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Schneider, René

Full Name: Schneider, René

Other Names:

  • René Schneider

Gender: male

Date Born: 25 October 1867

Date Died: 03 October 1938

Place Born: Châtellerault, Nouvelle-Aquitaine, France

Place Died: Paris, Île-de-France, France

Home Country/ies: France

Subject Area(s): French (culture or style) and Italian (culture or style)


Overview

Professor of the history of French and Italian art. Schneider’s father was artillery officer. The young Schneider attended high school at the lycée in Toulouse, which had become his home town. He completed high school in Paris at the lycée Janson de Sailly. From 1888 to 1891 he studied at the École normale supérieure in Paris where in 1889 he earned the degree of licencié ès lettres and subsequently, in 1891, the degree of agrégé des lettres. Between 1891 and 1906 he taught at several high schools (lycées), in Cahors, Montauban, Nice, Clermont, and finally Toulouse. There he married, in 1900, Victorine Henriette Marie Louise Séguer. Schneider’s first publications resulted from his travels to Italy. His travelogue on Umbria, L’Ombrie. L’âme des cités et des paysages (1905), was awarded a prize by the Académie française. Impressions of his stay in the eternal city, Rome, complexité et harmonie, followed in 1907. He was a contributor to Augusta Perusia, rivista di topografia, arte e costume dell’Umbria. Schneider began his academic career as Maître de conférences of art history at the faculty of letters of Caen University (1906-1913). In 1910 he earned his degree of docteur ès lettres from the University of Paris. He submitted two theses. The first, Quatremère de Quincy et son intervention dans les arts (1788-1830), supervised by Henry Lemonnier
, extensively dealt with the involvement of Antoine Quatremère de Quincy in the preservation of monuments in Paris, as well as with his prominent role in the organization of art institutions and museums. The second, L’Esthétique classique chez Quatremère de Quincy (1805-1823), discussed the classicist doctrine of this esthete. Schneider’s ongoing predilection for Italian art led to publications on Botticelli (1910) and on the city of Perugia (1913). He contributed to the pioneering multi-volume Histoire de l’Art, edited by André Michel. At Caen University he rose to professor of art history, a position he held from 1913 to 1919. He moved to Paris in 1919, where he obtained a teaching position in art history at the faculty of letters of the University of Paris, succeeding Émile Bertaux. He was elevated to professor in 1923. In that year the first volume (Moyen Âge, Renaissance) of his six-volume L’Art français (1923-1930) appeared. Schneider’s appointment, in 1927, as professor of the history of art in the modern, i.e. post-medieval, period furthered his career at the Institut d’Art et d’Archéologie of the Sorbonne; his colleagues at the Institut included the medievalist Henri Focillon. His two-volume La peinture italienne was published in 1929-30. During the last years of his tenure Schneider was involved in the reorganization of the Institut d’Art et d’Archéologie, and its relocation to the rue Michelet, acting as the president of the supervisory committee. Louis Grodecki, his student served as his teaching assistant. Schneider played an important role as a member of the French committee for the organization of international art history conferences. He published in various French periodicals, including Revue de Paris, Gazette des Beaux-Arts, Revue de l’art, and Etudes italiennes. His last major work, an extensive synthesis of the visual arts of the new era, “Les arts plastiques”, was published in 1936 as the second part of La formation du génie moderne dans l’art de l’occident. Arts plastiques. Art littéraire. The first part, “La littérature expression de la société (XIVe-XVe siècles),” was authored by Gustave Cohen. Schneider retired in 1937, succeeded by Pierre Lavedan. The next year he lost his speech as the result of a stroke and he died a few months later. Schneider’s essay in La formation du génie moderne dans l’art de l’occident. Arts plastiques. Art littéraire is a stylistic analysis of the evolution of artistic renewal in different countries. In the first chapters Schneider paid tribute to the leading role of the Italian Quattrocento. In the next chapters he dealt with the contributions of Flanders, France, Spain and Portugal, Germany, Switzerland and England. Confronted with the debate among art historians on the birth of the Renaissance, Schneider distanced himself from the view of some of his French colleagues, including Louis-Charles-Léon Courajod, that the origins of the renewal of art should be sought in the realism and naturalism of the northern countries. In his own analysis of the artistic manifestations of the fifteenth century he intended to give equal consideration to both approaches, the one represented among others by Courajod, the other by the Italian Renaissance specialist Eugène Muntz.


