Art Historians

Sanfaçon, Roland

November 8, 2023March 29, 2024

Full Name: Sanfaçon, Roland

Gender: male

Date Born: unknown

Date Died: unknown

Home Country/ies: Canada

Subject Area(s): architecture (object genre), Flamboyant, Gothic (Medieval), Late Gothic, Medieval (European), and sculpture (visual works)

Overview

french late Gothic (“gothic tardif”) architecture; “flamboyant” style

Selected Bibliography

L’Architecture flamboyante en France. Québec, 1972.

Sources

Bazin 288

french late Gothic (“gothic tardif”) architecture; “flamboyant” style

Sandrart, Joachim von

November 8, 2023March 29, 2024

Full Name: Sandrart, Joachim von

Gender: male

Date Born: 1606

Date Died: 1688

Place Born: Frankfurt am Main, Hesse, Germany

Place Died: Nuremberg (also Nürnberg), Germany

Home Country/ies: Germany

Subject Area(s): biography (general genre) and painting (visual works)

Overview

Painter and author of an early history/biographical dictionary of artists, Teutsche Academie. Sandrart’s father was a Calvinist who had fled Valenciennes, in the county of Hainaut (then under Spain) to Frankfurt. The younger Sandrart began a career as an artist, studying drawing. In 1620, he moved to Nuremberg, where he learned engraving. In Prague, the engraver Aegidius Sadeler advised him to specialize in painting. Around 1625, he became a pupil of the Dutch painter Gerard van Honthorst in Utrecht. In Honthorst’s house, he met Peter Paul Rubens, whom he accompanied on Rubens’ tour through Holland. After working for Honthorst at the English court, Sandrart traveled to Rome in 1629 where he met the artistic and intellectual community there. Between 1632 and 1635, he was in charge of the collection of Vincenzo Giustiani (1564-1637) and oversaw the 1635 publication of the antique sculptures entitled Galleria Giustiniani. Two years after his return to Frankfurt (1635), Sandrart married Johanna Milkau. The Thirty Years War forced them to move to Amsterdam where Sandrart specialized in portrait painting. His clients included the most famous writers and poets, including Joost van den Vondel (1587-1679) and Caspar Barlaeus (1584-1648). In 1645, Sandrart moved to an estate in Stockau, Germany which he had inherited from his father-in-law. He continued to paint, especially large works such as group portraits and altarpieces. Between 1651 and 1653, he worked for Emperor Ferdinand III (1608-1657). In 1670 he moved to Augsburg, and then to Nuremberg in 1673, founding academies in both cities. These art schools probably were studios in which amateurs and maybe Sandrart’s pupils had the opportunity to draw from life (Pevsner, 1940). In this period Sandrart composed his magnum opus, the L’Academia Todesca della Architectura Scultura et Pictura, oder Teutsche Academie der Edlen Bau-, Bild- und Mahlerey- Künste, published in Nuremberg in 1675. A second part appeared in 1679 and an abridged Latin translation followed in 1683. The Teutsche Academie is an illustrated compendium of art education and of artist biographies compiled from a variety of sources as well as descriptions of Roman antiquities, inventories of famous private art collections and libraries, and a German translation of Ovid’s Metamorphoses based on the Dutch translation by Karel Van Mander. The biographies were largely taken from the biographical editions of Giorgio Vasari, Van Mander, and others and many of the accounts of art collections from the French doctor and numismatist Charles Patin (1633-93). Sandrart’s provided original entries on a number of German, Dutch, French, Italian, and Spanish artists as well as his own life and it is these that make his work important. Sandrart published another work, his Sculpturae veteris admiranda, on ancient sculpture donated to the Giustiniani collection, in 1680. He also published an illustrated study on ancient gods, Iconologia deorum that year. A treatise on Roman topography, Romae antiquae et novae theatrum appeared in 1684. But it is the Teutsche Academie that gained him most fame. The work was in its turn used as one of the main sources for De Groote Schouburgh der Nederlantsche Konstschilders en Schilderessen by Arnold Houbraken, published in 1718-1721 and remains an important primary source today. Critical reception on Sandrart’s work has varied. In the 1920s, Wilhelm Waetzoldt rightly pointed out that Sandrart was neither a great scholar nor an original thinker, merely a learned aristocrat and humanist possessed of a high self-esteem. Scholars also have criticized the archaeological data of the Academie. The 1925 edition by Rudolf Peltzer, though only a partial republication, is evidence of the importance of the Teutsche Academie. In recent years, the Teutsche Academie has been the subject of numerous studies, and a three-volume facsimile edition, by Christian Klemm and Jochen Becker, in 1994-95. The third part contains Ovid’s Metamorphoses as well as Sandrart’s 1680 illustrated work on ancient mythology, Iconologia deorum (after Vincenzo Cartari, b. ca 1500). Klemm, who cataloged Sandrart’s painting in 1986, called Sandrart the most important German writer on art between Albrecht Dürer and Johann Joachim Winckelmann.

Selected Bibliography

L’Academia Todesca della Architectura Scultura et Pictura, oder Teutsche Academie der Edlen Bau- Bild- und Mahlerey-Künste. 2 vols. Nuremberg: Jacob von Sandrart, 1675; Nuremberg: Michael und Johann Friedrichen Endtern, 1679. Facsimile edition, (introduced by Klemm, Christian and Becker, Jochen). 3 vols. Nördlingen, Uhl, 1994-1995; Iconologia deorum, oder Abbildung der Götter, welche von den Alten verehret worden. Nuremberg: Froberger, 1680.

