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Accascina, Maria

Full Name: Accascina, Maria

Gender: female

Date Born: 28 August 1898

Date Died: 31 August 1979

Place Born: Naples, Campania, Italy

Place Died: Palermo, Palermo, Sicily, Italy

Home Country/ies: Italy

Subject Area(s): decorative art (art genre) and Italian (culture or style)

Institution(s): Liceo Umberto, National Museum of Palermo, and R. School of Specialization in History of Medieval and Modern Art (Sapienza University of Rome)


Overview

Art Historian and scholar of Sicilian art and decorative arts, Director, Museo Nazionale di Messina (1949-1966). Maria Accascina was born in Naples in 1898 to a family originally from Palermo. Accascina moved to her family’s city, Palermo, to study Literature. After graduation she went to the Regia Scuola di Perfezionamento in Storia dell’Arte Medievale e Moderna dell’Università di Roma. At this time, she studied under Adolfo Venturi who assisted her with her thesis on medieval goldsmithing. This thesis led Accascina to her well-known research of decorative Sicilian art from the medieval to modern to contemporary periods. During this time she began teaching History of Art at the Umberto high school in Palermo. In 1927 she was hired by the Royal Administration of Fine Arts where she was in charge of Regia Commissariato per la tutela degli oggetti d’arte della Sicilia. In 1928 she was commissioned to take charge of the Medieval and Modern section of the National Museum of Palermo. Her charge over the National Museum of Palermo inspired new publications of museology including:”L’organizzazione dell’oreficeria al Museo Nazionale di Palermo” and “Il riordino della Galleria del Museo Nazionale di Palermo.” both published in Bolletino d’Arte, of which she was an author under the Ministry of Public Education, between 1929 and 1930.

After her work at the  Museo Nazionale di Palermo (National Museum of Palermo), she went on to teach at the Universities of Rome, Cagliari and Messina. During the years of Italian fascism, 1934 and 1941, she was an art critic for the “Giornale di Sicilia.” Her art writing has been said to stand out due to her poetic intonations and her commitment to the protection of art history. Accascina wrote to Mussolini during World War, arguing for the protection of goldsmith work, to which she dedicated much of her life work. Her articles in the Giornale di Sicilia focused on the works of various exhibitions. She later wrote in Giglio di Roccia in 1937 and Bulletin of Art in 1938. She also wrote entries for the Enciclopedia Cattolica  and La Enciclopedia Italiana (“Treccani”).

In 1937 she was inaugurated to the Exhibition of Sacred Art in the Madonie, which drew attention to the art of unknown Sicilian masters. Her articles in later years focused on Sicilian art, including her 1938 article on Sicilian textile and 1938 article “Italianità dell’arte siciliana.” Accascina was an advocate for the educational function of art and the importance of defending and protecting Sicilian artistic heritage.

In 1949, she moved to Messina to manage the National Museum of Messina. She stayed here until 1966. Her mission was to redesign the National Museum, which was damaged by the bombings of the Second World War. The Minister of Public Education Gaetano Martino (1900-1967) inaugurated the refurbished Museum on June 7, 1954. She remained dedicated to the museum and its educational purpose. According to Sofia Cuccia, who organized the scholar’s works, stated that Accascina was committed to the enhancement of historical and artistic heritage (Critical History). After World War II, she took an active role in the Sicilian Committee for the recovery of funds for the restoration of works damaged by the war.

Accascina participated in a collaboration in the Mostra di opere d’arte bizantine at the Royal Palace of Palermo. A year later, she participated in Congrès international d’histore du costume held at Palazzo Grassi in Venice. In 1953 she organized an art exhibition in Palazzo delle Esposizioni in Rome called Nella vita del Sud Italia. In 1958 she created an exhibition of unpublished works of art in Messina. Her lecture on Three Unpublished by Rinaldo Bonanno became published by the Proceedings of the Peloritana Academy of Messina in 1965.

In 1969, she delivered lectures on Sicilian artistic civilization in the United States, specifically at Rockefeller Foundation in New York, at Yale University, and at Harvard University. Her studies of Sicilian silverware led to The Sicilian Goldsmith’s from the 12th to the 19th century which was published in 1974 and remains important. In 1976, she published Trademarks of the gold and silverware of Sicily for Sicula Bank of Trapani. One of the projects she was never able to complete was writing the complete history of art in Sicily, whose various volumes would cover the Middle Ages, the Renaissance, the Baroque, and all the way to the Contemporary age. She died in 1979 in Palermo. The Center  of Decorative Arts in Italy OADI) is named after Accascina and a street in Palermo, the Via Maria Accascina.


Selected Bibliography

  • Glorie Italiane alla Mostra Nazionale del Tessile. 1938;
  • Italianità dell’arte siciliana. 1938;
  • Ottocento siciliano.1939;
  • X mostra sindacale. Arte della guerra.1941;
  • Giacomo Li Varchi.1957;
  • Antichità Viva1962;
  • L’oreficeria siciliana dal XII al XIX secolo.1974;
  • Marchi dell’oro e dell’argento di Sicilia.1976;

Sources

  • Admin. “La Figura Di Maria Accascina.” OADI, March 28, 2013. http://www.oadi.it/la-figura-di-maria-accascina/;
  • Concetta Di Natale, Maria  Maria Accascina e il Giornale di Sicilia: cultura tra critica e cronache. volume 2 1938-1942. Caltanissetta: S. Sciascia, 2007;
  • Maria Accascina art historian: the method, the results, in Critical history and protection of art in the twentieth century. A Sicilian experience compared to the national debate, proceedings of the International Study Conference in honor of Maria Accascina (Palermo-Erice 14-17 June 2006) , edited by MC Di Natale, Caltanissetta 2007;

Archives

Comune di Palermo Concetta Di Natale, Maria Maria Accascina e il Giornale di Sicilia (cultura tra critica e cronache). 2 vols. 1938-1942. Caltanissetta: S. Sciascia, 2006-2007.


Contributors: Arden Schraff


Citation

Arden Schraff. "Accascina, Maria." Dictionary of Art Historians (website). https://arthistorians.info/accascinam/.