Selected Bibliography

[dissertation:] Quatremère de Quincy et son intervention dans les arts (1788-1830). University of Paris, published, Paris: Librairie Hachette et Cie, 1910; [second dissertation:] L’Esthétique classique chez Quatremère de Quincy (1805-1823). University of Paris, published, Paris: Librairie Hachette et Cie, 1910; L’Ombrie. Paris: Librairie Hachette et Cie, 1905; Rome, complexité et harmonie. Paris, Hachette, 1907; Botticelli. Paris: H. Laurens, 1910; Pérouse. Paris: H. Laurens, 1914; La peinture italienne. 2 vols. Paris: G. Van Oest, 1929-1930; Pérouse. Paris: H. Laurens, 1914; L’Art français. XVIIe Siècle (1610-1690). Paris: Henri Laurens, 1925; and Cohen, Gustave. La formation du génie moderne dans l’art de l’occident. Arts plastiques. Art littéraire. Paris, La Renaissance du Livre, 1936.


Sources

“La danse des morts du Pont des moulis de Lucerne, tradition et nouveaute.” Gazette des Beaux-Arts 16 (November 1936):141-148; Charle, Christophe. Dictionnaire biographique des universitaires aux XIXe et XXe siècles. 1. Les professeurs de la faculté des lettres de Paris. Paris: Institut national de recherches pédagogiques: Éditions du CNRS, 1985, pp. 198-200; [obituaries:] Rubinstein, Assia. “René Schneider” Beaux-Arts. Chronique des arts et de la curiosité. Le journal des Arts. 302 (October 14, 1938); Lavadan, Pierre. “René Schneider (1867-1938)” Annales de l’Université de Paris (1939): 110-112.



Contributors: Monique Daniels


Citation

Monique Daniels. "Schneider, René." Dictionary of Art Historians (website). https://arthistorians.info/schneiderre/.


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Professor of the history of French and Italian art. Schneider’s father was artillery officer. The young Schneider attended high school at the lycée in Toulouse, which had become his home town. He completed high school in Paris at the lycée Janson

Schneider, Pierre E.

Full Name: Schneider, Pierre E.

Other Names:

  • Pierre Schneider

Gender: male

Date Born: 1925

Place Born: Antwerp, Flanders, Belgium

Home Country/ies: Belgium

Subject Area(s): French (culture or style) and Modern (style or period)


Overview

Matisse and French modernist scholar. Schneider received his Ph. D., in literature from Harvard in 1953. He moved to Paris where he worked with Georges Duthuit on the Matisse archives. In 1958 he joined the staff of L’Express in Paris as art critic. He was also a contributor to Artnews. In 1968 he wrote the volumes on Manet and Watteau for the Time-Life series. In 1984, Schneider published one of the dominant monographs on Matisse, the result of years of archival study on the artist.


Selected Bibliography

[dissertation:] Du normal a L’insolite: étude sur la rupturedes cadres poétiques au dix-néuvieme siécle. Harvard, 1953; The World of Watteau, 1684-1721. New York: Time, inc., 1967; The World of Manet, 1832-1883. New York: Time-Life Books, 1968; and Péaud, Tamara. Henri Matisse. Exposition du centenaire, Grand Palais, avril-septembre 1970. Paris: Ministère d’État, Affaires culturelles, 1970; Les dialogues du Louvre. Paris: Denoël, 1972, English, Louvre Dialogues. New York: Atheneum, 1971; Matisse. Paris: Flammarion, 1984, English, Matisse. New York: Rizzoli, 1984.


Sources

Piguet, Philippe. “Henri Matisse, un art de la presence: rencontre avec Pierre Schneider.”. L’Oeil no. 449 (March 1993) p. 20-3; Piguet, P. Pierre Schneider: Picasso ou la fuite en avant [Interview]. L’Oeil no. 539 (September 2002) p. 46-7; Watt, Pierre. “La peinture a fond perdu: interview with Pierre Schneider.” Beaux Arts Magazine no. 212 (January 2002): 107; D’Arcy, David. “Not Just a Pretty Painter.” Art Newspaper 13 (May 2003): 1.




Citation

"Schneider, Pierre E.." Dictionary of Art Historians (website). https://arthistorians.info/schneiderp/.


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Matisse and French modernist scholar. Schneider received his Ph. D., in literature from Harvard in 1953. He moved to Paris where he worked with Georges Duthuit on the Matisse archives. In 1958 he joined the staff of L’E

