Steefel, Lawrence D., Jr.
Full Name: Steefel, Lawrence D., Jr.
Gender: male
Date Born: unknown
Date Died: unknown
Overview
Selected Bibliography
“Contextual Relativism.” College Art Journal 21 (Spring 1962): 151-5.
Sources
KMP, 76 cited, 49 n. 101
Art Historians
Stechow, Wolfgang
Full Name: Stechow, Wolfgang
Other Names:
- Wolfgang Stechow
Gender: male
Date Born: 1896
Date Died: 1974
Place Born: Kiel, Schleswig Holstein, Germany
Place Died: Princeton, Mercer, NJ, USA
Home Country/ies: Germany
Subject Area(s): Baroque, Dutch (culture or style), and graphic arts
Career(s): educators
Overview
Scholar of the Dutch baroque, especially graphics and Ruysdael; Oberlin University professor1940-63. Stechow’s father, Waldemar Stechow, was an attorney and his mother, Bertha Deutschmann, a concert singer. As a young man, Stechow was educated at the Gymnasium in Göttingen and, after graduating in 1913, volunteered for the German Army at the outbreak of World War I the following year. In 1915 he was taken prisoner of war by the Russians and spent the next two years in a Siberian camp. He returned to Göttingen where he wrote his dissertation at Georgia Augusta University under Georg Vitzthum von Eckstädt on the subject of Dürer’s Apocalypse. He served as an assistant keeper of the Kaiser Friedrich Museum, Berlin, under Wilhelm Bode 1921-1922, before he returning to Göttingen (1923-1935). There he taught courses as a privatdozent with Nikolaus Bernard Leon Pevsner. There, too, he collaborated as part of the group of German scholars Corneilus Hofstede de Groot assembled for his new volumes of the catalogue raisonné of Dutch Painting (1923, 1926). Stechow wrote his Habilitationsschrift in 1926 on Dutch mannerism, also under Vizthum. A talented violinist and keyboardist, Stechow performed and organized musical concerts in Göttingen between 1923-1936. During the same time, he contributed many entries for the 37-volume “Thieme-Becker” Allgemeines Lexikon der bildenden Künstler on Dutch artists. He was appointed Extraordinarius professor at Göttingen in 1931. A protestant of Jewish decent, he lost his academic position at the hands of the Nazi government in 1936. Vizthum sheltered him long enough for Stechow to publish his Salomon Ruysdael book and catalog in 1938. Stechow emigrated to the United States in the same year, were art historian Oskar Hagen, a friend from Göttingen days, secured him a position as Assistant Professor at the University of Wisconsin, Madison, where Hagen also taught. Stechow left Madison for Oberlin College in 1940, a position he held until his emeritus designation in 1963. Stechow was a renowned teacher who made the deliberate choice to devote his energies to pedagogy rather than book publication. Although his articles number over 200, he produced comparatively few monographs. His best known work, Dutch Landscape Painting of the Seventeenth Century (1966) was written after his retirement. In 1964 he began as advisory curator at the Cleveland Museum of Art, where he was instrumental in acquiring outstanding Dutch paintings. In 1969, he went to Smith College as the William Allan Nielson Chair of Research, purportedly nominated by his student Richard Judson. Stechow lectured and taught extensively during his life. It was while at Princeton teaching a class in retirement, that he died. A second edition of the Ruysdael catalog appeared after his death. Stechow’s training was strong in connoisseurship, to which he added the study of iconography. Although excellent in what he did, his methodology attracted criticism. Leo Steinberg criticized Stechow in a book review which Stechow took personally, causing a noted enmity between the two the remainder of their careers. Stechow is most closely associated with authenticity of paintings using connoisseurship (Rysdael). His other major monograph, Dutch Landscape Painting, shows him avoiding the common practice of historic periodization in favor of thematic groupings. The chair of Oberlin during the 1950s, Charles Parkhurst, recalled Stechow’s affinities for puns and great wit; Stechow, he said, referred to the introductory course in art history as “From mud to Klee.” His students included Horst Gerson, Wolfgang Schöne, Hans-D. Gronau, Richard Judson, Reinhold Behrens and Adolf Isermeyer. Writing on Stechow’s behalf in 1934 for immigration to the United States, Erwin Panofsky praised him as, “the most distinguished younger art historians of Germany..
