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Gómez-Bárcena, María Jesús

Full Name: Gómez-Bárcena, María Jesús

Gender: female

Date Born: 26 December 1944

Place Born: San Sebastián, Guipúzcoa, Basque Provinces, Spain

Home Country/ies: Spain

Subject Area(s): Gothic (Medieval), sculpture (visual works), and Spanish (culture or style)

Institution(s): Universidad Complutense de Madrid


Overview

Academic art historian; and professor. Gómez-Bárcena completed her university degree in Philosophy and Letters (History section). She achieved her PhD in 1998 under the guidance of José María de Azcárate Ristori at the Universidad Complutense de Madrid. Her thesis is titled “Escultura gótica funeraria en Burgos y su provincia.” She held various positions, including University Lecturer in the Medieval History Department, faculty member in the Geography and History departments, all at the Universidad Complutense de Madrid. Gómez-Bárcena was interested in researching funerary gothic sculpture, late gothic sculpted altarpieces, “flamenco” sculpted altarpieces.


Selected Bibliography

  • “Con un valioso ejemplar en Las Huelgas de Burgos: la Anunciación en los sepulcros góticos burgaleses.” Reales sitios 20 (1983): 65-72;
  •  
  • El mundo bizantino. Madrid, La Muralla, 1984;
  • “Procedente del Monasterio de Fresdelval: el sepulcro de Gómez Manrique y Sancha de Rojas; conservado en el Museo Arqueológico de Burgos”. Reales sitios. Madrid, 22 (1985); 29-36;
  • Una escultura perteneciente al Maestro del retablo de Nuestra Señora en la capilla de la Buena Mañana de la iglesia de San Gil, de Burgos. Boletín del Seminario de Estudios de Arte y Arqueología/Consejo Superior de Investigaciones Científicas, Universidad de Valladolid, Facultad de Historia. Valladolid, 52 (1986);
  • El retablo de Nuestra Señora de la Iglesia de San Gil de Burgos. Zaragoza, 1986: 369-371;
  • Escultura gótic a funeraria en Burgos. Burgos, Excma. Diputación Provincial de Burgos, 1988;
  • “Un Santo Tomás de Gil de Siloe”. Archivo español de arte/Consejo Superior de Investigaciones Científicas, Departamento de H. del Arte “Diego Velazquez”, Centro de Estudios Históricos. Madrid, 63 (1990): 92-97;
  • Retablos flamencos en España. Madrid: Historia, 16, 1991;
  • Retablos flamencos en España. Madrid: Historia, 16, 1992;
  • Revisión de algunos aspectos del retablo de la Santa Cruz en la Iglesia de San Lesmes de Burgos. Madrid, Universidad Complutense, Departamento de Historia del Arte II, 1992;
  • La capilla funeraria de Don Fernando de Coca en la iglesia de San Pedro de Ciudad Real. Madrid, Universidad Complutense, Facultad de Geografía e Historia, 1992;
  • “San Eustaquio o San Huberto?: un santo cazador en el retablo del árbol de Jesé en la capilla del obispo Acuña de la catedral de Burgos”. Anales de historia del arte. 4 (1993);
  • “Un grupo escultórico del Convento de San Antonio el Real de Segovia”. Goya (1997): 333-336;
  • “La capilla funeraria de Don Fernando de Coca en la iglesia de San Pedro de Ciudad Real”. Anales de historia del arte. 9 (1999): 67-90;
  • “”El sepulcro del infante Alfonso”. Actas del congreso internacional sobre Gil Siloe y la escultura de su época. Burgos, 2001, pp. 189-205; 67-90; 419-429;
  • “Arte y devoción en las obras importadas: los retablos “flamencos” esculpidos tardo góticos; estado de la cuestión.” Anales de historia del arte.  14 (2004): 33-71

Sources

  • Borras Gualis, Gonzalo, and Ana Reyes Pacios Lozano, eds.. Diccionario de Historiadores Espanoles del Arte.  Madrid: Catedra, 2006, p.165.


Contributors: Sophia Cetina


Citation

Sophia Cetina. "Gómez-Bárcena, María Jesús." Dictionary of Art Historians (website). https://arthistorians.info/gomezbarcenam/.


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Academic art historian; and professor. Gómez-Bárcena completed her university degree in Philosophy and Letters (History section). She achieved her PhD in 1998 under the guidance of José María de Azcárate Ristori at the Universidad Complutense de M

Valland, Rose

Full Name: Valland, Rose Antonia Maria

Gender: female

Date Born: 01 November 1898

Date Died: 18 September 1980

Place Born: Saint-Étienne-de-Saint-Geoirs, Auvergne-Rhône-Alpes, France

Place Died: Ris-Orangis, Île-de-France, France

Home Country/ies: France

Subject Area(s): French (culture or style), German (culture, style, period), National Socialism, painting (visual works), and twentieth century (dates CE)

Institution(s): Jeu de Paume Museum


Overview

Art representative for the Commission de Récupération Artistique after World War Two; French art curator at the Louvre. Valland was born to Francisque Valland, a mechanic, and Rose Maria Viardin in a small province in southeastern France. Encouraged to study by her mother, Valland received a scholarship from the École Normale d’Institutrices de Grenoble and graduated in 1918 with a teaching degree. She then earned diplomas from the École Nationale des Beaux-Arts de Lyon in 1922 and the École Nationale Supérieure des Beaux-Arts in Paris in 1925. While taking classes at the École Pratique des Hautes Études and studying under Byzantium historian Gabriel Millet, Valland penned Aquilée et les origines byzantines de la Renaissance and secured her École Pratique des Hautes Études diploma. In 1931, Valland wrote on the evolution of Italian art until Giotto, earning a special diploma from the École du Louvre. Valland finished her studies at the Institut d’art et d’archéologie de l’Université de Paris and Art and accumulated certificates in history of modern art, medieval archeology, and greek architecture. Due to her extensive education, Valland was honored with a special license in the history of art and archeology.

While pursuing her academic career, Valland simultaneously worked as an art teacher to support herself. Unlike most art volunteers and academics at the time, Valland did not come from wealth. In 1932, Valland began her career as an unpaid volunteer at the Jeu de Paume Museum in Paris. When the museum curator André Dézzarrois fell ill in late September 1938, Valland assumed charge of the museum and was officially promoted to assistant curator (a position which she had held for two years). When French defeat by the German seemed imminent, the Director of French National Museums, Jacque Jaujard, asked Valland to stay at the Jeu de Paume to spy on the Nazis during their occupation of France. Valland was quiet, intelligent, and modest— all key traits that quickly dismissed her as a threat and would serve her well during the Nazi Occupation of France. From October 1940 until the American liberation of Paris in late August 1944, Rose Valland was the only French citizen at the Jeu de Paume. During these four years, Valland took copious notes and used her demure presence and appearance to record German conversations— a language that the Nazis did not know she spoke. Drawing portraits, speaking with German-contracted truck drivers, and noting where famous artworks were sent, Valland was dismissed four times and caught understanding German twice. Yet, Valland was able to regain her job each time. Valland used her position to get insight into Nazi movements including recording Hermann Goring’s frequent visits to the Jeu de Paume to choose art for Hitler’s Fuhremuseum and home and himself.

