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Scribner, Charles, III

Full Name: Scribner, Charles, III

Gender: male

Date Born: 1951

Place Born: Washington, DC, USA

Home Country/ies: United States

Subject Area(s): Baroque


Overview

Art historian of the baroque era and book publisher. Scribner was book to the book publishing magnate Charles Scribner II (1921-1995) and Joan Sunderland (Scribner), a figure skater. He received all his degrees from Princeton University, including an A.B., (1973) and M.F.A. (1975). His Ph.D., was written under Jack Martin in 1977. Scribner joined his family’s publishing firm in 1975 and worked in various capacities. He is currently vice president for special projects. He married Ritchie Harrison Markoe in 1979. He lectured in the Department of Art and Archaeology of Princeton in 1983. In 1989 his book on Rubens appeared.


Selected Bibliography

[dissertation:] The Triumph of the Eucharist: Tapestries Designed by Rubens. Princeton University, 1977, revised ed., Ann Arbor, MI: UMI Research Press, 1982; Gianlorenzo Bernini. New York: H.N. Abrams, 1991; Rubens. New York: Abrams, 1989; “Sacred Architecture: Rubens’s Eucharist Tapestries.” Art Bulletin 57 (December 1975) : 519-28; “In alia effigie: Caravaggio’s London Supper at Emmaus.” Art Bulletin 59 (September 1977): 375-82.





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Art historian of the baroque era and book publisher. Scribner was book to the book publishing magnate Charles Scribner II (1921-1995) and Joan Sunderland (Scribner), a figure skater. He received all his degrees from Princeton University, including

Scranton, Robert

Full Name: Scranton, Robert

Other Names:

  • Robert Lorentz Scranton

Gender: male

Date Born: 1912

Date Died: 1993

Place Born: Alliance, Stark, OH, USA

Place Died: Decatur, DeKalb, GA, USA

Home Country/ies: United States

Subject Area(s): Ancient Greek (culture or style), architecture (object genre), Greek sculpture styles, and sculpture (visual works)

Career(s): educators


Overview

University of Chicago art history professor, specialist in Greek sculpture and architecture. Scranton was the son of a physician. He graduated from Mount Union College in Alliance, Ohio, and received his master’s degree (1934) and doctorate (1939) both from the University of Chicago. In both instances his topic was on ancient Greek fortifications. Between 1934-38, he studied at the American School of Classical Studies in Athens. He joined the faculty of Emory University in 1947. In 1961 he left to accept a position as professor of classical art and archaeology at the University of Chicago from 1961 to 1977, and chairman of its Art Department from 1969 to 1973. In 1964, Scranton published Aesthetic Aspects of Ancient Art, published by the University of Chicago Press. After retiring from the University of Chicago, he returned to Decatur, Georgia, teaching courses at Emory and Agnes Scott College in Decatur. Scranton from complications from pneumonia. His wife was Louise Capps (Scranton). Scranton was involved in archaeological exploration in Greece, Cyprus and Yugoslavia, between 1934 and 1970, using grants from the Guggenheim Foundation, National Endowment for the Humanities and others. In Kenchreai, Greece, he discovered glass mosaics which were part of the decoration of a 3rd-or 4th-century church. The artifacts are now in a museum in Isthmia, Greece.


Selected Bibliography

[Master’s thesis:] Greek Walls. Cambridge, MA: Harvard University Press for The American School of Classical Studies at Athens, 1941, [dissertation:] The Chronology of Greek Walls. Chicago, IL: Private edition, distributed by the University of Chicago libraries, 1941; Greek Architecture. New York: G. Braziller, 1962; Mediaeval Architecture in the Central Area of Corinth. Princeton, NJ: American School of Classical Studies at Athens, 1957; Monuments in the Lower Agora and North of the Archaic Temple. Princeton, N. J., American School of Classical Studies at Athens, 1951; and Richard Stillwell, and Freeman, Sarah Elizabeth, and Askew, H. Ess. [Corinth] Architecture. Cambridge, MA: Harvard University Press, for The American School of Classical Studies at Athens, 1941.


Sources

[obituaries:] “Dr. Robert Scranton, former archaeologist, professor at Emory.” Atlanta Journal and Constitution, February 4, 1993, p. D6.




Citation

"Scranton, Robert." Dictionary of Art Historians (website). https://arthistorians.info/scrantonr/.


