Art Historians

Norton, Richard

November 8, 2023March 29, 2024

Full Name: Norton, Richard

Other Names:

Richard Norton

Gender: male

Date Born: 1872

Date Died: 1918

Place Born: Dresden, Saxony, Germany

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

Home Country/ies: United States

Subject Area(s): archaeology, Baroque, and Classical

Institution(s): American School of Classical Studies

Overview

Archaeologist and amateur baroque-art scholar. Norton was the son of Charles Eliot Norton, the Harvard art historian, and Susan Ridley Sedgwick (Norton), who died giving birth to him. He graduated from Harvard University in 1892 and continued study in Germany, attending the courses of Adolf Furtwängler on Greek sculpture, and at the American School of Classical Studies, Athens. An early study of Greek grave reliefs appeared in the Harvard Studies in Classical Philology. He was appointed the first lecturer in Greek art at the School, and in 1899, director of the program, which he held until 1907. He returned to Boston where he married the Boston socialite Edith White (they divorced in 1910) and acted as European art expert for the Boston Museum of Fine Arts. In 1903 he traveled to central Asia to conduct field research as part of the Pumpelly Expedition. In 1910 Norton led the dig in the former Greco-Roman outpost of Cyrene, Libya for the Academy, along with Joseph Clark Hoppin and others. The expedition was beset with problems; Norton was nearly assinated by anti-American agitators (his assistant director was killed) and a war erupted between Turkey and Italy, forcing the abandonment of the project. At the outbreak of World War I, Norton traveled to France were he witnessed the (first) battle of the Marne. Appalled at the poor transportation of wounded soldiers, he organized the American Volunteer Motor Ambulance Corps, known locally as “Norton’s Corps.” It merged with the H. H. Harjes ambulance unit of the French army. In 1917 it was absorbed by the United States army with American entrance into the war. Norton then worked for American Naval Intelligence in France. He contracted meningitis in 1918 in Paris and died shortly there after.

Selected Bibliography

[collected writings:] Bernini, and Other Studies in the History of Art. New York: The Macmillan Company, 1914; Catalogue of the Corbett Collection of Casts from Greek and Roman Sculpture. Portland, OR: The Portland Art Association, 1897; “The Boston Counterpart of the Ludovisi Throne.” Journal of Hellenic Studies 34 (1914): 66-75 [Reply to article with same title of E. A. Gardner in v. 33]; [contributor] Waldstein, Charles. The Argive Heraeum. 2 vols. Boston: Houghton Mifflin, 1902-05; Greek Grave-Reliefs. Harvard Studies in Classical Philology. Boston: Ginn & co, 1897.

Sources

[obituaries:] Kelsey, Francis W. “Richard Norton.” Art and Archaeology 8 (1919): 329-335; “Prof. R. Norton is Dead in Paris, Organizer and Head of American Ambulance Corps a Victim of Meningitis.” New York Times August 4, 1918, p. 19; Sheftel, Phoebe S. “Archaeological Institute of America.” Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 1, p. 62;

Contributors: Lee Sorensen

Norton, Charles Eliot

November 8, 2023March 29, 2024

Full Name: Norton, Charles Eliot

Gender: male

Date Born: 1827

Date Died: 1908

Place Born: Cambridge, Cambridgeshire, England, UK

Place Died: Cambridge, Middlesex, MA, USA

Home Country/ies: United States

Subject Area(s): Medieval (European)

