Full Name: Loga, Valerian von
Gender: male
Date Born: 1861
Date Died: 1918
Home Country/ies: Germany
Institution(s): Universität Berlin
Supervisor of Karl Giehlow‘s 1898 dissertation along with Anton Springer and Christian Belger.
Supervisor of Karl Giehlow’s 1898 dissertation along with Anton Springer and Christian Belger.
Full Name: Schulz, Juergen
Other Names:
Gender: male
Date Born: 18 August 1927
Date Died: 23 November 2014
Place Born: Kiel, Schleswig Holstein, Germany
Place Died: Providence, RI, USA
Home Country/ies: Germany and United States
Institution(s): Brown University and University of California Berkeley
Architectural historian, principally of Venice. Schulz’s parents were Johannes Martin Askan Schulz, an engineer and and Ilse Lebenbaum Hiller. When the Nazi Reich assumed power in Germany the six-year-old Schulz, whose maternal grandparents were Jewish, was prevented from ever attending a Gymnasium because of the racial laws, which was the route to a university education. In 1938 his mother moved with Schulz and his brother to Berkeley, California, where the art historian Walter W. Horn, a friend of hers, helped them settle. Schulz attended Berkeley public schools, and then the University of California, Berkeley, graduating with a degree in engineering. He was drafted into and served in the postwar United States Army serving as a sergeant, 1945-1948. He joined the San Francisco Chronicle in 1950 as a reporter, then moving to London as a copy editor United Press International, between 1952-1953. He enrolled in 1953 at the Courtauld Institute of Art, London. At the Courtauld he studied with Anthony Blunt writing his dissertation in 1958 under Johannes Wilde on the topic of Venetian painted ceilings in the Renaissance. Schulz served in Berkeley’s art department, beginning as an instructor, then named associate curator of Renaissance art in 1964 at the Berkeley art museum, and eventually (full) professor of art. He was active in the rescuing of artworks in Florence during the flooding of the Arno river in 1966. He published a revised version of his dissertation in 1968. The same year Brown University selected him to join their art department as chair. At Brown he set about building the department, including dramatic faculty hires He sparred with the architect Philip Johnson on the new List Art Center being designed during Johnson’s Brutalist phase for the school. Schulz widened his scholarship to the material culture of Venice in general. He married Anne Markham, also an art historian, around this time. Schulz compiled a catalog of the printed images of the city in 1970, as much, he said as a reference work for scholars than a stand-alone monograph. One of the images, the Jacopo de’ Barbari’s view of Venice of 1500, became the focus of a 1978 Art Bulletin article, one that was hailed for its contextual reading of the map. The article was one of the first in art history to use what today is known as geo-rectification, although Schulz’ work was done without the aid of computers. He next turned his attention to pre-Gothic palaces of Venice, publishing articles in 1982 and culminating in his 2004 book, The New Palaces of Medieval Venice. Beginning in 1984 he was a member on the scientific council of the Centro Internazionale di Studi di Architettura “Andrea Palladio” at Vicenza. Schulz retired in 1995 as the Andrea K. Rosenthal Professor Emeritus. He was awarded a Kress Professorship at the Center for Advanced Studies in the Visual Arts (CASVA) for the 2000–2001 year. He died of a stroke in 2014.
Schulz’ scholarship usually followed a form of, A) catalog of the objects, B) contemporary evidence, and C) the concomitant historiography. He broadly viewed art, and particularly Venetian projects as phenomena, with world connections, never uniquely local achievements. His study of the de Barbari map, “pioneered fundamentally new ways to interpret images of this kind, ways that have had a profound influence not only on the treatment of maps and views by art historians but also on the way historians of cartography view their material.” (Friedman). Schulz’ technique was to focus attention not on the topographical content of the map but rather its iconography.