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University of Chicago art history professor, specialist in Greek sculpture and architecture. Scranton was the son of a physician. He graduated from Mount Union College in Alliance, Ohio, and received his master’s degree (1934) and doctorate (1939)

Scott, William Bell

Full Name: Scott, William Bell

Gender: male

Date Born: 1811

Date Died: 1890

Place Born: Edinburgh, Scotland, UK

Place Died: Penkill Castle, Strathclyde, Scotland, UK

Home Country/ies: United Kingdom

Career(s): art critics, authors, painters (artists), and poets


Overview

Painter, poet and writer on art. Bell was the seventh child of Robert Scott and Ross Bell (Scott). His four eldest brothers died in an 1807 epidemic. Bell himself was educated at the Trustees’ Academy in Edinburgh, learning engraving, and publishing Views of Loch Katrine and Adjacent Scenery before he was twenty. Though he never attended college, Bell convinced the Board of Trade in 1837 to offer him the founding headmastership in the Government School of Design in London. The same year, “a new and interesting school of historical and loosely speaking, inventive and illustrative painters’ attracted his attention, the Pre-Raphaelite Brotherhood. In 1846 his poems “The Year of the World,” “Rosabell” and “A Dream of Love,” published in the February and March numbers of Leigh Hunt’s Monthly Repository, inspired Dante Gabriel Rossetti to seek him out in a letter of 1847. Scott and Rosetti advised and inspired each other for most of the rest of their lives. Scott left the School in1851 for the Department of Practical Art in Newcastle, under the direction of Sir Henry Cole (1808-1882). It was then that he started dabbling in art-historical writing. In 1859, Scott met Alice Boyd. Boyd and Scott’s wife, Letitia Norquoy, maintained a love triangle of inspiration and passion for the next twenty-six years. Rossetti spent the summer of 1868 and 1869 with Scott and Boyd at Penkill Castle, Boyd’s home. At the castle, Rossetti resolved to take up poetry again after a vow not to because of the death of his muse, Elizabeth Siddal (1829-1862). Bell reviewed the 1870 biography of Albrecht Dürer by Mary Margaret Heaton, criticizing it as “hysterical and prejudiced,” only to use large portions of her translations of Dürer documents–unacknowledged–in his own book of Dürer of the same year. Swinburne abhorred Scott, pronouncing him “the Parasite of the North.” A mediocre painter and historian, his fame largely rests with the poetry he wrote and helped inspire in Rosetti.


Selected Bibliography

The British School of Sculpture. London: Routledge, 1872; Albert Durer: His Life and Works. London: Longmans, Green, 1869; Antiquarian Gleanings in the North of England: Being Examples of Antique Furniture, Plate, Church Decorations, Objects of Historical Interest, etc. London: G. Bell, 1851?; William Blake: Etchings from his Works. London: Chatto and Windus, 1878.


Sources

Eisler, Colin. “Lady Dilke (1840-1904): The Six Lives of an Art Historian.” in Sherman, Claire Richter and Holcomb, Adele M., eds. Women as Interpreters of the Visual Arts, 1820-1979. Westport, CT: Greenwood Press, 1981, p. 155; Allgemeines Lexikon der bildenden Künstler (Thieme-Becker) 30: 409.




Citation

"Scott, William Bell." Dictionary of Art Historians (website). https://arthistorians.info/scottw/.


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Painter, poet and writer on art. Bell was the seventh child of Robert Scott and Ross Bell (Scott). His four eldest brothers died in an 1807 epidemic. Bell himself was educated at the Trustees’ Academy in Edinburgh, learning engraving, and publishi

