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Adler, Bruno

November 8, 2023March 29, 2024

**Image Credit:** Germersheimer Ubersetzerlexicon

Full Name: Adler, Bruno

Other Names:

Urban Roedl

Gender: male

Date Born: 1889

Date Died: 1968

Place Born: Karlovy Vary, Karlovarský Kraj, Czech Republic

Place Died: London, Greater London, England, UK

Home Country/ies: Germany

Subject Area(s): Bauhaus, Expressionist (style), German (culture, style, period), and German Expressionist (movement)

Overview

Early friend and exponent of German Expressionist artists, taught art history at the Bauhaus. He was born in Karlsbad, Bohemia, which is present-day Karlovy Vary, Czech Republic. Adler was born to Therese (née Hirsch) and Mortiz Adler, both of Jewish descent. Adler’s father was a theater critic and socialist. Adler lived in Munich from 1917 onward, where he wrote his dissertation at that university the same year. His topic was the early development of the woodcut. In Munich he became familiar with the Blauen Reiter artists group and for whom he worked. In 1919, he moved to Weimar and founded his own publishing house, through which he published Utopia: Dokumente der Wirklichkeit in 1921 for which several Bauhaus artists collaborated. Throughout the 1920s and 1930s, Adler taught art history at the Bauhaus and at the Staatlichen Kunstakademie Weimar where he worked closely with colleague Johannes Itten. Adler also worked as a lecturer at a community college in Jena. The Nazi proscriptions against Jews in education, 1933, forced Adler out of teaching. Adler turned to writing, publishing historical works on Matthias Claudius (1740-1815) a biography of Adalbert Stifter (1805-1858) between 1934-1936, the latter under the pseudonym Urban Roedl. The Stifter book was praised as “one of the most German books of the year,” however after the discovery of Adler’s pseudonym and heritage, the book was deemed a “Jewish con” and was promptly banned by the Nazis along with the publisher Rowohlt. From 1933 to 1936, Adler resided in Czechoslovakia. Fearing the eventual truth–that the Nazis intended to annex the country, he immigrated to London in 1936, teaching in a rural private school. During the war, Adler worked within the German department of the BBC. He authored several propaganda broadcasts such as the series Frau Wernicke, among others. Later, Adler became a journalism and broadcasting university lecturer. From 1944 to 1950, he was the editor-in-chief of Die Neue Auslese and contributor at Times Literary Supplement. His seminal publications on Matthias Claudius and Adalbert Stifter were translated into English. Returning to art history in the 1960s, Adler published articles notably on Hans von Maree and late classicism.

Adler made efforts to expand German art and literature in England. His lasting work is not one of art history but Adalbert Stifter biography.

Selected Bibliography

[dissertation:] Ursprünge und Anfänge des Holzschnitts. Munich, 1917; and Itten, Johannes. Utopia: Dokumente der Wirklichkeit. Weimar: Utopia Verl., 1921; ed., Matthias Claudius, Gedichte. Berlin: 1922; ed., Adalbert Stifter Studien. 3 vols. Berlin; 1922-1923; (under Urban Roedl) Adalbert Stifter: Geschichte seines Lebens. Berlin; 1936, Edition 2 Bern 1958; Das Weimarer Bauhaus. Darmstadt: Bauhaus-Archiv, 1963.

Sources

Wendland, Ulrike. Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. Munchen: Saur, 1999, vol. 1, pp. 1-3.

