Wallen, Burr E.
Full Name: Wallen, Burr E.
Other Names:
- Burr E. Wallen
Gender: male
Date Born: 1941
Date Died: 24 September 1991
Place Died: Santa Barbara, Santa Barbara, CA, USA
Home Country/ies: United States
Subject Area(s): painting (visual works) and Renaissance
Overview
Northern Renaissance painting specialist, professor of art, University of California, Santa Barbara, 1976-1991. Wallen was raised in Mt. Vernon, New York. He graduated from Princeton Univeresity in 1963 where the mentorship of professor Robert A. Koch greatly influenced him. He continued with a Woodrow Wilson Fellowship and other awards at New York University’s Institute of Fine Arts. His master’s degree was granted in 1965. Wallen was awarded a curatorial fellowship at the National Gallery of Art to complete his dissertation on the topic of Jan Sander van Hemessen. He received a doctorate in 1976 and immediately was appointed faculty at UCSB in 1976. In 1981 wrote the catalog, The Cubist Print, for the exhibition of the same name at the National Gallery in Washgington, D. C. He was promoted to associate professor in 1982. A revised version of his thesis on Hemessen was published in 1983. Wallen rose to professor in 1991. He died at his home after a long illness. A second book, Bosch and Vainglory: The Forgotten Deadly Sin near completion at the time of his death, was never published. His students included Hans van Miegroet. Wallen was noted for his research on the history of prints of all ages, particularly the etchings of Canaletto, Sonia Delaunay, and Picasso. His Cubist Print catalog remains one of the major discussions of the genre.
Selected Bibliography
[master’s thesis:] A Majolica Service for Isabella d’Este. New York University, Institute of Fine Arts, 1966; [dissertation:] Hemessen: Style and Iconography. New York University, 1976; and Stein, Donna. The Cubist Print. Santa Barbara: University Art Museum, University of California, Santa Barbara, 1981; Jan van Hemessen: an Antwerp Painter between Reform and counter-reform. Ann Arbor, MI: UMI Research Press, 1983.
Sources
Ayres, Larry M. “Burr E. Wallen – Santa Barbara.” University of California: In Memoriam, 1993 http://texts.cdlib.org/view?docId=hb0h4n99rb&chunk.id=div00082&brand=calisphere&doc.view=entire_text .
Northern Renaissance painting specialist, professor of art, University of California, Santa Barbara, 1976-1991. Wallen was raised in Mt. Vernon, New York. He graduated from Princeton Univeresity in 1963 where the mentorship of professor
Full Name: Walker, John, III Other Names: Gender: male Date Born: 24 December 1906 Date Died: 16 October 1995 Place Born: Pittsburgh, Allegheny, PA, USA Place Died: Amberley, Gloucestershire, England, UK Home Country/ies: United States Career(s): curators First chief curator and second director of the National Gallery of Art, Washgington, D. C. Walker was born to a wealthy Pittsburgh industrialist family, Hay Walker III (d. 1925) and Rebekah Friend (Walker), whose fortune, like that of the Fricks and Mellons, came from iron ore and steel. His parents divorced early and Walker lived with his mother. At age 13, he contracted polio and was confined to a wheel chair for many years. Because of this, he frequently visited the Metropolitan Museum of Art, New York, and gained a love of paintings. He attended Harvard University, where his coursework included the museum and connoisseurship classes of Paul J. Sachs. In his junior year, 1928, he helped found the Harvard Society for Contemporary Art together with fellow students Lincoln Kirstein (1907-1996) and Eddie Warburg, which sponsored exhibitions of contemporary artists in rented rooms. These included Thomas Hart Benton, Edward Hopper, George Bellows and Alexander Calder. After graduating from Harvard summa cum laude in 1930, Walker continued study with Bernard Berenson for three years at Villa I Tatti, where the two developed a lasting friendship. In 1935 Walker was appointed professor in charge of fine arts at the American Academy in Rome. There he met and married Margaret Gwendolyn Mary “Margie” Drummond (d.1987), the eldest daughter of the British ambassador and the 16th Earl of Perth. While in Rome, too, he completed the negotiations with Berenson to cede his villa to Harvard as a study center after Berenson’s death. During this time in Italy, Walker learned of plans by art patron Andrew Mellon (1855-1937) to create a national art gallery in Washgington, D. C., on the mall. Walker wrote Mellon’s son, Paul (1907-1999), who had been a childhood friend of Walker in