Scott, Geoffrey

Full Name: Scott, Geoffrey

Gender: male

Date Born: 1884

Date Died: 1929

Place Born: Hampstead, Camden, London, England, UK

Place Died: New York, NY, USA

Home Country/ies: United Kingdom

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

Career(s): art critics


Overview

Architect, biographer and architectural historian, exponent of the Renaissance architectural style and anti-Ruskin critic. Scott was born to Russell Scott (1837-1908), a successful manufacturer, and Jessie Thurburn (Scott) (1844-1921). His uncle was Charles Prestwich Scott (1846-1932), the long-time editor of the Manchester Guardian. The affluence of his family allowed Scott to be tutored privately attending Highgate and Rugby schools. He traveled with his family extensively in Italy. After a year at St. Andrews College, he entered New College, Oxford in 1902 studying under the classicist Gilbert Murray (1866-1957). At Oxford, Scott earned the Newdigate prize in 1906 for a poem, “The Death of Shelley,” but more importantly, the chancellor’s essay prize in 1908 for an essay on architectural history, “The National Character of English Architecture,” which was published. He also discovered his own bisexuality around this time. In 1906 together with the Bloomsbury economist John Maynard Keynes (1883-1946), he visited the art historians Bernard Berenson and his wife, Mary Berenson at their villa outside Florence, I Tatti. Scott developed a strong attachment to Mary and she to him, a woman who herself had left a husband and children to live with and marry Berenson. Scott became Bernard Berenson‘s librarian at I Tatti comprising part of the Berensons’ famous circle of dilettanti. He traveled with the Berensons throughout Italy. When Scott failed to distinguish himself as a classical student at Oxford, Mary introduced him to the architect Cecil Pinsent (1884-1963) in 1907. Scott embarked on a career in architecture. He initially assisted Ogden Codman (1863-1951), an American interior designer, on his catalogue raisonné of French châteaux (never published). Though he studied only a few months at the Architectural Association School in London, 1907-1908, he and Pinsent became partners in an architectural practice in Florence. Their initial commission, the renovation of I Tatti’s interior and designs for its garden brought them subsequent commissions from the wealthy British and American community in Florence, including a Renaissance-style home for philosopher Charles Augustus Strong (1862-1940), the son-in-law of John D. Rockefeller (1839-1937). They also created alterations to Michelozzo di Bartolomeo’s Villa Medic, Fiesole, owned by the aristocratic widow of an American diplomat, Lady Sybil Marjorie Cutting (1879-1942). Scott’s avocation was architectural history. He spent his spare hours researching Renaissance architecture resulting in his 1914 book The Architecture of Humanism. A serious treatise on the Renaissance architectural style, Architecture of Humanism was organized around debunking various “fallacies,” (as Scott called them) largely posited or endorsed by John Ruskin, which Scott felt had unnecessarily maligned that genre of architecture. Scott was a man of numerous love affairs throughout his life. In 1918 he married his earlier patron, Lady Sybil. Mary Berenson was horrified and suffered a nervous breakdown; the rupture with her led to Scott’s own stay in1919 in a Lausanne sanitarium. There he began his celebrated biography of the eighteenth-century novelist Madame de Charrière. Scott found employment with the British embassy in Rome, directing its press office. A love affair with Vita Sackville-West (1892-1962) in 1923 gave him the literary inspiration to complete his Charrière book. In 1924 a revised edition of The Architecture of Humanism was published with a revised final chapter and an epilogue. The next year he returned to England. Lady Sybil divorced Scott in 1926 and he moved to the United States in 1927 as the first editor of the Boswell papers, owned by Colonel Ralph H. Isham (1890-1955). He lived on Long Island, NY, editing the project. Scott published six volumes of the letters and was contracted by the publisher Houghton Mifflin to write Boswell’s biography as well. However, he contracted pneumonia in 1929 and died suddenly. He was cremated and his ashes placed in New College, Oxford. The Architecture of Humanism is considered an influential twentieth-century treatise on architecture. In it, Scott attacked Ruskin’s condemnation of Renaissance architecture, arguing for a meaningful relationship between architecture and human values (Kleinbauer). He equally chided form-follows-function notion of Louis Sullivan (1856-1924), advocating instead a return to Western classical architecture. Though original in many respects, the book draws upon the art history of Berenson, the writing of Violet Paget, and the theoretical work of the sculptor Adolf von Hildebrand and the esthetician Theodor Lipps (1851-1914). A personally temperamental and somewhat snobbish man, Scott’s genuine breadth of knowledge and creativity (a bed he designed is displayed in the Victoria and Albert Museum) was acknowledged by many.


Selected Bibliography

The National Character of English Architecture: the Chancellor’s Essay, New College, 1908. Oxford: Blackwell, 1908; The Architecture of Humanism. London: Constable and Company, 1914.


