Expert in Spanish Art. Elizabeth du Gué Trapier was the granddaughter of Paul Trapier (1749-1778), a public official in South Carolina during the American Civil War. After attending college and traveling through Europe, Trapier worked in cataloguing at the Library of Congress of Washington. In 1918, she moved to New York and was selected by the founder, Archer Hilton Huntington (1870-1955), to work at the Hispanic Society. She was first named to be Conservadora de Pintura (Conserver of the Painting) at that institute and began publishing articles on Spanish medieval and modern painting. Her first book, Greco, was published in 1925, and in 1937 she was elected a corresponding member of the Hispanic Society. With the Museum of the Hispanic Society of New York, she published works on Urrabieta (1851-1904) and Martin Rico (1833-1908). From there, she published several other biographical books on Spanish art historians including Eugenio Lucas y Padilla, Velazquez, Ribera, Goya, and Valdez Leal. Her work on José de Ribera (1591-1652) consists of the most comprehensive study of the artist to date and is the first published in English. In 1948, Trapier was elected to serve as the first honorary Vice President of the Hispanic Society and later in 1953 became a part of its advisory department. In 1968, she was awarded Spain’s Order of Civil Merit and also received the Hispanic Scoiety’s Sorolla Medal and the Mitre Medal throughout her career.
While she did not receive a formal education in art history, her numerous biographical works on Spanish artists earned her well-deserved recognition as a scholar of Spanish art and art history. Trapier’s contributions played a significant role in continuing Huntingon’s efforts of analyzing the Spanish arts and literature well after his death (De Pantorba).
Selected Bibliography
El Greco. New York: The Hispanic Society of America, 1925;
Velázquez. Minnesota River School of Fine Art., 1927;
Eugenio Lucas y Padilla. New York: The Hispanic Society of America, 1940;
Ribera in the Collection. New York: The Hispanic Society of America, 1952;
Luis de Morales and Leonardesque Influences in Spain. New York: The Hispanic Society of America, 1953;
Goya, a Study of His Portraits. New York: The Hispanic Society of America, 1955;
Sources
Angulo Iniguez, Diego. “Miss Elizabeth du Gué Trapier. M. Paul Guinard.” Archivo Español de Arte 49, no. 194 (April 1, 1976): 245–46;
Darby, Delphine Fitz. Review of Review of Ribera, by Elizabeth du Gué Trapier. The Art Bulletin 35, no. 1 (1953): 68–74;
De Pantorba, Bernardino. Una gran hispanista norteamericana, Elizabeth Du Gué Trapier.New York: Hispanic Society of America, 1957;
“Elizabeth Trapier, 81, Dead; An Expert on Spanish Art.” New York Times. 1974;
Harris, Enriqueta. Review of Review of Ribera, by Elizabeth du Gué Trapier. The Burlington Magazine 95, no. 609 (1953): 401–401;
Proske, Beatrice Gilman. “Horatio Greenough’s ‘Bacchus.’” American Art Journal 6, no. 1 (1974): 35–38;
Contributors: Denise Shkurovich
Citation
Denise Shkurovich. "du Gué Trapier, Elizabeth." Dictionary of Art Historians (website). https://arthistorians.info/duguetrapiere/.
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Expert in Spanish Art. Elizabeth du Gué Trapier was the granddaughter of Paul Trapier (1749-1778), a public official in South Carolina during the American Civil War. After attending college and traveling through Europe, Trapier worked in catalogui
Subject Area(s): eighteenth century (dates CE) and psychoanalysis
Institution(s): Museo de Arte Moderno
Overview
Mexican art critic, art historian, docent, and curator. Terresa del Conde studied psychology, and art history in the School of Philosophy and Letters (UNAM). There, she received her bachelor’s degree in psychology, her master’s degree in art history, and her doctorate in history. Her research in psychology, specifically in psychoanalysis, would later influence her work in art history.
Throughout her career she was always close to famous groups of painters and sculptors who emerged at the end of the 1970s such as the Castro Leñero brothers Alberto, José, Francisco and Miguel, Irma Palacios, Manuel Marín, and Miguel Ángel Alamilla. She was also friends with other art historians, most notably with Ernst H. Gombrich. She was a disciple and correspondent of his that spanned a little over four decades. When he died in 2003, she published a heartfelt profile of Gombrich in the Institute of Aesthetic Research.
She became an adjunct teacher at the university in 1975 while she was completing her doctorate. She had the honor to direct the area of “Artes Plásticas” (Plastic Arts) of the INBA from 1981 till 1988. During this time, in 1986, she published her doctoral thesis in psychology Las ideas estéticas de Freud. Her thesis was later published as a book thanks to her scholarship from the John Simon Guggenheim Memorial Foundation.
