Art Historians

Tümpel, Christian

November 8, 2023March 29, 2024

Full Name: Tümpel, Christian

Other Names:

Christian Tümpel

Gender: male

Date Born: 31 March 1937

Date Died: 09 September 2009

Place Born: Bielefeld, North Rhine-Westphalia, Germany

Place Died: Bad Kissingen, Bavaria, Germany

Home Country/ies: Germany

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

Career(s): clergy

Overview

Rembrandt scholar; Lutheran minister. Tümpel was the son of the silver- and goldsmith Wolfgang Tümpel (1903-1978), who had been trained at the Bauhaus and subsequently at the Burg Giebichenstein School for the applied arts. Tümpel studied theology and philosophy at the Kirchliche Hochschule Bethel from 1958 to 1963. From this year until 1968 he studied art history and archeology at the universities of Heidelberg, Berlin, and Hamburg. In Hamburg he received the doctor’s degree under the supervision of Wolfgang Schöne with his dissertation, Studien zur Ikonographie der Historien Rembrandts. This study was well received. From 1968 to 1969 he was a fellow at the London Warburg Institute. For the 1970 exhibition Rembrandt legt die Bibel aus, which was organized by the Evangelische Kirche Berlin-Brandenburg and the Berlin Kupferstichkabinett, Tümpel wrote the catalog, in collaboration with his wife Astrid, also an art historian. In 1971 Tümpel was awarded the prize of the Royal Netherlands Academy of Arts and Sciences. In that year he declined an offer from Julius S. Held for a teaching position at Columbia University. Tümpel instead choose to complete his study of theology, and subsequently, during ten years, he served as a Lutheran minister at the Hamburg Matthäusgemeinde. In 1973 he founded Kunstforum Matthäus, an “Akademie in der Gemeinde”, presenting classes, lectures, and travel on art- and church history. In 1984 he obtained a teaching position, and later a professorship, at the Catholic University of Nijmegen in the Netherlands (today, Radboud University). In 1986 his major monograph on Rembrandt, Rembrandt, Mythos und Method, appeared, along with translations in various languages. Astrid Tümpel contributed the chapter on Pieter Lastman, and on Rembrandt’s “Honderdguldenprent” (“The Hundred Guilder Print”), representing Christ Preaching. In 1990 the Amsterdam Joods Historisch Museum took the initiative for an exhibition on the Old Testament in Dutch painting of the Golden Age. To realize this project, Tümpel set up a research team studying the various sources of the representations of Old Testament scenes in Dutch painting of the 1600s. Among the topics was the intellectual discourse between Jews and Christians in that period. The findings were published in the 1991 exhibition catalog, Het Oude Testament in de Schilderkunst van de Gouden Eeuw. It includes an essay by Tümpel on the reception of Flavius Josephus’ Jewish Antiquities in Dutch art. Tümpel’s research led to more exhibitions, including Patriarchs, Angels & Prophets. The Old Testament in Netherlandish Printmaking from Lucas van Leyden to Rembrandt, held in the Amsterdam Rembrandt House Museum in 1996-1997. In addition to the iconography of sixteenth- and seventeenth-century paintings and printmaking, Tümpel also developed an interest in modern sculpture. In 1991 he was involved in an exhibition of German sculptures that were denounced by the Nazis as “entartet”. This show, Deutsche Bildhauer, 1900-1945, Entartet was first held in the Nijmegen Museum Commanderie van Sint-Jan, in collaboration with the Nijmegen University Art History Institute. It subsequently traveled to Haarlem and later to various museums in Germany. After his retirement, in 2002, Tümpel settled in Ahrenberg near Hamburg. Here he founded, in 2004, another section of Kunstforum Matthäus: Kunstforum Schlosskirche Ahrensberg, Tümpel and his wife remained active as scholars. In 2006 a revised English edition of Rembrandt, Mythos und Methode appeared, Rembrandt, Images and Metaphors. Tümpel also contributed to Rembrandt – Quest of a Genius, a publication in conjunction with the 2006 exhibition at the Rembrandt House Museum and at the Berlin Gemäldegalerie. In June, 2009, the couple participated at a Rembrandt conference at Queen’s University International Study Center in Herstmonceux Castle, East Sussex. A few months later, Tümpel died unexpectedly. Tümpel wrote studies on Rembrandt and organized exhibitions and exhibition catalogues.

