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Art Historians

Soprani, Raffaele

Full Name: Soprani, Raffaele

Gender: male

Date Born: 1612

Date Died: 1672

Place Born: Genoa, Genova, Liguria, Italy

Place Died: Genoa, Genova, Liguria, Italy

Home Country/ies: Italy

Subject Area(s): Genoese, Italian (culture or style), painting (visual works), and sculpture (visual works)


Overview

Wrote Le vite de’ pittori, scoltori et architetti genovesi (1674), and early lives of Genoese artists.






Citation

"Soprani, Raffaele." Dictionary of Art Historians (website). https://arthistorians.info/sopranir/.


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Wrote Le vite de’ pittori, scoltori et architetti genovesi (1674), and early lives of Genoese artists.

Sommer, Clemens

Full Name: Sommer, Clemens

Gender: male

Date Born: 1891

Date Died: 1962

Place Born: Cottbus, Brandenburg, Germany

Place Died: Chapel Hill, Orange, NC, USA

Home Country/ies: Germany


Overview

Professor at University of North Carolina, Chapel Hill 1940-62. Sommer’s father was a general in the German army during World War I to which the younger Sommer also served. Sommer received his doctorate at the University in Freiburg in 1919. In 1937 Sommer was summoned to Nazi Party headquarters and told to divorce his wife who, while religiously Lutheran, was suspected of having “Jewish blood.” Sommer understood the threat and accepted a visiting lectureship in Sweden in order to surreptitiously leave Germany altogether. In 1938 Sommer immigrated to the United States where he accepted a position to teach art history at the University of North Carolina, Chapel Hill by then department director Russell Smith. He rose quickly to associate professor in 1940 and full professor in 1947. He was known for lecturing with his cocker spaniel at his side. In 1951, Sommer was one of a five-member committee to establish the first state-funded art museum in the nation, which later became the North Carolina Museum of Art. He was killed in an auto accident at 69.



Sources

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. 649-651; Sloane, Joseph C. ” “Carolina” Vignettes: Dr. Clemens Sommer, art historian.” They Fled Hitler’s Germany and Found Refuge in North Carolina. Southern Research Report 8. Chapel Hill, NC: Academic Affairs Library, Center for the Study of the American South, 1996. pp. 83-90.




Citation

"Sommer, Clemens." Dictionary of Art Historians (website). https://arthistorians.info/sommerc/.


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Professor at University of North Carolina, Chapel Hill 1940-62. Sommer’s father was a general in the German army during World War I to which the younger Sommer also served. Sommer received his doctorate at the University in Freiburg in 1919. In 19

Soby, James Thrall

Full Name: Soby, James Thrall

Gender: male

Date Born: 1906

Home Country/ies: United States

Subject Area(s): Modern (style or period)

Career(s): curators


Overview

Assistant curator of the Museum of Modern Art, New York after Alfred H. Barr, Jr.,’s firing in 1943.



Sources

Weber, Nicholas Fox. Patron Saints: Five Rebels who Opened America to a New Art: 1928-1943. New York: Knopf, 1992.




Citation

"Soby, James Thrall." Dictionary of Art Historians (website). https://arthistorians.info/sobyj/.


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Assistant curator of the Museum of Modern Art, New York after Alfred H. Barr, Jr.,’s firing in 1943.

Sobotka, Georg

Full Name: Sobotka, Georg

Other Names:

  • Georg Sobotka

Gender: male

Date Born: unknown

Date Died: unknown

Home Country/ies: Austria

Subject Area(s): art theory and Vienna School


Overview

Vienna School art historian






Citation

"Sobotka, Georg." Dictionary of Art Historians (website). https://arthistorians.info/sobotkag/.


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Vienna School art historian

Snyder, James E.

Full Name: Snyder, James E.