Three years after her time directing the area of “Arte Plasticas” of the Museo de Arte Moderno in Mexico City, she was appointed director. As director, she led several outstanding exhibitions such as the Venetian Settecento and the Aspects of 18th-century Venetian painting exhibitions. In this period, she was also pursuing her journalistic work. She worked in various publications during her time like Uno Mas Uno and the magazine Vuelta. She also worked as an opinion columnist for the newspaper La Jornada where she wrote works such as Goya, San Carlos: La leocadia de Goya.
In her academic publications, she heavily researched the artists José Clemente Orozco and Frida Kahlo with works like Jose Clemente Orozco: antologia critica (1983) and Frida Kahlo: la pintora y el mito (2004). Furthermore, she continued to publish works that integrated her studies of psychology and art history that studied art through a psychoanalytical lens with works like Freud y la psicología del arte (2006). In 2002 she was awarded the National Award for Art Criticism ‘Luis Cardoza y Aragón.’ She received the INBA Gold Medal in 2008 and the Recognition Sor Juana Inés de la Cruz award for her extraordinary contributions to higher education.
Selected Bibliography
[ and Calvo, Franco Enrique. ]. Historia Mínima Del Arte Mexicano En El Siglo XX. México, D.F.: ATTAME Ediciones, 1994;
Una Visita Guiada: Breve Historia Del Arte Contemporáneo De México. México: Plaza y Janés, 2003;
Frida Kahlo: La Pintora y El Mito. Barcelona : Plaza y Janes, 2004;
[ and Castro Fernando Pacheco, Enrique Franco Calvo, and Tessa Corona del Conde.]. Fernando Castro Pacheco: Color e Imagen De Yucatán. Mérida, Yucatán, México: Universidad Autónoma de Yucatán, Dirección General de Extensión, 1994;
Jose Clemente Orozco: Antologia Critica. México: UNAM, 1983;
Felguérez: Los Bordes De Una Trayectoria. Red Anales del Instituto de Investigaciones Estéticas, 2006;
Ernst H. Gombrich. Red Anales del Instituto de Investigaciones Estéticas, 2001;
MPBA: Museo Del Palacio De Bellas Artes. México, D.F.: MPBA, 2012;
Freud y La Psicología Del Arte. México: DeBolsillo, 2006;
”Ernst H. Gombrich.” Red Anales del Instituto de Investigaciones Estéticas, 2001;
Instituto de Investigaciones Estéticas, UNAM, and IIE – UNAM Departamento de Cómputo. “Instituto De Investigaciones Estéticas.” Inicio. Accessed March 1, 2021. http://www.esteticas.unam.mx/teresa_conde
;
Pérez, D. M. “Muere La Historiadora Del Arte Mexicana Teresa Del Conde, Madrina De La Generación De La Ruptura.” EL PAÍS. Síguenos en Síguenos en Twitter Síguenos en Facebook Síguenos en Instagram, February 18, 2017. https://elpais.com/cultura/2017/02/17/actualidad/1487350290_593178.html.
Contributors: Sofia Silvosa
Citation
Sofia Silvosa. "del Conde, Teresa." Dictionary of Art Historians (website). https://arthistorians.info/delcondet/.
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Mexican art critic, art historian, docent, and curator. Terresa del Conde studied psychology, and art history in the School of Philosophy and Letters (UNAM). There, she received her bachelor’s degree in psychology, her master’s degree in art hist
Subject Area(s): ancient, ceramic ware (visual works), Gallo-Roman, and pottery (visual works)
Institution(s): Musée de Carnavalet
Overview
Gallo-roman pottery and Roman sculpture curator; Project manager at Carnavalet Museum. Graduating from l’École du Louvre in 1926 with a BA, Marie Durand-Lefebvre earned a doctorate in philosophy from l’École des Hautes Études in 1937. A scholar of the Black Virgin, she investigated black madonnas—especially ones located throughout the holy land. Durand later worked under Jules Toutain (1865-1961) as a project manager at the Carnavalet Museum. Focusing on Roman Gaul pottery, Durand catalogued 877 potters’ stamps found throughout Paris. Although Durand died before the catalogue could be published, it was later issued after a final revision by Mlle. H. Verlet and Mlle. Jacqueline Bayard.
Durand led guided tours throughout Paris’ famous museums including at the Louvre, the Musée de L’Assistance Publique, the Musée de Cluny, and the Musée des Arts Décoratifs. Durand also wrote in the Bulletin de la Société nationale des antiquaires de France.
