Art Historians

Pagenstecher, Rudolf

November 8, 2023March 29, 2024

Full Name: Pagenstecher, Rudolf

Gender: male

Date Born: 1886

Date Died: 1921

Home Country/ies: Germany

Subject Area(s): Ancient Greek (culture or style), ceramic ware (visual works), ceramics (object genre), Greek pottery styles, painting (visual works), pottery (visual works), and vase

Overview

Scholar of Greek and Italic ceramic and wall painting. Pagenstecher studied in Berlin where he wrote his dissertation under Friedrich von Duhn in Berlin in 1909.

Selected Bibliography

[dissertation:] Die calenische Reliefkeramik. Heidelberg, 1909, also issued under the same title, Berlin: G. Reimer, 1909; Unteritalische Grabdenkmäler. Strassburg: Heitz & Mündel, 1912; “Dated Sepulchral Vases from Alexandria.” American Journal of Archaeology, second series, 13 (1909): 387-416; Niobiden. Heidelberg: C. Winter, 1910; Nekropolis: Untersuchungen über Gestalt und Entwicklung der alexandrinischen Grabanlagen und ihrer Malereien. Leipzig: Giesecke & Devrient, 1919.

Scholar of Greek and Italic ceramic and wall painting. Pagenstecher studied in Berlin where he wrote his dissertation under Friedrich von Duhn in Berlin in 1909.

Padtberg, Else

November 8, 2023March 29, 2024

Full Name: Padtberg, Else

Gender: female

Date Born: unknown

Date Died: unknown

Overview

Ph. D., dissertation an early one on contextual art history

Selected Bibliography

Die Beurteilung der Barock-Architektur: Ein Beitrag zur Geschichte der kunstgeschichtlichen Methode. Münster: 1927. Dissertation.

Sources

Dilly, 41 mentioned

Ph. D., dissertation an early one on contextual art history

Pächt, Otto

November 8, 2023March 29, 2024

Full Name: Pächt, Otto

Other Names:

Otto Pächt

Gender: male

Date Born: 07 September 1902

Date Died: 17 April 1988

Place Born: Vienna, Vienna state, Austria

Place Died: Vienna, Vienna state, Austria

Home Country/ies: Austria

Subject Area(s): Medieval (European)

Overview

Medievalist of the (second) Vienna School art historian. Pächt was a native Viennese. Robert Musil (1880-1942) and Oskar Kokoschka (1886-1980) were among his friends. He attended one of the ‘Humanistisches Staatsgymnasium’ in the city and in 1920 entered university in Vienna. Unlike his colleagues and the Germanic higher education model where students moved from university to university to attend classes, Pächt remained in Vienna except for one semester in Berlin (studying with Adolph Goldschmidt) and some contact with Wilhelm Pinder in Leipzig. His principal faculty in Vienna were the major forces in the so-called second or new “Vienna School” of art history: Max Dvořák, Karl Maria Swoboda whose assistant he was, and Julius Alwin von Schlosser, the latter supervising his dissertation on medieval painting in 1925. Pächt and his colleague, Hans Sedlmayr formed the nucleus of this generation of Vienna School theorists, reinventing the methodology of Aloïs Riegl to counter the prevailing art history trend of empirical attention to ‘facts’ such as iconography and social history. Pächt edited and revised a second edition of Riegl’s Spätrömischen Kunstindustrie in 1927. Between 1926-1930 he co-edited the new serial Kritische Berichte zur kunstgeschichtlichen Literatur and in 1931 and 1933 edited the first (and only) two issues of Kunstwissenschaftliche Forschungen, the vehicle for the theories of himself and Sedlmayr. His habilitationsschrift on the fifteenth-century painter Michael Pacher, was completed under August Grisebach in Heidelberg in 1932 and published in the Forschungen. It is a sterling example of the new Vienna School’s method of discerning a structure within the work which then becomes a window to the painter’s worldview. Pächt, a Jew, had his status as a privatdozent revoked when the Nazi’s came to power in Germany in 1933 and returned to Vienna. He broke with Sedlmayr, who had joined the Nazi party. In 1935 he accompanied Musil to the anti-fascist congress in Vienna for the defense of culture. Shortly before Austria’s annexation in 1938, Pächt accepted an invitation from George Joseph Furlong, director of the National Gallery of Ireland. Between 1937-1941 he researched at the Warburg Institute. As Britain entered World War II, Pächt was interned in 1940. That same year he married British subject Jeane Michalopulo. In England, Pächt cataloged manuscripts for the Bodleian Library, Oxford, and from 1945 was appointed honorary lecturer for medieval art at Oriel College, Oxford. In 1950 was made University Lecturer, 1952 senior lecturer. He spent the academic year 1956-1957 at the Institute for Advanced Study, Princeton, N. J., and subsequent years as a visiting professor at the Institute of Fine Arts, New York University, and as a Reader at Oxford. Pächt, however, never fully acclimated to the English-speaking scholarly community and never secured a permanent position in his expatriate lands. He returned to his native Vienna at the invitation of Otto Demus to be Professor at the University in 1963. From 1969 he headed the Department of Manuscripts of the Austrian national library. He was made emeritus of the university in 1972. Students he greatly influenced at Oxford included the British medievalist John Beckwith and Walter B. Cahn. In his lifetime, Pächt was little known outside the German-speaking scholarly world. His method, most clearly outlined in his Practice of Art History lectures, relied on the concept of Gestaltungsprinzip or the design principle revealing the structure of the work of art and social meaning intended by the artist. These structures could be as diverse as pictorial elements or figure/ground relationships. Pächt contrasted this view to the emphasis art historians of the medieval and renaissance art placed on iconography or patronage history. Pächt’s approach was well-suited to his topics of manuscript illumination and northern renaissance painting. He used Riegl’s notion that style is relative and subject to artistic intent. He argued that medieval art lacks the verisimilitude of either the classical period or the Renaissance largely because it intends to represent miracles of God rather than the rationality of the world. Pächt’s fight against the hegemony of iconographic studies was lifelong. His 1956 review of Panofsky’s Early Netherlandish Painting was infamous for the critique he placed at the feet of iconographers who practiced their craft with almost no resistance in the United States and England. An anti-romantic to the extreme, Pächt resisted the notion of artist as genius, even when his teachers such as Schlosser embraced it in their own writings. He criticized the work of Herbert Kühn as “impressionistic” and the methods of Max J. Friedländer. Likewise he chided what he saw as the “intuitive criticism,” of Wilhelm Fraenger and Heinrich Lützeler. Though he never forgave Sedlmayr for his participation in Nazism, he wrote toward the end of his life that Sedlmayr had contributed more to the methodology of art than anyone else in our time (Methodisches zur Kunstgeschichten Praxis). Pächt tended to be less reliant on documentary sources, placing a greater emphasis on stylistic criticism and structural analysis. Pächt’s colleagues and followers came to be referred to as the “New Viennese school.”