[obituaries:]
Contributors: Lee Sorensen
Architectural historian, principally of Venice. Schulz’s parents were Johannes Martin Askan Schulz, an engineer and and Ilse Lebenbaum Hiller. When the Nazi Reich assumed power in Germany the six-year-old Schulz, whose maternal
Full Name: Waters, William George
Other Names:
Gender: male
Date Born: September 1844
Date Died: 17 June 1928
Place Born: Wighton, Norfolk, UK
Place Died: London, Greater London, England, UK
Home Country/ies: United Kingdom
Private scholar, biographer and historian of Italian Renaissance art. Waters was the son of William Waters whose family traced its Norfolk, lineage back to Elizabeth I. He was educated at Ipswich Grammar School and Worcester College, Oxford where he won student awards for his historical scholarship. Independently wealthy, he settled in London writing, traveling and entertaining. He married Charlotte Leeder (d. 1868). After her death, in 1880 he married a second time to Emily Paton, an author and collector of cook books. He actively translated historic important scholarly texts beginning with Salernitano Masuccio’s stories from the fifteenth century in 1895. In 1901 he published a small volume in Bell’s art book series, Great masters in painting and sculpture on Piero della Francesca. Afterward he advised another amateur scholar, Evelyn Sandberg, for her book on the same subject and may have recommended the neophyte author to her Italian publisher. He died at age 83.
[obituary:] “Mr. W. G. Waters.” Times (London), June 18, 1928.
Contributors: Lee Sorensen
Private scholar, biographer and historian of Italian Renaissance art. Waters was the son of William Waters whose family traced its Norfolk, lineage back to Elizabeth I. He was educated at Ipswich Grammar School and Worcester College, Oxf
Full Name: Johnson, Marion
Other Names:
Gender: female
Date Born: 23 March 1912
Date Died: 1980
Place Born: Rawalpindi, Punjab Province, Pakistan
Place Died: London, Greater London, England, UK
Home Country/ies: Italy and United Kingdom
Architectural- and garden historian; photographer. Born to a British military officer stationed at the time at the Khyber Pass, Pakistan, she grew up in a military family. Educated in Bath, England, in a secondary school for daughters of British officers, she never attended higher education. Johnson worked for the British government in Paris as part of a public relations unit (and perhaps also for British military intelligence) in the years before World War II. She returned to Britain where she married a British army officer, working for the Foreign Office between 1943 and 1947. At the conclusion of the Second World War, now estranged from her husband, she was attached semi-officially to the British Fifth Army in Rome. There she met Prince Filippo Andrea Doria Pamphili Landi (1886-1958) an Italian politician and nobleman, who rented her the former stable quarters of the Palazzina Corsini on his property. Johnson decorated the apartment where it became a haven for expatriates and locals alike. These stables opened to the palace’s garden and she took a subsequent interest in garden history.
By 1950 she adopted the name of a maternal grandmother, Georgina Masson, partially to hide her Roman publishing activities from her husband. Johnson, now Masson, began studying Roman architecture and its surrounding gardens with an improvised camera. A large portion of her research was performed at the Fondazione Caetani in the city. Her initial publications were in architecture, her first article being one in 1950 on Palladian villas for Country Life. Then followed a series of articles for Architectural Review. One of them, her 1955 article, “Palladian Villas as Rural Centres,” impressed a young architectural history student (and later eminent Harvard Palladian architectural historian) James S. Ackerman who recounted it as the first time he’d read an article that considered the economic, social and political aspects of art (Ackerman, Origins). Her first book was one of historical biography on Frederick II Hohenstaufen in 1957. Publishing success came with the advent of the “coffee table book”, large-format highly illustrated art books. The publisher Thames and Hudson issued a book of her photographs and text as Italian Villas and Palaces in 1959. The combination of Masson’s artistic photographs and her easy though well-researched writing style made the book popular to a British economy only now emerging from the economic hardships of World War II. She later acquired a Roleiflex camera with which she took some of her most important photographs. A book on Italian gardens of the same genre followed in 1961, published jointly in the United States by the emerging US coffee-table publisher, Harry N. Abrams. Over time she developed connections with many British nobility and writers, most notably Evelyn Waugh and Harold Acton, the latter having come from an art-dealing family and living in Florence. She developed a close relationship with literary historian and Rome specialist Gunhild Bergh (1888-1961). In 1965 the book for which she is most remembered, A Companion Guide to Rome, appeared, dedicated to Bergh. Numerous subsequent editions followed. Masson returned to biography with a book on Queen Christina of Sweden, the Swedish monarch who forsook her native country to live in Rome. Garden history, ever a passion, absorbed her later interests. The results of study and travel to Harvard University’s garden and research center, Dumbarton Oaks, appeared the same year as the Christina biography, Dumbarton Oaks: a Guide to the Gardens. When the Italian government purchased the Doria Pamphili in 1971, Masson lived briefly in rural Tuscany, aided by Acton. Unhappy with the country life, she returned to Rome and a consultantship for the Committee for the Defense of the Southern Landscape (of Italy). There she did daily research at the American Academy in Rome near her apartment. Diagnosed with cancer, she returned to England in 1978. She completed a book on the Borgias before her death in 1980 and was at work on a history of the importation of special flower species in Italian gardens. Only the Borgia book was published posthumously. Her 5,000 photographic negatives were willed to the American Academy in Rome at her death.