Selected Bibliography
[Dissertation:] Étude sur l’origine des Vierges Noires. l’École des Hautes Études, 1937. [published] Paris: G. Durassié, 1937. https://dds.crl.edu/crldelivery/4467;
Les vestiges antiques et le culte des sources au Mont-Dore. Le Puy: La Haute-Loire, 1926 ;
Art gallo-romain et sculpture romane, recherche sur les formes. Paris: G. Durassié, 1937;
Les vestiges antiques et le culte des sources au Mont-Dore. Le Puy [France]: Imp. “La Haute-Loire”;
“Le statuaire Hippolyte Lefebvre vu par sa fille.” Gazette Des Beaux-Arts / Fondée Par Charles Blanc . 6: 38-52, 1949;
“Une statue du Musée d’Albi”. Bulletin De La Société Nationale Des Antiquaires De France / Société Nationale Des Antiquaires De France. 61-62, 1955;
“Poteries Gallo-Romaines Trouvées à Alésia.” Bulletin De La Société Nationale Des Antiquaires De France, 1957;
Marques de potiers gallo-romains trouvées à Paris et conservées principalement au musée Carnavalet. Paris: Impr. nationale, 1963.
Sources
Comfort, Howard. American Journal of Archaeology 70, no. 2 (1966): 208. doi:10.2307/502172;
Hartley, K. “M. Durand-Lefebvre, Marques de Potiers Gallo-Romains trouvées à Paris et conservées principalement au Musée Carnavalet. ” In Reviews And Notices of Publications, 284–84, n.d.;
Birnbaum, Lucia Chiavola. Dark Mother: African Origins and Godmothers. San Jose: Authors choice Press, 2001;
Trochet, Arnaud. “La Médiation Orale Avant l’Heure (1919-1944) : Visites Accompagnées Et Conférences Éducatives Au Louvre Et Dans Les Musées Nationaux : Enjeux, Modalités, Acteurs.” HAL archives-ouvertes.fr, September 29, 2020.
Archives
[Communication de Marie Durand-Lefèbvre, 1948], archives de la critique de l’art,
Gallo-roman pottery and Roman sculpture curator; Project manager at Carnavalet Museum. Graduating from l’École du Louvre in 1926 with a BA, Marie Durand-Lefebvre earned a doctorate in philosophy from l’École des Hautes Études in 1937. A scholar of th
Subject Area(s): Italian (culture or style), Italian Renaissance-Baroque styles, painting (visual works), and Renaissance
Career(s): archivists and researchers
Institution(s): Comunale di Palermo
Overview
Archivist and art historian; Antonello da Messina scholar. In 1851 Gioacchino took clerical orders serving at the Cappellano Maggiore of the Palatine Chapel. In 1855 he translated and wrote commentary on Vito Amico’s Lexicon topographicum.
Between 1858 and 1864 he published four books on the art of Norman Sicily of the sixteenth century based on documentary evidence. The work included the history of Sicilian art from the Medieval era to the modern. As such his work disagreed with that of earlier scholars such as Avolio, Melchiorre Galeotti, father Marchesi, Grosso-Cacopardo, Agostino Gallo. He secured a position at the Municipal Library in Palermo. There he began his major accomplishments publishing local documents. Michele Amari, Minister of Public Education, appointed him a member of the Royal Commission for language texts. He published a catalogue raissone of the manuscripts in the library and those of the Historical and Literary Library of Sicily (1869-1886) in twenty-eight volumes. His Memoirs of Antonello Gagini and his sons and nephews, Sicilian sculptors of the 16th century,I Gagini e la scultura in Sicilia, in 1880. Di Marzo began studying the extant archival documents of the importatn Sicilian painter Antonello da Messina (Antonello di Giovanni di Antonio). His documentary study of that artist appeared in 1903. He was a member of the Royal Accademia di Brera in Milan and the Royal Heraldic Commission in Palermo. The Ministry of Public Education appointed him to the Technical Council of the Commissariat for Antiquities and Fine Arts in Sicily and of the Commission for the Conservation of Monuments of the Province of Palermo.
Di Marzo’s friendship and later deep emnity with the Antonello scholar Gaetano La Corte Callier was well documented.
Selected Bibliography
Translated, Amico, Vito, Dizionario topografico della Sicilia. Palermo : P. Morvillo, 1855-1856 https://archive.org/details/dizionariotopogr01amic/page/n6 ; I Gagini e la scultura in Sicilia nei secoli XV e XVI: memorie storiche e documenti. Palermo: Tipografia del Giornale di Sicilia, 1880; Di Antonello da Messina e dei suoi congiunti: studi e documenti. Palermo: “Boccone del povero, “,1903.