Selected Bibliography
[full bibliography appears in volumes of Bulletin of the Allen Art Museum 20: 77 and 32: 94; Apollo und Daphne. Studien der Bibliothek Warburg 23. Leipzig: B. G. Teubner, 1932; Salomon van Ruysdael: eine Einführung in seine Kunst: mit kritischem Katalog der Gemälde. Berlin: Gebr. Mann, 1938; Dutch Landscape Painting of the Seventeenth Century. National Gallery of Art Kress Foundation Studies in the History of European Art 1. London: Phaidon, 1966; Northern Renaissance Art, 1400-1600: Sources and Documents. Englewood Cliffs, NJ: Prentice-Hall 1966;Dürer in America: His Graphic Work. New York: Macmillan for the National Gallery of Art, Washington, 1971.
Sources
Gerson, Horst. “Wolfgang Stechow.” , in Strauss, Walter S., ed. Tribute to Wolfgang Stechow [special issue] Print Review 5 (Spring 1976): 74-77, reprint [translation of?] Kunstchronik 28 (June 1975): 216-20; 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. 63 cited, 81 mentioned; Kleinbauer, W. Eugene. Research Guide to the History of Western Art. Chicago: American Library Association, 1982, p. 78, mentioned, p. 81; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 397-400; Wendland, Ulrike. Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. Munich: Saur, 1999, vol. 2, pp. 652-659; [obituaries:] Arnold, Paul B. “A Tribute to Wolfgang Stechow.” Art Journal 34, no. 3 (Spring, 1975): 240; Walsh, John, jr. “Wolfgang Stechow (1896-1974).” Burlington Magazine 118 (December 1976): 855-856.
Contributors: Lee Sorensen
Scholar of the Dutch baroque, especially graphics and Ruysdael; Oberlin University professor1940-63. Stechow’s father, Waldemar Stechow, was an attorney and his mother, Bertha Deutschmann, a concert singer. As a young man, Stechow was educated at
Stark, Karl Bernhard
Full Name: Stark, Karl Bernhard
Gender: male
Date Born: 1824
Date Died: 1879
Place Born: Jena, Thuringia, Germany
Place Died: Heidelberg, Saxony, Germany
Home Country/ies: Germany
Subject Area(s): Classical
Overview
Classicist art historian. Stark hailed from an illustrious professional family who saw to it that he gained a classical education early. He read the Odyssey in Greek at age nine. Stark studied philology at the University in Jena and then Leipzig between 1841 and 1845. The lectures of August Böckh (1785-1867) turned his interest to classical art. He traveled to Italy. In 1850, at just age 26, he was associate professor and director of the museum. At Jena he wrote a book on Albrecht Dürer in 1851. His book on the arts of Gaza, a broadly conceived cultural history, appeared in 1852. By 1855, at the untimely death of Karl Friedrich Hermann at the University in Heidelberg, Stark moved to become its first chair in archaeology. He also took over subsequent publications of Hermann’s Lehrbuch der griechischen Antiquitäten with Johann C. F. Bähr (1798-1872). His publications at Heidelberg included a study of the myth of Niobe in 1863. Stark conceived of a survey of the archaeology of art from the fifteenth to the nineteenth centuries. It was characteristic of Stark’s broad vision of the nascent disciplines of art and archaeology in which he worked. However, only volume one appeared, and that posthumously in 1880. Stark also wrote a travel book on France and Belgium.
Selected Bibliography
Dürer und seine Zeit, 1851 [citation unconfirmable]; Städteleben, Kunst und Alterthum in Frankreich: nebst einem Anhang über Antwerpen. Jena: F. Frommann, 1855; Niobe und die Niobiden in ihrer literarischen, künstlerischen und mythologischen Bedeutung. Leipzig: W. Engelmann, 1863; updated, with Bähr, Johann Christian Felix. Hermann, Karl Friedrich. Lehrbuch der griechischen Antiquitäten. 3 vols. Heidelberg: J. C. B. Mohr, 1855; Gaza und die philistäische Küste. Jena: F. Mauke, 1852; Handbuch der Archäologie der Kunst: Systematik und Geschichte der Archäologie der Kunst. Leipzig: W. Engelmann, 1880; “Wanderungen und Wandlungen der Antike.” Preussische Jahrbuch (Berlin) 26, p. 29; Johann Joachim Winckelmann: sein Bildungsgang und seine bleibende Bedeutung. Berlin: C. G. Lüderitz, 1867; Zwei Alexanderköpfe der Sammlung Erbach und des Britischen museums zu London. Leipzig: Breitkopf & Härte, 1879.
Sources
Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 49-50.
