Subject Area(s): French (culture or style) and Impressionist (style)
Career(s): art collectors
Overview
Toulouse-Lautrec scholar and collector. President of the Society of Friends of the Albi Museum (France). Wrote the catalogue raisonné of Toulouse-Laurtec’s work.
Selected Bibliography
Toulouse-Lautrec et son ouevre. Les Artists et leurs oeuvres: Etudes et documents. Ed. by Paul Brame and C. M. de Hauke. 6 vols. New York: Collectors Editions, 1971; and Huisman, Philippe, Lautrec by Lautrec. Translated and edited by Corinne Bellow. New York: Viking Press, 1964; and Adhémar, Jean. Toulouse-Lautrec en Belgique. Paris: Quatre Chemins – Editart, 1955.
Sources
mentioned, Artnews 62, no. 10 (February 1964): 5.
Citation
"Dortu, M. G.." Dictionary of Art Historians (website). https://arthistorians.info/dortum/.
More Resources
Search for materials by & about this art historian:
Toulouse-Lautrec scholar and collector. President of the Society of Friends of the Albi Museum (France). Wrote the catalogue raisonné of Toulouse-Laurtec’s work.
Subject Area(s): Italian (culture or style), Italian Renaissance-Baroque styles, and Renaissance
Career(s): art dealers
Overview
Italian renaissance art scholar, dealer, and director, National Gallery, Dublin. Douglas was the son of Rev. Robert Douglas (1836-1912), Rector at Odell, Bedfordshire, England, and Annie Johnson (Douglas) (d. 1922). Douglas attended Oxford University concentrating in Modern History. Walter Pater and Charles Fairfax Murray inspired him to study art. He married Margaret Jane Cannon in 1891. While a chaplain for the Church of England in Italy, he wrote the text for a monograph on Fra Angelico, consulting with a number of scholars, including Bernard Berenson. He gave up his church appointment in 1900, accepting a position as professor of Modern History at the University of Adelaide, Australia. The Angelico monograph appeared in 1900. He divorced and returned to Italy in 1901 where his friends, prominent Italian scholars as well as the Zendadari-Chigi family, in whose palace Douglas stayed, assisted in his writing his book, A History of Siena, 1902. The same year he married Gwendolen Mary Henchman. Douglas recommended Berenson, unbeknownst to Berenson, to the British art dealer Joseph Duveen (1869-1939), which began an long and ethically compromising relationship between the dealer and Berenson.
Berenson increasingly saw Douglas as a rival in the field of Italian scholarship and felt his opinions had been unacknowledged in Douglas’s books. Berenson used an article Douglas published on Sassetta in the Burlington Magazine in 1903 to launch a major feud. Berenson published two rival articles on the artist the same year in the Burlington. This set in motion the rival camps of Italian scholarship among the English-speaking world, with Douglas and Sandford Arthur Strong pitted against Berenson, Roger Fry, and the other “consultative editors” of the Burlington Magazine. Beginning in 1903 ( through 1911) Douglas published a revised edition the first four volumes of A New History of Painting in Italy, the important work of Joseph Archer Crowe and G. B. Cavalcaselle. In 1904 he curated an exhibition of Sienese art at the Burlington Fine Arts Club at the suggestion of the collector Robert Henry Benson (1850-1929). At age 50, in 1914, Douglas enlisted in the British Army in order to fight in World War I. He rose from private to staff captain and a position with the War Office in London. He continued to deal in art during the war. In 1916 Douglas was appointed director of the National Gallery of Art, Dublin. When a disagreement with the trustees erupted in 1923, Douglas resigned. Douglas dealt in old master art during the 1920s, a time when the American newly-rich were anxious to acquire them. He sold major paintings to Otto H. Kahn and Philip Lehman. He divorced his second wife in 1927, marrying Jean Stewart, a former research assistant of his, the following year. Douglas settled in New York in 1940, writing text for the Duveen art galleries. He continued to write articles in addition to the Burlington Magazine, Bryan’s Dictionary, Art in America, Art Quarterly and the Connoisseur. He was called as a witness on behalf of the art dealer Joseph Duveen in the lawsuit brought about by Mrs. Harry Hahn and her purported Leonardo, “La Belle Ferronniere” in 1929. In 1940 and 1941 Douglas lectured in the United States at Harvard and Princeton.
