Art Historians

Blouet, Guillaume-Abel

November 8, 2023March 29, 2024

Full Name: Blouet, Guillaume-Abel

Gender: male

Date Born: 1795

Date Died: 1853

Place Born: Passy, Île-de-France, France

Place Died: Paris, Île-de-France, France

Home Country/ies: France

Subject Area(s): ancient, Ancient Greek (culture or style), architecture (object genre), Greek sculpture styles, and sculpture (visual works)

Overview

Architect and architectural historian; first to launch the controversy regarding whether Greek sculpture had been painted during ancient times. Blouet studied architecture under Pierre-Jules-Nicolas Delespine (1756-1825) at the école des Beaux-Arts, Paris in 1817. In 1821 he was awarded the Prix de Rome. In Rome, Blouet worked closely with Antoine Quatremère de Quincy, completing drawings for the restoration of ancient monuments. Quatremère convinced the Académie Royale d’Architecture to publish Blouet’s Restauration des thermes d’Antonin Caracalla à Rome in 1828. He became a member of the Académie des Inscriptions et Belles-Lettres in Paris, traveling with the academy in 1828 to the Peloponnese to excavate at the sites of Olympia and Aegina. In his L’Expédition scientifique de Morée he published reconstructions of major Greek and Byzantine monuments, demonstrating how he believed Greece statuary had been once brightly colored. This touched off a controversy as to whether classical works were polychromed, an assumption counter to Winckelmann and other earlier classical historians. C. R. Cockerell had discovered color residue on the Temple of Aphaia at Aigina as early as 1811, but had not published the findings. Blouet succeeded Jean Nicolas Huyot as architect of the Arc de Triomphe upon his return to Paris under Louis-Philippe, completing the project in 1836. His redesign of the attic level shows the stricter classical influence of his studies instead of the Empire-style of the original design. Blouet studied American prison architecture in the United States, chronicling the work of John Haviland in particular in a report of 1837. Blouet was appointed Inspecteur Général des Prisons in 1839, designing prisons in France and influencing the work of Romain Harou (1796-1856) and Hector Horeau. In 1846 Blouet was appointed professor of architectural theory at the Ecole des Beaux-Arts, which he held until his death in 1853. His architectural students included Joseph-Auguste-Emile Vaudremer. Blouet’s Supplément au traité théorétique et pratique et l’art de bâtir de Jean Rondelet, appeared at this time. He also participated in the restoration of the Château de Fontainebleau, specifically the Cour du Cheval Blanc, the Pavillon de Sully and the Galerie François I.

Selected Bibliography

Traité théorique et pratique de l’art de bâtir, de Jean Rondelet: supplément. 3 vols. Paris: F. Didot, 1848-1860; Expédition scientifique de Morée, ordonnée par le gouvernement français: architecture, sculptures, inscriptions, et vues du Péloponèse, des Cyclades et de l’Atlantique. 4 vols. Paris: Firmin Didot, 1831-1838; Restauration des Thermes d’Antonin Carecalla à Rome: presentée en 1826, et dédiée en 1827, à la Académie des beaux-arts de l’Institut royal de France. Paris: Didot, 1828; and Duchâtel, Charles Marie Tanneguy. Instruction et programme pour la construction des maisons d’arrêt et de justice: Atlas de plans de prisons cellulaires. Paris: Ministère de l’intérieur, 1841.

Sources

Reitzes, Lisa B. “Blouet, Guillaume-Abel.” Dictionary of Art.

Blomfield, Reginald T.

November 8, 2023March 29, 2024

Full Name: Blomfield, Reginald T.