In late August 1944, American soldiers liberated Paris and began to search for its missing artworks. As Valland only trusted Jaujard, she did not initially confide in Captain James Rorimer (later to be Director of the Metropolitan Museum of Art, New York), who spearheaded the recovery efforts of French art. Being wary himself, Captain Rorimer and Valland began trusting one another after Valland led him to 148 crates of impressionist paintings leaving Europe. When Captain Rorimer succeeded in recovering these artworks, Valland revealed the Nazi hiding places for tens of thousands of artifacts and artworks, including thousands hidden in the Neuschwanstein Castle in Bavaria and Austria’s Altaussee salt mine. Without Valland’s help, many of these artworks might never have been found— especially since the Altaussee salt mine was booby-trapped with explosives.

On May 4, 1945, Valland joined the French First Army as an artistic representative for the Commission de Récupération Artistique, traveling across Europe to find stolen artworks. After Valland’s time in the French Army, she returned to France where she became the conservator of Musées Nationaux, a collection of French-owned museums. In 1954, she was named Chair of Chef du Service de protection des oeuvres d’art and published her biography The Front de L’Art in 1961. Including almost no personal information, Valland’s biography highlights her efforts during the Nazi occupation of Germany while ignoring her personal life. While never directly confirmed by Valland, it is believed that Joyce Heer, (1917-1977), a British Ph.D, working in the American Embassy, and her were long-time partners. In 1968, Valland retired from the Louvre but continued to be active in the art community. When Heer died in 1977, Valland lost her “joie de vivre” (Schwartz). She died on September 18th, 1980 in Ris-Orangis, France and was buried with partner Heer in her family crypt.

Valland is honored by countless books and movies, notably the book Art of the defeat: France 190-1944 and the movies The Train (1964) and The Monuments Men (2014), where she was played by Cate Blanchett. In 1948, the United States awarded her the US Presidential Medal of Freedom, followed by Germany’s honor of “Officer Cross of the Order of Merit” in 1951. After working for over twenty years, in 1953 Valland was finally awarded the esteemed title of curator by France. As of now, Valland’s detailed notes and portraits have led to over 60,000 distinctive pieces of art being found.


Selected Bibliography

  • L’art suisse contemporain, depuis Hodler (peinture et sculpture): exposition … Musée des Écoles Étrangères Contemporaines, Jeu de Paume des Tuileries 1er février – 1er mars 1934. Paris: Musée des Écoles Étrangères Contemporaines, 1934;
  • La mostra d’arte italiana dell’ 800 e 900 al “Jeu de Paume” nella stampa francese. [s.l.]: Comitato Italia-Francia, 1935;
  • Le front de l’art; défense des collections françaises, 1939-1945. Paris: Plon, 1961;
  • Aquilée et les origines byzantines de la Renaissance. Paris: De Boccard, 1963.

Sources

  • Heit, Judi. “Rose Valland (1898-1980).” Heroines of the Resistance, September 3, 2015,  http://resistanceheroines.blogspot.com/2015/08/rose-valland-and-monuments-men.html;
  • “Rose Valland, 30 Ans En 1928.” Histoires d’universités. Le blog de Pierre Dubois, March 9, 2019;
  • Schwartz, Claire. “Saving a Bit of Beauty for the World: Retelling the Story of Rose Valland.” Confluence. Association of Graduate Liberal Studies Programs, 2016;
  • Dagen, Philippe. “Rose Valland, Une Femme Discrète Témoin Des Spoliations Nazies.” Le Monde., December 17, 2009;
  • “ROSE VALLAND ET LA SAUVEGARDE DES ŒUVRES JUIVES.” Concours National de la Résistance et de la Déportation (website)(CNRD), 2016 https://resister-art-litterature.jimdofree.com/resister-en-france-occupee/rose-valland-et-la-sauvegarde-des-oeuvres-juives/;
  • Deprez, Guillaume. “Rose Valland: Art Historian Turned Spy To Save Art From Nazis.” The Collector, August 4, 2020;
  • “Valland, Capt. Rose: Monuments Men Foundation.” Monuments Men Foundation. Monuments Men Foundation For the Preservation of Art. Accessed November 10, 2020.

Archives

Musées Nationaux Récupération (MNR), ministère de la Culture et de la Communication.


Contributors: Eleanor Ross


Citation

Eleanor Ross. "Valland, Rose." Dictionary of Art Historians (website). https://arthistorians.info/vallandr/.


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Art representative for the Commission de Récupération Artistique after World War Two; French art curator at the Louvre. Valland was born to Francisque Valland, a mechanic, and Rose Maria Viardin in a small province in southeastern France. Encourag

Hildebrandt, Edmund

Full Name: Hildebrandt, Edmund

Gender: male

Date Born: 29 April 1872

Date Died: c. 1939

Place Born: Berlin, Germany

Place Died: Unknown

Home Country/ies: Germany

Subject Area(s): eighteenth century (dates CE) and sculpture (visual works)

Institution(s): Universität Berlin


Overview

Edmund Hildebrandt’s parents were Franz Hildebrandt, a prosperous Jewish merchant turned Christian, and Theone Wolkoff (Hildebrandt).  After graduating with his abitur in 1891 from the Berlin Fridericianum gymnasium he spent some time away from the classroom (assisting his father’s business?) before electing to student philology and art history in college.  Hildebrandt heard lectures in Berlin by the art historian  Karl Frey, the literary historian Erich Schmidt (1853-1913), the classical philologist Ulrich von Wilamowitz-Moellendorff (1848 -1931) and the art historian Hermann Grimm.  He completed his dissertation under Grimm on the topic of the eighteenth-century sculptor Friedrich Tieck (1776-1851) in 1898.  For the next ten years it’s unclear what Hildebrandt did next, but part was certainly researching his habilitation, likely also from Berlin, which he received in 1908.  This allowed him to be a privatdozent at the Berlin University where he rose through the ranks to become a full professor in Berlin in 1921. Among his notable students was the aesthetician Rudolf Arnheim. Hildebrandt suffered from agoraphobia and as a consequence lecture only in small auditoriums.  The assumption of the Nazis to power in Germany beginning in 1933 spelled trouble for those like Hildebrandt who were hereditary Jews.  He lost his Venia Legendi in 1937, declared a “non-Aryan”. Although his death is undocumented, it is believed he perished in one of the holocaust extermination camps.

 


Selected Bibliography

  • [dissertation:] Friedrich Tieck: ein Beitrag zur deutschen Kunstgeschichte im Zeitalter Goethes und der Romantik.  Leipzig : K.W. Hiersemann, 1906;
  • [habilitation:] Leben, Werke und Schriften des Bildhauers E.-M. Falconet, 1716-1791. Strassburg, J.H.E. Heitz, 1908;
  • Antoine Watteau. Berlin: Propylän-Verlag, 1922;
  • Malerei und Plastik des achtzehnten Jahrhunderts in Frankreich. Wildpark-Potsdam: Akademische Verlagsgesellschaft Athenaion, 1924;
  • Leonardo da Vinci, der künstler und sein werk.  Berlin: G. Grote, 1927.