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Art Historian and scholar of Sicilian art and decorative arts, Director, Museo Nazionale di Messina (1949-1966). Maria Accascina was born in Naples in 1898 to a family originally from Palermo. Accascina moved to her family’s city, Palermo, to stud

Lamy-Lassalle, Colette

Full Name: Lamy-Lassalle, Colette Marie Eugenie

Other Names:

  • Colette Lassalle
  • Colette Lamy
  • Colette Lamy-Lassalle
  • Madame Maurice Lamy-Lassalle
  • Colette Eugenie Lassalle

Gender: female

Date Born: 22 June 1906

Date Died: 07 January 2001

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

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

Home Country/ies: France

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


Overview

Specialist of engraved medieval objects; architecture of the High Middle Ages in France art historian. Colette Lassalle was born to Branche Berthe Thuillier and Lucien Lassalle in Paris, France suburb. The fourth of five children, Lamy-Lasalle attended secondary school at the Lycée Molière before marrying Maurice Lamy (1895-1975), a physician, in 1928. Lamy-Lasalle later graduated from L’École du Louvre with a degree in literature and the Art and Archeology Institute. She was a student of Henri Focillon, Jean Hubert, André Grabar at the Sorbonne when Grabar encouraged her to study pilgrimage brooches. Bought on journeys to sanctuaries from the 12th to 16th century, these engraved brooches were made from lead and represented different saints and other images. Following Grabar’s advice, Lamy-Lasalle indexed brooches discovered in Rouen and kept at the Musée des Antiquités or the Louvre, later generating a brooch catalog for the Musée des Arts Décoratif de Lyon.

Lamy-Lasalle continued her art history career through adding scholarly archeological and historical notices to publications by Jean Hubert (1902-1994). A medievalist, Lamy-Lassalle wrote on ancient Parisian churches before the 10th century like Saint Etienne des Grès, Saint Séverin, and Saint-Victor as well as writing monographs about Parisian hotels and houses. In 1978, she successfully led preservation efforts for La Chapelle de catéchistes de Sainte Clotilde and saved the church from destruction.

Lamy-Lassalle was a member of La Montagne Sainte-Geneviève et ses abords, la Société des antiquaires de Picardie, la Société historique du VIe arrondissement de Paris, and la Société d’histoire et d’archéologie du VIIe arrondissement de Paris. She joined la Société d’histoire et d’archéologie du VIe arrondissement de Paris in 1961, presenting a lecture on La Comtesse de Verrue (1670-1736) in 1977. Lamy-Lassalle joined la Société d’histoire et d’archéologie du VIIe arrondissement de Paris in 1934. In 1950, she became an administrator; in 1966, she was named the Vice President, and from 1979 until 1986 she was the president. La Société d’histoire et d’archéologie du VIIe arrondissement de Paris named her a president of honor after her tenure.

During her career, Lamy-Lassalle worked with artist Jacques Godard (1908-1974) and geographer Philippe Pinchemel (1923-2008) and mentored Denis Bruna, the curator of textile and fashion collections at the Musée des Arts Décoratifs.


Selected Bibliography

  • Jean Lenfant, graveur Abbevillois. Amiens: Yvert & Cie, 1938;
  • and Pinchemel, Philippe, and Jacques Godard. Visages de la Picardie. Paris: Horizons de France, 1949;
  • La Première monographie de Castelseprio [Santa-Maria]. Paris: Gazette des beaux-arts, 1950;
  • and Vieillard-Troïekouroff, May; Denise Fossard, and Élisabeth Chatel. Les églises suburbaines de Paris du IVe au Xe siècle. Paris: [s.n.], 1961;
  • Saint-Martin de Triel. Paris: Éditions du Cerf, 1964;
  • “Les archanges en costume impérial dans la peinture murale italienne”. Synthronon / Recueil D’études Par André Grabar Et Un Groupe De Ses Disciples. 189-198, 1968;
  • “Enseignes de pèlerinage à miroirs”. Bulletin De La Société Nationale Des Antiquaires De France / Société Nationale Des Antiquaires De France. 45-47, 1973;
  • Gournay, Brigitte, and Diane Baude. Vie et histoire du VIIe Arrondissement: Saint-Thomas d’Aquin, Invalides, Ecole militaire, Gros Caillou : histoire, anecdotes, curiosités, monuments, musées. Paris: Hervas, 1986;
  • Bruno Pons, and Anne Forray-Carlier. La Rue du Bac: Faubourg Saint-Germain : études offertes à Colette Lamy-Lassalle. [Paris]: Délégation à l’action artistique de la ville de Paris, 1990;
  • Pons, Bruno, Michel Borjon, and Béatrice de Andia. Le Quai Voltaire: le Faubourg Saint-Germain : études offertes à Colette Lamy-Lassalle. [Paris]: Délégation à l’action artistique de la ville de Paris, 1990;
  • 1990. “Enseignes de pèlerinage de saint Léonard”. Bulletin De La Société Nationale Des Antiquaires De France / Société Nationale Des Antiquaires De France. 157-166;
  • Les enseignes de pèlerinage du Mont-Saint-Michel. [Paris]: [P. Lethielleux], 1993. 

Sources



Contributors: Eleanor Ross


Citation

Eleanor Ross. "Lamy-Lassalle, Colette." Dictionary of Art Historians (website). https://arthistorians.info/lamylassallec/.


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Specialist of engraved medieval objects; architecture of the High Middle Ages in France art historian. Colette Lassalle was born to Branche Berthe Thuillier and Lucien Lassalle in Paris, France suburb. The fourth of five children, Lamy-Lasalle attend

Levin, Gail

Full Name: Levin, Gail Sandra

Gender: female

Date Born: 17 September 1948

Place Born: Atlanta, Fulton, GA, USA

Home Country/ies: United States

Subject Area(s): Modern (style or period), painting (visual works), and twentieth century (dates CE)

Institution(s): Whitney Museum of American Art


Overview

Professor of Art History, American Studies, and Women Studies at Baruch College and Graduate Center at the City University of New York. Levin graduated from Northside High School in Atlanta. In 1969, she completed her B.A. from Simmons College and a year later, her M.A. in fine arts from Tufts University.  While working on her Ph.D.,  Levin joined the New School for Social Research (NSSR) in 1973 as an instructor. She held this position for two years, followed by a year appointment to the Connecticut College as an assistant professor in art history. Levin received her Ph.D. from Rutgers University in 1976 writing her dissertation on “Wassily Kandinsky and the American Avant-Garde, 1912-1950” under Americanist art historian thesis director Matthew Baigell.