He died in Fiesole, in 1951. His book collection was auctioned off at Sotheby’s in 1952. His widow re married Edward Fowles, head Duveen’s Paris branch and later heir to Duveen’s galleries. His daughter described him as “a sensualist, a spendthrift and an obstinate, angry and untactful man.”
Douglas sale of masterworks to collectors and museums included J. Pierpont Morgan and John G. Johnson; the Gemäldegalerie, Berlin (Giotto’s Dormition of the Virgin), Wilhelm Bode for the Kaiser-Friedrich Museum in Berlin, the Metropolitan Museum of Art, New York (Epiphany, Giotto) 1911, Julius Wernher in London (Albrecht Altdorfer’s Christ Taking Leave of his Mother), and facilitated sales of Giovanni Bellini’s St. Francis in Ecstasy and Gerard David’s Deposition to Henry Clay Frick. Douglas’ work as a scholar and dealer was admired by John Pope-Hennessy, whom Douglas encouraged to publish his work on Sassetta in 1939, which was built upon by Federico Zeri and Everett Fahy, Jr. Pope-Hennessy wrote that Douglas “attempted the first synthetic review of Sassetta’s career and reattributed to the painter several of his most important pictures, among them the now famous panel of The Mystic Marriage of St. Francis at Chantilly then attributed by Berenson to Sano di Pietro.”
Selected Bibliography
Fra Angelico. London: G. Bell and Sons, 1900;
introduction. Exhibition of Pictures of the School of Siena and Examples of the Minor Arts of that City. London: the Burlington Fine Arts Club, 1904;
edited volumes 3 and 4, with Nicola, G. de, and Strong, S. Arthur. Crowe, Joseph Archer. A History of Painting in Italy, Umbria, Florence and Siena, from the Second to the Sixteenth Century. 2d edition. London: J. Murray, 1903-14;
Leonardo da Vinci: his Life and Pictures. Chicago: University of Chicago Press, 1944;
Piero di Cosimo. Chicago: University of Chicago Press, 1946;
introduction, Certain Tragical Discourses of Bandello. London, D. Nutt, 1898;
A History of Siena. London: J. Murray, 1902;
“The Reconstruction of Dismembered Altarpieces: How Far is it Possible? How Far is it Desirable?” Art Quarterly (autumn, 1945): 281-295;
introduction. Locker-Lampson, Godfrey Tennyson Lampson. A Few Italian Pictures Collected by Godfrey Locker-Lampson. London: Chiswick press ltd., 1937;
Leonardo da Vinci: his “San Donato of Arezzo and the Tax Collector”. London: Chiswick Press, 1933;
The Art Reference Library Formed by the Late Robert Langton Douglas. New York: Parke-Bernet Galleries, 1952.
Sources
[obituary:] “Robert L. Douglas, British Art Expert.” New York Times August 16, 1951, p. 24;
Simpson, Colin. Artful Partners: Bernard Berenson and Joseph Duveen. New York: Macmillan, 1986, p. 5;
Sutton, Denys. [series of issues devoted Douglas:] Apollo 109 (April 1979): 248-315, Apollo 109 (May 1979): 348-65, 367-83, Apollo 110 (June 1979): 439-46, 412-27, Apollo 110 (July 1979): 2-32, 35-41, 42-54, 55-61, and reprinted in book form as, Sutton, Denys. Robert Langton Douglas: Connoisseur of Art and Life. London: Apollo Magazine Ltd., 1979;
“On R. Langton Douglas.” Douglas, Claire, and [Reply] Pope-Hennessy, John. New York Review of Books 34, no. 12 (July 16, 1987);
Pope-Hennessy, John. Sassetta. London: Chatto & Windus, 1939, pp. 1-2;
Citation
"Douglas, R. Langton." Dictionary of Art Historians (website). https://arthistorians.info/douglasr/.
