Bazin, Germain
Full Name: Bazin, Germain René Michel
Other Names:
- Germain René Michel Bazin
Gender: male
Date Born: 1901
Date Died: 1990
Place Born: Suresnes, Île-de-France, France
Place Died: Paris, Île-de-France, France
Home Country/ies: France
Subject Area(s): French (culture or style), nineteenth century (dates CE), and painting (visual works)
Career(s): curators
Overview
Curator of paintings at the Louvre Museum, 1951-1965; historian of 19th century French art. Bazin was the son of Charles Bazin and Jeanne Laurence Mounier-Pouthot (Bazin). He studied art history at the Sorbonne with both Henri Focillon and Émile Mâle, where he reached the baccalaureate and licentiate levels. After completing his studies at the Sorbonne, Bazin received a diploma in museology from the école du Louvre. In 1928, he joined the department of drawings at the école des Beaux Arts in Paris. His work at the école lead to a 1937 appointment as curator of department of paintings and drawings, Musée du Louvre, later adding an appointment as professor at the Free University of Brussels in 1934. He served in the French infantry from 1939-1940 during World War II, rising to captain, and after leaving the military, helped to protect French artwork during the Nazi Occupation of France. He was appointed professor of museum studies at école du Louvre in 1941. When he returned to his work at the Louvre, Bazin was appointed director of paintings and drawings. He published several books on a wide range of artists and time periods, including works on Hans Memling (1939), Fra Angelico (1941), and Camille Corot (1942). He married Suzanne Comtesse Heller Bielotzerkowka in 1947. Bazin became curator in chief at the Louvre in 1951 and began rearranging the paintings to reflect the museum’s vast collection of works from around the world. In 1953, he published L’Histoire de l’art de la préhistoire à nos jours, one of several major books and catalogues that he wrote or edited in the 1950’s. While he worked at the Louvre, Bazin led a project to restore and reframe the Impressionist paintings in the Musée Jeu de Paume, which was completed in 1958. In addition to producing scholarly writings, Bazin lectured on his research in Europe and America. His varied writings included art historiography and museology. He received numerous awards and honors for his work as a scholar and curator, including the Officer of the Legion of Honor (1954), Commander of the Belgian Order of Leopold (1956), and membership in the Institut de France. He retired as professor of museum studies in 1970. When he died at the age of 88, Bazin was writing a catalogue raisonné of Theodore Géricault’s work, which was completed posthumously in 1997. His many students included Nicole Dacos.
Selected Bibliography
Histoire de l’avante-garde en peinture de XIIIe au XXe siècle. Paris: Hathette, 1969. English: The Avant-garde in Painting. Translated by Simon Watson Taylor. New York: Simon & Schuster, 1969; The Baroque: Principles, Styles, Modes, Themes. Translation by Pat Wardroper. Greenwich, CT: New York Graphic Society, 1968; Corot. Paris: Hachette, 1973; L’époque impressionniste : avec notices biographiques et bibliographiques. Paris: P. Tisné, 1947; Histoire de l’histoire de l’art : de Vasari à nos jours. Paris: A. Michel, 1986; History of Classic Painting. Translated from the French by Rosamund Frost. New York: Hyperion Press, 1951; The Loom of Art. Translated by Jonathan Griffin. New York: Simon and Schuster, 1962; Le Mont-Saint-Michel. Preface by Marcel Aubert. Paris: Auguste Picard, 1933; The Museum Age. Translated by Jane van Nuis Cahill. New York: Universe Books 1967; Théodore Géricault : étude critique, documents et catalogue raisonné. Paris: La Bibliothèque des arts, 1987-1997; La France en guerre. Preface by André Siegfried. Paris: Plon, 1940.
Sources
Current Biography 1959; Obituary, NY Times, May 5, 1990; Obituary, The Daily Telegraph May 10, 1990.
Archives
- Fonds Germain Bazin (1902-1992), Archives Nationales (France) Pierrefitte-sur-Seine. https://www.siv.archives-nationales.culture.gouv.fr/siv/rechercheconsultation/consultation/ir/pdfIR.action?irId=FRAN_IR_056300, 20080490/1-20080490/14, 20080491/1-20080491/3.
