Subject Area(s): Christianity, eighth century (dates CE), painting (visual works), and sixth century (dates CE)
Overview
His La Madonna di Santa Maria in Trastevere redated a pivotal panel of painting in the church from the sixth to the eighth century, arguing against the dating of Cesare Brandi. Brandi’s date has subsequently proven correct.
Selected Bibliography
La Madonna di Santa Maria in Trastevere: storia, iconografia, stile di un dipinto romano dell’ottavo secolo. Rome: s.n., 1961; Piero della Francesca. New Haven, CT: Yale University Press, 1992; and Cavallo, Guglielmo. Rotoli di exultet dell’Italia meridionale. Exultet 1, 2, benedizionale dell’Archivio della cattedrale di Bari. Exultet 1, 2, 3 dell’Archivio capitolare di Troia. Bari: Adriatica, 1973; and Maetzke, Anna Maria, and Lavin, Marilyn Aronberg. Piero della Francesca: the Legend of the True Cross in the Church of San Francesco, Arezzo. New York: Rizzoli/St. Martin’s Press, 2000; and Briganti, Giuliano, and Giuliano, Antonio, eds. Storia dell’arte italiana. 5 vols. Milan: Electa : B. Mondadori, 1986.
Sources
[cited] Previtali, Giovanni. “The Periodization of Italian Art History.” History of Italian Art. vol. 2 Cambridge: Polity Press, 1994, p. 16, note 17.
Citation
"Bertelli, Carlo." Dictionary of Art Historians (website). https://arthistorians.info/bertellic/.
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His La Madonna di Santa Maria in Trastevere redated a pivotal panel of painting in the church from the sixth to the eighth century, arguing against the dating of Cesare Brandi. Brandi’s date has subsequently proven
Place Born: Fontenay-sous-Bois, Île-de-France, France
Place Died: Paris, Île-de-France, France
Home Country/ies: France
Subject Area(s): Italian (culture or style), Italian Medieval styles, and Medieval (European)
Overview
Author of a pioneering study on medieval southern Italian art; professor of art history. Bertaux attended the Institut Sainte-Croix at Neuilly and the Lycée Condorcet in Paris. At the École normale supérieure, where he was a student from 1888 to 1891, he earned the degree of agrégé de lettres. After his military service he studied the art of the Italian renaissance under Eugène Müntz in Paris. In 1893 he enrolled at the École française de Rome, housed at the Palazzo Farnese. The next four years he made frequent travels in southern Italy, through Campania, Lucania, Puglia, Calabria, and Abruzzi, exploring and discovering in remote regions medieval art and architecture. During these trips he built up a considerable documentation including his own photographs and drawings. This project led to his doctoral dissertation, which he completed in the following years. Returned in Paris, in 1897, he served at the École normale supérieure as maître surveillant. In addition he revised the 7th edition of the Cicerone, at the invitation of Wilhelm Bode. His first book, Santa Maria de Donna Regina e l’arte senese a Napoli nel secolo XIV, was published in 1899. In 1901 he married Jeanne Larroumet, the daughter of the director of Beaux-Arts, Gustave Larroumet (1852-1903). One year later Bertaux was appointed maître de conférence in the history of modern art at the University of Lyon. In 1903 he submitted his doctoral thesis to the faculty of letters of the University of Paris, L’Art dans l’Italie méridionale de la fin de l’empire romain à la conquête de Charles d’Anjou. For this major study Bertaux was awarded the Premio Fould by the Académie des inscriptions et belles-lettres. In Lyon, he received an appointment as professor. He was concomitantly charged with the direction of the city’s Musée des Beaux-Arts. At the university Bertaux founded the Institute of art history and its library. His three-volume study on the city of Rome was published in 1904-1905. In 1906 he was awarded the Prix Charles Blanc by the Académie française. His special interest in the cultural relations between Southern Italy and Spain urged him to explore the art treasures of the Iberian Peninsula. Between 1905 and 1913 he was among the contributors to the pioneering Histoire de l’art, edited by André Michel. In several