Institution(s): Harvard University

Overview

First Professor of Fine Arts, Harvard University; influential mentor for a generation of art historians. Norton was born to a wealthy Boston family with strong intellectual interests. His father, Andrews Norton (1786-1853), was a Unitarian theologian and professor of sacred literature at Harvard. The younger Norton attended Harvard University, graduating with an A. B. in 1846. After college he toured India and Europe, particularly England between 1849-51. With his various attempts at business a failure, he returned to Europe in 1855, remaining there until 1857. In Switzerland, Norton met John Ruskin, the art critic and historian whose writings deeply affected him. Norton returned to focus on writing and literature. He edited the North American Review between 1864-68 and co-founded The Nation in 1865. His articles at this time demonstrated both a knowledge in art history and archaeology as well as literature. In 1859 he published his Notes of Study and Travel in Italy largely an art-historical travelogue of that country. In 1862 he married Susan Ridley Sedgwick. The Nortons made a trip to Europe in 1868, stopping in England, where his interests in architectural history and enthusiasm for Britain heightened, and then Italy in 1869 before finally settling in Dresden in 1871. In 1872, his wife died in childbirth and a shattered Norton wended his way back to the United States (via England). His cousin, Harvard University President Charles W. Eliot (1834-1926) appointed Norton to be the first lecturer of Fine Arts at Harvard in 1873. On years of even date, he delivered a weekly lecture on Dante; on years of odd date, on the Italian medieval church. A dynamic lecturer though little interested in scholarship, Norton influenced some of the greatest American art historians of the next generation as well as advised the Boston collector Isabella Steward Gardner. He organized an 1874 exhibition devoted to the work of J. M. W. Turner. Classical interests always high with Norton, he founded the Archaeological Institute of America, whose first local society was in Boston, in 1879. A short while later he founded the American Academy in Rome. In 1880, he issued his Historical Studies of Church Building in the Middle Ages. Norton employed a moral interpretation of art history, fuelled by a romantic vision of the middle ages and a disillusion with late-19th century industrialism. His most popular course at Harvard was “The History of the Fine Arts as Connected with Literature.” His collected Harvard lectures, published in 1891 as History of Ancient Art, belie the debt to Ruskin’s Oxford lectures on beauty as a source for moral uprightness. Norton was the literary executor for Ruskin as well as Thomas Carlyle (1795-1881). As a man of letters, Norton maintained a correspondence with many of the later 19th-century authors, including Charles Dickens, Matthew Arnold, Charles Darwin, Robert Browning and Ralph Waldo Emerson. His cottage in Ashfield in the Massachusetts Berkshires as well as Shady Hill, his home in Cambridge (Massachusetts) were the meeting place for many intellectuals and discussions. In 1898 he retired from Harvard. At Ruskin’s death in 1900, Norton became his literary executor. A Charles Eliot Norton Professorship of Poetry (a distinguished visiting professorship in the Faculty of Arts) at Harvard was established in 1925. Norton never supervised a doctoral dissertation, wary of the professionalization of the discipline. Harvard-trained art historians influenced by his teaching included Bernard Berenson, Edward Waldo Forbes, Paul J. Sachs, and Rathfon Post among many others. His son, Richard Norton, was an archaeologist and art historian as well. Methodologically, Norton followed a connoisseurship mode of art history, prevalent among the Italo-Anglo and art historians, eschewing German methods of art as a historical phenomenon. Like many English-speaking art scholars, he was deeply affected by the writings of Ruskin whom he knew personally from his trips to England, and whose writing he promoted in America. Norton’s lectures and writing focused on Italian art and civilization, paralleling the aesthetics of Ruskin and the Pre-Raphaelites, which linked esthetic purity to social reform. In Church Building in the Middle Ages he suggested that spiritual values, such as those embodied in the middle ages, led to the creation of fine art while materialism, such as that of his own age, poisoned it. Democracy, he mused may be incompatible with a “healthy culture.” His Ruskin-sentimentalist views did not prevent him from championing modern technology, especially the mass reproduction of art. Unashamedly subjective, his influence rests largely on the scholars he encouraged rather than his own writings.