Schneider, Hans

Full Name: Schneider, Hans

Gender: male

Date Born: 1888

Date Died: 1953

Place Born: Basel, Basle-Town, Switzerland

Place Died: Basel, Basle-Town, Switzerland

Home Country/ies: Switzerland

Subject Area(s): archaeology


Overview

Hans Schneider began his studies in art history, archaeology and history at the University of Basel in 1908. He also studied at the universities of Munich (1909), Rome (1909-1910), and Berlin (1910-1911). As an art historian he was influenced by Heinrich Wölfflin and in particular by his teacher in Basel, Ernst Heidrich. In 1914, he obtained his doctoral degree at Basel University with a dissertation on the Dutch influence on painting and graphic art in Southern Germany, between 1460 and 1480, Beiträge zur Geschichte des niederländischen Einflußes auf die oberdeutsche Malerei und Graphik um 1460-1480. After completing his studies, Schneider moved to the Netherlands, where he lived until 1941. Between 1915 and 1930, he worked at the Mauritshuis in The Hague, under the director Wilhelm Martin. In this period, Schneider did research mostly on Dutch and Flemish seventeenth-century painting. He published regularly in Dutch and foreign journals, including Oud Holland. In 1923, he obtained a teaching position at Leiden University, where Martin had been professor of art history since 1907. His inaugural lecture in Leiden dealt with art-historical methodology, Over kunsthistorische methodiek. He took part in the preparation of the 1929-1930 London exhibition of Dutch Art (1450-1900) and, along with W. G. Constable, he was responsible for the section on paintings in the Commemorative Catalogue of the Exhibition of Dutch Art (1930). For many years, he worked on his monograph on Jan Lievens (1607-1674), whose early paintings and drawings bear strong resemblance to Rembrandt’s early works, as both artists until 1631-32 worked in their native town Leiden. This monograph won the Teyler’s Tweede Genootschap prize in 1930 and was published in 1932: Jan Lievens: Sein Leben und seine Werke. A second edition, with a supplement by R.E.O. Ekkart, appeared in 1973. Schneider dedicated the original work to the memory of Cornelis Hofstede de Groot, who had given him access to all his notes and research materials. In 1932, Schneider was appointed director of the Rijksbureau voor kunsthistorische en ikonographische documentatie in The Hague, which was founded when Hofstede de Groot, who died in 1930, bequeathed his important study collection to the State of the Netherlands. Other scholars and collectors, among whom were Frits Lugt and E.A. van Beresteyn (1876-1948), also donated important materials to the Rijksbureau, which later became the Rijksbureau voor Kunsthistorische Documentatie (RKD, Netherlands Institute of Art History). In his capacity as director, Schneider had the task of making these collections accessible to the public. In the same period, Schneider, along with Horst Gerson closely collaborated with Abraham Bredius, who was preparing his catalog of the paintings of Rembrandt, published in 1935. Many years later, Gerson, who did the 1969 revision of Bredius’ Rembrandt. The Complete Edition of the Paintings, wrote: “Innately modest, Hans Schneider was to leave Bredius to take all the praise as author of the new book, but it was really due to his tact and foresight that many controversial paintings, certified and even published in magazines by Bredius, were eliminated.” In 1933 Schneider was elected member of the Maatschappij der Nederlandse Letterkunde te Leiden and in 1937 he joined the editorial board of Oud Holland. As a specialist on seventeenth-century Dutch painting, he became a member of the Rijkscommissie voor de Monumentenzorg (State Commission for Monuments). On December 1, 1940, in the first year of World War II, Schneider was given leave of absence as director of the Rijksbureau, and he soon returned to his native city Basel. In 1945, he officially resigned from his position as director. J. G. van Gelder, who already acted as director from 1940 onwards, became his successor. In Basel, Schneider was entrusted with the direction of the Swiss documentation project “Kunstdenkmäler der Schweiz”. He also was appointed curator of Basel University. In Zürich, he became a member of the board of the Schweizerische Landesmuseum. Shortly after having paid a visit to his old friend and former colleague Wilhelm Martin in the Netherlands, Schneider died in Basel in November 1953. In his “In memoriam Dr. Hans Schneider”, Hans Gerson portrayed Schneider as a conscientious and meticulous scholar and a generous colleague. His modesty and his total lack of interest in fame and publicity may partly account for the fact that he has remained relatively unknown. His contribution to art-historical research primarily consists in his detailed stylistic analyses of seventeenth-century painting. He was an ardent opponent of over-elaborate art historical theory.


Selected Bibliography

[dissertation:] Beiträge zur Geschichte des niederländischen Einflusses auf die oberdeutsche Malerei und Graphik um 1460-1480. Basel, 1915; Over kunsthistorische methodiek. Openbare les gegeven bij optreden als privaatdocent in de kunstgeschiedenis aan de Rijks-Universiteit te Leiden op 17 mei 1923, door Dr. H. Schneider. Leiden: E.J. Brill, 1923; Commemorative Catalogue of the Exhibition of Dutch Art held in the Galleries of the Royal Academy, Burlington House, London, January-March, 1929. (Paintings by H. Schneider and W.G. Constable). London: Oxford University Press, H. Milford, 1930; Jan Lievens: Sein Leben und seine Werke. Haarlem: De eerven F. Bohn n.v., 1932, Reprint, with corrected captions of the illustrations, and a Supplement up to 1973 by R.E.O. Ekkart. Amsterdam: B.M. Israël, 1973.


