with Bernhard Rupprecht: Corpus der Barocken Deckenmalerei in Deutschland. II. Bayern. Munich: Süddeutschen Verlag, 1982.; Corpus der Mittelalterlischen Wandmalerei Osterreichs. edited by Bunderdenkmal und der Osterreiches Akademie der Wissenschaften. vol 1, 1983
Sources
Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986 p. 534
Contributors: Lee Sorensen
Citation
Lee Sorensen. "Bauer, Hermann." Dictionary of Art Historians (website). https://arthistorians.info/bauerh/.
More Resources
Search for materials by & about this art historian:
Place Born: Mechelen, Antwerpen, Flanders, Belgium
Place Died: Antwerp, Flanders, Belgium
Home Country/ies: Belgium
Subject Area(s): Baroque, Flemish (culture or style), Northern European, and painting (visual works)
Overview
Rubens scholar and director of the Rubenshuis. Baudouin studied during World War II. After the liberation of Belgium he assisted between 1946 and 1948 in the repatriation of artworks stolen by the Nazis. He worked as a research assistant at the Rijksmuseum in Amsterdam where he met the scholars Ludwig Burchard and Roger-Adolf d’Hulst. A delegation of Antwerp city officials visiting the museum in 1949, including the Burgomeister Lode Craeybeckx (1897-1976), noticed his activities and invited him back to his native Belgium. In 1950 Baudouin was hired to direct the Rubenshuis (Rubens House) as deputy keeper and the Middelheimpark. He also began teaching at the Katholieke Vlaamse Hogeschoolopleiding, a municipal school for training art professionals, and the Katholieke Vlaamse Hogeschool voor Vrouwen. In 1952 he was promoted to oversee two more of Antwerp’s art-historical museums as well, the Museum Smidt van Gelder and Museum Mayer van den Bergh, forming what came to be known as the “Kunsthistorische Museum.” His chief responsibilities included mounting exhibitions for these museums. He abandoned his Ph.D. research, which was on the eighteenth-century Antwerp architect Jan Pieter van Baurscheit the Younger. In 1954 he launched the “De Madonna in de Kunst” exhibition at the Koninklijk Museum voor Schone Kunsten. In 1956 Baudouin mounted the Rubenshuis exhibition on the artist’s drawings, together with d’Hulst to coincide with the 75th-birthday celebration of the Rubens scholar Burchard. The catalog was expanded in 1963 to become Rubens Drawings, and remains one of the most important monographs on the topic. In 1959 he and Roger-Adolf d’Hulst founded the Nationaal Centrum voor de Plastische Kunsten in de 16de en 17de eeuw, (today the Centrum voor de Vlaamse kunst van de 16de en 17de eeuw) principally to edit and publish the Corpus Rubenianum Ludwig Burchard. Other notable Rubenshuis exhibitions under Baudouin included “Tekeningen van P. P. Rubens” (1956), “Herinneringen aan Rubens” (1958), and “Antoon van Dyck tekeningen en olieverfschetsen” (1960). His “Rubens diplomaat” was held at the Rubenskasteel (Rubens Castle) in Elewijt in 1962. He chaired the Belgian committee of the International Council of Museums (ICOM) between 1968-1970. He was a founding member of the Museum devoted to Rubens’ patron, Nicolaas Rockox (1560-1640), in 1970. In 1971 he participated in a symposium and exhibition held at the Princeton University’s Art Museum, organized by Jack Martin. In 1977 he was placed in charge of the international exhibition of the 400th anniversary of Rubens’ birth, “P. P. Rubens: schilderijen, olieverfschetsen, tekeningen” jointly organized by the City of Antwerp, the Ministerie van Nederlandse Cultuur (Ministry for Dutch Culture) and the Royal Museum of Fine Arts. He retired as director of the Antwerp art museums at the end of 1980. The following year he organized an exhibition held at the (Seibu Bijutsukan) Seibu Museum of Art Tokyo, Japan, and sponsored by the Tokyo Shimbun and the Ministry of the Flemish Community for Cultural Affairs, Belgium. He, Christopher Brown, and Hans Vlieghe wrote the exhibition catalog for the 1999 Anthony van Dyck traveling exhibition. At the time of his death he was working on the volume for the Corpus Rubenianum on Rubens and architecture, a significant part of which was the Rubenshuis which Baudouin directed.