Classicist art historian. Stark hailed from an illustrious professional family who saw to it that he gained a classical education early. He read the Odyssey in Greek at age nine. Stark studied philology at the University in Jena and then Leipzig b
Staring, Adolph
Full Name: Staring, Adolph
Gender: male
Date Born: 1890
Date Died: 1980
Place Born: Dordrecht, Gemeente, South Holland, Netherlands
Place Died: Deventer, Overijssel, Netherlands
Home Country/ies: Netherlands
Overview
Self-educated art historian and pioneer of 17th- and 18th-century Dutch art studies. Staring grew up in Dordrecht, where his father headed a printing and publishing firm. In 1909, he became a law student in Leiden. In the following years he also began researching and documenting Dutch art, first in the rather neglected field of eighteenth- and nineteenth-century portrait miniatures. An exhibition of portrait miniatures in Rotterdam in 1910 had aroused his interest in this field. In 1917, after having received his doctor’s degree in law, he became a diplomat. Dissatisfied with his service for the Dutch government in Rome, he decided to quit diplomacy. Between 1920 and 1922 he had a position at the municipal museum of The Hague, where he was involved in the organization of the 1921 exhibition, “Het portret in Nederland van 1730-1830.” He also contributed to the catalog and he continued publishing on portrait painting, as well as on related topics, including royal portrait iconography and genealogy. He regularly published on portraits of members of the House Orange-Nassau. Besides painting and drawing he also developed particular interest in Dutch sculpture, applied arts, topography and historic monuments. From 1923 onwards Staring was involved in the foundation of the Oranje-Nassau Museum in The Hague, which opened in 1926. In 1928 he married Jacoba Henriette Magdalena de Mol van Otterloo. In 1931 the couple moved to a country-house in Vorden, which once had belonged to Staring’s great grandfather, the poet A. C. W. Staring (1767-1840). Staring restored the house and the surrounding estate with great care and he enriched the interior with a collection of paintings, drawings and miniatures (the drawings later went to the Print Room of Leiden University, while the miniatures were presented to the Amsterdam Rijksmuseum). During many years he was active in numerous organizations in the field of the preservation of Dutch castles and monuments. In 1936, Staring wrote an essay on eighteenth-century art in Kunstgeschiedenis der Nederlanden, edited by H. E. Van Gelder. In addition to numerous articles, Staring wrote a study on eighteenth-century portraits of Dutch persons by French painters, Fransche kunstenaars en hun Hollandsche modellen in de 18de en in den aanvang der 19de eeuw. (1947) as well as a study on family groups in seventeenth-, eighteenth- and nineteenth-century painting, De Hollanders thuis (1956). His study on the Dutch painter and decorator Jacob the Wit appeared in 1958, Jacob de Wit, 1695-1754. In the foreword Staring acknowledged the archival research on De Wit carried out by Jan Knoef, who had died in 1948, and who shared Staring’s interest in eighteenth- and nineteenth- century art. Staring’s 1958 publication is a thoroughly documented study on the various fields in which De Wit was active as a painter and draughtsman in Amsterdam and its surroundings. It includes a list of De Witt’s works in chronological order, and an English summary. Staring was a groundbreaking explorer of eighteenth-century Dutch art at a time when it was a neglected field. At his 80th birthday, his colleagues in The Netherlands and abroad dedicated the 1970 issue of the Nederlands Kunsthistorisch Jaarboek to this self-trained pioneering art historian.
Selected Bibliography
[complete bibliography to March 1979:] Ekkart, R. E. O. “Lijst van geschriften van Mr. A. Staring.” Nederlands Kunsthistorisch Jaarboek 21 (1970): 391-398; Fransche kunstenaars en hun Hollandsche modellen in de 18de en in den aanvang der 19de eeuw. The Hague: Stols, 1947; Kunsthistorische verkenningen: een bundel kunsthistorische opstellen. The Hague: Stols, 1948; De Hollanders thuis: gezelschapstukken uit drie eeuwen. The Hague: Nijhoff, 1956; Jacob de Wit, 1695-1754. Amsterdam: P. N. Van Kampen & Zoon, 1958; Johann Friedrich August Tischbein’s Hollandse jaren. Zutphen: Walburg Pers, 1978.
Sources
Niemeijer, J. W. Nederlands Kunsthistorisch Jaarboek 21 (1970): 1-4; De Roo van Alderwerelt, J. Vereniging “Oranje-Nassau Museum” 1980: 6-7; Van Kretschmar, F. G. L. O. in Jaarboek van het Centraal Bureau voor Genealogie en het Iconografisch Bureau 34 (1980): 45-47; [Baron] Schimmelpenninck van der Oije, C. O. A. Bijdragen en mededelingen Gelre 71 (1980): xi-xiii; Ekkart, R. E. O. J. Charité, ed. Biografisch Woordenboek van Nederland 2. The Hague: M. Nijhoff, 1985, pp. 533-534.
