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Wackenroder, Wilhelm Heinrich

Full Name: Wackenroder, Wilhelm Heinrich

Gender: male

Date Born: 1773

Date Died: 1798

Place Born: Berlin, Germany

Place Died: Berlin, Germany

Home Country/ies: Germany

Subject Area(s): German (culture, style, period) and Gothic (Medieval)


Overview

Significant influence on the development of German romantic feeling for gothic style; work on Nürnberg instituted the cult of Albrecht Dürer; ideas about the divine source or art influenced Schlegel and others,


Selected Bibliography

Herzensergiessungen eines Kunstliebended Klosterbruders. Berlin, 1797.;


Sources

KGK 145; SGE, xxiii-xiv, 281, Bazin 131; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 439-41.




Citation

"Wackenroder, Wilhelm Heinrich." Dictionary of Art Historians (website). https://arthistorians.info/wackenroderw/.


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Significant influence on the development of German romantic feeling for gothic style; work on Nürnberg instituted the cult of Albrecht Dürer; ideas about the divine source or art influenced Schlegel and others,

Waagen, Gustav Friedrich

Full Name: Waagen, Gustav Friedrich

Gender: male

Date Born: 1797

Date Died: 1868

Place Born: Hamburg, Germany

Place Died: Copenhagen, Hovedstaden, Denmark

Home Country/ies: Germany


Overview

Director of the Berlin Gemäldegalerie1830, and first professor of art history in Berlin; leader of the so-called Berlin School of art history. Waagen’s father was the painter Christian Friedrich Waagen (b. 1750) and mother was Johanna Luise Alberti (Waagen) (d.1807). The young Waagen was taken taken to art galleries as early as Dresden in 1801. His uncle was the romantic novelist Ludwig Tieck (1773-1853). Waagen attended the Gymnasium in Hirschberg, (Silesia) Germany. He spent a lengthy period in Rome with the German artists community living in there, including Schnorr von Carolsfeld, Joseph Anton Koch and J. F. Overbeck before his formal schooling. He volunteered in the Prussian army in 1813 to fight Napoleon and at his defeat in 1815, spent time in the Musée Napoléon, studying treasures before their repatriation. He began academic study at the university of Breslau (modern Poland) studying history, philosophy and philology in 1815 under the historian and Friedrich von Raumer (1781-1873). In 1818 he moved to Heidelberg where he studied the art collection of the brothers Sulpiz Boisserée and Melchior Boisserée. At Heidelberg he studied under the historians Friedrich Christoph Schlosser and the philologist Georg Friedrich Creuzer. He graduated with a degree in History in 1819 from Breslau. Throughout his career, the assistance of his friend and mentor Karl Friedrich von Rumohr introduced through his uncle, would be essential. Waagen visited Cologne, Aachen and the Netherlands after graduation (also in 1819), collecting material for a book on the van Eyck brothers. The work, über Hubrecht und Johann Van Eyck, 1822, was the first catalogue raisonné of painters. It also reevaluated the painting of the northern renaissance, which had been relegated to second-rate status through most of the eighteenth century. Waagen settled Munich 1820-23 before returning to Berlin to assist with the plans for comprehensive art museum akin to Paris, Munich and Dresden. In 1821 he assisted the purchase, together with Hirt and Rumohr, of the spectacular Edward Solly Collection (677 works). In 1824 he and the architect Karl Friedrich Schinkel visited Rome to study museums. A commission, headed by Wilhelm von Humbold and comprising Aloys Hirt and Rumohr among others was set up. When Humbold relinquished his duties as head of the committee, Rumohr nominated Waagen to head it. Waagen took charge of the Königliche Gemäldegalerie (Royal Paintings gallery) in 1830. He set about immediately issuing the first catalog of the collections. He married Blandine von Seehausen (1811-1880) in 1831. In 1833 he published his essays on Rubens, staunchly defending the baroque era and comparing Rubens to Beethoven. The book appeared in an English translation edited by Anna Jameson. In 1836 published his Kunstwerke und Künstler in England and Paris, the first attempt at survey of English art by any art historian. Always the exponent for the northern renaissance, Waagen published his second art-historical milestone, Handbuch der deutschen und niederländische Malerschulen which was translated into English and French. Waagen’s acquisitions for the Gemäldegalerie, many done with the likely advice of Rumohr, were spectacular. Waagen was a voracious traveler, in part through a discontent with the Prussian administration. He compiled large surveys of art of many European countries. In 1839 Waagen was the object of a public quarrel with the acting General Director of the Prussian Museums, Ignaz von Olfers (1793-1872). A work of Andrea del Sarto had been disastrously cleaned during one of Waagen’s many absences. The matter was only resolved in the Prussian senate. Waagen acquired a further 104 paintings acquired for the museum in Italy 1842. In 1844 Waagen was named “Professor of Modern Art History” at the University of Berlin, the first time art history was formally acknowledged as a university discipline. Waagen retained a particularly strong connection with England. He contributed, with G. B. Cavalcaselle and Johann David Passavant, to the catalog for the city of Liverpool Gallery, commissioned by Charles Lock Eastlake in 1850. In 1853, he examined the Berlin (later Darmstadt) version of Hans Holbein’s Burgomeister Meyer Madonna, now known to be the original. His opinion came to be part of the body of critical opinion considered in the so-called “Holbein convention” held in 1871. In 1854 he cataloged Prince Albert’s collection recently acquired from Prince Ludwig-Kraft-Ernst von Oetingen Wallerstein. He was reputedly considered the Prince’s choice to lead the National Gallery and was on personal terms with Eastlake, now its director, and Elizabeth Rigby Eastlake, who translated his book Treasures of Art in Great Britain (1854-57). He died suddenly while visiting Copenhagen and is buried in the Assistenz-Friedhof there. Julius Meyer succeeded him as director of the Gemäldegalerie. Waagen’s pre-eminence for art history lies in his conviction of the discipline. His book on the van Eyck was both the first monograph on either brother as well as the first catalogue raisonné of an individual painter. Unlike previous writers on art history, Waagen worked for a serious factual account of his artists. He was eager to disprove the legends surrounding the van Eycks, beginning with Vasari’s assertion that the invention of oil painting began with them. His catalogue raisonné arose from the need to establish a chronology of their work for future art historians to use (or modify) and to place them their work within the context of their contemporaries. Waagen also included spurious works in the catalog, envisioning the usefulness for collectors. He had a profound appreciation for the advances in connoisseurship that the Storia Pittorica of Luigi Antonio Lanzi had brought. His Kunstwerke und Künstler in England und Paris was greatly influenced by Passavant’s Kunstreise (1833). His personal tastes were of the time: he deplored Caravaggio as “low” and some contemporary work such as Turner and Fuseli. Together with Rumohr, he is seen as an early exponent of contextualizing art history of Renaissance artists. Waagen (preceded only by Franz Kugler, two years earlier) was among the first to use both the terms “Carolingian” and Ottonian for the unique style of Romanesque art first observed by Johann Dominico Fiorillo. Waagen’s “Ottonian art” concept emphasized its revival of antique modes following the Carolingian renaissance.