Selected Bibliography

[dissertation Hamburg University, 1968:] Studien zur Ikonographie der Historien Rembrandts, published in Nederlands Kunsthistorisch Jaarboek 20 (1969): 107-198; and Tümpel, Astrid. Rembrandt legt die Bibel aus. Zeichnungen und Radierungen aus dem Kupferstichkabinett der Staatlichen Museen Preussicher Kulturbesitz Berlin. Berlin: Hessling, 1970; and Tümpel, Astrid. Rembrandt, Mythos und Methode. Königstein im Taunus: Langewiesche, 1986, English, German, French, and Dutch: Antwerp: Mercatorfonds, 1986; et al.Het Oude Testament in de Schilderkunst van de Gouden Eeuw. Zwolle: Waanders, 1991; et al. Deutsche Bildhauer, 1900-1945, entartet. Zwolle: Waanders, 1992; Van der Coelen et al. Patriarchs, Angels & Prophets. The Old Testament in Netherlandish Printmaking from Lucas van Leyden to Rembrandt. Amsterdam: Museum Het Rembrandthuis, 1996; and Tümpel, Astrid. Rembrandt, Images and Metaphors. London: Haus Publishing Limited, 2006; “Traditional and groundbreaking: Rembrandt’s iconography” in Van de Wetering, Ernst et al.Rembrandt – Quest of a Genius. Zwolle: Waanders, 2006.

Sources

[obituaries:] “The Eminent Scholar Christian Tümpel (1937-2009) has Passed Away” http://codart.nl/news/465/ ; Golahny, Amy. “In Memoriam Christian Ludwig Tümpel (31 March 1937 – 9 September 2009)” http://www.hnanews.org/hna/news/obituary

Contributors: Lee Sorensen and Monique Daniels

Tufts, Eleanor

November 8, 2023March 29, 2024

Full Name: Tufts, Eleanor

Other Names:

Eleanor May Tufts

Gender: female

Date Born: 1927

Date Died: 1991

Place Born: Exeter, Rockingham, NH, USA

Place Died: Dallas, TX, USA

Home Country/ies: United States

Subject Area(s): feminism and Spanish (culture or style)

Overview

Pioneer feminist art historian and Spanish-art scholar. Tufts was the daughter of James A. Tufts, a New Hampshire businessman, and Hazel Weinbeck (Tufts), a school teacher. She graduated from Simmons College with a B.S. in Spanish in 1949, working initially as executive secretary at Boston University between 1950 until 1956. She worked on a master’s degree in art history at neighboring Radcliffe College, awarded to her in 1957. Her thesis was written with the assistance of Millard Meiss and Jakob Rosenberg. Tufts was then hired at the Council on International Educational Exchange in New York City as director of program development. She moved to World University Service, New York, as associate director in 1960. In 1964 she became assistant professor of art history at the University of Bridgeport, Bridgeport, CT. In 1966 she joined Southern Connecticut State College, New Haven as an associate professor of art history. Tufts continued working on her Ph.D. at New York University, which was granted in 1971. Her dissertation, written under José López-Rey was on the Spanish artist Luis Meléndez. 1974 was a watershed year for her. She was appointed professor of art history, Chair of the Division of Art at Southern Methodist University, Dallas, TX, along with Alessandra Comini; she published her important book, Our Hidden Heritage: Five Centuries of Women Artists, and was awarded a summer National Endowment for the Humanities grant. Tufts and Comini became partners, the two developing and sharing feminist approaches toward art and a home in Dallas. The two spent summers tracking down works by women artists for the books and to raise curatorial awareness of important works by women languishing in storage. Tufts helped organize the National Academy of Design’s exhibition on her dissertation topic, Meléndez, in 1985. In 1987 the first director of the National Museum of Women in the Arts, Anne-Imelda Radice, asked Tufts to curate the inaugural traveling exhibition, “Women in the Arts, 1830-1930.” The show received extensive and controversial coverage. She contracted ovarian cancer and died at age 64.

Selected Bibliography

[dissertation:] A Stylistic Study of the Paintings of Luis Meléndez. New York University, 1971, revised and published as, Luis Meléndez: Eighteenth-century Master of the Spanish Still Life: with a Catalogue Raisonné. Columbia, MO: University of Missouri Press, 1985; and Levin, Gail, and Corn, Wanda, and Comini, Alessandra. American Women Artists, 1830-1930. Washington, DC: International Exhibitions Foundation for the National Museum of Women in the Arts, 1987; Our Hidden Heritage: Five Centuries of Women Artists. New York: Paddington Press, 1974.