Contributors: Monique Daniels
Self-educated art historian and pioneer of 17th- and 18th-century Dutch art studies. Staring grew up in Dordrecht, where his father headed a printing and publishing firm. In 1909, he became a law student in Leiden. In the following years he also b
Stanton, Phoebe
Full Name: Stanton, Phoebe
Other Names:
- Phoebe Stanton
Gender: female
Date Born: 1915
Date Died: 2003
Place Born: Carroll County, IL, USA
Place Died: Baltimore, Baltimore Independent City, MD, USA
Home Country/ies: United States
Subject Area(s): architecture (object genre) and sculpture (visual works)
Overview
Johns Hopkins University architectural historian. Baroody’s family was of Lebanese extraction. She herself was raised in Chicago until young girlhood, when the family moved to California. She made a trip at age 14 to Lebanon which changed her worldview. Baroody attended Mount Holyoke and Radcliffe Colleges, doing graduate work at Stanford University. During the Second World War she worked for the Board of Economic Securities in Washgington, D. C. After the war, Stanton moved to London to complete her Ph.D. at the University of London’s Courtauld Institute, where she studied under Nikolaus Bernard Leon Pevsner, John Newenham Summerson and met Siegfried Giedeon. In 1954, she and her husband, Daniel J. Stanton (d. 1966), a city planner, moved to Baltimore,, where he was employed in urban renewal. Stanton began teaching at Johns Hopkins University in 1955 as one of its first female professors. She remained at Hopkins her entire career. In 1971 she was appointed William R. Keenan, Jr. Professorial Chair of the Department of Art History at Hopkins. The same year she began writing architectural criticism for the Baltimore Sun, a position which she held for five years. Through this she gained a wide public following and found a venue for her strong feelings on architecture. She retired from the University in 1982. She died of a heart ailment in 2003. Her son, Michael Stanton, is also an academic in Design at the University of Beruit. Stanton was known for her strong opinions of both architecture and other architectural historians. She published as small work on Pugin in the 1970s, and continuing a larger, comprehensive work on the father and son. It was completed shortly before her death.
Selected Bibliography
The Gothic Revival & American Church Architecture: an Episode in Taste, 1840-1856. Baltimore: Johns Hopkins Press, 1968; Pugin. New York: Viking Press, 1972.
Sources
[obituary:] Dilts, James D. Newsletter. Society of Architectural Historians. http://www.sah.org/nsah/current/obituaries.pdf
Johns Hopkins University architectural historian. Baroody’s family was of Lebanese extraction. She herself was raised in Chicago until young girlhood, when the family moved to California. She made a trip at age 14 to Lebanon which changed her worl
Stange, Alfred
Full Name: Stange, Alfred
Gender: male
Date Born: 1894
Date Died: 1968
Place Born: Glauchau, Saxony, Germany
Place Died: Tutzing, Bavaria, Germany
Home Country/ies: Germany
Subject Area(s): art theory, Medieval (European), and methodology
Overview
Medievalist, methodology influenced by Heinrich Wölfflin and Wilhelm Pinder.
Selected Bibliography
Das frühchristliche Kirchengebäude als Himmels. Cologne: 1950.
Sources
KMP, 67 cited; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 394-7 .
Medievalist, methodology influenced by Heinrich Wölfflin and Wilhelm Pinder.
Stang, Ragna
Full Name: Stang, Ragna
Other Names:
- Ragna Stang
Gender: female
Date Born: unknown
Date Died: 1978
Home Country/ies: Norway
Subject Area(s): Modern (style or period) and Norwegian (culture)
Overview
Authority on modern Norwegian art; director of the Munch Museum, Oslo. Stang was the daughter of Jens Thiis, a friend and patron of Norwegian Symbolist artist Edvard Munch. She married Nicholay Stang (1908-1971). She began her life as a renaissance scholar. She worked to develop the Oslo Kommunes Kunstsamlinger (Oslo Municipal Art Collection). In 1977 she published her monograph on the life and work of Munch in Norwegian. The book was translated into English, but before publication Stang was killed in an automobile accident.