More Resources
Search for materials by & about this art historian:
Italian renaissance art scholar, dealer, and director, National Gallery, Dublin. Douglas attended Oxford University concentrating in Modern History. Walter Pater and Charles Fairfax Murray inspired him
Subject Area(s): Baroque, French (culture or style), and French Renaissance-Baroque styles
Career(s): educators
Overview
University of Chicago professor; French baroque art scholar. Dowley graduated Phi Beta Kappa from Princeton University in 1936. He entered the University of Chicago, initially studying philosophy, to which his 1941 A. M. thesis was devoted. During World War II he served as an ensign in the U.S. Navy. Between 1946-47 Dowley held a fellowship at the Institute of Fine Arts in New York, where he switched to art history, and, armed with a fellowship from the American Council of Learned Societies, researched 18th-century French portraiture in Paris 1947-49. He was hired by the University of Chicago in 1949, completing his Ph.D. in 1953 under Ulrich Middeldorf. Dowley chose as his thesis French portrait sculpture at the time when it was a little studied field. Interest in understudied areas remained a hallmark of Dowley’s scholarship. He remained teaching at Chicago the rest of his life. He received associate professor rank in 1958 and a full professorship in 1974. His students included Barbara Maria Stafford, Marilyn Dunn, Thomas Hedin, Cynthia Lawrence, Dwight Miller, Hal Opperman, and Mary Jackson Harvey.In his personal manner, Dowley was a scholar from the previous century. A bachelor whose single focus in life was art history, he spent most of his day in his office researching and meeting with students. His classes were usually at 8:30 a.m. and despite advances in photographic technology, most of his slides were ordered in black-and-white. Spending little on his personal life, Dowley was responsible for the anonymous “Baroque Prize” which the department awarded yearly to an excellent paper in that field. He never published a monograph, preferring articles and essays. He served as a member of the American Society for Eighteenth Century Studies, the College Art Association of America and La Société de l’Histoire de l’Art français. His Thoughts on Poussin, Time, and Narrative: The Israelites Gathering Manna in the Desert, (1997) laid out his approach, one founded in the examination of the visual work of art as an end in itself, not the visual manifestation of aesthetic theory.
Selected Bibliography
[A. M. thesis:] The Epistemology of Clarence Irving Lewis. University of Chicago, 1941; [dissertation:] A Series of Statues of “Grands Hommes” ordered by the Academie Royale de Peinture et de Sculpture. University of Chicago, 1953; “Giacinto Brandi’s Paintings at the Palazzo Taverna.” in, Enggass, Robert, and Stokstad, Marilyn, eds. Hortus imaginum: Essays in Western Art. Lawrence: University of Kansas, 1974; “The Moment in Eighteenth-century Art Criticism.” in Studies in Eighteenth-century Culture 5. Madison, WI: American Society for Eighteenth-Century Studies/University of Wisconsin Press, 1976; “Iconography of Poussin’s Painting Representing Diana and Endymion.” Journal of the Warburg and Courtauld Institutes 36 (1973): 305-19; “Carlo Maratti, Carlo Fontana, and the Baptismal Chapel in Saint Peter’s.” The Art Bulletin 47 (March 1965): 57-81; “Some Drawings by Benedetto Luti.” The Art Bulletin 44 (September 1962): 219-36; Some Drawings by Carlo Maratti. The Burlington Magazine 101 (February 1959): 62-73; “D’Angiviller’s grands hommes and the Significant Moment.” The Art Bulletin 39 (December 1957): 259-77; “Neo-classic Hercules, or La Force, by Guillaume Boichot.” Art Quarterly 15 no. 1 (1952): 73-6; “Thoughts on Poussin, Time, and Narrative: The Israelites Gathering Manna in the Desert.” Simiolus 25 no. 4 (1997): 329-348.
Sources
[obituaries:] Guerrero, Lucio. “Francis Dowley, 87, U. of C. Expert on French Art.” Chicago Sun-Times. December 10, 2003 p. 8; Brachear, Manya A. “Francis Hotham Dowley, 87: Longtime U. of C. Art History Professor.” Chicago Tribune. December 14, 2003. p. 9; “Francis Dowley.” University of Chicago News Service http://www-news.uchicago.edu/releases/03/031217.dowley.shtml.
