Art Historians

Terwen, Jacobus Johannes

November 8, 2023March 29, 2024

Full Name: Terwen, Jacobus Johannes

Other Names:

Jacobus Johannes Terwen

Gender: male

Date Born: 27 June 1916

Date Died: 19 October 1998

Place Born: Amsterdam, North Holland, Netherlands

Place Died: Leiden, South Holland, Netherlands

Home Country/ies: Netherlands

Subject Area(s): architecture (object genre) and sculpture (visual works)

Career(s): engineers

Overview

Engineer; architectural historian. Terwen studied architecture at Delft University of Technology. In 1950 he married the art historian Jeanne de Loos (1910-1973), the daughter of the art historian Jeanne de Loos-Haaxman. In 1952 he was an adviser for the exhibition on the Leiden architect Willem van der Helm (ca 1628-1675), held in the Municipal Museum De Lakenhal in Leiden, at the occasion of the fiftieth anniversary of the foundation of the “Oud Leiden” Society. Terwen provided drawings for models of three city gates designed by Van der Helm. In 1953 Terwen began teaching the history of architecture at Leiden University. In addition he joined the new department of the history of photography of the Leiden Prentenkabinet, founded by Henri Van de Waal. In 1965 he obtained a professorship of the history of architecture at Delft University of Technology. His inaugural lecture dealt with the function of the history of architecture in the training of architects. He was particularly interested in the impact of the treatises of Andrea Palladio and Vincenzo Scamozzi on Dutch Classicism. In 1971 Terwen returned to Leiden University, where he was appointed professor of the history of architecture. His inaugural lecture in Leiden dealt with the buildings of Prince Johan Maurits van Nassau-Siegen (1604-1679). Between 1973 and 1981 he headed the editorial board of the Leids Jaarboekje, the annual publication of the Vereniging Oud Leiden. In 1980, at the Palladio exhibition in Vicenza, he delivered a lecture on the influence of Palladio on Dutch architecture. In Leiden, as a member of the Committee of Monuments, he made an inventory of the nineteenth- and twentieth- century buildings of the city. It was published in 1982 in Stadswerk. He retired from Leiden University in 1983 and honored with a Festschrift Bouwen en in Nederland in 1985. With Koen Ottenheym he co-authored, in 1993, a monograph on the Dutch architect Pieter Post, Pieter Post (1608-1669): architect. In his farewell lecture from Leiden University Terwen returned to the topic of the connection between the Italian architects Palladio and Scamozzi and Dutch Classicism, which had occupied him for many years. He came to the conclusion that Scamozzi’s influence on Dutch architecture was of greater importance than Palladio’s.

Selected Bibliography

[bibliography] “Lijst van publicaties van J. J. Terwen” in Bouwen in Nederland. Vijfentwintig opstellen over Nederlandse architectuur opgedragen aan Prof. Ir. J. J. Terwen. Delft: Delftsche Uitgevers Maatschappij, 1985, pp.. 555-556; “De fotocollectie van het Prentenkabinet der Rijksuniversiteit te Leiden” Focus 5 (1957); Over de functie van de architectuurgeschiedenis bij de bouwkundige opleiding: rede uitgesproken bij het aanvaarden van het ambt van gewoon hoogleraar in de geschiedenis der bouwkunst aan de Technische Hogeschool te Delft op Woensdag 15 December 1965. Delft: Waltman, 1965; “Vincenzo Scamozzi’s invloed op de Hollandse architectuur van de zeventiende eeuw” Bulletin Koninklijke Nederlandse Oudheidkundige Bond 65 (1966): 129-130; “The buildings of Johan Maurits van Nassau” in Van den Boogaart, E., Hoetink, H. R., and Whitehead, P. J. P. (eds.) Johan Maurits van Nassau-Siegen 1604-1679: a Humanist Prince in Holland and Brazil. The Hague: Johan Maurits van Nassau Stichting, 1979; “Il Palladianesimo in Olanda” in Della Valle, Anna. Palladio, la sua eredità nel mondo: Vicenza, Basilica Palladiana, maggio-novembre, 1980. Venice: Electa Editrice, 1980; “De tuinen van het Mauritshuis” in Nederlands Kunsthistorisch Jaarboek 1980, 31, Bussum: Fibula-Van Dishoeck, 1981, pp. 104-121; “Mag de bouwkunst van het Hollands classicisme ‘palladiaans’ genoemd worden?” Nederlands Kunsthistorisch Jaarboek 1982, 33, Bussum: Fibula-Van Dishoeck, 1983, pp. 169-189; “Monumentenlijst van 19de- en 20ste- eeuwse gebouwen in Leiden” Stadswerk 2 (1982); [Farewell lecture Leiden University:] Het Hollands klassicisme: Palladio en Scamozzi. Leiden: Prentenkabinet/Kunsthistorisch Instituut der Rijksunversiteit Leiden, 1983; “Het mathematisch systeem van de gevel” in Meischke, R. and Reeser, H. E. (eds) Het Trippenhuis te Amsterdam. Amsterdam – Oxford/New York: Noord-Hollandse Uitgevers Maatschappij, 1983, pp. 171-181; and Ottenheym, Koen. Pieter Post (1608-1669): architect. Zutphen: Walburg Pers, 1993.