Sources

Gerson, H. “In memoriam Dr. Hans Schneider” Nieuwsbulletin van de Koninklijke Nederlandse Oudheidkundige Bond. 6, 12 (1953): 185-200; A. Staring Jaarboek van de Maatschappij der Nederlandse Letterkunde te Leiden 1951-1953 (1954): 137-144; Van Gelder, H.E. “In memoriam Dr. H. Schneider 1888-1953” Oud Holland 68 (1953): 187-188; Dattenberg, H. Kunstchronik 7 (1954): 23-25; Werk-Chronik 41 (1954): 21-22.




Citation

"Schneider, Hans." Dictionary of Art Historians (website). https://arthistorians.info/schneiderh/.


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Hans Schneider began his studies in art history, archaeology and history at the University of Basel in 1908. He also studied at the universities of Munich (1909), Rome (1909-1910), and Berlin (1910-1911). As an art historian he was influenced by <

Schneevoogt, C. G. Voorhelm

Full Name: Schneevoogt, C. G. Voorhelm

Gender: male

Date Born: unknown

Date Died: unknown

Home Country/ies: Netherlands

Subject Area(s): Flemish (culture or style), Northern Renaissance, and prints (visual works)

Career(s): librarians


Overview

Indexer of printers on Peter Paul Rubens. The professor of Art History at Utrecht University, J. G. van Gelder, described Schneevoogt’s work as one of the praiseworthy yet lesser-known graphic studies of Netherlandish of the nineteenth and early twentieth centuries.


Selected Bibliography

Catalogue des estampes gravées d’après P.P. Rubens: avec l’indication des collections où se trouvent les tableaux et les gravures. Harlem: Les héritiers Loosjes, 1873;


Sources

van Gelder, Jan G. [Forward.] Hollstein, F. W. H. Dutch and Flemish Etchings, Engravings and Woodcuts, ca 1450-1700. vol. 1. Amsterdam: Menno Hertzberger, 1949, p. [i].




Citation

"Schneevoogt, C. G. Voorhelm." Dictionary of Art Historians (website). https://arthistorians.info/schneevoogtc/.


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Indexer of printers on Peter Paul Rubens. The professor of Art History at Utrecht University, J. G. van Gelder, described Schneevoogt’s work as one of the praiseworthy yet lesser-known graphic studies of Netherlandish of the

Schnapper, Antoine

Full Name: Schnapper, Antoine

Other Names:

  • Antoine Schnapper

Gender: male

Date Born: 1933

Date Died: August 2004

Place Born: Paris, Île-de-France, France

Home Country/ies: France

Career(s): educators


Overview

Sorbonne professor; scholar of the history of collecting in France and expert on Jacques-Louis David. He studied art history at the Sorbonne under André Chastel. He married the sociologist Dominique Aron (b. 1934) in 1958. After receiving his degree in 1959-1960, he accepted a position at the University of Bologna in 1961. He returned to France in 1963 to assist Chastel at Centre national de la recherche scientifique (National Scientific Research Centre, or CNRS) as an assistant professor Schnapper mounted several exhibitions in Rouen Musée des beaux-arts. The first, on Jean Jouvenet, appeared in 1966. His first book, on Louis de Boullogne, was published in 1967. A second Rouen exhibition catalog, written in collaboration with Pierre Rosenberg, appeared in 1970. His CNRS research years resulted in a monograph on Jouvenet in 1973. The same year he succeeded Jacques Thuillier as professor at Dijon. In 1978 Schnapper was appointed professeur d’historie de l’art at the Sorbonne, University of Paris. Schnapper submitted a report to Chastel in 1983, urging the formation of and national institute for art history in France. This resulted in the founding of the l’Institut national d’histoire de l’art (INHA). With Michel Laclotte, he was a director of La Revue de l’art, which Chastel had founded. In 1988 he began studying the histories of collecting. He organized the important Louvre exhibition on Jacques-Louis David, “David peintre de la évolution et de l’Empire,” for the 1989 bicentennial of the French Revolution. Together with Thuillier, he collaborated on the catalog for the Claude Vignon exhibition in Tours in 1994. Schnapper completed the manuscript for his book Le Metier de peintre au Grand Siecle, a study of the lives of painters in the 17th century, when his long struggle with cancer overtook him at age 71. It was published posthumously. An exhibition, “Connaisseur et curieux–Dessins francais du Louvre, choisis en hommage a Antoine Schnapper,” was held at the Louvre in 2005 to honor his work. Writing in the Tribune de l’Art, Didier Rykner compared Schnapper’s work on the history of collections in France to that of Francis Haskell for Italy.