Sources

Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 64, 396; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 335-37; Sponsel, Jean Louis. Sandrarts Teutsche Academie Kritisch gesichtet. Dresden: Wilhelm Hoffman, 1896; Peltzer, Rudolf A. Joachim von Sandrarts Academie der Bau-, Bild- und Mahlerey-Künste von 1675: Leben der berühmten Maler, Bildhauer und Baumeister. Munich: G. Hirth’s Verlag, 1925; Pevsner, Nikolaus. Academies of Art, Past and Present. Cambridge/New York: Cambridge University Press, 1940, pp. 115-117; Waetzoldt, Wilhelm. Deutsche Kunsthistoriker von Sandrart bis Rumohr. Berlin: Verlag Bruno Hessling, 1965, vol. 1. pp. 23-42; Klemm, Christian. Joachim von Sandrart: Kunst-Werke u. Lebens-Lauf. Berlin: Deutsche Verlag für Kunstwissenschaft, 1986; Porteman, Karel. Joachim von Sandrart, Joost van den Vondel, Caspar Barlaeus: De maanden van het jaar. Wommelgem: Den Gulden Engel, 1987; Kränzle, Peter in Biografisch-Bibliografisches Kirchenlexikon. 8 (1994) pp. 1314-1321 (www.bautz.de/bbkl); Klemm, Christian. “Sandrart, Joachim.” The Dictionary of Art. 27, 1996, pp. 724-726; Schlosser, Julius. La letteratura artistica: Manuale delle fonti della storia dell’arte moderna. Revised and edited by Otto Kurz. Florence: La Nuova Italia, 1964, pp. 478-79; “Sandrart, Joachim von.” Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 2, pp. 1004.

Contributors: Monique Daniels

Painter and author of an early history/biographical dictionary of artists, Teutsche Academie. Sandrart’s father was a Calvinist who had fled Valenciennes, in the county of Hainaut (then under Spain) to Frankfurt. The younger Sandrart bega

Sandler, Lucy Freeman

November 8, 2023March 29, 2024

Full Name: Sandler, Lucy Freeman

Other Names:

Lucy Freeman Sandler

Gender: female

Date Born: 1930

Place Born: New York, NY, USA

Home Country/ies: United States

Subject Area(s): Medieval (European)

Career(s): educators

Overview

Medievalist and professor of art history, New York University, 1964-2003. Sandler was born Lucy Freeman to Otto Freeman and Frances Glass (Freeman). She attended Queens College, Flushing, NY, receiving a B.A. in studio art in 1951. A watercolorist working in a semi-abstract style, an interest in art history had been encouraged by an art professor Frances Bryant Godwin (1892-1975). She continued to Columbia University for a master’s degree in art history. At Columbia, Freeman studied under the medievalists Meyer Schapiro and John H. Plummer where the latter’s enthusiasm for manscripts drew her to the topic (Smith). Her M.A. was granted in 1957 with a topic on medieval manuscript marginalia. She married the art critic and historian Irving Sandler in 1958. Freeman, now Sandler, entered the Institute of Fine Arts, New York University, for her Ph.D. Studying under Harry Bober, she received her degree in 1964 with a dissertation topic on the Psalter of Robert de Lisle. She was appointed assistant professor at the University the same year by department chair Horst Woldemar Janson. Publication of her dissertation was initially thwarted by rerproduction permission for the images. Sandler received a National Endowment for the Humanities fellowship for the 1967-1968 year. Sandler was promoted to associate professor in 1970. Her book The Peterborough Psalter in Brussels and Other Fenland Manuscripts, appeared in 1974. She became full professor, 1975, acting as the chairman of department of Art between 1975-1989. Sandler received a second NEH fellowship in 1977. She was president of the College Art Association, 1981-1984. Sandler was finally able to revise and publish form of her dissertation in 1983 as The Paslter of Robert de Lisle in the British Library. She began lecturing at NYU’s graduate school, the Institute of Fine Arts, in the 1980s. In 1985 she was named Helen Gould Sheppard Professor of Art History. The following year she wrote the volume on Gothic fourteenth-century manuscripts in the important Survey of Manuscripts Illuminated in the British Isles, edited by Jonathan J. G. Alexander. She received a Guggenheim fellowship for the 1988-1989 year. This resulted in her book Omne Bonum, Sandler was name professor emerita in 2003. Sandler’s work built on the scholarship of earlier scholars of British medieval illumination, notably Eric G. Millar and Margaret Rickert (Smith). Her work on medieval marginalia and proverbs was expanded on by Michael Camille. She was editor of both the Art Bulletin and Gesta.