Other Names:

Reginald Theodore Blomfield

Gender: male

Date Born: 1856

Date Died: 1942

Place Born: Bow, Devon, England, UK

Place Died: Hampstead, Camden, London, England, UK

Home Country/ies: United Kingdom

Subject Area(s): architecture (object genre), British (modern), Renaissance, and sculpture (visual works)

Overview

Architect and architectural historian; published the important early survey of British architecture, The History of Renaissance Architecture in England, 1500-1800 (1897). Blomfield’s father was Reverend George John Blomfield (d. 1900), vicar of Dartford, and his mother, Isabella Blomfield. His parents were distant cousins. After attending Haileybury College he entered Exeter College, Oxford, in 1875, graduating in 1879. With a talent for art, Blomfield initially considered becoming a sculptor. He eventually settled on architecture, joining the practice of his maternal uncle, Sir Arthur Blomfield (1829-1899), in 1881. He entered the Royal Academy for further study, but seems to have been bored with the Gothic revival practice of his uncle. He quit the firm after an argument, touring France and Spain to study architecture in situ. Blomfield began his own practice in 1884, designing commerical buildings and restoring small churches. He began writing and illustrating articles on architectural history in 1886, with his “Sussex foundries” in The Portfolio. The same year he married Anne Frances May Burra. Through the architect Richard Norman Shaw (1831-1912), Blomfield became active in the arts and crafts movement, meeting William Morris, and designing furniture. In 1891 he formed part of the “memorialists” group who resigned from the RIBA over the issue of professional registration. The next year Blomfield published The Formal Garden in England followed by A History of Renaissance Architecture in England, 1500-1800 in 1897. These heavily illustrated and factual accounts established Blomfield as an expert in architectural restoration, gaining him commissions as an architect and garden designer. His preferred style, referred to impishly by many as the “Wrenaissance style,” after the style of Christopher Wren, included new commissions for him. Blomfield was involved in founding the British School at Rome in 1901 (chartered, 1912). He became professor of architecture of the Royal Academy in 1906, rejoining RIBA the same year. He was elected honorary fellow of Exeter College, Oxford, in 1906. His lectures, The Mistress Art (1908), championed the “grand manner” style evidenced in his rebuilding of the Quadrant, Regent Street. Blomfield’s admiration for French architecture increased after the turn of the century. This was evidenced in his designs, but manifested itself in his book A History of French Architecture, 1494 to 1774 beginning in 1911. Blomfield was elected president of the RIBA in 1912. He enlisted in the First World War, winning competitions for memorial monuments in London afterward for the Belgian war memorial, 1917, the RAF memorial, 1921, and the memorial to the missing, the Menin gate at Ypres in 1922. Blomfield was knighted in 1919. His interest in historic architecture brought him to issues of architectural preservation, opposing the demolition of the London city churches and Waterloo Bridge. A design for Carlton Gardens and a greater submission to replace Carlton House Terrace (by John Nash). In later years he wrote his Memoirs appearing in 1932, and a book opposing the emerging modern architectural movement, Modernismus in 1934. A book on Richard Norman Shaw (1940), paid homage to his early inspiration, a man who’s work was by then out of fashion. Blomfield’s architectural histories diverged from the typical 1880s jumble of anecdotes of building toward a more ordered and consistent organization of building. His book on British formal gardens invigorated owners’ interest in the form and helped to restore many. John Newenham Summerson cited Blomfield as an example of architectural history “essay writing,” the dominant form of architectural history in England before the influence of continental scholarship. This form was abandoned after the influence of the architectural historian Geoffrey Webb. His work was used by German exponent of British architectural design, Hermann Muthesius, in his Landhaus und Garten of 1907.

Selected Bibliography

A History of Renaissance Architecture in England, 1500-1800. London: Bell, 1897; The Mistress Art. London: E. Arnold, 1908; A History of French Architecture (set): A History of French Architecture, from the Reign of Charles VIII till the Death of Mazarin. 2 vols. London: G. Bell and Sons, 1911, A History of French Architecture from the Death of Mazarin till the Death of Louis XV, 1661-1774. 2 vols. London: G. Bell and Sons, 1921.

Sources

Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986 p. 510; Watkin, David. The Rise of Architectural History. London: The Architectural Press, 1983, pp. 96ff.; Summerson, John. “Margaret Dickens Whinney, 1894-1975.” Proceedings of the British Academy 68 (1982): 637; Blomfield, Reginald T. Memoirs of an Architect. London: Macmillan, 1932; Reilly, Charles H. “Sir Reginald Blomfield.” Representative British Architects of the Present Day. London: B.T. Batsford Ltd., 1931, pp. 54-65; [obituary:] Times (London) December 29, 1942, p. 6; Richardson, A. E. “Sir Reginald Blomfield.” RIBA Journal 50 (1942-43): 65-7; Schneider, Uwe. “Hermann Muthesius and the Introduction of the English Arts & Crafts Garden to Germany.” Garden History 28, no. 1 (Summer, 2000): 59.