Adler, Friedrich

November 8, 2023March 29, 2024

Full Name: Adler, Friedrich

Other Names:

Johann Heinrich Friedrich Adler

Gender: male

Date Born: 1827

Date Died: 1908

Place Born: Berlin, Germany

Place Died: Berlin, Germany

Home Country/ies: Germany

Subject Area(s): ancient, archaeology, architecture (object genre), German Medieval architecture styles, German Medieval styles, Medieval (European), Northern European Medieval styles, and sculpture (visual works)

Overview

Architectural historian, architect and archaeologist; specialist in ancient excavations, and medieval German architecture. Adler attended the Berlin Kunstakademie beginning in 1841. In 1846 he continued at the University of Berlin (Bauakademie). From 1854 he taught there under Ferdinand von Arnim (1814-1856) and from 1859 as a Dozent for the history of architecture. He was made professor at the Akademie in 1861 succeeding in the position previously held by Wilhelm Lübke. Between 1874 and 1881 he was a participant in Olympia excavations (1875-81) conducted by Ernst Curtius. Because of his architectural training, he was responsible for the design of the original 1883 museum at Olympia. From 1877 onward, he returned to the practice of architecture, as section director responsible for church construction in Prussia. Adler was one of the first to understand the importance of Heinrich Schliemann‘s excavations. He wrote an admiring introduction to Schliemann’s 1886 book, Tiryns. Adler’s art-historical writings included Das Pantheon in Rom (1871) and Das Mausoleum zu Halikarnass (1900). His students included his future son-in-law, Wilhelm Dörpfeld.

Selected Bibliography

Mittelalterliche Backstein-Bauwerke des preussischen Staates. 2 vols. Berlin: Ernst & Korn, 1862-1898; and Curtius, Ernst. Olympia: Die Ergebnisse der von dem Deutschen Reich veranstalteten Ausgrabung. 5 vols. Berlin: A. Asher, 1890-97; Baugeschichtliche Forschungen in Deutschland. 2 vols. Berlin: Ernst & Korn, 1870-1879; Das Pantheon zu Rom. Berlin: Archäologischen Gesellschaft & W. Hertz , 1871.

Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 53-54; Hammerschmidt, Valentin W. Anspruch und Ausdruck in der Architektur des späten Historismus in Deutschland: 1860-1914. Frankfurt am Main: P. Lang, 1985; Deutsches Künstler-Lexikon der Gegenwart in biographischen Skizzen auf Grund persönlicher einsendungen bearb. Geistige Deutschland am Ende des XIX. Jahrhunderts 1. Leipzig: C. G. Röder, 1898, p. 8; The Dictionary of Art 1: 159-60; Traill, David. “Johann Friedrich Adler.” Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, p. 7; Saur Allgemeines Künstler-Lexikon 1: 388.

Ady, Julia

November 8, 2023March 29, 2024

Full Name: Ady, Julia

Other Names:

Julia Mary Cartwright Ady

Gender: female

Date Born: 1851

Date Died: 1924

Place Born: Edgcote, Northamptonshire, England, UK

Place Died: Oxford, Oxfordshire, England, England, UK

Home Country/ies: United Kingdom

Subject Area(s): Italian (culture or style), Italian Renaissance-Baroque styles, and Renaissance