Selected Bibliography

[complete bibliography:] Pächt, Otto. The Practice of Art History: Reflections on Method. New York: Harvey Miller, 1999, p. 144-149; [dissertation] Das Verhältnis von Bild und Vorwurf in der mittelalterliche Entwicklung der Historiendarstellung. Vienna, 1925; [habilitation] Gestaltungsprinzipien der westlichen Malerei des 15. Jahrunderts. Heidelberg, 1932, published in abbreviated form: “Gestaltungsprinzipien der westlichen Malerei des 15. Jahrhunderts.” Kunstwissenschaftliche Forschungen 2 (1933): 75-100; “Panofsky’s ‘Early Netherlandish Painting'” Burlington Magazine 98 (1956), part I (April): 110-116, part II (August): 267-79; “Alois Riegl.” Burlington Magazine 105 (May 1963): 188-93; Methodisches zur Kunstgeschichten Praxis, ausgewählte Schriften. Munich: Prestel, 1977, translated in English as, The Practice of Art History: Reflections on Method. New York: Harvey Miller, 1999.

Sources

Schapiro, Meyer. “The New Viennese School.” Review of Kunstwissenschaftliche Forschungen II. Art Bulletin 18 no. 2 (June 1936): 258, 262-65; 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. 56 n. 119, n. 121; Fürst, Bruno. “Ein persönliches Vorwort”: 8-11. Kunsthistorische Forschungen: Otto Pächt zu seinem 70. Geburtstags. Salzburg: Residenz Verlag, 1972. [moderate information on Pächt as part of the Vienna School. (photo). Bibliography, 13-15.]; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 292-294; 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. 470-78; Wood, Christopher. “Introduction.” in, Pächt, Otto. The Practice of Art History: Reflections on Method. New York: Harvey Miller, 1999, pp. 9-18; Paecht-Archiv http://www.univie.ac.at/paecht-archiv/.

Pacheco, Francisco

November 8, 2023March 29, 2024

Full Name: Pacheco, Francisco

Gender: male

Date Born: 1564

Date Died: 1644

Place Born: Sanlúcar de Barrameda, Cádiz, Andalusia, Spain

Place Died: Seville, Andalusia, Spain

Home Country/ies: Spain

Subject Area(s): biography (general genre), painting (visual works), and Spanish (culture or style)

