Full Name: Berthold, Gertrud
Gender: female
Date Born: unknown
Date Died: unknown
Subject Area(s): French (culture or style) and Post-Impressionist
Career(s): painters (artists)
Kurt Badt student, Cezanne scholar.
Contributors: Lee Sorensen
Kurt Badt student, Cezanne scholar.
Full Name: Burke, William Lozier Munro
Other Names:
Gender: male
Date Born: 1906
Date Died: 1961
Place Born: New York, NY, USA
Place Died: IA, USA
Home Country/ies: United States
Subject Area(s): ancient and Medieval (European)
Institution(s): Princeton University and University of Iowa
Historian of ancient and medieval art; the director of the Index of Christian Art from 1942 to 1951. Burke received his AB (1928), MA (1931), and PhD (1932) from Princeton University, completing the final two years of his graduate work under Erwin Panofsky at the University of Hamburg. He taught at Princeton until 1935, then at Northwestern University (1935-36), and the University of Minnesota (1936-38) before returning to Princeton and the Index directorship. Burke’s nine-year tenure at the Index of Christian Art would be marked by extensive outreach efforts to organize and automate the growing material under Woodruff’s system and to add to the institutional copy held at the Dumbarton Oaks Research Library. Burke was one of the founders of the College Art Journal and served as Assistant Editor in 1941-42, alongside Editor and fellow medieval art historian Myrtilla Avery. He was appointed th director of the Index of Christian Art, founded by Charles Rufus Morey, in 1942 succeeding Helen M. Woodruff. During the Second World War, Burke worked as a Research Assistant with the American Council of Learned Societies (ACLS) with most of his recorded activity in the years 1943-44. His specific service was with President Franklin D. Roosevelt’s Roberts Commission, which contributed to the documentation and preservation of cultural monuments in war-affected areas of Europe and led to the establishment of the Monuments Men Fine Arts and Archives (MFAA) section of the Allied Armies. In 1946, Burke married the American painter and sculptor Miriam Davenport (1915-1999), who also worked to protect wartime cultural treasures with the ACLS and Roberts Commission. During the academic year 1954-55, he held an invitational fellowship at the Institute for Advanced Study in Princeton. Upon invitation, Burke accepted a professorship of ancient and medieval art at the University of Iowa in 1951, relinquishing his directorship at the Index, where he remained until his death in 1961.
Burke’s scholarship was broad-based, including topics ranging from early Christian metalwork to the paintings of Lucas Cranach the Elder (1472-1553) and apocalyptic illustrations in medieval manuscripts.
“A Bronze Situla in the Museo Cristiano of the Vatican Library,” Art Bulletin 12 (1930): 163-78; “Lucas Cranach the Elder,” Art Bulletin 18 (1936): 25-53; “The Index of Christian Art,” The Journal of Documentation 6 (1950): 6-11.
Sieberling, F. “William Lozier Munro Burke 1906–1961,” Art Journal 21 (1962): 176. Monuments Men Foundation: The Roberts Commission. Thursday, January 17, 2019. https://www.monumentsmenfoundation.org/the-heroes/the-roberts-commission…
Contributors: Emily Crockett and Jessica Savage
Historian of ancient and medieval art; the director of the Index of Christian Art from 1942 to 1951. Burke received his AB (1928), MA (1931), and PhD (1932) from Princeton University, completing the final two years of his graduate work under
Full Name: Byvanck, A. W.