- Germain Rene Bazin fonds, York University. http://archivesfa.library.yorku.ca/fonds/ON00370-f0000263.pdf, F0263.
Contributors: LaNitra Michele Walker
Curator of paintings at the Louvre Museum, 1951-1965; historian of 19th century French art. Bazin was the son of Charles Bazin and Jeanne Laurence Mounier-Pouthot (Bazin). He studied art history at the Sorbonne with both
Full Name: Bayet, Charles M. A. L. Other Names: Gender: male Date Born: 1849 Date Died: 1918 Home Country/ies: France Subject Area(s): Byzantine (culture or style) Institution(s): Académie de Lille His book, L’art byzantin (1883) was one of the early required texts to be listed in the course catalog for the art history classes of Princeton University. Notes about Bayet’s opinions on Giotto appear in Richard Offner‘s annotated catalog of the 1937 Mostra Giottesca. Ladis, Andrew. “The Unmaking of a Connoisseur.” in, Offner, Richard. A Discerning Eye: Essays on Early Italian Painting. University Park, PA: Pennsylvania State University Press, 1998, p,19, note 1 (Offner wrote as “Beyet”); Contributors: Lee Sorensen His book, L’art byzantin (1883) was one of the early required texts to be listed in the course catalog for the art history classes of Princeton University. Notes about Bayet’s opinions on Giotto appear in Richard Offner Full Name: Bayersdorfer, Adolf Gender: male Date Born: 1842 Date Died: 1901 Place Born: Erlenback am Main, Bavaria, Germany Place Died: Munich, Bavaria, Germany Home Country/ies: Germany Subject Area(s): connoisseurship Career(s): art critics Connoisseur and art critic, co-founder of the Kunsthistorisches Institut in Florence. Bayersdorfer initially studied medicine before moving to Munich in 1853 and switching to the humanities. Beginning in 1862 he studied philosophy, art history as well as economics, never attaining a degree in any of these fields. In 1870 he became noted as a journalist and chess player. In the following years he wrote for the theatre reviews for the newspapers of Vienna and Munich, including Richard Wagner’s Die Meistersinger and Die Walküre, 1868/70. In the 1860s Bayersdorfer met the artists Victor Müller (1830-1871), Hans Thoma (1839-1924), Karl Haider (1846-1912), Wilhelm Trübner (1839-1924) and Arnold Böcklin (1827-1901). In 1869 he was part of the organizing committee of the first international art presentation at the Glaspalast. There he met Gustave Courbet. An avid admirer modern French art, Bayersdorfer correctly predicted that the work of artists like Courbet, Corot, Millet and Manet would be more appreciated in the future than the current academic art. Bayersdorfer made use of a state stipend to make thirteen trips to Italy. There he met G. B. Cavalcaselle and the artist and art theorist Adolf von Hildebrand (1847-1921). During this time, Bayersdorfer researched the galleries of Italy, making several important discoveries. In 1880 he became curator of the art gallery in Castle Schleissheim. In 1884 he was appointed curator at the Alte Pinakothek in Munich, where his main contribution was the publication of the museum catalogs. Together with the art historian Franz von Reber he published the series of Klassischer Bilderschatz (beginning in 1889) and Klassischer Skulpturenschatz (beginning 1896). Along with Max Georg Zimmermann and August Schmarsow, Bayersdorfer foundered the Kunsthistorisches Institut in Florence in 1895. Schmarsow nominated Bayersdorfer for an honorary doctorate at the University of Leipzig in 1897. Bayersdorfer spent his final two years in Florence. Bayersdorfer was among the group of art historians, along with Alfred Woltmann, Moriz Thausing, Karl F. A. von Lützow, Friedrich Lippmann and Wilhelm Lübke who in signed the famous “Dresden Declaration” in 1871. The so-called “Holbein convention,” was one of the important events in nineteenth-century art history when many methodical approaches were employed to determined authenticity. This affidavit affirmed that the version of the Holbein Madonna des Bürgermeisters Meyer at the Schlossmuseum in Darmstadt was the original one, opposing popular opinion. Bayersdorfer’s 1872 essay explained his findings in a cogent manner comprehensible to the public. He showed skepticism to works that included simplistic elements such as environment, social environment and social conditions since they could not convey the fuller sense of the art. Like his contemporary, Giovanni