Sources
Rowland, Ingrid D. “‘A Painter Not Human’” (review) New York Review of Books (May 9, 219)
Contributors: Lee Sorensen
Citation
Lee Sorensen. "Di Marzo, Gioacchino." Dictionary of Art Historians (website). https://arthistorians.info/dimarzog/.
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Archivist and art historian; Antonello da Messina scholar. In 1851 Gioacchino took clerical orders serving at the Cappellano Maggiore of the Palatine Chapel. In 1855 he translated and wrote commentary on Vito Amico’s Lexicon topographicum
Place Died: Villanueva y Geltru, Barcelona, Catalonia, Spain
Home Country/ies: Spain
Subject Area(s): art theory, Baroque, and Classical
Institution(s): Instituto de Estudios Catalanes
Overview
Philosopher, art critic; scholar of baroque and classicism; employed diachronic theory of art history. Eugenio d’Ors was the son of Jose Ors y Rosal and Celia Rovira y Garcia. Due to his delicate health, d’Ors completed primary and secondary school from home. He graduated from the University of Barcelona in 1903 with a law degree. During his time at the university, d’Ors contributed to several magazines including Pel i Ploma, Catalunya, Lo Pensament Català o Auba, and an art column for El Poble Català. After graduating, he left to Madrid to pursue a doctorate in the Facultad de Derecho and to begin a thesis on the ideal genealogy of Imperialism. During that time he befriended Francisco Giner de los Rios (1839-1915) and Ramiro de Maeztu (1875-1936) who introduced him to other prominent Spanish intellectuals. He began writing brief commentaries called “glosas” for La Veu de Catalunya in 1906, and quickly gained recognition. He never finished the history Ph.D. Throughout his career, he expressed his desire for social and cultural renewal in his glosas. In 1906, he accepted a position in Paris still writing for La Veu de Catalunya and from this moment on, he adopted the pseudonym Xenius. He attended lectures and seminars given by Henri Bergson (1859-1941), Emile Boutroux (1845-1921) and Marie Curie (1867-1934) and frequented Els Quatre Gats. He returned to Barcelona in 1911 when Enric Prat de la Riba (1870-1917) named him secretary general of the Instituto de Estudios Catalanes. Meanwhile, he continued his studies earning a degree in Philosophy from the University of Barcelona in 1912 and a doctorate in 1913. In 1914, he ran for Chair of Superior Psychology at the University of Barcelona, but after only receiving one vote (from Jose Ortega y Gasset, 1883–1955) he never took another public election. He held different posts in the Instruccion Publica of the Mancomunidad de Cataluña (Catalan Regional Council) between 1915 to 1918 where he focused on promoting projects like the Escula Superior de Bibliotecarias and the magazine Quaderns d’Estudi. After the death of de la Riba in 1917, Jose Piug i Cadafalch (1867-1856) removed him from his position. He then travelled throughout South America in 1921 giving lectures at universities. Upon his return to Barcelona, he shifted to write in Spanish and published one of his best known works Tres horas en el Museo del Prado (1922).
In 1927, he was named to the Real Academia Española and transitioned to live in Paris again. During these years he published titles on art including El arte de Goya
(1928), Cezanne (1930), Pablo Picasso (1930) and Du baroque (1935). He remained in Paris throughout the Spanish Civil War until April of 1937 when he moved to Pamplona and joined the Falange. He was named secretary of the Instituto de España and led the Jefatura Nacional de Bellas Artes in 1938 and was able to recover the funds for the Museo del Prado that the Republican government had moved to Geneva. He was named to the Real Academia Española and to the Real Academia de Bellas Artes de San Fernando. He taught courses at the Museo del Prado and later synthesized his teachings in Tres lección en el Museo del Prado de introducción a la crítica de arte (1944) which present a new approach to the critique of art––he suggested that beyond having a meaning and form, each work has a different existence for which it is a figure or symbol (Terregrosa Puig). He later founded the Academia Breve de Critica de Arte in Madrid in 1942 which held lectures, concerts, and annual modern art exhibitions. Toward the end of his life, d’Ors began to work again with Catalonia through his writing for the newspaper, La Vanguardia. He published El secreto de la filosofía in 1947. He passed away at the age of 63 in his come at Villanueva y Geltru. La verdadera historia de Lidia de Cadaqués and La ciencia de la cultura were published posthumously.
