Art Historians

Scaramuccia, Luigi Pellegrino

November 8, 2023March 29, 2024

Full Name: Scaramuccia, Luigi Pellegrino

Gender: male

Date Born: 1616

Date Died: 1680

Place Born: Perugia, Perugia, Umbria, Italy

Place Died: Milan, Lombardy, Italy

Home Country/ies: Italy

Overview

Author of Le finezze dei pennelli italiani ammirate e studiate da Girupeno sotto la scorta e la disciplina del genio di Raffaello d’Urbino, 1674, written as an artistic journey by a young guided by Raphael. The author describes the works of art found in various Italian cities. Scaramuccia added slightly to the bibliography of books on art that Raphaël Trichet du Fresne had compiled as an introduction to Leonardo’s treatise in 1651.

Author of Le finezze dei pennelli italiani ammirate e studiate da Girupeno sotto la scorta e la disciplina del genio di Raffaello d’Urbino, 1674, written as an artistic journey by a young guided by Raphael. The author describes the works

Sayre, Eleanor

November 8, 2023March 29, 2024

Full Name: Sayre, Eleanor

Other Names:

Eleanor Axson Sayre

Gender: female

Date Born: 1916

Date Died: 2001

Place Born: Philadelphia, Philadelphia, PA, USA

Place Died: Cambridge, Middlesex, MA, USA

Home Country/ies: United States

Subject Area(s): Spanish (culture or style)

Career(s): curators

Overview

Scholar of Spanish art and curator, Museum of Fine Arts, Boston. Sayre was the daughter of Francis Bowes Sayre (1885-1972) a Harvard Law School professor, and Jessie W. Wilson (Sayre) the daughter of President Woodrow Wilson(1856-1924). She attended Buckingham Brown and Nichols School in Cambridge, MA, and the Winsor School in Boston. Sayre graduated from Bryn Mawr College, with a B.A. in art history in 1938, continuing on to Harvard University for graduate study through 1940. She participated in the famous “museum course” taught by Paul J. Sachs, who introduced her to the study of prints. After summer work at the Fogg [Art] Museum at Harvard, she joined the Yale University Art Gallery as assistant in charge of exhibitions. Sayre entered the museum world at a time when many (male) curators were absent because of the war effort. In 1942 she became a gallery assistant at the Lyman Allyn Museum in New London, CT before moving to the Rhode Island School of Design’s Museum of Art as assistant in department of education, 1942-1945. After the war, she joined the Museum of Fine Arts, Boston, as an assistant in 1945 under Henry P. Rossiter. Sayre focused her research on the art and particularly the works on paper of Francesco Goya. In 1951 the MFA prints curator Henry P. Rossiter acquired the proof series of Goya’s “Disasters of War” previously owned by the art historian William Stirling Maxwell. Sayre researched these, securing an American Philosophical Society grant to work on prints in Spain in 1954. She rose to assistant curator in 1960 and finally curator of prints and drawings department in 1967. She wrote the entries and introduction to Late Caprichos by Goya: Fragments from a Series in 1971. A Ford Foundation grant was awarded to her in 1975 to work on Goya’s drawings. Sayre taught at Harvard, conducting print seminars in the 1970s and 1980s. She retired as curator of prints and drawings at MFA in 1984, as curator emeritus. Sayre organized the 1989 show for the MFA with Alfonso E. Pérez Sánche, “Goya and the Spirit of Enlightenment” which drew larger crowds on opening weekend than the Museum’s somewhat salacious Andrew Wyeth exhibition on his model, Helga. She received La Medalia al Oro en las Bellas Artes from the Spanish government in 1991. Sayre was one of the first women curators at the MFA. As such, she dealt with indignities, such as taking her lunch at the back of the Museum’s public restaurant because the curators’ dining room was exclusively for male curators. Her development of the collection included 300 Dürer prints formerly in the collection of Tomás Harris (1908-1964) as well as personal collection, which she left to the Museum.

Selected Bibliography

and Pérez Sánchez, Alfonso E. Goya and the Spirit of Enlightenment. Boston: Bulfinch, 1989; The Changing Image: Prints by Francisco Goya. Boston: Museum of Fine Arts, Department of Prints and Drawings, 1974.

Sources

[obituaries:] “Eleanor Sayre, 85, Curator and Goya Expert.” New York Times May 17, 2001, p. 23; Long, Tom. “Eleanor Axson Sayre, Curator at the MFA and Authority on Goya.” Boston Globe May 15, 2001; Wilson-Bareau, Juliet. “Eleanor A. Sayre (1916-2001).” Burlington Magazine 143, no. 1183 (October 2001): 638.