Selected Bibliography
Edvard Munch: mennesket og kunstneren. Oslo: Aschehoug, 1977, English, Edvard Munch: the Man and his Art. New York: Abbeville Press, 1979; Gustav Vigeland. 1869-1969. Oslo: Tanum, 1969; Gustav Vigeland: en kunstner og hans verk. Oslo: J.G. Tanum, 1965, English, Gustav Vigeland: the Sculptor and his Works. Oslo: J.G. Tanum, 1965; Barokk, rokokko og klassisisme. Oslo: Aschehoug, 1949; and Stang, Nicolay. De store billedhuggere og borger-republikken. Oslo: Grundt Tanum, 1959, volume 2 of Livet og kunsten i ungrenessansens Firenze. 2 vols. Oslo: J. Grundt Tanum, 1956.
Sources
[editor’s preface] Smith, John Boulton. Edvard Munch: the Man and his Art. New York: Abbeville Press, 1979, p [i]
Authority on modern Norwegian art; director of the Munch Museum, Oslo. Stang was the daughter of Jens Thiis, a friend and patron of Norwegian Symbolist artist Edvard Munch. She married Nicholay Stang (1908-1971). She began her life as a renaissanc
Standen, Edith
Full Name: Standen, Edith
Other Names:
- Edith Standen
Gender: female
Date Born: 1905
Date Died: 1998
Place Born: Halifax, Nova Scotia, Canada
Place Died: New York, NY, USA
Home Country/ies: Canada
Subject Area(s): textile art (visual works)
Career(s): curators
Overview
Curator of textiles, Metropolitan Museum of Art and part of the “Monuments Men” group of World War II. Standen was the daughter of Captain Robert Standen, a British Army officer stationed in Nova Scotia, and an American mother, granddaughter to Nathan Appleton (1779-1861), a Massachusetts textile mill founder. She was raised and educated in Ireland and England, graduating with a degree in English from Oxford Somerville College in 1926. She moved to Boston in 1928 where her mother’s family lived, working for the Society for the Preservation of New England Antiquities, which had been founded by her uncle, William Sumner Appleton (1874-1947). As a volunteer for the Fogg Art Museum, Harvard University, she took the museum curatorship course offered by Paul J. Sachs. Standen was hired as art secretary to collector Joseph Early Widener (1872-1943) at his Elkins Park, PA, estate (outside Philadelphia) in 1929. She remained with Widener assisted in transferring Widener’s collection to the National Gallery of Art and became an American citizen in 1942. Joining the Women’s Army Corps (WAC) in 1943 in hopes of being assigned to England where her mother lived, her art experience instead led her commanding officer to refer her to Mason Hammond (1903-2002) a Harvard University professor currently head of the Monuments, Fine Arts & Archives division of the Army stationed in Barbizon, France (outside Paris) in 1945. She rose to the rank of captain. After the war, she moved with the unit to Höchst, Germany (Frankfurt region). She worked with Walter I. Farmer (1911-1997) and others in Wiesbaden, eventually succeeding Farmer as the director of the Central Collections Point in 1946. The following year she moved to the Collecting Point in Stuttgart. Standen served on a UNESCO project in 1947 studying at the Institute of Fine Arts, New York. She joined the Metropolitan Museum of Art, New York, as an associate curator in 1949, assigned to the textile study room at the Met, protesting that she had little knowledge of textiles. Standen mounted attractive exhibitions and wrote articles, ranging from silks to fans. She focused on the visual subjects of the cloth, explaining the narrative and iconographical details. She rose to associate curator in 1951. She retired to consult and write in 1970 as curator emeritus in the department of European sculpture and decorative arts. Apollo magazine published six articles in the July 1981 issue. She published European Post-Medieval Tapestries and Related Hangings in the Metropolitan Museum of Art, two volumes, in 1985 when she was 80, which won the Art Libraries Society of North America (ARLIS) award and celebrated at an international symposium. She died at age 92. Her papers are housed at the National Gallery of Art, Washgington, D. C. Standen was an exceptional lecturer. Her scholarship on tapestries of the Renaissance and later periods led a standard in the field. A fixture at the Metropolitan, she would arrive early each morning at the Museum’s Watson Library to do research until shortly before her death.
Selected Bibliography
[to 1985:] Parker, James. “The Publications of Edith A. Standen: a Bibliography Compiled for her Eightieth Birthday.” Metropolitan Museum Journal 19/20 (1984-1985): 5-10; Italian Painting; Twelve Centuries of Art in Italy. Greenwich, CT: New York Graphic Society, 1956; and Dauterman, Christian, and Parker, James. Decorative Art from the Samuel H. Kress Collection at the Metropolitan Museum of Art: the Tapestry Room from Croome Court, Furniture, Textiles, Sèvres Porcelains, and Other Objects. London: Phaidon Press /Samuel H. Kress Foundation, 1964; European Post-medieval Tapestries and Related Hangings in the Metropolitan Museum of Art. 2 vols. New York: The Metropolitan Museum of Art, 1985.