Morelli, Bayersdorfer argued that connoisseurship was the principle way in which a painting’s authenticity could be determined. His numerous voyages throughout Europe made Bayersdorfer one of the greatest connoisseurs of European art of his time. and Reber, Franz von. Klassischer Bilderschatz [series]. Munich: Verlagsanstalt für Kunstund Wissenschaft, 1889-1900. English. Classical Picture Gallery: A Series of One Hundred and Forty-four Reproductions of the Choicest Paintings of the Old Masters taken from the Originals in the Galleries and Collections of Europe. London: H. Grevel and Co., 1894-1900; and Reber, Franz von. Klassicher Bilderschatz. [series]. Munich: Verlagsanstalt für Kunst und Wissenschaft, 1893-1895. Adolf Bayersdorfers Leben und Schriften: aus seinem Nachlass. Hans Mackowsky, August Pauly, and Wilhelm Weigand, eds. Munich: F. Bruckmann, 1902; Käss, Siegfried. Der heimliche Kaiser der Kunst: Adolph Bayersdorfer, seine Freunde und seine Zeit. Munich: Tuduv, 1987; Kultermann, Udo. The History of Art History. New York: Abaris, 1993, p. 145; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. 2nd. Stuttgart: Metzler, 2007, pp.16-18. Connoisseur and art critic, co-founder of the Kunsthistorisches Institut in Florence. Bayersdorfer initially studied medicine before moving to Munich in 1853 and switching to the humanities. Beginning in 1862 he studied philosophy, art history as Full Name: Baxter, Sylvestre Gender: male Date Born: 1850 Date Died: 1917 Subject Area(s): architecture (object genre), Colonial American (pan-American style), and Mexican wrote early work of South American art history La Arquitectura coloniale en México with introduction and notice by M. Toussaint. Mexico, 1936. Bazin 454 wrote early work of South American art history Full Name: Baxandall, Michael Other Names: Gender: male Date Born: 1933 Date Died: 2008 Place Born: Cardiff, Wales, UK Home Country/ies: United Kingdom Subject Area(s): art theory, Italian (culture or style), Italian Renaissance-Baroque styles, Postmodern, Renaissance, and social history Scholar of Italian Renaissance art who employed postmodernist and social-history methods. Baxandall’s parents were the museum director David Kighley Baxandall and Isobel Thomas (Baxandall). He attended Manchester Grammar School, Manchester, England, and then Downing College, Cambridge University where he received an A. M. At Cambridge, the literary critic William Empson (1906-1984) and literary scholar Frank Raymond Leavis (1895-1978) helped him form a lingual approach to culture. He continued study at the University in Pavia and Munich. Baxandall was a Fellow at the Warburg Institute between 1959 and 1961, studying along with Michael Podro under E. H. Gombrich. In 1961 he joined the Victoria and Albert Museum’s department of Architecture and Sculpture, then under the direction of John Pope-Hennessy. The following year Terence Hodgkinson returned to the department from an assistant director position at the museum, and Baxandall and Hodgkinson worked together. He married Katharina Simon in 1963. In 1965 Baxandall left the V&A to be a lecturer at the Warburg Institute of the University of London. His pamphlet, German Wood Statuettes 1500-1800, dates from this period. The result of his Warburg years research appeared as his first book Giotto and the Orators, 1971, an examination of how language shapes a response to art. In 1972 he published a book which established his reputation as one of the emerging art historians of the “new art history,” Painting and Experience in Fifteenth-Century Italy. He was advanced to a Reader position at the Warburg in 1973. Baxandall was Slade professor of Art at Oxford University for the 1974-1975 year. His 1979 article “The Language of Art History,” in the New Literary History criticized theoretical pontification within the discipline. In 1980, he published The Limewood Sculptors of Renaissance Germany, a topic suggested to him by Hodgkinson. He was named Professor of the History of the Classical Tradition of the Warburg the following year. Baxandall was appointed A. D. White Professor-at-Large at Cornell University in 1982, which he held until 1988. His methodological book, Patterns of Intention: on the Historical Explanation of Pictures was published to acclaim in 1985. In 1987 he became Professor of the History of Art at the University of California, Berkeley. He retired from