Selected Bibliography

Letters of Charles Eliot Norton. Boston: Houghton Mifflin, 1913; List of the Principal Books Relating to the Life and Works of Michel Angelo. Cambridge, MA: Press of J. Wilson and Son, 1879; and Ruskin, John. The Correspondence of John Ruskin and Charles Eliot Norton. New York: Cambridge University Press, 1987; and Ruskin, John. Letters of John Ruskin to Charles Eliot Norton. 2 vols. Boston: Houghton, Mifflin and Company, 1905; [exhibition curated], Ruskin, John. Notes on Drawings. Cambridge: University Press, John Wilson and son, 1879; Historical Studies of Church-building in the Middle Ages: Venice, Siena, Florence. New York: Harper & Brothers, 1880; Notes of Travel and Study in Italy. Boston: Houghton, Mifflin and Company 1859; Brown, Harry Fletcher, and Wiggin, William Harrison, eds. History of Ancient Art. Boston: A. Mudge & Son, 1891.

Sources

Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, p. 540; Calder, William M. “Charles Eliot Norton.” Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 2, p. 812; Vanderbilt, Kermit. Charles Eliot Norton: Apostle of Culture in a Democracy. Cambridge, MA: Belknap Press, 1959; Turner, James. The Liberal Education of Charles Eliot Norton. Baltimore: Johns Hopkins University Press, 1999; Norton, Sara, and Howe, Mark Antony DeWolfe, eds. Letters of Charles Eliot Norton, with Biographical Comment by his Daughter. Boston: Houghton Mifflin, 1913; [obituary] “Dr. C. Eliot Norton Dies in Cambridge.” New York Times October 21, 1908, p. 1.

Contributors: Lee Sorensen

Norman, Davey

November 8, 2023March 29, 2024

Full Name: Norman, Davey

Gender: male

Date Born: 1900

Home Country/ies: United Kingdom

Subject Area(s): ancient, painting (visual works), and Roman (ancient Italian culture or period)

Overview

Scholar on ancient Roman painting.

Selected Bibliography

and Ling, Roger. Wall-Painting in Roman Britain. Gloucester: Sutton, 1982;

Scholar on ancient Roman painting.

Nordström, Folke

November 8, 2023March 29, 2024

Full Name: Nordström, Folke

Other Names:

Folke Nordström

Gender: male

Date Born: unknown

Date Died: unknown

Home Country/ies: Sweden

Subject Area(s): Medieval (European) and Spanish (culture or style)

Overview

Medievalist; wrote a significant study on Goya. Nordröm was the first to note a mysterious shadow at the back of Goya’s Third of May, 1808 and hypothesize it to represent a representation of a deity.

Selected Bibliography

Mediaeval Baptismal Fonts: an Iconographical Study. Stockholm: Almqvist & Wiksell International, 1984; The Auxerre Reliefs: a Harbinger of the Renaissance in France During the Reign of Philip le Bel. Uppsala: Almqvist & Wiksell International, 1974; Goya, Saturn, and Melancholy: Studies in the Art of Goya. Stockholm: Almqvist & Wiksell, 1962; Virtues and Vices on the 14th Century Corbels in the Choir of Uppsala Cathedral. Stockholm: Almqvist & Wiksell, 1956.

Nordenfalk, Carl

November 8, 2023March 29, 2024

Full Name: Nordenfalk, Carl

Other Names:

Carl Nordernfalk

Gender: male

Date Born: 13 December 1907

Date Died: 13 June 1992

Place Born: Stockholm, Sweden

Place Died: Stockholm, Sweden

Home Country/ies: Sweden

Subject Area(s): Medieval (European) and Modern (style or period)