Citation
"Dowley, Frank." Dictionary of Art Historians (website). https://arthistorians.info/dowleyf/.
More Resources
Search for materials by & about this art historian:
University of Chicago professor; French baroque art scholar. Dowley graduated Phi Beta Kappa from Princeton University in 1936. He entered the University of Chicago, initially studying philosophy, to which his 1941 A. M. thesis was devoted. During
Subject Area(s): architecture (object genre) and sculpture (visual works)
Overview
Architectural historian. Downes was the son of Ralph William Downes, (1904-1993) a professional organist. Downes studied at the Courtauld Institute where the lectures of Margaret Whinney on architectural history inspired him (acknowledged in his monograph on Wren, 1971).
Citation
"Downes, Kerry." Dictionary of Art Historians (website). https://arthistorians.info/downesk/.
More Resources
Search for materials by & about this art historian:
Architectural historian. Downes was the son of Ralph William Downes, (1904-1993) a professional organist. Downes studied at the Courtauld Institute where the lectures of Margaret Whinney on architectural history inspired hi
Subject Area(s): Antique, the, Classical, and Roman (ancient Italian culture or period)
Overview
Specialist in ancient Roman art, particularly the residue of Roman occupation of Germany and Terrasigillita. He was born in Dorpat, Russia, which is present-day Tartu, Estonia. Dragendorff wrote his dissertation under Georg Loeschcke at the university in Bonn. Director of Romans in German Commission of the Deutsche Archäologische Institut (DAI, German Archaeological Institute), 1902-1911, General Secretary of DAI (Berlin) 1911-1922. Professor of Archaeology at the University of Freiburg i.Br., 1922-. Among students inspired by his lectures in Basel were Arnold von Salis.
Selected Bibliography
Westdeutschland zur Römerzeit, 1912. Arretinische Reliefkeramik mit Beschreibung der Sammlung in Tübingen, (published posthumously and edited by Carl Watzinger), 1948.
Sources
Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 179-180.
Specialist in ancient Roman art, particularly the residue of Roman occupation of Germany and Terrasigillita. He was born in Dorpat, Russia, which is present-day Tartu, Estonia. Dragendorff wrote his dissertation under Ge
Subject Area(s): drawings (visual works), Flemish (culture or style), German (culture, style, period), Northern Renaissance, and prints (visual works)
Overview
Historian of German and Flemish drawings, Keeper of the Department of Prints and Drawings, British Museum. Dodgson came from a middle-class investment family, distantly related to Lewis Carroll (née Charles Lutwidge Dodgson). He attended Winchester and then New College, Oxford, where he read in Classics and Theology. His intention to be ordained changed after college (perhaps because of his realization of latent homosexuality). Dodgson assisted Oscar Wilde’s friend Lord Alfred Douglas at Oxford, spending a well-documented weekend with Wild and Douglas at Babbacombe near Torquay. He joined the British Museum in 1893 in the Department of Prints and Drawings under Sidney Colvin. He hired Oxford poet Laurence Binyon as an assistant Keeper in 1895. In 1898 he co-founded the publications of the Dürer Society (lasting until 1911) with Montagu Peartree. He translated many of the immensely popular Künstler-Monographien series of Velhagen & Klasing publisher into English, especially those of Hermann Joseph Wilhelm Knackfuss. In 1903 and 1911, the two volumes of his catalog of the Flemish and German woodcuts of the British Museum were published. This achieved him international recognition as an authority of those areas. Other volumes in this series were written under the emerging scholars of the department, including the young Arthur Mayger Hind. In 1912 Dodgson succeeded Colvin as Keeper. In 1913 he married Catharine Spooner, daughter of the Reverend W. A. Spooner, Warden of New College. Dodgson edited the Print Collectors Newsletter for and frequently contributed articles to the Burlington Magazine. During World War I, he was a German translator for the British government running the Department largely by himself because of the lack of labor the war had caused. In 1929, Dodgson’s niece married the art historian Jim Shaw. Shaw and Dodgson became close, despite a subsequent divorce by Shaw. Binyon succeeded Dodgson as Keeper in 1932 for one year before his own retirement. Throughout his life, Dodgson collected prints and, being heirless, did so with the understanding they would go to the Department of Prints and Drawings. He also was instrumental in donating £32000, a large sum of money at the time, to assist in the purchase of the magnificent Dürer drawing of a Tirolean womanPeter Roth describes Dodgson as being one of the first in England to apply the rigorous techniques of German art history. Dodgson carefully described and analyzed prints. His interests were primarily northern renaissance prints and drawings.