Sources

Comini, Alessandra. In Passionate Pursuit: a Memoir. New York: George Braziller, 2004, pp. 155-157, [obituaries:] “Eleanor Tufts 1927-1991.” Woman’s Art Journal 13, no. 1 (Spring, 1992): 55; “Eleanor Tufts, Art History Professor, 64.” New York Times December 10, 1991, p B20;

Tuckerman, Henry Theodore

November 8, 2023March 29, 2024

Full Name: Tuckerman, Henry Theodore

Gender: male

Date Born: 1813

Date Died: 1871

Place Born: Boston, Suffolk, MA, USA

Place Died: New York, NY, USA

Home Country/ies: United States

Subject Area(s): Neoclassical

Overview

Literati; advocate of neoclassicism. In 1867 Tuckerman published his American Artist Life, an account of American art, sometimes scholarly although filled the typical Victorian sentiment (Rowland). Tuckerman was not particularly discriminating. He praised all good artists and honored the rest mostly for being American. In contrast to the work of James Jackson Jarves, his works lacks the acumen and perhaps the intellectual honesty of later writers.

Selected Bibliography

Book of the Artists: American Artist Life Comprising Biographical and Critical Sketches of American Artists. 1st ed. , 1867. Reprint ed. New York: J. F. Carr, 1966.; A Memorial of Horatio Greenough, Consisting of a Memoir, Selections from His Writings, and Tributes to His Genius. 1st ed. 1853. Reprint. New York: B. Blom, 1968.

Sources

ACAB, VI:177; Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, p. 539 ; Flexner, James Thomas. “Tuckerman’s Book of the Artists.” The American Art Journal 1 no. 2 (Fall 1969): 53-7; mentioned, Rowland, Jr. Benjamin. “Introduction.” Jarves, James Jackson. The Art-idea. Cambridge, MA: Belknap Press, 1960, p. xxvi.

Tuckerman, Arthur L.

November 8, 2023March 29, 2024

Full Name: Tuckerman, Arthur L.

Other Names:

Arthur Lyman Tuckerman

Gender: male

Date Born: 1861

Date Died: 1892

Overview

His book, Vignola (1891) was one of the early required texts to be listed in the course catalog for the art history classes of Princeton University.

His book, Vignola (1891) was one of the early required texts to be listed in the course catalog for the art history classes of Princeton University.

Tucker, Marcia

November 8, 2023March 29, 2024

Full Name: Tucker, Marcia

Other Names:

Marcia Tucker

Gender: female

Date Born: 1940

Date Died: 2006

Place Born: Brooklyn, Cattaraugus, NY, USA

Place Died: Santa Barbara, Santa Barbara, CA, USA

Home Country/ies: United States

Subject Area(s): Contemporary (style of art) and Modern (style or period)