Sources

Van der Goes, Bernadette, De Heer, Ed, Van Moorsel, Paul, and De Nooij, Anja (eds) “Voorwoord” Bouwen in Nederland. Vijfentwintig opstellen over Nederlandse architectuur opgedragen aan Prof. Ir. J. J. Terwen. Delft: Delftsche Uitgevers Maatschappij, 1985, p. vii; Marcus – de Groot, Yvette. Kunsthistorische vrouwen van weleer. De eerste generatie in Nederland vóór 1921.Hilversum: verloren, 2003, p. 379; Ekkart, Rudi. “Henri van de Waal: Meester van weleer” in Henri van de Waal. Bundel ter gelegnheid van zijn honderdste geboortedag. 3 maart 1910 / 3 maart 2010. Leiden: Coördesign, 2010, p. 11; [obituary:] Ottenheym, Koen. “Jacobus Johannes Terwen” Leids Jaarboekje (1999), pp 46-47.

Contributors: Monique Daniels

Tervarent, Guy de

November 8, 2023March 29, 2024

Full Name: Tervarent, Guy de

Gender: male

Date Born: unknown

Date Died: unknown

Subject Area(s): encyclopedias, iconography, and reference sources

Overview

Iconographic encyclopedia compiler.

Selected Bibliography

Attributs et symboles dans l’art profane: 1450-1600. 3 vols. Geneva: Droz, 1958-64.

Sources

KRG, 62 cited; KMP, 57 mentioned; EWA 7: 769ff “Iconography”

Iconographic encyclopedia compiler.

Ternois, Daniel

November 8, 2023March 29, 2024

Full Name: Ternois, Daniel

Gender: male

Date Born: unknown

Date Died: unknown

Home Country/ies: France

Career(s): curators

Overview

curator at the Musée Ingres de Montauban; doctoral thesis on Callot; teacher at the Sorbonne.

Sources

Bazin 469-470

curator at the Musée Ingres de Montauban; doctoral thesis on Callot; teacher at the Sorbonne.

Ter Kuile, Engelbert Hendrik

November 8, 2023March 29, 2024

Full Name: Ter Kuile, Engelbert Hendrik

Gender: male

Date Born: 1900

Date Died: 1988

Place Born: Ambt-Almelo, Netherlands

Home Country/ies: Netherlands

Subject Area(s): architecture (object genre), conservation (discipline), conservation (process), Dutch (culture or style), and sculpture (visual works)