Selected Bibliography
[complete bibliography:] “Frans Baudouin: Bibliografie.” Rubens in Context: Selected Studies: Liber Memorialis. Antwerp: Centrum voor de Vlaamse Kunst van de 16e en de 17e eeuw/Bai, 2005, pp. 13-23; and Brown, Christopher, and Vlieghe, Hans. Van Dyck 1599-1641. New York: Rizzoli/St. Martin’s Press, 1999; Pietro Pauolo Rubens. New York: Abrams, 1977; Rubens et son siècle. Antwerp: Fonds Mercator, 1972; and Burchard, Ludwig, and Hulst, Roger d’. Tekeningen van P. P. Rubens. Antwerp: Uitgeverij ontwikkeling, 1956; Herinneringen aan P. P. Rubens. Antwerp: Rubenhuis, 1958; and Hulst, Roger d’, and Vey, Horst. Antoon Van Dyck, tekeningen en olievenfschetsen. Deurne-Antwerp: C. Govaerts, 1960; Rubens diplomaat. Brussels: Editions de la Connaissance, 1962; and Hulst, Roger d’. Tekeningen van Jacob Jordaens, 1593-1678. Antwerp: Rubenshuis, 1966; and Hulst, Roger d’. Rubens en zijn tijd. Tekeningen uit Belgische verzamelingen. Antwerp: Rubenshuis, 1971; P. P. Rubens: Paintings, Oilsketches, Drawings. Antwerp: Royal Museum of Fine Arts, 1977; Rubens en zijn tijd. Japan: Hokkaido Musem of Modern Art, 1982; Martin, John Rupert, ed. Rubens before 1620. Princeton, NJ: Art Museum, Princeton University, 1972.
Sources
[obituaries:] De Poorter, Nora. “Frans Baudouin: A Brief Biography.” Rubens in Context: Selected Studies: Liber Memorialis. Antwerp: Centrum voor de Vlaamse Kunst van de 16e en de 17e eeuw/Bai, 2005, pp. 9-12; Baumstark, Reinhold. “Vondelprijs 1989 voor ereconservator Frans Baudouin.” Cultureel Jaarboek Stad Antwerpen 7 (1989): 21-24; Vlieghe, Hans. “In Memoriam: Frans Baudouin.” HNA Newsletter and Review of Books 22 no.2 (November 2005): 2-3. http://www.hnanews.org/archive/newsletters/nov2005.pdf.
Citation
"Baudouin, Frans." Dictionary of Art Historians (website). https://arthistorians.info/baudouinf/.
More Resources
Search for materials by & about this art historian:
Rubens scholar and director of the Rubenshuis. Baudouin studied during World War II. After the liberation of Belgium he assisted between 1946 and 1948 in the repatriation of artworks stolen by the Nazis. He worked as a research assistant at the Ri
Nazi-appointed director of the Folkwang Museum in Essen, after the forced retirement of Ernst Gosebruch. Baudissin, as part of a commission headed by the painter and president of the Reich Culture Chamber, Adolf Ziegler, seized over 5,000 works from private and public collections including Emil Nolde, Erich Heckel, Ernst Ludwig Kirchner and Max Beckmann. Also confiscated were works by Georges Braque, Marc Chagall, Giorgio de Chirico, Robert Delaunay, André Derain, Theo van Dösburg, James Ensor, Paul Gauguin, Vincent van Gogh, Albert Gleizes, Alexei Jawlensky, Wassily Kandinsky, Fernand Léger, El Lissitzky, Franz Masereel, Henri Matisse, László Moholy-Nagy, Piet Mondrian, Edvard Munch, Pablo Picasso, Georges Rouault, and Maurice Vlaminck. In 1937 he was part of a three-person commission, with the artist Wolfgang Willrich and the journalist Walter Hansen (b. 1934) that designed the “Entartete Kunst” (Degenerate Art) exhibition in Munich, Germany.
Selected Bibliography
“Zeichenmeister und Maler in Heidelberg von 1720-1805.” Neues Archiv für die Geschichte der Stadt Heidelberg 11 (1924): 217-243.
