1885

Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 94-95.

Architect who worked on the Pergamon excavation (1879-1881), and determined the original architectural form of the Pergamon altar.

Boggs, Jean Sutherland

November 8, 2023March 29, 2024

Full Name: Boggs, Jean Sutherland

Other Names:

Grace Jean Sutherland Boggs

Gender: female

Date Born: 11 June 1922

Date Died: 22 August 2014

Place Born: Philadelphia, Philadelphia, PA, USA

Place Died: Ottawa, Ontario, Canada

Home Country/ies: Canada

Subject Area(s): Modern (style or period) and sculpture (visual works)

Overview

Director of several major North American art museums and Degas scholar. Boggs was the daughter of Oliver Desmond Boggs and Humia Marguerite Sutherland (Boggs). She was raised in Canada. Boggs studied at the University of Toronto, receiving her B.A. in 1942. She continued to Radcliffe College for her A.M. in 1947. She worked briefly at the Montreal Museum of Fine Arts in the 1940s as well. While completing her Ph.D., she taught at Skidmore College, Saratoga Springs, NY, as an assistant professor of art, 1948-1949 and then Mount Holyoke College, with the same rank, 1949-1952. Her Ph.D., from Radcliffe was granted in 1953. She taught at University of California, Riverside between 1954 and1962 as assistant professor, rising to associate professor of art. After two years as a curator in her native Toronto, (Art Gallery of Toronto), 1962-1964, she joined Washington University in St. Louis as Steinberg Professor of History of Art in 1964. The National Gallery of Canada, Ottawa, appointed her director in 1966, replacing the retiring Charles Comfort. She lectured as the Sterling and Francine Clark Professor at Williams College in 1970. Among her acquisitions were Bernini’s marble portrait of Maffeo Barberini, Pope Urban VIII (c. 1632), which she bought in 1974. When, after ten years ground for a new art museum was still not broken because of governmental bureaucracies, Boggs resigned in 1976 in frustration joining Harvard University as a professor of art. By 1978, however, she had been appointed director of the Philadelphia Museum of Art, succeeding Evan H. Turner. The Philadelphia museum, however, was a deficit-ridden institution whose trustees were not focused on hard-core fund raising. Boggs’ interest in scholarship seem to come at the cost of rejuvenating the institution. Under her tenure at Philadelphia, she acquired Degas’ ”Red Nude,” and mounted the exhibitions ”Manifestations of Shiva,” ”Futurism and the International Avant-Garde” and the Thomas Eakins retrospective. When the Canadian government set up a public corporation for oversee the building the two museums, a new National Gallery of Canada and the National Museum of Man (modern Canadian Museum of Civilization), an anthropological museum, committing $185 million as well, Boggs returned to Ottawa and the position as director. She was succeeded at Philadelphia by Anne d’Harnoncourt. Trouble remained for the Canadia project, however. The Pierre Trudeau government had under-funded the project because a federal election was near. Boggs’ second tenure in Canada was controversial. She refused to divulge the names of architects being considered for the Museums, nor did she ask an architect of any standing to be part of the selection jury. Troubles with Museum building continued and Boggs was fired by the Brian Mulroney government in 1985, accusing the project of being too elaborate and expensive. Boggs remained in the “communication office.” In 1988, she staged a major Degas exhibition for the Museum, a collaborative effort between the Louvre, the Gallery and the Metropolitan Museum of Art, NY. She compiled the catalog for the New Orleand Museum of Art exhibition, Degas and New Orleans: a French Impressionist in America in 1995.

Selected Bibliography

[dissertation:] Group Portraits by Degas. Radcliffe, 1953; Portraits by Degas. Berkeley, University of California Press, 1962; Drawings by Degas. St. Louis: City Art Museum of Saint Louis,1966; Picasso et la Suite Vollard/Picasso and the Vollard Suite. Ottawa: National Gallery of Canada, 1971; catalog compiled, Feigenbaum, Gail, and Benfey, Christopher. Degas and New Orleans: a French Impressionist in America. New Orleans: New Orleans Museum of Art, 1999.

Sources

Walz, Jay. “A Woman Heads the National Gallery of Canada; Jean Sutherland Boggs Who Taught on Coast Is Named Best-Looking Director.” New York Times August 7, 1966, p. 70.