Sources

Wharton, Edith. A Backward Glance. New York: D. Appleton-Century, 1934; Mariano, Nicky. Forty Years with Berenson. New York: Knopf, 1966; Origo, Iris. Images and Shadows: Part of a Life. New York: Harcourt Brace Jovanovich, 1971; 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, pp. 9-10 [particularly good discussion of Architecture of Humanism]; Strachey, Barbara, and Samuels, Jayne, ed. Mary Berenson: A Self-Portrait from her Diaries and Letters. New York: Norton, 1983; Samuels, Ernest and Samuels, Jayne Newcomer. Bernard Berenson: the Making of a Legend. Cambridge, MA: Belknap Press, 1987; Higgs, Malcolm. “Scott, Geoffrey.” Dictionary of Art; Dunn, Richard M. Geoffrey Scott and the Berenson Circle: Literary and Aesthetic Life in the Early 20th Century. Lewiston, UK: Edwin Mellen Press, 1998; Dunn, Richard M. “Scott, Geoffrey (1884-1929).” Oxford Dictionary of National Biography.




Citation

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Architect, biographer and architectural historian, exponent of the Renaissance architectural style and anti-Ruskin critic. Scott was born to Russell Scott (1837-1908), a successful manufacturer, and Jessie Thurburn (Scott) (1844-1921). His uncle w

Schweitzer, Bernhard

Full Name: Schweitzer, Bernhard

Other Names:

  • Bernhard Schweitzer

Gender: male

Date Born: 03 October 1892

Date Died: 16 July 1966

Place Born: Wesel, Lower Saxony, Germany

Place Died: Hermannsburg, Lower Saxony, Germany

Home Country/ies: Germany

Subject Area(s): Ancient Greek (culture or style), ceramic ware (visual works), Greek pottery styles, and pottery (visual works)


Overview

Specialist in Greek art and historiography; particularly known for his work on the Greek geometric pottery style. Schweitzer’s father was Major Carl Georg Heinrich Schweitzer, a career soldier (Major) in the German infantry “Vogel von Falckenstein” division. His mother was Christiana Auguste Adeline Caroline Aneshänsel (Schweitzer). Schweitzer received his abitur from the Gymansium in Kalrsruhe in 1911. He studied at the universities in Berlin, under Georg Loeschcke and Heidelberg, receiving his doctorate from the latter under Friedrich von Duhn in 1917. His Heidelberg studies were augmented with courses from classicists Franz Boll (1867-1924), and the von Duhn student and ceramics scholar Rudolf Pagenstecher. His dissertation was on the topic of chronology of style in the Geometric period of Greek pottery. During these years he befriended Erwin Panofsky and the two remained lifelong friends. In the first World War Schweitzer was a flying instructor and test pilot; throughout his life he had a reputation of fearlessness (Fuchs). After completing his Habilitation in 1921 at Heidelberg with a topic on the concept of art and the artist in ancient art, he received a stipend to study at the Deutsches Archäologisches Institut (DAI or German Archaeological Institute) in Greece, but the hyper-inflation of the German mark meant that Schwetizer had to support himself as a musician (he was an accomplished piano player and adaquate violinist) and lecturer. He was apppointed Ordinarius professor at the University of Königsberg in 1925. He married Elisbeth Rudolph (b. 1907) in 1931. The following year he accepted a position at the University of Leipzig, replacing Franz Studniczka. During the war his note cards of all his research were destroyed and Schweitzer had to begin his research again, a loss he likened to a colleague’s loss of wife and children.Following World War II Schweitzer was appointed the first Rektor of Leipzig University (1945/46) when philosopher Hans Georg Gadamer (1900-2002) was found unfit. He published a study on Roman Republic portraiture, Die Bildniskunst der römischen Republik in 1948. The same year he moved to Tübingen University, replacing Carl Watzinger. Beginning in the 1950s, Schweitzer returned to the study of Geometric-era Greek art, working on a magnum opus on the art of the period. He retired emeritus from the University in 1960. At his death in 1966, his work remained unpublished. It appeared in 1969 as Die geometrische Kunst Griechenlands and in an excellent English translation as Greek Geometric Art in 1971.

Schweitzer was a leading exponent of the Strukturforschung (structural research) school, a German theoretical notion attempting to replace the concept of style with a spatial structural analysis, which was linked to cultural identity. This group included Gerhard Krahmer, Gido Kaschnitz von Weinberg, and Friedrich Matz (1890-1974).