Other Names:
Gender: male
Date Born: 1884
Date Died: 1970
Place Born: Leiden, South Holland, Netherlands
Place Died: Leiden, South Holland, Netherlands
Home Country/ies: Netherlands
Subject Area(s): ancient and archaeology
Professor of Archaeology and Ancient History. Byvanck attended the Gymnasium at The Hague, in which city his father, W.G.C. Byvanck (1848-1925), was librarian at the Koninklijke Bibliotheek (Royal Library). Between 1902 and 1907, he studied classics at Leiden University, and he continued his study in Bonn, Germany, in 1907 and 1908. He was particularly interested in the history of the art of antiquity and made trips to Greece, Egypt and Italy. He received his doctoral degree at Leiden University in 1912, with a dissertation on the earliest history of Greek settlements in Italy and Sicily (Magna Graecia): De Magnae Graeciae Historia Antiquissima. At that time, he already had a position at the Meermanno-Westreenianum Museum in The Hague, where he rewrote the first volume of the Guide for Visitors (the Portraits and the Departments of Egypt and Classical Antiquities), which was published in 1912. He spent two months in Greece in 1913. In this year, Byvanck was appointed curator of the manuscripts at the Koninklijke Bibliotheek in The Hague, a position which he held until 1922. During this period, he made a catalog of Northern Netherlandish miniatures, together with his friend G. J. Hoogewerff. This three-volume standard work: Noord-Nederlandse miniaturen in handschriften der 14de, 15de en 16de eeuwen verzameld en beschreven, published between 1922 and 1925, includes a systematic description of 182 Dutch illuminated manuscripts along with 240 plates. Byvanck continued publishing on miniatures, mostly in the Bulletin van de Nederlandse Oudheidkundige Bond. In 1917, he had started his academic career at Leiden University, teaching classical archaeology. In 1922, he was appointed Professor of Archaeology and Ancient History and delivered his inaugural lecture on Het Hellenisme en zijn strijd in de antieke wereld (Hellenism and its struggle in the Ancient World). His research also included classical archaeology in the Netherlands during the Roman period. This interest can be traced back as far as 1913, when he began collecting and studying the sources of Roman history in his country. The result was his three-volume Excerpta Romana. De bronnen der Romeinsche geschiedenis van Nederland, published between 1931 and 1947, and his two-volume Nederland in den Romeinschen tijd (1943). Between 1946 and 1965 appeared De Kunst der Oudheid, a five-volume survey of Ancient Art, covering the art from early Egypt up to the Byzantine period. In 1946, Byvanck was elected a member of the Koninklijke Nederlandse Akademie van Wetenschappen. When he retired as professor, in 1954, he was honored with a festschrift in the Netherlands Year-book for History of Art 5 (1954). Byvanck was an eminent scholar, but not a very inspiring teacher. The communication with most of his students was rather reserved and authoritative (Den Boer, 1971). On the other hand, he was a stimulating organizer of excursions to Greece and Italy. He is also known as a capable administrator, who headed several institutions and committees. At his 80th birthday, he retired as the chief-editor of the Koninklijke Nederlandse Oudheidkundige Bond (Royal Netherlands Association of Antiquities). He had been an active contributor to the above mentioned Bulletin for 50 years!
For a complete list, see: Byvanck-Quarles van Ufford L. Nederlands Kunsthistorisch Jaarboek 5 (1954): 309-331 and the Supplement of the N.K.J. issue of 1971: 1-15; eadem Bulletin van de Vereeniging tot bevordering der kennis van de Antieke Beschaving 46 (1971): 9-22; De Magnae Graeciae Historia Antiquissima. The Hague, 1912; Het Hellenisme en zijn strijd in de antieke wereld. Rede uitgesproken bij de aanvaarding van het ambt van hoogleraar aan de Rijksuniversiteit te Leiden op 1 Februari 1922 (inaugural lecture) The Hague, 1922; and Hoogewerff, G.J. Noord-Nederlandsche miniaturen in handschriften der 14e, 15e en 16e eeuwen verzameld en beschreven. 3 vols. ‘s-Gravenhage: M. Nijhoff, 1922 -1925; Excerpta Romana. De bronnen der Romeinsche geschiedenis van Nederland. 3 vols. (Rijksgeschiedkundige Publicatiën 73,81, 89) The Hague, 1931-1947; Nederland in den Romeinschen tijd. 2 vols. Leiden: E.J. Brill, 1943; De Kunst der Oudheid. 5 vols. Leiden: E.J. Brill, 1946-1965. Festschrift: Nederlands Kunsthistorisch Jaarboek 5 (1954).