Overview

Painter, wrote an early biography of several artists influential for Spain. Pacheco was born to a presumably humble Andalusian family; he was raised by uncle, also named Francisco Pacheco, a canon of the Seville Cathedral. The young man assumed his more eminent uncle’s surname. After studying under the painter Luis Fernández ( fl 1542-1581) around 1580, he achieved master painter status by1585. From his uncle, Pacheco gained an appreciation for humanist studies, especially literature, and poetry in particular. He attended the tertulias (intellectual gatherings) where clerics and other educated people exchanged ideas on art and science. He received painting commissions from the Convento de la Merced beginning in 1600, today the Museo Provincial in Seville. He visited Madrid and the Escorial where he met artists including El Greco. At his return to Seville in 1611, he took the young Diego Velázquez on as a student. Velázquez married his daughter, Juana. Francisco Zurbarán and Alonso Cano were also students of his. As an artist, Pacheco’s adherence to the then largely discarded rules of Mannerism left him an undistinguished painter (Veliz), but his strict adherence to church convention made him an ideal arbiter of artistic policy. Pacheco was appointed Veedor del Oficio de Pintores in 1616 by the municipal government of Seville. Those same religious views gained him appointments with the [Spanish] Inquisition. The Inquisition Tribunal named him Veedor de Pintura Sagrada in 1618, whereby he inspected the art work of his colleagues in Seville. The city’s financial and cultural decline led to Pacheco to seek work in Madrid in 1624, but without success. During these years, Pacheco began writing a treatise on painting. His circle of humanist friends, who included the collector Fernando Enríquez de Ribera, 3rd Duque de Alcalá (1583-1637), the poet Francisco de Rioja (1583?-1659), the antiquarian and collector Rodrigo Caro (1573-1647), the Jesuit literati Juan de Pineda (1521-1599?) and the painter poet Juan de Jaureguí (c. 1566-1641), encouraged him. Like his painting, his writing style is labored and his topics disorganized. A synthetic work, drawing from the humanist circle of Seville as well as German, Flemish and Italian theoreticians, most notably Leon Batista Alberti and Giorgio Vasari. Pacheco’s main interest in writing was to produce a Spanish-language painting manual, but in this he was beaten in publication by Vicente Carducho (1576-1638), who published his De las Excelencias de la Pintura or Diálogos de la pintura in 1633. Nearly five years after Pacheco’s death, his writings were published as Arte de la pintura, su antiguedad, y grandezas. Organized as three books and an appendix, the work addresses antiquity and significance of painting, the theories of Renaissance writers, Leonardo, Alberti, Raphael and the Córdoban painter Pablo de Céspedes, whom Pacheco personally knew. The third book discusses correct practice of painting according to Pacheco, emphasizing the study of nature and the study of master artists. Pacheco’s appendix contains a copious repertory of iconographic standards for religious painting, a doctrinaire view fitting a church as a censor. Pacheco discusses three model artists of his time, Velázquez, Rubens, and Rómulo Cincinnato. It is this serious biographical discussion that qualifies him as an early art historian. His personal knowledge of Velázquez made his biographical material on the artist an important early source for later writers, such as the 1724 El Parnaso español pintoresco laureado of Acisclo Antonio Palomino de Castro y Velasco.

Selected Bibliography

Arte de la pintura, su antiguedad, y grandezas descrivense los hombres eminentes que ha auido en ella, assi antiguos como modernos [etc.]. Seville: Simon Faxardo, 1649, [Velázquez biography translated into English in] Lives of Velázquez. London: Pallas Athene, 2006.

Sources

Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 52, 56; Veliz, Zahira. “Introduction [to the Art of Painting].” Artists’ Techniques in Golden Age Spain: Six Treatises in Translation. New York: Cambridge University Press, 1986, pp. 31-33; Valdivieso, Enrique. Francisco Pacheco (1564-1644). Seville: Caja San Fernando, 1990; Fallay d’Este, Lauriane. L’art de la peinture: peinture et théorie à Séville au temps de Francisco Pacheco, 1564-1644. Paris: H. Champion, 2001; Jacobs, Michael. “Introduction.” Lives of Velázquez. London: Pallas Athene, 2006, pp. 7-16.