Selected Bibliography

über Hubert und Johann Van Eyck. Breslau: J. Max, 1822; Kunstwerke und Künstler in England and Paris. Berlin: 1837, English, [first two volumes only] Works of Art and Artists in England. London: J. Murray, 1838; Kunstwerke und Künstler in Deutschland. 2 vols. Leipzig: F. A. Brockhaus, 1843-1845; Treasures of Art in Great Britain: Being an Account of the Chief Collections of Paintings, Drawings, Sculptures, Illuminated Mss., &c., &c. 3 vols and index. London: J. Murray, 1854; Galleries and Cabinets of Art in Great Britain: Being an Account of More than Forty Collections of Paintings, Drawings, Sculptures, Mss., &c. &c. Visited in 1854 and 1856, and Now for the First Time Described. London: J. Murray, 1857; Verzeichniss der Gemälde-Sammlung des am 18. Januar 1861 zu Berlin verstorbenen königlichen schwedischen und norwesgishcen Konsuls J. H. W. Wagener, welche durch letztwillige Bestimmung in den Besitz seiner Majestät des Königs übergegangen ist. Berlin: R. Decker, 1861; Handbuch der deutschen und niederländsichen Malerschulen. Stuttgart: Ebner & Seubert, 1862; edited new edition, with Crowe, Joseph Archer. Kugler, Franz. Handbook of Painting: the German, Flemish and Dutch Schools: Based on the Handbook of Kugler. London: J. Murray 1874; and Woltmann, Alfred. Kleine Schriften: Mit einer biographischen Skizze und dem Bildniss des Verfassers. Stuttgart: Ebner & Seubert, 1875.


Sources

Waagen, Gustav. Kleine Schriften: Mit einer biographischen Skizze und dem Bildniss des Verfassers. Stuttgart: Ebner & Seubert, 1875; Waetzoldt, Wilhelm. Deutsche Kunsthistoriker vom Sandrart bis Justi. 2 vols in 1. Berlin: Bruno Hessling, 1965, pp. (2) 29-45; Salerno, Luigi. “Historiography.” Encyclopedia of World Art. 7: 523, mentioned; Lightbown, Ronald W. “An Introduction to the 1970 Edition.” in, Waagen, Gustav. Works of Art and Artists in England. [facsimile reprint.] 3 vols. London: Cornmarket Press, 1970: unpaginated, 1 [i-ix]; Bickendorf, Gabriele. Der Beginn der Kunstgeschichtsschreibung unter dem Paradigma “Geschichte” : Gustav Friedrich Waagens Frühschrift “Ueber Hubert und Johann van Eyck”. Worms, Germany: Wernersche Verlagsgesellschaft, 1985; Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 131, 528; Kultermann, Udo. The History of Art History. New York: Abaris, 1993, p. 145; Schwarzer, Mitchell. “Origins of the Art History Survey Text.” Art Journal 54 (Fall 1995): 24-5; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 436-9.