Gender: male

Date Born: 1928

Date Died: 1990

Place Born: Peoria, Peoria, IL, USA

Place Died: Port Jervis, Orange, NJ, USA

Home Country/ies: United States

Subject Area(s): Northern Renaissance


Overview

Professor of art at Bryn Mawr; specialist in northern Renaissance art. Snyder was born to Jerome Snyder and Martha Snyder. He graduated from the University of Colorado in 1952 with a B.A., entering Princeton University where he received his M.F.A.in 1955. He studied under Kurt Weitzmann to whom he attributed his methodology. Erwin Panofsky suggested the subject of Geertgen tot Sint Jans. Snyder received a Fulbright fellowship for the 1955-1957 years to complete his dissertation, which was awared from Princeton in 1958. His thesis on Geertgen tot Sint Jans written under Bob Koch. He married Kit-Yin Tieng (later divorced). Snyder taught at the University of Michigan, Ann Arbor, as an assistant professor beginning in 1957. He won the A. Kingsley Porter Prize from College Art Association of America in 1960 for his article, “The Early Haarlem School of Painting.” In 1962 he was promoted to associate professor of art history at Michigan. Snyder was awared a second Fulbright for the 1962-1963 which he spent as a Berenson fellow at Harvard’s Villa I Tatti between 1962 and 1963. In 1964 he joined Bryn Mawr College, Bryn Mawr, PA, as an associate professor rising to professor of art history in 1969. He secured a fellowship from the National Endowment for the Humanities, 1972-1973. He was named Fairbank Professor of Humanities at Bryn Mawr in 1985, securing his second NEH fellowship the same year. At age 62, he succombed to liver disease. His students include Molly Faries.


Selected Bibliography

[dissertation:] Geertgen tot Sint Jans and the Haarlem School of Painting. Princeton University, 1958, Northern Renaissance Art: Painting, Sculpture, the Graphic Arts from 1350 to 1575. Englewood Cliffs, NJ: Prentice-Hall/Abrams, 1985; Medieval Art: Painting-Sculpture-Architecture, 4th-14th Century. New York: H.N. Abrams, 1989.


Sources

“Introduction.” Synder, James E. Geertgen tot Sint Jans and the Haarlem School of Painting. Princeton University, 1958, [ix-x].




Citation

"Snyder, James E.." Dictionary of Art Historians (website). https://arthistorians.info/snyderj/.


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Professor of art at Bryn Mawr; specialist in northern Renaissance art. Snyder was born to Jerome Snyder and Martha Snyder. He graduated from the University of Colorado in 1952 with a B.A., entering Princeton University where he received his M.F.A.