Sources
Who’s Who in American Art 16 (1984), p. 889; Farmer, Walter I. and Goldmann, Klaus. The Safekeepers: a Memoir of the Arts at the End of World War II. New York: Walter de Gruyter, 2000, pp. 36-37; [obituary:] “Edith Standen.” Times (London) August 15, 1998,
Curator of textiles, Metropolitan Museum of Art and part of the “Monuments Men” group of World War II. Standen was the daughter of Captain Robert Standen, a British Army officer stationed in Nova Scotia, and an American mother, granddaughter to Na
Stahl, Harvey
Full Name: Stahl, Harvey
Gender: male
Date Born: 1941
Date Died: 2002
Place Born: Dallas, TX, USA
Place Died: Berkeley Hills, CA, USA
Home Country/ies: United States
Subject Area(s): Medieval (European)
Career(s): educators
Overview
Professor of medieval art and chair of art history at University of California, Berkeley. Stahl was the son of German immigrants. He graduated from Tulane University in 1964 with a B.A. The following year he was awarded a Fulbright Fellowship to study at the Musée du Louvre in Paris. Returning to the United States, he was awarded a Bernard Fellowship in memory of Robert Lehman in 1965 to attend New York University. He earned both his M.A. (1966) and Ph.D.(1974) from the University’s Institute of Fine Arts. His dissertation, written under Hugo Buchthal, was on miniatures in a manuscript in the Morgan Library. Stahl received a Chester Dale Fellowship at the Metropolitan Museum of Art in 1969. While finishing his dissertation in the early 1970s, Stahl did consulting work at the Cloisters in New York, moving to the Museum’s Department of Medieval Art, 1972-73. He was an adjunct professor at the Parsons School of Design and lectured at the Cooper Union College for the Advancement of Science and Art, and Manhattanville College, 1973-80. His later research involved the royal French manuscript illumination particularly the great Psalter of St. Louis, now in the Bibliotheque Nationale in Paris. He was awarded a National Endowment for the Humanities grant in 1976. In 1980 joined the faculty of the University of California, Berkeley. In 1983 Stahl and other Buchthal students organized publication of Buchthal’s essays on the art of the Mediterranean world from 100 to 1400 A.D. He married Marissa Moss in 1985. Stahl spent the academic year 2000-01 in Rome. Upon his return, Stahl was diagnosed with amyotrophic lateral sclerosis (ALS or Lou Gehrig’s disease). At the time of his death, Stahl had nearly finished his book on the Psalter of St. Louis, the most important French High Gothic illuminated manuscript. Stahl was a founding member of Berkeley’s Congregation Netivot Shalom. Stahl was a scholar of Latin Crusader culture and an authority in French manuscript illumination. He published on Romanesque, Gothic and Later Byzantine periods of art. He was one of the first medievalist art historians to focus on women’s visual experiences in the Middle Ages.
Selected Bibliography
[dissertation] The Iconographic Sources of the Old Testament Miniatures, Pierpont Morgan Library, M. 638. Ph. D. thesis, New York University, 1974; The Apocalyptic Vision. Purchase, NY: Manhattanville College, 1974; “Narrative Structure and Content in Some Gothic Ivories of the Life of Christ.” Images in Ivory: Precious Objects of the Gothic Age. Princeton, NJ: Princeton University Press, 1997, p. 94-114; “Old Testament Illustration during the Reign of St. Louis: the Morgan Picture Book and the New Biblical Cycles.” Il Medio Oriente e l’Occidente nell’arte del XIII secolo. Bologna: CLUEB, 1982, pp 79-93; “Heaven in View: the Place of the Elect in an Illuminated Book of Hours.” Last Things: Death and the Apocalypse in the Middle Ages. Philadelphia: University of Pennsylvania Press, 2000, pp. 205-232.
Sources
San Francisco ChronicleJune 29, 2002, p. A19; Historians of Netherlandish Art, In Memorium Harvey Stahl, http://www.hnanews.org/2002/memoriam.htm; “Harvey Stahl, longtime UC Berkeley Professor of Art History, dies at 61.” Berkeley News release, http://www.berkeley.edu/news/media/releases/2002/06/27_stahl.