Saxl, Fritz

November 8, 2023March 29, 2024

Full Name: Saxl, Fritz

Other Names:

Fritz Saxl

Gender: male

Date Born: 08 January 1890

Date Died: 22 March 1948

Place Born: Vienna, Vienna state, Austria

Place Died: Dulwich, Southwark, London, Greater London, England, UK

Home Country/ies: Austria

Career(s): educators and librarians

Overview

Courtauld Institute professor and librarian, instrumental force in moving Warburg library to London and administering it duirng Warburg’s mental illness. Saxl was born to Ignaz Saxl and Wilhelmine Falk (Saxl). His father was a distinguished state attorney in Vienna. Although of devout Jewish grandparentage, Saxl’s father had rejected religion and the children were raised in a secular, culturally-Jewish home. After receiving an Abitur from the Maximilians gymnasium in 1908, where his classmate was the future art historian Emil Kaufmann, Saxl studied art history and archaeology in Vienna at the Institut für Österreichische Geschichtsforschung under the [second] “Vienna School” art historians Franz Wickhoff, Julius Alwin von Schlosser and Max Dvořák and in Berlin, 1909-1910 under Heinrich Wölfflin. Saxl completed his dissertation still only age 22, under Dvořák on various aspects of Rembrandt in 1912. The year before he had met the private scholar-art historian Aby M. Warburg. Saxl spent the academic year 1912-1913 on a stipend in Rome where he studied medieval texts on astrology and mythology. In 1913 he married Elise Bienenfeld and joined the Warburg Library in Hamburg as the librarian. Saxl fell under Warburg’s spell, adopting his mentor’s methodology, viewing the history of art as the transmission of pagan myth through literature and art of the medieval and renaissance periods. Although Saxl had specialized in the baroque era in Vienna, his interest in the medieval period and astrological manuscripts, alive before he met Warburg, took on new meaning. The first volume of a catalog of astrological manuscripts appeared in 1915. When World War I erupted, Saxl served as a first lieutenant in the Austro-Hungarian army (1914-1918) seeing action in Italy and 1918-19 as a teacher for the army. In 1919 he returned to the Warburg. Warburg himself was indefinitely committed to a mental asylum and Saxl took over the day-to-day running of the library foundation, and developing it, with colleague Gertrud Bing, from 1922 onward, according to Warburg’s wishes into the Warburg Institut, aligning it with the newly founded University of Hamburg in 1921. Saxl enlisted Warburg’s brothers, financiers in New York and Hamburg, to assist financially. Saxl initiated the Vorträge der Bibliothek Warburg, publishing an article himself in the series. Saxl was a privatdozent (1922-1923) and then lecturer between 1923-1933 for the University in Hamburg. In 1923 Saxl and another Warburg exponent, Erwin Panofsky, jointly authored an important study building on Warburg’s principle of pictorial themes migrating to intellectual realm, using Dürer’s Melancholia I. Warburg returned from hospitalization in 1924. Saxl traveled on research outings to Rome, London, Vienna and Heidelberg. A second volume of the astrological manuscripts appeared in 1927. At Warburg’s death in 1929, Saxl succeeded him as director. Saxl foresaw the disasters the Nazis promised for scholarship in Germany, especially for those institutions intimately connected with Jewish founders and scholars such as Saxl and Warburg. He gave fellow Schlosser student Otto Kurz a position as librarian when Kurz could find no work in anti-semitic Austria. Saxl himself hoped to move the Warburg to Holland, but when those deliberations failed, Saxl contracted with Samuel Courtauld (1876-1947, principal benefactor of the Courtauld Institute) and Arthur Hamilton Lee (Viscount Lee of Fareham, 1868-1947, Chairman, Management Committee of the Courtauld Institute of Art) to move the Warburg Library “on loan” to the Courtauld Institute at the University of London in 1933. At the same time, other Hamburg scholars who were connected with the Warburg followed. These included the recently graduated Hugo Buchthal, Edgar Wind and E. H. Gombrich. The library was temporary housed in the basement of Thames House. In 1938 the Warburg lost this temporary housing and the papers had once again to be crated up. Funds to maintain this unusual think-tank were particularly hard to come by. Saxl devoted the remaining years of his life to maintaining the Institute, at the cost of his own scholarship. When Britain entered the World War II, the Warburg was evacuated to Denham, England, and Saxl hired Buchthal to be its librarian for most of the 1940s and as a scholar to keep it responsive to the needs of research. Saxl became a British citizen in 1940. In 1944 the Warburg Institute was officially made part of the University of London. Between 1945 and 1946, he traveled to the United States, securing cooperation on a number of scholarly projects, among them the Illustrated Bartsch, (the Peintre graveur of Adam von Bartsch, updated scholarship and illustrations), and a Census of Classical Works of Art Known to the Renaissance, sparked by the enthusiasm of Karl Leo Heinrich Lehmann, Richard Krautheimer and Panofsky. Saxl spent the final years of his life maintaining the Warburg. It was often noted by biographers that he sacrificed personal scholarship in order to run the Warburg. At his death in 1948, he was succeeded by Henri Frankfort. The remaining volumes of the Verzeichnis astrologischer und mythologischer illustrierter Handschriften, renamed the Catalogue of Astrological and Mythological Illuminated Manuscripts of the Latin Middle Ages, were issued in 1953 by Hans Meier and Harry Bober. Bing was his life partner and the two maintained a house in Dulwich, England, where they entertained.