Career(s): curators

Overview

Founder and director of the New Museum, NY (1977-1999) and curator of the Whitney. Tucker was the daughter of Emmanuel Silverman, a trial lawyer, and Dorothy Wald (Silverman). She grew up initially in Bensonhurst, Brooklyn, and New Jersey in politically and culturally atuned home. She studied theater and art at Connecticut College and was exposed to a feminism which would guide her through her whole life. After her junior year at the école du Louvre in Paris, she earned a Bachelor of Arts in 1961 joining the department of prints and drawings at the Museum of Modern Art in 1961 as a secretary. Silverman quit the following year, finding the work too menial. She was an assistant to painter Rene Bouche between 1962-63.Silverman found other work cataloging private art collections, including the wealthy painter William N. Copley, 1963-1966, then that of Museum of Modern art former director, Alfred H. Barr, Jr., and his wife, Margaret Scolari Barr, and the Ferdinand Howald Collection of American Art at Columbus Gallery of Fine Art, 1966-69. She entered the Institute of Fine Arts at New York University, earning an M.A. in art history in 1965 and working as an editorial associate at Art News magazine, 1965-1969. She married and acquired the surname Tucker. While pursuring a Ph.D. (never completed) she taught as an instructor at University of Rhode Island, 1966-1968, City University of New York Graduate Center, 1967-1968, and School of Visual Arts, 1969-1973. In 1969 Tucker was appointed curator of painting and sculpture at the Whitney. Her first show, organized with fellow Whitney curator James Monte, ”Anti-Illusion: Procedures/Materials,” the first large scale exhibition of Process Art (Post-Minimalism) in an American museum, set the museum in a new direction. Her career at the Whitney saw shows devoted to the art of James Rosenquist, 1972, Joan Mitchell, Lee Krasner, 1973 and Al Held, and Post-Minimalists Robert Morris, 1970, and Bruce Nauman, 1973, rising to curator in 1973. In the early 1970’s joined the Redstockings, a feminist group Her alto voice led to another feminist/activist group, the a cappella singing group called the Art Mob. She also performed as a stand-up comedian on occasion.Tucker mounted a Richard Tuttle which caused so much controvercy that Tucker was eventually fired in 1977. Undaunted, she assembled at age 37 a board of trustees–including thephilanthropist Vera List–and opened the New Museum on Fifth Avenue (present location of the New School). This ground-floor Museum showed the controvercial and frequenntly ephemeral art for which she had been released at the Whitney. These included ” ‘Bad’ Painting” and ”Bad Girls.” She married a second time, to Dean McNeil. Akin the original plan of MoMA, she vowed to de-accession the collection every decade to keep the museum focused on modern art. In the 1980s, she was accused (or attributed) to belonging to the Guerrilla Girls, the mask-wearing feminist group of activist in the art world. Tucker became series editor of ”Documentary Sources in Contemporary Art,” an anthology of firve theory and criticism books. After moving to a space in SoHo, a show called ”Have You Attacked America Today?,” resulted in assaults to the building from angry New Yorkers. In 1999 Tucker retired from the museum and was succeeded by Lisa Philips. Her final exhibition at the New Museum was on aging, The Time of our Lives: Exhibition. She moved to California and was diagnosed with cancer around 2004; at age 66 she died in 2006. Her museum was in the midst of completing a $35 million building on the Lower East Side. Tucker was one of a group of women who established the foremost modern art museums in New York, in company with Abby Aldrich Rockefeller who founded the Museum of Modern Art, Gertrude Vanderbilt Whitney and Juliana R. Force fouinding the Whitney, and Hildegard Rebay von Ehrenwiesen of the Solomon R. Guggenheim Museum. Her museum was fashioned after her own life, “a somewhat chaotic, idealistic place where the nature of art was always in question, exhibitions were a form of consciousness raising and mistakes were inevitable.” (Smith)

Selected Bibliography

and Linville, Kasha and Richardson, Edgar P. American Paintings in the Ferdinand Howald Collection. Columbus, 1969; Robert Morris. New York: Whitney Museum of American Art/Praeger 1970; James Rosenquist. New York: Whitney Museum of American Art, 1972; Lee Krasner: Large Paintings. New York: Whitney Museum of American Art. 1973; and Livingston, Jane. Bruce Nauman: Work from 1965 to 1972. Los Angeles: Los Angeles County Museum of Art/Praeger, 1973; Bad Girls. New York: New Museum of Contemporary Art/Cambridge, MA: MIT Press, 1994; and Ellegood, Anne. The Time of our Lives: Exhibition. New York: New Museum of Contemporary Art, 1999.

Sources

[interview] Maybach, Chris, and Gardner, Paul. Art City: a Ruling Passion [DVD]. Los Angeles: Twelve Films, 2002; Tucker, Marcia. A Short Life of Trouble: Forty Years in the New York Art World. Berkeley: University of California Press, 2008; [obituaries:] Smith, Roberta. “Marcia Tucker, 66, Founder of a Radical Art Museum.” New York Times October 19, 2006 p. B11; “Outspoken Art Museum Founder Marcia Tucker, 66, Dies.” Los Angeles Times October 27, 2006.

Tucci, Giuseppe

November 8, 2023March 29, 2024

Full Name: Tucci, Giuseppe

Gender: male

Date Born: 1894

Date Died: 1984

Place Born: Macerata, Marches, Italy

Place Died: San Polo dei Cavalieri, Rome, Lazio, Italy

Home Country/ies: Italy

Subject Area(s): Asian, Himalayan, South Asian, and Tibetan (culture or style)

Overview

The ‘father’ of modern Tibetan studies.