Pittsburgh, asking for a position in the new museum. Walker came to the gallery temporarily in 1938 to supervise construction when Andrew Mellon and the museum architect, John Russell Pope (1874-1937), died within 24 hours of one another. One of three members of the building committee, he was largely responsible for the inner appearance of the gallery. In January 1939 he was appointed chief curator under first director David Finley. When World War II was declared, Walker’s physical limitations prevented him from participating in war activity, but he went to Europe in 1945 to help identify looted works of art by the Nazis. As chief curator, Walker devoted himself to the NGA, installing the acquisitions from the Mellon gifts (some which had recently been acquired from the Hermitage in Russia) and encouraging other donations. Walker succeeded Finley as director in 1956, beating out the Gallery’s secretary and legal council, Huntington Cairns (1904-1985). Walker’s friendship with Jacqueline Kennedy helped solidify the 1963 loan exhibition of the Mona Lisa to the National Gallery, on loan to President John F. Kennedy and the American people, from the French government. Throughout the years, Walker strengthen donor relationships with the Mellon family (Paul and his sister, Ailsa Mellon Bruce,1901-1969) and Joseph E. Widener (1872-1943), as well as creating new ones with Armand Hammer (1898-1990), and Lessing J. Rosenwald (1891-1979). His frustrations and ultimate success dealing with Chester Dale (1883-1962), a quixotic stockbroker and collector of magnificent 19th- and early-20th-century French paintings were outlined in his 1974 book Self-Portrait with Donors. Walker’s many spectacular acquisitions included Rembrandt’s Aristotle with the Bust of Homer, Fragonard’s La Liseuse, El Greco’s Laocoon, and the Ginevra de’ Benci by Leonardo da Vinci bought in 1967 from the Prince of Liechtenstein. He made the selections from the Samuel Kress collection of Renaissance art bequest. Walker was also responsible for the planning of the gallery’s east building expansion, designed by architect I M Pei and completed in 1978. In 1961, Walker took as his personal assistant the 25-year-old J. Carter Brown, whose father, John Nicholas Brown (1900-1979), had been a fellow student with Walker’s in Sachs’ classes. Brown succeeded Walker in 1969 as Director and Walker assumed the title Director Emeritus. Walker and his wife settled in Sussex, in Amberley (near Arundel), England, and Fishers Island, New York, spending winters in Florida. In his retirement he authored monographs on James McNeill Whistler and John Constable. Walker was one of the few major museum directors with a strong career in art history (as opposed to politics, as his predecessor had, or development, from which many modern directors are drawn). His writings on art drew the praise from Berenson, who was his principal mentor. Walker displayed Berenson’s attitude that museums’ successes lay in the quality of it collections as much as crowd pleasing. He took a conservative stance on cleaning of pictures, regarding aggressive cleaning as an act of vandalism. He was also forthright about his duty to curry favor for donations. ”In the United States,” he wrote in his autobiography, ”it is axiomatic that the undertaker and the museum director arrive almost simultaneously.’ Self-Portrait with Donors: Confessions of an Art Collector. Boston: Little, Brown, 1974; Bellini and Titian at Ferrara. A Study of Styles and Taste. London: Phaidon Press,1956; and Cain, J. Frederick. The Armand Hammer Collection: Five Centuries of Masterpieces. New York: Abrams, 1980; and Cairns, Huntington. Masterpieces of Painting from the National Gallery of Art. Washington, D.C.: National Gallery of Art/Random House, 1945; Great American Paintings from Smibert to Bellows, 1729-1924. London: Oxford University Press, 1943; James McNeill Whistler. New York: H. N. Abrams/National Museum of American Art, Smithsonian Institution, 1987; John Constable. New York: Abrams, 1978; National Gallery of Art, Washington, D.C. New York: H. N. Abrams,1963 [and subsequent eds.]; Joseph Mallord William Turner. New York: H. N. Abrams, 1976. 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. 