Career(s): art critics

Overview

Art critic and historian of Italian renaissance. Cartwright was the daughter of Richard Aubrey Cartwright and Mary Fremantle (Cartwright) (d. 1885). She was privately schooled. Her earliest exposure to art may have come from her uncle William Cornwallis Cartwright (d.1915), an art collector, who allowed her early access to his library and gallery at Aynhoe, Northamptonshire. She toured France, Austria, and Italy with her family in 1868. After an 1871 article in Aunt Judy’s Magazine, she contributed regularly to the Monthly Packet, as well as “The Lives of the Saints” series. Cartwright began reading art histories of renaissance art, including those of Anna Jameson, John Ruskin, Charles L. Eastlake, Walter Pater, and particularly the New History of Painting in Italy by Joseph Archer Crowe, and G. B. Cavalcaselle. In 1873 she attempted to become an art writer by submitting a researched article on Giotto to Macmillan’s Magazine. Although it was denied publication, it later appeared in the New Quarterly in 1877. She expanded her interest to include contemporary art, especially Turner, Landseer, and Whistler. Cartwright continued to write art criticism for journals such as Portfolio and the Magazine of Art. She visited Italy at least three times in the 1870s. Cartwright married (William) Henry Ady (1817-1915), an Episcopal minister, in 1880. The following year, Cartwright, now known as Mrs. Ady, published her first art history, Mantegna and Francia. Now, too, she began an interest in contemporary art, including the Pre-Raphaelites, D. G. Rossetti, Edward Burne-Jones as well Watts, Millet, Bastien-Lepage, and Puvis de Chavannes. In 1894 Ady met Bernard Berenson, and in 1897 toured Siena with Mary Costelloe (later Mary Berenson) under the guidance of Herbert P. Horne. The effects of these eminent art historians on Ady in her later monographs on artists. In 1903 her book on Botticelli appeared and a reissued form in 1904. The following year she published a book on Raphael. Ady also published biographies of women during this time, one on Dorothy Sidney, Edmund Waller’s mistress in 1893 and in 1894, on Charles II’s sister Henriette, duchess of Orléans. Her biography on the renaissance art patron Isabella d’Este (1903), though thoroughly researched, avoided many of the intrigues of the woman in order to paint a more positive picture of her. In 1908 Ady published her biography of Baldassare Castiglione, still a standard work on the courtier, although omitting some of the court evils of the man and time. Though positive about some forms of modern art, Ady was shocked at the famous 1912 Post-impressionism exhibition which Roger Fry mounted at the Grafton Galleries. A biography of the art-loving Danish expatriate Christina of Denmark was published in 1913. In 1914 Ady published a collection of her articles as The Italian Gardens of the Renaissance and other Studies. Through her daughter, the renaissance historian Cecilia Ady (1881-1958), she met the Oxford-trained art historian Joan Evans. After her husband’s death in 1915, Ady moved to Oxford where she died in 1924. Ady’s art criticism reflects that of Pater and Giovanni Morelli, whom she read in the 1880s, and her friendship with the writer and art author Violet Paget. Although not an outward feminist (she only embraced women’s suffrage issues late in her life), Ady raised the importance of woman as figures in the history of art by demonstrating Isabella d’Este’s contribution toward renaissance patronage. Though she was never employed as an art historian, she was, initially through the medium of art criticism, able to raise the prominence of women as art writers. Her views of art do not depart from those of Victorian England: appreciating Raphael and disparaging Post-Impressionism.

Selected Bibliography

Christ and his Mother in Italian Art. London: Bliss, Sands, 1917; The Painters of Florence from the Thirteenth to the Sixteenth Century. New York, E. P. Dutton & Co., 1916; Raphael in Rome. London: Seeley1895; Christina of Denmark, Duchess of Milan and Lorraine, 1522-1590. London: J. Murray, 1913; Isabella d’Este, Marchioness of Mantua, 1474-1539: a Study of the Renaissance. 2 vols. New York : E.P. Dutton, 1903; Baldassare Castiglione, the Perfect Courtier: his Life and Letters, 1478-1529. New York: E. P. Dutton and Co., 1908; Italian Gardens of the Renaissance, and Other Studies. London: Smith, Elder & Co., 1914; Sandro Botticelli. London: Duckworth & Co., 1903.

Sources

Emanuel, Angela , ed. A Bright Remembrance: the Diaries of Julia Cartwright, 1851-1924. London: Weidenfeld and Nicholson, 1989; Mitchell, Rosemary. “Cartwright , Julia Mary (1851-1924).” Oxford Dictionary of National Biography, 2004.

Aglionby, William

November 8, 2023March 29, 2024

Full Name: Aglionby, William

Gender: male

Date Born: unknown

Date Died: 1705

Home Country/ies: United Kingdom

Subject Area(s): art history and biography (general genre)

Career(s): art historians and biographers

Overview

Earlier British writer, authored a history of art and artists’ biography, 1685. Aglionby traveled the continent and recorded his recollections on art, among other topics. In 1685, Aglionby published his Painting Illustrated in Three Dialogues based heavily on the Vite de’ pittori, scultori ed architetti moderni by Giovanni Pietro Bellori published in 1672. Aglionby, noted that in the Netherlands, paintings were common everywhere, even in the homes of tradesmen. He lamented England’s failure to produce “an Historical Painter, Native of our own Soyl”. He was the earliest English writer to describe free, vigorous and natural execution in painting Picturesque, which he noted the Italians call, “a la pittoresk'”.