Tselos, Dimitri

November 8, 2023March 29, 2024

Full Name: Tselos, Dimitri Theodore

Other Names:

Dimitri Tselos
Dimitri Theodore Tselos
Dimitris Tselos

Gender: male

Date Born: 21 October 1900

Date Died: 18 June 1996

Place Born: Arvanito Kerasia, Greece

Place Died: MN, USA

Home Country/ies: Greece

Institution(s): New York University

Overview

Byzantine, Hellenistic, and Greek art historian; specialist in post-1820 Hellenic Art. Tselos was born in Arvanito Kerasia, a small town in Arcadia, Greece. When his wife died from a miscarriage, his father, Theodore Telos immigrated to Cairo for work, leaving his children in Arvanito Kersia. At fifteen Tselos followed his father’s footsteps and left Greece, choosing New York to follow his older brother. Arriving at Ellis Island on December 25th, 1915, Tselos went to his brother’s home in Chicago. Although he had goals to become a painter, Tselos wanted a more secure career so he could provide for his siblings still living in Greece. With plans to become a teacher, he received an A.M. in art history in 1929 from the University of Chicago with a thesis on Syrian Architecture. From 1928 to 1934 he studied at the Sorbonne, Princeton University, and the University of London, the latter on a Carnegie Fellowship. He received his Ph.D. in 1934 from Princeton University, writing his dissertation on the Greek elements of the Utrecht Psalter manuscript. Between 1933 and 1949 Tselos lectured on architectural history at the New York University Institute of Fine Arts, a still venueless entity in the art department, along with fellow NYU graduate instructor Robert Goldwater. When the Institute moved to a separate building, the former J.B. Duke mansion on 80th-street location. Tselos moved with the other Institute faculty, Walter W. S. Cook and Richard Offner. While at NYU, he met Beatrice Pallister (1910-2000), a Columbia University graduate student who he married in 1935.

From 1949-1971, Tselos was a professor at the University of Minnesota Art History Department. During his time at the University of Minnesota, he was a director of the College Art Association of America and was awarded two Fulbright Research Scholarships in Greece—one from 1955-1956 and one from 1963-1964. He is believed to be the first Greek immigrant to the United States who returned to his home country on a Fulbright Scholarship. In Greece, Tselos studied art since the Greek War of Independence and the evolution of art in Modern Greece at the National Technical University of Athens. This shift from medieval art to Modern Greek art became valuable for his Greek War Relief efforts during World War II and creating the anti-junta organization “Greek-Americans for Freedom and Democracy in Greece.”

Tselos is known for his scholarship on early medieval manuscript illumination. “The Sources of the Utrecht Psalter miniatures.” His “Frank Lloyd Wright and World Architecture” documents his belief that art is constantly influenced by history. Continuing Tselos’ contribution to the art world is his son George Tselos, an archivist and historian at the Statue of Liberty National Monument and Ellis Island—the same place where his father entered the USA years before.

Selected Bibliography

[dissertaton:] The Greek Elements in the Utrecht Psalter: Their Origin and Dispersion. Princeton University, 1934;
“The Joshua Roll: Original or Copy?” The Art Bulletin 32, no. 4 (1950): 275-90;
The Sources of the Utrecht Psalter Miniatures. Minneapolis: Printed and published privately, 1955;
“The Influence of the Utrecht Psalter in Carolingian Art.” The Art Bulletin 39, no. 2 (1957): 87-96;
“A Simple Slide Classification System.” College Art Journal 18, no. 4 (1959): 344-49;
“Frank Lloyd Wright and World Architecture.” Journal of the Society of Architectural Historians 28, no. 1 (1969): 58-72;
“Defensive Addenda to the Problem of the Utrecht Psalter.” The Art Bulletin 49, no. 4 (1967): 334-49.

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Sources

“News Reports.” College Art Journal 15, no. 1 (1955): 60-67;
Yiannias, Vicki James. “The Ellis Island Immigration Museum, Part I: George D. Tselos.” Greek News, November 30, 2009. https://www.greeknewsonline.com/the-ellis-island-immigration-museum-part-i-george-d-tselos/;
Kitroeff, Mary, ed. “In Greece since 1948.” The Fulbright Foundation. The Fulbright Foundation in Greece, 2010. https://www.fulbright.gr/images/pdf/Publication.pdf;
Sirigos, Constantine S. “Ellis Island Archivist Tells Greek Saga.” The National Herald. December 5, 2014. https://www.snf.org/media/3936236/281114_snf_national-herald.pdf;
“Funeral Notices.” St. Paul Pioneer Press (MN) , June 21, 1996;
“Beatrice P Tselos.” AncientFaces. https://www.ancientfaces.com/person/beatrice-p-tselos-birth-1910-death-2000/8938209;
“Miss Beatrice Pallister Wed To Dimitris T. Tselos at Home.” Brooklyn Daily Eagle, June 12, 1935. https://www.newspapers.com/clip/503368/tselos-pallister-wedding-brooklyn-daily/.