Berkeley, emeritus, in 1996, as the onset of Parkinson’s disease set in. A later-life interest in the eighteenth century led to a collaborative book with Svetlana Alpers, Tiepolo and Pictorial Intelligence, 1994. In 1999, Blackwell publishers issued a series of essays by other art historians on Baxandall’s methodology, About Michael Baxandall. His Warburg-era students include Charles Saumarez Smith, Director of the National Portrait Gallery, London, and Michael Ann Holly Paintings and Experience in Fifteenth-Century Italy (1972), was one of the first books to examine Italian Renaissance art as social history, and the first to address an undergraduate audience. Baxandall argued for a “visual anthropology,” i.e., a way to look at art through the experiences of the viewers of the period. The book immediately became a staple of university course curricula and Baxandall issued a second edition in 1988. Michael Ann Holly, his student, characterized his work as “fundamentally a postmodernist point of view.” He is considered one of the founders of what came to be known as “visual literacy studies” some twenty-five years later. German Wood Statuettes 1500-1800. London: Victoria and Albert Museum, 1967; Giotto and the Orators: Humanist Observers of Painting in Italy and the Discovery of Pictorial Composition, 1350-1450. Oxford: Clarendon Press, 1971; Paintings and Experience in Fifteenth-Century Italy: A Primer in the Social History of Pictorial Style. Oxford: Clarendon Press, 1972; The Limewood Sculptors of Renaissance Germany. New Haven: Yale University Press, 1980; Patterns of Intention: on the Historical Explanation of Pictures. New Haven: Yale University Press, 1985; Shadows and Enlightenment. New Haven: Yale University Press, 1995; and Alpers, Svetlana. Tiepolo and the Pictorial Intelligence. New Haven: Yale University Press, 1994. Shadows and Enlightenment. New Haven: Yale University Press, 1995. 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. 118; [transcript] Michael Baxandall. Interviews with Art Historians, 1991-2002. Getty Research Institute, Malibu, CA; Who’s Who 2004: an Annual Biographical Dictionary. London: Palgrave Macmillan, 2004, p. 136; [regarding methodologies:] Rifkin, Adrian. About Michael Baxandall. Oxford: Blackwell, 1999, specifically, Holly, Michael Ann. “Patterns in the Shadows: Attention in/to the Writings of Michael Baxandall.” pp. 5-15 and Potts, Alex. “Michael Baxandall and the Shadows in Plato’s Cave.” pp. 69-83; [obituaries:] Potts, Alex. “Michael Baxandall.” Burlington Magazine 151 (January 2008): 32-33; Contributors: Emily Crockett and Lee Sorensen Scholar of Italian Renaissance art who employed postmodernist and social-history methods. Baxandall’s parents were the museum director David Kighley Baxandall and Isobel Thomas (Baxandall). He attended Manchester Grammar Full Name: Baxandall, David Kighley Gender: male Date Born: 1905 Date Died: 1992 Place Born: London, Greater London, England, UK Place Died: Hereford, Herefordshire, England, UK Home Country/ies: United Kingdom Director of the National Gallery of Scotland, 1952-1970. Baxandall’s father was the scientific historian David Baxandall (1874-1938). The younger David Baxandall joined the National Museum of Wales in 1929 as an assistant keeper (curator). The National Museum was a modest institution where Baxandall had difficulties convincing the Trustees to accept even a watercolor by the Welsh artist David Jones. In Cardiff he met and married Isobel Thomas, daughter of a Welsh rectory, in 1931. He advanced to Keeper in 1939. He resigned from the Cardiff institution in 1941, at the age of 36, to join the RAF in World War II, working on aerial reconnaissance photographs and the penetration of camouflage. After the War, Baxandall was appointed director of Manchester City Art Galleries in 1945. Manchester was provincial: dreary buildings full of mostly 19th-century art and committees known for overruling the professionals they employed. Baxandall added some modern pieces to the collection, including works by his friend, Ben Nicholson. His friends during this time included Herbert Read, and the art patron Helen Sutherland (1881-1964). Yet Manchester was overall frustrating for him. When Ellis K. Waterhouse resigned as director of the National Galleries of Scotland, Baxandall succeeded him in 1952. Waterhouse had been unwilling to move the Gallery into truly modern