Saxl represents in some ways the “purest” continuation of Aby M. Warburg’s methodology. Other Warburg scholars (Wind, Gombrich, Panofsky) developed their own stamp. But Saxl remained fascinated by the transmission of mythology through the language of forms on which Warburg had founded his institution. His methodological influence was particularly profound on Jean Adhémar.

Selected Bibliography

[complete bibliography:] La fede negli astri: dall’antichità al Rinascimento. Settis, Salvatore, editor. Torino: Boringhieri, 1985, pp. 499-513; [dissertation:] Rembrandt Studien. University of Vienna, 1912; Verzeichnis astrologischer und mythologischer illustrierter Handschriften des lateinischen Mittelalters. volume 1, Heidelberg: C. Winter, 1915, volume 2, Heidelberg: C. Winter, 1927, [vols 3 and 4 issued under the English:] and Meier, Hans, and Bober, Harry, and McGurk, Patrick. Catalogue of Astrological and Mythological Illuminated Manuscripts of the Latin Middle Ages. volume 3 and volume 4, London: Warburg Institute, 1953-66; edited, Vorträge der Bibliothek Warburg. Leipzig: B. G. Teubner, 1923-1932; and Panofsky, Erwin. Dürer’s “Melancholia I”: Eine quellen- und typengeschichtliche Untersuchungen. Leipzig and Berlin: B. G. Teubner, 1923. Expanded and translated into English as, Saturn and Melancholy: Studies in the History of Natural Philosophy, Religion and Art. Revised with the collaboration of Raymond Klibansky. London: Nelson, 1964; Frühes Christentum und spätes Heidentum in ihren künstlerischen Ausdrucksformen. [Special supplement to] Wiener Jahrbuch für Kunstgeschichte, vol. II (XVI). Vienna: Krystall-Verlag, 1925; [Saxl major contributor] Mithras, typengeschichtliche Untersuchungen. Berlin: Heinrich Keller, 1931; and Panofsky, Erwin. “Classical Mythology in Medieval Art.” Metropolitan Museum Studies 4 (1932-1933): 228-280; La fede astrologica di Agostino Chigi: interpretazione dei dipinti di Baldassare Peruzzi nella sala di Galatea della Farnesina. Rome: Reale accademia d’Italia, 1934; Rembrandt’s Sacrifice of Manoah. Studies of the Warburg Institute 9. London: The Warburg Institute, 1939; “The Battle Scene without a Hero.” Journal of the Warburg and Courtauld Institutes 3 (1939-40): 70-87; “The Ruthwell Cross.” Journal of the Warburg and Courtauld Institute 6 (1943): 1-19;and Wittkower, Rudolf. British Art and the Mediterranean. New York: Oxford University Press, 1948; English Sculptures of the Twelfth Century. London: Faber and Faber, 1954; Lectures. London: Warburg Institute, University of London, 1957; A Heritage of Images: A Selection of Lectures by Fritz Saxl. Introduction by E. H. Gombrich. 2 vols. Harmondsworth, Middlesex: Penguin, 1970; “The History of Warburg’s Library.” In Gombrich, Aby Warburg. 2nd ed. Oxford: Phaidon Press, 1986, pp. 325-338.

Sources

Bing, Gertrud. “Fritz Saxl: 1890-1948” (Introduction), in Fritz Saxl: 1890-1948: A Volume of Memorial Essays from his Friends in England. D. J. Gordon, ed. New York: T. Nelson, 1957, pp. 1-46; 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. 62, 83, 55 n. 117; 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. 65; Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, p. 216; McEwan, Dorothea, editor. Ausreiten der Ecken: die Aby Warburg – Fritz Saxl Korrespondenz, 1910 bis 1919. Hamburg: Dölling und Galitz, 1998; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 339-40; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 337-39; 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. 586-592; Bing, Gertrud. “Saxl, Fritz.” Dictionary of National Biography 1941-1950: 761-62; [obituaries:] “Professor Fritz Saxl, The Warburg Institute.” The Times (London) March 27, 1948, p. 7; Webb, Geoffrey. “Fritz Saxl 1890-1949.” Burlington Magazine 90 (July 1948): 209.