Selected Bibliography

[bibliography to 1998:] “Bibliographie des oeuvres de Antoine Schnapper.” Bonfait, Olivier, ed. Curiosité: études d’histoire de l’art en l’honneur d’Antoine Schnapper. Paris: Flammarion, 1998, pp. 11-15; Jean Jouvenet, 1644-1717. Rouen: Musée des beaux-arts, 1966; Tableaux pour le Trianon de marbre 1688-1714. Paris: La Haye, Mouton, 1967; and Rosenberg, Pierre. Jean Restout (1692-1768). Rouen: Musée des beaux-arts de Rouen, 1970; Jean Jouvenet (1644-1717) et la peinture d’histoire à Paris. Paris: L. Laget, 1974; David: témoin de son temps. Fribourg, Switzerland: Office du livre, 1980, English, David. New York : Alpine Fine Arts Collection, 1982; Collections et collectionneurs dans la France du XVIIe siècle. 2 vols. Paris : Flammarion, 1988-1994; “The King of France as collector in the Seventeenth Century.” in Art and History: Images and their Meaning. Cambridge: Cambridge University Press, 1988; “Probate Inventories, Public Sales and the Parisian Art Market in the 17th Century.” in Art markets in Europe, 1400-1800. Brookfield: Ashgate, 1998.; Le métier de peintre au grand siècle. Paris: Gallimard, 2004.


Sources

Bougault, Valerie “L’erudit et le curieux.” Connaissance des Arts no. 624 (February 2005): 24; [obituaries:] Goetz, Adrien. L’Oeil no. 562 (October 2004): 14; Breerette, Geneviève. “Antoine Schnapper: Spécialiste de l’art des XVIIe et XVIIIe siècles.” Le Monde, September 2, 2004; Rosenberg, Pierre. “Antoine Schnapper (1933-2004).” Revue de l’Art 146 (2004):101-102; Rykner, Didier. “Disparition d’Antoine Schnapper.” La Tribune de l’Art (August 30, 2004) http://www.latribunedelart.com/disparition-d-antoine-schnapper-article00425.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Schnapper, Antoine." Dictionary of Art Historians (website). https://arthistorians.info/schnappera/.


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Sorbonne professor; scholar of the history of collecting in France and expert on Jacques-Louis David. He studied art history at the Sorbonne under André Chastel. He married the sociologist Dominique Aron (b. 1934) in 1958.

Schnaase, Karl Julius Ferdinand

Full Name: Schnaase, Karl Julius Ferdinand

Other Names:

  • Karl Schnaase

Gender: male

Date Born: 07 September 1798

Date Died: 20 May 1875

Place Born: Gdańsk, Pomeranian Voivodeship, Poland

Place Died: Weisbaden, Germany

Home Country/ies: Germany


Overview

Düsseldorf and Berlin judge; wrote the first history of art to call itself as such (1843). He was born in Danzig, Prussia which is present-day Gdańsk, Poland. As a law student, Schnaase heard the lectures of Georg F. W. Hegel in Heidelberg and followed the philosopher to Berlin in 1818, where Schnaase gained his law degree. Hegel’s philosophy combining the particular and universal greatly influence him. Between 1826 and 1827, Schnaase visited Italy where he resolved to write a chronological history of the art there, “and fit them all into a broad survey.” In 1829 Schnaase became a Düsseldorf judicial councilor and joined the Kunstverein (Art Club) as the secretary of its governing board. His art research led to a friendship with Gottfried Kinkel in Bonn. Schnaase visited the Netherlands in 1830, making an extended examination of the art. He wrote his Niederländische Briefe (Letters from the Netherlands) following the romantic travel-literature genre, but his analytic thinking about art was evident here already. Returning to Düsseldorf, Schnaase signed a contract to publish a synthetic history of art and began work on the project. However, in 1837 Franz Kugler published the first volume of his Handbuch der Kunstgeschichte, dashing Schnaase’s hopes of writing a synthetic art history. Schnaase respected Kugler as the better connoisseur and briefly abandoned the project. However, perhaps understanding his own strengths in a cohesive vision of art history, he resumed the project, publishing his first volume of Geschichte der bildenden Künste in 1843 (and dedicating it to Kugler). Schnaase worked on subsequent volumes even after his transfer to the court of appeals in Berlin in 1848. After retiring from the bench in 1857, Schnaase was able to devote himself to art full time. Acclaims came from everywhere. He was awarded an honorary doctorate from Bonn as well as the Order of Maximillian in Bavaria. He returned to Italy in 1856 and to Belgium in 1860. In 1861 in Austria he was honored by the art historians Gustav A. Heider and Rudolf Eitelberger von Edelberg. During his final years in Berlin, Schnaase organized a Protestant union for religious art and co-founded the Christliches Kunstblatt, though he remained aloof from contemporary art, which he found jejune. He died leaving the Geschichte der bildenden Künste complete only to the middle ages. Schnaase’s vision of a survey of art history was taken up by the following generation of art historians, who revised his original work in numerous editions through the early part of the twentieth century (see Wilhelm Lübke). His lectures convinced the young Wilhelm Bode, later Director General of all Prussian museums to become an art historian. Before Schnaase, art books were largely commentaries on specific art works, heavy on personal evaluation and lacking an overall historic framework. The appearance of the first two histories of art (his and Kugler’s) just seven years apart and by scholars working entirely separately is indicative of the times. Subsequent generations found Schnaase’s work lacking the connections between historic presentation and individual analysis of works of art. Udo Kultermann observed that Schnaase’s History of the Fine Arts, left incomplete at the middle ages, would be completed, methodologically, intellectually, and factually by Jacob Burckhardt, who was able to make the leaps, seeing individual works of art and literature as emblematic of the era in which they were created. Baroque sections were completed by the emerging baroque scholar Cornelius Gurlitt. His importance, in the words of E H. Gombrich was, along with Hippolyte Taine, in stressing the documentary value of art.