volumes (1905, 1906, 1908, 1911) Bertaux published on Italian and Spanish painting and sculpture during the Middle Ages and the Renaissance as well as on Renaissance art in Portugal. In addition he wrote seven articles on Spanish art in Revue de l’art ancien et moderne, “Les primitifs espagnols”. In two contributions in this series Bertaux studied the artistic relations existing between Spain and Flanders in the fifteenth century, “Les disciples de Jean Van Eyck dans le royaume d’Aragon” (1907). Bertaux authored the catalog of the famous retrospective exhibition of Spanish art, held in Saragossa in 1908, L’Exposition rétrospective d’art de Saragosse, 1908: texte historique et critique. In 1910 his essay on Donatello appeared. On his initiative, the universities of Lyon and Grenoble created the art history section at the Institut français de Florence. Bertaux, while still professor at Lyon, served in this institute, between 1909 and 1912, as directeur d’étude de la section de l’histoire de l’art. After that period a new phase of his life began. In 1912 he was appointed in Paris curator of the collection of Madame Jacquemart-André, which was opened to the public in the residence of the owners in 1913. In the same year he quit his position in Lyon, charged with a complementary course of medieval Christian art at the faculty of letters of the University of Paris, replacing Émile Mâle. In addition he became chief editor of the Gazette des Beaux-Arts. His career in Paris ended prematurely. Following the mobilization in 1914 he served as a translator in the infantry and later in the air force. As a pilot he was charged, in 1916, with missions to the front in France and Italy. He died in Paris of a poorly treated pneumonia in 1917, still being on duty. His successor, in 1919, was René Schneider. Bertaux’s colleagues and friends dedicated a volume of 35 articles to his memory in 1924, Mélanges Bertaux: recueil de travaux dédié à la mémoire d’Émile Bertaux. Bertaux had a strong interest in artistic relations between different countries and regions, such as southern Italy, Spain and Flanders.
Selected Bibliography
[complete list:] Papa Malatesta, Vittoria. “Scritti di Émile Bertaux” Émile Bertaux tra storia dell’arte e meridionalismo. La genesi de L’Art dans L’Italie méridionale. Rome: École française de Rome, 1907, pp. 467-476; [dissertation:] L’Art dans l’Italie méridionale de la fin de l’empire romain à la conquête de Charles d’Anjou. Paris: Albert Fontemoing, 1903; Santa Maria de Donna Regina e l’arte senese a Napoli nel secolo XIV. Napels: F. Giannini, 1899; Rome. 1. L’Antiquité, 2. De l’ère des catacombes à l’avènement de Jules II, 3. De l’avènement de Jules II à nos jours. Paris: H. Laurens, 1904-1905; L’Exposition rétrospective d’art de Saragosse, 1908: texte historique et critique. Saragossa: La Editorial, Paris: Lévy, 1910; Donatello. Paris: Plon-Nourrit et cie, 1910; Études d’histoire et d’art. Paris: Hachette, 1911.
Sources
Prevost, Michel. Dictionnaire de biographie française. 6 (1954): 176-177; Bazin, Germain. Histoire de l’histoire de l’art de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 258, 287, 421, 439, 446, 469; Garton, Tessa. “Bertaux, Émile” Dictionary of art, 3, p. 851; Papa Malatesta, Vittoria. Émile Bertaux tra storia dell’arte e meridionalismo. La genesi de L’Art dans L’Italie méridionale. Rome: École française de Rome, 2007; Papa Malatesta, Vittoria. “Émile Bertaux” Dictionnaire critique des historiens de l’art. (I.N.H.A, Institut national d’histoire de l’art); [obituaries:] Diehl, Charles. “Émile Bertaux” Gazette des Beaux-Arts LIX (1917): 1-8, and in Mélanges Bertaux: recueil de travaux dédié à la mémoire d’Émile Bertaux. Paris: E. de Boccard, 1924, p. 1-9; Reinach, Salomon. “Émile Bertaux” Revue archéologique V s., V, 1 (1917): 233-234; Mesmil, G. “Émile Bertaux” Rassegna d’arte antica e moderna (April, 1917): 23-24; Michel, André. “Émile Bertaux” Journal des débats politiques et littéraires (January 10, 1917): 3; Pfister, Christian. Revue historique XLII, 124, 2 (1917): 431-432; Vinaccia, Antonino. “Émile Bertaux” Rassegna tecnica pugliese 6 (1917): 75-76.