Pach, Walter

November 8, 2023March 29, 2024

Full Name: Pach, Walter

Gender: male

Date Born: 1883

Date Died: 1958

Place Born: New York, NY, USA

Place Died: New York, NY, USA

Home Country/ies: United States

Overview

Art author and artist. Pach attended the College of the City of New York, graduating in 1903. Pach’s father, Gotthelt Padi, and uncle were photographers during the early year of the Metropolitan Museum of Art and the family lived close to the museum. Throughout his life, Pach considered himself primarily a painter and worked hard to gain recognition in that area. He studied painting with William Merrit Chase (1849-1916) and drawing under Robert Henri (1865-1929). He traveled with Chase to Europe in the summers. There he met many of the major artists he would later write about, as well as collectors such as Leo (1872-1947) and Gertrude Stein (1874-1946). His first professional art exhibition was in 1905 at the Pennsylvania Academy [of Fine Arts]. In order to support himself in the United States, he wrote for newspapers and magazines. His first long article was “The Memoria of Velasquez,” published in Scribner’s Magazine in 1907. An article the following year on Cézanne, also published in Scribners, built a reputation for him as an analyzer of modern art. Cézanne was still not greatly appreciated at the time in the United States. Between the fall of 1910 and the beginning of 1913, Pach lived in Paris, painting at the Académie Ranson under the Nabis artists Paul Sérusier (1864-1927) and Maurice Denis (1870-1943). His European contacts made him an ideal intermediary for the Association of American Painters and Sculptors, then organizing the now famous Armory Show of 1913. Pach himself was responsible for selecting many of entries in the exhibition. He also wrote the pamphlets in the show on Odilon Redon, Marcel Duchamp, and Raymond Duchamp-Villon. After the Armory Show, he contributed art criticism to the journal The Modern School: A Monthly Magazine Devoted to Liberal Ideas in Education, a standard bearer for new art tastes. Pach’s facility with languages (he spoke Spanish, French, German, Italian and Dutch as the result of his summers in Europe) made him the ideal bridge between the continental avant garde and provincial United States. In 1916 he began one of his most popular writings on art, ironically a translation of another art historian’s work. Pach had known the French art historian Élie Faure since his days in Paris and had translated two of Faure’s works on Gauguin and Seurat in 1913. His translation and serial publication of Faure’s History of Art (1921-30) was an immediate success. The 1920’s were some of Pach’s most productive writing years. Pach returned to Paris in the summer of 1926 to conduct the first courses for Americans at the école du Louvre. Among his students were Dr. Claribel Cone (1864-1929), a Baltimore collector. Pach began advising her and other American collectors such as John Quinn (1870-1924) on the acquisition of modern art. Pach’s modernist agenda raised the ire of conservative historians and artists alike. In 1928, his book Ananias, or the False Artist appeared, attacking academic artists such as William-Adolphe Bouguereau, the portrait painter John Singer Sargent and popular artists such as Léon Bakst. Criticism from the traditional-art press was resounding, the artist Rockwell Kent writing one of the more scathing reviews. Although favorably reviewed by Roger Fry and Lewis Mumford, Pach left for Paris, perhaps in exile of Ananias‘s reception, and stayed there three years. In France, Pach researched and published a book on Ingres, which received the praise of Princeton art historian Frank Jewett Mather, Jr. Still, the experience with Ananias or perhaps the generally conservative stance of the art press resulted in Pach’s increasingly difficult personality. As money became more and more an issue for him, it was obvious that his attempts to secure a museum or academic appointment were useless. In 1938 he published his memories of artists, a book entitled Queer Thing, Painting. Neither the royalties from his publishing nor his painting was enough to generate income during the depression. With the help of Harvard art historian Paul J. Sachs he secured the temporary position of “Director General” of the Masterpieces of Art exhibition for the 1939 World’s Fair in New York. Pach’s skill at getting art loaned was again evident, especially when much of the loans from European collections had to be substituted at the last moment with the advent of World War II. After the World’s Fair assignment, Pach moved to Mexico in 1942 to live at a rate one-quarter that of the United States. During World War II he wrote The Art Museum in America, a survey of museums and their necessity for the country. It was published in 1948. Pach’s final years were devoted to running a commercial sales gallery in the B. Altman’s department store, beginning in 1952. Pach’s papers are held at the Archives of American Art. As an art historian, Pach’s work derives largely from his personal knowledge of the artists of whom he wrote. He was also influenced by the work of the modernist German art historian Julius Meier-Graefe. Pach’s 1908 article on Cézanne frames the artist within an evolutionary progression of art, a concept for modern art inspired by Meier-Graefe’s writings. This notion of modern art’s lineage is set forth most clearly in his final book, The Classical Tradition in Modern Art (1959). Pach relied on personal art intuition rather than formalist analysis, the dominant methodology at the time. Part of the objection raised by critics of Ananias was the understandable moral lecturing Pach adopted (likened by one reviewer, to that of Ruskin). Pach made use of written documents and other support evidence, for example, in his book on Ingres at a time when it was not common to do so among the popular art press.

Selected Bibliography

Translations into English by Pach: The Journal of Eugene Delacroix. New York: Covici, Friede, 1937; Faure, Elie. History of Art. 5 vols. New York: Harper & Brothers 1921-30; Leiris, Michel. The Prints of Joan Miro. New York: C. Valentin, 1947. Original Writings: Edited. Larrea, Juan. Guernica, Pablo Picasso. Introd. by Alfred H. Barr, Jr. New York: C. Valentin, 1947; Gros, Gericault, Delacroix: Loan Exhibition of Paintings and Drawings, November 21 to December 10, 1938, for the benefit of the Sauvegarde de l’art francais. New York: M. Knoedler and Company, 1938; and Lazare, Christopher; Wallis, Anne A.; Haviland, Marion; de Vries, Simonetta. Catalogue of European & American Paintings, 1500-1900. [from the exhibition] Masterpieces of Art, New York World’s Fair, May to October, 1940. New York: Art Aid Corporation, 1940; The Art Museum in America. New York: Pantheon, 1948; The Classical Tradition in Modern Art. New York: T. Yoseloff, 1959; The Masters of Modern Art. New York: Viking Press, 1929; Pierre Auguste Renoir. Library of Great Painters series. New York: H.N. Abrams, 1950; Ingres. New York: Harper & Brothers, 1939; Ananias, or the False Artist. New York: London, Harper & Brothers, 1928.