Selected Bibliography

[dissertation:] Untersuchungen zur Chronologie der geometrischen Stile in Griechenland, I. Heidelberg, 1917, published, Karlsruhe: G. Braunschehofbuchdruckerei, 1917; [habilitation:] Der bildende Künstler und der Begriff des Künstlerischen in der Antike: eine Studie. [special number of] Neuen Heidelberger Jahrbüchern 1925]/Heidelberg: G. Koester, 1925, pp. 28-132; Die Bildniskunst der römischen Republik. Leipzig: Koehler & Amelang, 1948; J.G. Herders “Plastik” und die Entstehung der neueren Kunstwissenschaft eine Einfürung und Würdigung. Leipzig: E.A. Seemann, 1948; Die geometrische Kunst Griechenlands: frühe Formenwelt im Zeitalter Homers. Cologne: Du Mont Schauberg, 1969, English, Greek Geometric Art. New York: Phaidon, 1971.


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. 86, mentioned; Fuchs, Werner. “Bernhard Schweitzer.” Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 258-259; Ficker, Friedbert. “Erinnerungen an Bernhard Schweitzer.” Antike Welt 34 (2003): 100-101; [obituary:] Hausmann, Ulrich. “Bernhard Schweitzer.” Gnomon 38 (1966): 844-847.




Citation

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Specialist in Greek art and historiography; particularly known for his work on the Greek geometric pottery style. Schweitzer’s father was Major Carl Georg Heinrich Schweitzer, a career soldier (Major) in the German infantry “Vogel von Falckenstein

Schwarz, Heinrich M.

Full Name: Schwarz, Heinrich M.

Other Names:

  • Heinrich M. Schwarz

Gender: male

Date Born: 12 September 1911

Date Died: 1957

Place Born: Borghees bei Emmerich, Westphalia, Germany

Home Country/ies: Germany

Subject Area(s): architecture (object genre), Cypriote, French (culture or style), Gothic (Medieval), Greek (modern), Italian (culture or style), Maltese (culture or style), Mediterranean (Early Western World), Near Eastern (Early Western World), Portuguese (culture or style), sculpture (visual works), Southern European, and Spanish (culture or style)


Overview

Scholar of Mediterranean gothic art and architecture. Schwarz was the son of Mathias Schwarz, a teacher in the Volksschule in Borghees, and Wilhelmine Kaiser (Schwarz), both devout Roman Catholics. He graduated from the gymnasium in Emmerich in 1931 with degrees in Germanistik and history. After two years (“four semesters”) studying philology in college, he began art history courses at the universities of Hamburg and Bonn, hearing lectures by the young Fritz Baumgart, Hans Burmeister (Hamburg), Paul Clemen (Bonn), Eugen Lüthgen, Erwin Panofsky (Hamburg), and Charles de Tolnay (Hamburg) and Hans Weigert. During World War II, Schwarz and the museum director Ernst Nawrath (1890-) authored a cultural guidebook on Sicily, published in 1945. It became a popular guide translated and reissued in several editions. In 1957 Schwarz was engaged in editing a joint Festschrift for Leo Bruhns, Franziskus Wolff Metternich and Ludwig Schudt when he was killed in an accident in 1957. The project was taken over by Hanno Hahn who himself was also killed in an accident in 1960. The ill-fated festschrift was finally given to Harald Keller to complete.


Selected Bibliography

[dissertation:] Die kirchliche Baukunst der Spätgotik im klevischen Raum. Marburg, 1938, published, Bonn: Ludwig Röhrscheid, 1938; Nawrath, Ernst Alfred, Sizilien: Kunst, Kultur, Landschaft. Vienna: A. Schroll, 1945, English, Sicily. New York: Studio Publications 1956.


Sources

“Lebenslauf.” Schwarz, Heinrich M. Die kirchliche Baukunst der Spätgotik im klevischen Raum. Bonn: Ludwig Röhrscheid, 1938, p [75]; Keller, Harald. “Vorwort.” Miscellanea Bibliothecae Hertzianae zu Ehren von Leo Bruhns, Franz Graf Wolff Metternich [und] Ludwig Schudt. Munich: A. Schroll, 1961, p. [i].