Author of a pioneering study on medieval southern Italian art; professor of art history. Bertaux attended the Institut Sainte-Croix at Neuilly and the Lycée Condorcet in Paris. At the École normale supérieure, where he was a student from 1888 to 1
Subject Area(s): Ancient Greek (culture or style), Antique, the, Classical, and iconography
Overview
Classical iconographer, published the first “scientific” modern iconography of Greek and Roman portraiture.
Selected Bibliography
Griechische Ikonographie mit Ausschluß Alexanders und der Diadochen. 2 vols. Munich: F. Bruckmann a.-g., 1901. 1901; Römische Ikonographie. 2 vols. Stuttgart: Union Deutsche Verlagsgesellschaft, 1882-94; Aphrodite: ein Baustein zur griechischen Kunstmythologie. Leipzig: W. Engelmann, 1873; Die erhaltenen Darstellungen Alexanders des Grossen; ein Nachtrag zur griechischen Ikonographie. Munich: F. Bruckmann, 1905.
Sources
Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 55-56; “Portrait Iconography.” Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 2, pp. 925, mentioned.
Citation
"Bernoulli, Johann Jacob." Dictionary of Art Historians (website). https://arthistorians.info/bernoullij/.
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Subject Area(s): Medieval (European) and phenomenology
Career(s): educators
Overview
Medievalist art historian and professor; wrote on phenomenology. Bernheimer was born into a prominent family of art dealers, Bernheimer of Munich. In the early 20th century, the firm was one of the most important dealerships in precious materials, antiquities, Gobelins and oriental carpets. Between 1925-30, Bernheimer studied art history (both Western and Oriental) as well as archeology in Munich, Berlin and Rome with Wilhelm Pinder, Adolph Goldschmidt, August Liebmann Mayer, Hans Kauffmann, Werner Weisbach and Hans Hildebrandt. His dissertation, written under Pinder, was on Roman animal sculpture and its originating motives. Between the time of graduation and the Nazi assumption of power in 1933, he apparently taught privately and worked in the family business. Of Jewish extraction, Bernheimer was forced to flee Germany in 1933, securing a position at The University of Pennsylvania teaching undergraduates. Between 1933 and 1958 was respectively lecturer, Assistant Professor, and Associate Professor (1942) at Bryn Mawr and Haverford Colleges, also serving in the US army during the World War II. In 1951 he was appointed full professor. He spent the year 1941 at the Institute for Advanced Study in Princeton. He committed suicide in Portugal at age 50. His son, Charles Bernheimer (1942-1998), was a noted scholar of Comparative Literature and Multicultural Studies at the University of Pennsylvania. Bernheimer’s life interest was in Oriental influences on the west, but his publications were wide ranging. His most important book, Wild Men in the Middle Ages (1952), reflects his willingness to delve deeply into folklore and history to write a highly original and respected book. Known as well for an interest in mathematics, music and theology, Wild Men looked at fertility rites involving the staged capture of “wild men” in medieval Europe. His research allowed him to come up with compelling interpretations of beasts in medieval and reniassance art that had puzzled other scholars such as Erwin Panofsky. An enthusiastic teacher, his positive lecturing style was noted by many of his students.
Selected Bibliography
Nature of Representation: A Phenomenological Inquiry. Edited by Horst W. Janson. New York: New York University Press, 1961; Romanische Tierplastik und die Ursprünge ihrer Motive. Munich: F. Bruckmann, 1931; Wild Men in the Middle Ages: a Study in Art, Sentiment and Demonology. Cambridge, MA: Harvard University Press, 1952; Religion and Art. New York: Art Treasures of the World, 1954; “Theatrum Mundi,” Art Bulletin 38 (1956): 225-247.