Selected Bibliography

[master’s thesis:] Formal Principles of Marginal Illustration in English Psalters of the Thirteenth Century. Columbia University, 1957; [dissertation:] The Psalter of Robert de Lisle. New York University, 1964, revised and published asThe Paslter of Robert de Lisle in the British Library. New York: Oxford University Press, 1983; [bibliography to 2003:] Smith, Kathryn A., and Krinsky, Carol Herselle, eds. Tributes to Lucy Freeman Sandler: Studies in Illuminated Manuscripts. London: Harvey Miller Publishers, 2007, pp. 15-19; The Peterborough Psalter in Brussels and Other Fenland Manuscripts. London: Harvey Miller/ New York Graphic Society, 1974; Gothic Manuscripts, 1285-1385. London: Harvey Miller Publishers/Oxford University Press, 1986; Omne Bonum: a Fourteenth-century Encyclopedia of Universal Knowledge: British Library MSS Royal 6 E VI-6 E VII. London: Harvey Miller Publishers, 1996; The Lichtenthal Psalter and the Manuscript Patronage of the Bohun Family. London: Harvey Miller, 2004.

Sources

Los Angeles Times, June 7, 1981; Times Literary Supplement, July 3, 1987; Nelson, Robert S., and Seidel, Linda. “Michael Camille: A Memorial.” Gesta 41 no. 1, no. 2 (2002): 138; Smith, Kathryn A. “Lucy Freeman Sandler: An Appreciation,” and Krinsky, Carol Herselle. “Lucy Freeman Sandler: From a Colleague and Friend.” in Smith, Kathryn A., and Krinsky, Carol Herselle, eds. Tributes to Lucy Freeman Sandler: Studies in Illuminated Manuscripts. London: Harvey Miller Publishers, 2007, pp. 9-12 and 13-14; “Notes on the Contributors.” in Hourihane, Colum, ed. Romanesque Art and Thought in the Twelfth Century: Essays in Honor of Walter Cahn. University Park, Pa: Penn State Press, 2008, p. xiv.

Contributors: Lee Sorensen

Sandler, Irving

November 8, 2023March 29, 2024

Full Name: Sandler, Irving

Other Names:

Irving Sandler

Gender: male

Date Born: 22 July 1925

Place Born: New York, NY, USA

Home Country/ies: United States

Career(s): art critics

Overview

Art critic and writer; professor of art at SUNY Purchase 1972-. Sandler was born to Harry Sandler and Diana Drori (Sandler). His father was a school teacher. Sandler joined the Marine Corps during War War II, receiving some training at Franklin and Marshall College between1943-1944. He rose to the rank of second lieutenant. After the war he attended Temple University where he was awarded a B.A. in 1948. He continued at University of Pennsylvania, gaining an M.A. in 1950. Sandler ran a private New York Gallery from 1956 to 1959 and was senior critic for the magazine Art News between 1956-62. He came to personally know many of the abstract expressionist artists of the 1950’s and 1960’s. Sandler married the art historian Lucy Freeman Sandler in 1958. He and NYU professor Robert Goldwater wrote the book Three American Sculptors: Ferber, Hare, Lassaw in 1959. After receiving a Tona Shepherd grant for research in Germany and Austria for 1960, he joined the New York Post as art critic the following year which he held until 1964. Sandler was a signer of the infamous 1961 “Letter to the New York Times” chastising its critic, John Canaday, for disparaging modern art. In 1963 he was appointed a lecturer in art history at New York University. Sandler was a 1965 Guggenheim fellow. In 1970 he authored an important memoir/history of the abstract expressionist movement, The Triumph of American Painting. Sandler was a major force in the organization of “Artist’s Space,” an alternative exhibition space for young artists, in 1972. Sandler was appointed professor of art at the State University of New York College at Purchase, NY, in 1972. He completed his Ph.D., from New York University in 1976. He gained a National Endowment for the Arts fellowship in 1977. He was a board member of the College Art Association 1985-89. His papers are housed at the Getty Center Research Institute. Sandler’s writing on Abstract Expressionist art was criticized in 1983 by Serge Guilbaut in his book How New York Stole the Idea of Modern Art as icorporating historical idealism. Charging that Sandler had ignored political ramifications of Abstract Expressionsim, particularly how the U.S. state department used it as an advertisement for freedom of expression.

Selected Bibliography

and Goossen, E. C., and Goldwater, Robert. Three American Sculptors: Ferber, Hare, Lassaw. New York: Grove Press, 1959; The Triumph of American Painting: a History of Abstract Expressionism. New York: Harper & Row, 1970; Alex Katz: a Retrospective. New York: Harry N. Abrams, 1998; Alex Katz. New York: H. N. Abrams, 1979; Art of the Postmodern Era: from the Late 1960s to the Early 1990s. New York: IconEditions, 1996; edited, and Newman, Amy. Defining Modern Art: Selected Writings of Alfred H. Barr, Jr. New York: Abrams, 1986;

Sources

Sandler, Irving. A Sweeper-up After Artists: a Memoir. London: Thames & Hudson, 2003.