Selected Bibliography

Painting Illustrated in Three Diallogues; Containing some Choice Observations upon the Art Together with the Lives of the Most eminent Painters from Cimabue to the Time of Raphael and Michael Angelo: with an Explanation of the Difficult Terms. London: John Gain/Walter Kettilby and Jacob Tonson, 1686 [actually 1685]

Sources

Montanari, Tomaso. “Introduction.” Giovan Pietro Bellori: The Lives of the Modern Painters, Sculptors and Architects: A New Translation and Critical Edition. Cambridge: Cambridge University Press, 2005, pp. 1, 4.

Agostini, Leonardo

November 8, 2023March 29, 2024

Full Name: Agostini, Leonardo

Gender: male

Date Born: 1593

Date Died: c. 1669-1670

Place Born: Grosseto, Tuscany, Italy

Place Died: Rome, Lazio, Italy

Home Country/ies: Italy

Subject Area(s): gems (worked stones) and numismatics

Overview

Numismatist and gem scholar. Agostini worked during the reign of Pope Urban VIII as the antiquarian to the Barberini family. His letters, written to the family while in exile (1646-50) today form a trove of information on the archaeological activity of the time. After the return of the Barberini, Agostini continued to collect for them, arranging their collection into one of the most comprehensible schemas of the time. He was appointed commissioner of collections under Pope Alexander VII, directing the excavations of the Roman Forum and baths near San Lorenzo in Panisperna. His writing on carved gems, Le Gemme antiche figurate (1657) was issued with the assistance of Giovanni Pietro Bellori. The work organized gems according to theme, identifying them by subject matter. Adolf Furtwängler cited him in his Die Antike Gemmen of 1900.

Selected Bibliography

Le gemme antiche figurate. Rome: Apresso dell autore, [part I,] 1657, [part II] 1669; Gemmae et sculpturae antiquae depictae. Amsterdam: Apud Abrahamum Blooteling, 1685.

Sources

“Agostini, Leonardo.” Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 1, pp. 10-11.

Aguilar y Cuadrado, Raphael

November 8, 2023March 29, 2024

Full Name: Aguilar y Cuadrado, Raphael

Gender: male

Date Born: unknown

Date Died: unknown

Home Country/ies: Spain

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

Career(s): art historians

Overview

Published the volume on Alcalá de Henares and Guadalajara, in the “Art in Spain” series by the Hispanic Society of America.

Selected Bibliography

Guadalajara. Alcalá de Henares. Art in Spain, [published] under the Patronage of the Hispanic Society of America. Barcelona: Hijos de J. Thomas, 1913.

Published the volume on Alcalá de Henares and Guadalajara, in the “Art in Spain” series by the Hispanic Society of America.

Alberdingk Thijm, J. A.

November 8, 2023March 29, 2024

**Image Credit:** The Online Portrait Gallery

Full Name: Alberdingk Thijm, J. A.

Other Names:

Joseph A. Alberdingk Thijm

Gender: male

Date Born: 1820

Date Died: 1889

Place Born: Amsterdam, North Holland, Netherlands

Place Died: Amsterdam, North Holland, Netherlands

Home Country/ies: Netherlands

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

Career(s): art critics

Overview

Merchant; art critic, poet; professor at the Amsterdam Rijksacademie, 1876-1889; central figure in the emancipation process of the Roman Catholics of the Netherlands. Alberdingk Thijm received no higher education. He initially went into business. In 1842 he began writing art criticism for De Spectator. He married Wilhelmina Anna Sophia Kerst in 1846. In 1852 he founded the Volks-almanak voor Nederlandse katholieken (The People’s Almanac for Dutch Catholics), and in 1855 the Catholic periodical Dietsche Warande. Thijm’s writings reveal his interest in specific Catholic aspects of national history, literature, and esthetics. In his essay on mediaeval church architecture, “De Heilige Linie”, first published in Dietsche Warande, he explained that the Gothic style in particular visualized essential values of Christianity. As the promoter of the revival of this style he inspired the Dutch architect Pierre Cuypers (1827-1921), who designed many neo-gothic Catholic churches all over the country. The latter also designed the Amsterdam Rijksmuseum between 1876 and 1885, in close collaboration with Thijm. The project was supervised by the head of the Department of Arts and Sciences of the Ministry of Interior, the influential authority Victor Eugène Louis de Stuers (1843-1916), who also was a Catholic. The dominant Gothic character of this national landmark clearly represented Catholic values, which aroused a controversy. In 1876 Thijm published Portretten van Joost van den Vondel. This famous Dutch poet, who converted to Catholicism in 1641, became one of Thijm’s icons of the national past. Also in 1876 Thijm obtained the position of professor of art history at the Rijksacademie van Beeldende Kunsten in Amsterdam. In a three-year period he taught the complete history of European art. He paid special attention, however, to what he saw as the higher esthetical values of Christian art before the Reformation, a view that often aroused protests among his students. Thijm served the academy until his death. He was succeeded by Jan Six in 1890. Thijm’s youngest son Karel Joan Lodewijk, generally known as Lodewijk van Deyssel, wrote a biography of his father in 1893 under the pseudonym A. J. His sister Catharina used her father’s letters as the main source of a biographical sketch, which appeared in 1896. Thijm is generally known as the promoter of the Catholic revival in the Netherlands. His position as general art history professor, however, was rather exceptional in the Netherlands. At the same time, his colleague at the Municipal University of Amsterdam, Allard Pierson, mainly taught Greek and Roman art history. Jan Six succeeded both Thijm and Pierson in 1890 and 1896 respectively. In 1907 the position of Art History was officially established at the State Universities of Utrecht and Leiden.

Selected Bibliography

Over de kompozitie in de kunst: eene aanwijzing der aesthetische verhoudingen in de architectuur, de muziek, de poëzie, de schilder-, beeldhouw-, en gebarenkunst. Amsterdam: C. L. van Langenhuysen, 1857; De Heilige Linie. Proeve over de oostwaardsche richting van kerk en autaar als hoofdbeginsel der kerkelijke bouwkunst. Amsterdam: C. L. van Langenhuysen, 1858; Geen kerkelijke bouwkunst zonder oriëntatie: een woord tot allen die belang stellen in onze hedendaagschen kerkbouw. Amsterdam: C. L. van Langenhuysen, 1859; Portretten van Joost van den Vondel. Eene laatste aflevering tot het werk van Mr. Jac. Van Lennep. Amsterdam: C. L. van Langenhuysen, 1876; Openingsrede bij de aanvaarding van het hoogleeraarsambt aan de Rijks-Akademie van Beeldende Kunsten, den 4e december, 1876. Amsterdam: C. L. van Langenhuysen, 1876; Gerard Lairesse. Amsterdam: Loman, 1879; De beeldhouwer Louis Royer, 1880; Over nieuwere beeldhouwkunst, vooral in Nederland. Rotterdam: Nijgh & van Ditmar, 1886.