Tschudi, Hugo von

November 8, 2023March 29, 2024

Full Name: Tschudi, Hugo von

Gender: male

Date Born: 1851

Date Died: 1911

Place Born: Gut Jakobshof bei Edlitz, Austria

Place Died: Bad Cannstatt, Baden-Württemberg, Germany

Home Country/ies: Switzerland

Subject Area(s): German (culture, style, period), Modern (style or period), and museums (institutions)

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

Overview

Controversial Director of National Gallery, Berlin, 1896-1908; early supporter of modern art acquisitions in Germany; Director, Staatliche Museen, Munich, 1909-1911. Tschudi came from an eminent Swiss line, tracing its lineage back to the 16th-century statesman Aegidius von Tschudi (1505-1572). Tschudi’s parents were Johann Jakob von Tschudi, a Viennese physcian, naturalist and (between 1860-1863) a Swiss diplomat in Vienna and his mother the daughter of the German Romantic painter Julius Schnorr von Carolsfeld. He was raised in St. Gallen, Switzerland studying law in Vienna between 1870 and 1875. Turning to art history, he studied under Rudolf Eitelberger von Edelberg, joining him at the Österreichisches Museum für Kunst und Industrie in Vienna, in 1879. In Berlin, the Kaiser-Friedrich-Museum director, Wilhelm Bode hired Tschudi in 1884 as his assistant. This Gemäldegalerie (paintings gallery) was the museum for post-classical arts up to the nineteenth century. Bode was an expert on Dutch baroque and Italian Quattrocento painting, which he guided Tschudi in as well. In 1895 Bode recommended Tschudi to the director of the Generalverwaltung, Richard Schöne to direct the Königliche National-Galerie, Berlin, the museum assigned to 19th-century art. The National-Galerie, founded in 1876, was the only museum not under the rubric of the Ministry of Culture (Kultusministerium), the Generalverwaltung der Königlichen Museen. Schöne balked, but conceded and Tschudi soon became both the director and an expert on modern art. The later nineteenth century had been dominated by French art. Tschudi embraced this international view and began acquiring the best examples. His state-funded position mandated that he foster an appreciation among the public for German artists, which he did by acquiring works by his country’s modernist masters: Wilhelm Leibl, Adolf Menzel, Hans Thoma, Max Liebermann, and the Symbolist artists Arnold Böcklin and Hans von Maées. Tschudi also purchased works by French masters such as Gustave Courbet, Edouard Manet, Auguste Renoir, Claude Monet, and Eugène Delacroix. He also supported the Berlin Sezession artists, whose goal was to break the Prussian hold on art taste. Kaiser Wilhelm II (1859-1941), whose conservative, Germano-centric art taste he considered canonical for the German people, required Tschudi’s acquisitions go through him beginning in 1898. Tschudi got around the edict by encouraging private gifts of French art. He did not, however, tone down his vocal support for French art. He authored a monograph on Édouard Manet in1902; a second book, this time on Adolph von Menzel appeared in 1905. In 1905, too, Bode succeeded Schöne as director of the Generalverwaltung in addition to his Gemäldegalerie directorship, which included the National-Galerie. Though Tschudi helped organize the Deutsche Jahrhundertausstellung of 1906, celebrating the accomplishment of German art of the nineteenth century, the Berlin artist community continued to feel snubbed by his patronage of French art. Through Bode, they appealed to Wilhelm’s fundamentally conservative view of art. The Kaiser fired Tschudi in 1908 for his subversive tastes, citing his overspending his budget as director. He was replaced by the art historian Ludwig Justi, who, ironically, continued Tschudi’s policies of collection foreign and modernist art. Tschudi became general director of the Bayerische Staatsgemäldesammlung in Munich. At the Bavarian institution, he avoided the mistakes made in Berlin by using nearly all private funds to purchase the foreign art he did. Publicly, Tschudi involved himself in rearranging the Alte Pinakothek, coordinating it with the hangings of the Neue Pinakothek. Purchases of pre-Impressionist French art, such as works by Théodore Géricault and Courbet, were met with public tolerance. However, additions of more recent and extremist works by Paul Gauguin and Vincent van Gogh once again ignited conservative indignation. The painter August Holmberg (1851-1911) aided by a likewise narrow-minded acquisitions committee thwarted many of Tschudi’s opportunities. He contracted a disfiguring illness which brought him to depression. In a final triumph, Tschudi oversaw the acquisition of the important Manet painting Luncheon in the Studio (1868) before succumbing to a heart ailment. After his death, a Tschudi Spende (acquisition bequest), administered by Heinz Braune (1880-1957), continued to add important impressionist and Post-Impressionist work, between 1912 and 1915. The Tschudi controversy with Bode, though ostensibly over collections, was fundamentally about the museum’s role as an art promoter. Bode viewed art in historical and historicist terms; Tschudi’s approach was aesthetic. Tschudi refused to refrain from vocal support, even impoliticly praising modern French art in a speech on the Kaiser’s birthday. Museum of Modern Art founder Alfred H. Barr, Jr., wrote forty years after his death, “No wonder Kaiser Wilhelm fired the subversive von Tschudi from his Berlin post. The Kaiser was right: in 1900 a taste for such painters as Cézanne and El Greco was indeed a threat to the security of respectable convention…”