Overview

Professor of History of Architecture at Delft University of Technology; active at the Netherlands Department for the Conservation of Historic Buildings and Sites. Ter Kuile attended the Gymnasium in Deventer. In 1920 and 1921 he studied architecture, decorative arts, and arts and crafts in Haarlem. In 1922, he became a law student at Leiden University. After one year, he switched to history of art and archaeology, in which field he graduated in 1927. In 1929, he obtained his doctorate with a dissertation on wooden spires in the Northern Netherlands: De houten torenbekroningen in de Noordelijke Nederlanden. During the preparation of his dissertation, supervised by Wilhelm Martin (q.v.), he worked as a voluntary assistant at the Amsterdam Rijksmuseum. Soon after obtaining his degree, he was appointed curator at the Rijksmuseum Twenthe in Enschede. In 1931, he began his career in the field of documentation and preservation of historic monuments, first at the Rijkscommissie voor de Monumentenzorg, and from 1933 at the Rijksbureau voor de Monumentenzorg, where he served for many years, gradually climbing to higher positions in 1937, 1942, and 1959. As an employee of this latter organization, which had been created in 1918 (from 1947 onwards known as the Rijksdienst voor de Monumentenzorg, i.e., the Netherlands Department for the Conservation of historic Buildings and Sites), he contributed five volumes to the series De Nederlandse Monumenten van Geschiedenis en Kunst. His architectural research led to numerous publications in the Bulletin of the Nederlandse Oudheidkundige Bond (Dutch Antiquarian Association), of which he was the editor for some years. Between 1949 and 1955, he was the president of this association. In 1946 he obtained a teaching position, and subsequently, in 1947, an extraordinarius professorship in the history of architecture at Delft University of Technology. He held his inaugural lecture in October 1947: Het venster in de geschiedenis van de monumentale Westerse architectuur. In addition, between 1949 until 1951, he taught art history, after the retirement of W.A.E. van der Pluym (1879-1960). Ter Kuile also served as the librarian of the department of architecture. He was the advisor of C.L. Temminck Groll and J.C. Visser. Both these students submitted, respectively in 1963 and 1964, dissertations on urban architecture in the Middle Ages. Ter Kuile did research on architecture from Antiquity until the nineteenth century. Medieval architecture was one of his favorite fields, in which he published a number of important studies, often on individual monuments. An important study on the original connection between three churches in Utrecht and the church of St. Lebuinus in Deventer, built under Bishop Bernold of Utrecht (1027-1054), may be singled out. Ter Kuile always paid much attention to the material and esthetical aspects of buildings and had a strong affinity for the space in architecture. His book on Netherlands Romanesque churches appeared in 1975: De Romaanse kerkbouwkunst in de Nederlanden. It covered both the Northern and the Southern Netherlands, including Belgium. The revised second edition of this book was presented to ter Kuile at the age of 82. While most of his work was in Dutch, he occasionally published in French and English. In 1962, he contributed a French article, on the Carolingian churches of Oosterbeek and Tienhoven, to the Festschrift M.D. Ozinga (q.v.), professor in the history of architecture at Utrecht University. Two English surveys on sculpture and architecture appeared in the Pelican series Art and Architecture in Belgium: 1600-1800 (1960) and Dutch Art and Architecture: 1600-1800 (1966) respectively. These publications led to a wider recognition of his work. When he retired from Delft University, he was offered a Liber Amicorum: Delftse studiën. His fare well lecture on June 24, 1965 was on Kleurige Architectuur (colorful architecture). Ter Kuile continued publishing after his retirement. His fifth, and last, contribution to the series De Nederlandse Monumenten van Geschiedenis en Kunst appeared in 1974. At the age of 78, he published a study on the architecture of the former residence of the counts of Holland in the Binnenhof at The Hague.