Boëthius, Axel

November 8, 2023March 29, 2024

Full Name: Boëthius, Axel

Gender: male

Date Born: 1889

Date Died: 1969

Place Born: Arvika, Värmland, Sweden

Place Died: Rome, Lazio, Italy

Home Country/ies: Sweden

Subject Area(s): Antique, the, Classical, and Etruscan (culture or style)

Overview

Etruscan scholar; co-authored original Pelican History of Art volume on Etruscan architecture. Boëthius was born to a family with a long tradition in ecclesiastical traditions. He attended the university of Uppsala (with periods also at the university in Berlin), initially in Greek studies before changing to ancient Italy. He received his Ph.D. from Uppsala in 1918. He was a lecturer there (1919-25) and also at the British School in Athens. He assisted in the excavations of Mycenae, 1921-24. Swedish crown prince Gustavus Aldolphus VI selected him to be the first director of the Swedish Institute in Rome in 1925. He was appointed professor of archaeology at the university in Götteborg University in 1934, a post he held until 1955. He served as rector of the same university (1946-51). He retired to Italy in 1955. There he published his Golden House of Nero in 1960, the product of the Jerome Lectures in Rome. His wife died suddenly in Rome in 1965. Working together with J. B. Ward-Perkins, he wrote the section on Etruscan architecture for the prestigious Pelican History of Art series. The volume appeared shortly after his death in 1970. Both a knowledgeable scholar and an engaging lecturer, Boëthius influenced many students and colleagues. His section of the Pelican History of Art volume was later issued separately and updated by Roger Ling and Tom Rasmussen. He was also an authority on the Roman Campagna, the architecture of early Rome, and wrote several books on Swedish and Finnish history.

Selected Bibliography

[dissertation:] Die Pythaïs: Studien zur Geschichte der Verbindungen zwischen Athen und Delphi. Uppsala: Almquist & Wiksells, 1918; and Ward-Perkins, John. Etruscan and Roman Architecture. Pelican History of Art 32. Baltimore: Penguin, 1970; The Golden House of Nero: some Aspects of Roman Architecture. Ann Arbor, MI: University of Michigan Press,1960; and Sahlen, Nils G. Etruscan Culture, Land and People: Archaeological Research and Studies Conducted in San Giovenale and its Environs by Members of the Swedish Institute in Rome. New York: Columbia University Press, 1963.

Sources

Medwid, Linda M. The Makers of Classical Archaeology: A Reference Work. New York: Humanity Books, 2000 pp. 42-43; Williams, Shellie. “Boëthius, Axel.” Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 1, pp.167-8; Ward-Perkins, John. [addendum to Forward]. Etruscan and Roman Architecture. Pelican History of Art 32. Baltimore: Penguin, 1970, p. [xxv].

Etruscan scholar; co-authored original Pelican History of Art volume on Etruscan architecture. Boëthius was born to a family with a long tradition in ecclesiastical traditions. He attended the university of Uppsala (with periods also at t

Boehringer, Erich

November 8, 2023March 29, 2024

Full Name: Boehringer, Erich

Gender: male

Date Born: 1897

Date Died: 1971

Place Born: Hamburg, Germany

Place Died: Hamburg, Germany

Home Country/ies: Germany

Subject Area(s): Ancient Greek (culture or style), Antique, the, and Classical

Overview

Specialist in classical Greek and Roman iconography, and president of the deutsches archäologisches Institut (German Archaeological Institute, or DAI) 1954-1960. Decorated during military service in World War I, a member of the circle around Stefan George, and the model for George’s poem “Einem jungen Führer im Ersten Weltkrieg.” A student of Theodor Wiegand, and also his assistant at the Pergamon excavation 1927-1931. Began teaching at the University of Greifswald in 1934, and was appointed ordinary Professor there in 1943. After World War II, moved to Göttingen, where he organized the Akademische Burse Göttingen, the first postwar German experiment in student dormitory life, modeled on the English college system. Taught iconography and numismatics at the University of Göttingen (1946-1954).

Selected Bibliography

Die Münzen von Syrakus. 1929. [with F. Krauss] Das Temenos für den Herrscherkult. 1937. [with Akos v. Szalay] Die hellenistischen Arsenale. 1937. [with Robert Boehringer] Der Caesar von Acireale. 1933. Homer. Bildnisse und Nachweise. 1939.

Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 272-273.

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