Sources

  • Arnheim, Rudolf,  “A Maverick in Art History.”  The Split and the Structure: Twenty-eight Essays.  Berkeley: University of California Press, 1996, p. 105;
  • Wendland, Ulrike. Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. Munich: Saur, 1999, vol. 1, pp. 300-305.


Contributors: Lee Sorensen


Citation

Lee Sorensen. "Hildebrandt, Edmund." Dictionary of Art Historians (website). https://arthistorians.info/hildebrandte/.


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Edmund Hildebrandt’s parents were Franz Hildebrandt, a prosperous Jewish merchant turned Christian, and Theone Wolkoff (Hildebrandt).  After graduating with his abitur in 1891 from the Berlin Fridericianum gymnasium he spent some time away from th

Enwezor, Okwui

Image Credit: ArtNet

Full Name: Enwezor, Okwuchukwu Emmanuel

Gender: male

Date Born: 23 October 1963

Date Died: 15 March 2019

Place Born: Calabar, Cross River, Nigeria

Place Died: Munich, Bavaria, Germany

Home Country/ies: Germany, Nigeria, and United States

Subject Area(s): African (general, continental cultures), African diaspora, Contemporary (style of art), photographs, and twentieth century (dates CE)

Career(s): authors, curators, and poets

Institution(s): Haus der Kunst and San Francisco Art Institute


Overview

Curator, art critic, art historian, and educator. Enwezor was born as the youngest son of an Igbo family in Calabar, Nigeria. During the Biafran war of 1967-1970, he and his family were forced to move to the city of Enugu, Nigeria. In 1982, after finishing a semester at the University of Nigeria, Enwezor moved to the Bronx, in New York. In 1987 he earned a B.A. in political sciences at Jersey City State College, now New Jersey City University. When Enwezor graduated, he moved to Manhattan and began writing poetry, which he performed at the Knitting Factory and the Nuyorican Poets Café in the East Village. Enwezor’s study of poetry led him from language arts to art criticism. In 1993, with fellow African critics Chika Okeke-Agulu (b. 1966) and Salah M. Hassan, Enwezor launched the triannual magazine of contemporary African art, Nka: Journal of Contemporary African Art. He recruited scholars and artists such as Olu Oguibe (b. 1964) and Carl Hancock Rux (b. 1964) to edit and write for the inaugural issue. Enwezor primarily worked on smaller exhibitions, until 1996 when Enwezor had his breakthrough as a curator of Insight: African photographer, from 1940 to the present, an exhibition of 30 African photographers at the Solomon R. Guggenheim Museum. Insight was one of the first exhibitions to put contemporary African art in the context of colonial withdrawal and the emergence of independent African states. The exhibition also propelled artists like Sam Fosso (b. 1962), Seydou Keïta (1921-2001), and Malick Sidibé (1935-2016) to international recognition.

 

Enwezor is most known for his ambition as the director and chief curator of numerous Biennials, beginning with his role as artistic director of the 2nd Johannesburg Biennale from 1996-1997. The following year, until 2002, Enwezor was the artistic director of Documenta 11 in Kassel, Germany, and was the first non-European to have the job. He also directed the Bienal Internacional de Arte Contemporáneo de Sevilla, in Seville, Spain in 2006, the 7th Gwangju Biennale in South Korea in 2008, and the Triennale d’Art Contemporain of Paris at the Palais de Tokyo in 2012. He served as co-curator of the Echigo-Tsumari Sculpture Biennale in Japan, Cinco Continente: Biennale of Painting, in Mexico City, and Stan Douglas: Le Detroit, at the Art Institute of Chicago. Enwezor was the dean of the San Francisco Art Institute from 2005-2009 and the dean of Haus der Kunst in Munich, Germany from 2011-2018. Enwezor resigned from Haus der Kunst under complicated circumstances involving a scandal where some of his staff were found out to be scientologists, which required their immediate termination as the State of Bavaria, the museums largest benefactor, considers scientology as a threat to democracy. Amidst the furor, Enwezor was also accused of mismanagement of staff and budgets. Nevertheless, in 2014, Enwezor was ranked 24th in the ArtReview list of the 100 most powerful people of the art world. Enwezor married Muna el Fituri (b. 1965). After their divorce, his partner until his death was Louise Neri, a director at the Gagosian Gallery.

 

In his 1997 exhibition catalogue for the Second Johannesburg Biennale, Trade Routes: History and Geography, Enwezor defined his goal as chief curator as to examine the history of globalization through the ways an exhibition could, “explore how culture and space have been historically displaced through colonisation, migration, and technology. . . . emphasising how innovative practices have led to redefinitions and inventions of our notions of expression, with shifts in the language and discourses of art.” Here, Enwezor describes his persistent innovation and intellectual agenda when working with exhibitions. His ultimate goal in his career was to develop a transversal model of research for African art that veered the field away from the European model. Enwezor was one of a few curators in the 21st century who could claim a ‘global’ knowledge of contemporary art, though he always returned to his center, Africa. Enwezor died in 2019 after a three-year long battle with cancer.

 


Selected Bibliography

  • Archive fever : uses of the document in contemporary art. New York; Gottigen: International Center of Photography. Steidl, 2008;
  • with Siegel, Katy and Wilmes, Ulrich. Postwar: art between the Pacific and the Atlantic, 1945 – 1965 : [Haus der Kunst, Munich, from October 14, 2016, to March 26, 2017]. Munich: Prestel, 2016;
  • with Gyalui, Luz. All the world’s futures: la Biennale di Venezia, 56th International Art Exhibition. Venice: Marsilio, 2015;
  • Snap judgments: new positions in contemporary African photography. New York: International Center of Photography, 2006;
  • with eds Smith, Terry, and Condee, Nancy. Antinomies of art and culture: modernity, postmodernity, contemporaneity.Durham: Duke University Press, 2008;
  • “Repetition and differentiation, Lorna Simpson’s iconography of the racial sublime,” in Lorna Simpson. New York: Abrams, 2006;
  • with Sze, Sarah, Buchloh, B. H. D., and Hoptman, Laura J. Sarah Sze. London ; New York, NY: Phaidon Press Ltd, 2016;
  • with Bourouissa, Mohamed, Dezeuze, Anne, Donnadieu, Marc, Hunt, Amanda, and Nairn, Michael. Mohamed Bourouissa. Paris: Kamel Mennour, 2017;
  • with Zwelethu Mthethwa and Isolde Brielmaier. Zwelethu Mthethwa. New York: Aperture, 2010.

Sources

  • [obituary] Farago, Jason. 2019 “Okwui Enwezor, Curator Who Remapped Art World, Dies at 55”  https://www.nytimes.com/2019/03/18/obituaries/okwui-enwezor-dead.html;
  • [obituary] Bishop, Claire. “Okwui Enwezor,” Third Text Online, https://www.thirdtext.org/bishop-enwezor, 2019;
  • Davidson, Jane Chin and Patel, Alpesh Kantilal. “Okwui Enwezor and The Art of Curating,” Nka: Journal of Contemporary African Art (48): 6–13. doi: https://doi.org/10.1215/10757163-8971243, 01 May 2021;
  • Enwezor, Okwui and Richards, Colin, Trade Routes: History and Geography: 2nd Johannesburg Biennale. Johannesburg Greater Johannesburg Metropolitan Council, p. 9, 1997;
  • Shatz, Adam. “Okwui Enwezor’s Really Big Show”, The New York Times Magazine: 2002.


