Art Historians

Passavant, Johann David

November 8, 2023March 29, 2024

Full Name: Passavant, Johann David

Gender: male

Date Born: 1787

Date Died: 1861

Place Born: Frankfurt am Main, Hesse, Germany

Place Died: Frankfurt am Main, Hesse, Germany

Home Country/ies: Germany

Career(s): curators

Overview

Curator and artist; developed the major scholarly formats of art publication. Passavant apprenticed in commerce in Frankfurt. His interest in the arts was evidence by an early correspondence with the artist Franz Pforr (1788-1812). He moved to Paris in 1809 to further his business interests. In 1815 he abandoned trade to enter the studio of Antoine-Jean Gros (1771-1835) to study painting. Passavant traveled to Rome in 1817 continuing his study under Johann Friedrich Böhmer (1795-1863) and Carl Philipp Fohr (1775-1818) as well as other Nazarenes. He wrote an anonymous 1820 encomium to German painting, titled Ansichten über die bildenden Künste. He also began regular contributions to the art journal Die Kunstblatt, which he continued through 1861. He returned to Frankfurt in 1824 where art history evermore occupied his interest. He traveled throughout Belgium, Spain and particularly in England, collecting documents and studying art. The result was his Kunstreise durch England und Belgien, published in 1833. In 1836, the work was translated and published by Elizabeth Rigby Eastlake, as Tour of a German Artist in England. His biography of Raphael, Rafael von Urbino appeared in 1839, a hallmark of documentary research. The following year he became Inspektor (curator) of the Städel’schen Kunstinstitut in Frankfurt. There he acquired important works in the prints and drawing area, mounted exhibitions, and taught. In 1850 articles began to appear in the Deutsche Kunstblatt. The same year he contributed, with G. B. Cavalcaselle and Gustav Friedrich Waagen to the catalog for the city of Liverpool Gallery, commissioned by Charles Lock Eastlake. In 1851 Passavant published an updated inventory of the collection Maximilian Eugen von Leuchtenberg (1817-1852), followed by his account of Spanish painting, Die christliche Kunst in Spanien, in 1853. The first volume of his important revision to Le Peintre-graveur of Adam von Bartsch appeared in 1860, which eventually ran to six volumes. After his death, a partial translation of his Raphael biography appeared in English in 1869 and a full translation in 1872. Passavant developed the three principal genres of art writing important for the next two centuries: the scholarly artistic biography, the aesthetic travelogue, and the reference survey. As a historian, he followed the romantic tradition. His biography of Raphael employed Nazarene aesthetics as well as archival documentation. It became the model for the form of the artist’s monograph in the 19th century: the presentation of an artist’s entire oeuvre as a complete sequential body of work (Guercio). His Kunstreise had a tremendous impact on the reading public; Waagen used it as a model for his Kunstwerke und Künstler in England and Paris of 1837. Passavant’s writings became widely disseminated after his death through English translations. His paintings include Holy Family with Elizabeth and John (1819), Städtische Galerie im Städelschen Kunstinstitut, Frankfurt, and a Visitation, Christ and the Samaritan (c. 1820), Neue Nationalgalerie, Berlin.

Selected Bibliography

Ansichten über die bildenden Künste und Darstellung des Ganges derselben in Toscana: zur Bestimmung des Gesichtspunctes, aus welchem die neudeutsche Malerschule zu betrachten ist von einem deutschen Künstler in Rom. Heidelberg: Oswald 1820; Kunstreise durch England und Belgien, nebst einem Bericht über den Bau des Domthurms zu Frankfurt. Frankfurt am Main: S. Schmerber, 1833, English, Tour of a German Artist in England. London: Sanders and Otley, 1836; Raffael von Urbino und sein Vater Giovanni Santi. 3 vols. Leipzig: F. A. Brockhaus, 1839-58, partial English publication as, Cundall Joseph, ed. The Great Works of Raphael Sanzio of Urbino . . . and Essays on the Genius of Raphael, by Luigi Lanzi and Quatremere de Quincy: second series. London: Bell and Daldy, 1869, published fully in English as, Raphael of Urbino and His Father Giovanni Santi. London: Macmillan, 1872; Galerie Leuchtenberg: Gemälde Sammlung seiner Kaiserl. Hoheit des herzogs von Leuchtenberg in München. Frankfurt am Main: J. Baer, 1851, English, The Leuchtenberg Gallery: a Collection of Pictures Forming the Celebrated Gallery of his Imperial Highness the Duke of Leuchtenberg at Munich. Frankfurt am Main: s. n., 1852; Die christliche Kunst in Spanien. Leipzig: Weigel, 1852; Le peintre-graveur . . . Et un catalogue supple´mentaire aux estampes du XV. et XVI. siècle du Peintre-graveur de Adam Bartsch. 6 vols. Leipzig: R. Wiegel, 1860-64;Verzeichniss der öffentlich ausgestellten Kunst-Gegenstände des Städel’schen Kunst-Instituts zu Frankfurt a. M. Frankfurt am Main: C. Naumann, 1883.