Smyth, Craig Hugh

Full Name: Smyth, Craig Hugh

Gender: male

Date Born: 1915

Date Died: 2006

Place Born: New York, NY, USA

Place Died: Englewood, Bergen, NJ, USA

Home Country/ies: United States

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

Career(s): educators


Overview

Renaissance and Mannerism scholar and NYU professor; Director, I Tatti, Florence. Smyth was the son of George Hugh Smyth and Lucy Salome Humeston (Smyth). He received all his degrees from Princeton University, beginning with his A. B., in 1938 in classics. At Princeton, Charles Rufus Morey persuaded him to switch to art history for his master’s degree (M.F.A.), granted in 1941. He married Barbara Linforth the same year and joined the National Gallery of Art as a senior research assistant with fellow classmate Charles Parkhurst. There he participated in the evacuation of works of art from the Gallery to the Biltmore Estate in Asheville, North Carolina, and Randolph-Macon Women’s College, Lynchburg, VA, for safekeeping due to the war. He left the NGA when he was called for active service in World War II in the U.S. Naval Reserve, rising to Lieutenant. With the surrender of Germany, Smyth was named director of the U.S. army’s Central Art Collecting Point in Munich and placed in charge of cultural relics. He assisted in converting the former NSDP (Nazi) party headquarters into what is now the Zentralinstitut für Kunstgeschichte, receiving a U.S. Army Commendation medal for his service. Smyth was discharged in 1946 and accepted a lecturer position at the Frick Collection, New York. He was awarded a senior Fulbright Research fellowship in 1949-1950 traveling to Florence. There he focused on the drawings of Bronzino, developing an appreciation for the conservation of art as well. Smyth was appointed assistant professor at New York University in 1950. In 1951 he became the Institute of Fine Art’s acting director and the permanent, second director, succeeding its founder, Walter W. S. Cook. He was promoted to associate professor in 1953. His Ph.D., however, was not granted until 1956 (again, from Princeton), with a dissertation on Bronzino. He was promoted to professor at NYU in 1957. The following year he renovated the James B. Duke House, a gift to the University, by the architect Robert Venturi, moving the Institute into these quarters, only blocks from the Metropolitan Museum of Art. There he developed the first university-based program in conservation in the country, administrated by the Institute. He was art historian in residence American Academy in Rome, 1959-60. In 1961 Smyth formed part of an important session at the Twentieth International Congress of the History of Art re-evaluating Mannerism. The result was his 1963 book Mannerism and Maniera, one of the first major revisions of Mannerist theory since the work of Walter F. Friedländer. Together with his friend Henry Millon the two published a series of articles on Michelangelo’s architecture between 1969 and 1983, fundamentally changing the thinking on Michelangelo’s contributions to the design of St. Peter’s. Smyth was a visiting scholar at the Institute for Advanced Study in Princeton, N. J., for 1971, publishing his Bronzino as Draughtsman the same year. In 1973 he accepted the directorship of Harvard University’s Villa I Tatti Center for Italian Renaissance Studies in Florence and the rank of professor of fine arts at Harvard. In 1982 Smyth was appointed chair of the advising committee to the J. Paul Getty Research Institute for the History of Art and Humanities. He retired as emeritus from Harvard and I Tatti in 1985 after launching the periodical I Tatti Studies: Essays in the Renaissance. Smyth was appointed Samuel Kress professor at the Center for Advanced Study in Visual Arts (CASVA), National Gallery Art in Washgington, D. C. for the 1987-1988 year, culminating in the symposium “Michelangelo Drawings.” He delivered the Gerson lectures on his experiences in art reparation, published in 1988. In 1999 he retired from the Getty Center; the same year the Institute of Fine Arts created the Craig Hugh Smyth professorship. His final years were spent at his Cresskill, N. J., home. A Craig Hugh Smyth grant for research at I Tatti was named in his honor during his lifetime. He died at age 91 after suffering a heart attack. Smyth’s Mannerisma and Maniera was the seminal work in his career, published in a second edition in 1992. In it, he argues that the second manifestation of Mannerism, 1530s, stemmed from an aesthetic separate and antithetical Tuscan Maniera of the 1530s. His student includes Richard J. Judson.


Selected Bibliography

[complete bibliography:] Renaissance Studies in Honor of Craig Hugh Smyth. Florence: Giunti Barbèra, 1985, vol. 1, pp. vii-viii; [dissertation:] Bronzino Studies (with a Book of) Illustrations. Princeton University, 1956; Mannerism and Maniera. Locust Valley, NY: J. J. Augustin,1963; edited, and Lukehart, Peter M. The Early Years of Art History in the United States: Notes and Essays on Departments, Teaching, and Scholars. Princeton, NJ: Dept. of Art and Archaeology, Princeton University, 1993; Bronzino as Draughtsman; an Introduction. Locust Valley, NY: J. J. Augustin 1971; and Garfagnini, Gian Carlo. Florence and Milan: Comparisons and Relations: Acts of Two Conferences at Villa I Tatti in 1982-1984. 2 vols. Florence: La Nuova Italia editrice, 1989; Repatriation of Art from the Collecting Point in Munich after World War II. The Hague: Gary Schwartz/SDU, 1988; and Millon, Henry A. Michelangelo architetto: la facciata di San Lorenzo e la cupola di San Pietro. Milan: Olivetti, 1988, English, Michelangelo Architect: the Facade of San Lorenzo and the Drum and Dome of St. Peter’s. Milan: Olivetti, 1988.


Sources

Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, p. 190; Posner, Donald. “Introduction.” Friedlaender, Walter. Mannerism and Anti-Mannerism in Italian Painting. 2nd ed. New York: Columbia University Press, 1965, pp. xv; [transcript] Art Historian: Craig Hugh Smyth. Getty Center for the History of Art and the Humanities, 1994; Art Historian: Craig Hugh Smyth. Los Angeles: Oral History Program, University of California, Los Angeles, and the Getty Center for the History of Art and the Humanities, 1994; Lauterbach, Iris, ed. Das Zentralinstitut für Kunstgeschichte. Munich: Das Zentralinstitut, 1997; [obituaries:] Westermann, Mariët. “Craig Hugh Smyth, In Memoriam.” Institute of Fine Arts (website) http://www.nyu.edu/gsas/dept/fineart/ifa/news/smyth_inmemoriam.htm; Heydarpour, Roja. “Craig Hugh Smyth, 91, Dies, Renaissance Art Historian.” New York Times, January 1, 2007, p. 7; Cropper, Elizabeth. “Introduction.” Mannerism and Maniera. 2nd ed. Vienna: ISRA, 1992, pp. 12-21.