122, mentioned; Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, p. 229; Walker, John A. Self-Portrait with Donors: Confessions of an Art Collector. Boston: Little, Brown, 1974; Weber, Nicholas Fox. Patron Saints: Five Rebels who Opened America to a New Art: 1928-1943. New York: Knopf, 1992; [obituaries:] Lowe, Ian. The Independent [London], October 28, 1995, p. 14; Powell, Earl A. “John Walker, A Washington love affair with great art.” The Guardian [London], October 20, 1995, p.18; The Times [London], October 19, 1995; Smith, Roberta. “John Walker, Washington Curator, Dies at 88.” The New York Times October 17, 1995, p. D25. Contributors: Lee Sorensen First chief curator and second director of the National Gallery of Art, Washgington, D. C. Walker was born to a wealthy Pittsburgh industrialist family, Hay Walker III (d. 1925) and Rebekah Friend (Walker), whose fortune, like that of the Fricks a Full Name: Walicki, Michał Gender: male Date Born: unknown Date Died: unknown Home Country/ies: Poland Subject Area(s): Baroque, Dutch (culture or style), Dutch Golden Age, and Netherlandish Renaissance-Baroque styles Scholar of the Dutch baroque; Warsaw University Professor. Walicki was a curator at the National Museum in Warsaw. In 1950 Walicki was arrested by the Stalinist regime and replaced by Stanislaw Lorentz. His students included Jan Białostocki. His methodology followed a strong connoisseurship model. Skubiszewski, Piotr. “Jan Białostocki” Burlington Magazine 81 (1989): 422. Scholar of the Dutch baroque; Warsaw University Professor. Walicki was a curator at the National Museum in Warsaw. In 1950 Walicki was arrested by the Stalinist regime and replaced by Stanislaw Lorentz. His students included
Full Name: Waley, Arthur Gender: male Date Born: unknown Date Died: unknown Home Country/ies: United Kingdom Subject Area(s): Asian, Central Asian, and prints (visual works) Career(s): curators Curator of Asian prints, British Museum. A Catalogue of Paintings recovered from Tun-huang by Sir Aurel Stein, K.C.I.E., Preserved in the Sub-Department of Oriental Prints and Drawings in the British Museum, and in the Museum of Central Asian Antiquities, Delhi. London: British Museum, 1931. Curator of Asian prints, British Museum. Full Name: Waldstein, Charles Other Names: Gender: male Date Born: 1856 Date Died: 1927 Place Born: New York, NY, USA Place Died: Naples, Campania, Italy Home Country/ies: United States Subject Area(s): Classical Early classical art historian at Cambridge University, part of the classical art studies curriculum created by Sidney Colvin. Waldstein was the son of Henry Waldstein and Sophie Srisheim (Waldstein), German Jewish immigrants. His father was a merchant in the city. The younger Waldstein attended Columbia College of Columbia University, New York, and then the university in Heidelberg for graduate work. He moved to England in 1876, receiving his Ph.D. at King’s College, Cambridge. His mentor was the scholar Henry Bradshaw (1831-1886). Waldstein entered teaching at Cambridge University as a lecturer in classics in 1880. In 1883 he was appointed to the first readership in classical archaeology, an initiative launched by Sidney Colvin, succeeding Colvin as director of the Fitzwilliam Museum as well. Waldstein’s interest within the classics were principally art. As no where in England were degrees given in art history, Waldstein pioneered the teaching the subject of classical sculpture, painting, and topography. In 1885 he published his first book a monograph on the (then believed to be) works of the fifth-century Greek sculptor Phidias, Essays on the Art of Pheidias. His belief in the object resulted in passionate advocating of plaster casts collections of ancient sculpture at Cambridge. He left the Fitzwilliam directorship in 1889 to become director of the American School at Athens, a position he held until 1893. He joined the excavations at Plataea 1889-1890, and then the tomb of Aristotle, Eretria beginning in 1891, before excavating the temple of Hera near the Argos in 1892-1895. The younger American scholar Joseph Clark Hoppin assisted him on the latter dig. His 1894 monograph on the art critic and art historian John Ruskin demonstrated his broad art interests. The first of his two Slade professorships of art at Cambridge began in 1895 (to 1901). His inaugural lecture was on the important of art [history] studies in universities. Waldstein joined Baron Pierre de Coubertin (1863-1937) to assist in (re)founding the Olympic games, competing himself and winning a silver medal for shooting for the United States, of which he was still a citizen, at the 1896 Athens games. He became a British subject in 1899. In 1904 he began a second Slade professorship, lasting until 1911. Waldstein married a New Yorker, Florence Seligman in 1909. The cast collection at the Fitzwilliam which he had largely