A “vivid personality, sociable and outgoing with a non-stop flow of conversation” (Gendel), Masson’s prim but irascible nature won her a singular following. In a celebrated incident, Alvar Gonzalez-Palacios (b. 1936), director of the periodical Arte Illustrata, published an article of hers in 1970 on seventeenth-century Italian flowers but failed to return her photos. She publicly accused him of thievery at a party hosted by Acton. Her photographs are valued perhaps more than her writing, which, well-informed, never wholly embraced the scholarly. Her Guide to Rome is considered one of the last serious guidebooks to the city, with few restaurant tips or notices of popular amusements, it served as the educated tourists guide to the city by a foreigner who knew it well. Described as, “a cross between a guidebook and a work of literature (Wanted in Rome), it focused on archaeological and architectural treasures of the city. Masson disliked the Baroque and those monuments are largely left out of the Guide. Her photographic collection included social observation, architecture and gardens and contemporary historians value her images of 1950’s Roman neighborhoods. It is still in print in later revisions by others. She received the Ufficiale dell’Ordine al Merito della Republica Italiana for her work.
Fondazione Camillo Caetani, Rome
Contributors: Lee Sorensen
Architectural- and garden historian; photographer. Born to a British military officer stationed at the time at the Khyber Pass, Pakistan, she grew up in a military family. Educated in Bath, England, in a secondary school for daughters
Full Name: Brettell, Richard Robson
Other Names:
Gender: male
Date Born: 17 January 1949
Date Died: 24 July 2020
Place Born: Rochester, Monroe, NY, USA
Place Died: Dallas, TX, USA
Home Country/ies: United States
Institution(s): Art Institute of Chicago and University of Texas at Dallas
Brettell was born in Rochester, New York. When he was eight his family moved to Denver, Colorado, and spent his formative years there. He entered Yale University, intent on studying molecular biophysics until hearing professor George Kubler speak, changing his mind to study art history. Brettell received his Bachelor’s and Master’s, degrees from Yale. At Yale, Brettell met Zoe Caroline Bieler (b. 1950), a graduate student in cultural anthropology, who he married in 1973. He mounted his first art installation, a photography exhibition at Yale, the same year. The couple lived in Paris and Portugal for more than a year, supporting Caroline’s dissertation fieldwork.
Brettell joined the faculty at the University of Texas in 1976 while still pursuing his Ph.D.. His dissertation was accepted at Yale on the topic of “Pissaro and Pontoise,” under the supervision of the Impressionist scholar Anne Coffin Hanson. Always more interested in museum work than academics, Brettell moved to the Art Institute of Chicago as the Searle Curator of European Painting in 1980. His Impressionist exhibition, A Day in the Country, Impressionism and the French Landscape, 1984, established his reputation as a curator. In 1988, Brettell launched a similar, widely hailed exhibition, a Gauguin retrospective, at the Institute and the National Gallery of Art. The same year he returned to Texas to become the McDermott Director of the Dallas Museum of Art. There he founded an initiative for the arts of Latin America and Africa and a fundraising campaign for a new museum wing for the museum.
His museum career took a dramatic change in 1992, however, when he was arrested in a police sting operation to clear the parks of gay meetups. In the wake of this, the Dallas Museum voted narrowly to fire him. The action brought a groundswell of protest from professional societies and the ACLU. Brettell worked privately as a museum consultant advising museums such as the Portland (Oregon) Museum of Art and was instrumental in developing the Millennium Gift of the Sara Lee Collection, an art collection dispersed to twenty museums in 1998.