Hoogewerff, G.J. Nederlands Kunsthistorisch Jaarboek 5 (1954): VII-IX; Glazema, P. Berichten van de Rijksdienst voor het Oudheidkundig Bodemonderzoek 5 (1954): 5; Van Hoorn, G. a.o. Bulletin van de Vereeniging tot bevordering der kennis van de Antieke Beschaving 29 (1954): 1-3; Den Boer, W. ibidem 39 (1964): [II-IV]; Zadoks-Josephus Jitta, A.N. Bijdragen en mededelingen betreffende de Geschiedenis der Nederlanden 85 (1970): 359; Poelhekke, J.J. Mededelingen van het Nederlands Historisch Instituut te Rome 35 (1971): 12-16; Den Boer, W. Jaarboek Koninklijke Nederlandse Akademie van Wetenschappen 1970 (1971): 246-255; Waszink J.H. [a.o.] Bulletin van de Vereeniging tot bevordering der kennis van de Antieke Beschaving 46 (1971): 2-8; Van der Hoeven, H. in J. Charité and A.J.C.M. Gabriëls (eds.) Nederlands Biografisch Woordenboek 4. The Hague: Instituut voor Nederlandse Geschiedenis, 1994: 41- 42.
Professor of Archaeology and Ancient History. Byvanck attended the Gymnasium at The Hague, in which city his father, W.G.C. Byvanck (1848-1925), was librarian at the Koninklijke Bibliotheek (Royal Library). Between 1902 and 1907, he studied classi
Full Name: Byrnes, James B.
Other Names:
Gender: male
Date Born: 19 February 1917
Date Died: 28 August 2011
Place Born: New York, NY, USA
Home Country/ies: United States
Subject Area(s): Modern (style or period)
Career(s): curators
First curator of modern art at the Los Angeles County Museum of Art, 1946-1952. Byrnes studied to be an artist at various New York city schools including the National Academy of Design, 1936-1938, the American Artists School, 1938-1940 and the Art Students League, 1941-1942. After World War II he was hired at the Los Angeles County Museum of Art to be its first Curator of Modern and Contemporary art in 1946. He taught as a visiting professor at the University of Southern California before attending the University of Perugia and Istituto Meschini, Rome, the latter, 1951-1952. In 1954 he relinquished his position at Los Angeles to become the Director of the Colorado Springs Fine Arts Center. He was appointed associate director of the North Carolina Museum of Art, Raleigh, NC, under Wilhelm Rheinhold Otto Valentiner. At Valentiner’s death in 1958 he became director. In 1960 Byrnes was named director of the New Orleans Museum of Art. In 1972 he returned to California to direct the Newport Harbor Museum in Newport Beach, CA. He concluded his tenure there in 1975 and in 1978 founded an art consulting firm. He was named an emeritus director of the New Orleans Museum in 1989. In 2003 Byrnes was featured on a panel sponsored by the Getty Research Institute on art of the 1940s in Los Angeles.
and Wescher, Paul. Tobacco and Smoking in Art: an Exhibition. Raleigh, NC: North Carolina Museum of Art, 1960; The Artist as Collector: Selections from Four California Collections of the Arts of Africa, Oceania, the Amerindians and the Santeros of New Mexico . Newport Harbor, CA: Newport Harbor Art Museum, 1975; and Benfey, Christopher E. G., and Boggs, Jean Sutherland. Degas and New Orleans: a French Impressionist in America. New Orleans: New Orleans Museum of Art/Copenhagen: Ordrupgaard, 1999.
Who’s Who in American Art. 23rd edition, 1999-2000. New Providence, NJ: Marquis Who’s Who, 1999, p. 174; [interview] James B. Byrnes: Oral History Transcript. Los Angeles: University of California, Los Angeles Oral History Program, 1977; Modern Art in Los Angeles: James Byrnes Oral History. Getty Center (video recording), 2003; personal correspondence, Susan Byrnes Lucky, September 2011.
Contributors: Emily Crockett and Lee Sorensen
First curator of modern art at the Los Angeles County Museum of Art, 1946-1952. Byrnes studied to be an artist at various New York city schools including the National Academy of Design, 1936-1938, the American Artists School, 1938-1940 and the Art
Full Name: Butzbach, Johannes
Gender: male
Date Born: 1478
Date Died: 1526
Home Country/ies: Germany
1505 book
KGK, 23; WDK, I 13-14
1505 book
Full Name: Butlin, Martin
Gender: male
Date Born: 1929
Home Country/ies: United Kingdom
Subject Area(s): British (modern) and painting (visual works)
Career(s): curators
Institution(s): Tate Museum
Assistant Keeper of the Tate Museum and Turner scholar.
Contributors: Lee Sorensen
Assistant Keeper of the Tate Museum and Turner scholar.
Full Name: Butler, Howard C.