Architect and architectural historian; published the important early survey of British architecture, The History of Renaissance Architecture in England, 1500-1800 (1897). Blomfield’s father was Reverend George John Blomfield (d. 1900), vi

Bloch, Peter

November 8, 2023March 29, 2024

Full Name: Bloch, Peter

Gender: male

Date Born: 1925

Date Died: 1994

Place Born: Berlin, Germany

Place Died: Berlin, Germany

Home Country/ies: Germany

Subject Area(s): German (culture, style, period), nineteenth century (dates CE), and Romanesque

Overview

Museum director and scholar of Romanesque and 19th-century German sculpture. Bloch was the son of a Berlin book publisher, Peter Bloch and mother Charlotte Streckenbach (Bloch). He attended the Gymnasium in Steglitz, graduating in 1943. Despite having a Jewish background, Bloch joined the German army. He was wounded in battle and taken as a prisoner of war, remaining in a Belgian POW camp (working in the mines) until 1948. Between 1948-50 he studied Philosophy at the Humboldt University in Berlin and art history as well with Richard Hamann, Peter Metz and Willy Kurth (1881-1963). When east and west Berlin began separating, Block changed universities to Basel where he studied under the art historian Joseph Gantner (b. 1896) and was highly influenced by Karl Jaspers (1883-1969). He attained his doctorate in Basel in 1954 his dissertation title, Das Hornbacher Sakramentar und seine Stellung innerhalb der frühen Reichenauer Buchmalerei. Between 1954-57 he was an assistant for Heinrich Lützeler, teaching at the Kunsthistorischen Institute (Art History Institute) at the University of Bonn. His research in Italy was incorporated in Lützeler’s travel guide (Rom, 1955). After eight months as a volunteer at the Berliner Kupferstichkabinett he accepted the invitation of Hermann Schnitzler (1905-1976) to work at the Schnütgen Museum, a medieval sculpture collection in Cologne in 1958. He married in 1959. Bloch researched Carolingian, Romanian and Gothic art, serving as a consultant for private collectors as well. His work on medieval Christian and Jewish art won him his habilitation under Heinz Ladendorf at the University of Cologne in 1962. He lectured as a privatdozent until 1967. His essay “Nachwirkungen des Alten Bundes in der christlichen Kunst” in the important Cologne exhibition Monumenta Judaica (1963) were the first to treat this theme of the interrelation between Jewish and Christian art. Bloch also began researching 19th-century sculpture. In 1967 he returned to Berlin to be the director of the sculpture collection of the Prussian State Museum (Preussischer Kulturbesitz). He presided over several important acquisitions in a collection ravaged by World War II. These included Canova’s Bacchante and Reinhold Begas’s Amor and Psyche. He succeeded his teacher Metz as professor at the Free University (Freien Universität) from 1970 onward. He continued to research 19th-century sculpture in Berlin. As a museum professional, he became interested forgeries, initiated a documentation project beginning in 1974. He led interest in cemetery monuments publishing his findings in a book (1978) and later an exhibition Ethos und Pathos, (1990). He succeeded Erich Meyer, in editing Denkmäler deutscher Kunst where he was solely responsible for the volumes on Romanesque bronze crucifixes. Although Bloch was already been retired from the museum when Germany was reunified, Bloch weighed in on the reunification of the museum. He argued for installations which continued to integrate all media (sculpture, paintings and crafts) of a period, a tradition dating back to Wilhelm Bode. Bloch’s research emphasized the importance of documentation. His dating of Romanesque crucifixes was impossible, he noted, without the solid documentation the wooden crucifixes of the same period. He also frequently spoke of the importance of the work the context of time and in relation to other works. One of his most important publications was Die ottonische Kölner Malerschule 1967-70 where he identified specific artistic hands, connecting them to a Master of the Trier Evangelar of Gregory.