Sources
Stockhorst, Erich. Fünftausend Köpfe: Wer war Was im Dritten Reich. [Velbert, Kettwig] Blick & Bild Verlag, 1967, p. 44; Petropoulos, Jonathan. The Faustian Bargain: the Art World in Nazi Germany. New York: Oxford University Press, 2000.
Citation
"Baudissin, Klaus, Graf von." Dictionary of Art Historians (website). https://arthistorians.info/baudissink/.
More Resources
Search for materials by & about this art historian:
Nazi-appointed director of the Folkwang Museum in Essen, after the forced retirement of Ernst Gosebruch. Baudissin, as part of a commission headed by the painter and president of the Reich Culture Chamber, Adolf Ziegler,
Place Born: Neustadt-Glewe, Mecklenburg-Vorpommern, Germany
Place Died: Freiburg im Breisgau, Hesse, Germany
Home Country/ies: Germany
Subject Area(s): Dutch (culture or style) and painting (visual works)
Overview
Rembrandt scholar and professor of art history, Freiburg. The son of a Mecklenburg judge, Bauch served as cadet and a second lieutenant in the imperial navy, 1916-18. After a 1919-21 volontariat at the Schweriner Museum in Rostock, Germany, under Albert Brinckmann, Bauch studied art history at the universities in Berlin, under Adolph Goldschmidt and Munich, under Heinrich Wölfflin. Bauch also spent time in the art-historical academies of Vienna, where since 1909 two nearly antithetical institutes existed, one run by Julius Alwin von Schlosser and the other by Josef Rudolf Thomas Strzygowski. After brief employment at the Sankt Annen Museum in Lubeck, he obtained his doctorate in Freiburg in 1922 writing his dissertation under Hans Jantzen. Jantzen was to remain a powerful influence on Bauch his life. Bauch’s dissertation was on the artist Jakob Adriaensz Backer (1608-1651), a pupil of Rembrandt. Bauch served 1924-1926 as an assistant in the Hague with the famous Rembrandt scholar, Cornelis Hofstede de Groot. In 1927, Bauch’s habilitationsschrift, Die Kunst des jungen Rembrandt appeared. Bauch taught medieval and early modern art history as a privatdozent between 1927-31 in Freiburg, moving to Frankfurt in 1932, also as a privatdozent. He joined the Nazi party (NSDAP) the year of their accession to power, 1933, allowing him to returned to Freiburg as Ordinarius (full) professor and succeeded Jantzen. He continued to publish during World War II under the Nazi regime, joining the Marine War Office, 1939-1944. During this time he published a patriotic booklet, Das eiserne Kreuz (“The Iron Cross,” 1941). However, at the same time he sheltered and “protected” (quotation marks, Heckscher) the art historian Lotte Brand Foerster when she fled Hamburg and Nazi persecution. He resumed his ordinarius professorship at Freiburg in 1945, publishing books on medieval scholarship and Asian art, retiring in 1962. Bauch’s focus on the early, Leyden years of Rembrandt (1626-32) was based on the premise that each individual work of art is fully valid unto itself and that early works were not immature preambles leading to greater accomplishments. Bauch’s methodology conceived of two spheres of the history of art. Firstly the purely artistic aspects, demonstrating the approach of Munich teacher Wöllflin. The second sphere, the historic one, where outside influences and social forces help determine the content of art. Bauch published numerous pronouncements on the authenticity of Rembrandt paintings which the Rembrandt Research Project, founded in 1968, supported. He adopted an ahistorical, philosophical approach to art in the 1940s and 50s based upon the philosophical foundations of the phenomenology and the ontology of Edmund Husserl (1859-1938) and Martin Heidegger (1889-1976). In a contribution to a volume for Martin Heidegger’s 60th Anniversary, Bauch commented on the topic of the singularity of art. The art historian will only fully understand the work of art, Bauch contended, where the form cannot be analyzed or defined. A universal scholar, his writings covered the Middle Ages and the modern era, Italy, Germany and the Netherlands. He also wrote a history of the oriental art (Abendländische Kunst, 1952).