Sources

Perlman, Bennard B. American Artists, Authors, and Collectors : the Walter Pach Letters, 1906-1958. Albany: State University of New York Press, 2002; Queer Thing, Painting; Forty Years in the World of Art. New York and London: Harper & Brothers, 1938 [largely his recollection of other artists]; Phillips, Sandra S. “The Art Criticism of Walter Pach.” Art Bulletin 65 no 1 (March 1983): 106-21; [obituary] Arts Magazine 33 (January 1959): 13.

Paatz, Walter

November 8, 2023March 29, 2024

Full Name: Paatz, Walter

Gender: male

Date Born: 1902

Date Died: 1978

Place Born: Bruges, West Flanders, Belgium

Place Died: Heidelberg, Saxony, Germany

Home Country/ies: Germany

Overview

Adolph Goldschmidt student in Berlin. August Grisebach preplaced him at Heidelberg in 1947

Sources

KMP, 46 mentioned; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 289-92.

Adolph Goldschmidt student in Berlin. August Grisebach preplaced him at Heidelberg in 1947

Ozinga, Murk Daniël

November 8, 2023March 29, 2024

Full Name: Ozinga, Murk Daniël

Other Names:

Murk Daniël Ozinga

Gender: male

Date Born: 1902

Date Died: 1968

Place Born: Pernis, South Holland, Netherlands

Place Died: Utrecht, Netherlands

Home Country/ies: Netherlands

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

Overview

Professor of Architecture at Utrecht University. Ozinga was the son of a minister. He attended the Gymnasium at Schiedam and studied Law and history at Leiden University, 1920-24. He decided to specialize in History of Art, particularly Architectural history. At Leiden, under Wilhelm Martin he completed his dissertation in 1929 on the subject of Protestant churches: Protestantsche kerken hier te lande gesticht, 1596-1793. Martin had secured an appointment at the Rijksbureau voor de Monumentenzorg in 1926, charged with the task of describing historical monuments. In 1947, he became the head of the Description Department. Throughout his career, he was devoted to the preservation of all kinds of monuments. He contributed to the series Voorlopige lijst der Nederlandsche Monumenten van Geschiedenis en Kunst, succeeded by the Nederlandse Monumenten van Geschiedenis en Kunst: Geïllustreerde Beschrijving, and the Kunstreisboek voor Nederland. From 1932 onwards he was one of the editors of the Oudheidkundig Jaarboek and the Bulletin van de Koninklijke Nederlandse Oudheidkundige Bond. Between 1930 and 1947 he wrote a number of entries for the Allgemeines Lexikon der bildenden Künstler by Ulrich Thieme and Felix Becker. Much of his research focused on the life of the artist Daniël Marot, a French designer of ornaments, interior decorator and architect, who settled in the Netherlands as a Protestant refugee around 1685, and created in Dutch architecture a variant of the Louis XIV-style. His monograph on Marot appeared in 1938 and won the Wijnaendts Francken-award of the Maatschappij der Nederlandse Letterkunde. In 1938 Nikolaus Bernard Leon Pevsner reviewed this work, along with his book on Protestant churches and his account of the general history of architecture in Holland during the seventeenth and eighteenth centuries in Kunstgeschiedenis der Nederlanden, edited by H. E. Van Gelder in 1936. In this Burlington Magazine review Pevsner observed: “It is a great pity that almost all Dr. Ozinga’s writings have been brought out in Dutch only. Thus the results of twelve years of patient and successful research into a subject of considerable bearing upon the history of architecture in England have remained unnoticed over here”. In 1947, Ozinga obtained an extraordinarius professorship of Architecture at the Institute of Art History at Utrecht University. His inaugural lecture: Mythe en ratio in de verklaring der middeleeuwse architectuurgeschiedenis (1948) reflected his interest in medieval architecture. In 1949 he published De romaanse kerkelijke bouwkunst, followed in 1953 by De gothische kerkelijke bouwkunst. In these two richly illustrated books in the series “De schoonheid van ons land” Ozinga gives an overview of Romanesque and Gothic churches in The Netherlands, providing descriptions based on direct observations and, where available, on archival research. He also insisted that his students should be confronted with monuments in situ, and therefore he frequently organized excursions. He traveled widely, including the United States and the Caribbean. In Curaçao he investigated Dutch colonial architecture, which resulted, in 1959, in the publication: De monumenten van Curaçao in woord en beeld. He was very committed to the preservation of monuments in the Dutch Caribbeans and in Suriname. He relinquished his position at the Rijksdienst in 1958 when he became a full professor at Utrecht University, but he continued working in the preservation field as a member of the Monumentenraad (Council for Monuments) as well as several other organizations, including the Koninklijke Nederlandse Oudheidkundige Bond. He suddenly died in 1968 shortly after his retirement.