Selected Bibliography

[complete bibliography:] Festschrift für Peter Bloch: zum 11. Juli 1990. Mainz am Rhein: P. von Zabern, 1990, pp. xiii-xviii; [dissertation] Das Hornbacher Sakramentar und seine Stellung innerhalb der frühen Reichenauer Buchmalerei. Basel: Birkhäuser, 1956 (granted 1954); [habilitation:] Siebenarmige Leuchter in christlichen Kirchen. University of Cologne, 1962; Bildwerke 1780-1910: aus den Beständen der Skulpturengalerie und der Nationalgalerie. Berlin: Gebr. Mann, 1990; Kölner Madonnen: Die Muttergottes in der Kölner Bildnerei des Mittelalters. Mönchengladbach: Kühlen, 1961; Die ottonische Kölner Malerschule. 2 vols. Düsseldorf, Schwann, 1967; Romanische Bronzekruzifixe. Denkmäler deutscher Kunst, Bronzegeräte des Mittelalters vol. 5. Berlin: Deutscher Verlag für Kunstwissenschaft, 1992; Der Darmstädter Hitda-Codex: Bilder und Zierseiten aus der Handschrift 1640 der Hessischen Landes- und Hochschulbibliothek. Berlin: Propyläen Verlag, 1968; and Schnitzler, Hermann, and Ratton, Charles. Email, Goldschmiede- und Metallarbeiten, europäisches Mittelalter. Lucern: Räber, 1965; and Schnitzler, Hermann, and Volbach, Wolfgang. Skulpturen: Elfenbein, Perlmutter, Stein, Holz: europäisches Mittelalter. Lucern: Räber, 1964; Madonnenbilder: vierzig Dankmäler der Skulpturenabteilung. Berlin (Dahlem): Staatliche Museen, Preussischer Kulturbesitz, Skulpturenabteilung, 1969.

Sources

Festschrift für Peter Bloch: zum 11. Juli 1990. Mainz am Rhein: P. von Zabern, 1990, pp. xi-xii; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. 2nd ed. Stuttgart: Metzler, 2007, pp. 29-32; [obituary:] Theuerkauff, Christian. “Peter Bloch.” The Burlington Magazine 137 (May 1995): 321.

Bloch, E. Maurice

November 8, 2023March 29, 2024

Full Name: Bloch, E. Maurice

Gender: male

Date Born: 1916

Date Died: 1989

Place Born: New York, NY, USA

Place Died: Santa Monica, Los Angeles, CA, USA

Home Country/ies: United States

Subject Area(s): American (North American) and graphic arts

Career(s): educators

Overview

UCLA art history professor, 1956-1975; founding director of Grunwald Center for the Graphic Arts; Americanist. Bloch was the son of Leonard Bloch and Rose von Auspitz (Bloch). He graduated from New York University with a B.F.A., intent on becoming an artist, in 1939. After a short stint at Harvard University for graduate study in 1940, he returned to NYU and the Institute of Fine Arts, where his A.M. was granted in 1942. Bloch lectured as an instructor in art at the University of Missouri, Columbia, in 1943-44, New York University, Washington Square College, 1945-1946, and the University of Minnesota, Minneapolis, lecturer in art history, 1946-1947. Beginning in 1949, Bloch joined Cooper Union, New York City, as an assistant professor and keeper of drawings and prints. He was appointed assistant professor at the University of California, Los Angeles, in 1956. In 1957 Bloch was awarded his Ph.D., at the Institute, writing on what would be his life’s research interest, the American artist George Caleb Bingham. Bloch taught American art history as well as the history of prints. This led to his appointment as founding director of Grunwald Center for the Graphic Arts, UCLA, in 1960. Bloch worked closely with the Center’s donor, Fred Grunwald, to develop it into a major works-on-paper art museum. The following year Block became associate professor ( 1961). He was appointed (full) professor of art history in 1967, the same year his two-volume work on Bingham appeared. Bloch joined the board of directors of the Tamarind Lithography Workshop, Los Angeles, and Tamarind Institute, University of New Mexico in 1975. A drawings catalogue raisonné of Bingham’s work appeared the same year. He retired from teaching as professor emeritus in 1981 and from the Grunwald Center in 1983. Bloch joined the Virginia Steele Scott Foundation, advising the Foundation on its collection of American paintings for a new gallery at the Henry E. Huntington Library and Art Gallery, which opened in 1984. Bloch continued to serve as a consultant to the Huntington. Only in retirement did he learn to drive a car (he bought an Audi). Bloch reissued his Bingham book as a full catalogue raisonné in 1986. He died at a Santa Monica hospital three years later. His papers are held at the Getty Center, Los Angeles.