Contributors: Alana J. Hyman


Citation

Alana J. Hyman. "Enwezor, Okwui." Dictionary of Art Historians (website). https://arthistorians.info/enwezoro/.


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Curator, art critic, art historian, and educator. Enwezor was born as the youngest son of an Igbo family in Calabar, Nigeria. During the Biafran war of 1967-1970, he and his family were forced to move to the city of Enugu, Nigeria. In 1982, after

Vermeule, Emily

Full Name: Vermeule, Emily

Other Names:

  • Emily Dickinson Townsend

Gender: female

Date Born: 11 August 1928

Date Died: 06 February 2001

Place Born: New York, NY, USA

Place Died: Cambridge, Middlesex, MA, USA

Home Country/ies: United States

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

Institution(s): Harvard University


Overview

Classical Greek and Aegean art Professor and scholar at Harvard University, distinguished archaeologist. Vermuele was born on August 11, 1928 in New York City to Clint Blake Townsend and Eleanor Mary (Menelly) Townsend. From 1934 to 1946, she attended the all-girls private preparatory school, Brearley School, for her primary and secondary education. In 1950, Vermuele graduated summa cum laude from Bryn Mawr with a B.A. in Greek and philosophy. As a Fullbright scholar, Vermuele attended the American School of Classical Studies in Athens, Greece. During this time, she discovered a Mycanean family tomb in Athenian Agora and deepened her fascination in Bronze Age archaeology.

As a Catherwood Fellow, in 1953, she went on to spend a year at Oxford University. In 1954, she received a M.A. from Radcliffe College and two years later, her Ph.D. in Classics from Bryn Mawr. Directed by poet and translator, Richmond Lattimore, her dissertation focused on the Greek poet Bacchylides and Lyric Style.

From 1956 to 1958, Vermeule worked as an instructor of Greek at both Bryn Mawr and Wellesley. For the following six years, she worked as an assistant professor at Boston University in the Classics Department. Vermeule became a full professor at Wellesley College the following year, teaching art and Greek. During her time at Wellesley College, Vermuele led an expedition with students to find Greek stolen earrings from the Museum.

In 1957, Vermeule married archaeologist and Curator of Classical Art at the Museum of Fine Art in Boston, Cornelius C. Vermeule III. He would often accompany her to excavation sites throughout her career.

Vermuele received the Guggenheim Fellowship in 1964-5. In 1969, she was appointed the James Loeb Visiting Professor of Classical Philology at Harvard University. By the following year, she was named the Samuel E. Zemurray, Jr. and Doris Zemurray Stone-Radcliffe Professor at Harvard, most known for her Fine Arts 13 class. She went on to teach for twenty-four years in the Department of the Classics and of the History of Art and Architecture. Beyond teaching, Vermuele worked on the Faculty Council and as a member of numerous university committees, like the Committee on Non-Departmental Instruction and the Committee of Educational Policy. She was also actively involved with the Harvard Alumni College at Sea Program, introducing alumni to the classics in the Aegean and Black Seas with her husband.

In 1970, Vermuele was appointed Semple Lecturer at the University of Cincinnati and as Sather Lecturer at Berkeley in 1975. During this time, Vermuele published several works, including The Mycenaean Origin of Greek Mythology (1972), The Art of the Shaft Graves of Mycenae (1975), and Aspects of Death in Early Greek Art and Poetry (1979). She also served as the Vice President of the American Philosophical Society, a group dedicated to research in the Humanities. Additionally, Vermuele acted on the Governing Board of the National Geographic Society and was president of the American Philological Association. Outside of teaching, Vermuele had published poetry in both the New York Times and Poetry Magazine.

Throughout her career, Vermuele traveled the world, excavating numerous sites, namely King Midas’s Tomb, Kephallenia, Messenia, Tobruk, and Muskebi. When working at Thera-Santorini, Vermuele cataloged Greek Aegean frescoes for the Archaeological Museum of Thera.

Vermuele’s most significant dig occurred in 1971. Serving as the Director for a joint excavation project, Vermuele went to the late Bronze Age town of Toumba tou Skourou outside Morphou, Cyprus. She noted three cultures converging in this town: Palestinian, Egyptian, and Minoan. A Turkish invasion forced Vermuele to leave earlier than expected. Some materials were lost, but many had already been fully documented by Vermuele prior to the invasion. From this excavation, she was able to produce two books: Toumba tou Skourou: The Mound of Darkness (1974) and Toumba tou Skourou, a Bronze Age Potter’s Quarter on Morphou Bay in Cyprus (1990).

During the 1980’s, at Harvard, Vermuele approached the university administration about declining archaeology enrollment. They then created the Standing Committee on Archaeology in an effort to promote this course of study. In 1982, Vermuele wrote a book entitled Mycenaean Pictorial Vase Painting, examining late Bronze Age vessels. Two years later, Vermuele was given the Jefferson Lectureship in the Humanities award, the highest achievement by the federal government for intellectual achievement in the humanities. Her lecture was entitled “Greeks and Barbarians: The Classical Experience in the Larger World.”

In her last decade of teaching, Vermuele became fascinated by the prehistoric Anatolia’s contribution to the Trojan War and learned the language, Hitittie, from fellow Harvard professor Calvert Watkins.

Vermuele also received 13 honorary degrees from Harvard, the University of Pittsburgh, Smith College, Rutgers University, Tufts University, and Wheaton College, among others. She was a Fellow of the British Academy and a Fellow of the Society of Antiquaries in London.

Vermuele retired from Harvard University in 1994. She died in 2001 from heart disease complications at the age of 72.


Selected Bibliography

  • Greek in the Bronze Age. Chicago: University of Chicago Press, 1964;
  • The Mycenaean Origin of Greek Mythology. Berkeley: University of California Press, 1972;
  • Toumba Tou Skourou: The Mound of Darkness. A Bronze Age Town on Morphou Bay in Cyprus. Cambridge: The Harvard University Cyprus Archaeological Expedition and The Museum of Fine Arts, 1974;
  • The Art of the Shaft Graves of Mycenae. Cincinnati: University of Cincinnati, 1975;
  • Aspects of Death in Early Greek Art and Poetry. Berkeley: University of California Press, 1979;
  • Mycenaean Pictorial Vase Painting. Cambridge: Harvard University Press, 1982;
  • Toumba tou Skourou, a Bronze Age Potter’s Quarter on Morphou Bay in Cyprus. Cambridge: Harvard University, 1990.

Sources



Contributors: Kerry Rork


Citation

Kerry Rork. "Vermeule, Emily." Dictionary of Art Historians (website). https://arthistorians.info/vermeulee/.