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Scholar of Mediterranean gothic art and architecture. Schwarz was the son of Mathias Schwarz, a teacher in the Volksschule in Borghees, and Wilhelmine Kaiser (Schwarz), both devout Roman Catholics. He graduated from the gymnasium in Emmer

Schwarz, Heinrich

Full Name: Schwarz, Heinrich

Other Names:

  • Heinrich Schwarz

Gender: male

Date Born: 09 November 1894

Date Died: 20 September 1974

Place Born: Prague, Praha, Hlavní Město, Czech Republic

Place Died: New York, NY, USA

Home Country/ies: Germany

Subject Area(s): graphic arts, graphic design, and photographs


Overview

Early historian of photography; scholar of graphics in general. He was born in Prague, Czechoslovakia, (present-day Prague, Czech Republic). Schwarz graduated from the Akademisches Gymnasium in Vienna with an Abitur in 1913. He entered the university in Vienna studying art history, archaeology and philosophy. At the outbreak of World War I, Schwarz served in the Austrian miliary, 1914, assigned to the field artillery. He resumed his studies in 1919, writing a dissertation on the beginning of lithography in Vienna, under the “Vienna School” scholar Max Dvořák, though his degree came after Dvořák’s death in 1921. He worked as a volunteer at the Albertina Museum print collection, 1921-1923. Still unsalaried, he was promoted to a scholar research assistant from 1923 to 1927. That year, 1927 he accepted a position as curator at the Austrian Gallery, “Baroque Museum” (Belvedere) in the 19th-century gallery under F. M. Haberditzl. Schwarz was responsible for many exhibitions on 19th-century art at the museum, which opened in 1929, foreign exhibitions, as well as the 1934 Venice Biennale. Though Schwarz’ field of study was graphics in general, his early interest in photography as an art medium made him a pioneer in the field. He was the first to write (in 1931) on the photographer David Octavius Hill. The annexation of Austria by the Nazis in 1938 meant that Schwarz, a Roman Catholic of Jewish decent, could no longer work in national museums. Schwarz sold part of his personal library to move to Sweden the same year. He immigrated to the United States in 1940 working as a research assistant at the Albright Knox Museum in Buffalo, NY. Schwarz received financial living assistance from Eddie Warburg, an arts benefactor, amateur art historians and nephew of art historian Aby M. Warburg. In 1943 he was appointed curator for painting, drawing and prints at the Museum of Art, Rhode Island School of Design. He married in 1948, remaining at RISD until 1953.

After two years as a visiting professor, 1954-1956, at Wesleyan University, Middletown, CT, he taught as professor there 1956-1962 and as the curator of the Davidson Art Center Collection (the latter through 1972). Schwarz lectured at visiting professor at Columbia University between 1966 and 1968 as a replacement for Julius S. Held. He retired emeritus in 1972. “Schwarz was a pioneer of the study of photography’s historical evolution and development and its relationship with the traditional pictorial arts. He proposed that photography benefited from the ‘inner-preparedness’ it had been given by the fact that the ‘fixed viewpoint had become the alpha and omega of the aesthetic credo.” (Hamber). Beaumont Newhall characterized Schwarz’s book on Hill as one where the author recognized and treated Hill as an artist who “happened to use a camera.” (Wendland).

At Wesleyan he demonstrated his exceptional connoisseurship of the entire history of graphic art through brilliant acquisitions, many of undervalued artists such as Hendrick Goltzius.  He discovered a rare Goya lithograph portrait in the stacks of the university library.  A warmth of character, particularly in his seminars launched three students on notable careers: Alan Shestack (1938- 2020), Ellen “Puffin” Gates D’Oench (1930-2009) and John T. Spike (b.1951).


Selected Bibliography

[dissertation:] Die Anfänge der Lithographie in Wien. Vienna, 1921, published in an altered form in Graphische Künste; [collected essays:] Art and Photography: Forerunners and Influences: Selected Essays. Layton, UT: G. M. Smith/Visual Studies Workshop Press, 1985; Salzburg und das Salzkammergut: eine künstlerische Entdeckung in hundert Bildern des neunzehnten Jahrhunderts. Vienna: A. Schroll, 1926; David Octavius Hill: der Meister der Photographie. Leipzig: Insel, 1931, English, David Octavius Hill, Master of Photography. New York:The Viking Press, 1931; Galerie des neunzehnten Jahrhunderts im Oberen Belvedere. Vienna: A. Schroll, 1937.


Sources

Parker, William. “Introduction.” Schwarz, Heinrich. Art and Photography: Forerunners and Influences: Selected Essays. Layton, UT: G. M. Smith/Visual Studies Workshop Press, 1985; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 353-355; Hamber, Anthony J. “A Higher Branch of the Art”: Photographing the Fine Arts in England, 1839-1880. Amsterdam: Gordon and Breach, 1996, pp. 23-24; 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. 630-635; [obituaries:] “Heinrich Schwarz, Ex-Curator, Wesleyan Art Professor, Dead.” New York Times September 22, 1974, p. 57; Weltkunst 22 (1974): 2050.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Schwarz, Heinrich." Dictionary of Art Historians (website). https://arthistorians.info/schwarzh/.