Selected Bibliography

[dissertation:] Bingham: The Artist and his Times. 3 vols. New York University, 1957; George Caleb Bingham: The Evolution of an Artist. 2 vols. Berkeley: University of California Press, 1967; The Drawings of George Caleb Bingham With a Catalogue Raisonné. Columbia, MO: University of Missouri Press, 1975; The Paintings of George Caleb Bingham: A Catalogue Raisonné. Columbian, MO: University of Missouri Press, 1986.Estate catalog: Property from the Estate of E. Maurice Bloch, Part II. Christie’s. New York: Christie’s, 1991. Catalogue 7206, January 9, 1991

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.70 cited; Collector and Connoisseur E. Maurice Bloch: Oral History Transcript. Bernard Galm, interviewer. 2 vols. Los Angeles: Oral History Program, University of California, Los Angeles, 1991; Vidler, David Rodes Anthony. “E. Maurice Bloch, Art History: Los Angeles.” In Memoriam, University of Califorina 1994 (website); Who Was Who in American Art. 400 Years of Artists in America. 2nd ed. Madison, CT: Sound View Press, 1999.

Blanckenhagen, Peter von

November 8, 2023March 29, 2024

Full Name: Blanckenhagen, Peter von

Other Names:

Peter von Blanckenhagen

Gender: male

Date Born: 1909

Date Died: 1990

Home Country/ies: Germany

Career(s): educators

Institution(s): Institute of Fine Arts of New York University

Overview

New York University Institute of Fine Arts professor of classical art history. Blanckenhagen’s lectures drew large crowds at the Institute. “Seemingly without notes or preparation he would speak eloquently for an hour on each statue, and sometimes for it, making it seem as if ancient statues, whether male or female, possessed deep, rich, German-accented voices” (Nelson).

Selected Bibliography

The Paintings from Boscotrecase. Heidelberg: F.H. Kerle, 1962; The Augustan Villa at Boscotrecase. Mainz am Rhein: P. von Zabern, 1990.

Sources

Studies in Classical Art and Archaeology: a Tribute to Peter Heinrich von Blanckenhagen. Locust Valley, NY: J. J. Augustin, 1979; [obituary] Harrison, Evelyn B. “Peter Heinrich von Blanckenhagen, 1909-1990” American Journal of Archaeology (1991); [recollection] Nelson, Robert S. “The Slide Lecture, or the Work of Art ‘History’ in the Age of Mechanical Reproduction.” Critical Inquiry 26 no. 3 (Spring 2000): 419.

Contributors: Lee Sorensen

Blanc, Charles

November 8, 2023March 29, 2024

Full Name: Blanc, Charles

Other Names:

Charles Blanc

Gender: male

Date Born: 17 November 1813

Date Died: 17 January 1882

Place Born: Caracas, Distrito Capital, Venezuela

Place Died: Paris, Île-de-France, France

Home Country/ies: France

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

Career(s): art critics and educators

Overview

Critic and historian of French and Italian art; chair in the history of art at the Collège de France (1878); first editor of the Gazette des beaux-arts. Originally trained as an engraver, Blanc began submitting journal articles to Bons Sens and Le Progrès in 1836. Throughout his career, he was politically active, advocating increased government support for the arts. In 1848, Blanc was appointed head of the Bureau des Beaux-Arts. After losing the position in 1851, he resumed his work as an art critic, writing exhibition reviews and articles on museum collections. Beginning in 1853 Blanc began writing a fourteen-volume history of painters, entitled Histoire des peintres de toutes les écoles, whose first volume appeared in 1861. In 1859 Édouard Houssaye founded the art periodical Gazette des beaux-arts, appointing Blanc to be its first editor. While continuing to publish his Histoire, Blanc issued Grammaire des arts du dessin in 1867. The book merged developments in science with aesthetics and was widely read by the Neo-Impressionists. Blanc was elected to the Académie des Beaux-Arts in 1868. In 1871, as Director of Beaux-Arts, Blanc proposed a museum housing reproductions of significant works of art found throughout Europe, Musée des Copies. The idea though originally set out some years before by interior minister Adophe Thiers, aroused a storm of controversy at the Beaux-Arts Administration and artists and critics. Blanc was elected to the Académie Française in 1876 on the basis of his Histoire, beating out Eugène Fromentin and his book, Les Maîtres d’autrefois: Belgique, Hollande, a book ultimately of much more lasting quality. Blanc famously disputed Fromentin’s competence to judge art, chiding Fromentin for not being a genius because he was subtle (!). Blanc spent the last decade of his life teaching art history at the Collège de France and writing about painters of the Italian Renaissance. His brother was Louis Blanc (1811-1882), the French writer and politician under the Second Republic. Blanc’s color theory, outlined in Grammaire des arts du dessin, influenced the Arles period of Vincent van Gogh. His Histoire des peintres, however, quickly became obsolete (Gerson).

Selected Bibliography

Histoire des peintres de toutes les écoles. 14 vols. Paris: Librairie Renouard 1861-1877; Grammaire des arts du dessin architecture, sculpture, peinture. Paris: Jules Renouard, 1867

Sources

Gerson, Horst. “Editor’s Introduction.”Fromentin, Eugène. The Masters of Past Time: Dutch and Flemish Painting from Van Eyck to Rembrandt. London: Phaidon Press, 1948, p. vii; Boime, Albert. “Le Musée des copies” Gazette des Beaux-Arts 64 (October 1964): 237-247; Dictionary of Art, Lavin, Marilyn Aronberg. “Piero the Painter Blended Geometry with Religious Art.” Smithsonian 23, no. 9 (December, 1992); Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 468.

Black, Charles Christopher

November 8, 2023March 29, 2024

Full Name: Black, Charles Christopher

Gender: male

Date Born: 1809

Date Died: 1879

Home Country/ies: United Kingdom

Career(s): curators

Overview

South Kensington Museum curator. He co-authored Leonardo da Vinci and his Works in 1874 with Mary Margaret Heaton.

Selected Bibliography

Leonardo da Vinci and his Works, Consisting of a Life of Leonardo da Vinci by Mrs. Charles W. Heaton, an Essay on his Scientific and Literary Works by Charles Christopher Black, M.A., and an Account of his Most Important Paintings. London: Macmillan, 1874; Michael Angelo Buonarroti: Sculptor, Painter, Architect: the Story of his Life and Labours. London: Macmillan, 1875; translated, Demmin, Auguste. Weapons of War, being a History of Arms and Armour from the Earliest Period to the Present Time. London: Bell & Daldy, 1870; and Reid, George William, and Redgrave, Samuel. Dyce Collection: a Catalogue of the Paintings, Miniatures, Drawings, Engravings, Rings, and Miscellaneous Objects Bequeathed by the Reverend Alexander Dyce. London: South Kensington Museum, printed by G.E. Eyre and W. Spottiswoode, 1874.

South Kensington Museum curator. He co-authored Leonardo da Vinci and his Works in 1874 with Mary Margaret Heaton.