Citation

"Waagen, Gustav Friedrich." Dictionary of Art Historians (website). https://arthistorians.info/waageng/.


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Director of the Berlin Gemäldegalerie1830, and first professor of art history in Berlin; leader of the so-called Berlin School of art history. Waagen’s father was the painter Christian Friedrich Waagen (b. 1750) and mother was Johanna Luise Albert

Vries, Adrianus Daniël, de

Full Name: Vries, Adrianus Daniël, de

Other Names:

  • "Adriaan"

Gender: male

Date Born: 1851

Date Died: 1884

Place Born: Amsterdam, North Holland, Netherlands

Place Died: Amsterdam, North Holland, Netherlands

Home Country/ies: Netherlands

Subject Area(s): Dutch (culture or style) and Northern Renaissance


Overview

Co-founder with Nicolaas de Roever of the art periodical Oud-Holland, 1883. When De Vries was seventeen he enrolled at the Athenaeum Illustre, the predecessor of the University of Amsterdam, where he was expected to become a lawyer like his father. He befriended Nicolaas de Roever, a fellow law student, with whom he shared a passion for the cultural past of Amsterdam and for Dutch art. A self-made specialist in this field of interest, De Vries was appointed deputy director under Johan Philip van der Kellen at the Amsterdam Rijksprentenkabinet (National Print room) in 1876, then housed at the Trippenhuis. He began describing the prints of two seventeenth-century artists, Hendrik Bary and Reinier van Persijn. In addition, from 1877 onward, he was a member of the Koninklijk Oudheidkundig Genootschap (Royal Antiquarian Society), first as secretary, and, between 1882 and 1884 as curator, building up the first collection of drawings and prints of the Atlas van Amsterdam. He was involved in the organization of exhibitions, including the gold- and silverware show held in 1880 in “Arti et Amicitiae”, the Amsterdam artists’ society. With de Roever he described the art works and co-authored the catalog. In 1883 de Vries and de Roever founded the periodical Oud-Holland with the intention to publish new contributions on the history of Dutch art, literature, industry, etc., based on archival research. In that first year, De Vries contributed a number of articles on painters and engravers as well as on the Dutch poet Joost van den Vondel, “Vondeliana” (with J. H. W. Unger). The following year died suddenly at age 33 after a brief illness. Abraham Bredius succeeded him as co-editor of Oud-Holland in 1886. De Vries left a huge collection of biographical notes mainly on Amsterdam painters and engravers, part of which were posthumously published in Oud-Holland 3 and 4, in eight installments, “Biografische aanteekeningen betreffende voornamelijk Amsterdamsche schilders, plaatsnijders, enz. en hunne verwanten, verzameld door A. D. de Vries Azn.” His goal to write a history of the Dutch school of engravers never materialized because of his early death. De Vries supplanted much of the art-historical writing of the time, which filled in gaps in knowledge with imagination, with genuine historical research. It became the basis of Oud Holland and reputation, particularly under Bredius.


Selected Bibliography

and De Roever, N. Catalogus van de tentoonstelling van kunstvoorwerpen in vroegere eeuwen uit edele metalen vervaardigd. Amsterdam: Van Munster, 1880.


Sources

De Roever, N. “In memoriam Mr. A. D. De Vries Az. Overleden 8 Februari 1884” Oud-Holland 2 (1884): 1-12; Van Thiel, P. J. J. “Oud Holland over the past hundred years” Oud Holland 100 (1986). Index to Oud Holland. The First 100 Years, 1883-1982. 2-13.



Contributors: Monique Daniels


Citation

Monique Daniels. "Vries, Adrianus Daniël, de." Dictionary of Art Historians (website). https://arthistorians.info/vriesad/.


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Co-founder with Nicolaas de Roever of the art periodical Oud-Holland, 1883. When De Vries was seventeen he enrolled at the Athenaeum Illustre, the predecessor of the University of Amsterdam, where he was expected to become a

Vries, A. B., de

Full Name: Vries, A. B., de

Other Names:

  • A. B. de Vries

Gender: male

Date Born: 1905

Date Died: 1983

Place Born: Amsterdam, North Holland, Netherlands

Home Country/ies: Netherlands

Subject Area(s): Dutch (culture or style) and painting (visual works)