Selected Bibliography

[For a list of his publications until 1965, see:] Kamstra, T. “Publikaties van E.H. ter Kuile” in Delftse studiën, pp. 410-416; [1966-1979:] Bulletin Koninklijke Nederlandse Oudheidkundige Bond 87, 2 (1988) 77. [Dissertation:] De houten torenbekroningen in de Noordelijke Nederlanden; bijdrage tot hun ontwikkelings- en vormgeschiedenis. Leiden, 1929; “Bouwkunst der Nederlanden: 1600-1800” in Algemene kunstgeschiedenis. IV. Utrecht, 1949, pp. 215-221; “De architectuur.” in Fockema Andreae, S.J.; Ter Kuile, E.H; Hekker, R.C. Duizend jaar bouwen in Nederland. 2 vols. Amsterdam: Albert de Lange, 1948, pp. 131-386; 1957, pp. 77-194; and Gerson, H. Art and Architecture in Belgium: 1600-1800. Translated by Olive Renier (The Pelican History of Art). Baltimore, Maryland: Penguin Books, 1960; and Rosenberg, Jakob and Slive, Seymour. Dutch Art and Architecture: 1600-1800. Harmondsworth: Penguin Books, 1972; De Romaanse kerkbouwkunst in de Nederlanden. Zutphen: De Walburg Pers, 1975. “De bouwgeschiedenis van het grafelijk paleis op het Binnenhof” Holland 10 (1978): 313-328. [Book review:] Van den Berg, Herma, M. “Engelbert H. ter Kuile, De Romaanse kerkbouwkunst in de Nederlanden.” Bulletin Koninklijke Nederlandse Oudheidkundige Bond (1979): 33-35.

Sources

Ter Kuile, G.J. jr. “Engelbert Hendrik ter Kuile. Een biografische studie.” in Meischke R. and others (eds.) Delftse studiën. Een bundel historische opstellen over de stad Delft geschreven voor dr. E.H. Ter Kuile naar aanleiding van zijn afscheid als hoogleraar in de geschiedenis van de Bouwkunst. Assen: Van Gorcum, 1967; Temminck Groll, C.L. “In Memoriam Engelbert Hendrik ter Kuile.” Bulletin Koninklijke Nederlandse Oudheidkundige Bond 87, 2 (1988) 75,77; Bosman, Lex. “De geschiedenis van de Nederlandse architectuurgeschiedenis: middeleeuwse bouwkunst” in Hecht, Peter; Stolwijk Chris; Hoogenboom, Annemieke (eds.) Kunstgeschiedenis in Nederland.Amsterdam: Prometheus, 1998, pp. 63-87.

Contributors: Monique Daniels

Temanza, Tommaso

November 8, 2023March 29, 2024

Full Name: Temanza, Tommaso

Gender: male

Date Born: 1705

Date Died: 1789

Place Born: Venice, Veneto, Italy

Place Died: Venice, Veneto, Italy

Home Country/ies: Italy

Subject Area(s): architecture (object genre) and sculpture (visual works)

Overview

Architect and art historian, acclaimed for his Vite dei più celebri architetti e scultori veneziani che fiorirono nel secolo decimosesto.

Technau, Werner

November 8, 2023March 29, 2024

Full Name: Technau, Werner

Gender: male

Date Born: 1902

Date Died: 1941

Place Born: Bonn, North Rhine-Westphalia, Germany

Place Died: Russia

Home Country/ies: Germany

Subject Area(s): ancient, Ancient Greek (culture or style), Antique, the, ceramic ware (visual works), ceramics (object genre), Classical, painting (visual works), pottery (visual works), and Roman (ancient Italian culture or period)

Overview

Specialist in classical Greek and Roman art, particularly pottery and ceramic painting. Assistant to Ludwig Curtius at the deutsches archäologisches Institut (German Archaeological Institute, or DAI) in Rome 1929-1932. Taught at the University of Freiburg i.Br. from 1932-1941, towards the end as ausserordentlicher Professor. In 1936 Technau was selected to write the volume on the Greek pottery painter Exekias for the Bilder griechischer vasen series edited by J. D. Beazley and Paul Jacobsthal. He was killed on the Russian Front in 1941.

Selected Bibliography

Die klassische Figur der griechischen Kunst im 5. Jh. I. Vasenmalerei. 1927; “Bronzestatuette eines Knaben aus Pompeji” Antike 6 (1930): 249 ff.; Die Kunst der Römer. 1940. (published in the Rembrandt-Verlag series “Geschichte der Kunst”); Exekias. Bilder griechischer vasen 9. Leipzig: Heinrich Keller, 1936.

Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 287-288.

Taylor, William

November 8, 2023March 29, 2024

Full Name: Taylor, William

Gender: male

Date Born: unknown

Date Died: unknown

Home Country/ies: United States

Subject Area(s): African American, American (North American), and Black (general, race and ethnicity)

Career(s): educators

Overview

African-American Art Historian at Indiana University.

Sources

(member contrib. copy)

African-American Art Historian at Indiana University.

Taylor, Joshua C.

November 8, 2023March 29, 2024

Full Name: Taylor, Joshua C.

Other Names:

Joshua Charles Taylor

Gender: male

Date Born: 1917

Date Died: 1981

Place Born: Hillsboro, Washington, OR, USA

Place Died: Georgetown, Washington, DC, USA

Home Country/ies: United States

Subject Area(s): American (North American) and museums (institutions)

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

Overview

Americanist art history professor at the University of Chicago 1960-1974, and director, National Museum of American Art, 1970-1981. Taylor was the son of James Edmond and Anna L. M. Scott (Taylor). He attended the Portland Museum art school before entering Reed College, where he received his degree in 1939. He initially worked as a designer for ballet and theatre groups including the San Francisco Opera Ballet. He also taught at his alma mater. After World War II was declared Taylor joined the U.S. Army infantry, fighting in the European Theater and rising to the rank of major. He was awarded the Bronze Star for his service. He returned to Reed after the war where he received a master’s degree in literature, before entering Princeton University graduate program in art history. He received a second master’s degree in 1949. Taylor joined the Department of Art at the University of Chicago, continuing to pursue his Ph.D. from Princeton, which was awarded in 1956. His dissertation topic was on the American 19th-century artist William Page. The same year he won an award at Chicago for teaching excellence. In he published perhaps his most well-known book, Learning to Look: a Handbook for the Visual Arts. The primer became a standard text for art history, humanities, and museum courses selling over 300,000 copies in two editions. Taylor became a full professor in 1960 and was named the William Rainey Harper chair of art history in 1963. Together with his former student, Peter H. Selz and Herschel B. Chipp, Taylor published the first book on primary sources of American art history, Theories of Modern Art. He was appointed director of the Smithsonian’s National Museum of American Art in 1970. As director, Taylor doubled the collections of the National Museum. Taylor oversaw the opening of the Renwick Gallery (a department of the National Museum Collection) in 1972. In 1974, Taylor launched a computerized project to list every American painting created before 1914. He launched the major show of Elihu Vedder at the Museum in 1979. Bilingual in English and Spanish (as well as the standard art research languages of Italian, German and Dutch) he for many years maintained a home in Taxco, Mexico, and was instrumental in preserving the historic district of that small town. Taylor served on the board of the Museum of Contemporary Art of Chicago. He suffered a heart attack in 1981 and died in a Georgetown hospital. He was succeeded by Charles C. Eldredge (b. 1937). In 1987, his manuscript for Nineteenth-century Theories of Art was published. His Chicago students, in addition to Chipp, included the art historian Shirley Blum. His tenure at the National Museum was marked by creating study and scholarship positions in an attempt to make museums scholarly training grounds the way universities were. He avoided “blockbuster” shows, once quipping that “more than five people in front of one painting is a mob.” His book Learning to Look: A Handbook for the Visual Arts was the heart of his teaching in that before all else he taught the art of seeing (Blum).