Sources

Waetzoldt, Wilhelm. Deutsche Kunsthistoriker. vol. 2 Leipzig: 1924, pp. 14-29; Kleinbauer, W. Eugene. Modern Perspectives in Western Art History: An Anthology of 20th-Century Writings on the Visual Arts. New York: Holt, Rinehart and Winston, 1971, p. 44 mentioned; Kultermann, Udo. Geschichte der Kunstgeschichte: Der Weg einer Wissenschaft. Frankfurt am Main and Vienna: Ullstein, 1981, pp.155-6; Kleinbauer, W. Eugene. Research Guide to the History of Western Art. Sources of Information in the Humanities, no. 2. Chicago: American Library Association, 1982, p. 89; Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 146-7; German Essays on Art History. Gert Schiff, ed. New York: Continuum, 1988, p. xxx [discussion of Rumohr’s rift with]; Bauereisen, Hildegard, and Stuffmann, Margret. Von Kunst und Kennerschaft: die Graphische Sammlung im Städelschen Kunstinstitut unter Johann David Passavant 1840 bis 1861. Frankfurt am Main: Städtische Galerie im Städelschen Kunstinstitut Frankfurt am Main, 1994; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 300-1; Guercio, Gabriele. Art as Existence: The Artist’s Monograph and Its Project. Cambridge, MA: MIT Press, 2006, p. 20.

Pascoli, Lione

November 8, 2023March 29, 2024

Full Name: Pascoli, Lione

Gender: male

Date Born: 1674

Date Died: 1744

Place Born: Perugia, Perugia, Umbria, Italy

Place Died: Rome, Lazio, Italy

Home Country/ies: Italy

Subject Area(s): Modern (style or period) and painting (visual works)

Overview

Wrote an important art book, Vite de’ pittori, scultori ed architetti moderni (1730-36), focusing on modern painting.

Wrote an important art book, Vite de’ pittori, scultori ed architetti moderni (1730-36), focusing on modern painting.

Parthey, Gustav

November 8, 2023March 29, 2024

Full Name: Parthey, Gustav

Gender: male

Date Born: 1798

Date Died: 1872

Home Country/ies: Germany

Institution(s): Berlin Academy of Sciences

Overview

Sources

Dilly, 23

Contributors: Lee Sorensen

Parry, Elwood Comly, III

November 8, 2023March 29, 2024

Full Name: Parry, Elwood Comly, III

Other Names:

"Lee"

Gender: male

Date Born: 1941

Date Died: 2005

Place Born: Abington, Montgomery, PA, USA

Place Died: Wilmington, New Hanover, NC, USA

Home Country/ies: United States

Subject Area(s): American (North American)

Overview

Americanist and Thomas Cole scholar. Parry was the grandson of Ellwood Comly Parry, a Schiller scholar who taught at the Central High School of Philadelphia, and the son of Ellwood Comly, Jr. and Elizabeth Graham (Parry). The youngest Parry attended Harvard University, graduating in 1964. He married Carol Jacqueline Newman the same year. Parry served in the Naval Air Reserve between 1961-69. His master’s degree was granted at UCLA in 1966. He returned to the east coast were he wrote a doctorate in art history from Yale University in 1970 on the American painter Thomas Cole. He taught as an assistant professor at Columbia University in the Department of Art History and Archaeology between 1969 and 1975. He divorced his first wife in 1971, and married Pamela Jeffcott, an art librarian, the same year. Parry’s major monograph, an examination of the depiction of minorities in the early art of the United States, appeared in 1974. In 1976 he moved to the University of Iowa as an associate professor of art history. Parry taught at Iowa until 1981 when he was called to the University of Arizona in Tucson, as a full professor. A monograph of Thomas Cole appeared in 1988. Parry was diagnosed with cancer in 2001; he died from complications of that disease while vacationing in North Carolina. His wife, Pamela, was the executive director of the Art Libraries Society of North America.