Sandberg, Willem Jacob Henri Berend, Jonkheer

November 8, 2023March 29, 2024

Full Name: Sandberg, Willem Jacob Henri Berend, Jonkheer

Gender: male

Date Born: 1897

Date Died: 1984

Place Born: Amersfoort, Utrecht, Netherlands

Place Died: Amsterdam, North Holland, Netherlands

Home Country/ies: Netherlands

Subject Area(s): typology

Career(s): designers

Overview

Typographer; designer; director Amsterdam Stedelijk Museum (1945-1962). Sandberg grew up in Amersfoort and, from 1904, in Assen, where he attended the Gymnasium. His father had a governmental function as Registrar of the Province of Drenthe. During World War I he did his military service (The Netherlands remained neutral) and subsequently he moved to Amsterdam in 1919. For a short time he attended the Academy of Fine Arts. In 1920 he married Amy Frankamp (1885-1969). Following a stay in Italy he traveled to Jungborn in Germany, for a cure in a natural health sanatorium. In Herrliberg, Switzerland, he joined the Mazdaznan movement and met Johannes Itten, whom he later visited at the Bauhaus in Weimar, Germany. Sandberg also began developing his typographical skills, which marked his later career as designer. In Amsterdam he founded the Dutch Mazdaznan center. After his divorce, he remarried, in 1927, Alida Augustin-Swaneveld (1885-1974), and spent some time in Vienna. In Berlin he met the artist Naum Gabo. In 1928 he returned to Amsterdam to work as a designer. In the following years he studied psychology at Utrecht University, where he also attended lectures in art history. In 1932 he joined the Netherlands Association for Crafts and Industrial Art (VANK). As a representative of this association he became involved in the organization of exhibitions in the Amsterdam Stedelijk Museum, where he also was given assignments as designer. In 1938 he was appointed curator and assistant director under David Cornelis Röell. During the next ten years he was a member of the exhibition council for architecture and applied arts. One of his concerns was the protection of art works in wartime. He traveled to Spain to explore this problem, and published “Bescherming van kunstschatten in oorlogstijd.” After the German invasion in 1940, he joined the resistance. In 1945 he was appointed director of the Stedelijk Museum. In the same year he organized a retrospective of the work of the Groningen printer and painter Hendrik Nicolaas Werkman (1882-1945), who had been arrested by the Nazis and executed a few days before the liberation of the city of Groningen. Sandberg’s overall policy since he entered the museum was to adapt it to modern standards. The interior renovation began in 1938, and the new wing and further extensions were added in the 1950s. Sandberg published several articles on the modernization of the Stedelijk. He frequently organized international exhibitions, such as “COBRA” (1949), “De Stijl” (1951), “Bauen und Formen in Holland, 1920 bis Heute” (1958), “Van natuur tot kunst” (1960). In 1961, he coauthored with deputy director Hans L. C. Jaffé Kunst van heden in het Stedelijk. In 1962 Sandberg was involved in the organization of the exhibition “Art Since 1950” for the 1962 Seattle World’s Fair and in the same year he received an honorary doctorate from the University at Buffalo, New York. He also was awarded the 1962 Medal of AIGA (American Institute of Graphic Arts). The city of Amsterdam awarded him the Gold Medal. In December 1962 he retired from his position at the Stedelijk. On that occasion he received art works from about 100 artists, which he donated to the museum. He was succeeded by Eduard Leon Louis de Wilde (director between 1963 and 1985) and by designer Wim Crouwel (b. 1928). Between 1964 and 1968, Sandberg spent most of his time in Jerusalem. He served as chairman of the Executive Committee of the Israel Museum, which opened in 1965. In 1969-1970 he lectured for a short time in the USA, at the Carpenter Center for the Visual Arts of Harvard University. In 1975 he received the Erasmus Prize in Amsterdam, together with E. H. Gombrich. Sandberg continued designing and publishing up to the 1980s. In 1982, he was honored with an exhibition which focused on his former position as museum man, in combination with his function as typographer, Sandberg, typograaf als museumman. After his death, in 1984, Sandberg’s legacy as designer and as pioneering museum director was highlighted in various exhibitions in The Netherlands and abroad, as well as in publications which continue appearing to this day.

Selected Bibliography

[complete bibliography:] Petersen, Ad. Sandberg: vormgever van het Stedelijk. Rotterdam: 010 Publishers, 2004, English, Sandberg: Designer and Director of the Stedelijk. Rotterdam: 010 Publishers, 2004, pp. 177-183; “Bescherming van kunstschatten in oorlogstijd” Kroniek van Kunst en Kultuur 4, 3 (1938); [and others] 9 jaar Stedelijk Museum Amsterdam 1945-’54. Amsterdam: Stedelijk Museum, 1954; “De nieuwe vleugel van het Stedelijk Museum te Amsterdam” Museumjournaal 1, no. 1 (1955); Nu, midden in de XXe eeuw, de kunst en het leven. Hilversum: Steendrukkerij de Jong & Co, 1959; and Jaffé, H. L. C. Kunst van heden in het Stedelijk, Amsterdam. Amsterdam: Stedelijk Museum and J. M. Meulenhoff, 1961; “Sandberg over zijn werk in het Stedelijk” Museumjournaal special issue, series 8, no 8/9 (April/May 1963).