Selected Bibliography

[dissertation:] William Page: “The American Titian.” Princeton University, 1956; Learning to Look: a Handbook for the Visual Arts. Chicago: University of Chicago Press, 1957; Futurism. New York: Museum of Modern Art/Doubleday, 1961; and Chipp, Hershel B., and Selz, Peter. Theories of Modern Art: a Source Book by Artists and Critics. Berkeley: University of California Press, 1968; translated, Fernández, Justino. A Guide to Mexican Art: from its Beginnings to the Present. Chicago: University of Chicago Press, 1969; and Dillenberger, Jane. The Hand and the Spirit: Religious Art in America, 1700-1900. Berkeley,CA: University Art Museum, 1972; and Fink, Lois Marie. Academy: the Academic Tradition in American Art: an Exhibition Organized on the Occasion of the One Hundred and Fiftieth Anniversary of the National Academy of Design, 1825-1975. Washington, DC: Smithsonian Institution Press, 1975; and Cawelti, John G. America as Art. Washington, DC: Smithsonian Institute Press for the National Collection of Fine Arts, 1976; The Fine Arts in America. Chicago: University of Chicago Press, 1979;and Soria, Regina, and Dillenberger, Jane, and Murry, Richard. Perceptions and Evocations: the Art of Elihu Vedder. Washington, DC: National Collection of Fine Arts/Smithsonian Institution Press, 1979; Nineteenth-century Theories of Art. Berkeley: University of California Press, 1987.

Sources

Kleinbauer, W. Eugene. Research Guide to the History of Western Art. Sources of Information in the Humanities, no. 2. Chicago: American Library Association, 1982, p. 149 mentioned; Richard, Paul. “Champion of the Unlikely.” Washington Post April 28, 1981, p. B1; [obituaries:] Barbanel, Josh. “Joshua C. Taylor, Art Historian And Smithsonian Museum Chief; Computerized Inventory.” New York Times April 27, 1981, p. 54; Conroy, Sarah Booth. “Director of Smithsonian’s Museum.” Washington Post April 28, 1981, p. C6; Shirley Blum, personal correspondence June 2009.

Taylor, Francis Henry

November 8, 2023March 29, 2024

Full Name: Taylor, Francis Henry

Gender: male

Date Born: 1903

Date Died: 1957

Place Born: Philadelphia, Philadelphia, PA, USA

Place Died: Worcester, Worcester, MA, USA

Home Country/ies: United States

Overview

Director of the Metropolitan Museum of Art 1940-1955. Taylor was the son of Dr. William Johnson Taylor, an orthopedic surgeon and previous president of the College of Physicians and president of the Library Company in Philadelphia, and Philadelphia socialite Emily Buckley Newbold. He attended the Kent (preparatory) School before graduating from the University of Pennsylvania in 1924. Taylor traveled to France to teach English at the Lycée de Chartres 1924-1925. He quite the following year and entered the Sorbonne where he met the medievalist art historian Henri Focillon. He was Focillon’s first American student and the two kept in contact all their lives. Returning to the United States, he enrolled in graduate school at the Graduate School of Princeton, spending the 1926-1927 year in Europe as a Carnegie Fellow. He returned to the United States in 1928, married Pamela Coyne, and left Princeton without completing his degree to become curator of medieval art at the Philadelphia Museum of Art under Fiske Kimball. During the Philadelphia years he edited the museum’s publications, made major installation of medieval art in the new building, and smoothed hurt feelings by Kimball’s quick temper and tongue. In 1931 he left to become the Director of the Worcester Museum of Art, Worceter, MA. The Worcester museum had a long relationship with school education, which Taylor continued to build. He also sought to fill in gaps in the permanent collection, purchasing among other masterpieces, Piero di Cosimo’s Discovery of Honey and Quentin Massy’s Rest on the Flight into Egypt. Other innovations at Worcester included placing book in galleries and establishing public reading rooms for every museum department. Most visionary, Taylor was one of the first to mount temporary exhibitions in the art world in order to entice new visitors to the museum. In 1939 he succeeded the famed Egyptologist Herbert Eustis Winlock as director of the Metropolitan Museum of Art. Taylor was a capable administrator, if eccentric. He watched as the opportunity to fold the Whitney Museum of American Art and the Museum of Modern Art into the Metropolitan slipped through his fingers. This was partially due to his low opinion of modern art. He frequently referred to the fledgling Museum of Modern Art as “that whorehouse on Fifty-third Street.” A poor fundraiser, he was jealous of curator James Rorimer and Rorimer’s relationship with the Met’s major benefactor, John D. Rockefeller. Taylor distained academic scholarship and any art that seemed to need it for appreciation. His distain for archaeology was well-known, perhaps because the barrel-waisted Taylor had once been denied access to a dig. He termed Metropolitan’s Greek vase collection, “vases de nuit” (chamber pots) (Tompkins). When a medieval font was mistakenly delivered to the Cloisters instead of the intended Philadelphia Museum of Art, Taylor refused to exchange the two because of a perceived sleight by its director. (The font remains at the Cloisters to this day). He disparaged popular notions of museum esthetics, summarized in his 1945 book Babel’s Tower. His tenure he greatly increased the size of the education department of the Met. He resigned in 1954 to return as director of the Worcester Museum. He died unexpectedly at age 54 after kidney surgery.