From 1976 to 1984, Levin served as the curator of the Whitney Museum of American Art in New York City, primarily focusing on their collection of Edward Hopper paintings for which she became an expert.  In 1984 while researching the Hopper estate, Levin began to question how the Rev. Arthayer Sanborn (1916-2007), former owner of one of the largest collections of Hopper art and memorabilia, gained so much of his work. She accused the Sanborn and his family of illegally obtaining the collection after examining notes, letters, and wills from the Hopper family. This resulted in the Whitney Museum firing her, claiming that she had written a book without the museum’s consent, an assertion she disputed.

From 1979 to 1980, Levin took a position as a visiting assistant professor at the Graduate School at the City University of New York. In 1985, Levin acted as the guest curator at the Rutgers’s Zimmerli Museum, creating an exhibit entitled “Hopper’s Places.” In it, she took pictures of the locations of Hopper’s work alongside the painting itself. Following her exhibition, Levin taught as an associate professor at Baruch College in New York for two years. During her last year as an associate professor, she additionally worked as a Will & Ariel Durant Professor of the Humanities at St. Peter’s College in Jersey City.

In 1987, Levin published her work, “Twentieth Century American Painting: The Thyssen-Bornemisza Collection” and in 1989 “Marsden Hartley in Bavaria.” She joined Baruch College and Graduate Center at the City University of New York the same year.  Levin received the President’s Award for Excellence in Scholarship in 1991. She continued her Ph.D. research with her publication, “Theme and Variation: Kandinsky & the American Avant-Garde, 1912-1950.”  Returning to Hopper, Levin published two works: “Edward Hopper: An Intimate Biography” and “Edward Hopper: A Catalogue Raisonné” in 1995, the latter considered a definitive catalog of his work.

In 1996, she received an honorary doctorate from Simmons College at their 91st commencement. Additionally, Levin published two collections of Hopper works: “The Poetry of Solitude: A Tribute to Edward Hopper (ed.), Hopper in poetry collected and introduced” (1995) and “Silent Places: A Tribute to Edward Hopper, Hopper in fiction collected and introduced” (2000). In 2000, too, she published “Aaron Copland’s America: A Cultural Perspective.”

Levin received a Senior Fulbright scholarship to Japan. Levin became increasingly interested in Jewish artists, writing two works: “Becoming Judy Chicago: A Biography of the Artist.” (2007) and “Lee Krasner: A Biography” (2011). She is a named distinguished professor at the Graduate Center at the City University of New York in 2007.  The following year she received a Distinguished Professor title at Baruch College.

Most recently she published “Theresa Bernstein: A Century in Art” (2013). Working alongside doctoral students at the City University of New York, Levin created a book, website, and exhibition on Theresa Bernstein.


Selected Bibliography

  • [complete bibliography:] https://gaillevin.commons.gc.cuny.edu/
  • Wassily Kandinsky and the American Avant-garde, 1912-1950. 2 vols. New Brunswick: Rutgers The State University of New Jersey, 1980;
  • Twentieth Century American Painting: The Thyssen-Bornemisza Collection. Sotheby Publications, 1987;
  • Twentieth Century American Painting. New York: Harper & Row, 1988;
  • Marsden Hartley in Bavaria. Hannover, NH and London: University Press of New England, 1989;
  • Theme and Variation: Kandinsky & the American Avant-Garde, 1912-1950. New York: Bullfinch Press, 1992;
  • “Edward Hopper: An Intimate Biography. New York: Alfred A. Knopf, 1995;
  • edited, The Poetry of Solitude: A Tribute to Edward Hopper [and the essay:] “Hopper in poetry collected and introduced.” New York: Universe Books, 1995;
  • Edward Hopper: A Catalogue Raisonné. New York: W.W. Norton, 1995;
  • Aaron Copland’s America: A Cultural Perspective. New York: Watson-Guptill, 2000;
  • Silent Places: A Tribute to Edward Hopper, Hopper in fiction collected and introduced. New York: Universe Books, 2000;
  • Becoming Judy Chicago: A Biography of the Artist. New York: Harmony Books, 2007;
  • Lee Krasner: A Biography. New York: William Morrow, 2011;
  • Theresa Bernstein: A Century in Art. Lincoln: University of Nebraska Press, 2013.
  • “Between Two Worlds: Zhen Guo’s Journey to Feminist Art,” The Journal of Asian Arts & Aesthetics, Vol. 8, 2022, pp. 41–57.
  • “Twenty Years Later, Looking at Art Made in Response to 9/11 in New York: Gerhard Richter, Eric Fischl, Naoto Nakagawa, and Roz Dimon, in The Past and Future of the City. Tokyo: Suiseisha Press, 2022
  • “Zaya: A Contemporary Mongolian Painter, Melding Music From East and West,” The Journal of Asian Arts & Aesthetics 7, (2021): 21–34.
  • South India to Germany: Sajitha Shankhar’s Engagement with European Art and Culture,” The Journal of Asian Arts & Aesthetics, (April 2020).
  •  “Hopper horrors at the Whitney.” New Criterion 42, no. 8 (April 2024) https://newcriterion.com/issues/2024/1/hopper-horrors-at-the-whitney

Sources


Archives

Levin interview. Archives of American Art: https://www.youtube.com/watch?v=hpg8b3cr5jc


Contributors: Kerry Rork


Citation

Kerry Rork. "Levin, Gail." Dictionary of Art Historians (website). https://arthistorians.info/leving/.


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Professor of Art History, American Studies, and Women Studies at Baruch College and Graduate Center at the City University of New York. Levin graduated from Northside High School in Atlanta. In 1969, she completed her B.A. from Simmons College and

Heredia Moreno, Maria del Carmen

Full Name: Heredia Moreno, Maria del Carmen

Gender: female

Date Born: 1830

Date Died: 1890

Place Born: Seville, Andalusia, Spain

Place Died: Villaviciosa de Odón, Madrid, Comunidad de Madrid, Spain

Home Country/ies: Spain

Subject Area(s): Baroque, metal, metalwork (visual works), metalworking, Spanish (culture or style), and twentieth century (dates CE)

Institution(s): Universidad de Alcalá


Overview

Spanish Art Historian. She received undergraduate degrees in philosophy and English at the University of Seville. Heredia Moreno wrote her doctorate thesis La orfebrería en la Provincia de Huelvaat the University of Seville as well in 1976 receiving her doctorate in Art History. During this time, she began teaching at the university as an assistant professor at the Chair of History of Hispanic-American Art. Between the years of 1976 and 1983, she was an interim adjunct professor in the Art department of the University of Navarra. At the University of Alcalá, she was a professor in the department of history and art history and was a faculty member of philosophy and English in which she taught many subjects such as history of baroque art, History of spanish art from 1600 to 1750, and Imagination, Creativity and Form in Modern Spain. Her research and investigation were focused on Spaniard and Hispanic silversmith artworks. She also researched the study of cataloging, guilds, and study of artistic heritage.