Other Names:
Gender: male
Date Born: 1872
Date Died: 1922
Place Born: Croton Falls, Westchester, NY, USA
Place Died: Neuilly-sur-Seine, Île-de-France, France
Home Country/ies: United States
Subject Area(s): Anatolian (culture or style), architecture (object genre), documentary (general concept), Early Western World, Lydian, Middle Eastern, Near Eastern (Early Western World), and sculpture (visual works)
Documentary architectural historian of the middle east. Butler was born to Edward Marchant Butler and Helen Belden Crosby (Butler). He was educated privately at the Lyons Collegiate Institute and the Berkeley School in New York, which allowed him to enter Princeton University as a sophomore, class of 1892. Not an outstanding student, he nevertheless studied history, Greek and Latin languages, ancient and modern art and gained fluency in French and Italian, Arabic, Turkish, and modern Greek The classes of the art historian Allan Marquand, who had founded the Princeton departments of art and archaeology, impressed him greatly, as well as those of Marquand’s Princeton rival, Arthur Lincoln Frothingham, Jr. Butler also participated in Princeton dramatic events. After his A. B. in1892 and A.M. the following year, Butler attended the Columbia School of Architecture returning to Princeton 1895 to lecture in architectural history. He was responsible for lectures in architectural history from the early Christian era through the renaissance. The following year Marquand married and left for a year in Rome at the American Academy (still known as the American School). Butler left his teaching in 1897 to become a Fellow in Archeology at the American Schools of Classical Studies in Rome and Athens (through 1898). His Scotland’s Ruined Abbeys appeared in 1899. During the 1899-1900 academic year he led an archeological expedition to north central Syria. He would continue these excavations until 1909. Butler returned to Princeton in 1901 where he became professor of art and archeology, a position he held the rest of his life. The Story of Athens was published in 1902. The same year, he founded the School of Architecture, which he headed. His monograph on Syria was published as Architecture and Other Arts in 1903. In 1905 he was appointed first master in residence of the Graduate College at Princeton. In 1904 Butler made a second archaeological expedition to Syria. He was contributing editor of the journal Art and Archeology from 1906 until his death. His final archaeological trip to Syria was made in 1909. The Turkish government invited Butler to oversee the excavation of Sardis. The site of the Sardis civilization–older than the Syrian–were much deeper than previous digs. Butler was able to successfully excavate these ruins between 1910 and 1922. He assumed the director position of the School of Archaeology in 1920. In his closing years at Princeton, Butler worked closely and with E. Baldwin Smith his former student and now colleague in architectural history. His monograph on Sardis appeared the same year. He died in the American Hospital at Neuilly, France and his remains interred at Croton Falls, NY. Henry Fairfield Osborn described Butler as continuing the tradition of exploring the middle-eastern archaeology begun by Austen Henry Layard, Heinrich Schliemann and Arthur J. Evans and Charles-Jean-Melchior Vogüé.
Publications of the Princeton University Archaeological Expedition to Syria in 1904-5 and 1909. Leiden: 1909-20; Smith, E. Baldwin, ed. Early Churches in Syria, Fourth to Seventh Centuries. Princeton: Department of Art and Archaeology of Princeton University, 1929; The Excavations. volume 1, and Architecture. volume 2 of, Sardis: Publications of the American Society for the Excavation of Sardis. Leyden: E. J. Brill, 1922-25; The Story of Athens, a Record of the Life and Art of the City of the Violet Crown Read in its Ruins and in the Lives of Great Athenians. New York: The Century Co, 1902; Architecture and Other Arts. Publications of an American Archaeological Expedition to Syria in 1899-1900, part. 2. New York: The Century Co., 1903.
Panofsky, Erwin. “The History of Art.” In The Cultural Migration: The European Scholar in America. Philadelphia: University of Pennsylvania Press, 1953, p. 86, mentioned; 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. 49; Osborn, Henry Fairfield. “Butler, Howard Crosby.” Dictionary of American Biography. New York: C. Scribner’s sons, 1928-1936; Lavin, Marilyn Aronberg. The Eye of the Tiger: The Founding and Development of the Department of Art and Archaeology, 1883-1923, Princeton University. Princeton, NJ: Department of Art and Archaeology and Art Museum, 1983, pp.17ff.; Osborn, Henry Fairfield. “Howard Crosby Butler, Explorer.” Impressions of Great Naturalists: Darwin, Wallace, Huxley, Leidy, Cope, Balfour, Roosevelt, and Others. 2d ed. New York: C. Scribner’s Sons, 1928, pp. 221-226.