Sources

[contributions on Sandberg by several authors:] De collectie Sandberg. Amsterdam: J. M. Meulenhof, 1962; Petersen, Ad and Brattinga, Pieter. Sandberg, een documentaire / a Documentary. Amsterdam: Kosmos, 1975; Leeuw-Marcar, Ank. Willem Sandberg, portret van een kunstenaar. Amsterdam: Meulenhoff, 1981; Kassies, Jan “Sandberg heilig overtuigd van noodzaak om te schokken” De Volkskrant (April 10, 1984); Petersen, Ad. “Vitaliteit, karakter, volharding” Het Parool (April 13, 1984); Visser, Mathilde “Eenvoud kenmerkte Willem Sandberg” Het financieele dagblad (April 16, 1984); Jaffé, H. L. C. “Willem Sandberg toonde moed in verzet en kunst” NIW (April 20, 1984); Cornelissen, Igor “Alleen naar voren kijken is goed” and Stokvis, Willemijn “De weg naar de vrijheid” Vrij Nederland (April 21, 1984); Boom, A. L. (Fens, Kees) “Sandberg en het wit” De Tijd (April 27, 1984); Michel, Jacques “Mort de Willem Sandberg” Le Monde (May 2, 1984); Art in America 72 (September 1984): 247-8; Jaffé, H. L. C. “Willem Sandberg” Jong Holland [unnumbered first issue] (November 1984): 53-54; Treumann, Otto “Sandberg Dead” Icograda board message 4 (November 1984): 1-3; Petersen, Ad. Sandberg: vormgever van het Stedelijk. Rotterdam: 010 Publishers, 2004, English, Sandberg: Designer and Director of the Stedelijk. Rotterdam: 010 Publishers, 2004; Roodenburg-Schadd, Caroline. Expressie en ordening: het verzamelbeleid van Willem Sandberg voor het Stedelijk Museum, 1945-1962. Rotterdam: NAi Uitgevers, 2004.

Contributors: Monique Daniels

Salvini, Roberto

November 8, 2023March 29, 2024

Full Name: Salvini, Roberto

Gender: male

Date Born: 1912

Date Died: 1985

Place Born: Florence, Tuscany, Italy

Place Died: Florence, Tuscany, Italy

Home Country/ies: Italy

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

Overview

Director of the Galleria degli Uffizi, Florence, 1950 to 1956; contributed to wave of post-WWII scholarship on the Romanesque. Salvini studied under Mario Salmi at the University of Florence in 1929. He continued study in the early 1930s in Berlin and Munich. In Berlin, his work under Albert Brinckmann gave him an appreciation for original texts and an analytical approach to source material. During this time he developed his theory of “pure visibility” in which he sought to give an abstract coherence to figurative values. His studies focused on the writings of the formalist art historians Bernard Berenson and Heinrich Wölfflin as well as the theories of the sculptor Adolf von Hildebrand. He joined the University of Florence where he taught for almost 30 years, over 20 of which being a museum administrator, rising to the directorship of the Galleria degli Uffizi, Florence, in 1950 (to 1956). Salvini’s research area was Romanesque sculpture, building on the work of Pietro Toesca. He published his survey of Romanesque sculpture, La scultura romanica in Europa in 1956. He edited a methodological work, La critica d’arte moderna (la pura visibiltà), which analyzed the formalist from theorists such as Konrad Fiedler to art historians such as Adrian Stokes. His monograph on Wiligelmo appeared in 1956. In 1962 Salvini authored a volume on the capitals in the cloisters of the Duomo of Monreale, Il chiostro di Monreale e la scultura romanica in Sicilia, one in a series of volumes whose authors also included Ernst Kitzinger on the mosaics in the Cathedral and one on Norman architecture and the cathedral by Wolfgang Krönig. Salvini’s work merged historical and aesthetic aspects of art through his concept of “lingua figurativa” (figurative language).

Selected Bibliography

[complete bibliography:] Scritti di storia dell’arte in onore di Roberto Salvini. C. De Benedictis, editor. Florence: Sansoni,1984; La critica d’arte moderna (la pura visibiltà). Florence: L’Arco, 1949; La scultura romanica in Europa. Milan: Garzanti, 1956; Wilgelmo e le origini della scultura romanica. Milan, 1956; Il chiostro di Monreale e la scultura romanica in Sicilia. Palermo: S.F. Flaccovio, 1962, English, The Cloister of Monreale and Romanesque Sculpture in Sicily. Palmero: S.F. Flaccovio 1964.

Sources

Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, p. 263; Dictionary of Art 27: 657.

Salmony, Alfred

November 8, 2023March 29, 2024

Full Name: Salmony, Alfred

Gender: male

Date Born: 10 November 1890

Date Died: 29 April 1958

Place Born: Cologne, North Rhine-Westphalia, Germany

Place Died: Atlantic Ocean

Home Country/ies: Germany and United States

Subject Area(s): Ancient Chinese, archaeology, Asian, Chinese (culture or style), Indian (South Asian), jades (objects), Japanese (culture or style), Russian (culture or style), Thai (culture or style), and Ukrainian (culture or style)

Career(s): directors (administrators) and museum directors

Institution(s): Mills College, New York University, Universität Bonn, Universität zu Köln, and Vassar College