Selected Bibliography

Niederlandische Briefe. Stuttgart: Cotta, 1834; Geschichte der bildenden Künste. 7 vols. Düsseldorf: Buddeus, 1843-64. [2nd ed.] 8 vols. Stuttgart: Ebner & Seubert, 1866-79. Divided into three sections: I Classical Art, II Medieval Art, III 15th-century Art. [Prominent art historians helped with 2nd edition and are designated as:] I. Die Völker des Orients. (Karl von Lützow), 1886. Griechen und Römer. (Karl Friedrichs), 1866. II. Altchristliche, byzantische, muhammedanische, karolingische Kunst. (Johann Rudolf Rahn), 1869. Die romanische Kunst. (Alwin Schultz, Wilhelm Lübke), 1871. Entstehung und Ausbildung des gothischen Stil. (Alfred Woltmann), 1872. Die Spätzeit des Mittelalters bis zur Blüthe der Eyck’schen Schule. (–), 1874. Das Mittelalter Italiens und die Grenzgebiete der abendlandischen Kunst. (Eduard Dobbert), 1876. III. Geschichte der bildenden Künste im 15. Jahrhundert. (Oskar Eisenmann, edited by Wilhelm Lübke), 1879.


Sources

Lübke, Wilhelm. “Carl Schnaase: Biographische Skizze.” in, Schnaase, Karl, ed. Geschichte der bildenden Künste. 2nd ed, vol. 8 Düsseldorf: J. Buddeus, 1879, pp. xv-lxxxiv; Heidrich, Ernst. Beiträge zur Geschichte und Methode der Kunstgeschichte. Basel: Schwabe, 1917, 50-82; Waetzoldt, Wilhelm. Deutsche Kunsthistoriker vom Sandrart bis Justi. Leipzig: E. A. Seeman, 1921-1924, vol. 2, pp. 70-92; Donop, Karl S. “Karl Schnaase.” Allgemeine Deutsche Biographie; Lübke, vol 8 of Schnasse’s Geschichte, “Karl Schnaase. Biographische Skizze”: xv-lxxxiv; MacMillian, L. K. Die Kunst- und Geschichtsphilosophie Karl Schnaases. Dissertaion, University of Bonn, 1933; Dvorák, Max. Idealism and Naturalism in Gothic Art. Notre Dame, IN: University of Notre Dame Press, 1967, 223-4; Kultermann, Udo. Geschichte der Kunstgeschichte: Der Weg einer Wissenschaft. 2nd ed. Frankfurt am Main and Vienna: Ullstein, 1981, pp. 172-4; Gombrich, Ernst H. Aby Warburg: An Intellectual Biography. 2nd ed. Chicago: University of Chicago Press, 1986, p. 33; Kultermann, Udo. The History of Art History. New York: Abaris, 1993, pp. 93-94; Schwarzer, Mitchell. “Origins of the Art History Survey Text.” Art Journal 54 (Fall 1995): 24; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 365-8.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Schnaase, Karl Julius Ferdinand." Dictionary of Art Historians (website). https://arthistorians.info/schnaasek/.