Selected Bibliography

[dissertation:] Thomas Cole’s “The Course of Empire”: A Study in Serial Imagery. Yale, 1970; The Image of the Indian and the Black Man in American Art, 1590-1900. New York: G. Braziller, 1974; The Art of Thomas Cole: Ambition and Imagination. Newark, DE: University of Delaware Press, 1988; and Stubbs, Robert. Photographer Thomas Eakins. Philadelphia: Olympia Galleries, 1981; and Sirkis, Nancy. Reflections of 1776: The Colonies Revisited. New York: Viking, 1974; and Stilgoe, John R. Thomas Cole: Drawn to Nature. Albany, NY: Albany Institute of History and Art, 1993.

Sources

personal information; Who’s Who in American Art (16th ed.), 1984, p. 707; [obituary:] [Tucson] Arizona Daily Star September 27, 2005.

Parmentier, Henri

November 8, 2023March 29, 2024

Full Name: Parmentier, Henri

Gender: male

Date Born: 1870

Date Died: 1949

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

Place Died: Phnom Penh, Phnom Penh, Cambodia

Home Country/ies: France

Subject Area(s): Angkorean, archaeology, architecture (object genre), Asian, Cambodian (culture or style), Cochin Chinese (Chinese ceramics style), sculpture (visual works), Southeast Asian, and Vietnamese (culture or style)

Overview

Architect, archaeologist, and historian of Southeast Asian art. Parmentier was educated at the Lycée de Reims, and studied archaeology through the Public Works office in Tunis, where he devised a plan to rebuild an ancient Carthaginian temple. After joining the Mission Archéologique d’Indochine in 1900, Parmentier excavated monuments in Siam, Champa, and the Buddhist monastery at Dong Duong. He married poet and writer Jeanne Luba, who accompanied him on several excavations. In 1904, Parmentier became the head of the archaeological organization Ecole Francaise d’Extrême-Orient, completing research on the low reliefs of Bayon. He completed a new catalogue for the Ecole Francaise museum, and reorganized its collection in 1913. Parmentier’s largest project involved the exploration of the Khmer Empire, later becoming the Keeper of the Monuments of Angkor, Cochinchine, and Cambodia.

Sources

The Dictionary of Art

Contributors: LaNitra Michele Walker

Parkhurst, Charles

November 8, 2023March 29, 2024

Full Name: Parkhurst, Charles

Other Names:

Charles Percy Parkhurst

Gender: male

Date Born: 1913

Date Died: 2008

Place Born: Columbus, Franklin, OH, USA

Place Died: Amherst, Hampshire, MA, USA

Home Country/ies: United States

Overview

Assistant director of the National Gallery of Art, Washgington, D. C., 1970-1983 and Director of the Baltimore Museum of Art, 1962-1970; one of the historic “monuments men” of World War II. Parkhurst’s was employed by the college book publishing firm called Ginn & Co, the boy grew up in Oberlin, OH. He entered Oberlin, but frustrated with the science department, switched to Williams College in Williamstown, Massachusetts. There the art history courses of Karl E. Weston captivated him. He graduated from Williams with a dual degree in science and art history in 1935. He devoted the next two years building roads and bridges in Alaska before returning to graduate school at Oberlin College, earning one master’s degree in 1938 marrying Elizabeth Huntington Rusling the same year. He earned a second master’s degree in fine arts–Princeton’s terminal degree in art history at the time–at Princeton University in 1941. At Princeton he heard lectures by Erwin Panofsky, Charles Rufus Morey, George Rowley and Albert M. Friend, Jr. His initial interest Byzantine led to a Dumbarton Oaks fellowship offered by Paul J. Sachs. However, Parkhurst felt himself not qualified for the area and took a job as a research assistant at the National Gallery of Art in Washgington, D. C. together with fellow student Craig Hugh Smyth. When World War II erupted, Parkhurst volunteered for the U.S. Navy, assigned as a gunnery officer in the Mediterranean. In 1943, President Roosevelt established an art recovery division known as the Roberts Commission, after its chairman, Justice Owen J. Roberts of the Supreme Court. Young soldiers who had been trained in museum work and art history joined to use their skills to repatriate art stolen by the Nazis. These ”monuments men,” identified art works and buildings in need of protection as well as hunting down caches of stolen art. Parkhurst was recommended for the art recovery group, eventually becoming deputy chief of Monuments, Fine Arts and Archives in Germany immediately after the war as a lieutenant. He served under Smyth along with 30 other investigators at the former national headquarters of the Nazi Party in Munich, today the Zentralinstitut für Kunstgeschichte. The group identified more than five million artifacts and art works returning them to their rightful owners. He was made a chevalier of the Legion of Honor by the French government in 1948. Parkhurst was among the Monuments Men who signed what became known as the “Wiesbaden Manifesto,” a letter protesting and refusing the order to move German-owned artworks to the United States. The order used the guise of “protective custody,” the same excuse the Nazi’s had used to originally loot art from other countries. The Wiesbaden Manifesto raised the attention of Eleanor Roosevelt, who eventually convinced General Lucius D. Clay, the deputy military governor of Germany, to void the order. Parkhurst was discharged from the navy in 1946 and joined the Albright Art Gallery in Buffalo (today, Albright-Knox Gallery) as an assistant curator under Andrew Carnduff Ritchie, whom he had met in the Division. He also taught as a preceptor in the art and archaeology department at Princeton, under E. Baldwin Smith and assistant director of the Princeton Art Museum under Ernest DeWald, another Monuments man. It was Smith’s work in Baroque art that led to Parkhurst’s interest in color and Rubens. In 1949 he returned to Oberlin as the College’s chair of fine arts department and director of the Allen Memorial Art Museum, succeeding Clarence Ward. He founded the the Inter-museum Laboratory at Oberlin, a consortial conservation laboratory, in 1952. Parkhurst was appointed director of the Baltimore Museum of Art in 1962 marrying, after a previous divorce, Rima Zevin Julyan the same year. Elected president of the American Association of Museums in 1966, he developed an accreditation system for museums similar to the one used by universities. In 1970 Parkhurst assumed the title assistant director and chief curator of the National Gallery of Art. He was instrumental in the construction phase of the Gallery’s East Building. He retired from the National Gallery in 1983 teaching and curating in the museums at Williams College and Smith College. After his second marriage ended in divorce, he married Carol Clark in 1986. He died at his home in Massachusetts at age 95.

Selected Bibliography

“Aguilonius’ Optics and Rubens’ Color.” Nederlands kunsthistorisch jaarboek 12 (1961): 35-49; “A Color Theory from Prague: Anselm de Boodt, 1609.” Allen Memorial Art Museum Bulletin 29 no. 1, (Fall 1971): 2-10;

Sources

Interview with Charles Parkhurst Pennington, Buck, interviewer. Archives of American Art. Washington, DC October 27, 1982, http://www.aaa.si.edu/collections/oralhistories/transcripts/parkhu82.htm; [obituary:] Grimes, William. “Charles Parkhurst, 95, Tracked Down Looted Art.” New York Times, June 28, 2008 p. 6.