Selected Bibliography
[dissertation, Freiburg, 1922] Jakob Adriaensz Backer: ein Rembrandtschüler aus Friesland. Berlin: G. Grote, 1926; [habilitation] Die Kunst des jungen Rembrandt. Heidelberg: C. Winter, 1933; Rembrandt Gemälde. Berlin: de Gruyter, 1966; Der frühe Rembrandt und seine Zeit; Studien zur geschichtlichen Bedeutung seines Frühstils. Berlin: Gebr. Mann, 1960; Das mittelalterliche Grabbild: figürl. Grabmäler d. 11.-15. Jh. in Europa. New York: de Gruyter, 1976; Studien zur Kunstgeschichte. Berlin: de Gruyter, 1967; Abendländische Kunst. Dusseldorf: L. Schwann, 1952; Das eiserne Kreuz, 1813/1939. Berlin: E. S. Mittler, 1941; “Die Kunstgeschichte und die heutige Philosophie.” in, Martin Heideggers Einfluss auf die Wissenschaften aus Anlass seines sechzigsten Geburtstages. Bern: A. Francke, 1949, pp. 88-93.
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. 48 mentioned; Metzler Kunsthistoriker Lexikon. 2nd ed. Stuttgart: J. B. Metzler, 2007, pp. 11-13; William S. Heckscher. “Reminiscences of Lotte Brand Philip.” Tribute to Lotte Brand Philip: Art Historian and Detective. New York: Abaris Books, 1985, p. 10, mentioned; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. 2nd ed. Stuttgart: Metzler, 2007, pp. 10-13; [obituary:] Sauerländer, Willibald. “Kurt Bauch.” Kunstchronik 28 no. 10 (October 1975): 375-379.
Citation
"Bauch, Kurt." Dictionary of Art Historians (website). https://arthistorians.info/bauchk/.
More Resources
Search for materials by & about this art historian:
Rembrandt scholar and professor of art history, Freiburg. The son of a Mecklenburg judge, Bauch served as cadet and a second lieutenant in the imperial navy, 1916-18. After a 1919-21 volontariat at the Schweriner Museum in Rostock, German
Place Born: Charleroi, Hainaut, Province de, Wallonia, Belgium
Place Died: Brussels, Brussels-Capital Region, Belgium
Home Country/ies: Belgium
Subject Area(s): Netherlandish and Northern Renaissance
Career(s): curators
Overview
Bruegel specialist; Curator Cabinet des Estampes, Bibliothèque royale de Belgique. René van Bastelaer was the son of Désiré Alexandre Henri van Bastelaer (1823-1907), a distinguished pharmacist, chemist, and archaeologist. His mother was Elisa van der Spiecke. Van Bastelaer obtained his BA degree from the Faculty of Arts of the Catholic University of Louvain. Rather than continuing his studies he trained in the studio of the history painter Antoine Van Hammée (1836-1903). Van Bastelaer was particularly attracted to engraving. In 1885 he became an intern at the Print Room of the Bibliothèque royale in Brussels under Henri Hymans. This was the beginning of his long career at this institution. In 1899 he was appointed deputy curator. In 1901-1902 the Académie royale des Sciences, des Lettres et des Beaux-Arts de Belgique published his award winning essay on the rivalry between engraving and photography, and the role of engraving in the future, La rivalité de la gravure et de la photographie et ses conséquences. Étude du rôle de la gravure en taille-douce dans l’avenir. Van Bastelaer was promoted to the position of curator in 1904, as the successor of Hymans. For several years he taught the history of engraving at the Institut supérieur d’Histoire de l’Art et d’Archéologie located in the Brussels Musées royaux des Beaux-Arts. He befriended the artist Jakob Smits (1855-1928), and practiced etching. Van Bastelaer held a special interest in Pieter Bruegel the Elder. In collaboration with Georges Nicolas Marie Hulin de Loo he published, in 1907, a monograph on this artist, Pieter Bruegel l’ancien, son oeuvre et son temps, including a catalogue raisonné of his drawings, engravings, and paintings, the latter by Hulin de Loo. In 1908 Van Bastelaer published a separate catalog of