Contributors: Lee Sorensen

Sauerlandt, Max

November 8, 2023March 29, 2024

Full Name: Sauerlandt, Max

Other Names:

Friedrich August Max Sauerlandt

Gender: male

Date Born: 06 February 1880

Date Died: 01 January 1934

Place Born: Berlin, Germany

Place Died: Hamburg, Germany

Home Country/ies: Germany

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

Institution(s): Landeskunstschule Hamburg, Museum für Kunst und Gewerbe Hamburg, Städtisches Museum für Kunst und Kunstgewerbe Halle, and Universität Hamburg

Overview

Museum director and expert of decorative arts (especially ceramics and porcelain), expressionism, and museum concepts. Max Sauerlandt was born in 1880 to Max Saurelandt, a timber merchant, and Marie Plath (Sauerlandt). Sauerlandt was born into the Protestant faith. Growing up in Hamburg, he attended Matthias-Claudius-Gymnasium and received his abitur in 1898. He spent his first five semesters of study in Marburg and Berlin learning about classical philology, then the next four semesters in Munich and Berlin studying art history. His instructors were Heinrich Wölfflin, Karl Voll, Wesse, Adolph Goldschmidt, and Berthold Riehl. He finished his doctoral studies in 1903 in Berlin under Heinrich Wölfflin, and his dissertation was published under the title Die Bildwerke des Giovanni Pisano (The Pictorial Works of Giovanni Pisano) the following year. In 1904, he also played a minor role for a year as a collaborator on the Thieme-Becker Künstlerlexikon, a bibliographical dictionary of artists which was ultimately a decades-long research project. From 1905-1908, Sauerlandt was a trainee at the Museum für Kunst und Gewerbe in Hamburg under the director of the museum, Justus Brinckmann. He married Alice Schmidt, who was herself an art historian and student of Kӓthe Kollwitz, in 1907. After satisfactory completion of his training, he took the position of Director of the Städtisches Museum für Kunst und Kunstgewerbe in Halle, Germany. He remained in this role from 1908-1914, his chief contribution being the reorganization and supplementation of the disorganized holdings according to modern museum practice. Sauerlandt’s dedication to promoting modern art in Germany is evidenced by his acquisition of works from the progressive artists of the time, including Emil Nolde and Max Beckmann. From 1914-1918, Sauerlandt’s museum work was interrupted by his service in World War I. After his service, Sauerlandt succeeded Justus Brinckmann as the Director of the Museum für Kunst und Gewerbe in Hamburg. There, similar to his time at the Städtisches Museum für Kunst und Kunstgewerbe, he reorganized the collections, refurbished the exhibition rooms, and acquired new works to add to the collection. His most noteworthy purchases were of contemporary graphic art and sculpture, including the works of Henry Moore and several German expressionist “Die Brücke” artists. At the museum, he also promoted Emil Nolde, Rolf Nesch, Missei Kogan, Gustav Heinrich Wolff, and Richard Haizmann. He was Director until 1933. In 1919, Sauerlandt was appointed an honorary professor for the history of arts and crafts at Universität Hamburg. During his time there, the art history department became the only one in Germany to have a focus of study on the applied arts. In 1922, Sauerlandt became the editor of the reports of the Justus Brinckmann Society in Hamburg. Sauerlandt became embroiled in a heated debate in 1926 when Paul Heise began his planning for the celebrations of the 700th anniversary of the city of Lübeck. In an effort to put on a grand exhibition, Heise acquired the loan of several original works by Lübeck artists, which was quite a triumph for the city since most were on display abroad. However, Heise used reproductions for the original pieces that could not be lent, infuriating Sauerlandt and his contemporaries from Hamburg. The debate is known as the Hamburger Faksimile-Streit (Hamburg facsimile dispute). Starting in 1930, he became the Director of the Landeskunstschule, a fine arts university, in Hamburg. He used his recognition to publish newspapers and magazines that promoted German contemporary art. In April of 1933, Sauerlandt took a leave of absence as museum director and was removed from office by the National Socialist Party as the Director of the Landeskunstschule for his open commitment to contemporary art. He actually harbored political sympathies for the Nazi Party, but his fight for reinstatement was ultimately futile. Because he still remained in his position at Universität Hamburg, Sauerlandt used the summer semester of 1933 to engage students in a number of lectures that were intended to warn of what was to come under a new regime. His lecture titles included “Art of the Last 30 Years” and “The Present Situation and the Task of Museums in the New State.” In November of 1933, he was removed from his office at Universitӓt Hamburg due to the Law for the Restoration of the Professional Civil Service. In 1934, Sauerlandt was the victim of a vicious cancer that took his life.