Selected Bibliography

Protestantsche kerken hier te lande gesticht, 1596-1793: onderzoek naar hun bouw- en ontwikkelingsgeschiedenis. Dissertation. Amsterdam: H.J. Paris, 1929. Also published as: De Protestantsche Kerkenbouw in Nederland van Hervorming tot Franschen Tijd. Amsterdam: H.J. Paris, 1929; Daniël Marot. De Schepper van den Hollandschen Lodewijk XIV-stijl. Amsterdam,: H.J. Paris, 1938; Mythe en ratio in de verklaring der middeleeuwse architectuurgeschiedenis (inaugural lecture) Utrecht, 1948; De romaanse kerkelijke bouwkunst (De schoonheid van ons land, 4) Amsterdam: Contact, 1949; De gothische kerkelijke bouwkunst. Met medewerking van R. Meischke (De schoonheid van ons land, 12) Amsterdam: Contact, 1953; De monumenten van Curaçao in woord en beeld. Willemstad: Stichting Monumentenzorg Curaçao, 1959.For a complete bibliography (until 1962) see: Heckscher W.S. en Langedijk, Karla “Bibliografie van de geschriften van M.D. Ozinga tot het eind van het jaar 1962” in Opus Musivum, mentioned above: 475-501.

Sources

Heckscher, W.S. “Murk Daniel Ozinga. Een biografische schets vooraf” in Opus Musivum. Een bundel studies aangeboden aan Professor Doctor M.D. Ozinga ter gelegenheid van zijn zestigste verjaardag op 10 november 1962. Assen: Van Gorcum, 1964: 469-473; Singelenberg, P. “Murk Daniël Ozinga als onderzoeker” Simiolus 2 (1967-1968): 114-116; Braat, W.C. “Enkele herinneringen aan Murk Daniël Ozinga. 10 november 1902- 21 mei 1958” (read: 1968) Nieuwsbulletin van de Koninklijke Nederlandse Oudheidkundige Bond (1968): 59-60; Meischke, R. “M.D. Ozinga, fel strijder voor onze monumenten” in Nieuwe Rotterdamsche Courant, 8-6-1968. Wekelijks bijvoegsel, 9.; Storm van Leeuwen, J. “Ozinga, Murk Daniël” in J. Charité (ed.) Biografisch woordenboek van Nederland 3. The Hague, 1989; Bosman, L. “De oratie van M.D. Ozinga (1948), het ontstaan van de gotiek en het probleem van stijlperioden” Bulletin van de Koninklijke Nederlandse Oudheidkundige Bond 95 (1996): 1-11; Bosman, L. “De geschiedenis van de Nederlandse architectuurgeschiedenis: middeleeuwse bouwkunst” in Hecht, Peter; Hoogenboom, Annemieke; Stolwijk, Chris (eds.) Kunstgeschiedenis in Nederland. Negen opstellen. Amsterdam: Prometheus, 1998: 63-87.Festschrift: Opus Musivum. Een bundel studies aangeboden aan Professor Doctor M.D. Ozinga ter gelegenheid van zijn zestigste verjaardag op 10 november 1962. Assen: Van Gorcum, 1964

Contributors: Monique Daniels

Oxenaar, Rudi

November 8, 2023March 29, 2024

Full Name: Oxenaar, Rudi

Other Names:

Rudi Oxenaar

Gender: male

Date Born: 1925

Date Died: 14 December 2005

Place Died: Arnhem, Gelderlands, Netherlands

Home Country/ies: Netherlands

Overview

Director Museum Kröller-Müller, 1963-1990. Oxenaar studied art history at Leiden University under Henri Van de Waal. In the 1950s Oxenaar held the position of research assistant at the Municipal Museum of The Hague. In 1958-59 he contributed on modern sculpture to the Winkler Prins van de Kunst encyclopedia, edited by W. R. Juynboll and V. Denis. In 1963, Oxenaar succeeded Abraham Marie Wilhelmus Jacobus Hammacher as director of the Rijksmuseum Kröller-Müller in Otterlo. In Hammacher’s footsteps he continued to broaden the sculpture collection in and around the museum. In 1965, the sculpture garden was enriched with the Rietveld Pavilion, which was originally designed by the Dutch architect Gerrit Rietveld (1888-1964), in 1955, for the third international Open-air Sculpture Exhibition in Sonsbeek Park, Arnhem. After its relocation to Kröller-Müller, the pavilion opened with a retrospective exhibition of Barbara Hepworth. Oxenaar added, in 1965 and 1967, eight sculptures by Hepworth to the permanent collection. He also acquired works of other British sculptors, such as Henry Moore, Henri Gaudier-Brzeska, Anthony Caro and Philip King. A spectacular purchase was Dubuffet’s Jardin d’émail, which was constructed, in 1974, in the sculpture garden. In 1976 Oxenaar earned his doctor’s degree from Utrecht University with a dissertation on the painter Bart van der Leck, a member of De Stijlmovement, Bart van der Leck tot 1920. Een primitief van de nieuwe tijd. In the same year the museum organized a retrospective of the work of van der Leck, Bart van der Leck (1876-1958). Between 1970 and 1977 Oxenaar played an active role in the realization of the new extension to the museum, designed by Wim Quist (b. 1930). It opened in 1977. The sober architecture of this extension creates a harmonious unity with the sculpture garden and the surrounding nature. In the 1970s and 1980s Oxenaar purchased works of some younger British sculptors, including Richard Long and Anish Kapoor. He had a particular interest in Minimal Art artists, such as Don Judd, Robert Morris, Sol LeWitt, and Dan Flavin. From 1979 onwards he built up the Arte Povera collection of the museum, purchasing works by Mario Merz and others. From the mid-eighties Oxenaar privately began collecting picture books, developing the children’s book collection of his late wife, Thil Oxenaar-van der Haagen. In 1990 Oxenaar was succeeded by Evert van Straaten. After his retirement, Oxenaar kept an ongoing interest in what happened in the museum. He also was actively involved in the establishment of the De Pont Museum of Contemporary Art in Tilburg. In 2007, two years after his death, this museum honored its former board member with the presentation “Picture Books from the Collection of Rudi Oxenaar.”