art. The Edinburgh Trustees admired Baxandall’s accomplishments in Manchester. Together with Colin Thompson, Baxandall extended the scope of the Galleries, which already included the Scottish National Portrait Gallery, to an addition of a gallery of modern art, under Douglas Hall. The Scottish National Gallery of Modern Art opened in 1960 in a small Georgian mansion, Inverleith House. Modern English artists, such as Henry Moore, Paul Nash were acquired, but the Gallery’s modest finances could not compete with the emerging art market. Baxandall’s acquisitions included Velasquez’s Woman Frying Eggs (1618) and was instrumental in the retention of the Sutherland loan and the Maitland Gift. The new Gallery’s mission to feature emerging Scottish artists, together with Baxandall’s distaste for expressionism, again limited collection development. The Elizabeth Watt bequest to the Gallery of Modern Art, which came to the Gallery long after his retirement, was cultivated during his tenure. In 1962 Baxandall published a book on his friend, Ben Nicholson: an Account of his Work. He retired in 1970. His hobby, photography, resulted in an excellent record of the Romanesque sculptures of Herefordshire churches. He died at age 87. His son was the distinguished art historian Michael Baxandall. From Ce´zanne to Picasso: the Moltzau Collection. London: Tate Gallery, 1958; The Maitland Gift and Related Pictures [at the] National Gallery of Scotland. Edinburgh: National Gallery of Scotland, 1963; Raeburn Bi-centenary Exhibition: National Gallery of Scotland. Edinburgh: National Gallery of Scotland, 1956; Ben Nicholson. London: Methuen, 1962; “A Dated Velazquez Bodegon.” Burlington Magazine 99, no. 650 (May, 1957): 156-157 &159 [obituaries:] Hall, Douglas. “Fine Judgment of a Modern Master: David Baxandall.” The Guardian (London), November 11, 1992, p. 13; Skinner, Basil. “David Baxandall.” The Independent (London), October 28, 1992, p. 13. Director of the National Gallery of Scotland, 1952-1970. Baxandall’s father was the scientific historian David Baxandall (1874-1938). The younger David Baxandall joined the National Museum of Wales in 1929 as an assistant keeper (curator). The Nat Full Name: Bautier, Pierre Edmond Adrien Léopold Other Names: Gender: male Date Born: 10 September 1881 Date Died: 15 January 1962 Place Born: Péronnes, Hainaut, Province de, Wallonia, Belgium Place Died: Brussels, Brussels-Capital Region, Belgium Home Country/ies: Belgium Subject Area(s): Ancient Greek (culture or style) Career(s): curators Curator Musée royal des Beaux-Arts de Belgique, in Brussels; maecenas. Bautier was the son of Edmond Bautier and Marie Querton. After having attended the Athénée royal at Ixelles, near Brussels, he studied law and history at the Université Libre de Bruxelles. From this university he earned the degree of doctor in law and the degree of doctor in philosophy and letters. He enrolled at the Brussels Bar, but he soon left the practice of law. He instead chose a career in art history. In 1907 he was among the founders of the Société des Amis des Musées royaux de l’État in Brussels. He attended art history classes at the Brussels Musée royal de peinture et de sculpture de Belgique. The courses were created by the secretary of the Directive Committee Hippolyte Fierens-Gevaert, who became the founder, in 1910, of the Institut Supérieur d’Histoire de l’Art et d’Archéologie, housed in the museum. Under Georges Nicolas Marie Hulin de Loo Bautier specialized in Flemish painting. In 1910 he published a monograph on the Bruges painter Lancelot Blondeel, followed in 1912 by a monograph on Justus Sustermans. He had a strong attachment to the Brussels museum. In 1916 his Répertoire des portraits des Musées royaux de peinture et de sculpture appeared. After World War I, as a result of the reorganization of the museum, Bautier obtained, in 1919, the position of curator under chief curator Fierens-Gevaert. In that year the museum was renamed Musée royal des Beaux-Arts de Belgique. Bautier became an active member of the Société des Amitiés italiennes de Belgique. With Joseph Destrée he published in 1924 a study on a Book of Hours of the Ghent-Bruges school, Les Heures dites da Costa. After Fierens-Gevaert’s death in 1926, Léo Van Puyvelde was appointed as his successor, to the disappointment of Bautier who then decided to quit his position as curator. While pursuing a