Selected Bibliography

  • And García Gainza, María Concepción with others. Catálogo monumental de Navarra (v. I-II* and III) Merindad de Pamplona: Príncipe de Viana,1980, 1982, 1984, 1985;
  • La orfebrería en la provincia de Huelva. Huelva:  Diputación Provincial, 1980;
  • “La Custodia del Corpus de la Catedral Magistral de Alcalá de Henares, una posible interpretación del templo de Salomón” Boletín del Seminario de Arte y Arqueología de la Universidad de Valladolid. Valladolid: Universidad de Valladolid , 1998, pg 326-336;
  • Lopez-Yarto, Amelia. La Edad de Oro de la Platería Complutense (1500-1650). Madrid: Instituto de Historia, Consejo Superior de Investigaciones Científicas, 2001;
  • De Arfe Villafañe, Juan and Serlio, Sebastiano. Archivo Español de Arte. Alcalá de Henares: Universidad de Alcalá 2003;
  • De Obre Sivatte, Mercedes and De Orbe Sivatte, Asunción Arte Hispanoamericano en Navarra :plata, pintura, y escultura. Pamplona : Gobierno de Navarra, Departamento de Educación y Cultura, 1992;
  • Varias tabaqueras de plata del siglo XVIII. Pamplona: Principe de Viana / Diputación Foral de Navarra, 1986;
  • “Arquetas nobiliarias de la segunda mitad del siglo XVI para el servicio de la Iglesia”. Archivo Español de Arte. Madrid: Consejo Superior de Investigaciones Científicas, Departamento de H. del Arte “Diego Velaźquez”, Centro de Estudios Históricos, 2010;

Sources



Contributors: Sofia Silvosa


Citation

Sofia Silvosa. "Heredia Moreno, Maria del Carmen." Dictionary of Art Historians (website). https://arthistorians.info/herediamorenom/.


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Spanish Art Historian. She received undergraduate degrees in philosophy and English at the University of Seville. Heredia Moreno wrote her doctorate thesis La orfebrería en la Provincia de Huelvaat the University of Seville as well in 197

Gómez-Moreno, María Elena

Image Credit: Mirador de Atarfe

Full Name: Gómez-Moreno, María Elena

Gender: female

Date Born: 28 January 1907

Date Died: 15 December 1998

Place Born: Granada, Andalusia, Spain

Place Died: Madrid, Spain

Home Country/ies: Spain

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

Institution(s): Instituto Diego Velázquez del Consejo Superior de Investigaciones Científicas, Instituto Escuela de Madrid, and Real Academia de Bellas Artes de San Fernando


Overview

Architectural- and art historian. Gómez-Moreno was the daughter of the famous art historian Manuel Gómez-Moreno Martínez Manuel Gómez-Moreno Martínez and followed in his footsteps. She went to la Universidad Central and studied philosophy and literature. She was then licensed in “Ciencias Historicas” and became an assistant professor at the Instituto Escuela de Madrid in 1924. She traveled to Tunisia, Malta, Egypt, Crete, Cypress, Palestine, Turkey, Greece, Italy and Sicily in 1933. During the Spanish Civil War (1936-1939) she took various positions as a summer term professor in la Junta de Ampliacion teaching courses for foreign students (1932-1936), was a technical assistant in the Junta de Salvamento del Tesoro Artístico. She also ran various conferences in the Prado Museum of Madrid and various institutes in Spain. In this period, she was also selected as a member of the Hispanic Society of New York because of her work as a Spanish Art professor at the Smith College club in Spain (1951-1956). She was a member of the Diego Velázquez Institute of the CSIC (1957-1968). In 1959, she also became the director of the Vega-Inclán Foundations (which includes the House and Museum of El Greco). In 1970 she also collaborated with the publication of her father’s biography and in 1996 published a monograph dedicated to him. To honor her father’s work further, she and her sisters collaborated in extending and overlooking their father’s large archaeological, artistic and documentary collection. Because of this exemplary work, her sisters and her were awarded with a Medal of Honor by the  Real Academia de Bellas Artes de San Fernando in 1973. She then was named an honorary academic of this corporation in 1990.


Selected Bibliography

  • Breve Historia De La Escultura Española. Madrid: Dossat, 1935;
  • Un cuaderno de dibujos inéditos de Goya. Madrid: Archivo español de arte, 1941;
  • Juan Martinez Montañes. Barcelona:  Ediciones Selectas, 1942;
  • Gregorio Fernández. Madrid: Instituto Diego Velázquez, CSIC, 1953;
  • Alonso Cano: Estudio y Catálogo De La Exposición Celebrada En Granada En Junio De 1954. Madrid: Direccion General de Bellas Artes, 1954;
  • Anuario Guía De Los Museos De España. Madrid: Ministerio de Educación Nacional, Dirección General de Bellas Artes 1955;
  • “Las miniaturas de la Biblia visigótica de San Isidoro de León”. Archivos Leoneses revista de estudios y documentación de los Reinos Hispano-Occidentales XV. Archivo Histórico Diocesano de León (1961): 77-85;
  • Escultura del siglo xvii, Madrid: Editorial Plus-Ultra, 1963;
  • Visita a la casa y museo del Greco y Sinagoga del Tránsito de Toledo. Madrid: Fundaciones Vega-Inclán, 1966;
  • Catálogo de las pinturas del Museo y Casa del Greco en Toledo . Madrid: Fundaciones Vega- Inclán, 1968;
  • Guía del Museo Romántico. Madrid: Fundaciones Vega-Inclán, 1970;
  • and Jesús Bermúdez Pareja. Bibliografía De Don Manuel Gómez Moreno: Homenaje En El Centenario De Su Nacimiento. Madrid: R.A. de B.A. de San Fernando, 1970;
  • Pintura y escultura españolas del siglo xix, Madrid: Espasa Calpe, 1993;

Sources



Contributors: Sofia Silvosa


Citation

Sofia Silvosa. "Gómez-Moreno, María Elena." Dictionary of Art Historians (website). https://arthistorians.info/gomezmorenoma/.