Citation

"Smyth, Craig Hugh." Dictionary of Art Historians (website). https://arthistorians.info/smythc/.


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Renaissance and Mannerism scholar and NYU professor; Director, I Tatti, Florence. Smyth was the son of George Hugh Smyth and Lucy Salome Humeston (Smyth). He received all his degrees from Princeton University, beginning with his A. B., in 1938 in

Smith, W. Stevenson

Full Name: Smith, W. Stevenson

Other Names:

  • William Stevenson Smith

Gender: male

Date Born: 1907

Date Died: 1969

Place Born: Indianapolis, Marion, IN, USA

Place Died: Cambridge, Middlesex, MA, USA

Home Country/ies: United States

Subject Area(s): Egyptian (ancient) and Egyptology

Career(s): curators


Overview

Museum of Fine Arts, Boston, curator of Egyptian art, 1959-1969. Smith was the son of Louis Ferdinand and Edna Stevenson (Smith). He attended University of Chicago between 1924 and 1926 before switching to Harvard University where he gained his A. B. in 1928. He continued graduate work at Harvard. Smith participated in the joint Egyptian expedition between Harvard and the Museum of Fine Arts, Boston, to excavate the Giza Pyramids, 1930-39, under MFA Boston curator George Andrew Reisner. Smith received his Ph.D. at Harvard in 1940 writing his dissertation on the topic of Egyptian sculpture. He joined the department of Egyptian art of the Museum of Fine Arts, Boston, in 1941 as an assistant curator. After the declaration of World War II, Smith entered the United States Naval Reserve and was assigned to active duty principally in the middle east from 1942 to 1946 where he rose to the rank of lieutenant commander. He returned to the Museum after the war and the excavation of the Giza sites, now as director (Reisner had died in 1942) for the years 1946-47. The excavation agreement with Egypt, explored since 1905, had expired. In 1948 he began lecturing at Harvard in the department of Fine Arts. He lectured at Harvard intermittently his entire life. Smith returned to Egypt as a Fulbright scholar in 1951. In 1954 he was elevated to associate curator at the Museum. The following year he published A History of the Giza Necropolis II, a major scholarly achievement building on the work of Reisner’s volume one. He became curator of the department in 1956. He authored the Pelican History of Art (series) volume for Ancient Egypt in 1958, bringing his name to a wider audience. In 1963 he was elected President of American Research Center in Egypt, Inc., which he held until 1966. He died at his desk at home at age 61.


Selected Bibliography

[dissertation:] A History of Egyptian Sculpture and Painting in the Old Kingdom. Harvard University, 1940; Ancient Egypt as Represented in the Museum of Fine Arts. Boston: Museum of Fine Arts, 1942; The Art and Architecture of Ancient Egypt. Harmondsworth, Middlesex: Penguin Books, 1958; A History of Egyptian Sculpture and Painting in the Old Kingdom. London: Museum of Fine Arts, Boston/Oxford University Press, G. Cumberlege, 1946; Interconnections in the Ancient Near-East: a Study of the Relationships Between the Arts of Egypt, the Aegean, and Western Asia. New Haven: Yale University Press, 1965; and Reisner, George A. A History of the Giza Necropolis. 2 vols. Cambridge, MA: Harvard University Press, 1942-1955 [Smith did volume 2]; and Dunham, Dows, and Simpson, William Kelly, and Reisner, George A. The Mastaba of Queen Mersyankh III, G7530-7540. Boston: Museum of Fine Arts, Boston, 1974; The Old Kingdom in Egypt and the Beginning of the First Intermediate Period. Cambridge: Cambridge University Press, 1962.