the prints of Pieter Bruegel the Elder, Les estampes de Pieter Bruegel l’Ancien. In 1920 Van Bastelaer was elected corresponding member of the Académie royale de Belgique, Classe des Beaux-Arts. He retired in 1930 and was succeeded, in 1932, by Louis I. J. J. Lebeer. Van Bastelaer was a member of the Commission royale des Monuments et des Sites. In 1936 he was elected a member of the Académie royale de Belgique. He headed the Classe des Beaux-Arts in 1939. Van Bastelaer’s pioneering work consists in the revaluation of Bruegel, who in the two previous centuries was regarded most often as a minor painter of drolleries. Van Bastelaer’s monumental study was preceded by the critical contributions by Hymans in the Gazette des Beaux-Arts (1890-1891), “Pierre Bruegel le Vieux.” In 1905 Axel Ludvig Romdahl (1880-1951) published “Pieter Brueghel der Àltere und sein Kunstschaffen” in Jahrbuch der Kunsthistorischen Sammlungen des Allerhöchsten Kaiserhauses. Van Bastelaer characterized Bruegel as a pure Flemish realist, a draughtsman and painter of popular and real-life scenes, living in close connection with his people. He also saw Bruegel as independent from foreign influences, with even his Italian journey having little impact on his art. Other scholars, however, including Max Dvořák, Charles de Tolnay, Hugh Popham, proposed a different approach to Bruegel’s art and person. Dvořák, for example, situated the artist in a broader artistic and cultural European context, in contact with Italian art and Mannerism, well beyond Flemish realism. In his last volume (1937) of Die Altniederländische Malerei, dedicated to Bruegel, Max J. Friedländer stated that the work of Van Bastelaer and Hulin de Loo was still the most reliable guide on Bruegel. Friedländer characterized Bruegel as the antithesis of the Renaissance artist. Van Bastelaer’s contribution to Bruegel research is given due consideration in the extensive overview of the Bruegel’s reception by Édouard Michel, which he published in 1938 in the Gazette des Beaux-Arts, “Bruegel et la critique moderne”. The question of the Bruegel reception was later discussed by Fritz Grossmann.
Selected Bibliography
La rivalité de la gravure et de la photographie et ses conséquences. Étude du rôle de la gravure en taille-douce dans l’avenir. Brussels: Académie royale des Sciences, des Lettres et des Beaux-Arts de Belgique, 1901-1902; and Hulin de Loo, Georges. Peter Bruegel l’Ancien, son oeuvre et son temps: étude historique suivie des catalogues raisonnés de son Åuvre dessiné et gravé, par R. van Bastelaer et d’un catalogue raisonné de son Åuvre peint, par Georges H. de Loo. Brussels: G. van Oest, 1907; Les estampes de Peter Bruegel l’Ancien. Brussels: G. van Oest, 1908; Les dessins de Pierre Bruegel l’Ancien appartenant au Cabinet des estampes de la Bibliothèque royale de Belgique: album de reproductions. Brussels: Les Presses de C. van Cortenbergh, 1924; The Prints of Peter Bruegel the Elder. Catalogue raisonné. San Francisco, CA: Alan Wofsy Fine Arts, 1992.
Sources
Friedländer, Max J. Pieter Bruegel. Early Netherlandish Painting vol. 14. Leyden: A. W. Sijthoff, 1976, pp. 12, 41; Michel, Édouard. “Bruegel et la critique moderne” Gazette des Beaux-Arts 19 (1938): 27-46; Mauquoy-Hendrickx, Marie. “René Van Bastelaer.” Biographie nationale de Belgique 33 (1965-66), p. 58-59; Lavalleye, Jacques. “Notice sur René Van Bastelaer.” Annuaire de l’Académie (1967); Grossmann, Fritz. Pieter Bruegel, Complete Edition of the Paintings. Oxford: Phaidon Press, 1973 (third revised edition); Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, p. 506.
Contributors: Monique Daniels
Citation
Monique Daniels. "Bastelaer, René van." Dictionary of Art Historians (website). https://arthistorians.info/bastelaerr/.