Sources

Van Deyssel, Lodewijk. J. A. Alberdingk Thijm. Amsterdam: Loman & Funke, 1893; Alberdingk Thijm, Catharina. J. A. Alberdingk Thijm.in zijn brieven geschetst als Christen Mensch Kunstenaar. Amsterdam: C. L. van Langenhuysen, 1896; Hoogenboom, Annemieke. “De introductie van kunstgeschiedenis aan de Nederlandse universiteiten: de voorgeschiedenis van de leerstoel van Willem Vogelsang.” in Bevers, Ton, et al. De Kunstwereld. Produktie, distributie en receptie in de wereld van kunst en cultuur. Hilversum: Verloren, 1993, pp. 85-87; Tibbe, Lieske. “Alberdingk Thijm en de beeldende kunsten. Zijn hoogleraarschp aan de Rijksacademie 1876-1889” in Geurts, P. A. M. et al., eds. J. A. Alberdingk Thijm 1820-1889. Erflater van de negentiende eeuw: een bundel opstellen. Baarn: Arbor, 1992, pp. 157-174; Van Hellenberg Hubar, Bernadette C. M. Arbeid en bezieling: de esthetica van P. J. H. Cuypers, J. A. Alberdingk Thijm en V. E. L. de Stuers, en de voorgevel van het Rijksmuseum. Nijmegen: University Press, 1997.

Contributors: Monique Daniels

Aldred, Cyril

November 8, 2023March 29, 2024

Full Name: Aldred, Cyril

Gender: male

Date Born: 1914

Date Died: 1991

Place Born: Fulham, Hammersmith and Fulham, London, England, UK

Place Died: Edinburgh, Scotland, UK

Home Country/ies: United Kingdom

Subject Area(s): Coptic (culture or style), Egyptian (ancient), and Egyptology

Overview

Egyptologist and art historian. Aldred was the son of Frederick Aldred and Lillian Ethel Underwood (Aldred). After attending the Sloane School, Chelsea, he studied English at King’s College, London, and then art history at the Courtauld Institute of Art. While a student, he met Howard Carter (1874-1939), the archaeologist who discovered the Tutankhamun tomb, in 1933. He graduated from the Courtauld in 1936. In 1937 he became an assistant keeper (curator) at the Royal Scottish Museum, Edinburgh the institution he would remain for the rest of his life. He married Jessie Kennedy Morton (b. 1908/9), a masseuse in 1938. During World War II, Aldrich served in the RAF. After returning to Edinburgh in 1946, he approached Egyptology as his sole area of endeavor. In 1949, his book Old Kingdom Art in Ancient Egypt appeared. The simple survey connected the monuments of the major period in Egyptian art and became popular. Volumes on the middle and new kingdoms in 1950 and 1952 appeared. These publications established his career as an Egyptologist and art historian of synthetic approach. Essays on fine woodwork and furniture appeared in the Oxford History of Technology in 1954 and 1956. In 1955 he worked as an associate curator for a year in the department of Egyptian art in the Metropolitan Museum of Art, New York, under William C. Hayes, the curator. Hayes hoped Aldred might become his successor, but Aldred returned to Scotland in 1956. He was promoted to keeper of art and archaeology in 1961, which he held until his retirement. The book Akhenaten, Pharaoh of Egypt, was published by Aldred in 1968. Jewels of the Pharaohs appeared in 1971 from Thames and Hudson. His most significant art-historical writing is the catalog written for the Brooklyn Museum exhibition, “Akhenaten and Nefertiti” in 1973. He retired from the Museum in 1974. Beginning in 1978, Aldred wrote studies for the French L’univers des formes surveys of Egyptian art (other volumes appearing in 1979 and 1980). Though Aldred published his Egyptian Art,1980, another substantial popular survey, a scholarly monograph on Egyptian sculpture never appeared. His Akhenaten, King of Egypt, 1988, restated much of his 1968 volume with broader evidence. He died at his home in Edinburgh. Aldred’s time in New York brought him a greater interest in the Egyptian sculpture of the Amarna period, the time period of Akhenaten, and the concomitant period of loosening of artistic convention. His 1973 Brooklyn catalog, concentrating on Amarna-era art, organized this problematic time of Egyptian art.