Selected Bibliography

[dissertation] Bart van der Leck tot 1920. Een primitief van de nieuwe tijd. Rijksuniversiteit Utrecht, published, The Hague: Interprint Sneldruk, 1976; De schilderkunst van onze tijd. Zeist: De Haan, 1958; “Barbara Hepworth and the Rijksmuseum Kröller-Müller.” Barbara Hepworth. The Tate Gallery, 3 April-19 May 1968. London: Tate gallery, 1968, pp. 48-49; Dubuffet, Jardin d‘émail. Otterlo: Rijksmuseum Kröller-Müller, 1974;; Tentenprojekt, Cornelius Rogge. Otterlo: Rijksmuseum Kröller Müller, 1976; and others Kröller-Müller: honderd jaar bouwen en verzamelen. Haarlem: Joh. Enschedé, 1988, English: The First Hundred Years. Haarlem: Joh. Enschedé, 1989.

Sources

Stegeman, Elly. “Oxenaar in Kröller-Müller.” Kunst & Museumjournaal 2, 3 (1990): 50-60; [obituaries]: “Oud-directeur Oxenaar Kröller-Müller overleden” Apeldoornse Courant December 16, 2005; Reith, Maarten. “Levensloop Rudi Oxenaar – Een pionier in het Kröller Müller Museum.” De Gelderlander December 16, 2005; Schoonenboom, Merlijn. “Sobere kunsthistoricus met lef” Volkskrant December 16, 2005.

Contributors: Monique Daniels

Owenson, Sydney J.

November 8, 2023March 29, 2024

Full Name: Owenson, Sydney J.

Other Names:

Lady Morgan

Gender: female

Date Born: c. 1776

Date Died: 1859

Place Born: Dublin, Ireland

Place Died: London, Greater London, England, UK

Home Country/ies: Ireland

Subject Area(s): biography (general genre)

Career(s): art historians, authors, biographers, and novelists

Overview

Novelist and author of a biography of Salvator Rosa. Owenson was named for her paternal grandmother, Sydney Crofton Bell, disowned by her family after eloping with a farmer. Owenson’s father, Robert MacOwen (1744 – 1812), an actor, Anglicized his name to Owenson and married Jane Hill (d.1789). Their daughter, Sydney Owenson, learned narrative, language, folklore, and music from her actor father. After her mother died in 1789, she and her younger sister were sent to Madame Terson’s boarding school in Dublin, a Huguenot (Protestant) academy, and Mrs. Anderson’s finishing school. Owenson found a job as a governess and began write poetry and tales for pleasure. In 1801 her Poems were published followed by her first novel in1802/1803. Thus began a career of gothic-romance novels based on national pride and titillating (for the time) detail. In 1801 the British Parliament had passed the Act of Union making Ireland a province of the United Kingdom. Owenson’s novels built upon an Irish sense of nation, not through logic, but by weaving a romantic vision of an indigenous people. Owenson gave up governnessing, returned to Dublin and became a fashionable literary society person. She negotiated the sale of her manuscript in England, unusual for a woman, eventually published by Richard Phillips, the publisher of Thomas Paine’s 1791 Rights of Man. Her novel The Wild Irish Girl: A National Tale, perhaps her most famous novel, appeared in 1806. She also published versions of old Irish songs and a collection of folk music, Twelve Original Hibernian Melodies, with English Words, Imitated and Translated, from the Works of the Ancient Irish Bards in 1805. Owenson wrote the libretto for a popular musical comedy in 1807. In 1809, her fourth novel, Woman; or Ida of Athens, appeared. That year, too, she joined the household of the marquis of Abercorn, which allowed her contact with the rich and famous. The Missionary-An Indian Tale (1811) was one of the first novels to employ Orientalism as a theme. Owenson married Abercrom’s physician, the recently knighted Thomas Charles Morgan (1783-1843) in 1812, and became “Lady Morgan.” Morgan himself was forced to retire from practice after an 1818 book, Sketches of the Philosophy of Life, adumbrated Darwinian evolution. Owenson’s publisher, Henry Colburn (d. 1855), sent the couple to France following Napoleon’s defeat at Waterloo in 1815 for travel and research on a book to encourage British tourists back to that country. She published a two-volume travelogue on France in 1817. Colburn commissioned a similar volume on Italy, which appeared in 1821. Owenson used the Italian travel opportunity to research and publish a work of art history, a biography of the baroque painter Salvator Rosa. This appeared in 1824, but the book was poorly received. A German translation appeared the same year. Another “nationalistic tale,” The O’Briens and the O’Flahertys (1827) and The Book of the Boudoir (1829), a collection of essays followed. She was awarded a literary pension of three hundred pounds per year beginning in 1837 from British government and the couple returned to London. In her later years her eyesight failed. Woman and Her Master of 1840 was the first in what she hoped would be a series on women’s contributions to history. Her husband died in 1843. Owenson revised her Rosa book, issuing a second edition in 1855. Her autobiography Passages from My Autobiography was completed in 1859 shortly before her death. Owenson’s novels incorporate the travelogue, history, ethnology, and literature in the vein of Sir Walter Scott. She was one of the most successful female authors of the nineteenth century and the first English author to write a book on Rosa. Her treatment of Rosa is a novel written along factual lines, with an emphasis on unsubstantiated anecdotes, overly expanded, and according to her own admission, a scant knowledge of the actual paintings. However, as a work of romantic art history, her biography “rises above historical inaccuracies” (Sutherland).