Bissell, R. Ward

November 8, 2023March 29, 2024

Full Name: Bissell, R. Ward

Other Names:

Raymond Ward Bissell

Gender: male

Date Born: 1936

Place Born: Baltimore, Baltimore Independent City, MD, USA

Home Country/ies: United States

Subject Area(s): feminism, Italian (culture or style), Italian Renaissance-Baroque styles, painting (visual works), and Renaissance

Overview

Gentileschi (family) scholar; University of Michigan Italianist art historian. Bissell was the son of Raymond A. Bissell (1909-1992) a heating & air dealer, and Elizabeth I Weston (Bissell) (1906-1993). He received his Ph.D. in 1968, writing his dissertation on Orazio Gentileschi under Harold E. Wethey. He wrote a book on Orazio in 1981. Gentileschi’s daughter, Aremisia, was at the same time rising in interest due to women’s studies courses. Bissell published the catalogue raisonné on the work of Artemisia in 1998. He retired from the University in 2006. His students include Law B. Watkins.

Selected Bibliography

[dissertation:] The Baroque Painter Orzio Gentileschi: His Career in Italy. 2 vols. University of Michigan, 1966; “Artemisia Gentileschi: a New Documented Chronology.” Art Bulletin 50 (June 1968): 153-68; Orazio Gentileschi and the Poetic Tradition in Caravaggesque Painting. University Park : Pennsylvania State University Press, 1981; Artemisia Gentileschi and the Authority of Art: Critical Reading and Catalogue Raisonné. University Park, PA: Pennsylvania State University Press, 1998; and Dwight Miller, Dwight, and Derstine, Andria. Masters of Italian Baroque Painting. Detroit: Detroit Institute of Arts, 2005.

Sources

University of Michigan, Administratively Approved Appointments, December 2006. http://www.regents.umich.edu/meetings/12-06/12-06-Regular-Instruct-V-2.pdf; “Raymond A. Bissell, Businessman.” Baltimore Sun September 8, 1992, p. 4B.

Birnbaum, Vojteck

November 8, 2023March 29, 2024

Full Name: Birnbaum, Vojteck

Gender: male

Date Born: unknown

Date Died: unknown

Subject Area(s): architecture (object genre), Czech (culture or style), and sculpture (visual works)

Overview

historian of Czech art; architecture

Selected Bibliography

Barokni princip v dejinách architectung in Styl. 1924.

Sources

Bazin 195

historian of Czech art; architecture

Birkmeyer, Karl M.

November 8, 2023March 29, 2024

Full Name: Birkmeyer, Karl M.

Other Names:

Karl Martin Birkmeyer

Gender: male

Date Born: 1918

Place Born: Hamburg, Germany

Home Country/ies: Germany

Subject Area(s): Baroque

Overview

Professor of Baroque art, UCLA. Birkmeyer received his Ph.D. from Humbolt University in 1943. With the victory of the Allies over Germany in 1945, Birkmeyer was made Chief advisor and administrator to the Fine Arts & Architecture section of the American Military government in Bavaria, concluding his services in 1948. He immigrated to the United States where he was appointed assistant professor of art history at Stanford University in 1950. He moved the the University of California, Los Angeles in 1953, rising to professor of art in 1962. He chaired the department of art 1966-1968. His students included Shirley Blum. His article on Realism and Velázquez came to several unusual conclusions. One, that the distant portrait of the king and queen in the picture Las Meninas was a later addition, has not been widely accepted.

Selected Bibliography

“Observations on the Tour of Berlin Masterpieces.” College Art Journal 9, no. 1 (Autumn 1949): 19-24; “Realism and Realities in the Paintings of Velasquez.” Gazette des Beaux-Arts 6 no. 52 (July 1958): 63-80; “The Arch Motif in Netherlandish Painting of the Fifteenth Century: A Study in Changing Religious Imagery.” Art Bulletin 43, no. 2 (June 1961): 99-112; “Notes on the Two Earliest Paintings by Rogier van der Weyden.” Art Bulletin 44, no. 4 (December 1962):. 329-331;

Sources

Directory of American Scholars. 6th ed., vol. 1: History. New York: R.R. Bowker, 1974, p. 51; Who’s Who in America. 40th ed., 1978-1979; Collector and connoisseur E. Maurice Bloch: oral history transcript. Bernard Galm, interviewer. 2 vols. [Los Angeles: Oral History Program, University of California, Los Angeles, 1991, mentioned.

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