Throughout his works and leadership in the Academia Breve de Critica de Arte, d’Ors led a cultural revolution in Catalonia. During his formative years, the city of Barcelona saw a cultural shift towards modernism. But beginning in 1904, d’Ors works expressed a distinct approach to how he believed Catalonia should be modernized. He proposed a project for renewal which he coined Noucentisme––the spirit of the new century. In its artistic aesthetics, it rejected the individualism and naturalism of modernism and rather embraced the aesthetic tradition of Catalonia. These aesthetics were rooted in ruralism and folklore that are found in classical art. He used the term “estetica arbitraria” to explain the presence of an aesthetic dimension of humans where art serves to be the most effective way of understanding human existence. By extending this concept to Catalonian nationalism, he too led a political movement throughout Catalonia.
Selected Bibliography
Cézanne. Madrid: Caro Raggio, 1925; [English:] Paul Cézanne. London: A. Zwemmer, 1936;
Epos de los destinos: I. El vivir de Goya. II. Los reyes católicos. III. Eugenio y su demonio. Madrid: Editora Nacional, 1943;
Estudios filosóficos: una primera lección de filosofía: con dos apéndices esquemáticos sobre la doctrina de la inteligencia. Madrid: La Lectura, 1926;
Cuadernos de Ciencia y de Cultura, III;
La ciencia de la cultura. Santa Coloma de Queralt: Obrador Edèndum, 2012;
Pablo Picasso. First Edition. Editions des Chroniques du Jour, 1930;
Pablo Picasso: en tres revisiones. Barcelona: Ediciones Folio, 2003;
Tres horas en el Museo del Prado. Madrid: Tecnos, 2003;
Tres lecciones en el Museo del Prado de introducción a la crítica de arte. Tecnos, 1989;
and Dali, Salvador. La verdadera historia de Lidia de Cadaqués. Barcelona: J. Janés, 1954;
and José Ferrater Mora. El secreto de la filosofía: doce lecciones, tres diálogos y, en apéndice,”La filosofía en quinientas palabras”. Madrid: Tecnos, 1998;
and Agathe Rouart-Valéry. Du baroque. Gallimard, 1935;
Drudis-Baldrich, Raimundo. “Eugenio d’Ors, Hombre de Saberes.” Theoria: An International Journal for Theory, History and Foundations of Science 3, no. 9 (1955): 149–149;
Roja Pérez, Erundino. La ciencia de la cultura: teoría historiológica de Eugenio d’Ors. Barcelona : J. Flors, 1963;
Philosopher, art critic; scholar of baroque and classicism; employed diachronic theory of art history. Eugenio d’Ors was the son of Jose Ors y Rosal and Celia Rovira y Garcia. Due to his delicate health, d’Ors completed primary and secondary schoo
Place Born: Anjoutey, Bourgogne-Franche-Comté, France
Home Country/ies: France
Subject Area(s): French (culture or style), Medieval (European), Romanesque, and Spanish (culture or style)
Overview
Professor of the history of medieval art at the University of Toulouse-Le Mirail, 1962-1978; specialist in Spanish and French Romanesque art. Durliat was the son of Auguste Durliat, a weaver, and of Céline Steffan. He attended the école normale at Vesoul and subsequently the école Normale Supérieure at Saint-Cloud, acting as its librarian during World War II, 1941 and 1945, and graduating in history in 1945 (agrégé d’histoire). In 1942 he married Antoinette Grossi. He was appointed professor at the Lycée of Perpignan in 1945, a position he held until 1954. In that year, the fourth volume of his publication on Romanesque sculpture in the Rousillon region appeared, La sculpture romane en Roussillon. For the next four years he worked as a researcher at the Centre National de la Recherche Scientifique (CNRS). In 1958 he obtained a teaching position at the University of Toulouse-le Mirail. Between 1954 and 1962, he also served as conservateur des Antiquités et objets d’art des Pyrénées-Orientales. After receiving his doctoral degree (Docteur è Lettres) from the Sorbonne in 1961, he was appointed a professor of the history of medieval art at Toulouse-Le Mirail in 1962. His dissertation was L’art dans le Royaume de Majorque. A number of his books appeared in the Zodiaque series “La nuit des temps”. He retired in 1979. In 1982 L’art roman appeared, which is a comprehensive and critical study of the different manifestations of Romanesque art in Europe and beyond. Des Barbares à l’an mil followed in 1985. This was the year of Europalia 85 España, for which, among other events, an exhibition was organized in Ghent, Belgium, on the thousand years of pilgrimage to Santiago de Compostela in Spain. For this exhibition Durliat was a member of the editorial board of the catalog and a contributor. In 1990 he published a major synthesis on Romanesque sculpture along the route to Compostela, from France to Spain, La sculpture romane de la route de Saint-Jacques. De Conques à Compostelle. Durliat was honored with a Festchrift for his 75th birthday in 1992, De la création à la restauration. Travaux d’histoire de l’art offerts à Marcel Durliat. In the last contribution of this volume, “Un Saint-Sernin nouveau”, Henri Pradalier shared Durliat’s opposition to the controversial restoration of the church of Saint Sernin in Toulouse, a project that aimed at bringing the building back to its state prior to the restoration by Eugène Viollet-le-Duc in the nineteenth century. In the introduction to his study, La sculpture romane de la route de Saint-Jacques. De Conques à Compostelle, Durliat takes into account the different views of art historians, including Émile Bertaux, Manuel Gómez Moreno, A. Kingsley Porter, Paul Deschamps, and Georges Gaillard, regarding the origins of Romanesque art north and south of the Pyrenees. His synthesis adopted a chronological framework for the study of the history of Romanesque art and architecture in France and Spain along the pilgrims’ roads to Santiago de Compostella.