Overview

Director Royal Cabinet of Paintings the Mauritshuis, and Rijksmuseum H. W. Mesdag, both in The Hague. De Vries grew up in Amsterdam and studied art history at Utrecht University under Willem Vogelsang. After a period of study in Paris in 1927-28, he went to Vienna (1929), where Julius Alwin von Schlosser, Karl Maria Swoboda, and Josef Rudolf Thomas Strzygowski were his teachers, von Schlosser influencing him most deeply. Following his stay in Vienna he went to Rome, where he became an assistant at the Nederlands Historisch Instituut under G. J. Hoogewerff. After his graduation from Utrecht in 1930 he prepared his doctorate which he earned at the same university in 1934 with a dissertation supervised by Vogelsang on North Netherlands portraits in the second half of the sixteenth century, Het Noord-Nederlandsch portret in the tweede helft van de 16e eeuw. In the same year he was appointed a staff member in the Department of Paintings at the Amsterdam Rijksmuseum. In 1939 he published his Vermeer monograph, Jan Vermeer van Delft. When the German invaded the Netherlands in 1940 he lost his position because he was Jewish; he fled to Switzerland in 1943. Later, in London, the Dutch Government in exile charged him to prepare the recovering of art works looted by the Nazis. After the war, De Vries returned to the Netherlands. In 1946 he succeeded J. G. van Gelder as the director of the Netherlands Institute for Art History, Rijksbureau voor Kunsthistorische Documentatie (RKD), and of the Royal Cabinet of Paintings the Mauritshuis, in The Hague. Wilhelm Martin had served this museum until 1945. De Vries’ acquisitions enriched the collection with about fifty works, including a late self portrait of Rembrandt, purchased in 1947. In 1954 he in addition was appointed director of the Rijksmuseum H. W. Mesdag in The Hague, as the successor of Martin. In that year he quit the Netherlands Institute for Art History. In 1956, on the occasion of the Rembrandt commemoration, he published a booklet on the life and works of the master, Rembrandt: 1606-1956. In that anniversary year, he was actively involved in the Rembrandt exhibitions held successively in the Amsterdam Rijksmuseum and in the Museum Boymans in Rotterdam. The exhibitions that he organized in the Mauritshuis, such as Jan Steen (1958) and In the light of Vermeer (1966), were very successful. In 1968, two years before his retirement, De Vries began collaborating with Magdi Tóth-Ubbens and W. Froentjes on a comprehensive interdisciplinary study of thirteen Rembrandts and three non-authentic Rembrandts in the Mauritshuis collection. In 1970 he organized a show on Goya. On the occasion of his retirement in the same year, the exhibition 25 years of acquisitions was held in his honor. It was a testimony “to de Vries’ taste, artistic judgement and unstinting energy” (Hoetink, 1984). De Vries was a 1973 visiting lecturer at the National Gallery of Art in Washington DC. His co-published Rembrandt research, Rembrandt in the Mauritshuis, was published in 1978. De Vries was the “auctor intellectualis” of the project (J. G. van Gelder, 1980) and was responsible for the iconographical and stylistic study of the paintings. In the first chapter of his book, Jan Vermeer van Delft, De Vries pays tribute to the first Vermeer monograph by Etienne-Joseph-Théophile Thoré, published in 1866, twenty-four years after this Frenchman admired “View of Delft” in the Mauritshuis. In his own monograph De Vries focuses on the study of Vermeer’s works and their aesthetic relation with paintings by other artists. In the 1948 English edition, De Vries deals with the discovery, after the war, of the Vermeer falsifications by Hans van Meegeren (1889-1947) including the “Supper at Emmaus,” the most discussed forgery of that time. De Vries admitted that in the earlier Dutch (1939) and Swiss (1945) editions of his work he had assumed that the painting was authentic.


Selected Bibliography

[dissertation Utrecht University:] Het Noord-Nederlandsche portret in the tweede helft van de 16e eeuw. Amsterdam: Enum, 1934; Jan Vermeer van Delft. Amsterdam: Meulenhoff, 1939; Rembrandt: 1606-1956. Baarn: Het Wereldvenster, 1956; and Tóth-Ubbens, Magdi and Froentjes, W. Rembrandt in the Mauritshuis. An interdisciplinary study. Alphen aan de Rijn: Sijthoff & Noordhoff International Publishers B.V., 1978; [Book Review:] Van Gelder, J. G. “Rembrandt in het Mauritshuis.” Oud Holland 94 (1980): 209-212.


Sources

[obituary:] Hoetink, H. R. “Ary Bob de Vries (1905-1983).” Burlington Magazine 126, no 981 (December 1984): 782.



Contributors: Monique Daniels


Citation

Monique Daniels. "Vries, A. B., de." Dictionary of Art Historians (website). https://arthistorians.info/vriesa/.