Selected Bibliography

[collected articles] Ancient Egypt in the Metropolitan Museum Journal, Volumes 1-11 (1968-1976): Articles. [ by Cyril Aldred]. New York: Metropolitan Museum of Art, 1977; The Development of Ancient Egyptian Art: from 3200 to 1315 B. C. 3 vols. London : A. Tiranti, 1952; New Kingdom Art in Ancient Egypt During the Eighteenth Dynasty, 1590 to 1315 B. C. Published: London, A. Tiranti, 1951; Akhenaten and Nefertiti. New York: Brooklyn Museum/Viking Press, 1973; Akhenaten, Pharaoh of Egypt: a New Study. London: Thames & Hudson, 1968; Egypt to the End of the Old Kingdom. London: Thames and Hudson, 1965; Jewels of the Pharaohs: Egyptian Jewellery of the Dynastic Period. London: Thames and Hudson, 1971; Middle Kingdom Art in Ancient Egypt, 2300-1590 B.C. London: A. Tiranti, 1950; Old Kingdom Art in Ancient Egypt. London: A. Tiranti, 1949; The Egyptians. London: Thames and Hudson, 1961; “The Pharaoh Akhenaten: a Problem in Egyptology and Pathology.” Bulletin of the History of Medicine 36, no. 4 (July-August 1962): 293-316; L’univers des formes [series]: L’E´gypte du cre´puscule: de Tanis à Me´roe´, 1070 av. J.-C.-IVe siècle. Paris: Gallimard, 1980; L’Empire des conque´rants: l’E´gypte au Nouvel Empire (1560-1070). Paris: Gallimard, 1979; Le Temps des pyramides: de la pre´histoire aux Hyksos, 1560 av. J.-C. Paris: Gallimard, 1978.

Sources

James, Thomas Garnet H. “Cyril Aldred.” Journal of Egyptian Archaeology 78 (1992): 258-66; Waterston, Charles D. “Cyril Aldred.” Year Book of the Royal Society of Edinburgh (1990-91): 32-4; Goring, Elizabeth, and Reeves, Charles Nicholas and Ruffle, John, eds. Chief of Seers: Egyptian Studies in Memory of Cyril Aldred. New York: Kegan Paul International, 1997; The Independent July 6, 1991; The Times (London) July 6, 1991; James, Thomas Garnet H. “Aldred, Cyril (1914-1991).” Oxford Dictionary of National Biography, Oxford University Press, 2004.

Adey, More

November 8, 2023March 29, 2024

Full Name: Adey, More

Other Names:

William More Adey Adey

Gender: male

Date Born: 1858

Date Died: 29 January 1942

Place Born: Wotton under Edge, Gloucestershire, England UK

Place Died: Bristol, England, UK

Home Country/ies: United Kingdom

Career(s): art critics and publishers

Overview

Burlington Magazine Joint Editor, 1914-1919. Adey initially worked translating of Scandinavian literature. He joined the circle of followers of Oscar Wilde (1854-1900), whose numbers included the writers Max Beerbohm (1872-1956) and Reginald Turner (1869-1938), the artist William Rothenstein and, most significant for Adey, Robert (Robbie) Baldwin Ross (1869-1918). He and Ross shared a house together for fifteen years. In 1900 the two joined the management of the Carfax Gallery in London. This small avant-garde gallery, founded two years before, focused on British artists such as Augustus John, Walter Sickert and Rothenstein as well as recent French painting and sculpture. In 1903, Adey met the Bloomsbury artist and art historian Roger Fry, who was exhibiting in a solo show–Fry’s first–at the Gallery. Fry had founded the Burlington Magazine that same year. Adey became a contributor to the Magazine in 1908 providing anonymous reviews and articles. In 1911 Adey was made assistant editor and, by 1914, added as a joint editor with a former National Portrait Gallery director Lionel Cust and Fry. His first signed pieces for the magazine date from this time. Adey was responsible for running the magazine during the difficult years of the First World War. In May 1919, however, Cust and Adey fell into strong disagreement with Fry over the magazine’s management, resigning in a very public manner. An official announcement in the (London) Times read: “Mr. Lionel Cust, C.V.O., and Mr. More Adey have severed their connexion with the Burlington Magazine Company (Limited). Mr. Lionel Cust having ceased to be a managing director of the company, and Mr. Lionel Cust and Mr. More Adey having ceased to be editors of the Burlington Magazine.” In later years Adey survived many of his close friends. He was committed to a mental institution, perhaps Brislington House, Bristol, where he died at age 83. Some personal correspondence is held by UCLA (Oscar Wilde material) As an art writer, Adey’s strong interest in the subject matter of the art about which he wrote and his particular expertise in hagiography contrasted with Fry’s formalist approach (Pezzini). A diffident man, his contribution to art history remains the articles he wrote for the Burlington Magazine.