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Classical Greek and Aegean art Professor and scholar at Harvard University, distinguished archaeologist. Vermuele was born on August 11, 1928 in New York City to Clint Blake Townsend and Eleanor Mary (Menelly) Townsend. From 1934 to 1946, she atte

Torres Balbás, Leopoldo

Full Name: Torres Balbás, Leopoldo

Gender: male

Date Born: 23 May 1888

Date Died: 28 November 1960

Place Born: Madrid, Spain

Place Died: Madrid, Spain

Home Country/ies: Spain

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

Institution(s): Escuela Superior de Arquitectura de Madrid


Overview

Architect, archaeologist, responsible for major restorations of Alhambra and Generalife. Torres Balbás was the son of the Spanish geographer and historian Rafael Torres Campos (1853-1904) and Victorina Balbás. Torres Balbás obtained his bachelor’s degree from the Instituto Cardenal Cisneros de Madrid where he worked with his father’s friend and Spanish art historian Manuel Bartolome Cossio (1857-1935). Beginning in 1910, he attended the Escuela Superior de Arquitectura de Madrid (Superior School of Architecture of Madrid) and earned his degree in architecture in 1916. At the same time, he studied architecture at the Centro de Estudios Historicos (Center of Historic Studies) where he was a disciple of Miguel Asin y Palacios (1871–1944) and Manuel Gomez Moreno (1834-1918) and befriended Fransisco Javier Sánchez Cantón (1891–1971). Between 1918-1923, he served as the secretary for the journal Arquitectura, the official publication of Spanish architects and the main forum of architectural debate at that time. His work for the journal not only allowed him to shape architectural criticism in Spain, but was also one of the first to open the door for public debate on contemporary architecture (Céspedes). He participated in the VIII Congreso Internacional de Arquitectura (8th International Architecture Conference) in Zaragoza in 1919. Between 1923 to 1936, he was the preservation architect of the Alhambra in Granada and was responsible for directing extensive restoration work on the cathedral. He simultaneously worked on the restoration of the Cathedral of Sigüenza from 1929 to 1936. In 1931, he succeeded Vicente Lampérez y Romea (1861-1923) as the chair of the Historia de las Artes plásticas (History of Fine Arts) and Historia de la Arquitectura (History of Architecture) departments at the Escuela Superior de Arquitectura de Madrid. One month after the beginning of the Spanish Civil War, he was dismissed from his position as the preservation architect of Alhambra by the Francoist regime. He remained in Soria during the war and worked as a professor of Spanish history at the Instituto de Segunda Enseñanza de Soria (Institute of Secondary Education of Soria) until 1939. Despite his culturally liberal background, he did not publicly express his political opinions during the Civil War. In 1942, he was named Jefe de Sección de La Escuela de Estudios Árabes de Madrid (Head of School of Islamic Studies) and, in 1944, head of the Instituto Miguel Asín de Estudios Árabes del CSIC (Miguel Asin Institute of Islamic Studies). During his time in this position, he wrote the Crónica Arqueológica de la España Musulmana de Al-Andalus, an important work on Hispanic-Muslim archaeology. He published one of his most important works Arte Almohade, Arte Mazari, Arte Mudejar in 1949. Toward the end of his life, he was the director of the Instituto Valencia de Don Juan from 1951 until 1960. He was a member of the Academic de Ciencias, Bellas Artes y Nobles Artes de Córdoba and the Hispanic Society of America of New York. He passed away from a stroke two days after a motorcycle collision.

Torres Balbás’s both written and architectural works marked a shift in approach to architectural restoration in Spain. Like many others at the time, his mentor Lampérez embraced the theories of Eugène Viollet-le-Duc of interventionist restoration––he prioritized restoring monuments’ original forms, but often lacked factual historical and archeological knowledge (Céspedes). Torres Balbás, in contrast, aligned with John Ruskin as he argued for the conservation over restoration of monuments. At the 7th National Congress of Architects, he explained that in order to engage with the monuments of the past, they must be preserved in their current state––their ancient construction must be respected without remaking existing parts. He demanded a scientific approach to monuments’ archaeological history. He suggested that in order to ensure the building’s preservation, they must be put to modern use through activities compatible with their essence. In his diary recounting his work on the Alhambra, he outlined how he implemented his theories––he restored degraded spaces with modern materials and removed previous fantasizing Orientalist additions he viewed as arbitrary. He broke with a tradition of excessive mystification and turned to embrace a more methodological model of historiography (Céspedes). His ideas were continued by his disciple Fernando Chueca Goitia.


Selected Bibliography

  • Arte almohade: Arte nazarí : Arte mudéjar. Madrid: Editorial Plus-Ultra, 1949; Arquitectura gótica. Madrid: Plus Ultra, 1952;
  • La Alhambra y el Generalife de Granada. Granada: Editorial Universidad de Granada Patronato de la Alhambra y el Generalife, 2009;
  • La mezquita de Córdoba y las ruinas de Madinat al-Zahra. Madrid: Editorial Plus-Ultra, 1965;
  • Artes almorávide y almohade. Madrid: Instituto Diego Velázquez, 1955;
  • Obra dispersa. crónica de la España musulmana 1, 1,. Madrid: Instituto de España, 1982.

Sources

  • Alzuria, Gonzalo Pasamar, and Ignacio Peiró Martín. Diccionario Akal de Historiadores españoles contemporáneos. Ediciones AKAL, 2002;
  • Calatrava, Juan, and María González-Pendás. “Leopoldo Torres Balbás: Architectural Restoration and the Idea of ‘Tradition’ in Early Twentieth-Century Spain.” Future Anterior: Journal of Historic Preservation, History, Theory, and Criticism 4, no. 2 (2007): 40–49;
  • Céspedes, Miguel Ángel Martín. “Leopoldo Torres Balbás, Conservation Architect for the Alhambra.” Cuadernos de La Alhambra; Granada 42 (2007): 196–200;
  • Cosme, Alfonso Muñoz. La vida y la obra de Leopoldo Torres Balbás. Junta de Andalucía, Consejería de Cultura, 2005;
  • García Gómez, Emilio. “Leopoldo Torres Balbás.” Al-Andalus; Madrid 25, no. 2 (January 1, 1960): 257–286;
  • González-Capitel Martínez, Antonio. Leopoldo Torres Balbás. Colección Textos Dispersos (Escuela Técnica Superior de Arquitectura de Madrid) (2012) (5): 137-145;
  • Gualis, Gonzalo Máximo Borrás. “La construcción de la Historia de la Arquitectura hispanomusulmana: la figura de Leopoldo Torres Balbás.” In Lecciones de los maestros: aproximación histórico-crítica a los grandes historiadores de la arquitectura española: [Seminario celebrado en Zaragoza los días 26, 27 y 28 de noviembre de 2009], 2011, ISBN 978-84-9911-134-6, págs. 159-168, 159–68, 2011 https://dialnet.unirioja.es/servlet/articulo?codigo=4238394;
  • I, D. A. “Don Leopoldo Torres Balbás (1888-1960).” Archivo Español de Arte; Madrid 33, no. 132 (October 1, 1960): 451–454; Ter, Fernando de. “A la memoria de D. Leopoldo Torres Balbás,” n.d., 1.


Contributors: Denise Shkurovich


Citation

Denise Shkurovich. "Torres Balbás, Leopoldo." Dictionary of Art Historians (website). https://arthistorians.info/torresbalbasl/.