Career(s): curators

Overview

Medievalist with interests in modern areas, especially van Gogh; museum curator. Nordenfalk studied at the university in Uppsala between 1926-1928 and Göteborg University 1928-1929 for his doctorate. He was appointed assistant curator at the museum in Göteborg, Sweden in 1935. Several articles on Insular (British Isles) illumination appeared in the early and mid 1930s. His Ph.D. was awarded in 1938 with a dissertation topic on illuminated manuscript canon tables, decorated borders surrounding Gospel concordences constructed by Eusebius of Ceasarea. He developed an early and strong friendship with the British medievalist Francis Wormald. In 1944 he moved to the Nationalmuseum, Stockholm, in charge of loans, exhibitions and education. Like a number of art historians outside the modern field, the work of van Gogh held a particular fascination for him. His 1946 on the artist was translated into multiple European languages and, eventually, in English in 1953. In 1949 he was promoted to the department of painting and sculpture. At the nomination of Erwin Panofsky, Nordenfalk spent a year at the Institute for Advanced Study, Princeton, 1949-1950. A 1950 article on the Ottonian illuminator Meister der Regristrum Gregorii (fl. 970-980) was a model of stylistic analysis of the spatial construction of the leaves (owing to the artist’s name), according to Morgan Library scholar Jonathan J. G. Alexander. Nordenfalk and André Grabar wrote the volumes in the Skira (publishers) series on early medieval art, published in English in 1957 and 1958. Nordenfalk rose to director of the Nationalmuseum in 1958. As director he oversaw several important shows for the museum, including the Queen Christiana of Sweden exhibition of 1966. He retired in 1968, spending a second term at the Institute for Advanced Study, 1968-1970. The result was his 1970 book on illuminated initials which both broke new ground and disputed paleographic findings (Alexander). In the United States he taught as guest professor at the University California, Berkelely, 1971-1972 and at the University of Pittsburgh, 1971-1976, interrupted by the 1972-1973 year as both Slade professor at Cambridge, UK and Kress Professor in residence at the National Gallery of Art, Washington DC. His Celtic and Anglo-Saxon Painting, 1976 brought another underpublished subject to English readers with intelligence and economy. He furthered taught at University of California, Los Angeles 1977-1978 and was a fellow at the National Humanities Center, North Carolina, 1980-1982. Nordenfalk returned to Sweden. His wife, Cecilia, died in 1991. Nordenfalk possessed an excellent narrative style taking somewhat dry topics and turning them into engaging discussions by, among other things, describing the search for evidence (Alexander). His English-translations of manuscript painting were the finest and most accessible in the language for many years. Nordenfalk’s research emphasized Celtic influences in Insular illumination over Northumbian influence, felt to be the predominent origin at the time. His dissertation became the standard work on canonical typologies of Gospel illumination (Williams). He also emphasized this style’s contribution to continental illumination. His colleagues and friends Hugo Buchthal of the Warburg Institute and Otto Pächt of Oxford (later Vienna). Most unique, however, were his numerous forays into the art periods of the Baroque (Rembrandt) and the modern era (van Gogh).

Selected Bibliography

[disseration:] Die spätantiken Kanontafeln: kunstgeschichtliche Studien über die eusebianische Evangelien-konkordanz in den vier ersten Jahrhunderten ihrer Geschichte. Göteborg: O. Isacsons boktryckeri a.-b., 1938; [complete bibliography:] Bjurström, Per, and Hökby, Nils-Göran, and Mütherich, Florentine, eds. Florilegium in honorem Carl Nordenfalk octogenarii contextum . Stockholm: Nationalmuseum, 1987; Vincent van Gogh: en livsväg. Stockholm: P.A. Norstedt, 1946, English, The Life and Work of van Gogh. New York: Philosophical Library, 1953; and Grabar, André. Le haut moyen âge, du quatrième au onzième siècle. Geneva: Skira, 1957, English, Early Medieval Painting from the Fourth to the Eleventh Century. New York: Skira, 1957; and Grabar, André. La peinture romane du onzième au treizième siècle. Geneva: Skira, 1958, English, Romanesque Painting from the Eleventh to the Thirteenth Century. New York: Skira, 1958; Die spätantiken Zierbuchstaben. Stockholm: [privately printed, distributed by Egnellska boktr.], 1970;Celtic and Anglo-Saxon Painting: Book Illumination in the British Isles, 600-800. New York: G. Braziller, 1977; “Art History–The American Way.” in Bauer, Göran, and Kastrup, Allan, eds. Partners in Progress: a Chapter in the American-Swedish Exchange of Knowledge: Essays. Sumner, MD: Swedish Council of America, 1977, pp. 147-164; The Batavians’ Oath of Allegiance: Rembrant’s Only Monumental Painting. Stockholm: Nationalmuseum, 1983.