Overview

Museum curator and professor with expertise in East Asian art, art of the Eurasian steppes, and Chinese jades. Alfred Salmony was born in Cologne, Germany in 1890. From 1912-1920, Salmony studied art history and archaeology in Bonn and Vienna under Paul Clemen and Josef Strzygowski. His studies were interrupted from 1914-1917 due to his cavalry service in World War I. He was conferred his degree under Clemen and completed his dissertation, Europa – Ostasien. Religiöse Skulpturen (Europe – East Asia, Religious sculptures), in Potsdam in 1922. From 1920-1925 he was a curator at the Museum für Ostasiatische Kunst (Museum of East Asian Art) in Cologne, where he later became the Deputy Director from 1925-1933. While he worked at the museum, he also lectured in art history at the Universität zu Köln. In 1926, he organized the first exhibition of Asian Art in Cologne. During this time, he traveled extensively, as he was given teaching assignments in the US in 1926-1927 and 1932-1933. From 1928-1934, he made nine different research trips to Siberia, the Caucasus, the Volga Valley, Ukraine, China, and Japan. He was dismissed from his role as Deputy Director at the museum due to the “Law for the Restoration of the Civil Service” (Nazi law against Jews in government), after the implementation of which he resided in Paris, France. He briefly worked for the Musee Citroen, but then left for the United States in 1934. Upon arrival in the United States, he found work as a lecturer of fine arts at Mills College in Oakland, California. Then, from 1938-1957, he became a professor of Chinese, Siamese, and Indian Art History at the Institute of Fine Arts at New York University. Beginning in 1943, he was the main editor of a journal Artibus Asiae. He took on the additional role of a lecturer at Vassar College from 1938-1941 and was an exchange professor in Korea in 1950.

Over his lifetime, Salmony assembled an impressive library of books, periodicals, and photographs, which he shared with his colleagues and students. His many articles and books are revered as profound contributions to the study of East Asian art. Some of his works, including Carved Jade of Ancient China are even used as secondary sources to study Eurasian art. Throughout his life, he held a wide range of interests concerning different realms of art history (Haskins, Wendland).

Selected Bibliography

[dissertation:] Europa – Ostasien. Religiöse Skulpturen. University of Bonn, 1922;
Die Chinesische Landschaftsmalerei. Berlin, 1920;
Sculpture in Siam. London, 1925;
Chinesische Plastik: Ein Handbuch für Sammler. Berlin, 1925;
Asiatische Kunst. Munich, 1929;
Sino-Siberian Art in the Collection of C. T. Loo. Paris, 1933;
Carved Jade of Ancient China. Berkeley 1938;
“An ivory carving from Malta (Siberia) and its significance”.Artibus Asiae. (1948): 285-288;
“The third early Chinese owl with snake-legs”.Artibus Asiae. (1951): 277- 282;

�

Archaic Chinese jades from the Edward and Louise B. Sonnenschein collection. Chicago 1952;
“Bronzes of India and Greater India. An exhibition held during November 1955 at the Museum of Art, Rhode Island School of Design, Providence”.Artibus Asiae. (1956): 378-380

Sources

Wendland, Ulrike. Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. Munich: Saur, 1999, vol. 2, pp. 577-580

Contributors: Paul Kamer

Salmi, Mario

November 8, 2023March 29, 2024

Full Name: Salmi, Mario

Other Names:

Mario Salmi

Gender: male

Date Born: 1889

Date Died: 1980

Place Born: San Giovanni Valdarno, Arezzo, Tuscany, Italy

Place Died: Rome, Lazio, Italy

Home Country/ies: Italy

Subject Area(s): architecture (object genre), Italian (culture or style), Italian Renaissance-Baroque styles, Renaissance, Romanesque, sculpture (visual works), and Tuscan (culture or style)

Overview

Historian of Romanesque architecture, Tuscan sculpture and the early Italian Renaissance. Salmi received a law degree in 1910, but was won over to art history while attending the art history school of Adolfo Venturi at Rome University. The following year, 1911, Salmi published his first article in the journal L’Arte followed by numerous other pieces on Romanesque architecture and sculpture. Salmi was apppointed professor of medieval and modern art history at the university in Pisa, establishing the Instituto di Storia dell’Arte in 1927 and its study library (with Matteo Marangoni), Biblioteca del Gabinetto di Storia dell’Arte, in 1930. In 1929, Salmi moved to the University of Florence. There he founded the Instituto Nazionale di Studi sul Rinascimento in 1937. His students included Alessandro Marabottini. After World War II, Salmi established the art review journal Commentari in 1949. He was called to the University of Rome in 1950, which had been reorganized after World War II, assuming (Adolfo) Venturi’s position as chair of the Renaissance and modern art history. Salmi brought the Commentari with him, co-edited now with Venturi’s son, Lionello Venturi. He oversaw the creation of the multicultural 15-volume scholarly encyclopedia for art, Enciclopedia universale dell’arte, which appeared in 1958 and in English a year later as the Encyclopedia of World Art. As president of the Consiglio Superiore dele Antichità e Belle Arti until 1971, Salmi worked in the field of patronage and the evaluation of works of art. He wrote about many aspects of Florentine art, including manuscript illuminations, and a monograph on Piero della Francesca. Notes about Salmi’s opinions on Giotto appear in Richard Offner‘s annotated catalog of the 1937 Mostra Giottesca. His papers and photographs collection are held at the Getty Research Institute, Los Angeles, CA. In 1989 a conference sponsored by the Accademia Petrarca di Lettere, Arti e Scienze of Arezzo was held in commemoration of the centenary of Salmi’s birth. His students in Pisa included Enzo Carli and, in Florence, Roberto Salvini.