Selected Bibliography

[complete bibliography:] “Hugo von Tschudis Shriften.” Gesammelte Schriften zur neueren Kunst. Munich: F. Bruckmann, 1912, pp. 241-245; and Bode, Wilhelm. Beschreibung der Bildwerke der christlichen Epoche. Berlin: Spemann, 1888; Édouard Manet. Berlin: Cassirer, 1902; Adolph von Menzel: Abbildungen seiner Gemälde und Studien. Munich: F. Bruckmann, 1905; Ausstellung deutscher Kunst aus der Zeit von 1775-1875 in der Königlichen Nationalgalerie, 1906. 2 vols. Munich: F. Bruckmann, 1906.

Sources

Barr, Alfred H., Jr. “Forward.” The Selective Eye: an Anthology of the Best from l’Oeil, the European Art Magazine 1. New York: Random House, 1955, p. [i]; Martin, Kurst. Die Tschudi-Spende. Munich: Bayer. Staatsgemäldesammlungen, 1962; Paret, Peter. “The Tschudi Affair.” Journal of Modern History 53, no. 4 (December 1981): 589-618; Ruhmer, Eberhard. “Hugo von Tschudi: Seine Vorgänger und seine Nachfolger.” in, Festgabe zur Eröffnung der neuen Pinakothek in München am 28. März 1981: Geschichte, Architektur, Sammlung. Munich: G. D. W. Callwey, 1981, pp. 28-41; Wölfflin, Heinrich. Heinrich Wölfflin, 1864-1945: Autobiographie, Tagebücher und Briefe. Joseph Ganter, ed. Basel: Schwabe & Co., 1982, p. 495; Paul, Barbara. Hugo von Tschudi und die moderne französische Kunst im Deutschen Kaiserreich. Mainz: P. von Zabern, 1993; Hohenzollern, Johann Georg, and Schuster, Peter-Klaus. Manet bis van Gogh: Hugo von Tschudi und der Kampf um die Moderne. Munich: Prestel, 1996; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 420-23.

Tschira, Arnold

November 8, 2023March 29, 2024

Full Name: Tschira, Arnold

Gender: male

Date Born: 1910

Date Died: 1969

Place Born: Freiburg im Breisgau, Hesse, Germany

Home Country/ies: Germany

Subject Area(s): Ancient Greek (culture or style), Antique, the, architecture (object genre), Classical, Medieval (European), Roman (ancient Italian culture or period), and sculpture (visual works)

Overview

Specialist in classical Greek, Roman and medieval art and architecture. Originally trained as an architect and architectural historian at the Technical University of Karlsruhe, but he moved towards classical architecture after receiving a fellowship from the deutsches archäologisches Institut (German Archaeological Institute, or DAI) in 1938. Ordentliche (full) Professor at the Technical University of Karlsruhe (1950-). Instrumental in renovating the important medieval cathedral in Schwarzach.