Professor of medieval art and chair of art history at University of California, Berkeley. Stahl was the son of German immigrants. He graduated from Tulane University in 1964 with a B.A. The following year he was awarded a Fulbright Fellowship to s
Springer, Anton
Full Name: Springer, Anton
Other Names:
- Anton Springer
Gender: male
Date Born: 13 July 1825
Date Died: 31 May 1891
Place Born: Prague, Praha, Hlavní Město, Czech Republic
Place Died: Leipzig, Saxony, Germany
Home Country/ies: Austria
Overview
First professor of art history in both Bonn and Leipzig; wrote first synthetic of the history of art. Springer was born in Prague, Austrian Empire, which is present-day Prague, Czech Republic. He studied art and philosophy at the universities of Prague, Munich und Berlin, in 1846. He briefly taught art history in Prague, making a research trip to Italy before moving to Tübingen where he met the theologian Albert Schwegler (1819-1857) and the aesthetician Friedrich Theodor Vischer (1807-1887). In Tübingen Springer became involved in politics, mounting a successful campaign against the ban on theatrical performances. He also wrote his dissertation at the Universität für Neuere Geschichte on the very timely topic Geschichte des Revolutionszeitalters (History of the Revolutionary Ages) (the European revolutions of 1844 and 1848 had just occurred). It was published in 1849. His dissertation attempted to refute Hegel’s view of history by showing a connection between science, religion and art. Because of the ensuing political turbulence, Springer found the Austro-Hungarian Empire too difficult to work. He moved to Bonn where he received his habilitation in 1852. Springer published his Kunsthistorische Briefe between 1852-57. In between, two major works, Leitfaded der Baukunst des christlichen Mittelalters (1854) and the Handbuch der Kunstgeschichte (1855) appeared. He was promoted to professor of the newly created area of art history in 1859. In 1860 his Ikonographische Studien was published. Springer published his magnum opus, Bilder aus der neueren Kunstgeschichte (Pictures from the New Art History) in 1867. In it, he set his methodology apart from his rival, Karl Julius Ferdinand Schnaase, emphasizing the analysis of individual works of art as opposed to “cultural-historical overviews.” The book was an attempt to merge connoisseurship with the contemporary trends of art history. He strove to make the new discipline of art history “scientific” on a par with other academic disciplines. In 1872 he moved to Strassburg (succeeded in Bonn by Carl Nicolaus Heinrich Justi) to be Prorector of the newly created university there. However, underlying issues made his continuance there problematic, and Springer moved to Leipzig to become its first chair in art history. Although hampered by severe illness (he was never able to travel to Italy again) and the lack of an art collection to study, his writing continued, in spite of his circumstances until his death. In Leipzig his nickname was Eremita Lipsiensis, (the hermit of Leipzig). Springer had been politically active ever since his time in Prague. Writing in the Kölnischen Zeitung, Allgemeinen Zeitung and later in Grenzboten and Im Neuen Reich he pleaded for the self sovereignty of Turkey. He was a paid emissary of the Serbian minister Ilija Garašanin [Garaschanin] (1812-1874) to represent Serbian interests in the western European press. He lobbied successfully against the ban on Jews in own land. A strong supporter of nation-states, he celebrated the German unification in 1871 with a notable speech, “Unsere Friedensziele.” In 1875 Springer translated into German and added new material to the eminent history of Netherlandish painting Joseph Archer Crowe and G. B. Cavalcaselle. In the late 1880s Wilhelm Vöge came to study with him. Springer died in 1891 and was succeeded by Hubert Janitschek at Leipzig. His book on Dürer remained unpublished owing to the another volume about the artist written by Moriz Thausing appearing shortly before. In 1893 (fully two years after Springer’s death), he was succeeded by August Schmarsow. Two of his most famous students, Adolph Goldschmidt and Vöge, termed Springer their most valuable teacher. Other students included, Nikolaus Bernard Leon Pevsner, Max J. Friedländer, Richard Muther, Ulrich Thieme, Gustav Pauli, and Harry Klemens Ulrich Kessler, the latter two who were unable complete their work under Springer because of Springer’s death. His son, Jaroslav Springer (1856-1915) was also an art historian. As the first chair in the newly emerging discipline of art history, Springer brought to the area an empirical treatment of art history. His great interests lay in the use of primary sources and the study of the individual object. He strove throughout his writing to distance himself from the “rambling speculation of Romantic criticism” (Kultermann) that passed for much of art history at the time. For example, when writing his essay on “Rembrandt und seine Genossen,” for the Kunsthandbuch, he remained dissatisfied with the existing documents on the painter, remarking ryely, “History in not written on the strength of police archives.” He admired some of his art-historical colleagues, such as Gustav Friedrich Waagen, Franz Kugler (who did not return the respect), and to some extent, Schnaase. A fiery personality, he disparaged the art historian Herman Grimm, whom, according to Kessler, he attacked from the lectern as a writer of dime novels for wealthy readers. Likewise he berated the art historian Hermann Joseph Wilhelm Knackfuss whom he referred to as “Hermann Knackwurst.” Jacob Burckhardt, fully cognizant of Springer’s enmity, reportedly gave one Springer student (Pauli) a rough reception when Pauli applied to study under him. Springer’s Handbuch der Kunstwissenschaft was one of the early art encyclopedias and went through many editions, becoming highly influential and giving many German art historians a voice among the reading public. He viewed connoisseurship as foundation of the scientific study of art history. His summary remark regarding Crowe and Cavalcaselle’s method, (“Exact source research, clear description of the content of individual paintings, and full consideration of technique”) could be attributed to him as well. A pioneer of iconographic study, he may have been the first to point out the survival of classical antiquity in the middle ages (chapter one of Bilder aus der neueren Kunstgeschichte). He is considered a pre-eminent leader of Geistesgeschichte (the history of ideas) in art history. Kessler wrote that Springer’s unfailing formal sense turned more than a generation of German art historians into the most reliable and sought-after authorities and museum directors. The Berlin publishing house Springer Verlag, which published many art books, is no connection to him.