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Architect, archaeologist, responsible for major restorations of Alhambra and Generalife. Torres Balbás was the son of the Spanish geographer and historian Rafael Torres Campos (1853-1904) and Victorina Balbás. Torres Balbás obtained his bachelor’s

Straus-Ernst, Luise

Full Name: Straus-Ernst, Luise

Gender: female

Date Born: unknown

Date Died: unknown

Place Born: Cologne, North Rhine-Westphalia, Germany

Place Died: Auschwitz, Silesian Voivodeship, Poland

Home Country/ies: Germany

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


Overview

Straus was born to a middle-class Jewish family. She married Max Ernst in 1918. Her husband soon began an affair with Gala Eluard (who later married Salvador Dali). The couple divorced and she continued with her art history career, caring as well for their son. The ascension of the Nazis to Germany in 1933 caused Straus to flee to Paris where she remained and later had a comfortable life in the countryside. She sent her son to London in 1938. After France’s fall to the Nazis in 1940 Jews were again being arrested there. Straus attempted to leave France herself. In 1943, after 2 years of moving from Paris and the South of France to Drancy, under increasing threat and aware that she was watched, Luise Straus-Ernst was finally captured. In June 1944 she was deported on the next-to-last train to Auschwitz where she was executed.



Sources

  • Straus-Ernst, Louise. Richter, Marilyn and Marietta Schmitz-Esser, trans. The First Wife’s Tale: a Memoir by Louise Straus-Ernst, Art historian, Critic, Journalist, Intimate of Europe’s Avant-garde Artists in the 1920s and 30s. New York: Midmarch Arts Press, 2004.

Archives

  • Personal diary, written from 1941-1942.

Contributors: Lee Sorensen


Citation

Lee Sorensen. "Straus-Ernst, Luise." Dictionary of Art Historians (website). https://arthistorians.info/strausernstl/.


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Straus was born to a middle-class Jewish family. She married Max Ernst in 1918. Her husband soon began an affair with Gala Eluard (who later married Salvador Dali). The couple divorced and she continued with her art history career, caring as well

Schmidt, Gerhard

Full Name: Schmidt, Gerhard

Gender: male

Date Born: 11 May 1924

Date Died: 03 April 2010

Place Born: Vienna, Vienna state, Austria

Place Died: Vienna, Vienna state, Austria

Home Country/ies: Austria

Subject Area(s): Medieval (European)

Institution(s): Universität Wien


Overview

Professor of art history, University of Vienna. Schmidt parents were a doctor (father) and a school teacher (mother). He served the Nazi Reich as a soldier in the Second World war and was interned in an American POW camp. Released after the war, he entered the University in Vienna to study medicine. The next year he switched to art history. He received his doctorate in art history in 1951, his dissertation topic was on French relief sculpture. His habilitation followed in 1959 with the title Die Armenbibeln des XIV. Jahrhunderts (Armenian Bibles of the Fourteenth Century). He was appointed ordentlich Professor in 1962. He was elected a corresponding member of the philosphical-historical division of the Österreichische Akademie der Wissenschaften in 1972. Schmidt was granted emeritus status in 1992). After his 2010 he was buried in the Heiligenstädter Friedhof in Vienna. His students include Alessandra Comini.





Contributors: Lee Sorensen


Citation

Lee Sorensen. "Schmidt, Gerhard." Dictionary of Art Historians (website). https://arthistorians.info/schmidtg1924/.


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Professor of art history, University of Vienna. Schmidt parents were a doctor (father) and a school teacher (mother). He served the Nazi Reich as a soldier in the Second World war and was interned in an American POW camp. Released after the war, h

Scheyer, Ernst

Full Name: Scheyer, Ernst

Gender: male

Date Born: 03 July 1900

Date Died: 04 December 1985

Place Born: Wrocław, Poland

Place Died: Detroit, Wayne, MI, USA

Home Country/ies: Germany

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

Institution(s): Detroit Institute of Arts and Wayne State University


Overview

Ernst Scheyer was born in Breslau, which is present-day Wrocław, Poland. His parents were Norbert Scheyer (1869-1932), a lumber wholesaler and Martha Beuthner (Scheyer) (1882-1943), both Jewish. After graduating from the St Elisabeth-Gymnasium in Breslau in 1919 he attended the universities in Breslau and Freiburg studying law, economics and philosophy, receiving doctor rerum politicarum (political science) in 1922. After two years of travel, he returned to graduate school, moving between the universities of Heidelberg and Cologne studying art history, sociology and ethnology, 1924-1926. Scheyer received a second Ph.D. from Cologne in art history in 1926, writing a dissertation under Albert Brinckmann. His thesis topic was Chinoiserie in silk design between the 17th-18th centuries. A fellow student of his in Cologne was the wife of the artist Max Ernst, the art historian Luise Straus-Ernst. Scheyer secured a position as research assistant at the Städtisches Museum in Cologne in 1929. The following year he became research assistant at the Silesian Museum of Decorative Arts in Breslau under its director, Erwin Hintze. While there he organized a large exhibition of the sculptural work of the novelist Gerhart Hauptmann (1862–1946) which toured to Berlin. He lectured at the Kunstakademie in Breslau, co-editing the Schlesischen Monatshefte. Through the art historian Franz Landesberger, he met Hauptmann. The assumption of power by the Nazi party in 1933 resulted in his dismissal because of his Judaism (“Law on the Restoration of Professional Civil Service”). He emigrated to the Netherlands working in the modern division of the Goudstikker commercial art gallery in Amsterdam and lecturing in art history at the New School of Art in Amsterdam. There he met other emigrants to the Netherlands, Klaus and Erika Mann, the literary critic Rudolf Kayser and Dutch Artists and art critics. His research work during that time, 1934-1935, focused on the influence of William Morris on the art in Europe. On the recommendation of Hauptmann, he traveled to England in 1935 as well, hoping to complete the book on Morris. He married Eveline Hanna Rodriguez Pereira (1911-2006), a Dutch pianist, also in 1935. He moved to the United States in 1936. The assistance of Detroit Institute of Arts director, Wilhelm Rheinhold Otto Valentiner, an expatriate art historian from an earlier period, secured him a research fellow position at the museum in 1938. The same year he declared himself Unitarian. In 1943 he learned that his mother had perished in a concentration camp. After the war he was deputy editor of Art Criticism beginning in 1950. He lectured at the museum until 1956 when he was appointed professor of art at Wayne State University in Detroit. He consulted at the Department of Graphics in the museum from 1966 and named honorary curator in 1968. He retired from the university in 1971.