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Architectural- and art historian. Gómez-Moreno was the daughter of the famous art historian Manuel Gómez-Moreno Martínez Manuel Gómez-Moreno Martínez and followed in his footsteps. She went to la Universidad Central a

Gisbert, Teresa

Image Credit: Wikipedia

Full Name: Gisbert Carbonell de Mesa, Teresa

Gender: female

Date Born: 11 November 1926

Date Died: 19 February 2018

Place Born: La Paz, Bolivia

Place Died: La Paz, Bolivia

Home Country/ies: Bolivia

Subject Area(s): art theory, Bolivian, Native Andean, political art, and social history

Institution(s): Universidad Mayor de San Andrés


Overview

Bolivian architect, educator, and art historian specializing in the Andean region. Teresa Gisbert was the daughter of Spanish emigrants. Growing up in La Paz, she attended Santa Ana, a private Catholic school. In 1950, she was one of the first women to graduate from the Universidad Mayor de San Andres (Major University of San Andres) in La Paz. She earned a bachelor’s degree in architecture and urbanism. Shortly after, she married architect and historian Jose de Mesa (1925-2010) and went to pursue a graduate degree in Spain in art history with him. During her time in Spain, she worked at the University of Seville and at the Diego Velazquez Art Institute. It was her professors in Spain, Diego Angulo Iñiguez (1901-1989) and Enrique Marco Dorta” (1911-1980), who motivated her to pursue studies in the Andean region because it was rather undocumented. She returned to Bolivia in 1954 and worked at the University of San Andres where she taught Bolivian culture, art history, and American art for almost 20 years. She played an essential role in founding a history department at the university. She was awarded her first Guggenheim Fellowship in 1958 and conducted expeditions with de Mesa to catalogue monuments, paintings, sculptures, and churches in the Andes. This was the first catalogue of mestizo art in the region. She was named Woman of the Year in La Paz in 1965 and the Spanish government granted her the Medal of Merit. Between 1970 to 1976, she was the director of the National Art Museum in La Paz. She published one of her most important works, Iconografía y Mitos Indígena en el Arte (Iconography and Indigenous Myths in Art) in 1980, where she described the effects of colonization on local societies and specifically, how those impositions were received and interpreted in artistic works. She explained how a system of mutual appropriations between different cultures extended beyond syncretism. She explained her perception of the world through her analysis of Andean Textile art as she published Arte Textil y Mundo Andino (Textile Art and Andean World) in 1987.  From 1987 to 1995, Gisbert taught seminars on Andean Art at the University of Paris, at the Culture Institute in Ecuador, at FLASCO (Facultad Latinoamericana de Ciencias Sociales) Bolivia, and at the Interamerican University in Puerto Rico. During this time she was the president of the Bolivian Society for History (1983-1984), the director of the Bolivian Cultural Institute (1985-1989), and the president of the International Council on Monuments and Sites in Bolivia (1986-1992). She was awarded the Bolivian government’s most prestigious recognition, the Order of the Condor of the Andes in 1987. The Getty Foundation invited her to present her works on Andean Art in 1994. She explored Criollo Christian mythology and the development of a baroque aesthetic in El Paraiso de los Pájaros Parlantes (Paradise of the Talking Birds) which was published in 1999. A year later, she earned the National Cultural Award in Bolivia. During her career, she became a member of a great number of professional organizations including the College of Architects of Bolivia, the Bolivian Academy of History, the National Academy of Sciences, the Bolivarian Architect Society, and the Chilean Academy of History. Moreover, she was a correspondent of the Spanish Royal Academy of History, the San Fernando Royal Academy of Arts, and the Academy of Fine Arts in Seville. During the last years of her life, she was a professor at the University of Our Lady of La Paz. In 2016, she published Arte, Poder, e Identidad (Art, Power, Identity) where she continued to explore the relationship between image and power, ultimately concluding that the Andeans, were not artisans of colonial creations, but rather had previously developed their own style of art. Her son, Carlos Diego Mesa Gisbert, served as the Bolivian president from 2003-2005.

In addition to being a pioneer of art research in the Andean region, Teresa Gisbert exemplified how art must be considered in the context of its own history. She explained that the socio-economic difference between fine arts and applied arts is a construct of the Italian Renaissance. Therefore, the aesthetic values of Andean art must be analyzed outside of the norms established by the West. In contrast to European art where painting plays an integral role in the development of artistic styles, textile art has the equivalent value in this region (Pinilla). She pursued this transgressive, interdisciplinary approach to art history in a period before women had the right to vote in Bolivia. She not only set a new standard for Latin American art research, but also for women art historians (Pinilla).


Selected Bibliography

  • Esquema de literatura virreinal en Bolivia. La Paz: Dirección Nacional de Informaciones de la Presidencia de la República, 1963;
  • Iconografía y mitos indígenas en el arte. La Paz: Gisbert, 1980;
  • Arte Textil y Mundo Andino. La Paz : Gisbert y Cía., 1987., 1987;
  • Textiles En Los Andes Bolivianos. [La Paz, Bolivia : Agencia Boliviana de Fotos : Fundación Cultural Quipus, 2003] 2003;
  • Arte, poder e identidad. La Paz. 2016;

Sources

  • Bouysse-Cassagne, Thérese. “In memoriam: Teresa Gisbert (1926-2018).” Revista Chungara. Revista de Antropologia Chilena 50, no. 4 (October 2018): 529;
  • Anne Commire, editor ; Deborah Klezmer. Dictionary of Women Worldwide : 25,000 Women through the Ages. Gale Virtual Reference Library. Detroit, Mich. : Thomson Gale, 2007;
  • Foster, David William. Notable Twentieth-Century Latin American Women : A Biographical Dictionary. Westport, Conn. : Greenwood Press, 2001;
  • Mujica Pinilla, Ramón. “In Memoriam Teresa Gisbert (1926–2018).” Colonial Latin American Review 27, no. 3 (July 3, 2018): 426–28; https://doi.org/10.1080/10609164.2018.1527577;
  • Rivera Casanovas, Claudia. “Teresa Gisbert y la arqueologia Andina.” Revista Chungara. Revista de Antropologia Chilena 50, no. 4 (October 2018): 533-;


Contributors: Denise Shkurovich


Citation

Denise Shkurovich. "Gisbert, Teresa." Dictionary of Art Historians (website). https://arthistorians.info/gisbertt/.