Contributors: Emily Crockett and Lee Sorensen
Documentary architectural historian of the middle east. Butler was born to Edward Marchant Butler and Helen Belden Crosby (Butler). He was educated privately at the Lyons Collegiate Institute and the Berkeley School in New York, which allowed him
Full Name: Buschor, Ernst
Gender: male
Date Born: 1886
Date Died: 1961
Place Born: Hürben, Bavarian Swabia, Germany
Place Died: Munich, Bavaria, Germany
Home Country/ies: Germany
Subject Area(s): ancient, Ancient Greek (culture or style), archaeology, Archaic (Greek culture or period), and Classical
Classical archaeologist; one of the first to identify the critical turn in ancient Greek art from the archaic to the classical age as taking place around 500 B.C. Buschor was born into a family of modest means and education. He initially studied law but by 1905 had switched to classical archaeology, attending the university at Munich and studying under Adolf Furtwängler, to whom he was devoted. Owing to Furtwängler’s early death (1907), he wrote his dissertation under Paul Wolters in 1912, publishing his first book, Griechische Vasenmalerei, before its appearance. Buschor fought in World War I and afterward, despite a lack of habilitationschrift, was appointed associate professor at the University of Erlangen in 1919. The following year, at age 34, he was named full Professor of Archaeology at Freiburg. When the Deutsche archäologische Institut (German Archaeological Institute, or DAI) in Athens reopened in 1921, Buschor was appointed it’s first (new) secretary. His many accomplishments there included reopening the excavations of the Sanctuary of Hera at Samos, which had been closed since the War in 1914. He was appointed director of the excavations of Samos in 1925, a position he held until his death. The same decade he published on the archaic poros pedimental sculpture of the Acropolis and completed the third volume of Furtwängler’s Griechische Vasenmalerei, (1932) left undone by his mentor’s death. Buschor took over the chair of both his mentors (Furtwängler and Wolters) at Munich in 1929 (appointed Ordinarius professor) remaining there the rest of his professional life. Buschor was attracted to the nationalistic aspects of Nazism in the 1930s and taught in Munich under full authority of the Third Reich. In 1937 he received an honorary doctorate from the University in Athens. His 1942 Vom Sinn der griechishce Standbilder, however, is relatively free of fascist ideology. After the war he was one of the first professors to be stripped of his position for his complicity with the Nazi government, though his art-historical writing was esteemed enough by the American art historian Margarete Bieber to be included as a translated passage in her German Readings reader of 1946. He continued the approach to classical art begun in Standbilder in his next book, Bildnisstufen, 1947, as well as researching and translating Greek tragedies. His students included Ludger Alscher, Roland Hampe (b. 1908), Nikolaus Himmelmann (b. 1929), Ernst Homann-Wedeking (1908-2002), Gerhard Kleiner, and Dieter Ohly. Wolfgang Schindler characterized Buschor as turning archaeology into an art history to tried to understand the objects themselves, connecting the objects with the history and culture of their time. Buschor’s writings about the architectural phases of the Rhoikos Temple from the Samos excavation were important for the understanding of classical building. His methodology was clearly and candidly outlined in his “Begriff und Method der Archäologie” republished in Handuch der Archäologie by Iwan Müller (1939, 1969) and later in an essay emphasizing the complexity, Grab eines attische Mädschens. Buschor was ever concerned with the dichotomy of the meaning of ancient art: its role contemporary to its time as well as its modern relevance. His stylistic analysis was somewhat superseded by iconology, but never supplanted. His tendency to look for grand historical principles is typical of Germanic conceptions of art history of his time. Critics–and there have been many–chide his work for subjectivity and his writing for inscrutability. However, his work on the archaic Greek art and the severe style remain pioneering accomplishments.