Sauerlandt argued vigorously for the sole validity of the original art piece. He believed that in every copy, reconstruction, or forgery at least one crucial element of the viewing experience was lost. His polemic was mainly directed at facsimile reproductions, as is evidenced by the Hamburg facsimile dispute (Hüneke, Von der Verantwortung, p. 265). Sauerlandt was an authority on all matters of the museum of the present. His lectures at conferences and in the classroom provided material for discussion and informed the taste and judgement of the time. He changed the notion of the museum at the time and reached out to the public museum banners and posters in the urban space (Hüneke, Von der Verantwortung, p. 264). Sauerlandt used a number of Brinckmann’s principles in museum technique (Hüneke, Von der Verantwortung, p. 261). He also, however, staunchly promoted German contemporary art.

Selected Bibliography

[dissertation:] Die Bildwerke des Giovanni Pisano Düsseldorf, Leipzig 1904;
Die blauen Bücher, Griechische Bildwerke Düsseldorf, Leipzig 1907;
Die blauen Bücher, Der stille Garten. Deutsche Maler der Ersten Hälfte des 19. Jahrhunderts Königstein, Leipzig 1908;
Die blauen Bücher, Deutsche Plastik des Mittelalters Königstein, Leipzig 1909;
Die blauen Bücher, Deutsche Plastik des Mittelalters Königstein, Leipzig 1909;
Die blauen Bücher, Michelangelo Königstein, Leipzig 1911;
Stätten der Kultur: Halle Leipzig 1913;
Jahresbericht der städtischen Museen Haue 1908-12;
Emil Nolde Munich 1921
Die blauen Bücher, Kinderbildnisse aus fünf Jahrhunderten der europäischen Malerei von etwa 1450 bis etwa 1850 Königstein, Leipzig 1921;
Norddeutsche Barockmöbel Elberfeld 1922;
Die blauen Bücher, Die Musik in fünf Jahrhunderten der europäischen Malerei. Etwa 1450 bis 1850 Königstein, Leipzig 1922;
Deutsche Porzellan-Figuren des 18. Jahrhunderts Cologne 1923;
Die blauen Bücher, Deutsche Bildhauer um 1900. Von Hildebrand bis Lehmbruck Königstein, Leipzig 1925;
Einheit des Künstlerischen: die deutschen Museen und die deutsche Gegenwartskunst 1925;
Die deutsche Plastik des 18. Jahrhunderts Munich 1926;
Werkformen deutscher Kunst. Vom Wesen der Kunst und der Kunstbetrachtung Königstein, Leipzig 1926;
Die blauen Bücher, Kleinplastik der deutschen Renaissance Königstein, Leipzig 1927;
Edelmetallfassungen in der Keramik Berlin 1929;
Festschrift zum 50jährigen Bestehen des Museums für Kunst und Gewerbe in Hamburg Hamburg 1929;
Drei Betrachtungen zur Stellung der Kunst in unserer Zeit, Das Sofabild oder die Verwirrung der Kunstbegriffe Hamburg 1930;
Drei Betrachtungen zur Stellung der Kunst in unserer Zeit, Original und Faksimilereproduktion Hamburg 1930;
Drei Betrachtungen zur Stellung der Kunst in unserer Zeit, Die deutschen Museen und die deutsche Gegenwartskunst Hamburg 1930.

Sources

Hüneke, Andreas “Von der Verantwortung des Museumsdirektors – Max Sauerlandt” Avantgarde und Publikum Hrsg. v. Henrike Junge. Köln, Weimar, Wien 1992, S. 261-268;
Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten Stuttgart: Metzler, 1999, pp. 337-39;
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. 581- 586;
Gosebruch, Martin “Sauerlandt und Klähns Kunst.” in Gädeke, Thomas, ed., Wolfgang Klähn und die Krise der Mondern/Wolfgang Klähn and the Crisis of Modern Art. Leipzig: E. A. Seemann, 2007, p. 138

Contributors: Lee Sorensen and Paul Kamer

Sauerländer, Willibald

November 8, 2023March 29, 2024

Full Name: Sauerländer, Willibald

Other Names:

Willibald Sauerländer

Gender: male

Date Born: 28 March 1924

Place Born: Waldsee, Rhineland Palatinate, Germany

Home Country/ies: Germany

Subject Area(s): French (culture or style), Medieval (European), and sculpture (visual works)