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Bolivian architect, educator, and art historian specializing in the Andean region. Teresa Gisbert was the daughter of Spanish emigrants. Growing up in La Paz, she attended Santa Ana, a private Catholic school. In 1950, she was one of the first wom

Durand-Lefebvre, Marie

Full Name: Durand-Lefebvre, Marie

Other Names:

  • Marie Durand
  • M. Durand Lefebvre
  • M Durand-Lefebvre
  • Mme. Durand-Lefebvre
  • Mme. Durand Lefebvre

Gender: female

Date Born: 1885

Date Died: 1962

Home Country/ies: France

Subject Area(s): ancient, ceramic ware (visual works), Gallo-Roman, and pottery (visual works)

Institution(s): Musée de Carnavalet


Overview

Gallo-roman pottery and Roman sculpture curator; Project manager at Carnavalet Museum. Graduating from l’École du Louvre in 1926 with a BA, Marie Durand-Lefebvre earned a doctorate in philosophy from l’École des Hautes Études in 1937. A scholar of the Black Virgin, she investigated black madonnas—especially ones located throughout the holy land. Durand later worked under Jules Toutain (1865-1961) as a project manager at the Carnavalet Museum. Focusing on Roman Gaul pottery, Durand catalogued 877 potters’ stamps found throughout Paris. Although Durand died before the catalogue could be published, it was later issued after a final revision by Mlle. H. Verlet and Mlle. Jacqueline Bayard.

Durand led guided tours throughout Paris’ famous museums including at the Louvre, the Musée de L’Assistance Publique, the Musée de Cluny, and the Musée des Arts Décoratifs. Durand also wrote in the Bulletin de la Société nationale des antiquaires de France.


Selected Bibliography

  • [Dissertation:] Étude sur l’origine des Vierges Noires. l’École des Hautes Études, 1937. [published] Paris: G. Durassié, 1937. https://dds.crl.edu/crldelivery/4467;
  • Les vestiges antiques et le culte des sources au Mont-Dore. Le Puy: La Haute-Loire, 1926 ;
  • Art gallo-romain et sculpture romane, recherche sur les formes. Paris: G. Durassié, 1937;
  • Les vestiges antiques et le culte des sources au Mont-Dore. Le Puy [France]: Imp. “La Haute-Loire”;
  • “Le statuaire Hippolyte Lefebvre vu par sa fille.” Gazette Des Beaux-Arts / Fondée Par Charles Blanc . 6: 38-52, 1949;
  • “Une statue du Musée d’Albi”. Bulletin De La Société Nationale Des Antiquaires De France / Société Nationale Des Antiquaires De France. 61-62, 1955;
  • “Poteries Gallo-Romaines Trouvées à Alésia.” Bulletin De La Société Nationale Des Antiquaires De France, 1957;
  • Marques de potiers gallo-romains trouvées à Paris et conservées principalement au musée Carnavalet. Paris: Impr. nationale, 1963.

Sources

  • Comfort, Howard. American Journal of Archaeology 70, no. 2 (1966): 208. doi:10.2307/502172;
  • Hartley, K. “M. Durand-Lefebvre, Marques de Potiers Gallo-Romains trouvées à Paris et conservées principalement au Musée Carnavalet. ” In Reviews And Notices of Publications, 284–84, n.d.;
  • Birnbaum, Lucia Chiavola. Dark Mother: African Origins and Godmothers. San Jose: Authors choice Press, 2001;
  • Trochet, Arnaud. “La Médiation Orale Avant l’Heure (1919-1944) : Visites Accompagnées Et Conférences Éducatives Au Louvre Et Dans Les Musées Nationaux : Enjeux, Modalités, Acteurs.” HAL archives-ouvertes.fr, September 29, 2020. 

Archives

[Communication de Marie Durand-Lefèbvre, 1948], archives de la critique de l’art,

  • https://www.archivesdelacritiquedart.org/isadg_fondsdarchives/fr-aca-aicai/fr-aca-aicai-the-con001/fr-aca-aicai-the-con001-621?a=true

Contributors: Eleanor Ross


Citation

Eleanor Ross. "Durand-Lefebvre, Marie." Dictionary of Art Historians (website). https://arthistorians.info/durandlefebvrem/.


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Gallo-roman pottery and Roman sculpture curator; Project manager at Carnavalet Museum. Graduating from l’École du Louvre in 1926 with a BA, Marie Durand-Lefebvre earned a doctorate in philosophy from l’École des Hautes Études in 1937. A scholar of th

del Conde, Teresa

Image Credit: Academia de Artes

Full Name: del Conde, Teresa

Gender: female

Date Born: 12 January 1938

Date Died: 16 February 2017

Place Born: Mexico City, Lea, New Mexico

Place Died: Mexico City, Distrito Federal, Mexico

Home Country/ies: Mexico

Subject Area(s): eighteenth century (dates CE) and psychoanalysis

Institution(s): Museo de Arte Moderno


Overview

Mexican art critic, art historian, docent, and curator.  Terresa del Conde studied psychology, and art history in the School of Philosophy and Letters (UNAM). There, she received her bachelor’s degree in psychology, her master’s degree in art history, and her doctorate in history. Her research in psychology, specifically in psychoanalysis, would later influence her work in art history.

Throughout her career she was always close to famous groups of painters and sculptors who emerged at the end of the 1970s such as the Castro Leñero brothers Alberto, José, Francisco and Miguel, Irma Palacios, Manuel Marín, and Miguel Ángel Alamilla. She was also friends with other art historians, most notably with Ernst H. Gombrich. She was a disciple and correspondent of his that spanned a little over four decades. When he died in 2003, she published a heartfelt profile of Gombrich in the Institute of Aesthetic Research.

She became an adjunct teacher at the university in 1975 while she was completing her doctorate. She had the honor to direct the area of “Artes Plásticas” (Plastic Arts) of the INBA from 1981 till 1988. During this time, in 1986, she published her doctoral thesis in psychology Las ideas estéticas de Freud. Her thesis was later published as a book thanks to her scholarship from the John Simon Guggenheim Memorial Foundation.