[dissertation:] Beiträge zur Geschichte der griechischen Textilkunst (Die Anfänge u. d. oriental. Import.). Munich: Kastner & Callwey, 1912; Griechische Vasenmalerei. Munich: R. Piper, 1912, English, Greek Vase-Painting. London: Chatto & Windus, 1921; Altsamische Standbilder. 5 vols. Berlin: Gebr. Mann 1934-1962; Bildnisstuffen. Munich: Münchner Verlag, 1947; Frühgriechische Jünglinge. Munich: R. Piper, 1950; Grab eines attischen Mädchens. Munich: Piper, 1959; Griechische Vasen. Munich: R. Piper & Co.,1940; Das hellenistische Bildnis. Munich: Biederstein, 1949; Die plastik der Griechen. Berlin: Rembrandt-Verlag, 1936; and Hamann, Richard. Die Skulpturen des Zeustempels zu Olympia. Marburg an der Lahn: Kunstgeschichtlichen Seminars der Universität Marburg, 1924; Die Tondächer der Akropolis. 2 vols. Berlin: W. de Gruyter & Co., 1929-1933; Vom Sinn der griechischen Standbilder. Berlin: Gebr. Mann, 1942, English, On the Meaning of Greek Statues. Amherst: University of Massachusetts Press, 1980.
Scheffold, Karl. “Ernst Buschor.” Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988, p. 234-35; Schindler, Wolfgang. “Ernst Buschor.” Classical Scholarship: A Biographical Encyclopedia. New York: Garland Publishing, 1990, pp. 13-16; Zanker, Paul. “Ernst Buschor: 1886-1961: Archäologe, Pädegoge, Weltdeuter.” Umbits 5 (1986): 16-17; Benson, Jack L. “Introduction.” Buschor, Ernst. On the Meaning of Greek Statues. Amherst: University of Massachusetts Press, 1980, pp. ix-xxiii; Calder, William. “Buschor, Ernst.” Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 1, p. 210.
Classical archaeologist; one of the first to identify the critical turn in ancient Greek art from the archaic to the classical age as taking place around 500 B.C. Buschor was born into a family of modest means and education. He initially studied l
Full Name: Buschiazzo, Mario José
Other Names:
Gender: male
Date Born: 1902
Home Country/ies: Argentina
Subject Area(s): Argentine
Career(s): educators
Professor at the University of Buenos Aires. In 1945, Buschiazzo and Enrique Marco Dorta director of the art history department at the University of Seville collaborated with Diego Angulo Iñiguez on the ground-breaking work on the history of Spanish colonial art in South America, covering architecture, painting, sculpture, decorative arts, from the evolution of these artistic to the assimilation of Spanish art by the colonies.
Estudios de arquitectura colonial hispano americana. Buenos Aires: G. Kraft, 1944; and Angulo Iñiguez, Diego, and Marco Dorta, Enrique. Historia del arte hispanoamericano. 4 vols. Barcelona-Madrid-Buenos Aires, 1945-1956;
Professor at the University of Buenos Aires. In 1945, Buschiazzo and Enrique Marco Dorta director of the art history department at the University of Seville collaborated with Diego Angulo Iñigue
Full Name: Buschbeck, Ernst Heinrich
Gender: male
Date Born: 1889
Date Died: 1963
Place Born: Vienna, Vienna state, Austria
Place Died: Boca da Inferno, near Cascais, Portugal
Home Country/ies: Austria
Subject Area(s): Austrian and Medieval (European)
Museum director of Austrian art museums. Ernst Heinrich Buschbeck was born to Helene (née Marbach) and Alfred Buschbeck, the father from a prestigious military family. Buschbeck graduated from the Schottengymnasium in Vienna and after a compulsory year of military service 1907-1908, he studied philosophy and jurisprudence at Lausanne and Vienna. By 1910 he had switched to history and art history, attending lectures in the universities of Berlin (under Heinrich Wölfflin), Halle and Vienna. He studied in Vienna with two giants of the so-called “Vienna School of art history,” Julius Alwin von Schlosser and Max Dvořák. Buschbeck wrote his dissertation under Dvořák, Der pórtico de la gloria von Santjago de Compostela: Beiträge zur Geschichte der französischen und der spanischen skulptur im XII (The Glory Portico of the Santiago de Compostella: French and Spanish Contributions to the Sculpture in the Twelfth Century). In March through August of 1914, Buschbeck volunteered at the Kaiserlichen Kunstsammlungen (Imperial Art Collections) in Wien. At the declaration of World War I he enlisted and fought throughout the war. After armistice he was appointed assistant for the painting gallery (Gemäldegalerie) of