Selected Bibliography
“Bibliographie de Marcel Durliat établie jusqu’en 1991”. De la création à la restauration. Travaux d’histoire de l’art offerts à Marcel Durliat. Toulouse: Atelier d’histoire de l’art méridional, 1992, pp. 9-27; [dissertation:] L’art dans le royaume de Majorque; les débuts de l’art gothique en Rousillon, en Cerdagne et aux Baléares. Toulouse: Privately printed, 1962; La sculpture romane en Roussillon. 4 vols. Perpignan: La Tramontane, 1948-1954; Arts anciens du Roussillon, 1. Peinture. Perpignan: Conseil général des Pyrénées Orientales, 1954; Roussillon roman. La Pierre-Qui-Vire: Zodiaque, 1958; Pyrenées romanes. La Pierre-Qui-Vire: Zodiaque, 1969; Haut-Languedoc roman. La Pierre-Qui-Vire: Zodiaque, 1978; L’art roman. Paris: éditions d’art Lucien Mazenod, 1982; Des Barbares à l’an mil. Paris: Lucien Mazenod, 1985; Saint-Sernin de Toulouse. Toulouse: Eché, 1986; La sculpture romane de la route de Saint-Jacques. De Conques à Compostelle. Mont-de-Marsan: Comité d’études sur l’histoire et l’art de la Gascogne, 1990.
Sources
Who’s Who in France. Paris: éditions Jacques Lafitte, 1981-1982, pp. 526-527; [obituary:] Pradalier, H. “Marcel Durliat (1917-2006)” Bulletin Monumental 165 (2, 2007): 139-141.
Contributors: Monique Daniels
Citation
Monique Daniels. "Durliat, Marcel." Dictionary of Art Historians (website). https://arthistorians.info/durliatm/.
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Professor of the history of medieval art at the University of Toulouse-Le Mirail, 1962-1978; specialist in Spanish and French Romanesque art. Durliat was the son of Auguste Durliat, a weaver, and of Céline Steffan. He attended the école normale at
Place Born: Karlsruhe, Mecklenburg-Vorpommern, Germany
Home Country/ies: Germany
Subject Area(s): archaeology, architecture (object genre), and sculpture (visual works)
Overview
Architect and archaeologist primarily employed as director of offical construction in Baden. Engaged in long, scholarly argument with W. Dörpfeld over the construction of the temple to Hera at Olympia. Instrumental in restoring the Parthenon to architectural soundness after an earthquake in 1894.
Selected Bibliography
Die Baukunst der Griechen, 1881
Sources
Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 65-66.
Citation
"Durm, Josef." Dictionary of Art Historians (website). https://arthistorians.info/durmj/.