Selected Bibliography
[complete bibliography:] Schilling, E. “Campbell Dodgson.” The Burlington Magazine 90 (October 1948): 293-4; Catalogue of early German and Flemish woodcuts preserved in the Department of Prints and Drawings in the British Museum. London: The Trustees of the British Museum, 1903 ff.
Sources
Panofsky, Erwin. “The History of Art.” In The Cultural Migration: The European Scholar in America. Philadelphia: University of Pennsylvania Press, 1953, mentioned, p. 85; Erwin Panofsky. “Wilhelm Vöge: A Biographical Memoir.” Art Journal 28 no. 1 (Fall 1968): 27, mentioned; Roth, Peter. “Campbell Dodgson” Print Review 4: 34; [obituaries:] “Dr. Campbell Dodgson, Prints And Drawings.” The Times [London]. July 14, 1948, p. 7; Schilling, E. “Campbell Dodgson.” The Burlington Magazine 90 (October 1948): 293-4.
Historian of German and Flemish drawings, Keeper of the Department of Prints and Drawings, British Museum. Dodgson came from a middle-class investment family, distantly related to Lewis Carroll (née Charles Lutwidge Dodgson). He attended Wincheste
Place Born: Cheltenham, Gloucestershire, England, UK
Place Died: Taunton, Somerset, England, UK
Home Country/ies: United Kingdom
Subject Area(s): Anglo-Saxon (culture or style) and Medieval (European)
Overview
Medievalist art historian of the Anglo-Saxon era, university professor. Dodwell was educated at Pate’s School in Cheltenham and Gonville and Caius College, Cambridge University, where he was impressed with the writings on English monastic life by David Knowles (1896-1974). During World War II he served in the Royal Navy, 1941-45. He married Sheila Juliet Fletcher in 1942. After the war, Dodwell held a 1950-51 research fellowship and completed his Ph.D. at Cambridge. He secured a senior research fellowship at the Warburg Institute in London between 1950-53. With few academic jobs available at the time, he accepted in the position of Librarian at Lambeth Palace in 1953, the historic library of the Bishops of Canterbury since 1610 and a library with important manuscript holdings. The job was a difficult one: the library had been partially destroyed by a bomb during the Battle of Britain and its collection not repaired. To make matters worse, the current librarian refused to leave the job. Dodwell was highly successful administrator at Lambeth and worked daily with the manuscripts there. In 1954 he wrote one of his greatest books, The Canterbury School of Illumination: 1066-1200. A rewrite of his doctoral dissertation, it was the first account of any English school of manuscript art, addressing one of the most original and influential schools of English manuscript painting. Dodwell sorted out the classical, Carolingian and Anglo-Saxon sources of the school. Its breadth and solid visual analysis set new standards, and its conclusions have not been overturned. In 1958 he was appointed librarian, fellow, and lecturer at Trinity College, Cambridge. His book, The Great Lambeth Bible appeared in1959, furthering his reputation. The following year he published a study of the St. Albans Psalter, work concerned with the illuminated letters of that manuscript. Dodwell was also an outstanding textual historian. His translation of Theophilus’12th-century treatise on pointing, metalwork and stained glass, The Various Arts, 1961, proved again to be a definitive text of an important document in the history of western art. In 1966 Dodwell was appointed the Pilkington Chair in the history of art at the Manchester University and the Director of the Whitworth Art Gallery. He was adept as a museum director, establishing a number of high-profile international exhibitions and, with the assistance of keeper Francis Howcroft, launching an annual show of contemporary art. Dodwell used his endowed chair position to stave university financial cuts in 1981 and building the art history department for which Manchester is today well known. During this same time, Dodwell wrote the volume on