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Director Royal Cabinet of Paintings the Mauritshuis, and Rijksmuseum H. W. Mesdag, both in The Hague. De Vries grew up in Amsterdam and studied art history at Utrecht University under Willem Vogelsang. After a period of s

Voss, Hermann

Full Name: Voss, Hermann

Other Names:

  • Hermann Voss

Gender: male

Date Born: 30 July 1884

Date Died: 28 April 1969

Place Born: Lüneburg, Lower Saxony, Germany

Place Died: Munich, Bavaria, Germany

Home Country/ies: Germany

Subject Area(s): Baroque, museums (institutions), painting (visual works), and Renaissance

Career(s): directors (administrators) and museum directors


Overview

Museum director; specialist in late Renaissance and Baroque painting; connoisseur; second director of the Nazi Führermuseum. Voss studied art history and music–so competent was he at both he was unsure on which to concentrate–and (general) history at the universities of Berlin and Heidelberg. From the first, Voss possessed an interest in neglected periods of art. His dissertation, completed in 1906 under Henry Thode was on medieval German art, Wolfgang Huber and the beginnings of the Danube school. Voss traveled to Italy to write his habiliation where Italian culture and (again) the neglected aspects of the late Renaissance and Baroque fascinated him. While researching in Florence, he identified the Saint Roch statue in the church of SS Annunziata as that of the sculptor Veit Stoss. His 1908 article on his discovery marked his debut as a scholar of note. This qualified him to a volunteer position in the Kaiser Friedrich Museum in Berlin (today the Bodemuseum). At the museum, he became, next to Wilhelm Bode and Max J. Friedländer, the third of the “great painting experts of the twentieth century” (Betthausen). In 1910 he followed up his interest in the Danube school with his study Albrecht Altdorfer und Wolf Huber. Between 1911 and 1912 he worked as an assistant at the Kunsthistorisches Institut in Florence contributing entries to the 1913 volume Thieme Becker (Allgemeines Lexikon der bildenden Künstler) dictionary on the Gentileschis and Cristofano Gherardi. A 1915 article on Georges de La Tour–again, on an artist barely studied–marked the beginnings of scholarly research on that artist. Voss completed his habilitation thesis in 1919 at the University in Leipzig, Die Malerei der Spätrenaissance in Rom und Florenz, published in 1920, a catalogue raisonne of the artists late 16th and 17th centuries. The book, however, was not a commercial success (Ewald). In 1922 he was appointed deputy director of the Museum. A second book, Die Malerei des Barock in Rom, (Painting in Baroque Rome) was issued as volume eight in the Propyläen Kunstgeschichte series in 1924. Voss planned to write art histories around geographies–seaports for example–but the project never materialized. He focused instead on writing articles rather than books because of travel restrictions (Ewald). Though a deputy director and possessing powerful connoisseurship acumen, Voss was denied acquisition responsibilities at the museum. His liberal politics directly challenged the Nazi assumption of power in 1933 and Voss was dismissed. Hoping to find a job in England, Voss moved with his personal library and painting collection to London, only to have his 1934 petition for a British visa denied on the grounds that he was not suffering persecution. Returning to Germany he accepted the post of director at a relatively provincial art museum in Wiesbaden. He traveled to France researching French art, particularly Boucher. Voss’s profile as a Renaissance and Baroque scholar was so strong that when Hans Posse the bombastic director of the Dresden Gemäldegalerie Alte Meister lay dying in 1942, Posse recommended Voss to succeed him. Posse’s position also included assembling art for The Führermuseum, in Linz, a planned mega art museum for the aggrandizement of Hitler. Though Voss was still not a member of the Nazi party–and barely knew Posse–Joseph Goebbels offered Voss the job. Voss accepted the latter in order to oversee planning for the Dresden gallery’s protection from war damage, retaining his position in Wiesbaden as well. Voss seldom left Germany during this time, though once to Amsterdam to examine the recently discovered Vermeer painting “Washing the feet of Christ in the House of Mary and Martha,” in 1943. Voss was one of the few art historians to pronounce this famous fake (later to be revealed as a van Meegeren) a forgery. When Germany was defeated in 1945, Voss, as a museum director of the Reich, was brought to Altaussee and interrogated by S. Lane Faison, Jr., of the ALIU, who later became an eminent art historian himself. He moved to Munich spending his remaining days there. In 1953-1954 he published a major essay on Francois Boucher. Voss’s most influential work (Southorn), one on the Baroque painter Johann Heinrich Schönfeld was the last publication of his life. He did not live to see the published interview of him by Reinhard Müller-Mehlis. He is buried in the Waldfriedhof, Munich. Voss’ legacy as an art historian is one of the most complicated: an important scholar whose skills helped plunder art for the Nazi cause. His strong connoisseurship and independence of approach led him to continually identify the importance in many neglected artists, from his student days working with late medieval German painting, to the lesser-studied baroque artists. Blocked from buying for his home museum, the paintings he suggested as important in print invariably went to other art museums (frequently American), whose curators appreciated Voss’ judgment more than the Kaiser museum. Noted for a forthright writing style his publications spanned both the survey and the scholarly article. However, his complicity as chief procurer for the Führermuseum is harder to assess. Exiled initially by the Nazis for his liberal views and unable to find sanctuary elsewhere in Europe, he ultimately turned his skills to further the Reich. Jonathan Petropoulos concluded “while not plundering in the literal sense of pillaging or stealing,” Voss and Posse were both “so aggressive and exploitative in their behavior that they deserve to be considered part of the Nazi plundering bureaucracy.” Voss, only became a party member however, never visited the Einsatzstab Reichsleiter Rosenberg (ERR) depot in Paris, the notorious central Nazi looting point for art nor was he ever an advisor to Hermann Goering, the Reich’s other aggressive art collector.