Sources

The International Who’s Who. 55th ed. London: Europa Publications, 1991; [obituaries:] Alexander, Jonathan J. G. “Carl Nordenfalk (1907-92).” Burlington Magazine 135, no. 1078 (January 1993): 38-39; Williams, John. “Carl Adam Johan Nordenfalk (13 December 1907-13 June 1992).” Proceedings of the American Philosophical Society 138, no. 4 (December 1994): 555-557; Kitzinger, Ernst, and Mütherich, Florentine, and Cahn, Walter. “Carl Nordenfalk.” Memoirs of Fellows and Corresponding Fellows of the Medieval Academy of America. Speculum 68 no. 3 (July 1993): 940-941.

Norberg-Schulz, Christian

November 8, 2023March 29, 2024

Full Name: Norberg-Schulz, Christian

Gender: male

Date Born: 1926

Date Died: 2000

Place Born: Oslo, Oslo, Norway

Place Died: Oslo, Oslo, Norway

Home Country/ies: Norway

Subject Area(s): architecture (object genre), Baroque, Modern (style or period), Modernist, and sculpture (visual works)

Overview

Architectural historian and architect. Born to father also named Christian Norberg-Schulz and mother, Laura Lunde [Norberg-Schulz]. After World War II he studied architecture in Switzerland at the Eidgenossische Technische Hochschule, Zürich, graduating in 1949. He spent the years 1950-1951 in the Norwegian army. He joined the faculty of the school of Architecture in Oslo in 1951, where he was appointed assistant professor, becoming an expondnet of modern, “international style” architecture. In 1952 he founded together with the modernist architects Arne Korsmo (1900-1968), Sverre Fehn (1924-2009), and others PAGON (Progressive Architects Group Oslo Norway) which allowed an independent Norwegian delegation to (and later a division of) CIAM (Congrès International d’Architecture Moderne). Between 1953 and 1955 again together wth Korsmo, Norberg-Schulz designed several “glass houses” near Oslo, in a vein of Mies van der Rohe. He married Anna Maria de Dominicis in 1955. His Ph.D. in architectural history was awarded in 1963 from the Technical University in Trondheim. That same year he began editing the architectural journal Byggekunst (through 1978). He was promoted to (full) professor of architecture in 1966. His seminal book for architects was Intentions in Architecture (1963, US 1968). This lead to a visiting professorship during the academic year 1973-1974 at the Massachusetts Institute of Technology and then the University of Dallas, TX, in 1978. He was Dean of the Oslo School of Architecture. Wishing to branch into a wider reach of the history of architecture in the early 1970s he authored two volumes in the History of World Architecture (also known as teh “Abrams Gray”) series on Baroque Architecture which looked at the buildings both structurally and as works of art. The appearance of The Language of Post-Modern Architecture by Charles Jencks, 1977, led him to embrace the architectural style. However his disillusion with its practices eventually caused a rejection by him, describing it as having ‘dissolved into superficial playfulness.’ In Genius Loci (1979 and 1980) Modern Norwegian Architecture (1986) he described the architecture of his native land, appluading the use of traditional construction methods and of local materials. His final book, Modernism in his Principles of Modern Architecture, resumed his interest in modernist architecture, which appeared shortly before his death. His daughter is the opera singer Elizabeth Norberg-Schulz (b. 1959).

His writing is greatly influenced by the Gestalt and phenomenological philosphical theories, especially Martin Heidegger, which he read as a student. The architects and theorists who affected him included Segfried Giedion, Walter Gropius, and Ludwig Mies van der Rohe. Within architectural history, his writing shows an emulation of the historians Paul Frankl, August Schmarsow, and Heinrich Wölfflin. His Genius Loci and Modern Norwegian Architecture appeared to some as a contridiction of his CIAM and Modern Movement styles dedication.