Sources

“In Memoriam William Stevenson Smith.” American Journal of Archaeology 73, no. 3 (July 1969): 275; “William S. Smith, Art Curator, Dies; Led Egyptian Exploration for Museum in Boston.” New York Times January 14, 1969, p. 53.




Citation

"Smith, W. Stevenson." Dictionary of Art Historians (website). https://arthistorians.info/smithw/.


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Museum of Fine Arts, Boston, curator of Egyptian art, 1959-1969. Smith was the son of Louis Ferdinand and Edna Stevenson (Smith). He attended University of Chicago between 1924 and 1926 before switching to Harvard University where he gained his A.

Smith, Robert C.

Full Name: Smith, Robert C.

Other Names:

  • Robert Chester Smith

Gender: male

Date Born: 1912

Date Died: 1975

Place Born: Cranford, Union, NJ, USA

Home Country/ies: United States

Subject Area(s): Baroque, Brazilian, and Portuguese (culture or style)


Overview

Historian of the Brazilian and Portugese Baroque; professor at School of Fine Arts, University of Pennsylvania, 1956-1975. Smith’s Harvard dissertation, granted in 1936, was likely supervised by the Renaissance art historian and Dean of the architecture school, George Harold Edgell. Smith also taught at the University of Illinois and at Sweet Briar College. He was a consultant and lecturer at Colonial Williamsburg. His The Art of Portugal, 1968, won the Athenaeum Literary Award. He studied Portuguese and Brazilian art and architecture as a college student. In 1936 Smith wrote his dissertation on the architect João Frederico Ludovice. He joined Pennsylvania University in 1947. Robert Smith bequeathed his personal archive made up of written documents, photographs and unpublished works to the Calouste Gulbenkian Foundation. The Robert C. Smith Award was established by the Decorative Arts Society of the Society of Architectural Historians for the most distinguished journal article in the decorative arts. Primarily published articles.


Selected Bibliography

[dissertation:] João Frederico Ludovice, arquitecto de Mafra. Harvard, 1936; A talha em Portugal. Lisbon, 1962; Frei José de Santo Antonio Ferreira Vilaça escultor beneditino do seculo XVIII. Gulbenkian Foundation, 1972; “Baroque and Rococo Braga: Documenting Eighteenth-Century Architecture and Sculpture in Northern Portugal.” Proceedings of the American Philosophical Society 1971, pp. 214 of 214-220.


Sources

Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 451-452; Sala, Dalton, and Tamen, Pedro, et al. Robert C. Smith, 1912-1975: A investigação na História de Arte/ Research in History of Art. Lisbon: Fundação Calouste Gulbenkian, 2000, especially, Wohl, Helmut. “Robert Chester Smith and the History of Art in the United States.” pp. 16-29 and Russell-Wood, A. J. R. “Robert Chester Smith: investigador e historiador”/Robert Chester Smith: Research Scholar and Historian.” pp. 30-65.




Citation

"Smith, Robert C.." Dictionary of Art Historians (website). https://arthistorians.info/smithr/.


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Historian of the Brazilian and Portugese Baroque; professor at School of Fine Arts, University of Pennsylvania, 1956-1975. Smith’s Harvard dissertation, granted in 1936, was likely supervised by the Renaissance art historian and Dean of the archit

Smith, John Thomas

Full Name: Smith, John Thomas

Other Names:

  • John Smith

Gender: male

Date Born: 1766

Date Died: 1833

Home Country/ies: United Kingdom

Subject Area(s): prints (visual works)

Career(s): curators


Overview

Keeper of Prints and Drawings at the British Museum. He was succeeded at his death by William Young Ottley. He is sometmes confused in historiographic literature with the John Smith who authored the Rubens catalog in the 1830’s.



Sources

Griffiths, Antony. “The Department of Prints and Drawings during the First Century of the British Museum.” Burlington Magazine 136 no. 1097 (August 1994): 531-544.




Citation

"Smith, John Thomas." Dictionary of Art Historians (website). https://arthistorians.info/smithjt/.