Selected Bibliography

[bibliography to 1965:] Ewald, Gerhard. “Verzeichnis der wissenschaftlichen Ver öffentlichungen von Hermann Voss.” in, Fiocco, Giuseppe, ed. Hommage à Hermann Voss. Strasbourg: [privately printed], 1966, pp. 55-68; [dissertation:] Über Wolf Huber als Maler und einige Meister des Donaustiles. Heidelberg, 1906, partially published, Der Ursprung des Donaustiles, ein Stück Entwicklungsgeschichte deutscher Malerei. Leipzig: K. W. Hiersemann, 1907; “Zwei unerkannte Werke des Veit Stoss in Florentiner Kirchen.” Jahrbuch der Konlichen preussischen Kunstsammlungen (1908): 20-29; Albrecht Altdorfer und Wolf Huber. Leipzig: Klinkhardt & Biermann, 1910; [Habilitaion:] Die Malerei der Spätrenaissance in Rom und Florenz. Leipzig, 1919, published, 2 vols. Berlin: G. Grote, 1920, English, Painting of the Late Renaissance in Rome and Florence. San Francisco: Alan Wofsy Fine Arts, 1997;Die Malerei des Barock in Rom. Propyläen Kunstgeschichte 8. Berlin: Propyläen-Verlag, 1924, English, Baroque Painting in Rome. 2 vols. San Francisco: Alan Wofsy Fine Arts, 1997; Deutsche Selbstkritik. Starnberg am See: H.F.S. Bachmair, 1947; Johann Heinrich Schönfeld: ein schwäbischer Maler des 17. Jahrhunderts. Biberach an der Riss: Biberacher Verl.-Druckerei: 1964.


Sources

“Der Bergung der Dresdner Museumsschätze während des letzten Krieges.” Weltkunst 33 no. 7 (1963): 13-14; Southorn, Janet. “Voss, Hermann.” Dictionary of Art 32: 714; Betthausen, Peter. Metzler – pp. 461-464; [interview:] Müller-Mehlis, Reinhard, interviewer. Hermann Voss zum 85. Geburtstag. Munich: P. Westermeier, 1969; Scheibmayr, Erich. Letzte Heimat: Persönlichkeiten in Münchner Friedhöfen 1784-1984. Munich: Scheibmayr, 1989; Hüttinger, Eduard. “Hermann Voss.” Porträts und Profile: zur Geschichte der Kunstgeschichte. St. Gallen: Erker, 1992, pp. 98-109; Petropoulos, Jonathan. Art as Politics in the Third Reich. Chapel Hill: University of North Carolina Press, 1996, pp. 141-142; Dictionary of German Biography 10: 269; Petropoulos, Jonathan. The Faustian Bargain: The Art World in Nazi Germany. New York: Oxford University Press, 2000, pp.52, 93-94; Eisenlöffel, Lars. “Hitlers Kurator: Hermann Voss.” Jahrbuch der Berliner Museen 47 (2005): 117-124; [obituary:] Ewald, Gerhard. “Hermann Voss.” Burlington Magazine 112, no. 809 (August 1970): 540-541;




Citation

"Voss, Hermann." Dictionary of Art Historians (website). https://arthistorians.info/vossh/.


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Museum director; specialist in late Renaissance and Baroque painting; connoisseur; second director of the Nazi Führermuseum. Voss studied art history and music–so competent was he at both he was unsure on which to concentrate–and (general) histo

Vosmaer, Carel

Full Name: Vosmaer, Carel

Gender: male

Date Born: 1826

Date Died: 1888

Place Born: The Hague, South Holland, Netherlands

Place Died: Territet, Vaud, Switzerland

Home Country/ies: Netherlands

Subject Area(s): biography (general genre)