Three years after her time directing the area of “Arte Plasticas” of the Museo de Arte Moderno in Mexico City, she was appointed director. As director, she led several outstanding exhibitions such as the Venetian Settecento and the Aspects of 18th-century Venetian painting exhibitions.  In this period, she was also pursuing her journalistic work. She worked in various publications during her time like Uno Mas Uno and the magazine Vuelta. She also worked as an opinion columnist for the newspaper La Jornada where she wrote works such as Goya, San Carlos: La leocadia de Goya.

In her academic publications, she heavily researched the artists José Clemente Orozco and Frida Kahlo with works like Jose Clemente Orozco: antologia critica (1983) and Frida Kahlo: la pintora y el mito (2004). Furthermore, she continued to publish works that integrated her studies of psychology and art history that studied art through a psychoanalytical lens with works like Freud y la psicología del arte (2006). In 2002 she was awarded the National Award for Art Criticism ‘Luis Cardoza y Aragón.’ She received the INBA Gold Medal in 2008 and the Recognition Sor Juana Inés de la Cruz award for her extraordinary contributions to higher education.


Selected Bibliography

  • [ and  Calvo, Franco Enrique. ]. Historia Mínima Del Arte Mexicano En El Siglo XX. México, D.F.: ATTAME Ediciones, 1994;
  • Una Visita Guiada: Breve Historia Del Arte Contemporáneo De México. México: Plaza y Janés, 2003;
  • Frida Kahlo: La Pintora y El Mito. Barcelona : Plaza y Janes, 2004;
  • [ and Castro Fernando Pacheco, Enrique Franco Calvo, and Tessa Corona del Conde.]. Fernando Castro Pacheco: Color e Imagen De Yucatán. Mérida, Yucatán, México: Universidad Autónoma de Yucatán, Dirección General de Extensión, 1994;
  • Jose Clemente Orozco: Antologia Critica. México: UNAM, 1983;
  • Felguérez: Los Bordes De Una Trayectoria. Red Anales del Instituto de Investigaciones Estéticas, 2006;
  • Ernst H. Gombrich. Red Anales del Instituto de Investigaciones Estéticas, 2001;
  • MPBA: Museo Del Palacio De Bellas Artes. México, D.F.: MPBA, 2012;
  • Freud y La Psicología Del Arte. México: DeBolsillo, 2006;

Sources



Contributors: Sofia Silvosa


Citation

Sofia Silvosa. "del Conde, Teresa." Dictionary of Art Historians (website). https://arthistorians.info/delcondet/.


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Mexican art critic, art historian, docent, and curator.  Terresa del Conde studied psychology, and art history in the School of Philosophy and Letters (UNAM). There, she received her bachelor’s degree in psychology, her master’s degree in art hist

Caturla, Maria Luisa

Full Name: Caturla, Maria Luisa

Gender: female

Date Born: 1888

Date Died: 1984

Place Born: Barcelona, Catalonia, Spain

Place Died: Villaviciosa de Odón, Madrid, Comunidad de Madrid, Spain

Home Country/ies: Spain

Subject Area(s): Baroque, Gothic (Medieval), Modern (style or period), Spanish (culture or style), and twentieth century (dates CE)

Institution(s): Museo del Padro and Universidad de Alamarca


Overview

Spanish Art Historian, writer, art critic, and member of the Royal Board of Trustees of the Prado Museum. Maria Luisa Caturla was born in Barcelona, Spain, but lived most of her life in Madrid. Although she never attended a university, she early on developed an interest in art, especially ceramics and fabrics. She began to study art history using the books of Heinrich Wölfflin during her first trip to Italy which became a formative experience for her eventual field of work.

Her passion for intellectual engagement led to her becoming part of various renowned European intellectual groups that would influence her later career in art history. Her friendship with the philosopher José Ortega y Gasset (1883-1955) especially pushed her to pursue her career in art history. Other close friends in her circle like historian José María de Cossío (1892-1977) and Spanish artist Ignacio Zuloaga (1870-1945) enriched her intellectual passions and curiosities.

She began teaching art history between 1928 and 1930 to undergraduate college students. She published one of her most notable early works Arte de épocas inciertas in 1944: a work that remarkably compares modern art with the gothic flamboyant art style. She continued publishing works during and immediately after World War II, she published a spate of booklet art primers on various art subjects, including Zurbaran and El Greco. Her publisher was the dormant magazine founded by Gasset, Revista de occidente, which was forced to suspend publishing during the Spanish civil war. Caturla published primers on non-controversial subjects to avoid the disapproval of the Franco government. She began to conduct extensive research on Zurbaran during the 1940’s where she published works like Zurbaran at the ‘Hall of Realms’ at Buen Retiro. and Bodas y Obras Juveniles De Zurbarán. As her investigation on Zuburan progressed in the 1950’s with works such as  Zurbarán: Estudio y Catalogo De La Exposicion Celebrada De Granada En Junio De 1953.

In 1954, she was invited by the art institute of Columbia University to give a talk about the life of Zurbaran and her research on the artist. In 1960, she became an official member of the Royal Patronage of the Museo Nacional del Prado. Her work in the field of art history was recognized and received commemoration by the Lady of the Order of Isabel la Católica and the Great Cross of Alfonso X el Sabio, declaring her work distinguished and in benefit of society in 1975. In 1979, she was admitted to the Royal Academy of Fine Arts of San Fernando and was later named by the academy an honorary academic, at the nomination of Luis Moya, Álvaro Delgado, and the Count of Yebes. She was later named an honorary academic of the “Real Academia Extremadura de las Letras y las Artes de Trujillo” in 1982.


Selected Bibliography

  • Arte De Épocas Inciertas. Madrid: Revista de Occidente, 1944;
  • La Veronica: Vida De Un Tema y Su transfiguración Por El Greco. Madrid: Revista de occidente, 1944;
  • Los Retratos Del Salón Dorado En El Antiguo Alcázar De Madrid . Madrid: Archivo Español de Arte, 1947;
  • Pinturas, Frondas y Fiestas Del Buen Retiro.   Madrid: Revista de Occidente, 1947;
  • “Zurbaran at the ‘Hall of Realms’ at Buen Retiro.” Burlington Magazine for Connoisseurs, 1947;
  • Bodas y Obras Juveniles De Zurbarán. Granada: Universidad de Granada, 1948;
  • [and J. Sánchez Cantón F. ]. Un Pintor Gallego En La Corte De Felipe IV, Antonio Puga. Consejo Superior de Investigaciones Científicas, Instituto Padre Sarmiento de Estudios Gallegos: Santiago de Compostela, 1952;
  • Zurbarán: Estudio y Catalogo De La Exposicion Celebrada De Granada En Junio De 1953.  Madrid, 1953;
  • Cartas De Pago De Los Cuadros De Batallas Del Salón De Reinos . 33. Vol. 33. Madrid: Archivo Español de Arte, 1960;
  • Zurbarán: El Conjunto De Las Cuevas. Granada: Albaicín, 1968.
  • Antonio De Puga: Pintor Gallego.  La Coruña: Atlántico, 1982;
  • [and Odile Delenda.] Francisco De Zurbarán Caturla .. Paris: Wildenstein etc., 1994.