More Resources
Search for materials by & about this art historian:
Bruegel specialist; Curator Cabinet des Estampes, Bibliothèque royale de Belgique. René van Bastelaer was the son of Désiré Alexandre Henri van Bastelaer (1823-1907), a distinguished pharmacist, chemist, and archaeologist. His mother was Elisa van
Place Died: Cento, Forlì-Cesena, Emilia-Romagna, Italy
Home Country/ies: Italy
Subject Area(s): Italian (culture or style), Italian Renaissance-Baroque styles, and Renaissance
Career(s): clergy
Overview
Italian priest who wrote the first serious biographical account of artists of Ferrara, beginning in 1704, and other histories of art. Baruffaldi was the son of the collector and scholar Nicolò Baruffaldi (1645-1748). He initially attended the Jesuit seminary in Ferrara before studying under his father. He was ordained a priest, then a doctor of philosophy, joining the literary Colonia Ferrarese dell’Arcadia. He wrote historical treatises and poetry under the pseudonym “Cluento Nettunio.” After publishing a history of the city of Ferrara in 1700, he began working on a biography of Ferrara artists, Vite de’ pittori e scultori ferraresi, in 1704, based on the popular model of Giorgio Vasari and more closely Giovanni Baglione. However, he was exiled to the Veneto for political reasons in 1711, and on his return in 1713, other works caught his attention. In addition to poetry and histories, he publish art titles such as Museo Volpiano: baccanale in 1720 and a work on the art of the stations of the cross with Giovanni Andrea Barotti (1701-1772), which appeared in 1732. His history of the University of Ferrara, co-authored with Ferrante Borsetti Ferranti Bolani (1682-1764) was published in 1735. He held a number of university and church appointments. In his capacity as arch-priest of Cento, Baruffaldi became a protector of artists. A project to rebuild the collegiate church together with Alfonso Torreggiani was completed in 1744. However, Baruffaldi died without completing his most important work for art, his Lives, along with over 200 other manuscripts. The first volume of his project had to wait nearly one hundred years after his death to be issued.Vite de’ pittori e scultori ferraresi is the first Ferrara art history and remains an important primary source. Like his forerunners of artistic biography, Baruffaldi’s work contained errors and bias against other artists, e.g., Cosimo Tura.
Selected Bibliography
Dell’istoria di Ferrara. Ferrara: Per Bernardino Pomatelli, 1700; and Zanotti, Giampietro. Dialogo di Gio. Pietro Cavazzoni Zanotti pittore bolognese in difesa di Guido Reni steso in una lettera al sig. dottor Girolamo Baruffaldi. Venice: A. Bortoli, 1710; Museo Volpiano: baccanale. Ferrara : Per Bernardino Pomatelli, 1720; and Barotti, Giovanni Andrea. La via della croce: rime sacre. Con le considerazioni di Giovannandrea Barotti. Bologna: Stamperìa di Lelio dalla Volpe, 1732; and Borsetti Ferranti Bolani, Ferrante. Historia almi Ferrariæ gymnasü in duas partes divisa. 2 vols. Ferrara: typis Bernadini Pomatelli, 1735; Vite de’ pittori e scultori ferraresi. 2 vols. Ferrara: D. Taddei, 1844-1846.
Sources
“Vita dell’ autore.” in, Baruffaldi, Girolamo. Vite de’ pittori e scultori ferraresi. vol. 1. Ferrara: D. Taddei, 1844, pp. ix-xx; Barbon, D. La vita, i tempi e le oper di Girolamo Baruffaldi, ferrarese erudito del secolo XVIII. Feltre: Tip. P. Castaldi, 1904; Girolamo Baruffaldi (1675-1755): convegno nazionale di studi nel terzo centenario della nascita, sotto l’alto patronato del Presidente della Repubblica. Cento: Centro studi Girolamo Baruffaldi, 1977, specifically, Mezzetti, Amalia. and Mattaliano, Emanuele. “Un indice ragionato per le Vite del Baruffaldi.” pp. 459-68, and Cecchelli, Marco. “Girolamo Baruffaldi, iconografia, bibliografia, araldica.” pp. 937-1192; Zannini, Gian Lodovico Masetti. “Baruffaldi, Girolamo.” Dictionary of Art.
Citation
"Baruffaldi, Girolamo Cluento Nettunio." Dictionary of Art Historians (website). https://arthistorians.info/baruffaldig/.