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Düsseldorf and Berlin judge; wrote the first history of art to call itself as such (1843). He was born in Danzig, Prussia which is present-day Gdańsk, Poland. As a law student, Schnaase heard the lectures of Georg F. W. Hegel in Heidelberg an

Schmoll genannt Eisenwerth, Josef Adolf

Full Name: Schmoll genannt Eisenwerth, Josef Adolf

Other Names:

  • J. Adolf Schmoll genannt Eisenwerth

Gender: male

Date Born: 15 February 1915

Date Died: 20 December 2010

Place Born: Berlin, Germany

Place Died: Munich, Bavaria, Germany

Home Country/ies: Germany

Subject Area(s): Medieval (European), photographs, and sculpture (visual works)

Institution(s): Ludwig-Maximilians-Universität München


Overview

Rodin and photo historian; medievalist; Professor (Ordinarius) of art history at Munich. Schmoll’s father, also named Joseph Adolf Schmoll Eisenwerth (d. 1914), was a Mannheim-based mechanical engineer and his grandfather the renowned hydraulic engineer and bridge designer, Anton Adolph Schmoll genannt Eisenwerth (1834-1918). His father was killed in action in 1914 in the département Vosges. Schmoll received his Abitur in 1934 at the Berlin Schulfarm Insel Scharfenberg, an experimental progressive school. Schmoll studied art history, archeology, history and philosophy in Berlin, receiving his Ph.D. in 1939 with a dissertation written under Wilhelm Pinder on the topic on the Kloster Chorin in Brandenburg. During World War II, Schmoll served in the German military, 1939-1945, stationed in occupied France and later wounded. Upon his release in 1945, he became a teaching assistant at the University of Hanover and, in 1946, a lecturer in medieval architecture and deputy head of the department for art history at the Technische Universität Darmstadt (Technical University of Darmstadt). He lectured at the School for the Arts and Crafts (Centre Sarrois d ‘art et Metiers) in Saarbrücken, 1949-1950. Schmoll developed an interest in modern art, writing his habilitation under Hans Gerhard Evers in 1951 on Auguste Rodin. He was appointed as the founding director of the Art Institute the same year, where he published Der Torso als Symbol und Form in 1954 and rose to Professor in 1955. In 1962 the French medievalist Marcel Aubert died and Schmoll was asked to complete Aubert’s survey book on Gothic art together with Hans Hellmut Hofstätter. 1966 he joined the Department of Art History at the University in Munich. There he introduced modern art into the art-historical program, lecturing on Picasso, Klee, and the Bauhaus (of which he was a member of the Board of Trustees). Schmoll was a visiting professor at Pennsylvania State University in 1970 and the University of Zürich 1974-1976. He retired emeritus from Munich in 1980, lecturing as a visiting scholar at the University of Vienna (1988) and the following year in Salzburg. The Deutsche Gesellschaft für Photographie (German Society for Photography) bestowed him an achievement award in 2000. Germany


Selected Bibliography

[bibliography:] Nerdinger, Winfried, ed. Festschrift für J. A. Schmoll genannt Eisenwerth zum 90. Geburtstag. Munich: Zentralinst. für Kunstgeschichte, 2008; [dissertation:] Die Bauhütte von Chorin und die märkische Backsteinarchitektur bis zum Ende der askanischen Herrschaft. Berlin, 1939, published as, Das Kloster Chorin und die askanische Architektur in der Mark Brandenburg, 1260-1320. Berlin: De Gruyter, 1961; [collected essays:] Nerdinger, Winfried, and Schubert, Dietrich, eds. Epochengrenzen und Kontinuität: Studien zur Kunstgeschichte. Munich: Prestel, 1985; Der Torso als Symbol und Form: Zur Geschichte d. Torso-Motivs im Werk Rodins. Baden-Baden: Verl. f. Kunst u. Wissenschaft Grimm, 1954; Das Unvollendete als künstlerische Form. Bern: Francke, 1959; and Aubert, Marcel, and Hofstätter, Hans Hellmut. Hochgotik. Baden-Baden: Holle, 1963, English, High Gothic Art. London: Methuen, 1964; and Koopmann, Helmut. Beiträge zur Theorie der Künste im 19. Jahrhundert. Frankfurt am Main: V. Klostermann 1971; Das Phänomen Franz von Stuck: Kritiken, Essays, Interviews 1968-1972. Munich: Stuck-Jugendstil-Verein e. V., 1972; Kunstgeschichte. Darmstadt: Habel, 1974; Rodin und Camille Claudel. Munich: Prestel, 1994, English, Auguste Rodin and Camille Claudel. Munich: Prestel-Verlag, 1994.


Sources

“Vielseitig und undogmatisch: Zum Tod des Kunsthistorikers J. A. Schmoll gen. Eisenwerth.” Süddeutsche Zeitung December 29, 2010.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Schmoll genannt Eisenwerth, Josef Adolf." Dictionary of Art Historians (website). https://arthistorians.info/schmollj/.