Selected Bibliography
[dissertation:] Die Hegel’sche Geschichtsanschuung; eine historische Denkschrift. Tübingen, 1848; Oestreich [sic] nach der Revolution. Leipzig: I. Müller, 1850; Die Baukunst des christlichen Mittelalters: ein Leitfaden zum Gebrauche für Vorlesungen und zum Selbstunterrichte. Bonn: Henry & Cohen, 1854; Handbuch der Kunstgeschichte. 5 vols. Stuttgart. 1855; Ikonographische Studien. Vienna: 1860; Paris au treizième siècle … traduit librement de l’allemand avec introduction et notes par un membre de l’édilité de Paris. Paris: Aubry, 1860; Geschichte Oesterreichs seit dem Wiener frieden 1809. 2 vols. Leipzig: S. Hirzel, 1863-65; Bilder aus der neueren Kunstgeschichte: Kunstkenner und Kunsthistoriker. Bonn: A. Marcus, 1867; re-edited, Crowe, J. A., and Cavalcaselle, G. B. Geschichte der altniederlaendischen Malerei. Leipzig: S. Hirzel, 1875; Raffael und Michelangelo. Leipzig: Seemann, 1878; Die Psalter-Illustrationen im frühen Mittelalter: mit besonderer Rücksicht auf den Utrechtpsalter: ein Beitrag zur Geschichte der Miniaturmalerei. Leipzig: S. Hirzel, 1880; Die Genesisbilder in der Kunst der frühen Mittelalters, mit besonderer Rücksicht auf den Ashburnham-Pentateuch. Leipzig: S. Hirzel, 1884; [Festschrift]: Gesammelte Studien zur Kunstgeschichte: eine Festgabe zum 4. Mai 1885 für Anton Springer. Leipzig: E.A. Seemann, 1885; Friedrich Christoph Dahlmann. 2 vols. Leipzig: S. Hirzel, 1870-1872; Albrecht Dürer. Berlin: G. Grote, 1892.
Sources
Dilly, Heinrich, editor. Altmeister moderner Kunstgeschichte. Berlin: Dietrich Reimer Verlag, 1990, p. 22; Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, p. 373; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 391-4; Weigand, Wolf. “Anton Springer” Biographisch-Bibliographisches Kirchenlexikon www.bautz.de/bbkl/s/springer_a.shtml; Waetzoldt, Wilhelm. Deutsche Kunsthistoriker. Berlin: Bruno Hessling, 1965, pp. 106-129; Schwarzer, Mitchell. “Origins of the Art History Survey Text.” Art Journal 54 (Fall 1995): 24 and p. 28 note 2; Kultermann, Udo. The History of Art History. New York: Abaris, 1993, pp. 113, 119-23, 131; Springer, Anton, [and Freytag, Gustav, and Springer, Jaro, and Janitschek, Hubert, eds. and essayists] Aus meinem Leben. Berlin: G. Grote, 1892; Zöllner, Frank. Die Geschichte des Instituts für Kunstgeschichte der Universität Leipzig. Leipziger Univ.-Verlag, 2009. http://www.uni-leipzig.de/kuge/geschichte.htm#1.
First professor of art history in both Bonn and Leipzig; wrote first synthetic of the history of art. Springer was born in Prague, Austrian Empire, which is present-day Prague, Czech Republic. He studied art and philosophy at the universities of P