Selected Bibliography

edited, Wilde, Oscar. After Reading: Letters to Robert Ross. London: s.n., 1921.

Sources

Times (London) July 14, 1919; Nicolson, Ben. “The Burlington Magazine.” Connoisseur, (1976): 176-183; Borland, Maureen. D. S. MacColl. Harpenden, UK: Lennard Pub 1995, pp. 118, 242; Elam, Caroline. “A More and More Important Work: Roger Fry and The Burlington Magazine.” Burlington Magazine 145, no. 1200 (March 2003): 142-152; Borland, Maureen. “Ross, Robert Baldwin (1869-1918).” Oxford Dictionary of National Biography. 2004; Pezzini, Barbara. personal correspondence, March 2010; [obituaries] “More Adey.” Burlington Magazine 80, no. 468 (March 1942): 77; “Mr. More Adey.” Times (London) April 6, 1942.

Burlington Magazine Joint Editor, 1914-1919. Adey initially worked translating of Scandinavian literature. He joined the circle of followers of Oscar Wilde (1854-1900), whose numbers included the writers Max Beerbohm (1872-1956) and Regin

Adepegba, Cornelius Oyeleke

November 8, 2023March 29, 2024

Full Name: Adepegba, Cornelius Oyeleke

Gender: male

Date Born: 1941

Date Died: 2002

Place Died: Ibadan, Oyo, Nigeria

Home Country/ies: Nigeria

Subject Area(s): African (general, continental cultures), decorative art (art genre), Fulbe (culture or style), Nigerian, Nok (culture or style), sculpture (visual works), West African (general), and Yoruba (culture or style)

Career(s): directors (administrators)

Overview

Historian of Nigerian art and director, Institute of African Studies, University of Ibadan. Adepegba attended graduate school at Indiana University, receiving his Ph.D. in 1976 in art history under the supervision of Roy Sieber. He pursued an active research agenda writing on a range of Nigerian art topics. His over 40 works include a paper on Nok terracottas, the Yoruba concept of art, and contemporary Nigerian art. His books include Nigerian Art: Its Traditions and Modern Tendencies (1995), Yoruba Metal Sculpture (1991), and Decorative Arts of the Fulani Nomads (1986). He received several fellowships and grants, including a Fulbright Fellowship (1993-94), a senior fellowship at the Smithsonian Museum of African Art (2002-3) and a Getty Collaborative Grant (2002-3). He was known for his intellectual energy, academic integrity, and wry sense of humor.

Selected Bibliography

Nigerian Art : Its Traditions and Modern Tendencies. Ibadan: Jodad, 1995; Osogbo: Model of Growing African Towns. Ibadan: Institute of African Studies, 1995; Yoruba Metal Sculpture. Ibadan: Ibadan University Press, 1991; “A Nigerian treasure in Ibadan: the Museum of the Institute of African Studies, Nigeria.” Museum International 46 no3 (1994): 42-5.

Sources

[obituary:] Professor C.O. Adepegba [H-AFRARTS@H-NET.MSU.EDU posting Friday, October 04, 2002 Elisha Renne

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