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. 97; 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, pp. 73, 30 n.65; Wendland, Ulrike. Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. Munchen: Saur, 1999, vol. 1, pp. 48-9; Erich Pfeiffer-Belli, Hundert Jahre Bernheimer: 1864-1964. Munich: F. Bruckmann, 1964; obituary, Weltkunst (December,1958): 18; obituary, New York Times, June 7, 1958, p. 19; Wilson Library Bulletin 33 (1958): 15.
Citation
"Bernheimer, Richard." Dictionary of Art Historians (website). https://arthistorians.info/bernheimerr/.
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Medievalist art historian and professor; wrote on phenomenology. Bernheimer was born into a prominent family of art dealers, Bernheimer of Munich. In the early 20th century, the firm was one of the most important dealerships in precious m
Wendland, Ulrike. Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. Munchen: Saur, 1999, vol. 1, pp. 46-47.
Citation
"Bernett, Frederick A.." Dictionary of Art Historians (website). https://arthistorians.info/bernettf/.
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Place Born: Ohlau, Lower Silesian Voivodeship, Germany
Place Died: Berchtesgaden, Bavaria, Germany
Home Country/ies: Germany
Subject Area(s): Byzantine (culture or style) and Early Christian
Career(s): curators
Overview
Museum curator, authority on early Christian, Byzantian, Islamic and early Nordic art and textiles. Berliner’s parents were Theodor Berliner, a protestant from Jewish extraction, who owned a factory, and Philippine Wollner (Berliner). Beginning in 1904, Berliner studied art history in Berlin, Heidelberg and Vienna under Max Dvořák, earning his doctorate in 1910 with a dissertation on the dating of a Greek manuscript miniature painting. He joined the Bavarian National Museum (Bayerischen Nationalmuseum) in Munich in 1912, working there until 1935 except for War service (1914-1918). He was chief curator at the museum from 1926. In 1933 Berliner, because of his Jewish heritage, was interned in the concentration camp in Dachau, but released after two years later through the initiative of two of his colleagues, the art historian Hans Buchheit (1878-?) and collector Eugen Brüschwiler. He was nonetheless dismissed from the Museum on “racial” grounds, accusations of which he had previously escaped during the initial 1933 purge because of his extensive war service. Between 1935-1939, he lived in the Alps near Berchtesgaden, until he was finally forced to emigrate. In the United States, Berliner worked at the Museum of Arts of Decoration of Cooper Union (1939-1946), the Rhode Island School of Design Museum of Fine Arts (1946-1953), and at the Textile Museum in Washington DC from 1962 until his re-emigration to Germany in 1967. In the 1950s, Berliner taught the museum course at NYU’s Institute of Fine Arts. Berliner was an authority on textile arts and ivory but also wrote on Christian iconography (notably representations of creches) and the 18th century Giuseppe Barberi (1746-1809). Richard Ettinghausen, in his introduction to Berliner’s bibliography, notes that Berliner did not limit himself to “great” topics of art history but rather concerned himself with facts, fighting all superficial interpretation, turning his attention to the marginal and to everyday objects often considered only curiosa by established art historians. A strong personality, he remained respected by the academic community for the novel insights which his scholarship provided.
Selected Bibliography
[dissertation] Zum Datierung der Minaturen des Codex Parisinus graecus 139, Weida: Thomas & Hubert, 1911; and Borchardt, Paul. Silberschmiedearbeiten aus Kurdistan. Berlin D.Reimer/E.Vohsen,1922; Orientale Vorlage-Blätter des 15. und 18. Jahrhunderts. Leipzig: Klinkhardt und Biermann,1925-6, revised ed. with Gerhart Egger Ornamentale Vorlageblätter des 15. bis 19. Jahrhunderts. Munich: Klinkhardt und Biermann, 1981; Die Bildwerke in Elfenbein, Hirsch- und Steinbockhorn. Augsburg: Bayerisches Nationalmuseum, 1926; Denkmaler der Krippenkunst. Augsburg: B. Pilser, 1926-1930; and Halm, Philipp Maria. Die Hallesche Heiltum. Berlin: Deutsches Verein für Kunstwissenschaft, 1931; Die Weihnachtskrippe. Munich: Prestel, 1955; “Zeichnungen des römischen Architekten Giuseppe Barberi I, II,” Münchner Jahrbuch III F.16 (1965): 165-216 and F.17 (1966); as well as contributions in Gazette des Beaux Arts, Münchner Jahrbuch, Münster and Oud Holland.