Career(s): lawyers


Overview

Dutch lawyer and author; wrote biographies of artists. Vosmaer graduated from law school in Leiden in 1850 and began a law practice in 1853. Throughout his professional career, he wrote novels, cultural essays and biographies of artists. His first foray into art writing came in 1856 when he published a small aesthetics, Een studie over het schoone in de kunst. In 1858 he founded and edited the periodical De tijdstroom (“Time’s Steam”). Vosmaer left that periodical in 1860 to found a second, culturally-based journal, De Nederlandsche spectator, which he also edited until 1888. In 1863 he published the first of two popular books on Rembrandt (both in French), Rembrandt Harmens van Rijn: ses pécurseurs et ses années d’apprentissage. In 1868 his two-volume Rembrandt: sa vie et ses œuvres appeared. Upon his retirement from his law practice in 1873, he began contributing to De Nederlandsche spectator (1874-76) and editing the prestigious Kunstkronijk. During his final year, Vosmaer wrote brief biographies of contemporary Dutch and English artists in a series called Onze hedendaagsche schilders. He died in Territet, near Montreux, Switzerland. After his death, his Rembrandt life appeared in English in 1892.


Selected Bibliography

Rembrandt Harmens van Rijn: ses pécurseurs et ses années d’apprentissage. The Hague: M. Nijhoff, 1863; Rembrandt, sa vie et ses œuvres. 2 vols. The Hague: M. Nijhoff, 1868, English, Rembrandt. London: S. Low, Marston, Searle, & Rivington, 1892; Onze hedendaagsche schilders. 24 numbers. The Hague: M. Nijhoff, 1881-85; Een studie over het schoone in de kunst. Amsterdam: Kruseman, 1856; De schilderschool: levensschetsen en kunstwerken van eenige meesters uit de Hollandsche en andere scholen. Haarlem: A. C. Kruseman, 1865.


Sources

De verzameling van mr. Carel Vosmaer, 1826-1888. Amsterdam: Rijksmuseum, 1989; Borger, Riekele. Drei Klassizisten, Alma Tadema, Ebers, Vosmaer: mit einer Bibliographie der Werke Alma Tadema’s. Leiden: Ex Oriente Lux, 1978; Bastet, F. L. Mr. Carel Vosmaer: Zijn achtergronden, zijn reizen, zijn tijdgenoten, zijn invloed. The Hague: Bert Bakker/Daamen, 1967, 2nd ed., Met Carel Vosmaer op reis. Amsterdam: Em. Querido, 1989; Maas, Nop, and Bastet, F. L. and Heijbroek, Jan Frederik. De literaire wereld van Carel Vosmaer: een documentaire. ‘s-Gravenhage: SDU, 1989; “Carel Vosmaer.” http://home.wanadoo.nl/vosmaerstraat/vosmaer.htm (mirrored from) http://www.xs4all.nl/jooplaan/multatuli/Me/2789.htm [non extant]; Rappard, Willem F. “Vosmaer, Carel.” Dictionary of Art 32:713.




Citation

"Vosmaer, Carel." Dictionary of Art Historians (website). https://arthistorians.info/vosmaerc/.


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Dutch lawyer and author; wrote biographies of artists. Vosmaer graduated from law school in Leiden in 1850 and began a law practice in 1853. Throughout his professional career, he wrote novels, cultural essays and biographies of artists. His first

Vorenkamp, Alphonsus Petrus Antonius

Full Name: Vorenkamp, Alphonsus Petrus Antonius

Gender: male

Date Born: 1898

Date Died: 1953

Place Born: Westerlee, Groningen, Netherlands

Place Died: Groningen, Netherlands

Home Country/ies: Netherlands


Overview

Professor of art history; museum director. After having attended the Gymnasium in Leeuwarden, Vorenkamp began studying law at Leiden University. He switched to art history under Wilhelm Martin. In 1926, after his graduation, he moved to the United States and was appointed instructor in the Department of Art at Smith College, Northampton (Mass.). His fields of interest were art of northern Europe, including the old Dutch and Flemish masters, as well as decorative and graphic arts. During his sabbatical leave, in 1933, he obtained his doctoral degree from Leiden University with a dissertation on the history of seventeenth-century Dutch still life, Bijdrage tot de geschiedenis van het Hollandsch stilleven in de zeventiende eeuw. His adviser was Wilhelm Martin. Climbing up in rank in Smith College he was appointed full professor in 1939. In 1942-43 he served in the United States Army, though he kept his Dutch nationality. After an honorable discharge he returned to Smith College. In May, 1945 the Dutch government invited him to serve as lieutenant colonel in the Royal Dutch Army, with the special assignment to identify and recover art works stolen by the Germans during the war. Between October 1945 and May 1946 the American authorities invited him to work at the Art Collecting Point in Munich, Germany, where he succeeded in identifying and retrieving many art objects for the Netherlands. As a reward for his endeavors he was knighted in the Order of the Dutch Lion. He wrote the 1946 catalog for a traveling exhibition in the USA, Paintings Looted from Holland, Returned through the Efforts of the United States Forces. After one more year at Smith College, 1946-47, he returned to the Netherlands, to become director of Museum Boymans in Rotterdam. He organized a few exhibitions, including one on French horticulture, for which he transformed one of the museum courts in a sixteenth-century garden. He held this position only for a short time, until 1949. He then moved to Groningen, where he obtained the position of director of the Museum van Oudheden voor de Provincie en Stad Groningen (Museum of Antiquities for the Province and City of Groningen). He reorganized the museum and renovated the galleries, paying special attention to the painting department. He also arranged the print room collection. In 1952 he organized a show, accompanied with an illustrated critical catalog, of a selection of hundred drawings, including a number from the Cornelis Hofstede de Groot collection. In 1953, he traveled to Puerto Rico, where he had the opportunity to teach Dutch art at the University. In the summer of the same year, after his return to Groningen, he died unexpectedly. His successor in Groningen was Josiah Willem Jos de Gruyter, who was appointed in 1955.