Parker, Karl Theodore, Sir

November 8, 2023March 29, 2024

Full Name: Parker, Karl Theodore, Sir

Other Names:

K. T. P.

Gender: male

Date Born: 1895

Date Died: 1992

Place Born: Bedford, Bedfordshire, England, UK

Place Died: Eastbourne, East Sussex, England, UK

Home Country/ies: United Kingdom

Subject Area(s): drawings (visual works)

Overview

Drawings authority and Keeper of the Ashmolean Museum 1945-1962; edited a series on master drawings for the British Museum with Hugh Popham. Parker’s father, R. W. Parker, was a surgeon decorated by the King of Bavaria for his part in medical mission (later named the International Red Cross) of Franco-Prussian war of 1870-1871. His mother, Marie Luling, came of a distinguished American family. Parker studied at Bedford until 1912 when the family moved to Germany. He studied chemistry at the University of Freiburg before switching to the university in Zürich–and fields–to write his dissertation on John Milton. Articles Parker published in a French antiquarian journal caught the notice of Campbell Dodgson, Keeper of the Department of Prints and Drawings in the British Museum, who invited Parker, then back in Britain, to work in the print room as a volunteer. At the end of 1925 Parker was appointed an assistant keeper. He married Audrey James (d. 1976) in 1928. Parker edited the quarterly Old Master Drawings from its inception in 1926 until its demise in 1940. In 1934 Parker succeeded Kenneth Clark as Keeper of the Department of Fine Art at the Ashmolean Museum, Oxford University. His catalog of the drawings in the Ashmolean, The Northern Schools, was published in 1938. During World War II, he moved the collections to Chastleton House, a Jacobean house in the Cotswolds, continuing to develop exhibitions. He was promoted to Keeper of the museum in 1945. Parker’s skill as an administrator brought the Farrer brothers (William and Gaspard) collection of silver in 1945, the collection of A. T. Carter in 1947, and J. Francis Mallett’s collection of clocks, watches, and objets de vertu; and French gold and enameled snuff-boxes from the Hanbury and van den Berg families. After the war, Parker sought to reinstall the collection in period frames. Claus Grimm praised the Ashmolean’s collection of frames during his research for Alte Bilderrahmen (Old Picture Frames), describing it as “the best in a public gallery.” Volume two of the Ashmolean catalog, on the Italian Schools, appeared in 1956. He retired from the Ashmolean in 1962, retiring to Eastbourne, ignoring offers for other positions, except for seven years as a trustee of the National Gallery. Parker was succeeded at the Ashmolean by Ian Robertson. He was made an Honory D. Litt. by Oxford University in 1972. His collecting techniques were often controversial. His detractors, including John Pope-Hennessy accused him of neglecting paintings acquisitions for works on paper. His acceptance of the Hill Collection of musical instruments was decried by some as making instruments into art objects. Parker also raised controversy in 1950 when he accepted the archive of the Pissarro family, including drawings by Camille, etchings, letters, and the woodblocks of Lucien, which had been turned down by the Tate; the 1956 donation by H. R. Marshall of Worcester Porcelain was criticized by the classicist C. M. Bowra (1898-1971) as not appropriate for a university collection. Parker created in the Print Room of the Ashmolean, one of the finest collections of drawings in the world. He added over 400 Italian 16th-century drawings, as well as 17th-century Guercino, Canaletto, Guardi and Piranesi. In 1957 he and Jacques Mathey published the Catalogue Complet de son oeuvre dessinee for Antoine Watteau. He contributed the volumes on Holbein (1945) and Canaletto (1948) of the catalogue of drawings in the Royal Collection at Windsor Castle. Among his legendary discoveries were a landscape by Francesco Guardi which he purchased in the Map Shop in Oxford Street in 1938 for 30 shillings, and a large drawing by Francois Boucher on blue paper.

Selected Bibliography

[Ashmolean Museum.] Catalogue of Paintings. 2 vols. 2nd ed. Oxford: s.n., 1961; [Ashmolean Museum.] Catalogue of the Collection of Drawings in the Ashmolean Museum. 7 vols. Oxford: The Clarendon Press, 1938ff.; Selected Drawings from Windsor Castle: Holbein. London: Phaidon Press, 1954; The Drawings of Antonio Canaletto in the Collection of His Majesty the King at Windsor Castle. Oxford: Phaidon Press,1948; The Drawings of Hans Holbein in the Collection of His Majesty the King at Windsor Castle. Oxford/London: Phaidon Press, 1945; Drawings of the Early German School. London: Ernest Benn Ltd., 1926; Elsässische Handzeichnungen des XV. und XVI. Jahrhunderts. Freiburg im Breisgau: s.n., 1928; North Italian Drawings of the Quattrocento. London: E. Benn, limited, 1927; The Drawings of Antoine Watteau. London: B. T. Batsford, ltd.,1931.