That year he was appointed the Margaret McDermott Distinguished Chair in Art and Aesthetic Studies at the University of Texas, Dallas. For UT Dallas he developed a large endowment to establish the Edith O’Donnell Institute of Art History and a building to house it. He returned to museum exhibition work in 2000 with the show Impression: Painting Quickly in France 1860–1890, which travelled to the National Gallery, London, the Van Gogh Museum in Amsterdam and the Clark Art Institute in Williamstown MA. Brettell convinced his chair namesake, Margaret McDermott (1912-2018), to create a $150,000 bi-annual lifetime achievement in the arts award, founded in 2017, named the Richard Brettell Award in the Arts. In 2018 he guided a collection of Swiss 19th/early 20th-century art works to the University, including masterworks by Ferdinand Hodler. Bretell brought the extensive Crow Collection of Asian Art to UTD and 23 million dollars to build a museum to house it. He died in 2020, working on a project to develop the Institute for the Study of American Art in China (ISAAC) at Nanjing University, after a long battle with prostate cancer. A memorial fund was established in his honor.
Immensely erudite, opinionated, frank, a raconteur, and an “emotional lover of beauty and gossip,” (CAA) Brettell was admired by his institutions but could be fierce with individuals. His publications were largely museum exhibition catalogs and journal articles. Although his career began and ended as university faculty, he directed most of his abilities toward museum work. He supervised fifteen dissertations from 2009 until 2020.
Contributors: Lee Sorensen
Brettell was born in Rochester, New York. When he was eight his family moved to Denver, Colorado, and spent his formative years there. He entered Yale University, intent on studying molecular biophysics until hearing professor
Full Name: Walton, Guy E Gender: male Date Born: unknown Date Died: unknown Home Country/ies: United States Institution(s): New York University Scholar of French sculpture, professor at New York University. Walton received his Ph. D. from the Institute of Fine Arts, New York University in 1967. His dissertation, written under Charles Sterling, was on the seventeenth-century sculptor Pierre Puget. Contributors: Lee Sorensen Scholar of French sculpture, professor at New York University. Walton received his Ph. D. from the Institute of Fine Arts, New York University in 1967. His dissertation, written under Charles Sterling, was on the seventeenth-century sculptor Pie Full Name: Landau, Sarah Bradford Gender: female Date Born: unknown Date Died: unknown Home Country/ies: United States Institution(s): New York University Architectural historian. Landau received her Bachelor’s degree (Fine Arts) from the University of North Carolina, Chapel Hill in 1957; She entered New York University where she received her master’s degree,1959 and doctorate in 1978. Her dissertation, supervised by Henry-Russel Hitchcock, focused on the American nineteenth-century architects Edward Tuckerman Potter (1831-1904) and his half-brother William Appleton Potter (1842-1909). [dissertation:] Edward T. and William A. Potter:: American High Victorian Architects, 1855-1901. New York University, 1978. Sarah Landau Papers, Columbia University, https://clio.columbia.edu/catalog/12304787/ Contributors: Lee Sorensen Architectural historian. Landau received her Bachelor’s degree (Fine Arts) from the University of North Carolina, Chapel Hill in 1957; She entered New York University where she received her master’s degree,1959 and doctorate in 1978. Her dissertat Full Name: Richter, George Martin Other Names: Gender: male Date Born: 27 March 1875 Date Died: 09 June 1942 Place Born: San Francisco, San Francisco, CA, USA Place Died: Norwalk, Fairfield, CT, USA Home Country/ies: Germany and United States Renaissance-subject art historian and appraiser; part of the greater Richter family of art historians. Richter was the son of Clemens Max Richter, M.D. (1848–1936), a surgeon and Emma Sophia Bierwirth (Richter) (1853-1929), both German immigrants. His older cousin was Jean-Paul Richter, a Leonardo scholar in Germany. The younger Richter began college at the University of California, Berkeley with the intent of following in his father’s footsteps studying science. With his parents’ divorce, he accompanied his mother in returning to Dresden, Germany in 1896. He spent the following year at the Königliches Gymnasium Dresden-Neustadt to allow him to enter the German university system. Richter took university courses in Munich, Heidelberg and Berlin intent on being a languages scholar. He also experimented in publishing. Richter returned to the United States where he taught German literature for a year in 1899 at the University of Pennsylvania. Returning