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Architect and archaeologist primarily employed as director of offical construction in Baden. Engaged in long, scholarly argument with W. Dörpfeld over the construction of the temple to Hera at Olympia. Instrumental in restoring the Parthenon to ar
Subject Area(s): manuscripts (documents) and Medieval (European)
Career(s): archivists and researchers
Overview
Archivist and illuminated manuscripts specialist; assistant keeper at the Louvre Department of Painting, 1885-1902. Durrieu attended high school in Paris at the Lycée Condorcet. After his law studies he continued his education at the école des Chartes between 1874 and 1878. He then went to Italy, where he attended the école française d’archéologie de Rome. In Naples, he researched the archives of the House of Anjou, on which he published a two-volume study in 1886-87, Les archives angevines de Naples: étude sur les registres du roi Charles Ier (1265-1285). In 1885, Durrieu accepted a position in Paris at the department of paintings and drawings of the Louvre. This marked the beginning of his career as an art historian. In 1888 he was appointed assistant keeper at the Louvre (to 1902), where he was responsible for early French painting and book illumination. In 1889 he married Françoise Duchaussoy (d. 1949). He began researching illuminated manuscripts, in which field he became a specialist and the author of numerous publications. He himself was a collector of fifteenth-century manuscripts, early painting, and French tapestries. In 1892 he wrote a monograph, including a critical catalog, on Jacques de Besançon, a book illuminator in fifteenth-century Paris. From 1887 onwards, he studied the Heures de Turin, preserved in Italy, at the Biblioteca Nazionale in Turin. This Book of Hours originally had been an unfinished part of the Très Belles Heures de Notre Dame of the Duke of Berry (1340-1416). Durrieu was the first to notice a close similarity between some of the miniatures in the Turin Hours and the paintings of the Van Eyck brothers. In June 1901, he communicated this finding to his fellow members of the Société nationale des Antiquaires de France (published in the 1901 Bulletin of this association). A year later, his documentary study of the Turin Hours appeared, along with black and white reproductions of the miniatures. This publication, an initiative of the Société de l’Histoire de France and of the Société de l’école des Chartes, was dedicated to Léopold Victor Delisle. These societies, however, did not allow Durrieu to reveal in this study the possible Eyckian authorship of some of the miniatures. In 1903, Durrieu proudly published his observations on this question in two installments of the Gazette des Beaux-Arts. In this article he also referred to another fragment of the same manuscript, kept at the Biblioteca Trivulziana in Milan, and he attributed at least one miniature in this part of the book to the Van Eyck brothers. His Belgian colleague Georges Nicolas Marie Hulin de Loo apparently was interested in the same question, and as early as 1902 he corroborated Durrieu’s findings. However, the Eyckian authorship of certain miniatures in the Turin-Milan Hours has been debated and questioned by scholars ever since. Durrieu’s lasting interest in the history of the original manuscript led to further studies, including his 1922 publication, Les Très Belles Heures de Notre Dame du duc Jean de Berry, which dealt with the miniatures in the oldest part, preserved in Paris, at the Bibliothèque nationale. In 1902, Durrieu quit his position at the Louvre in order to devote himself entirely to the field of medieval painting and manuscript illumination. He frequently visited the department of manuscripts at the Bibliothèque nationale, then headed (until 1905) by his master, Delisle. In 1904, Durrieu wrote an elaborate monograph on a different Book of Hours of Jean de Berry, illuminated by the Limbourg brothers, Les très riches Heures de Jean de France, duc de Berry. In 1903, he published an article on this manuscript in the Bulletin de la Société d’histoire et d’archéologie de Gand which Hulin had studied. This interest in illuminated manuscripts, shared by the two scholars competing with one another, was stimulated by two memorable exhibitions, one held in Bruges, in 1902, on Early Flemish Painting, and the other in Paris, in 1904, on the so-called French Primitives. Durrieu was involved in the Paris exhibition, mounted in the Louvre and the Bibliothèque nationale, and he wrote his 1904 monograph, La peinture à l’exposition des Primitifs français on that occasion. In 1907 and 1911 he was one of the contributors to the multi-volume Histoire de l’Art, edited by André Michel, with two essays on French painting from 1350 up to the sixteenth century. In various studies, Durrieu focused on the French painter and illuminator Jean Foucquet (ca 1420-ca 1480). In 1907, Durrieu became a member of the Académie des Inscriptions et Belles-Lettres, and of the Institut de France. He was the president of the Société de l’école des Chartes and a member of various other learned societies. After a long illness, Durrieu died in his family estate in Durrieu à Larrivière. Durrieu was held in high esteem by his peers, including Millard Meiss and Charles Sterling. The latter qualified Durrieu, in 1973, as the seigneur de l’histoire de l’art médiéval, and, in 1987, as the grand Durrieu (Suau, 1989).