Sources

Lowe, Ian. “Sir Karl Parker.” The Independent (London), July 27, 1992, p. 23; Gere, John A. “Old Master of the Museum: Sir Karl Parker.” The Guardian (London), August 6, 1992, p. 33; “Sir Karl Parker.” The Times (London), July 28, 1992.

Parker, John Henry

November 8, 2023March 29, 2024

Full Name: Parker, John Henry

Gender: male

Date Born: 1806

Date Died: 1884

Place Born: London, Greater London, England, UK

Place Died: Oxford, Oxfordshire, England, UK

Home Country/ies: United Kingdom

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

Overview

Architectural historian and Keeper of the Ashmolean Museum. Parker was the son of a London businessman. He attended Manor House School, Chiswick. In 1821 he began business as a bookseller along with his uncle, Joseph Parker. The following year he assumed his uncle’s firm. The business grew under his guidance, issuing many books for the University, including the series Oxford Pocket Classics. His first architectural publication, Glossary of Architecture, appeared in 1836. Capitalizing on the enthusiasm of Gothic revival in England, Glossary of Architecture was highly influential for both architectural historians and practicing architects of the movement. In 1848 Parker assumed the editorship of the fifth edition of An attempt to discriminate the styles of architecture in England by Thomas Rickman, known as Rickman’s Gothic Architecture. The following year he published his Introduction to the Study of Gothic Architecture, a handbook based on Rickman’s work. Parker next completed the Domestic Architecture of the Middle Ages by Thomas Hudson Turner completing the set in three volumes between 1853-1860. In 1858 his Medieval Architecture of Chester appeared. Architectural Antiquities of the City of Wells (1866) was a landmark in the advocacy of architectural restoration. His two-volume Archaeology of Rome (1874 and 1876) change much legendary information into documented fact. The King of Italy knighted him for his efforts, and Pope Pius IX awarded him a medal of merit. In 1869 he endowed the Ashmolean Museum’s Keeper position, securing his appointment as its first keeper. As Keeper, Parker was not able to turn the interest of the collector and art historian C. Drury Fortum into a bequest, largely because of the lack of interest of Oxford’s vice chancellor. It was left to his successor, Arthur J. Evans, to consolidate the Ashmolean and Fortnum’s bequest into the museum it is today. Parker advocated the restoration of architectural landmarks, especially of church buildings.

Selected Bibliography

Rickman, Thomas. An Attempt to Discriminate the Styles of Architecture in England: from the Conquest to the Reformation. 5th edtion. London: J. H. Parker, 1848; and Grosvenor, Francis. The Medieval Architecture of Chester. Chester: H. Roberts, 1858; The archaeology of Rome. 11 vols. Oxford: J. Parker and Co./London: J. Murray, 1874ff.; The Architectural Antiquities of the City of Wells. Oxford/London: J. Parker and Co., 1866; An Introduction to the Study of Gothic Architecture. Oxford: John Henry Parker, 1849; A Glossary of Terms Used in Grecian, Roman, Italian, and Gothic Architecture. London: C. Tilt 1836.

Sources

“Parker, John Henry.” Encyclopedia Britannica 11th ed.

Paribeni, Enrico

November 8, 2023March 29, 2024

Full Name: Paribeni, Enrico

Gender: male

Date Born: unknown

Date Died: unknown

Home Country/ies: Italy

Overview

Sources

Ridgway, Brunhilde Sismondo. “The State of Research on Ancient Art,” Art Bulletin 68 (March 1986): 8, note 8.

Parent, Paul

November 8, 2023March 29, 2024

Full Name: Parent, Paul

Gender: male

Date Born: unknown

Date Died: unknown

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

Overview

architectural history; Beligian architecture

Selected Bibliography

L’Architecture des Pays-Bas. XVIe, XVIIe, XVIIIe siècles. 1926.; L’Architecture religieuse dans l’ancien duché de Brabant 1598-1713. The Hague,1926.; L’Architecture religieuse à l’époche de Rubens. 1943.

Sources

Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986 p. 500

architectural history; Beligian architecture

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