to Germany, now interested in art history, he obtained his degree at the Institut für Kunstgeschichte, Ludwig-Maximilians-Universität, Munich, in 1907. His dissertation, written under the Institute’s chair and founder, Berthold Riehl was on the topic of the artist Melchior Feselen (d. 1538) and sixteenth-century German art. After graduation, Richter worked at the Galerie Helbing auction house in Munich, beginning in 1910, providing the texts for the auction publications under its founder Hugo Helbing (1863-1938). In 1912 he joined the firm Galerie Georg Caspari. With the United States’ entry into the First World War, Richter, an American Citizen, would have been obliged to leave Germany. He is speculated to have moved to neutral Switzerland where his cousin, Jean-Paul, now an eminent art historian, was also living. Richter traveled among prestigious circles in Europe aided by his family and gallery contacts. He formed a long friendship with the author Thomas Mann (1875-1955). Richter returned to Munich after the war, now dealing art personally and founding the Phantasus-Verlag publishing house in 1919 with H.H. Schlieper. Mann loaned him money to purchase a house in Feldafing, Bavaria, on the shores of Starnberg Lake. In 1920 he married Amalie (“Amely”), Baroness Zündt von Kenzingen, whose cousin, Hildegard “Hilla” Rebay von Ehrenwiesen would later become the first director of the Solomon Guggenheim Museum. Richter named the Feldafing house “Villino”. Mann was a frequent visitor; the house was the place of Mann’s psyche reorientation after the First World War. While there Mann acted as godfather to the Richters’ daughter, Gigi (1922-2020). The financial collapse of the German Mark forced Richter to sell the home and move his family to Florence in 1923. It was in Italy that his interest intensified to Renaissance painting. In Florence Richter visited both Bernard Berenson and Mary Berenson at their Villa I Tatti. His research on Giorgione already under way. Musolini’s rise to power in 1929 forced Richter and his family to move to England but he rented an apartment on the Lido in Venice to continue his research. The completed book appeared in 1937 as Giorgio da Castelfranco, called Giorgione. As war loomed in Europe, Richter heeded a suggestion from Mann, now living and lecturing in Princeton, New Jersey, to relocate to the United States. In addition to his family, Richter also moved the large photographic collection of works of art, in 1939. In New York, his wife’s cousin, Hilla von Rebay, was now the director of Solomon Guggenheim’s new Museum of Non-Objective Art. Rebay was crucial in helping Richter make art-world connections and encouraging him to lecture and write. He returned to his research on Andrea del Castagno. Unable to establish an art dealership in New York, he looked for buyers for his large image archive and art-book collection. Among those he contacted was David Finley, director of the still-to-be-completed National Gallery of Art, but Finley declined. As Richter’s situation became more dire, Rebay prevailed on Guggenheim to provide the funds for his photographic collection to be housed at the National Gallery of Art. In declining health, Richter died at Rebay’s home before the agreement could be completed. His widow sold his art book collection at auction. His final article published in his lifetime was co-written with Erwin Panofsky; His final article and his book on Andrea del Castagno appeared after his death Richter wrote on a variety of subjects including expertising, motivational aesthetics and art history. His method was largely a psychological approach to art (one that was disparaged by August L. Mayer). A forceful personality, Kenneth Clark) declined to review Richter’s Giorgioni book because of perceived hostility should Richter find the review unfavorable. He pressured his daughter, Gigi, into a career in art and art conservation; after his death she returned to her original passion of the natural sciences later becoming a noted botanist publishing under her married name, Crompton. Richter’s Giorgioni book is still considered an essential work on the study of the artist. Contributors: Lee Sorensen Renaissance-subject art historian and appraiser; part of the greater Richter family of art historians. Richter was the son of Clemens Max Richter, M.D. (1848–1936), a surgeon and Emma Sophia Bierwirth (Richter) (1853-1929), both German immigrants. Hi Full Name: Wetering, Ernst van de Other Names: Gender: male Date Born: 09 March 1938 Date Died: 11 August 2021 Place Born: Hengelo, Overijssel, Netherlands Place Died: Amsterdam, North Holland, Netherlands Home Country/ies: Netherlands Institution(s): Rembrandt Research Project and Universiteit van Amsterdam Rembrandt expert and researcher, Professor of Art