Overview

Major scholar of French Medieval sculpture in the 20th century; Director Zentralinstitut für Kunstgeschichte, 1970-1989. Sauerländer entered the Ludwig-Maximilians-Universität in Munich in 1946, receiving his Ph.D. there in 1953 under Hans Jantzen. Early on, the friendship and scholarship of Louis Grodecki was formative to his methodology. In 1958 he published a seminal article on the west portals of Senlis and Mantes cathedrals, followed by a second on the west portals of Notre Dame, which redefined the study of Gothic sculpture (Little). He taught in Paris, 1959-1961, and then, at the invitation of Erwin Panofsky, in Princeton, N. J. at the Institute for Advanced Study in 1961. In Princeton, Sauerländer developed his theory for the sculpture at Châlons-sur-Marne, which he presented at the 1961 International Congress of Art History in New York. He further lectured at Marburg 1961-1962 and took an appointment at Freiburg, 1962-1970. While at Freiburg, he utilized the photographic collection of its great medievalist, Wilhelm Vöge. The collection included images of works before their damage or displacement in World War I. Sauerländer was a visiting professor at New York University’s Institute of Fine Arts, 1963-1965, 1969-1970. His 1966 book Von Sens bis Strassburg, established his profile as a medievalist and became “something of a lighting rod for the debate concerning the role of style as an agent of change,” (Little). The same year (1970) he published his best known book, Gotische Skulptur in Frankreich (translated into English as the Gothic Sculpture in France, 1971). The book broke the Chartres-centric view of the genesis of medieval sculpture and secured his reputation among English-language readers. He accepted the director position at the Zentralinstitut für Kunstgeschichte, Munich, in 1970. The work appeared the same year as the Metropolitan Museum of Art, New York, launched an exhibition to commemorate the centenary of the Museum, an exhibition and symposium “The Year 1200” organized by the Chair of the Department of Medieval Art and the Cloisters, Florens Deuchler. Sauerländer lectured at the Institute of Fine Arts, New York University during the run of the show, but the cancellation of classes that spring because of Viet Nam War protests at the university curtailed more interaction. He was a member of the Institute of Advanced Study in Princeton in 1973. During the 1980s he held several visiting appointments, including the Collège de France, Paris, 1981; University of Wisconsin, Madison, in 1982; Harvard University, 1984 and 1985, and the University of California, Berkeley, 1989. He retired from the Zentralinstitut in 1989. Following that he acted as the chief critic for medieval exhibitions for the Süddeutsche Zeitung. In 1991 he presented the Mellon lectures at the National Gallery of Art, Washgington, D. C. Sauerländer was credited by the Times Literary Supplement in the early 1970s as having rewritten the history of early French Gothic Sculpture. His discovery of the importance of the Châlons-sur-Marne cloister fragments was continued by Léon Pressouyre. He has acknowledged his debt to the methodology of Vöge and, working in Paris in the 1950s, to André Chastel. Vöge’s images allowed him to make visual comparisons in juxtaposition. In general, Sauerländer looks at a history of styles within early medieval sculpture to determine influence of masters and date sculpture. His most famous work, Gothic Sculpture in France, shows him avoiding the study of sculpture by monument in favor of grouping the figures by stylistic period. In his historiographic writing, Sauerländer characterized post-World War II art history in Munich as “would-be Positivism,” citing a shift toward empiricism and positivism. Most of his doctoral students were in Germany; his American students include Sharon Jones (IFA) and Michael Ward.

Selected Bibliography

[bibliography:] Busch, Werner, and Kemp,Wolfgang, and Warnke, Martin, eds. Sauerländer, Willibald. Geschichte der Kunst–Gegenwart der Kritik. Cologne: Dumont, 1999, pp 343-359; “Die Marienkrönungsportale von Senlis und Mantes.” Wallraf-Richartz Jahrbuch 20 (1958): 115-162; “Die kunstgeschichtliche Stellung der Westportale von Notre Dame in Paris.” Marburger Jahrbuch für Kunstwissenschaft 17 (1959): 1-56; and Kauffmann, Georg, eds., Walter Friedlaender zum 90. Geburtstag: eine Festgabe seiner europäischen Schüler, Freunde und Verehrer. Berlin: De Gruyter, 1965; Von Sens bis Strassburg: Ein Beitrag Zur Kunstgeschichtlichen Stellung Der Strassburger Querhausskulpturen. Berlin: Walter De Gruyter, 1966; “Alle Jahre wieder . . . ?” Kunstchronik 25 (1975): 262; Gotische Skulptur in Frankreich: 1140-1270. Munich: Hirmer, 1970, English, Gothic Sculpture in France: 1140-1270. New York: Abrams, 1971; editor, Studien zur mittelalterlichen Kunst 800-1250 : Festschrift für Florentine Mütherich zum 70. Geburtstag. Munich: Prestel-Verlag, 1985.

Sources

“Comparable Carving.” Times Literary Supplement April 13, 1973: 410; Dilly, Heinrich. Kunstgeschichte als Institution: Studien zur Geschichte einer Diziplin. Frankfurt am Main: Suhrkamp, 1979, pp. 46-7; Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986 p. 277;[biographical essay] Sauerländer, Willibald. Geschichte der Kunst–Gegenwart der Kritik. Cologne: Dumont, 1999; Suda, Sasha. “In Conversation: WillibaldSauerländer with Sasha Suda.” Brooklyn Rail: Critical Perspectives on Arts, Politics and Culture February 2010;Sauerländer, Willibald. “Afterthoughts to a Conversation with Sasha Suda.” Brooklyn Rail: Critical Perspectives on Arts, Politics and Culture April 2010; Little, Charles T. “WillibaldSauerländer: Gothic Art and Beyond.” in Hourihane, Colum, ed. Gothic Art and Thought in the Later Medieval Period: Essays in Honor of WillibaldSauerländer. Princeton, NJ: Index of Christian Art, Department of Art & Archeology, Princeton University/Penn State University Press, 2011, pp. 3-6.