Selected Bibliography

  • [complete bibliography:] “Bibliography of Ernst Scheyer.” in, Scheyer, Ernst. The Circle of Henry Adams. Detroit: Wayne State University Press, 1970, pp. 289-298;
  • [dissertation: ] Chinoiserien auf den Seidengeweben des  17. und 18. Jahrhunderts. Cologne, 1926, published Oldenburg 1928;
  • Die Kölner Bortenweberei des Mittelalters. Augsburg:  Dr. Benno Filser Verlag, 1932;
  • Zweihundert Jahre Breslauer Stadttheater. Breslau; Korn, 1932;
  • “Drawings by Correggio.” Bulletin of the Detroit Institute of Arts 15 (1935); “Drawings and miniatures.” Detroit Institute of Arts, 1936;
  • “Baroque painting.” Detroit Institute of Arts, 1937; “Alessandro Magnasco.” Apollo 28 (1938);
  • “Portraits of the brothers van Ostade.” Art Quarterly 2 (1939);
  • “Comments on plates.” William J Bossenbrook; Rolf Johannesen, eds. Foundations of Civilization. Boston: D.C. Heath, 1939-1944;
  • “Drawings of the French revolution and the Empire.” Art Quarterly 4  (1942); “Frederic Bazille and the beginnings of French lmpressionism.” Art Quarterly 5 (1942);
  • “Far Eastem art and French Impressionism.” Art Quarterly 6 (1943): 117-144;
  • “Chinoiserie. Japonism.” Encyclopedia of the Arts. New York 1946;
  • “Goethe and the visual arts.” Art Quarterly 12 (1949): 227-256;
  • “Baroque painting in Germany and Austria.” Artforum 20 (1960);
  • “A drawing attributed to Giovanni Antonio Pellegrini.” Pantheon. 18 (1960);
  • “Das Problem der modernen amerikanischen Kunst.” Die Insel Hamburger Künstlerclub Almanach. 1960;
  • Die Kunstakademie Breslau und Oskar Moll. Würzburg: Holzner, 1961.

Sources

  • Scheyer, Ernst. Geistiges Leben in der Emigration. Jahrbuch. der Schlesischen Friedrich-Wilhelms-Univ. zu Breslau. 5, 1960, pp. 271-295;
  • Grundmann, Günther. “Professor Dr. Ernst Scheyer, Detroit, 75 Jahre.” Ernst Scheyer, Eugen Spiro, Clara Sachs, eds. Beiträge zur neueren schlesischen Kunstgeschichte. Munich: Delp, 1977;
  • 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. 605-610.


Contributors: Lee Sorensen


Citation

Lee Sorensen. "Scheyer, Ernst." Dictionary of Art Historians (website). https://arthistorians.info/scheyere/.


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Search for materials by & about this art historian:

Ernst Scheyer was born in Breslau, which is present-day Wrocław, Poland. His parents were Norbert Scheyer (1869-1932), a lumber wholesaler and Martha Beuthner (Scheyer) (1882-1943), both Jewish. After graduating from the St Elisabeth-Gymnasium in

Roland Michel, Marianne

Full Name: Roland Michel, Marianne

Other Names:

  • Marianne de Cayeux

Gender: female

Date Born: 22 February 1936

Date Died: 18 November 2004

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

Home Country/ies: France

Subject Area(s): catalogues raisonnés, eighteenth century (dates CE), and French (culture or style)

Institution(s): Galerie Cailleux


Overview

Scholar and catalogues raisonnés compiler; dealer of eighteenth-century French art; director of the Galerie Cailleux from 1982-1996. Roland Michel was a student of André Chastel who received her master’s degree at the Sorbonne in 1959 with a thesis on the still life and genre painter Anne Vallayer-Coster (1744-1818). This artist served as the subject of Roland Michel’s first article that appeared in Burlington Magazine in 1960, and of the later monograph, Anne Vallayer-Coster (1970). From 1960 until 1981, Roland Michel regularly contributed articles to Burlington’s supplement on the eighteenth century, writing on artists like Jean-Honoré Fragonard (1732-1806), Hubert Robert (1733-1808), and Nicolas Lancret (1690-1743), among others. In 1982, she began overseeing exhibitions at la Galerie Cailleux, the Parisian commercial gallery that her grandfather, Paul de Cayeux de Sénarpont (1884-1964), had established in 1912, and over which her father, Jean de Cayeux (1913-2009) had also presided. She completed a doctoral degree at the Sorbonne in 1983 under the supervision of Jacques Thuillier with a dissertation on the painter of Rococo interiors, Jacques de Lajoüe (1686-1761), which was published the following year as Lajoüe et l’art rocaille (1984). Roland Michel headed thirteen exhibitions during her time as director of the Galerie Cailleux. She also wrote exhibition reviews that appeared in journals like Master Drawings as well as the Burlington Magazine. Alongside her work as a dealer, Roland Michel published widely as a scholar of eighteenth-century art in French and Anglo-American journals and museum catalogs. In 2002-2003, Roland Michel organized the first and only solo retrospective exhibition on Vallayer-Coster, Anne Vallayer-Coster: Painter to the Court of Marie Antoinette, that travelled from the National Gallery of Art in Washington, D.C. to other venues in Dallas, New York, and Marseille.

After Roland Michel’s sudden passing in 2004, the Fondation Marianne & Roland Michel was established by her husband and children to preserve her influence on eighteenth-century scholarship. Le Centre de Documentation Marianne Roland Michel opened in 2005 near Roland Michel’s home in Neuilly and provided scholars access to her reference collection of materials on seventeenth- thru nineteenth-century, primarily French, art. Since 2016, the collection has been housed at the research library of the Petit Palais museum. In 2006, Roland Michel’s family began funding an annual prize that supports the publication of manuscripts on themes related to her work. Roland Michel’s son, Christian Michel (1958-), is also an art historian, teaching as professor of art history at the Université de Lausanne (UNIL) in Switzerland since 2006. His specialty is the history of collecting and decorative arts of the seventeenth and eighteenth centuries, particularly Charles-Nicolas Cochin the Younger (1715-1790).

Roland Michel catalogs for the gallery are considered her most “enduring contributions” to fellow collectors and scholars (Borne and Williams). Alongside her work as a dealer, Roland Michel published widely as a scholar of eighteenth-century art in French and Anglo-American journals and museum catalogs. A number of her texts have been translated into English and German. “Classic” monographs on artists like Jean-Antoine Watteau (1684-1721) (1982, 1984) and Jean-Siméon Chardin (1699-1779) (1994) bear evidence of her commitment to research based on direct study of original artworks, rather than reproductions (Rosenberg). The majority of her books she formatted as catalogues raisonnés, a style that suited her object-driven approach to art history (Borne and Williams; Rosenberg).