medieval art for in the distinguished Pelican History of Art series, Pictorial Arts of the West: 800-1200 (1971). The book takes the disparate arts, nationalities and histories of the period, synthesizing them into a cohesive overview. He was elected a Fellow to the British Academy in 1973 and between 1987 and 1990 acted as Chairman to the Academy’s section on History of Art and Music. He served on the committee of the Corpus Vitrearum Medii Aevi. In 1982, Anglo-Saxon Arts: A New Perspective appeared, a work again mining medieval written sources to supplement an area where much of the art had been destroyed: Anglo-Saxon England. Dodwell used saints’ lives, wills, poems, monastic chronicles to document the corpus of artistic production and use. Though some critics felt Dodwell exaggerated the veracity of some of his evidence, the book remains an important example of his insight and originality. Dodwell retired emeritus from Manchester in 1989. Despite a stroke in his last years which left him partially sighted, he finished a complete rewrite of his Pictorial Arts of the West, described (by the Guardian) as a tour-de-force of the synoptic art history survey genre, published in 1993. He was working on the text to Anglo-Saxon gestures and the Roman stage at the time of his death. Dodwell was greatly influenced by the continental medievalist art historians, specifically Émile Mâle, Georg Swarzenski, and Albert Boeckler, combining their rigorous iconographic and stylistic methodology with the English tradition of manuscript studies of Montague R. James (1862-1936). Despite these influences, Dodwell was an independent thinker of note among medievalists. His 1965 Reichenau Reconsidered essays (with Derek Turner) argued that most decorated manuscripts ascribed to the Reichenau School were produced in Trier. He also led the way in asserting that twelfth-century metal work of the Rhine-Maas region was the impetus for the hardening line of late Romanesque draughtsmanship. Dodwell based his scholarship on a vast knowledge of textual sources, of which historians described him an undisputed master (Owen-Crocker, Graham). His devotion to textual documentation led Otto Lehmann-Brockhaus to dedicate his five-volume Lateinische Schriftquellen zur Kunst in England (1955-60) to Dodwell. His scholarship built the reputation of Manchester University as a center for art history.
Selected Bibliography
[complete bibliography:] The Published Writings of C. R. Dodwell. In, Medieval Art: Recent Perspectives: A Memorial Tribute to C. R. Dodwell. New York: Manchester University Press, 1998, pp. 231-34; Anglo-Saxon Gestures and the Roman Stage. Cambridge Studies in Anglo-Saxon England, vol. 28. New York: Cambridge University Press, 2000; The Old English Illustrated Hexateuch: British Museum Cotton Claudius B. IV. Early English Manuscripts in Facsimile18. Copenhagen: Rosenkilde og Bagger, 1974; The St. Albans Psalter (Albani Psalter). Volume 2. The Initials. London: Warburg Institute, University of London, 1960; Essays on Dürer. Manchester Studies in the History of Art 2. Manchester, Toronto: University of Toronto Press, 1973; Pictorial Arts of the West 800-1200. Pelican History of Art 34. Harmondsworth, Eng: Penguin Books 1971, 2nd ed.,. New Haven: Yale University Press, 1993; Anglo-Saxon Art: A New Perspective. Ithaca, NY: Cornell University Press, 1982; The English Church and the Continent: Lectures. London: Faith Press, 1959; The Great Lambeth Bible. New York: T. Yoseloff, 1959; Lambeth Palace. London: Country Life Limited, 1958; Reichenau Reconsidered: A Re-assessment of the Place of Reichenau in Ottonian Art. Warburg Institute Surveys 2. London: Warburg Institute, University of London, 1965; The Canterbury School of Illumination: 1066-1200. Cambridge, Eng: University Press, 1954; Theophilus, Presbyter: The Various Arts. New York: T. Nelson, 1961; [collected essays] Aspects of Art of the Eleventh and Twelfth Centuries. London: Pindar Press, 1996.