Sauer, Bruno

November 8, 2023March 29, 2024

Full Name: Sauer, Bruno

Gender: male

Date Born: 1861

Date Died: 1919

Place Born: Leipzig, Saxony, Germany

Home Country/ies: Germany

Subject Area(s): Ancient Greek (culture or style), Antique, the, and Classical

Overview

Specialist in Ancient Greek art. Professor of Art History at the University of Giessen, 1898-1909, at the University of Kiel, 1909-1919.

Selected Bibliography

Das sogenannte Theseion und sein plastischer Schmuck, 1899. Weber-Labord’schen Kopf und die Giebelbruppen des Parthenon, 1903. Geschichte der Archäologie, 1913.

Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 140-141.

Specialist in Ancient Greek art. Professor of Art History at the University of Giessen, 1898-1909, at the University of Kiel, 1909-1919.

Sas-Zaloziecky, Wladimir

November 8, 2023March 29, 2024

Full Name: Sas-Zaloziecky, Wladimir

Other Names:

Vladimir Sas-Zaloziecky

Gender: male

Date Born: 1896

Date Died: 1959

Home Country/ies: Austria

Overview

Wiener Institut director immediately after World War II (1945) Sas-Zaloziecky was assistant professor at Lemberg between 1935-39 and from 1940 Professor in Vienna. He was a specialist for Eastern European and Byzantine history of art. In 1949 he became professor in Graz.

Selected Bibliography

Die byzantinische Baukunst in den Balkanländern und ihre Differenzierung unter abendländischen und islamischen Einwirkungen; Studien zur Kunstgeschichte der Balkanländer. Munich: R. Oldenbourg, 1955.

Sources

“150 Jahre Kunstgeschichte an der Universität Wien.” http://www.univie.ac.at/kunstgeschichte-tutorium/wienerschule/geschichte.htm

Sarre, Friedrich

November 8, 2023March 29, 2024

Full Name: Sarre, Friedrich

Gender: male

Date Born: 1865

Date Died: 1945

Place Born: Berlin, Germany

Place Died: Neubabelsberg, Germany

Home Country/ies: Germany

Subject Area(s): Abbasid, Anatolian (culture or style), archaeology, Early Western World, Iranian, Islamic (culture or style), Islamic World, The, Middle Eastern, Near Eastern (Early Western World), and Turkish (culture or style)

Career(s): art collectors

Overview

Collector and archaeologist of middle eastern art. After meeting Carl Humann, Sarre traveled to Anatolia to study its medieval monuments. In 1895 and 1896, he visited Phyrigia, Lycaonia, and Pisidia. Sarre discovered several architectural monuments in the area, where he collected epigraphic material. His work interested Arabists such as Bernhard Moritz (1859-1939), Eugen Mittwoch (1876-1942), and Max van Berchem (q.v.). Sarre collected objects from the Middle East, specifically Iran and Istanbul, which were exhibited in Berlin in 1899, and at the Exposition des arts musulmans in Paris in 1903. He met Ernst Herzfeld in 1905, and together, they excavated a site in Samarra, the 9th-century capital of the Abbasid dynasty. They published their findings in Archäologische Reise im Euphrat-und Tigris Gebeit. An exhibition catalogue of Islamic art in Munich included an essay written by Sarre about the Persian carpets. He donated most of his collection to the Kaiser-Friedrich Museum in Berlin. Many of Sarre’s books, photographs, and papers were destroyed when his house burned down shortly after his death.

Sources

The Dictionary of Art

Santos, Reynaldo dos

November 8, 2023March 29, 2024

Full Name: Santos, Reynaldo dos

Other Names:

Reinaldo dos Santos

Gender: male

Date Born: 1880

Date Died: 1970

Place Born: Oeiras, Portugal

Place Died: Lisbon, Portugal

Home Country/ies: Portugal

Subject Area(s): Portuguese (culture or style)