Selected Bibliography

and de Tolnay, Charles. Michelangelo: artista, pensatore, scrittore. 2 vols. Novara: Comitato nazionale per le onotanze a Michelangelo/Istituto geografico de Agostini,1965; and Khvoshinsky, Basile. I pittori toscani dal XIII al XVI secolo. 2 vols. Rome: E. Loescher, 1912-1914; and De Ruggieri, Raffaello. Le chiese rupestri di Matera. Rome: De Luca,1966; The Complete Work of Michelangelo. 2 vols. London: Macdonald, 1966; L’architettura romanica in Toscana. Milan: Bestetti e Tumminelli, 1928; La Basilica di San Salvatore di Spoleto. Florence: Olschki, 1951, [series editor] Enciclopedia universale dell’arte. 15 vols. Venice/Rome: Istituto per la Collaborazione Culturale, 1958-1967, English, Encyclopedia of World Art. 15 vols. New York: McGraw-Hill, 1959-1968.

Sources

d’Onofrio, Mario. “Salmi, Mario.” The Dictionary of Art 27: 635; Ladis, Andrew. “The Unmaking of a Connoisseur.” in, Offner, Richard. A Discerning Eye: Essays on Early Italian Painting. University Park, PA: Pennsylvania State University Press, 1998, p.19, note 1; “Premessa.” Scritti di storia dell’arte in onore di Mario Salmi. vol. 1. Rome: De Luca, 1961, pp. vii-xi; [essays on Salmi’s scholarship:] Studi di storia dell’arte sul Medioevo e il Rinascimento nel centenario della nascita di Mario Salmi: atti del convegno internazionale Arezzo-Firenze, 16-19 novembre 1989. vol. 1. Florence: Polistampa, 1992, specifically, Russo, Eugenio. “Il contributo di Mario Salmi agli studi sull’arte dell’età paleocritiana e altomedievale.” pp. 37-101, Gatti Perrer, Maria Luisa. “Il contributo di Mario Salmi agli studi sull’arte Lombarda.” pp. 137-149, Ciardi Duprè Dal Poggetto, Maria Grazia. “Il contributo di Mario Salmi agli studi sulla miniatrua italiana: un primo rescoconto generale.” pp. 151-162, Paolini, Maria Grazia. “Mario Salmi e l’arte nell’aretino: riflessioni e spunti di ricerca.” pp. 163-194; Salvini, Roberto. “Ricordo di Mario Salmi.” in, “Popoli e paesi nella cultura altomedievale” Settimane di Studi del Centro Italiano di Studi sull’Alto Medioevo 29 (1983): 47; Mario Salmi: storico dell’arte e umanista. Spoleto: Centro italiano di studi sull’alto Medioevo, 1991; [obituaries:] Angelis d’Ossat, Guglielmo. [untitled]. Palladio n.s. 3 [30] fascicule part 1/4 (1980): 6; Baldini, Umberto. “Commemorazione di Mario Salmi, Presidente Onorario dell’Accademia Petrarca.” Atti e memorie della Accademia Petrarca di lettere arti e scienze 44 (1981): 1-12; Scapecchi, Angelo. “Omelia nella Messa di trigesima del prof. Mario Salmi.” Atti e memorie della Accademia Petrarca di lettere arti e scienze 44 (1981): 13-16.

Salles, Georges

November 8, 2023March 29, 2024

Full Name: Salles, Georges

Other Names:

Georges Salles

Gender: male

Date Born: 1889

Date Died: 20 October 1966

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

Place Died: Germany

Home Country/ies: France

Subject Area(s): Afghan (Central Asian style), Asian, Chinese (culture or style), French (culture or style), Iranian, and twentieth century (dates CE)

Career(s): directors (administrators) and museum directors

Overview

Museum director of Asian art, historian of twentieth-century French art. Salles was the son of Adolphe Salles and Claire Eiffel, the daughter of Gustav Eiffel. As a boy he spent time in his famous grandfather’s house and met many prominent people. As a young man he met most of the Fauves and Cubist artists. As a student he studied literature and law. Salles fought as a soldier in the First World War, twice winning the Croix de Guerre. He excavated sites in Iran, Afghanistan and China. He served as secretary to the Direction des Beaux-Arts between 1921 and 1924. In 1926 he joined the Louvre Museum, rising to curator at the Department of Asian Art. He and Georges Duthuit authored a book on Byzatine art in 1933. In 1941 he became director of the Musée Guimet. A member of the resistence during World War II, he was the chief reason, according to his British counterpart, Kenneth Clark, that so many works of French museums were spared from destruction. After the war, Salles was appointed Director of Museums of France, 1945. His mandate was to bring provincial museum up to the quality of the major French institutions. He established many special-interest museums in the provinces. In 1953 Salles commissioned Georges Braque to decorate the ceiling of the Henry II (or Etruscan) room in the Palais du Louvre. The same year he became second president of ICOM, the International Council of Museums. He received a KBE from Great Britain in 1954. Salles pressed for a modern art museum with a broad public mission, joined by Jean Cassou. He published Histoire des Arts de l’Orient (History of Arts of the East) and Au Louvre, scènes de la vie du musée, and Le Regard in 1939. After his retirement in 1957, he joined André Malraux to edit the book series L’Univers des formes. He died in a German nursing home at age 77. His personal preference in art was for the non-figurative art of Persia and the middle east (Clark). In French art he admired Picasso and Matisse, both of whom drew his portrait. Salles was an Anglofile and one of the first French art historians to recognize the importance of Henry Moore as a sculptor.