Sources
Owen-Crocker, Gail, and Graham, Timothy. Introduction. In, Medieval Art: Recent Perspectives: A Memorial Tribute to C. R. Dodwell. New York: Manchester University Press, 1998, pp. 1-7; Palmer, Richard. Reginald Dodwell, Lambeth Librarian 1953-1958. In, Medieval Art, op. cit., pp. 224-230; The Guardian [London] May 16, 1994; The Times [London], May 3, 1994; The Independent [London], April 30, 1994.
Citation
"Dodwell, C. R.." Dictionary of Art Historians (website). https://arthistorians.info/dodwellc/.
More Resources
Search for materials by & about this art historian:
Medievalist art historian of the Anglo-Saxon era, university professor. Dodwell was educated at Pate’s School in Cheltenham and Gonville and Caius College, Cambridge University, where he was impressed with the writings on English monastic life by
Subject Area(s): ancient, Classical, and Etruscan (culture or style)
Overview
American scholar of Etruscan art. Hall graduated from Smith College in 1899 and attended graduate school at Bryn Mawr. In 1903 received a fellowship via Bryn Mawr to the American School of Classical Studies in Athens. At the School, she was invited to participate on the expedition to Gournia, part of the “Wells-Houston-Cramp Expeditions” (1901-1904) led by the archaeologist Harriet Boyd Hawes (1871-1945). After returning to Bryn Mawr in 1905, she wrote her dissertation on the decorative bronze-age art of Crete in 1908. She was hired at Mount Holyoke College in the same year. Hall worked as a field archaeologist for the University of Pennsylvania Museum at the site at Sphoungaras, 1910, and led the excavation at Vrokastro, 1910, 1912. She left Mount Holyoke to accept an assistant curator position at the University museum in 1912. In 1915 she married Joseph Dohan. Through her work in the museum’s collection, she gained an interest in the Italian materials, including the Etruscan and Faliscan objects, which were in disarray at the time. She was appointed associate curator in 1920, lecturing at Bryn Mawr 1923, 1924, and 1930. In 1942 she was appointed curator of the Mediterranean section. Shortly before her death, she completed reconstructing twenty-nine groups from which tomb objects had been removed. Her exhibition, Italic Tomb Groups in the University Museum, 1942, remains an important study for Etruscan archaeology and art history. She died of a heart attack in her office at age 65.
Selected Bibliography
[dissertation:] The Decorative Art of Crete in the Bronze Age. Ph.D., Bryn Mawr, 1908; Excavations in Eastern Crete: Sphoungaras. Philadelphia: University Museum, 1912; Excavations in Eastern Crete: Vrokastro. Philadelphia: University Museum, 1914; Italic Tomb-Groups in the University Museum. Philadelphia: University of Pennsylvania Press, 1942; and Hawes, Harriet Boyd, and Williams, Blanche E. Wheeler, and Seager, Richard B. Gournia, Vasiliki and Other Prehistoric Sites on the Isthmus of Hierapetra, Crete: Excavactions of the Wells-Houston-Cramp Expedition 1901, 1903, 1904. Philadelphia: The American Exploration Society, Free Museum of Science and Art, 1908.
Sources
“Dohan, Edith Hayward Hall.” Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 1, pp. 365-66; Morrow, Katherine Dohan. “Edith Hayward Hall Dohan, 1879-1943.” in, Cohen, Getzel M., and Joukowsky, Martha. eds. Breaking Ground: Pioneering Women Archaeologists. Ann Arbor: University of Michigan Press, 2004, pp. 274-297; [obituary:] “Dr. Edit Dohan, Curator at Museum at University of Pennsylvania Dies” New York Times July 15, 1943, p. 21
American scholar of Etruscan art. Hall graduated from Smith College in 1899 and attended graduate school at Bryn Mawr. In 1903 received a fellowship via Bryn Mawr to the American School of Classical Studies in Athens. At the School, she was invite
Early exponent of the Baroque as an area of study in art history. Dohme was among the first group of art historians to consider the Baroque an area worthy of art historical study, including Cornelius Gurlitt, « Previous