Career(s): physicians

Overview

Historian of Portuguese art and medical doctor; successor to José de Figueiredo at the Academia de Belas Artes, Lisbon. Santos’ parents were Clemente José dos Santos, a physician, and Maria Amelia dos Santos Pinheiro. His grandfather was Clement José dos Santos, Baron Santos Clemente. After secondary school, Santos entered the Medical-Surgical School of Lisbon in 1898, graduating in 1903. The Portuguese industrialist João Afonso de Carvalho gave Santos a stipend to study with French surgeons in Paris, 1904-1905, Santos subsequently tavelled to the United States to continue his study medicine. An interest in art developed during holidays in Portugal at Figueira da Foz where, with his friend, Henrique de Vilhena, where he participated in amateur archaeology. He read and was deeply influenced by the historical-positimism of Hippolyte Taine, suggested by António Santos Rocha. He completed a medical Ph.D., writing a thesis and surgical treatments of pancreatitis, Aspectos Cirúrgicos das Pancreatites Crónicas in 1906, joining the faculty of the School of medicine in Lisbon the following year. Throughout his life, his primary career would be medicine with a specialty in urology and artierography. He became disillusioned with the conditions and staff of the hospital and left under dispute, becoming Director of Municipal Hospitals. In 1915, he and the art historian José de Figueiredo discovered tapestries in Pastrana, Guadalajara, Spain derived from the Asilah region. He was critical of Portugal’s neutral status in World War I, particularly by its decision not to send medical aid to the wounded. During the War he volunteered as a surgeon for British hospitals in northern France (26th General Hospital unit) and the hospital at Wimereux. He was discharged with the British rank of major. After the War, Santos studied in Tuscany, writing a book on the Portuguese Renaissance painter Álvaro Pires de Évora in 1922. The same year he published a book on the church of Manueline, identified Francisco Alvarez as the artist of the symbol of Manueline art. He and Jorge Cid published a monograph on Nuno Gonçalves in 1925, examining in particular Gonçalves’ panels of the Adoration of S. Vicente. In 1930, he was appointed to a newly-created Chair of Urology. In 1932 he was one of ten who founded the Portuguese Academy of Fine Arts (Academia Nacional ed Belas Artes). His book on Nuno Gonçalves appeared in 1939. He and his wife, Irene Quilhó, printed a book privately on Portuguese goldsmith work of the sixteenth and seventeenth centuries in 1954. His Historia del arte portugués appeared in 1960. After his death in Lisbon, a symposium was held in his memory by the Fundução Gulbenkian. As president of the Academia Nacional ed Belas Artes, Santos had “revived a somnolent institution” by creating the Inventario artistico de Portugal (Smith). His view of Portuguese architecture was not in the European model, but as in the case of the Manueline, finding its own style.

Selected Bibliography

[dissertation:] Aspectos Cirúrgicos das Pancreatites Crónicas, Lisbon, 1906; A Tôrre de Belém, 1514-1520: estudo historico & arqueologico. Coimbra: Imprensa da Universidade, 1922; Alvaro Pires d’Evora, pintor quatrocentista em Italia. Lisbon: Imprensa Libanio da Silva 1922; As Tapeçarias da Tomada de Arzila. Lisbon: Oficinas gráficas da Biblioteca nacional de Lisboa, 1925; “L’Homme et la Mer dans l’Art Portugais.” in, Ramalho Ortigão, conferência proferida em 8 de agosto de 1935 pelo ilustre crítico de arte [conference]. Anals das bibliotecas, museus e arquivo histórico municipals 9 (1935); L’art portugais: architecture, sculpture, peinture Paris: Plon, 1938; Nuno Gonçalves, o Maior Pintor Peninsular até ao Século XVII, 1939, English, Nuno Gonçalves: the Great Portuguese Painter of the Fifteenth Century and his Altar-piece for the Convent of St. Vincent. New York: Phaidon, 1955; Os primitivos portugueses (1450-1550). Lisbon: Academia Nacional de Belas Artes, 1940; and Lacerda, Aarão de, História da arte em Portugal. 3 vols. Pôrto, Portugal: Portucalense Editora, 1942-53 [actually 1947-56]; andQuilhó, Irene. Ourivesaria portuguesa nas colecçóes particulares. Lisbon: [self-published], 1954; Historia del arte portugués. Barcelona, Editorial Labor, 1960.

Sources

Smith, Robert C. “Recent Publications on the Fine Arts of Portugal and Brazil.” Art Bulletin 26, no. 2 (June 1944): 124; Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 287, 449-450; “Reynaldo dos Santos: Médico, pedagogo, cientista, escritor, historiador e crítico de arte, um ser em movimento, universal: 1880-1970.” [website] http://www.vidaslusofonas.pt/reynaldo_dos_santos.htm; Dicionário Cronológico de Autores Portugueses 3 (1994); [obituary:] Revista de artes e letras 59, (June 1970).

Contributors: Lee Sorensen

Santi, Giovanni

November 8, 2023March 29, 2024

Full Name: Santi, Giovanni

Gender: male

Date Born: 1430

Date Died: 1494

Home Country/ies: Italy

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

Overview

Raphael’s father; wrote book on Urbino and artists, including netherlandish (1482)

Sources

KGK, 20

Raphael’s father; wrote book on Urbino and artists, including netherlandish (1482)

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