Selected Bibliography

Intentions in Architecture. Cambridge, MA: M.I.T. Press, 1968; Late Baroque and Rococo Architecture. New York: Rizzoli, 1985; Baroque Architecture. New York: Rizzoli, 1986; Genius Loci: Towards a Phenomenology of Architecture. New York: Rizzoli, 1980; Architecture: Meaning and Place: Selected Essays. New York: Rizzoli International Publications, 1988; Architecture: Presence, Language, Place. London: Thames & Hudson, 2000.

Sources

[obituary] Architectural Record 188 (August 2000): 32; Architects’ Journal (April 20, 2000): 19; A Dictionary of Architecture and Landscape Architecture. New York: Oxford University Press, 2000; Auret, Hendrik. Christian Norberg-Schulz’s Interpretation of Heidegger’s Philosophy: Care, Place and Architecture. London: Routledge, 2019.

Nolhac, Pierre de

November 8, 2023March 29, 2024

Full Name: Nolhac, Pierre de

Other Names:

Pierre de Nolhac

Gender: male

Date Born: 1859

Date Died: 1936

Place Born: Ambert, France

Home Country/ies: France

Subject Area(s): French (culture or style)

Career(s): educators

Overview

Historian and art historian of French art; lecturer at the École pratique des hautes etudes, Paris. Author of the series Versailles et la cour de France documented the architecture of the estate.

Selected Bibliography

[dissertation:] De patrum et medii aevi scriptorum codicibus in bibliotheca Petrarcae olim collectis. Paris: A. Bouillon, 1892; Hubert Robert, 1733-1808. Paris: Goupil & cie,, 1910; Nattier: peintre de la cour de Louis XV. Paris: H. Floury, 1925; Boucher: premier peintre du roi. Paris: H. Floury, 1925; Fragonard, 1732-1806. Paris: Floury, 1931.

Sources

Bajou, Thierry. “Nolhac, Pierre (de).” Le dictionnaire des historiens de l’art actifs en France [website]. Institut national d’histoire de l’art.

Historian and art historian of French art; lecturer at the École pratique des hautes etudes, Paris. Author of the series Versailles et la cour de France documented the architecture of the estate.

Nohl, Hermann

November 8, 2023March 29, 2024

Full Name: Nohl, Hermann

Gender: male

Date Born: 1879

Date Died: 1960

Place Born: Berlin, Germany

Place Died: Göttingen, Lower Saxony, Germany

Home Country/ies: Germany

Institution(s): Georg-August-Universität Göttingen

Overview

Selected Bibliography

Die Weltanschauung der Malerei. Leipzig: Wigand, 1908.

Sources

KRG, 153 mentioned

Contributors: Lee Sorensen

Nochlin, Linda

November 8, 2023March 29, 2024

Full Name: Nochlin, Linda

Other Names:

Linda Nochlin

Gender: female

Date Born: 30 January 1931

Date Died: 29 October 2017

Place Born: Brooklyn, Cattaraugus, NY, USA

Home Country/ies: United States

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

Overview

Feminist art historian; Lila Acheson Wallace Professor of Modern Art at the Institute of Fine Arts, New York University. Nochlin (then Linda Weinberg) was the daughter of Jules Weinberg (d. 1986) and Elka Heller (Weinberg) (d. 1994). After attending Brooklyn Ethical Cultural School, a progressive grammar school in Brooklyn, she graduated from Vassar College in Philosophy (minors in Greek and Art History) in 1951. She received her M.A. in English from Columbia University in 1952. Weinberg married Philip H. Nochlin (1924-1960), an assistant professor of Philosophy at Vassar in 1953; the marriage was cut short by his death in 1960, but she retained his name professionally throughout her career. Her doctorate was completed at New York University’s Institute of Fine Arts in 1963 under Robert Goldwater on the topic, The Development and Nature of Realism in the Work of Courbet. She joined her alma mater, Vassar, in 1963 as an art history professor, and was later promoted to Mary Conover Mellon Professor. In 1966 she published Realism and Tradition in Art, 1848-1900 and Impressionism and Post-Impressionism, 1874-1904, both in the Sources and Documents series.