career as an independent art historian, he nevertheless kept playing an active role in the museum. He was a member of the Diffusion artistique, a service for the education of the general public, which offered guided tours and lectures. He also acted as a member, and later as president, of the Commission technique consultative de la peinture ancienne des Musées royaux des Beaux-Arts. His travels abroad, his international contacts, and his role as maecenas further marked his career. At home, assisted by his wife, he frequently hosted visitors. In 1930 he was involved in the organization of the Fondation nationale Princesse Marie-Josée, aimed at establishing cultural relations between Belgium and Italy. This foundation led to the creation of the Academia Belgica in Rome, in 1939. In that year he published an overview of eighteenth-century painting in L’art en Belgique du moyen âge à nos jours, edited by Paul Fierens. This overview also appeared separately in 1945, La peinture en Belgique au XVIIIe siècle. As a contributor to the Dictionnaire des peintres (1951) he was responsible for the entries on Belgian painters of the same period. He was elected a corresponding member of the Académie royale de Belgique in 1952 and a member in 1957. In 1956 he was elected president of the Fondation nationale Princesse Marie-Josée. The year before he died he was director of the Classe des Beaux-Arts of the Academy. After his death his family donated a precious collection of his art historical books to the library of the Fondation nationale Princesse Marie-Josée, housed in the Academia Belgica in Rome. Lancelot Blondeel: Lancilotus, pictor brugensis praestantissimus. Brussels: G. van Oest, 1910; Juste Suttermans, peintre des Médicis. Brussels: G. van Oest, 1912; Les portraits des musées royaux de peinture et de sculpture. Brussels: G. van Oest, 1916; and Destrée, Joseph. Les Heures dites da Costa: manuscrit de l’école ganto-brugeoise, premier tiers du XVIe siècle; étude et description. Brussels: Monnom, 1924; contributor, Fierens, Paul (ed) L’art en Belgique du moyen âge à nos jours. Brussels: La Renaissance du livre, 1939, pp. 383-394; La peinture en Belgique au XVIIIe siècle. Brussels: Éditions du Circle d’art, 1945; contributor, Dictionnaire des peintres. Brussels: Maison Larcier, 1951. [obituary:] Lavachery, Henry. “Hommage à sa mémoire”Bulletin de la Classe des Beaux-Arts, Académie royale de Belgique, 44 (1962): 18-20; Jacques Lavalleye. “Notice sur Pierre Bautier, membre de l’Académie” Annuaire de l’Académie royale de Belgique (1965): 296-301. Contributors: Monique Daniels Curator Musée royal des Beaux-Arts de Belgique, in Brussels; maecenas. Bautier was the son of Edmond Bautier and Marie Querton. After having attended the Athénée royal at Ixelles, near Brussels, he studied law and history at the Université Libre d Full Name: Baur, John I. Other Names: Gender: male Date Born: 1909 Date Died: 1987 Place Born: Woodbridge, New Haven, CT, USA Place Died: New York, NY, USA Home Country/ies: United States Subject Area(s): American (North American) and Modern (style or period) Americanist and Director of the Whitney Museum of American Art, 1968-74. Baur was the son of a Yale professor of archaeology, Paul V. C. Baur (1872-1951) and mother Susan Whiting. The younger Baur attended Yale, graduating with a B.A. in English in 1932. Finding little teaching work during the height of the depression, he returned to Yale on an art history scholarship. At Yale he studied with Henri Focillon and Marcel Aubert. His 1934 M.A. thesis was on a topic of baroque art. Baur accepted at the Brooklyn Museum of Art initially in the education department, but within two years he was curator of painting and sculpture. Baur began to collect and write about American artists. In 1938 he married Louise Weld Chase, then the assistant curator of medieval art. Baur’s exhibitions during these years included some of the earliest for American artists. His Eastman Johnson exhibition of 1940 was followed two years later by one on John Quidor. In the midst of World War II, Baur, 35, joined the army in 1944. He soon found himself in special services organizing soldiers’ art exhibitions at the National Gallery of Art in Washgington, D. C. The postwar years afforded Baur time to write and mount new exhibitions at the Brooklyn Museum. He launched an exhibition on Theodore Robinson (1946) and Karolik Collection