Selected Bibliography

[dissertation:] Bijdrage tot de geschiedenis van het Hollandsch stilleven in de zeventiende eeuw. Leiden: Hollandsche Uitgeversmij, 1933; Paintings Looted from Holland, Returned through the Efforts of the United States Forces. New York: Plantin Press, for the Albright Art Gallery, Buffalo, New York, 1946; De Franse tuin van Middeleeuwen tot op onze dagen. Rotterdam: Museum Boymans, 1948.


Sources

[obituary:] Wassenbergh, A. in Jaarboek van de Maatschappij der Nederlandse Letterkunde te Leiden 1951-1953, pp. 117-123.




Citation

"Vorenkamp, Alphonsus Petrus Antonius." Dictionary of Art Historians (website). https://arthistorians.info/vorenkampa/.


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Professor of art history; museum director. After having attended the Gymnasium in Leeuwarden, Vorenkamp began studying law at Leiden University. He switched to art history under Wilhelm Martin. In 1926, after his graduation,

von Urlichs, Karl Ludwig

Full Name: von Urlichs, Karl Ludwig

Gender: male

Date Born: 1813

Date Died: 1889

Place Born: Osnabrück, Lower Saxony, Germany

Place Died: Würzburg, Bavaria, Germany

Home Country/ies: Germany

Subject Area(s): archaeology


Overview

Professor of archaeology at Würzburg University, 1855-1889. Specialist in classical pottery, and catalogued the large collection of the Martin von Wagner Museum in Würzburg. Father of Heinrich Ludwig Urlichs (1864-1935).


Selected Bibliography

Skopas Leben und Werke, 1867


Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 37-38.




Citation

"von Urlichs, Karl Ludwig." Dictionary of Art Historians (website). https://arthistorians.info/urlichsk/.


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Professor of archaeology at Würzburg University, 1855-1889. Specialist in classical pottery, and catalogued the large collection of the Martin von Wagner Museum in Würzburg. Father of Heinrich Ludwig Urlichs (1864-1935).

von Schneider, Robert

Full Name: von Schneider, Robert

Gender: male

Date Born: 1854

Date Died: 1909

Place Born: Vienna, Vienna state, Austria

Place Died: Vienna, Vienna state, Austria

Home Country/ies: Austria

Subject Area(s): Antique, the and antiquities (object genre)

Career(s): art collectors


Overview

Director of the antiquity collection at the Hofmuseum, Vienna, 1899-1909.


Selected Bibliography

Album auserlesener Gegenstände der Antiken-Sammlung des Ah. Kaiserhauses, 1895. Die Erzstatue vom Helenenberge, 1893/94.


Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 114-115




Citation

"von Schneider, Robert." Dictionary of Art Historians (website). https://arthistorians.info/schneiderr/.


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Director of the antiquity collection at the Hofmuseum, Vienna, 1899-1909.

Vollmer, Hans

Full Name: Vollmer, Hans

Gender: male

Date Born: 1878

Date Died: unknown

Home Country/ies: Germany

Subject Area(s): twentieth century (dates CE)


Overview

Edited dictionary of 20th-century artists, Allgemeines Lexikon der bildenden Künstler des XX. Jahrhunderts and co-editor later volumes of the initial dictionary, Allgemeines Lexikon der bildenden Künstler.


Selected Bibliography

Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart: unter Mitwirkung von 300 Fachgelehrten des In- und Auslandes. 37 vols. Leipzig : E. A. Seemann, 1907-1950. Allgemeines Lexikon der bildenden Künstler des XX. Jahrhunderts: Unter Mitwirkung von Fachgelehrten des Inund Auslandes. 6 vols. Leipzig, E.A. Seemann, 1953-62. ____0 – Metzler





Citation

"Vollmer, Hans." Dictionary of Art Historians (website). https://arthistorians.info/vollmerh/.


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Edited dictionary of 20th-century artists, Allgemeines Lexikon der bildenden Künstler des XX. Jahrhunderts and co-editor later volumes of the initial dictionary, Allgemeines Lexikon der bildenden Künstler.