She received the A. Kingsley Porter Prize for the best article published in the Art Bulletin in 1967, an honor awarded to a scholar under the age of forty, for her article titled Gustave Courbet’s painting Meeting. She married a second time to Richard Pommer, an architectural historian on the faculty at Vassar, in 1968, and launched a show at Vassar, “Realism Now,” featuring contemporary realists artists. In 1969 after a return from a research year in Italy, a colleague handed her a stack of “women’s liberation” journals which Nochlin claims transformed her into an active feminist almost overnight. By the fall, she was delivering one of the first undergraduate art history courses devoted to women, Vassar’s Art 364b, “The Image of Women in the Nineteenth and Twentieth Centuries.” In 1971, Nochlin rocketed to international attention with what has become a seminal article in feminist art history, “Why Have There Been no Great Women Artists?” and then a book on Realism. The article became an important session at the College Art Association, “Women as Sex Object,” the following year in San Francisco. Likewise, Realism, published only as a paperback primer on the topic, broke ground as a mainstream text by incorporating criteria of the subject into interpretation of art. Nochlin and the baroque scholar Ann Sutherland Harris were commissioned by the Los Angeles County Museum of Art to assemble a show devoted to important women artists. Their book accompanying the exhibtion, Women Artists: 1550 to 1950, 1976, became a standard reference for feminist art history. The College Art Association awarded her the Frank Jewett Mather, Jr., Prize for Critical Writing in 1977. In 1980 she was named Distinguished Service Professor at the Graduate School, CUNY, which she held until 1990. A Guggenheim Fellowship was awarded to her for the 1984-1985 year. In 1985 she was a fellow Fellow at the Institute for Advanced Study in Princeton, N. J. Her 1986 article on a problematic painting of Courbet, a pornographic painting of female pudenda, rehabilitated a work left for many years in storage in the Musee d’Orsay, Paris. A monograph on Gustav Courbet, Courbet Reconsidered was published in conjunction with an exhibition of the same name in 1988. Her collected essays, Women, Art, and Power and Other Essays was issued in 1988. The Politics of Vision: Essays on Nineteenth-Century Art and Society came to print in 1989. Nochlin served as a professor of art history and the humanities at Yale University from 1989-92. Her essay on Delacroix and the absence of women was the result of a 1991 lecture given at the Louvre. In 1994 she delivered the Neurath lectures, published in 1995 as The Body in Pieces. The Jew in the Text, co-edited with Tamar Garb appeared in 1995. Representing Women was published in 1999. She delivered the 2004 Charles Eliot Norton lectures at Harvard University. Nochlin is one of the important early feminist art historians. Her ironically titled 1971 article, “Why Have There Been no Great Women Artists?” became the clarion around which subsequent feminist artists and art historians–as well as progressive art historians–rallied. Instead of attempting to elevate minor women artists to a status of males artists of the period, the article focused on the “feminist gaze,” and the coded, gender-biased reception major art works, then and today. Eunice Lipton attributed to Nochlin’s book, Realism, “innocently packaged as it was from the beginning as a modest Penguin paperback” as shocking art historians into considering women as subject, changing the methodology of 19th-century scholars. Methodologically, Nochlin employed the theories of the linguist Roman Jakobson (1896-1982) and his dichotomy between realism and romanticism for her studies on the art of those same eras. Elsewhere she has written that the concept of “bricolage” by Claude Lévi-Strauss (1908-2009), the idea of adopting a methodology to fit your topic, appealed to her as well as Walter Benjamin (1892-1940), the sociological work of Jane Gallup (b. 1952), and Julia Kristeva (b. 1941).