assembled was separated in 1910, against Waldstein’s approval. He was knighted in 1912. The Waldstein’s Anglicized their name to Walston in 1918 to avoid association with Germany and the World War. This change and his peerage did not prevent accusations by George Edmund Milnes Monckton-Arundell, Viscount Galway, (1844-1931) of being a German sympathizer, which he fought in a libel suit after the War. He attempted, vainly it turned out, to create an international committee to preserve and exploration Herculaneum, ultimately blocked by the Italian government. Walston died in Naples in 1927. An undergraduate travel fund to Greece is named in his honor. Waldstein’s books are not read today and seem naive. His importance lies as a promoter and one of the founders of classical archaeology studies at University of Cambridge. Mary Beard describes his demeanor at Cambridge as somewhat “pushy,” though a dynamic lecturer. Essays on the Art of Pheidias. Cambridge, UK: Cambridge University Press, 1885; The Work of John Ruskin: its Influence Upon Modern Thought and Life. New York: Harper and Brothers, 1893; The Study of Art in Universities: Inaugural Lecture of the Slade Professor of Fine Art in the University of Cambridge. New York: Harper, 1896; Alcamenes and the Establishment of the Classical Type in Greek Art. Cambridge, UK: Cambridge University press, 1926; Notes on Greek Sculpture. I. The Constantinople Pentathlete and Early Athlete Statues. II. A Marble Draped Female Figure in Burlington House. Cambridge, UK: Cambridge University Press, 1927. -Nigel Spivey “Slander By Lord Galway, Walston v. Galway.” [biographical information] Times (London) March 29, 1919, p 4; Spivey, Nigel. “Walston (formerly Waldstein), Sir Charles.” Oxford Dictionary of National Biography; Beard, Mary. “Mrs. Arthur Strong, Morelli, and the Troopers of Cortés.” in, Donohue, A. A. and Fullerton, Mark D., eds. Ancient Art and its Historiography. Cambridge, UK: Cambridge University Press, 2002, pp. 152; [obituary:] “The Late Sir Charles Walston.” Times (London) Mar 24, 1927, 16. Early classical art historian at Cambridge University, part of the classical art studies curriculum created by Sidney Colvin. Waldstein was the son of Henry Waldstein and Sophie Srisheim (Waldstein), German Jewish immigrants Full Name: Waldmann, Emil Gender: male Date Born: 1880 Date Died: 1945 Place Born: Bremen, Germany Place Died: Würzburg, Bavaria, Germany Home Country/ies: Germany Waldmann’s touching eulogy to Julius Meier-Graefe demonstrated his appreciation for the historiography of art in genres other than his own. During his time as a student at Heidelberg, his colleagues included Rosa Schapire, Edwin Redslob, Walter Kaesbach, Ernst Kühnel. Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 449-52; [Meier-Graefe comment] Kultermann, Udo. The History of Art History. New York: Abaris, 1993, p. 156 Waldmann’s touching eulogy to Julius Meier-Graefe demonstrated his appreciation for the historiography of art in genres other than his own. During his time as a student at Heidelberg, his colleagues included
Full Name: Wagner-Rieger, Renate Other Names: Gender: female Date Born: 1921 Date Died: 1980 Place Born: Vienna, Vienna state, Austria Place Died: Vienna, Vienna state, Austria Home Country/ies: Austria Subject Area(s): architecture (object genre) and sculpture (visual works) Architectural and art historian. Rieger studied art history in 1942 at the University in Vienna writing her dissertation under Karl Maria Swoboda. She was hired as a research assistant in 1945. She worked during the de-Nazification of the University, becoming a Lecturer in 1956. That year, too, she married the historian Walter Wagner (b. 1923). At the same time her research on early gothic architecture in Italy and a paper on historicism presented to the 1964 International Congress of Art History in Bonn brought her to international attention. Wagner-Rieger was appointed associate professor in Vienna in 1964. She was appointed director of the Forschungsunternehmen Wiener Ringstrasse. She became an editor of the prestigeous Zeitschrift für Kunstgeschichte. In 1971 she was appointed professor of Austrian art history. Wagner-Rieger was not only a leading architectural historian, but particularly well known to the public. [complete bibliography] Österreichische Zeitschrift für Kunst und Denkmalpflege Wien 35 no 1-2 (1981): 71-77; also, Mitteilungen der Gesellschaft für Vergleichende Kunstforschung in Wien 33 no.3-4 (1981): 5-10. Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 446-9; Krause, Walter. “Wagner-Rieger, Renate.” Dictionary of Art; [Obituary] Österreichische Zeitschrift für Kunst und Denkmalpflege Wien 35 no 1-2 (1981): 70-71; Zeitschrift für Kunstgeschichte 44 no. 2 (1981): 196-198; “150 Jahre Kunstgeschichgte an der Universität Wien.” http://www.univie.ac.at/kunstgeschichte-tutorium/wienerschule/geschichte.htm. Architectural and art historian. Rieger studied art history in 1942 at the University in Vienna writing her dissertation under Karl Maria Swoboda. She was hired as a research assistant in 1945. She worked during the de-Nazi Full Name: Waetzoldt, Wilhelm Gender: male Date Born: 1880 Date Died: 1945 Place Born: Hamburg, Germany Place Died: Halle, Saxony-Anhalt, Germany Home Country/ies: Germany Halle professor of art history and Director General of the State Museums and Secretary in the Prussian Ministry of Culture 1927/1929-1933. Waetzoldt graduated from the Magdeburg “Unser Lieben Frauen” Gymnasium in 1899. He began studying philology, philosophy, literature and history at the universities of Berlin, Magdeburg and Hamburg. In 1903, he was awarded his Ph.D. from Berlin with a dissertation written on the philosphy of the dramatist Friedrich Hebbel (1813-1863), written under Wilhelm Dilthey (1833-1911). In 1901 he began studying art history, first under the medievalist Adolph Goldschmidt and then, more significantly, under Heinrich Wölfflin, whose Berlin art history institute Waetzoldt ran for all the year Wölfflin was in Berlin (1901-1912). Literature, however, was Waeztoldt’s primary publishing interest during these years. During the 1908-1909 year, he worked under a stipend (arranged by Berlin Museums director Wilhelm Bode) as an assistant at the Kunsthistorisches Institute in Florence. Following that, Waetzoldt moved to Hamburg to assist the independent art scholar Aby M. Warburg in running his magnificent library. This experience gave him entre in 1911 as Keeper of the library of the State Museums of Berlin, again called by Bode. In 1912 Waetzoldt was appointed Professor of Modern Art History at the University of Halle, replacing his mentor Goldschmidt. During the First World War, the 34-year-old Waetzoldt served as a reservist in the German army; his missions included the dangerous western front, fighting in the Battle of Soissons, and rising to the rank of lieutenant. Twice wounded, he was awarded the Iron Cross, second class in 1916 and returned to lecturing at Halle. In 1920 Waetzoldt was assigned to the Preußischen Kultusministerium (Prussian Ministry of Culture). He published an important biographical art historiography, Deutsche Kunsthistoriker during this time. In 1927 he was appointed Director General of the State Museums of Berlin. His tenure included the new building of the Pergamon Museum. He was named a Senator of the Preußischen Akademie der Künste (Prussian Academy of Arts) in 1929. The rise to power of the Nazis in 1933 meant trouble for Waetzoldt. He witnessed the mismissal of director of the National Gallery, Ludwig Justi for supporting modern art and the forced retirement of the director Kaiser Friedrich Museum, Max J. Friedländer, for being Jewish. The government accused Waetzoldt of fostering degenerate, i.e., modern art (“Entarteten Kunst”), financial irregularities, and the promotion Jews. Waeztoldt refused to join the NSDAP ( Nazi party), and returned to his Ordinarius professorship at Halle. There he acted as Dean of the Faculty of Philosophy between 1938 and 1940 and appointed honorary professor at the University of Berlin. During his final years, Waetzoldt produced less scholarly and more popular works fitting into the Nazi conception of German art, books on Albrecht Dürer and Hans Holbein. His vademecum, Du und die Kunst (You and Art) was given a special printing and distributed to the Hitler Youth. He died shortly before the conclusion of the war. Waetzoldt’s son was Stephan Waetzoldt Director of the Staatliche Museen Preussischer Kulturbesitz. His Halle students included Oskar Hagen. As an art historiographer Waetzoldt stood in the tradition of Ernst Heidrich Beiträge zur Geschichte und Methode der Kunstgeschichte (1917) and Julius Alwin von Schlosser Die Kunstliteratur (1924) and “Stilgeschichte” und “Sprachgeschichte” in der bildenden Kunst (1935), whom he dedicated his Deutsche Kunsthistoriker. His predecessors included Hans Hermann Russack Der Begriff des Rhythmus bei den deutschen Kunsthistorikern des XIX. Jahrhunderts (1910); Rudolf Kautzsch Der Begriff der Entwicklung in der Kunstgeschichte (1917); and Johannes Jahn Die Kunstwissenschaft der Gegenwert in Sebstdarstellung (1924). [complete bibliography (to 1940):] Deutschland – Italien: Beiträge zu de Kulturbeziehungen zwischen Norden und Süden: Festschrift für Wilhelm Waetzoldt. Berlin: G. Grote, 1941, pp. xx-xxxvi; [dissertation:] Hebbel und die Philosophie seiner Zeit. Berlin, 1903, issued, Gräfenhainichen: Druck von W. Hecker,1903; Deutsche Kunsthistoriker vom Sandrart bis Justi. 