Selected Bibliography

[omitting works of fiction] Twelve Original Hibernian Melodies, with English Words, Imitated and Translated, from the Works of the Ancient Irish Bards. London: Preston, 1805; The Life and Times of Salvator Rosa. 2 vols. London: H. Colburn, 1824, and Morgan, T. Charles. France. London: H. Colburn, 1817; and Morgan, T. Charles. Italy. London: H. Colburn, 1824.

Sources

Fitzpatrick, William J. Lady Morgan: Her Career, Literary and Personal [sic] with a Glimpse of her Friends, and a Word to her Calumniators. London: C. J. Skeet, 1860; Stevenson, Lionel. The Wild Irish Girl: the Life of Sydney Owenson, Lady Morgan (1776-1859). London: Chapman & Hall, 1936; Dixon, W. H., ed. Lady Morgan’s Memoirs: Autobiography, Diaries and Correspondence. 2 vols. London, 1862; [Review of The Life and Times of Salvator Rosa]. [Hazlitt, William.] Edinburgh Review 40 (1824): 316-49; Sutherland, John. “The Legend and Influence of Salvator Rosa in England in the Eighteenth Century.” Burlington Magazine 115 no. 849 (December 1973): 785-789.

Overbeck, Johannes

November 8, 2023March 29, 2024

Full Name: Overbeck, Johannes

Gender: male

Date Born: 1826

Date Died: 1895

Place Born: Antwerp, Flanders, Belgium

Place Died: Leipzig, Saxony, Germany

Home Country/ies: Germany

Overview

Early historian to use written documents to support art research (e.g., Die antiken Schriftquellen). Overbeck studied at the university in Bonn under Friedrich Gottlieb Welcker. Overbeck’s early work was on Pompeii. His monograph on the subject, first appearing in 1856 (and subsequently appearing in four later editions), was the inspiration for the fuller monograph by August Mau. In 1858 Overbeck was named Ordinarius (professor) at the university in Leipzig. He remained at Leipzig for the rest of his life. Throughout his career, he concentrated on publishing corpora (or inventories) of art. His Griechische Kunstmythologie, a corpus of mythological representations in Greek art, began in 1871. It remained uncompleted at his death, in five parts (three volumes). He also was highly interested in the written documentation of classical art. Die Antiken Schriftquellen zur Geschichte appeared beginning in 1868. It drew from sources taken from De pictura veterum (1637) of Franciscus Junius. Overbeck’s source documentation was the precursor to many others, including that of Julius Alwin von Schlosser. He died late in 1895 and was succeeded by Franz Studniczka. In addition to his scholarship, Overbeck was a devoted teacher and molded some of the most important classical art scholars of the next generation. These included Georg Loeschcke, Adolf Furtwängler, Paul Arndt, Adolf Michaelis and Theodor Schreiber. The American Lucy Myers Mitchell was inspired by his lectures to study ancient art.

Selected Bibliography

Die antiken Schriftquellen zur Geschichte der bildenden Künste bei den Griechen. Leipzig: W. Engelmann, 1868. Geschichte der griechischen Plastik. Leipzig: J. C. Hinrichs, 1857-58; Pompeji in seinen gebäuden, alterthümern und kunstwerken, für kunst- und alterthumsfreunde. Leipzig: W. Engelmann, 1856; Griechische Kunstmythologie. 3 vols. [Original plan called for vol. 1 to be the “Allgemeiner Theil,” but it was never issued.] Leipzig, W. Engelmann, 1871-89, [incomplete].

Sources

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. 32; Archëologenbildnisse: Porträts und Kurzbiographien von Klassichen Archëologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 51-52; “Overbeck, Johannes.” Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 2, pp. 834-5.

Contributors: Lee Sorensen

Early historian to use written documents to support art research (e.g., Die antiken Schriftquellen). Overbeck studied at the university in Bonn under Friedrich Gottlieb Welcker. Overbeck’s early work was on Pompeii

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