Selected Bibliography

[dissertation:] The Development and Nature of Realism in the Work of Courbet. New York University, 1963;
[collected essays:] Representing Women. London: Thames & Hudson, 1999;
“Gustave Courbet’s Meeting: A Portrait of the Artist as a Wandering Jew.” Art Bulletin 49, no. 3 (September 1967): 209-222;
“Why Have There Been No Great Women Artists?” Art News 69 (January 1971): 22-39ff.;
Realism. Harmondsworth: Penguin, 1971;
and Harris, Ann Sutherland. Women Artists, 1550-1950. Los Angeles: Los Angeles County Museum of Art/New York: Random House, 1976;
“Lost and Found: Once More the Fallen Woman.” Art Bulletin 60 (March 1978): 139-153;
“Courbet’s ‘L’origine du monde’: The Origin without an Original.” October 37 (Summer 1986): 76-86;
and Faunce, Sarah. Courbet Reconsidered. Brooklyn, NY: Brooklyn Museum/Yale University Press, 1988;
and Garb, Tamar. The Jew in the Text: Modernity and the Construction of Identity. New York: Thames and Hudson, 1996.

Sources

Kleinbauer, W. Eugene. Research Guide to the History of Western Art. Chicago: American Library Association, 1982, p. 141 mentioned;
[transcript] Linda Nochlin. Interviews with Art Historians, 1991-2002. Getty Research Institute, Malibu, CA;
Nochlin, Linda. “Memoirs of an Ad Hoc Art Historian.” in Representing Women. London: Thames & Hudson, 1999, pp. 7-33;
The Body in Pieces: the Fragment as a Metaphor of Modernity. New York: Thames and Hudson, 1995;
D’souza, Aruna. “Fragments and Paradoxes: Linda Nochlin’s Theories of Art.” Self and History: A Tribute to Linda Nochlin. London: Thames & Hudson, 2001, pp. 7-16.

Contributors: Lee Sorensen

Noack, Werner

November 8, 2023March 29, 2024

Full Name: Noack, Werner

Gender: male

Date Born: 1888

Date Died: unknown

Place Born: Geißen, Thuringia, Germany

Home Country/ies: Germany

Overview

Noack was raised in Geißen where he attended the local Gymnasium as a boy. He studied history and art history at various universities in Germany including Geißen, Munich, Berlin and Halle. His interest in sculpture, building and urban design led him to study under Adolph Goldschmidt at Halle, completing his dissertation in 1912. That year Goldschmidt left for Berlin and Noack followed him to assist teaching in the Art History Institute which Goldschmidt was expanding. Noack moved to Erfurt, Germany to become the assistant to Walter Kaesbach at the Städische (city) Museum there. Noack not only was engaged in evaluating (expertizing) old master work and city monuments, but contemporary art as well. He began the modern collection at Erfurt as well. Late in 1922, Noack left for Freiburg to become Conservator and eventually director of the Städische Sammlungen. He improved Augustiner Museum by expanding its space and developing a personal interest in museum studies. In 1929 he helped found the Deutscher Museumsbund (German Museum Federation). In 1942 he was named honorary professor at the University of Freiburg. Noack’s interest was in the medieval monuments (sculpture and buildings) of the upper Rhein region of Germany.

Selected Bibliography

[dissertation:] Die Kirchen von Gelnhausen: ein Beitrag zur Geschichte der Architektur und Skulptur des 13. Jahrhunderts im Main-Rheingebiet. University of Halle, 1912; [bibliography:] “Bibliographie Werner Noack.” Studien zur Kunst des Oberrheins: Festschrift für Werner Noack. Konstanz: J. Thorbecke, 1959, p. 171-175; Der breisacher Altar. Königstein i. Ts.: Langewiesche Nachfolger Hans Köster, 1950; “Ein erstes heiliges Grab in Freiburg.” Zeitschrift für Kunstgeschichte 23 no. 3-4 (1960): 246-52; “L’activite du Deutscher museums-bund.” Mouseion 4 (1930): 157-8.

Sources

Schroth, Ingeborg. “Vorwort.” Studien zur Kunst des Oberrheins: Festschrift für Werner Noack. Konstanz: J. Thorbecke, 1959, p. 5.

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Overview

Selected Bibliography

Citation

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Overview

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Citation

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Selected Bibliography

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Citation

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Selected Bibliography

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Citation

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Citation

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Citation

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