Selected Bibliography

Taste of Angels: A History of Collecting from Rameses to Napoleon. Boston: Little, Brown, 1948; Babel’s Tower; the Dilemma of the Modern Museum. New York: Columbia University Press, 1945.

Sources

Kleinbauer, W. Eugene. Research Guide to the History of Western Art. Sources of Information in the Humanities, no. 2. Chicago: American Library Association, 1982, p. 122 mentioned; Kleinbauer, W. Eugene. Modern Perspectives in Western Art History: An Anthology of 20th-Century Writings on the Visual Arts. New York: Holt, Rinehart and Winston, 1971, p. 89 cited; [amusing quips in] Wilson, Edmund. The Fifties: from Notebooks and Diaries of the Period. New York: Farrar, Straus and Giroux, 1986, see January 1954; Gross, Michael. Rogues’ Gallery: the Secret History of the Moguls and the Money that Made the Metropolitan Museum. New York: Broadway Books, 2009, pp.250; [Obituaries] Museums Journal 57 (March 1958): 293-4; Metropolitan Museum of Art Bulletin NS 16 (January 1958): 145-6; Art News 56 (January 1958): 23; [reminiscences by A. H. Mayor] Art News 79 (February 1980): 6; New York Times November 23, 19’57, p. 19.

Tarchiani, Nello

November 8, 2023March 29, 2024

Full Name: Tarchiani, Nello

Gender: male

Date Born: 1878

Date Died: unknown

Home Country/ies: Italy

Subject Area(s): Italian (culture or style), Italian Renaissance-Baroque styles, and Renaissance

Overview

Scholar of the Italian renaissance; notes about Tarchiani’s opinions on Giotto appear in Richard Offner‘s annotated catalog of the 1937 Mostra Giottesca.

Selected Bibliography

La scultura italiana dell’ Ottocento. Florence: Nemi, 1936; The Medici-Riccardi Palace and the Medici Museum. Florence: A Cura dell’Amministrazione della provincia, 1931.

Sources

Ladis, Andrew. “The Unmaking of a Connoisseur.” in, Offner, Richard. A Discerning Eye: Essays on Early Italian Painting. University Park, PA: Pennsylvania State University Press, 1998, p,19, note 1

Scholar of the Italian renaissance; notes about Tarchiani’s opinions on Giotto appear in Richard Offner’s annotated catalog of the 1937 Mostra Giottesca.

« Previous
1
…
40
41
42
43
44
…
252
Next »

Art Historians

Overview

Selected Bibliography

Sources

Citation

More Resources

Overview

Selected Bibliography

Sources

Citation

More Resources

Overview

Sources

Citation

More Resources

Overview

Selected Bibliography

Sources

Citation

More Resources

Overview

Citation

More Resources

Overview

Selected Bibliography

Sources

Citation

More Resources

Overview

Sources

Citation

More Resources

Overview

Selected Bibliography

Sources

Citation

More Resources

Overview

Selected Bibliography

Sources

Citation

More Resources

Overview

Selected Bibliography

Sources

Citation

More Resources

General Citation

License

Sponsored by

General Citation

License

Sponsored by