Selected Bibliography

  • “Tapestries on Designs by Anne Vallayer-Coster.” Burlington Magazine 102, no. 692 (November 1960): i-ii;
  • “The Theme of ‘The Artist’ and of ‘Inspiration’ as Revealed by Some Fragonard’s Drawings.” Burlington Magazine 103, no. 704 (November 1961): i-iii;
  • “Of Women and Flowers…” Burlington Magazine 108, 760 (July 1966): i-v;
  • “Sur quelques représentations de fleurs dans la seconde moitié du XVIIIe siècle.” Bulletin de la Société de l’Histoire de  l’Art Français (1966): 169-176;
  • “Observations on Madame Lancret’s Sale.” Burlington Magazine 111, no. 801, Special Issue Devoted to Claude, Nicolas and Gaspard Poussin in Connection with the Claude Exhibition at the Hayward Gallery (December 1969): i-vi;
  • Anne Vallayer-Coster. Paris: CIL-Odege, 1970; “Fragonard Illustrator of the ‘Contes’ of La Fontaine.” Burlington Magazine 112, no. 811 (October 1970): i-vi;
  • “A Taste for Classical Antiquity in Town-Planning Projects: Two Aspects of the Art of Hubert Robert.” Burlington Magazine 114, no. 836 (November 1972): i-vi;
  • L’art et la sexualité. Tournai: Casterman, 1973; “A Basket of Plums.” The Bulletin of the Cleveland Museum of Art (February 1973): 52-59;
  • “A propos d’un portrait par Tischbein au Musée des Beaux Arts de Bordeaux.” Revue du Louvre et des Musées de France 23, no. 3 (1973): 173-178;
  • “Un problème d’attribution pour un dessin du musée des Beaux-Arts, à propos de la Mascarade du sultan à la Mecque, 1748.” Bulletin des Musées et Monuments lyonnais 5, no. 2 (1975): 303-321;
  • “Représentations de l’exotisme dans la peinture en France de la première moitié du XVIIIe siècle.” Studies on Voltaire and the eighteenth century 151-152 (1976): 1437-1457;
  • “Concerning Two Discoveries in Neo-Classical Painting.” Burlington Magazine 119, no. 889, Special Issue in Honour of Benedict Nicolson (April 1977): i-viii; “Cochin illustrateur, et le Missel de la chapelle royale.” Jahrbuch der Berliner Museen 21 (1979): 153-179;
  • “Eighteenth-Century Decorative Painting: Some False Assumptions.” The British Journal for Eighteenth-Century Studies 2, no. 1 (April 1979): 1-18;
  • “François-Thomas Mondon, artiste ‘rocaille’ méconnu.” Bulletin de la Société de l’Histoire de l’Art Français (1979): 149-158;
  • [and Catherine Binda]. “Un portrait de Mme du Barry.” Revue de l’Art 46, (1979): 40-45;
  • Tout Watteau. Collection “La Peinture.” Rizzoli, 1981, Flammarion, 1982;
  • “Un peintre français nommé Ango.” Burlington Magazine 123, no. 945 (December 1981): i-viii;
  • “L’ornement rocaille : quelques questions.” Revue de l’Art 55 (1982): 66-75;
  • “French Eighteenth-Century Drawings [in the Rijksprentenkabinet, Amsterdam].” Apollo 117, no. 256 (June 1983): 469-475;
  • “Le bruit dans la peinture.” Corps écrits 12 (1984): 125-132;
  • Watteau, un artiste au XVIIIe siècle. Paris: Flammarion, 1984, English Watteau, an Artist of the Eighteenth Century. Londres, Trefoil, New York, Alpine, 1984, German Watteau 1684-1721. Munich, Prestel, 1984;
  • Lajoüe et l’art rocaille. Neuilly: Arthéna, 1984;
  • “A propos de portraits de famille : Quelques nouvelles attributions.” Burlington Magazine 128, no. 1000 (July 1986): 546-552;
  • Le dessin français au XVIIIe siècle. Fribourg: L’Office du Livre, 1987, German Die französische Zeichnung im 18. Jahrhundert, Munich, Prestel, 1987;
  • “Portraits français du XVIIIe siècle.” Bulletin de la Société des Amis du Musée des Beaux-Arts de Rennes 6, Numéro spécial sur Le Portrait (1988): 17-26;
  • “Landscape painting in the eighteenth century. Theory training and its place in academic doctrine.” In French landscape painting; Claude to Corot, the development of landscape painting in France. New York: Colnaghi, 1990, p. 99-110;
  • Chardin. Paris: Hazan, 1994 English, Chardin. London: Phaidon, New York: Abrams, 1994;
  • “On some collectors of Eighteenth-Century French Drawings in the United States.” In Mastery and elegance. Two centuries of french Drawings from the Collection of Jeffrey E. Horvitz. Cambridge, MA: Harvard University Art Museums, 1998, p. 53-76;
  • Maurice et Pauline Feuillet de Borsat collectionneurs – Dessins français et étrangers du XVIIe au XIXe siècle. Marseille: Musées de Marseille, 2001;
  • “Vallayer in her time.” In Anne Vallayer-Coster Painter to the Court of Marie-Antoinette. New Haven, CT: Yale University Press and Dallas, TX: Dallas Museum of Art, 2002, French Anne Vallayer-Coster: peintre à la cour de Marie-Antoinette. Marseille: Musée des beaux-arts and Paris: Somogy, 2003;
  • “Exoticism and Genre Painting in Eighteenth-Century France.” In The Age of Watteau, Chardin, and Fragonard: Masterpieces of French Genre Painting. New Haven, CT: Yale University Press and Ottawa: National Gallery of Canada, 2003, p. 106-119;
  • “De Watteau à Boucher: formation d’une manière et d’un genre.” In François Boucher et l’art rocaille dans les collections de l’École des Beaux-Arts, Paris: Ecole nationale supérieure des beaux-arts, 2003, p. 38-45;
  • “Le trésor de leurs études….” In L’apothéose du geste. L’esquisse peinte au siècle de Boucher et Fragonard. Paris: Hazan, Strasbourg: Musées de Strasbourg, Tours: Musées des beaux-arts de Tours, 2003, p. 49-59;

Catalogs for exhibitions at la Galerie Cailleux:

  • Watteau et sa génération.1968;
  • Autour du Néo-classicisme: peintures, dessins, sculptures. 1973;
  • Giambattista Tiepolo 1696-1770, Domenico Tiepolo 1727-1804 [et] Lorenzo Tiepolo 1736-1776: peintures, dessins, pastels. 1974;
  • [with J. Cailleux and A. Rambaud]. Eloge de l’ovale. Peintures et pastels du xviiie siècle. 1975;
  • [with J. Cailleux and A. Rambaud]. Sanguines, dessins français du XVIIIe siècle. 1978;
  • [with J. Cailleux]. Des Monts et des eaux: Paysages de 1715 à 1850. 1980-1981;
  • Rome 1760-1770:  Fragonard, Hubert Robert et leurs amis. 1983;
  • Le dessin en couleurs. 1984;
  • Oeuvres de jeunesse de Watteau à Ingres. 1985; Artistes en voyage au XVIIIe siècle. 1986;
  • Aspects de Fragonard  Peintures – Dessins – Estampes. 1987;
  • Les étapes de la création: esquisses et dessins de Boucher à Isabey. 1989;
  • Le Rouge et le Noir – Cent dessins français de 1700 à 1850. 1991.

Sources

  • Fondation Marianne & Roland Michel, accessed July 1, 2020; Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, p. 193;
  • Maës, Gaëtane. “Nécrologie: Marianne Roland Michel.” Revue de l’art 148 (2005): 86-88;
  • Rosenberg, Pierre. “Marianne Roland Michel (1936-2004).” Burlington Magazine 147, no. 1225 (April 2005): 257-258;
  • Borne, François and Eunice Williams. “Obituary.” Master Drawings 43, no. 2 (Summer 2005): 242.


Contributors: Yasemin Altun


Citation

Yasemin Altun. "Roland Michel, Marianne." Dictionary of Art Historians (website). https://arthistorians.info/rolandmichelm/.


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Search for materials by & about this art historian:

Scholar and catalogues raisonnés compiler; dealer of eighteenth-century French art; director of the Galerie Cailleux from 1982-1996. Roland Michel was a student of André Chastel who received her master’s degree at