of American Paintings (1949). While researching his 1951 Revolution and Tradition in Modern American Art book for the Library of Congress, he met the Whitney Museum of American Art’s associate director, Lloyd Goodrich. Baur joined the Whitney in 1952 to help facilitate the move from its Greenwich Village brownstone to its new location near the Museum of Modern Art. In 1958 Goodrich became director and Baur succeeded him as associate director. However, it was once again clear that increasing visitors and exhibition size required an even larger museum presence. Baur was put in charge of raising funds and working with the architect, Marcel Breuer (1902 – 1981). In 1966 the new Whitney opened at its present location on Madison Avenue. Two years later Baur was named director, once again succeeding Goodrich. Baur remained director only six years, but in that time he reprised his exhibitions of John Quidor and Theodore Robinson in a 1969 exhibition and a large Elie Nadelman show. After retirement, Baur consulted for Kennedy Galleries, New York and continued to contribute to various American art journals. He died of heart failure at 77. His papers are housed at the Archives of American Art and the Whitney Museum. Baur was considered a particular authority on the art of John Marin. Three Nineteenth-Century American Painters: John Quidor, Eastman Johnson, Theodore Robinson. New York: Arno Press, 1969; Joseph Stella. New York: Shorewood Publishers, 1963; John Marin and the Sea. New York: Kennedy Galleries, 1982; The Inlander: Life and Work of Charles Burchfield, 1893-1967. Newark: University of Delaware Press, 1982; Leaders of American Impressionism: Mary Cassatt, Childe Hassam, John H. Twachtman, J. Alden Weir. Brooklyn, NY: Brooklyn Museum, 1937; The New Decade: 35 American Painters and Sculptors. New York: Macmillan, 1955; An American Genre Painter: Eastman Johnson, 1824-1906. Brooklyn: Brooklyn Museum, 1940; and Goodrich, Lloyd. Four American Expressionists: Doris Caesar, Chaim Gross, Karl Knaths, Abraham Rattner. New York: Whitney Museum of American Art/Praeger, 1959; and Goodrich, Lloyd. American Art of Our Century. New York: Praeger, 1961 [permanent holdings catalog of the Whitney]. Mellby, Julie. John I. H. Baur. American National Biography 2: 356-7; American Art Journal, no. 2 (1987): 84-86; [obituary:] Glueck, Grace. The New York Times, May 16, 1987, Section 1, p. 10; The American Art Journal 19 no. 2 (1987): 84-6. Contributors: Emily Crockett and Lee Sorensen Americanist and Director of the Whitney Museum of American Art, 1968-74. Baur was the son of a Yale professor of archaeology, Paul V. C. Baur (1872-1951) and mother Susan Whiting. The younger Baur attended Yale, graduating with a B.A. in English i Full Name: Baumgart, Fritz Other Names: Gender: male Date Born: 1902 Date Died: 1983 Home Country/ies: Germany Subject Area(s): architecture (object genre), Italian (culture or style), and sculpture (visual works) Architectural historian and Italianist. “Die Jugendzeichnungen Michelangelos bis 1506.” Marburger Jahrbuch für Kunstwissenschaft. Sonderdruck X (1937); Geschichte der abendländischen Baukunst: von den Anfängen bis zur Gegenwart. Cologne: M. DuMont Schauberg, 1960, English, A History of Architectural Styles. New York: Praeger Publishers, 1970; Architectural historian and Italianist. Full Name: Baum, Julius Gender: male Date Born: 1882 Date Died: 1959 Place Born: Wiesbaden, Hesse, Germany Place Died: Stuttgart, Baden-Württemberg, Germany Home Country/ies: Germany Subject Area(s): German (culture, style, period), German Medieval styles, and Medieval (European) Expert in the German Art of the Middles Ages. Baum studied art history at the universities of Munich, Berlin and Tübingen, where he worked under Karl Voll and Heinrich Wölfflin. He completed his dissertation in Tübingen in 1905 on the churches of the architect Heinrich Schickhardt (1558-1634) under Konrad von Lange. Baum wrote his habilitation under Heinrich Weizsäcker in Technische Hochschule in Stuttgart. In 1911 his work on Ulmer Plastik um 1500, caught the attention of the scholars Paul Clemen, Jakob Falke and Philipp Halm (1854-1923) at the Technische Hochschule. He taught art history there until 1924. Except for voluntary service in World War I, Baum worked between 1908-23 first as an assistant and then conservator at the Wurtemberg Office for Historic Conservation (Württembergischen Amt für Denkmalpflege) and at the state museum in Stuttgart. Out of this work he published the catalog Deutschen Bildwerke des 10.