the Kunsthistorischen Museums in Wien in 1919. By 1920, he was working for the museum department of the Austrian Federal Ministry of Education participating in the restructuring of the museum under Hans Tietze. Buschbeck successfully defended the claims of Museum’s art against the demands of the victor nations, Belgium, and Italy. In 1923, he returned to the Gemäldegalerie as commissioner for the interiors of the former imperial castles. From 1928 to 1929, Buschbeck was a delegate at the Institut de Cooperation Intellectuelle in Paris (Panel of the League of Nations) and co-founder of the Society for the Promotion of Modern Art in Vienna (begun with Tietze in 1922), the Vienna Cultural Association and the Association for the Preservation of Monuments and Cityscapes. He rose to assistant curator at the Gemäldegalerie in 1929, during which time he also presented teacher training lectures on the art history of the City of Vienna. He contributed art articles to the “Neuen Wiener Tagblattes.” Buschbeck was named curator of the Gemäldegalerie in 1937. A decenter of the Nazis in Germany, Buschbeck left for a purportedly business trip to London after the “annexation” of Austria by Germany in June, 1939 and never returned. He lived in London during the war years working in the news and propaganda department of the BBC between 1939 and 1945 listening to and translating German-language radio broadcasts. In 1941, he was a co-signer on the Deklaration österreichischer Vereinigungen in Grossbritannien (declaration of a united Austria in Great Britain), collaborating in the education department of the Free Austrian Movement. After the war in 1946, Buschbeck returned to Austria and was reinstatement to the Kunsthistorischen Museums. Ever devoted to his homeland, he wrote a history of Austria in English in part to explain the country’s participation in the war, published 1949. The same year he was appointed director of the Gemäldegalerie and in 1953 he managing director of the Museums. Buschbeck devoted himself to the reconstruction of the destroyed museum rooms and the repatriation of the art disperse by the war. In an attempt to raise money for the Museums, he organized the highly praised traveling exhibition “Kunstschätze aus Wien” in western Europe and the Americas. He was also active in the international organizations ICOM and UNESCO. Buschbeck retired in 1954 but assisted in the transfer of Graf Czernin’s Gemaldgalerie from Vienna to Salzburg and other projects. In 1960, he curated the exhibition: “Kunstlerische Darstellung der alpenlandschaft im Lauf der Jahrhunderte” (Art landscapes of the Alps over the centuries) (Residenzgalerie Salzburg). He was killed in an accident while acting as a tour guide in Portugal.
[dissertation] Der pórtico de la gloria von Santjago de Compostela: Beiträge zur Geschichte der französischen und der spanischen skulptur im XII. Jahrhundert. Vienna, 1913, published under the same title, Berlin: J. Bard, 1919; “The Vienna tapestry exhibition.” Burlington Magazine 37 (1920): 123-130; Frühmittelalterliche Kunst in Spanien. Leipzig: E.A. Seemann, 1923; 1925-29;Georg Merkel. Vienna: Krystall-Verlag, 1927; “Über eine unbeachtete Wurzel der maniera modema.” Festschrift, Julius Schlosser. (1927) 88-93; Wissenschaft der letzten 150 Jahre in Österreich. Vienna: Europa Verlag, 1947; “Introduction.” Les relations artistiques austro-belges illustrées par les chefs-d’oeuvre des musées de Vienne. Palais des Beaux-Arts, Éditions de La Connaissance, 1947; “Introduction.” Art treasures from Vienna (Tate Gallery) London 1949; “Introduction.” Art treasures from the Vienna collections lent by the Austrian Government. (National Gallery Washington) 1949; “HansTietze and his reorganization of the Vienna Museums.” Festschrift. Hans Tietze. 1958, 373-375; Die Alpen. Malerei und Graphik aus 7 Jahrhunderten (Ausst kat Residenzgal) Salzburg: Etzendorfer, 1960.
Wendland, Ulrike. Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. Munich: Saur, 1999, vol. 1, pp. 83-86.
Contributors: Cassandra Klos
Museum director of Austrian art museums. Ernst Heinrich Buschbeck was born to Helene (née Marbach) and Alfred Buschbeck, the father from a prestigious military family. Buschbeck graduated from the Schottengymnasium in Vienna and after a compulsory