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Early historian of photography; scholar of graphics in general. He was born in Prague, Czechoslovakia, which is present-day Prague, Czech Rebuplic. Schwarz graduated from the Akademisches Gymnasium in Vienna with an Abitur in 1913. He entered the

Schwartz, Gary

Full Name: Schwartz, Gary

Other Names:

  • Gary Schwartz

Gender: male

Date Born: 1940

Place Born: Brooklyn, Cattaraugus, NY, USA

Home Country/ies: United States

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


Overview

Revisionist, documents-approach scholar to Rembrandt; American art historian who lives and works in the Netherlands. Schwartz’s mother was a Hungarian immigrant and his father, of Polish heritage, worked in and later owned the family sweater factory. Schwartz himself grew up in East New York, Brooklyn, and Far Rockaway, Queens. He attended Hebrew grammar and high schools. At age 16 he entered New York University as a freshman, where a course in art history by Horst Woldemar Janson his first year sparked an interest in the subject. He continued to graduate school at Johns Hopkins, studying medieval art history under Adolf Katzenellenbogen, the department’s chair. In 1965, Schwartz completed his coursework for his Ph.D. securing a Kress fellowship to study the subject of globes in Dutch still-life painting in the Netherlands. He worked as a researcher for the Bollingen book series. Schwartz immediately acclimated to the Netherlands–falling in love with one of its inhabitants, Loekie Hendriks. He never returned to the United States. In 1966, he began working free-lance translating Dutch and German texts and publishing them. Though he gave up a Ph. D., Schwartz mentored informally under J. G. van Gelder at Utrecht University whose social-history approach to art appealed to him. Schwartz worked as van Gelder’s English-language assistant between 1966-1967 at the Centrum voor Voortgezet Kunsthistorisch Onderzoek over which van Gelder presided. Schwartz joined the nascent and highly respected journal Simiolus in 1966 as its English-language editor. He joined the staff of the publishing firm Meulenhoff International, Amsterdam, as an editor in 1967. Schwartz assisted Horst Gerson in completing Rembrandt Gemälde (Rembrandt Paintings) which Schwartz edited in 1968. The same year he married Hendriks. Schwartz had early on met another art historian, J. A. Emmens. Emmens was interested in the intellectual judgments that went into the prevailing opinions of an artistic age (Brenson). Schwartz translated the summary of Emmens’ book Rembrandt en de regels van de kunst into English. In 1969, the Rembrandt Research Project was founded at the 300th anniversary of Rembrandt’s death (1669). The RRP’s thrust was largely connoisseurship, to determine an accurate number of authentic Rembrandts. Van Gelder made a plea to Rembrandt scholars in general in 1970 for a more scholarly reconstruction of Rembrandt’s patrons. This was largely ignored in the art history community, except for Schwartz. Schwartz heeded van Gelder’s call in a sense; he developed the thesis that Rembrandt’s art was related in important ways to the interests and biographies of his immediate patrons (Snyder/Schwartz). During this time–and much like the scholar/publisher Walter L. Strauss–Schwartz founded his own publishing concern to print books he considered important to art history, Uitgeverij Gary Schwartz in Maarssen, the Netherlands, in 1971. Schwartz edited and acted as publisher for the 1976 book All the Paintings of the Rijksmuseum in Amsterdam: a Completely Illustrated Catalogue by Pieter J. J. van Thiel. Schwartz’s first initiated book on art, the 1977 Rembrandt: All the Etchings Reproduced in True Size, was typical of his publications on art in that it focused on primary sources. His Rembrandt: zijn leven, zijn schilderijen (Rembrandt: his Life, his Paintings), 1984, written in Dutch and published in English the following year, clearly established Schwartz as a serious Rembrandt scholar. The book examined the social history around the time the paintings were created and particularly the patronage history of Rembrandt’s work. In 1986-1987 he was a Getty Scholar at the Getty Center for the History of Art and Humanities, then housed in Santa Monica, CA. While there, he was one of 30 scholars called to Boston to discuss the downgrading of Rembrandt paintings by the RRP in the collections of the Metropolitan Museum of Art, the Museum of Fine Art, Boston, and the Isabella Stewart Gardner Museum. The group, with Schwartz’s participation, concluded that there was no consensus on which Rembrandts in those collections were authentic. In 1988 Schwartz sold his publishing firm to SDU, a privatized successor to the Dutch Government Printing Office. He worked as publisher of the imprint Gary SchwartzSDU until 1991, when SDU discontinued its publications on art and culture. In 1989 he was Regents Lecturer at the University of California, Los Angeles, and in 1990 he delivered the Leventritt Lecture at Harvard University. In 1998, with support from the Netherlands Institute for Cultural Heritage, he founded CODART, the International Council of Curators of Dutch and Flemish Art. Schwartz served as director of CODART until 2005, continuing as webmaster until 2008. In 2009 he received the Prince Bernhard Cultural Foundation Prize for the Humanities, a lifetime achievement award. Schwartz’s contributions to Dutch art history were exceptional in many ways. Because of the need to expertise, to assign authenticity to Rembrandt works, most work on the artist was based upon connoisseurship and formalist methodologies. Schwartz revised the accepted view of Rembrandt, arguing against the notion that the artist was a humanitarian and an isolated genius. Schwartz’s examination of a myriad of documents resulted in a portrait of the artist as competitive and not a particularly well-read person. Throughout his career, his translations of Dutch texts established him as a primary-source scholar.