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Keeper of Prints and Drawings at the British Museum. He was succeeded at his death by William Young Ottley. He is sometmes confused in historiographic literature with the John Smith who authored the Rub

Smith, John

Full Name: Smith, John

Other Names:

  • John Smith

Gender: male

Date Born: 1781

Date Died: 1855

Place Died: Hanwell, Oxfordshire, England, UK

Home Country/ies: United Kingdom

Subject Area(s): catalogues raisonnés

Career(s): art critics, art dealers, and art historians


Overview

Art dealer and writer; founded a model of catalogue raisonné writing; early scholar of Rubens and Rembrandt. Smith was the son of John Smith and Anne Smith. He apprenticed and worked as a carver and gilder, marrying at an early age the niece of Lord Mountjoy. All his sons were from that union. He founded a private art dealership in Great Marlborough Street, London and later New Bond Street where the dealers were clustered. His firm attracted wealthy customers such as Sir Robert Peel, the Duke of Wellington and the Rothschilds. His art dealing brought him to the realization that a reference text for artists in English needed to be written. Beginning in 1829, he published through subscription and sales a catalogue raisonné of northern European artists, Works of the Most Eminent Dutch, Flemish and French Painters. Smith provided detailed descriptions of each work, prices, collections, known engravings of the paintings as well as and followers and copyists. The series was completed in 1837 with a supplement volume appearing in 1842. The book quickly became indispensable for English-speaking collectors, dealers and scholars of Dutch pictures, and, like modern catalogues raisonné, greatly increased the market price of the described works. Smith was married three more times, the second time to a widow of the art dealer Artaria, a third time a Miss Pauncefort who died shortly thereafter. His final marriage was to a “Miss Newell.” He retired to a home in Hanwell, Middlesex, which he named Bydorp House where he died in 1855. His sons took over the family business and ran it until 1874. Over fifty years after his death, the Dutch connoisseur Cornelis Hofstede de Groot revised his work, discounting many works, and published a version in English beginning in 1907. Works of the Most Eminent Dutch, Flemish and French Painters is landmark in connoisseurship containing all the element of today’s canonical art-historical monograph (Turner). Smith favored Dutch painters, including 33, as opposed to only four Flemish (Rubens, van Dyck, David Teniers and Gonzales Coques) and three French (Claude, Poussin and Greuze). To a great degree, he reflects mid-19th-century contemporary taste. He omitted Dutch artists valued today such as Adriaen Brouwer, Carel Fabritius, Jan van Goyen, Frans Hals, and Johannes Vermeer. However, his overview of Dutch painting is the first modern approach, best exemplified in his treatment of Rembrandt (Turner). Because of the limits of the discipline of connoisseurship (and perhaps his hopes as a dealer), many of Smith’s attributions have proven over-optimistic. As a dealer, he provided advice on cleaning and lining pictures. He is occasionally confused in historiographic literature with John Thomas Smith, a Keeper of the Print Room of the British Museum.


Selected Bibliography

A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters, in which Is Included a Short Biographical Notice of the Artists, with a Copious Description of their Principal Pictures: a Statement of the Prices at which such Pictures Have Been Sold at Public Sales on the Continent and in England; a Reference to the Galleries and Private Collections in which a Large Portion Are at Present: and the Names of the Artists by whom they Have Been Engraved: to which Is Added a Brief Notice of the Scholars and Imitators of the Great Masters of the above School. 8 vols. and supplement. London: Smith and Son, 1829-1842.


Sources

“Smith’s ‘Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters’: A Memoir of the Author by his Grandson.” Connoisseur 5 (1903): 214-216; Hofstede de Groot, Cornelis. “Preface.” A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. Vol. 1 London: Macmillan and co., limited, 1907, pp. v-xi; Martin, John Rupert. The Ceiling Paintings for the Jesuit Church in Antwerp. London and New York: Phaidon, 1968. Mentioned, pp. ix, xiii; Turner, S. J. “Smith, John (ii).” Dictionary of Art



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Smith, John." Dictionary of Art Historians (website). https://arthistorians.info/smithj/.


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Art dealer and writer; founded a model of catalogue raisonné writing; early scholar of Rubens and Rembrandt. Smith was the son of John Smith and Anne Smith. He apprenticed and worked as a carver and gilder, marrying at an early age the ni