Sources



Contributors: Sofia Silvosa


Citation

Sofia Silvosa. "Caturla, Maria Luisa." Dictionary of Art Historians (website). https://arthistorians.info/caturlam/.


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Spanish Art Historian, writer, art critic, and member of the Royal Board of Trustees of the Prado Museum. Maria Luisa Caturla was born in Barcelona, Spain, but lived most of her life in Madrid. Although she never attended a university, she early o

Rodríguez Prampolini, Ida

Full Name: Rodríguez Prampolini, Ida

Gender: female

Date Born: 24 September 1925

Date Died: 26 July 2017

Home Country/ies: Mexico

Subject Area(s): Mexican, nineteenth century (dates CE), Surrealist, and twentieth century (dates CE)

Institution(s): Instituto Veracruzano de Cultura


Overview

Professor at the UNAM. Rodríguez Prampolini was born in Veracruz in 1926 to Carlos Rodriguez Mendoza, the director of the regional hospital of Veracruz, and Ida Prampolini who came from Italian descent. She obtained her masters in world history from the Facultad de Filosofía y Letras de la Universidad Nacional Autónoma de México (Autonomous National University of Mexico (UNAM)) and earned her doctorate from that same institute in 1948 while graduating with magna cum laude honors. Her mentors included Francisco de la Maza (1913-1972), Manuel Toussaint (1890-1955), and Justino Fernandez(1904-1972) who encouraged her to compile a work on nineteenth-century art criticism. After her graduation, she was awarded a scholarship by the Mexican government to complete her post doctorate in art history at the Escuela de Verano de la Universidad de Santander, Spain. She remained in Spain to study abstract art at the Escuela de Altamira de Santillana del Mar. In Spain, she met Mathim Goeritz (1915-1990) who she later married. Throughout the 1950s, she continued her studies abroad at McGill University and at the universities of Perugia and Bologna. Starting in 1957, she was a researcher at the Instituto de Investigaciones Estéticas de la UNAM. Throughout the 1960s, she published her most important works, El arte contemporáneo: esplendor y agonía, La crítica en México en el siglo XIX, and El surrealismo y el arte fantástico de México. She was named Adjunct Professor at the UNAM and worked alongside Justino Fernandez. Furthermore, she released important pieces on Mexican artists including that of Pedro Friedeberg (1936-). In the early 1970s she founded a school in the rural municipality of Tlayacapan. Towards the end of her career, she focused on recovering indigenous art in her hometown of Veracruz. She was the first director of the Instituto Veracruzano de Cultura from 1987 to 1993 and founded fifty-seven cultural centers, 11 museums, and 2 art schools. Her last work analyzed Mexican muralism. She was named to the Academic Mexicana de Historia in 1988 and a year later to the Real Academia Española de Historia. The Universidad Cristobal Colon awarded her the Calasanz Medal. She was a member of the Academic Mexicana de Historia and of the Union Academique International of Brussels and was given the title Professor Emeritus of the Sistema Nacional de Investigadores.

Rodríguez Prampolini dedicated her life to the preservation of historical and artistic heritage. Her more than 400 publications and her role in establishing numerous cultural institutions mark her as an essential figure in contemporary Mexican culture.


Selected Bibliography

  • La crítica de arte en México en el siglo XIX. México, 1964;
  • Pedro friedeberg. México: UNAM, DGP, 1973;
  • Una década de crítica de arte. México: Secretaría Educación Pública, 1974;
  • and Juan O’Gorman. Juan O’Gorman: arquitecto y pintor. México: Universidad Nacional Autónoma de México, 1982;
  • El arte contemporáneo: esplendor y agonía. México: Instituto de Investigaciones Estéticas, 2006;
  • and Raúl Arias Lovillo, Consuelo Sáizar, Teresa Vicencio Alvarez, Narro R, José, and Joaquín Díez-Canedo. Muralismo mexicano, 1920-1940. Xalapa, Veracruz; México, D.F.: Universidad Veracruzana ; Instituto Nacional de Bellas Artes y Literatura: Universidad Nacional Autónoma de México : Fondo de Cultura Económica, 2012.

Sources

  • Aguirre Agencias y Roxana. “Fallece Ida Rodríguez Prampolini, Académica y Fundadora Del IVEC” La Jornada Veracruz, July 27, 2017;
  • Cardenas, Rocio. “Ida Rodríguez Prampolini 1925-2017.”  Art Nexus, December, 2018, 36;
  • “Falleció La Investigadora Ida Rodríguez Prampolini.”  El Universal, Jul 27, 2017;
  • González Rosas, Blanca. “Ida Rodríguez Prampolini (1925-2017).” Proceso, July 30, 2017, 65ff.;
  • “Rinden Homenaje a La Humanista Ida Rodríguez Prampolini.”  La Jornada, November 19, 2011;
  • “Rendirá IVEC homenaje a su fundadora Ida Rodríguez Prampolini.” Referente, September 22, 2016;
  • “Instituciones Preparan Homenaje a Ida Rodríguez Prampolini.” Notimex, July 27, 2017;
  • Roberto Ponce. “Adiós a la historiadora Ida Rodríguez Prampolini (1925-2017).” Proceso July 26, 2017;
  • Río, Rosa. “Ida Rodríguez Prampolini.” Actual, October 1998, 106+. Gale OneFile: Informe Académico’.


Contributors: Denise Shkurovich


Citation

Denise Shkurovich. "Rodríguez Prampolini, Ida." Dictionary of Art Historians (website). https://arthistorians.info/rodriguezprampolinii/.


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Search for materials by & about this art historian:

Professor at the UNAM. Rodríguez Prampolini was born in Veracruz in 1926 to Carlos Rodriguez Mendoza, the director of the regional hospital of Veracruz, and Ida Prampolini who came from Italian descent. She obtained her masters in world history fr