More Resources
Search for materials by & about this art historian:
Italian priest who wrote the first serious biographical account of artists of Ferrara, beginning in 1704, and other histories of art. Baruffaldi was the son of the collector and scholar Nicolò Baruffaldi (1645-1748). He initially attended the Jesu
Full Name: Bartsch, Friedrich Joseph Adam, Ritter von
Other Names:
Friedrich Joseph Adam von Bartsch
Gender: male
Date Born: 1798
Date Died: 1873
Place Born: Vienna, Vienna state, Austria
Place Died: Vienna, Vienna state, Austria
Home Country/ies: Austria
Subject Area(s): ancient, Ancient Greek (culture or style), Classical, and Roman (ancient Italian culture or period)
Overview
Author of a history of Greek and Roman artists. Bartsch was the son of the more famous, Adam von Bartsch. From 1814 onwards he assisted his father in the imperial library collection of prints. In 1818 he published a catalog of his father’s collection, the Catalogue des estampes de J. Adam de Bartsch. He succeeded his father at the imperial print collection in 1827. In 1835 Bartsch issued a history of artists of the classical Greek and Roman era, Chronologie der griechischen und römischen Künstler. Like his father, too, he was an etcher.
Selected Bibliography
Catalogue des estampes de J. Adam de Bartsch. Vienna: De l’impr. d’A. Pichler, 1818; Die Kupferstichsammlung der K. K. Hofbibliothek in Wien: In einer auswahl ihrer merkwürdigsten Blaetter. Vienna: Braumüller, 1854; Chronologie der griechischen und römischen Künstler: bis zu Ablauf des fünften Jahrhundertes nach Christi Geburt: nebst vorangehender Uebersichtstafel der aegyptischen Kunst. Vienna: Bei Rohrmann und Schweigerd, 1835.
Sources
Rieger, R. “Bartsch, Friedrich Josef Adam.” Allgemeines Künstlerlexikon: die bildenden Künstler aller Zeiten und Völker. vol. 7. Munich: K.G. Saur, 1993, p. 312.
Citation
"Bartsch, Friedrich Joseph Adam, Ritter von." Dictionary of Art Historians (website). https://arthistorians.info/bartschf/.
More Resources
Search for materials by & about this art historian:
Author of a history of Greek and Roman artists. Bartsch was the son of the more famous, Adam von Bartsch. From 1814 onwards he assisted his father in the imperial library collection of prints. In 1818 he published a catalog
Subject Area(s): catalogues raisonnés and prints (visual works)
Career(s): curators
Overview
Museum curator; author of first modern comprehensive catalog of prints, Le Peintre-graveur. Bartsch was the son of a court official of Prince Starhemberg of Austria. He studied academic subjects at the University in Vienna and then drawing and engraving at Viennese Academy of Arts (Kupferstecherakademie) under Jacob Schmuzer (1733-1811). From 1777-1781 he worked in the Imperial Library, cataloging books. Between 1783-4 he was sent to Paris with the print collection’s registrar, Paul Strattmann, to acquire the print collection of the Johann Anton de Peters (1725-1795). Though this attempt was unsuccessful (it was snapped up by the Bibliothèque Royale in Paris) Bartsch learned the art of analyzing prints quickly and first hand. He used his time in Paris to study other print collections, and was successful in purchasing twenty-one Rembrandt prints from Pierre-François Basan (1723-1797). In 1784 Bartsch was in Brussels, where he met the art dealer Domenico Artaria (1765-1823) and further to the Netherlands. Returning to Vienna, Bartsch received his first commission for a catalogue raisonné of prints, that of the collection of Charles Antoine Joseph, Prince de Ligne (1759-1792). Ligne’s death in one of the first battles of the Franco-Austrian war meant Bartsch’s catalog was in fact an auction catalog (it was published in 1794). In it, Bartsch set out the organizing principles of what would be his famous later work, Le Peintre graveur. In 1791 he was appointed curator of the imperial print collection by its director, Gottfried, Baron van Swieten (1734-1803). Bartsch purchased prints, mostly Italian and German ofthe 15th- and 16th-centuries, including those by Marcantonio Raimondi, Heinrich Aldegrever, Wenceslas Hollar, Rembrandt van Rijn, Jacque Callot and Claude Lorrain. The Imperial collection expanded nearly 20-fold under his direction. Bartsch was elected to the Viennese Academy of Fine Arts in 1792. In 1794 was named adviser to Albert, Duke of Saxe-Teschen, on his drawings collection. In 1795 Bartsch embarked upon a series