Selected Bibliography

Rembrandt: All the Etchings Reproduced in True Size. Maarssen, Netherlands: G. Schwartz, 1977; Rembrandt: zijn leven, zijn schilderijen: een nieuwe biografie met alle beschikbare schilderijen in kleur afgebeeld. Maarssen: Uitgeverij Gary Schwartz, 1984, English, Rembrandt: his Life, his Paintings: a New Biography with all Accessible Paintings Illustrated in Colour. New York: Viking, 1985.


Sources

Snyder, James. “Above All, He Pleased his Patrons.” Review of Rembrandt: His Life, His Paintings. New York Times Book Review March 9, 1986, Section 7: 9-11; Brenson, Michael. “An Idiosyncratic Expert Redraws Rembrandt.” New York Times February 28, 1987, p. 15; Liedtke, Walter. “The Study of Dutch Art in America.” Artibus et Historiae 21, no. 41 (2000): 216; The Writers’ Directory 2007, vol. 2, p. 1679; [personal correspondence with the subject, December 2011].




Citation

"Schwartz, Gary." Dictionary of Art Historians (website). https://arthistorians.info/schwartzg/.


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Revisionist, documents-approach scholar to Rembrandt; American art historian who lives and works in the Netherlands. Schwartz’s mother was a Hungarian immigrant and his father, of Polish heritage, worked in and later owned the family sweater facto

Schürer, Oskar

Full Name: Schürer, Oskar

Gender: male

Date Born: 1892

Date Died: 1949

Place Born: Augsburg, Schleswig-Holstein, Germany

Place Died: Heidelberg, Saxony, Germany

Home Country/ies: Germany


Overview



Sources

Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 375-8.




Citation

"Schürer, Oskar." Dictionary of Art Historians (website). https://arthistorians.info/schurero/.


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Schultz, Alwin

Full Name: Schultz, Alwin

Gender: male

Date Born: 1838

Date Died: 1909

Home Country/ies: Germany

Subject Area(s): Renaissance

Institution(s): Charles University


Overview

Scholar of the renaissance, including art history. He successfully recruited Cornelius Gurlitt to write the baroque sections for the Allgemeine Geschichte der bildenden Künste left unfinished by Karl Julius Ferdinand Schnaase, which Schultz was re-editing.


Selected Bibliography

Allgemeine Kunstgeschichte der Renaissance: Architektur, Plastik, Malerei. 2 vols. Berlin: G. Grote, 1898 [Possibly v. 3 of his Allgemeine Geschichte der bildenden Künste]; and Lübke, Wilhelm. Die romanische Kunst. 1871, volume IV of Schnaase, Karl. Geschichte der bildenden Künste. 2nd ed. 8 vols. Stuttgart: Ebner & Seubert, 1866-79.


Sources

Kultermann, Udo. The History of Art History. New York: Abaris, 1993, p. 136 [Kulterman misidentifies the edition as Kugler].



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Schultz, Alwin." Dictionary of Art Historians (website). https://arthistorians.info/schultza/.


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Search for materials by & about this art historian:

Scholar of the renaissance, including art history. He successfully recruited Cornelius Gurlitt to write the baroque sections for the Allgemeine Geschichte der bildenden Künste left unfinished by

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