Sources
Reichshandbuch der deutschen Gesellschaft: Das Handbuch der Persönlichkeiten in Wort u. Bild. Berlin: Deutscher Wirtschaftsverlag, 1930-1931…; Müller, Theodor and Ettinghausen, Richard. Rudolf Berliner: Bibliographie, zum 14. April 1966. Munich: privately published, 1966; Wendland, Ulrike. Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. Munchen: Saur, 1999, vol. 1, pp. 42-45; [obituaries] Kunstchronik 20 (1967): 331-2; Münster 20 (1967): 501.
Museum curator, authority on early Christian, Byzantian, Islamic and early Nordic art and textiles. Berliner’s parents were Theodor Berliner, a protestant from Jewish extraction, who owned a factory, and Philippine Wollner (Berliner). Beginning in
Harvard professor and director of the Walters Art Gallery and Cleveland Museum of Art. Bergman attended Rutgers University undergraduate, graduating in 1966. His master’s degree, 1969 and Ph.D., 1972, were both awarded from Princeton University. He received Fulbright and Guggenheim fellowships. His dissertation, written under Kurt Weitzmann was on the Salerno Ivories. In 1971 he taught as an assistant at Princeton, joining Harvard in 1976 as associate professor of fine arts. He published a revised version of his thesis in 1980. In 1981, Bergman was recruited to be director of the Walters Art Gallery in Baltimore, despite, as he recalled, no experience in museums or fundraising. He also held an appointment at Johns Hopkins University during these same years. His success at the Walters led to his appointment in 1993 at the Cleveland Museum of Art. In Cleveland, he was adjunct professor of art at Case Western Reserve University. As director, he oversaw the shows “Pharaohs: Treasures of Egyptian Art from the Louvre,” “Faberge in America,” and “Vatican Treasures: Early Christian, Renaissance and Baroque Art from the Papal Collections” the last of which he co-curated. Under his tenure, the Museum acquired Annibale Carracci’s painting “Boy Drinking,” a 13th-century Pisan altar cross, Constantinian gold jewelry, a pair of fourth-century Maya ceramic figures, Renaissance armor by Pompeo della Cesa and an Andy Warhol, “Marilyn x 100.” The Cleveland Museum had been slow to collect modern art, particularly under his famous predecessor, Sherman E. Lee. Bergman was diagnosed with a blood disorder in 1999 and died at University Hospitals in Cleveland after a two-week illness. He was succeeded at Cleveland by Katharine Caecelia Lee. The American Association of Museums established The Robert P. Bergman Scholarship Fund to support museum professionals in the Cleveland area. In 2001 the Centro di cultura e storia amalfitana conference was convened in his memory. His students at Harvard included Glenn D. Lowry.
Selected Bibliography
[dissertation:] The Salerno Ivories. Princeton University, 1972; The Salerno Ivories: Ars Sacra from Medieval Amalfi. Cambridge, MA: Harvard University Press, 1980; “Byzantine Influence and Private Patronage in a Newly Discovered Medieval Church in Amalfi: S. Michele Arcangelo in Pogerola.” Journal of the Society of Architectural Historians 50, no. 4 (December 1991): 421-444; “The Frescoes of Santissima Annunciata in Minuto (Amalfi).” Dumbarton Oaks Papers 41 (1987): 71-83.
Sources
[obituaries:] Honan, William. “Robert P. Bergman, 53, Head of Cleveland Museum of Art.” New York Times May 7, 1999, p. 25; Able, E. H. “In Memoriam: Robert P. Bergman.” Museum News 78 no. 4 (July/August 1999): 7-8.
Citation
"Bergman, Robert P.." Dictionary of Art Historians (website). https://arthistorians.info/bergmanr/.
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Harvard professor and director of the Walters Art Gallery and Cleveland Museum of Art. Bergman attended Rutgers University undergraduate, graduating in 1966. His master’s degree, 1969 and Ph.D., 1972, were both awarded from Princeton University. H