of artist’s oeuvre catalogs, beginning with the prints of Antoni Waterloo (1610-1690). Catalogs of the prints of Guido Reni and his pupils, (1795), Rembrandt (1797) and Lucas van Leyden (1798) followed. When the woodblocks commissioned by Emperor Maximilian I celebrating the achievements of his reign were discovered in a monastery, Bartsch set about reprinting them. This series, beginning with Der Triumphzug Kaiser Maximilians I (135 woodcuts, 1796), Die Ehrenpforte (1799), Der Weisskunig (1799) and Die Heiligen aus der Sipp-, Mag- und Schwägerschaft des Kaisers Maximilian I gained him a great reputation. But Bartsch’s greatest achievement lay yet before him. Beginning in 1803, he issued his systematic catalog of major graphic artists, Le Peintre-graveur. In 1812 he was knighted for his work and in 1816 placed in charge of the print collection. Bartsch continued to issue his catalog, completing the final volume of the 21-volume set in 1821, the year of his death. To Bartsch, the term peintres graveur was assigned only to highest graphic works. As opposed to those engravers who merely copied other works, Bartsch viewed the “painter engravers” as artists with originality and technical accomplishment. Bartsch summarized his findings in a collector’s manual entitled Anleitung zur Kupferstichkunde, also published in 1821. His son Ritter Friedrich Joseph Adam von Bartsch, followed him in office of the collection of the Imperial library and was also a knighted as art historian. Bartsch’s classification of prints draws heavily from the lists and annotations made by Pierre-Jean Mariette, fils (1694-1774) the son of the Parisian art dealer and the compiler of print collection of Prince Eugene of Savoy. Mariette’s classification, which included an index of prints, was divided by art periods and artists (in alphabetical sequence) to create a finding aid to the imperial collection. Bartsch’s Peintre-graveur used this classification schema, organizing more than 500 artists by country and school. Each entry was subdivided by subject-matter. He added brief descriptions of the print for easier identification as well as differences in states, and rarity. To help distinguish fakes, illustrations were provided. Bartsch’s work became the first modern print oeuvre catalog in that his systemization depended upon no particular collection or theme. It was intended for collectors, connoisseurs and historians to further scholarship. Following his death, other corpora followed, in some cases addressing artist who were thought not to be peintre-graveurs, such as the 1829 catalog of Maarten van Heemskerck by the librarian Thomas Kerrich (1748-1828). Additional contributors to the Le Peintre-graveur included Joseph Heller.
Selected Bibliography
Le Peintre-graveur. 21 vols. Vienna: J. V. Degen, 1803-21; revised and reissued as The Illustrated Bartsch. Walter Strauss, editor. New York: Abaris, 1978- ; Anleitung zur Kupferstichkunde. Vienna: J. B. Wallishausser, 1821, English: Concerning the Administration of the Collection of Prints of the Imperial Court Library in Vienna. New York: Abaris, 1982; Catalogue raisonné de toutes les estampes qui forment l’œuvre de Rembrandt et ceux de ses principaux imitateurs. Vienna: A. Blumauer, 1797.
Sources
Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, p. 382; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. 2nd. Stuttgart: Metzler, 2007, pp. 9-10; Suffield, Laura. “Adam von Bartsch.” Dictionary of Art; Koschatzky, Walter. “Adam von Bartsch: An Introduction to his Life and Work.” The Illustrated Bartsch, vol. 1, pt. 1. New York: Abaris, 1978, pp. vii-xvii; Rieger, R. “Bartsch, Johann Adam.” Allgemeines Künstlerlexikon: die bildenden Künstler aller Zeiten und Völker. vol. 7. Munich: K.G. Saur, 1993, pp. 313-14; Stix, Alfred, ed. “Pariser Briefe des Adam Bartsch aus dem Jahre 1784.” Festschrift für Max J. Friedländer: Zum 60. Geburtstag. Leipzig: E. A. Seemann 1927, pp. 312-351.
Contributors: HB and Lee Sorensen
Citation
HB and Lee Sorensen. "Bartsch, Adam von." Dictionary of Art Historians (website). https://arthistorians.info/bartscha/.
More Resources
Search for materials by & about this art historian:
Museum curator; author of first modern comprehensive catalog of prints, Le Peintre-graveur. Bartsch was the son of a court official of Prince Starhemberg of Austria. He studied academic subjects at the University in Vienna and then drawin