History at the University of Amsterdam (1987 – 1999). Van de Wetering’s parents were Gerardus Hermanus van de Wetering, an electrical engineer and amateur artistand, Anna Maria Bahlmann a German. During World War II his father belonged to the NSB (Nationaal-Socialistische Beweging in Nederland), the Dutch Nazi party, led by Anton Mussert (1894-1946). With the liberation of western Europe in 1944, his mother took the family to Hamburg to avoid a hostile Netherlands. His father was imprisoned for three years, all of which had a lasting effect on the younger Van de Wetering. Ernst Van de Wetering received his training as a painter at the Royal Academy of Art in The Hague. After having worked for a short period as a teacher of drawing, he enrolled, in 1963, as a student at the Institute of Art History of the University of Amsterdam (UvA). At the Institute, he met fellow student Katja Reichenfeld (b. 1942) in 1967, later also an art historian, and the two married. Meanwhile, in 1968, a team of leading Dutch scholars, including Josua Bruyn, Bob Haak, J. G. van Gelder, J. A. Emmens, Simon H. Levie, and J. J. van Thiel had formed the Rembrandt Research Project (RRP). The group was convinced that the accepted number of authentic Rembrandts by previous scholars, most recently Abraham Bredius and Horst Gerson, was in need of revision through critical study, intent on publishing a critical catalogue raisonné of Rembrandt’s work. The same year Van de Wetering returned from a study trip in New York where he became convinced that a Rembrandt in the Metropolitan Museum of Art was a collaborative effort between Rembrandt and Aert de Gelder (1645-1727). When he reported this to Bruyn, now a professor of Art History at the University of Amsterdam, Van de Wetering was invited to join the team as an assistant. He became a full member of the team in 1971. Two years later, in 1973, he graduated in Art History with a thesis–not on Dutch Golden Age art–but on the nineteenth-century German painter Hans von Marées (1837-1887). Rembrandt intrigued him and in 1977 his article “De jonge Rembrandt aan het werk” (The Young Rembrandt at Work) was published in the Dutch periodical Oud Holland. Trained as a painter himself, Van de Wetering focused on Rembrandt’s working methods. In addition to Van de Wetering’s membership of the RRP, he served, between 1969 and 1987, as a staff member at the Central Research Laboratory for Objects of Art and Science in Amsterdam (now The Netherlands Institute for Cultural Heritage, ICN). In 1986, he earned his doctor’s degree from the University of Amsterdam under professor Bruyn with a dissertation, Studies in the Workshop Practice of the Early Rembrandt. In 1987, Van de Wetering was appointed Professor of Art history at his Alma Mater, succeeding his former adviser. In the meantime, the first three volumes of the Rembrandt Research Project, A Corpus of Rembrandt Paintings, were published in 1982, 1986, and 1989. They provoked much debate and controversy in the art world, as the attributions of many paintings to the master were ascribed to other painters. The continuing controversy over their decisions led to the resignation, in 1993, of the four founding members, Bruyn, Haak, Levie, and van Thiel. The directorship of the RRP was left to Van de Wetering, who advocated a different approach, opting for a thematic and scientific approach instead of the historical and chronological methodology employed by the others. In 1997, Van de Wetering published Rembrandt: the Painter at Work. In this book he thoroughly studied multiple aspects of Rembrandt’s studio practice, his method of working, and his painting technique, taking into account contemporary art-theoretical literature. In addition to his teaching and professional work, Van de Wetering was eager to communicate his insights to a larger audience, with an active program of lectures and public appearances. Van de Wetering retired as professor at the University of Amsterdam in 1999 and was succeeded by Eric Jan Sluijter (b. 1946) in 2002. Following his retirement, he was appointed Slade Professor of Fine Art at Oxford University (2002-2003). His 2009 publication, Rembrandt in nieuw Licht (simultaneously published in English as Rembrandt, A Life in 180 Paintings), focused on Rembrandt’s life based on seminal paintings. At the same time, he continued his work on the RRP, in collaboration with a team of specialists. This resulted in the publication of three additional volumes of A Corpus of Rembrandt Paintings. The fourth volume, The Self-Portraits, appeared in 2005, and the fifth volume, Small-Scale History Paintings, in 2010. The sixth and final volume of the Corpus followed in 2014: Rembrandt’s Paintings Revisited. A Complete Survey. In 2016, Van de Wetering published Rembrandt: The Painter