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Rodin and photo historian; medievalist; Professor (Ordinarius) of art history at Munich. Schmoll’s father, also named Joseph Adolf Schmoll Eisenwerth (d. 1914), was a Mannheim-based mechanical engineer and his grandfather the renowned hydraulic en

Schmitt, Otto

Full Name: Schmitt, Otto

Gender: male

Date Born: 1890

Date Died: 1951

Place Born: Mainz, Rhineland Palatinate, Germany

Place Died: Ulm, Hesse, Germany

Home Country/ies: Germany

Subject Area(s): German (culture, style, period), Medieval (European), and sculpture (visual works)


Overview

Historian of medieval German sculpture; founder of the Reallexikon zur deutschen Kunstgeschichte (1937). Schmitt studied art history in Gießen, writing his dissertation under Christian Rauch on the south portal of Worms cathedral. He moved to Frankfurt (am Main) and taught, first at the privatdozent level in 1919 and then as professor at the university there. At Frankfurt he collaborated with Georg Swarzenski on a catalog of sculpture at the Städelschen Institut (Meisterwerk der Bildhauerkunst) in the early 1920s. His book Gotische Skulpturen des Freiburger Münsters appeared in 1926, examining the relationship of French Gothic sculpture to German, earlier outlined in the 1903 thesis of Karl Franck-Oberaspach on the Strassbourg cathedral. In 1927, Schmitt began a general dictionary of art history project, the Reallexikon zur deutschen Kunstgeschichte while at Greifswald. The first published volume appeared ten years later. He enlisted the help of Ernst Gall and Ludwig H. Heydenreich as editors of the Reallexikon in 1951. He died suddenly of a heart attack in Ulm at age 61. Schmitt’s specialty was the sculpture of the upper Rhein of the late middle ages.


Selected Bibliography

[complete bibliography in:] Form und Inhalt, kunstgeschichtliche Studien; Otto Schmitt zum 60. Geburtstag am 13. Dezember 1950. Stuttgart: W. Kohlhammer 1951(?); [dissertation:] Das Südportal des Wormser Domes. Giessen, 1918, published in Mainzer Zeitschrift 12/13 (1917/18): 115 ff; Barock-Plastik. Frankfurt am Main: Frankfurter Verlags-Anstalt, 1924; Oberrheinische Plastik im ausgehenden Mittelalter: ein Auswahl. Freiburg im Breisgau: Urban-Verlag, 1924; and Swarzenski, Georg, eds. Meisterwerke der Bildhauerkunst in frankfurter Privatbesitz. Frankfurt am Main: Frankfurter Kunstverein, 1921 (vol. 1), 1924, (vol. 2); founded and edited, Reallexikon zur deutschen Kunstgeschichte. Stuttgart, J.B. Metzler, 1937ff.; Gotische Skulpturen des Freiburger Münsters. Frankfurt am Main: Frankfurter Verlags-Anstalt, 1926.


Sources

Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 363-5; Gall, Ernst. “Otto Schmitt.” Reallexikon zur deutschen Kunstgeschichte. Volume 3. Stuttgart, J.B. Metzler, 1954, p. [ii].




Citation

"Schmitt, Otto." Dictionary of Art Historians (website). https://arthistorians.info/schmitto/.


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Historian of medieval German sculpture; founder of the Reallexikon zur deutschen Kunstgeschichte (1937). Schmitt studied art history in Gießen, writing his dissertation under Christian Rauch on the south portal of Wo

Schmidt, Werner

Full Name: Schmidt, Werner

Gender: male

Date Born: 1902

Home Country/ies: Germany

Subject Area(s): Marxism


Overview

Marxist schlar of Menzel



Sources

KRG, 139




Citation

"Schmidt, Werner." Dictionary of Art Historians (website). https://arthistorians.info/schmidtw/.


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Marxist schlar of Menzel

Schmidt, Paul Ferdinand

Full Name: Schmidt, Paul Ferdinand

Gender: male

Date Born: 1878

Date Died: unknown

Home Country/ies: Germany

Subject Area(s): German (culture, style, period) and Modern (style or period)


Overview

Early exponent of modern art in Germany.


Selected Bibliography

Maulbronn: die baugeschichtliche Entwicklung des Klosters im 12. und 13. Jahrhundert und sein Einfluss auf die schwäbische und frankische Architektur. Strassbourg: J. H. Ed. Heitz, 1903; Biedermeier-Malerei: zur Geschichte und Geistigkeit der deutschen Malerei in der ersten Hälfte des neunzehnten Jahrhunderts. Munich: Delphin-Verlag, 1922; Gessner: der Meister der Idylle. Munich: Delphin, 1921; Philipp Otto Runge: sein Leben und sein Werk. Leipzig: Im Insel-verlag, 1923; Geschichte der modernen Malerei. [first edition, unknown date, 2nd ed.] Stuttgart: W. Kohlhammer, 1952.


Sources

mentioned, “Einstein, Carl.” Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 74-76.




Citation

"Schmidt, Paul Ferdinand." Dictionary of Art Historians (website). https://arthistorians.info/schmidtp/.


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Search for materials by & about this art historian:

Early exponent of modern art in Germany.