Selected Bibliography

L’institution des consulats: son origine, son développement au moyen-âge, chez les différents peuples. Paris: E. Leroux, 1898; and Volbach, Wolfgang, and Duthuit, Georges. Art byzantin; cent planches reproduisant un grand nombre de pièces choisies parmi les plus représentatives des diverses. Paris: A. Lévy, 1933;

Sources

Ashton, Dore. “Big Task Finished: French Museums’ Head Starts Another Scope of the Plans.” New York Times October 27, 1957, p. X11; [obituary:] Clark, Kenneth. “M. Georges Salles Former Director Of Louvre.” Times (London) October 27, 1966, p.14

Contributors: Lee Sorensen

Salis, Arnold von

November 8, 2023March 29, 2024

Full Name: Salis, Arnold von

Gender: male

Date Born: 1881

Date Died: 1958

Place Born: Liestal, Basle-Country, Switzerland

Place Died: Zürich, Switzerland

Home Country/ies: Germany

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

Overview

Specialist in ancient Greek and hellenic art. He was born in Liestal, Switzerland, near Basel. Salis graduated from a Gymnasium in Basel and attended courses in classics, philology and art history at prominent German-speaking universities. At the university of Basel Salis studied classics under Hans Dragendorff art history under Heinrich Wölfflin, and classical philology under Erich Bethe (1863-1940), Alfred Körte (1866-1946) (who succeeded Bethe) and Jacob Wackernagel (1853-1938). At Bonn under the pottery scholar Georg Loeschcke and philology with Franz Bücheler (1837-1908) and Hermann Usener (1834-1905). In Berlin he studied further under Wölfflin and philology with Ulrich von Wilamowitz-Moellendorff (1848-1931). His Ph.D. was granted in 1905 with a dissertation, written in Latin, on the vestiages of Doric plays in Attic comedy. It would be his only philological writing. In 1906 he began publishing on archaeology, traveling to Greece and Asia Minor. He worked as an assistant at the Pergamon Museum in Berlin. He became Loeschscke’s assistant at Bonn in 1908 and a lecturer in 1909. He married Helen von der Mühll. Important articles on Greek vases (the satyrplay vase in Naples) appeared in 1910. The same year he was appointed extraordinarius (außerordentlicher) professor at the University of Rostock, Germany (though 1916). The result of his work at the Pergamon Museum was his first book, published in 1912, Der Altar von Pergamon: Eine Erklärung des hellenistischen Barockstils in Kleinasien. Here Salis was already drawing the artistic connection between Helenic art and the Baroque. He was named Ordentlicher (full) professor at the University in Münster in 1916. Salis published his Kunst der Griechen, a history of Greek art from the second millenium to the Roman domination. The book went through four editions to 1953. Salis also contributed the first volume, on Greek art, to the series Sechs Bücher der Kunst, edited by the art historian Albert Brinckmann, in 1924. He succeeded Ludwig Curtius as professor at Heidelberg University in 1929. His important article on the iconography of the shield of Athena in the Parthenon, “Die Gigantomachie am Schilde der Athena Parthenos,” is a work of this period. In 1940, disappointed with the rise of the Nazi’s in Germany, Salis returned to Switzerland, succeeding the archaeologist Otto Waser (1870-1952) at the University of Zürich. At Zürich he reorganized the archaeological museum there and advised many students on their dissertations. After the death of Ernst Pfuhl, he accepted the lectureship at the university in Basel in 1941 (through 1948). Two books published during this time reflect his interest between ancient art and the Renaissance, Klassische Komposition and Antike und Renaissance. He retired in 1951 emeritus at the univeristy and died seven years later, still publishing. The classicist art historian Margarete Bieber considered Salis’ book on the Pergamon altar figures still the best explanation 46 years after its publication. Von Salis’s work on the transmission of the antique to the Renaissance was another area of his interest. In these works, he noted that nowhere in the Renaissance are works directly quoted from ancient architecture in their entirety, partially due to the limited availability of monuments, but also to the Renaissance vision of remaking rather than borrowing from the classics.

Selected Bibliography

[dissertation:] De Doriensium ludorum in comoedia Attica vestigiis. Basel, 1905, published Birkhaeuser, 1905; Der Altar von Pergamon: ein Beitrag zur Erklärung des hellenistischen Barockstils in Kleinasien. Berlin: G. Reimer, 1912; Die Kunst der Griechen. Leipzig: S. Hirzel, 1919; Kunst des Altertums. Die sechs Bücher der Kunst 1. Berlin-Neubabelsberg: Athenaion 1924; Das Grabmal des Aristonautes. Berlin, W. de Gruyter & Co., 1926; “Die Gigantomachie am Schilde der Athena Parthenos.” Jahrbuch des Deutschen Archäologischen Instituts 55, nos. 1 and (1940): 90-169; Antike und Renaissance: über Nachleben und Weiterwirken der Alten in der neueren Kunst. Erlenbach-Zürich: E. Rentsch, 1947; Löwenkampfbilder des Lysipp. Berlin: De Gruyter, 1956.

Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 210-211; [obituary:] Bieber, Margaret. “Necrology.” American Journal of Archaeology 62, no. 4 (October 1958): 429-430.

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