Thinking. In part II of this meticulous study, he attempted to find Rembrandt’s specific ideas on painting, analyzing the content of two Dutch treatises on painting, written by Karel van Mander, and Samuel van Hoogstraten (1627-1678). Van Mander’s didactic poem Grondt der Edel vry Schilderconst (The foundations of the noble and free art of painting) appeared in 1604, as the first part of his famous Schilder-boeck (Book of Painting) in verse. Van Hoogstraten, who between 1643 and 1647 was a pupil of Rembrandt, rewrote and reorganized Van Mander’s poem in his 1678 didactic treatise, Inleyding tot de Hooge Schoole der Schilderkonst. Anders de zichtbaere werelt (Introduction to the Academy of Painting, or the Visible World). Van de Wetering argued that the basic aspects of painting discussed in both these works played a significant role in Rembrandt’s own thoughts on the art of painting. This allowed Van de Wetering to embark on a path, in his own words, “towards a reconstruction of Rembrandt’s art theory”, of which that book merely provided a sketch. Van de Wetering was critical of what he saw as confusion and misunderstandings in previously published commentaries regarding the meaning and purpose of Van Mander’s and Van Hoogstraten’s treatises. Van de Wetering singled out for his criticism the 2008 study of Thijs Weststeijn, The Visible World, Samuel van Hoogstraten’s Art Theory and the Legitimation of Painting in the Dutch Golden Age. In 2003, Van de Wetering was made a Knight in the Order of the Netherlands Lion and in 2011, he received the Silver Museum Medal from the Community of Amsterdam. In 2020, he became an honorary member of the Association of Dutch Art Historians. In later years, he lived with partner, Carin van Nes. He died at home after a struggle with cerebral amyloid angiopathy and polyneuropathy. Van de Wetering’s respect as an authority on authenticity, conservation and preservation of Rembrandt (and other) artworks found detractors as well as admirers. His evaluations of Rembrandt work were considered so conclusive–and had such impact on the value–that he was dubbed “the Rembrandt police” (de Lange). The art historian Gary Schwarz (b. 1940) described van de Wetering’s work as “deleterious to scholarship” because it essentially ended debate on a work’s authenticity (NY Times). The auction world celebrated this as sales of work authenticated by him greatly increased in value. Contributors: Monique Daniels Rembrandt expert and researcher, Professor of Art History at the University of Amsterdam (1987 – 1999). Van de Wetering’s parents were Gerardus Hermanus van de Wetering, an electrical engineer and amateur artistand, Anna Maria Bahlmann a German. D Full Name: Chase, Judith Wragg Other Names: Gender: female Date Born: 18 February 1907 Date Died: 1995 Place Born: Augusta, Richmond, GA, USA Home Country/ies: United States Subject Area(s): African American and American (North American) Career(s): educators and museum directors Director of the Old Slave Mart Museum and scholar of African American art history. Judith Wragg Chase was born in 1907 in Augusta, Georgia, to Samuel Alston Wragg (1875-1953) and Emma Louise Sparks (Wragg) (1877-1966). She attended William Smith College (now Hobart and William Smith Colleges) from 1923-1924. From 1924-1927, she studied at Cooper Union Art School and later completed her degree at Syracuse University in 1960. Chase’s career ambitions spanned several different fields. From 1928-1930, she worked as an advertising artist for Barron Collier, a prominent entrepreneur of the time. She also pursued her own freelance work as an illustrator. Outside of her work as an artist, she pursued multiple teaching positions. She was the art director at Fort Benning Children’s School from 1930-1931. She married her husband Richard Chase, who was a military service member, in 1931. A high school art teacher in Charlottesville, Virginia, from 1944-1947, and the art director at Manlius Military School in New York from 1957-1960. In her summers at Manlius Military School, she led student educational experiences in Europe. Contributors: Paul Kamer Director of the Old Slave Mart Museum and scholar of African American art history. Judith Wragg Chase was born in 1907 in Augusta, Georgia, to Samuel Alston Wragg (1875-1953) and Emma Louise Sparks (Wragg) (1877-1966). She attended William Smith C
Walton, Guy
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Landau, Sarah
Overview
Selected Bibliography
Archives
Richter, George Martin
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Selected Bibliography
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Wetering, Ernst van de
Overview
Selected Bibliography
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Chase, Judith Wragg
Overview
Selected Bibliography