Selected Bibliography

“Das Mausoleum der Kaiserin Helena und die Basilika der Heiligen Marcellinius und Peters an der Via Labicana vor Rom.” JdI 72 (1957): 44 ff.Die ehemalige Benediktinerabtei Schwarzach. 1977. (2nd ed.)

Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 309-310.

Tristram, E. W.

November 8, 2023March 29, 2024

Full Name: Tristram, E. W.

Other Names:

Ernest William Tristram

Gender: male

Date Born: 1882

Date Died: 1952

Place Born: Caracas, Distrito Capital, Venezuela

Place Died: Newton Abbot, Devon, England, UK

Home Country/ies: United Kingdom

Subject Area(s): Medieval (European)

Overview

English medievalist art historian; painter. Tristram was the son of Francis William Tristram and Sarah Harverson. His father was a railway inspector. He attended grammar school in Carmarthen, where he excelled in both chemistry and studio art. Tristram went to the Royal College of Art on a scholarship, studying under the medievalist scholar and artist W. R. Lethaby. As a student, he visited France and Italy on a travel scholarship, studying the medieval works for their ornament in preparation for this design degree. He documented his trip with hundreds of watercolor copies of the monuments he saw (now in the Victoria and Albert Museum and Buckfast Abbey, Devon). After graduation he joined the Royal College of Art in 1906, rising through the teaching ranks. He became a Roman Catholic in 1914. Tristram married Mary Esther Hedgecock (b. 1892/3) in 1920, but the marriage was annulled. His copies of medieval art were exhibited as part of the British primitives exhibition at Burlington House in 1923 and in a catalog written in 1924 by the National Gallery curator W. G. Constable. Tristram developed a fascination with medieval wall painting, combining his knowledge of art materials from his studio training with his knowledge of the monuments. He published an early thesis on the subject, “English Methods of Wall Painting” in 1924. In 1925 he was appointed professor of design at the Royal College. A second article on the wall paintings of a church in Northamptonshire was written with Monty James in Archaeologia in 1926. The following year, English Medieval Painting, written with Tancred Borenius, appeared. Tristram provided the images and much of the analysis. His accomplishment replaced the by then outdated third edition of C. F. Keyser’s A List of Buildings in Great Britain and Ireland Having Mural and other Painting Decorations (1883). In 1934 he married a student of the Royal College, Eileen Maude (b. 1902/3). During this time, he also began the restoration and “cleaning” of the wall painting he documented. Unfortunately, the general knowledge of chemistry of conservation was poor and Tristram was responsible for some damage. He documented and conserved the wall painting in Norfolk, Suffolk, Essex, and Buckinghamshire. He reported on conservation of medieval monuments to The Times (London), the Burlington Magazine and to the Walpole Society for most of the pre-World War II years. In 1944 and 1950 Tristram published first two volumes of English Medieval Wall Painting, for the Pilgrim Trust and the Courtauld Institute of Art. The volumes, which covered wall painting for the twelfth and thirteenth centuries, were his finest effort and comprised a serious inventory of British medieval in situ painting. He retired emeritus from the College in 1948. Tristram died in a nursing home in 1952. The third volume of English Medieval Wall Painting, for the fourteenth century, was published postumously in 1955, by his wife and Monica Bardswell. English Medieval Painting (1927) showed both Tristram’s skills and limitations as an art historian. His dating, based on style and intuition than documentary evidence, proved faulty at times. He erred in his interpretation of some of the scenes due to a lack of medieval hermeneutics. His methods for cleaning and conserving painting damaged some of his projects. His use of wax as a fixative for mural painting prevented the walls from breathing (allow moisture out). His conservation work at Westminster, in which he cleaned and conserved the coronation chair, and the newly discovered wall paintings of the incredulity of St. Thomas and St. Christopher, is particularly admired.

Selected Bibliography

and Borenius, Tancred. English Medieval Painting. New York: Harcourt, Brace, 1929; English Medieval Wall Painting. volume 1. London: H. Milford/Oxford University Press, 1944, volume 2. London: H. Milford/Oxford University Press, 1950; and Tristram, Eileen, and Bardswell, Monica. English Wall Painting of the Fourteenth Century. London: Routledge & Paul, 1955.

Sources

Harvey, J. C. “Tristram, Ernest William.” Dictionary of Art; Rouse, E. C. and Mitchell, Rosemary, “Tristram, Ernest William (1882-1952).” Oxford Dictionary of National Biography; [obituary:] The Times (London) January 12 1952.

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