2 vols. Leipzig: E. A. Seeman, 1921-24. Wölfflin, Heinrich. Heinrich Wölfflin, 1864-1945: Autobiographie, Tagebücher und Briefe. Joseph Ganter, ed. 2nd ed. Basel: Schwabe & Co., 1984, p. 503; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. 2nd ed. Stuttgart: Metzler, 2007, pp. 472-475. Halle professor of art history and Director General of the State Museums and Secretary in the Prussian Ministry of Culture 1927/1929-1933. Waetzoldt graduated from the Magdeburg “Unser Lieben Frauen” Gymnasium in 1899. He began studying philology, Full Name: Waetzoldt, Stephan Gender: male Date Born: 1920 Home Country/ies: Germany Directory, Staatliche Museen Preussischer Kulturbesitz Berlin. Waetzoldt’s father was the high-profile German art historian Wilhelm Waetzoldt, director General of the State Museums in Berlin. and Mai, Ekkehard. Kunstverwaltung, Bau- und Denkmal-Politik im Kaiserreich. Berlin: Mann, 1981; and Möller, Lise Lotte, and Spielmann, Heinz, eds. Das Frühe Plakat in Europa und den USA: ein Bestandskatalog. Berlin: Gebr. Mann, 1973ff.; Die Kopien des 17. Jahrhunderts nach Mosaiken und Wandmalereien in Rom. Vienna: Schroll-Verlag, 1964. Directory, Staatliche Museen Preussischer Kulturbesitz Berlin. Waetzoldt’s father was the high-profile German art historian Wilhelm Waetzoldt, director General of the State Museums in Berlin. Full Name: Wackernagel, Martin Gender: male Date Born: 1881 Date Died: 1962 Place Born: Basel, Basle-Town, Switzerland Place Died: Cottens, Fribourg, Switzerland Home Country/ies: Switzerland Subject Area(s): patronage and Renaissance Institution(s): Westfälische Wilhelms-Universität Münster Scholar of Renaissance art patronage (largely through letters). Wackernagle hailed from a distinguished family of schoars. His father was the historian Rudolf Wackernagel, his uncle the Germanisten (German philologist) Wilhelm Wackernagel (1806-1869), and cousin the Sanskrit philologist Jacob Wackernagel (1853-1938). He wrote his dissertation in 1905 at the Humboldt-Universität in Berlin. That year he began as a research assistant to Arthur Haseloff on his trips to South Italy, photographing medieval art objects on glass plate, amassing nearly. 3200 examples. In 1909 he completed his habilitation, becoming a Privatdozent at the university at Halle. He married the poet Ilse von Stach in 1911. Wackernagel concluded his travels with Haselhof in 1915, appointed außerordentlicher (associate) Professor in 1917 at the university in Leipzig. He was called to the university in Münster (Westfalen) as ordentlicher (full) professor in 1920. He was conferred emeritus status in 1948. Der Lebensraum des Künstlers in der Florentinischen Renaissance. Leipzig: E. A. Seeman, 1938; English trans., The World of the Florentine Renaissance Artists: Projects and Patrons, Workshop and Art Market. Princeton: Princeton University Press, 1981. KRG, 1888 mentioned; KMP, 83; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 441-3; Albrecht, Uwe. ed. Arthur Haseloff und Martin Wackernagel: Mit Maultier und Kamera durch Unteritalien Forschungen zur Kunst im Südreich der Hohenstaufen (1905 -1915). Kiel: Ludwig, 2005 Contributors: Lee Sorensen Scholar of Renaissance art patronage (largely through letters). Wackernagle hailed from a distinguished family of schoars. His father was the historian Rudolf Wackernagel, his uncle the Germanisten (German philologist) Wilhelm WackernagelWalker, John, III
Overview
Selected Bibliography
Sources
Walicki, Michał
Overview
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Waley, Arthur
Overview
Selected Bibliography
Waldstein, Charles
Overview
Selected Bibliography
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Waldmann, Emil
Overview
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Wagner-Rieger, Renate
Overview
Selected Bibliography
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Waetzoldt, Wilhelm
Overview
Selected Bibliography
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Waetzoldt, Stephan
Overview
Selected Bibliography
Wackernagel, Martin
Overview
Selected Bibliography
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