-18. Jahrhunderts (1931). In 1924 Baum was called to be the director of the museum at Ulm. There he dedicated himself to the history of local art and artists. He married Emma Gruner (1893-1970), a protestant woman, in 1929. In 1930 he published the final volume in the series of Handbuchs des Kunstwissenschaft, which was the first survey of the history of paintings and sculpture of the north Alps in the Middle Ages. After his dismissal in 1933 he was invited by Johnny Roosval of the University of Stockholm to lecture in the Winter semester of 1935. His lectures were published in 1937 in Paris as La sculpture figurale en Europe à l’époque mérovingienne. Back in Stuttgart as a private art historian, Baum was arrested by the Gestapo in 1938 as a Jew and taken to the concentration camp at Welzheim. Authorities at a museum in Bern rescued him in 1939, enabling a move to Switzerland. He lived in Switzerland until the end of World War II working for the state archive in Lucerne researching medieval sculptors. In 1946 Baum returned to Germany at the invitation of the minister of culture Theodor Heuss (1884-1963). Baum was enlisted in the rebuilding of German castles between 1947-1952. In his research on medieval Bavarian art, Bauch analyzed the development of styles and iconography of the Middle Ages. Baum understood style questions as matters of time, dissociated from at the trend toward a “scientific approach to art” which became vogue in the 1920s (led by Kurt Gerstenberg, Wilhelm Pinder, Oskar Hagen, Eugen Kurt Fischer) which related artistic epochs to among other things, ethnic peoples. Chief among these in the speculation was the gothic, which Baum regarded as an element of the era, not of a people. Typical of the form-analytic generation of art historians, Baum, saw the development of art in the context of the culture and history of ideas, a notion he adopted from Jacob Burckhardt. In Zwölf deutsche Dome des Mittelalters (1955) he examined individual buildings and their sculptural decoration in the context of their respective social conditions in the cities and dioceses. The self-sufficiency of the German buildings were stressed, contrasting French and Italian reliance on the antique. The wall treatment became a key notion for Baum. [dissertation:] Die Kirchen des Baumeisters Heinrich Schickhardt. Tubingen, 1905, published, Stuttgart: Druck von W. Kohlhammer, 1905; [habilitation:] Die Ulmer Plastik um 1500. Stuttgart: J. Hoffmann, 1911; Die Malerei und Plastik des Mittelalters. volume 2. Deutschland, Frankreich und Britannien. Wildpark-Potsdam: Akademische verlagsgesellschaft Athenaion, m.b.h. 1930; Baukunst und dekorative plastik der frührenaissance in Italien. Stuttgart: J. Hoffmann, 1920; La sculpture figurale en Europe à l’époque mérovingienne. Paris: Les éditions d’art et d’histoire, 1937; Romanische Baukunst in Frankreich. Stuttgart: J. Hoffmann, 1910, English: Romanesque architecture in France. London: W. Heinemann, 1912; Zwölf deutsche Dome des Mittelalters. Zürich: Atlantis Verlag, 1955; Deutsche Bildwerke des 10. bis 18. Jahrhunderts. Stuttgart: Deutsche Verlags-Anstalt, 1917. 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. 27-31; Metzler Kunsthistoriker Lexikon. 2nd ed. Stuttgart: J. B. Metzler, 2007, pp. 13-16; Röttgen, H. Geschichte des Instituts für Kunstgeschichte der Universität Stuttgart . http://www.uni-stuttgart.de/kg1/geschichte. Expert in the German Art of the Middles Ages. Baum studied art history at the universities of Munich, Berlin and Tübingen, where he worked under Karl Voll and Heinrich Wölfflin. He completed his disserBayet, Charles M. A. L.
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Bayersdorfer, Adolf
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Baxter, Sylvestre
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Baxandall, Michael
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Baxandall, David Kighley
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Bautier, Pierre Edmond Adrien Léopold
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Baur, John I.
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Baumgart, Fritz
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Baum, Julius
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