Selected Bibliography
[Complete bibliography:] De Laborde, Alexandre. Le Comte Paul Durrieu, membre de l’Institut 1855-1925: sa vie – ses travaux. Paris: A. Picard, 1930, pp. 29-139; Un grand enlumineur Parisien au XVe siècle. Jacques de Besançon et son œuvre. Paris: H. Champion, 1892; Communication Bulletin de la Société nationale des Antiquaires de France (1901): 208-209, 227-228; Heures de Turin. Quarante-cinq feuillets à peintures provenant des Très belles Heures de Jean de France, duc de Berry. Paris: Musée du Louvre 1902; Les débuts des van Eyck. Gazette des Beaux-Arts 29 (1903): 5-18, 107-120; Les Très riches Heures du duc de Berry, conservées à Chantilly, au Musée Condé, et le Bréviaire Grimani. Bibliothèque de l’école des Chartes 64 (1903): 321-328; Les très riches Heures de Jean de France, duc de Berry. Paris: Plon-Nourrit, 1904; La peinture à l’exposition des Primitifs français. Paris: Librairie de l’Art ancien et moderne, 1904; Les ‘Très Belles Heures de Notre Dame’ du duc Jean de Berry. Revue archéologique 16 (1910): 30-51, 246-279; Les Antiquités judaïques et le peintre Jean Foucquet. Paris: Plon, 1908; Le Boccace de Munich. Munich: J. Rosenthal, 1909; La miniature flamande au temps de la cour de Bourgogne (1415-1530), ouvrage publié avec le concours de l’Académie des Inscriptions et Belles-Lettres (Fondation Piot). Brussels: G. van Oest et cie, 1921; Les Très Belles Heures de Notre Dame du duc Jean de Berry. Paris: Société française de reproductions de manuscrits ápeintures, 1922; Livre d’heures peint par Jean Foucquet pour maître Etienne Chevalier: le quarante-cinquième feuillet de ce manuscrit retrouvé en Angleterre. Paris: Société française de reproduction de manuscrits à peintures, 1923; [très riches Heures article] Bulletin de la Société d’histoire et d’archéologie de Gand 11 (1903): 178 ff.
Sources
Panofsky, Erwin. “The History of Art.” In The Cultural Migration: The European Scholar in America. Introduction by W. Rex Crawford, 82-111. Philadelphia: University of Pennsylvania Press, 1953, p. 85; Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 253 ; De Laborde, A. Le Comte Paul Durrieu, membre de l’Institut 1855-1925: sa vie – ses travaux. Paris: A. Picard, 1930; Chatelet, Albert. Avant-propos. Heures de Turin. Quarante-cinq feuillets a peintures provenant des Très Belles Heures de Jean de France, Duc de Berry. Turin : Bottega d’Erasmo, 1967, pp. v-xx ; Suau, J.-P. Un grand ‘seigneur de l’art médiéval’: le comte Paul Durrieu (1855-1925). Bulletin de la Société de Borda 114, 416 (1989): 673-684.
Contributors: Monique Daniels
Citation
Monique Daniels. "Durrieu, Paul, Comte." Dictionary of Art Historians (website). https://arthistorians.info/durrieup/.
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Archivist and illuminated manuscripts specialist; assistant keeper at the Louvre Department of Painting, 1885-1902. Durrieu attended high school in Paris at the Lycée Condorcet. After his law studies he continued his education at the école des Cha
Subject Area(s): Italian (culture or style), Italian Renaissance-Baroque styles, and Renaissance
Overview
Scholar of Italian Renaissance artists, especially Michelangelo. Dussler attended the university in Munich. He served as a soldier in World War I. Afterward, Dussler worked in the Bavarian State Museums. He received a scholarship from the German Institute in Florence, completing his habilitation in 1929, qualifying as a lecturer at the Technische Hochschule in Munich. He advanced to associate professor in 1934. With the rise of the Nazis in Germany, Dussler became a National Socialist (Nazi) denouncing Jews working in Bavarian academics, among them his colleague August Liebmann Mayer. After World War II, Dussler was appointed full professor in 1947.
Selected Bibliography
Benedetto da Majano, ein Florentiner bildhauer des späten quattrocento. Munich: H. Schmidt, 1924; Signorelli, des Meisters Gemälde. Stuttgart: Deutsche Verlags-Anstalt, 1927; Giovanni Bellini. Frankfurt a. Main: Prestel-verlag, 1935; Sebastiano del Piombo. Basel: Holbein-verlag, 1942; Francesco Guardi. Munich-Pasing: Filser, 1948; Das sienesische Madonnenbild. Aschaffenburg: P. Pattloch, 1948; Giovanni Bellini. Vienna: A. Schroll, 1949; Die Incunabeln der deutschen Lithographie (1796-1821). Heidelberg, R. Weissbach, 1955; Die Zeichnungen des Michelangelo; kritischer Katalog. Berlin: Gebr. Mann, 1959; Raphael: a Critical Catalogue of his Pictures, Wall-paintings and Tapestries. New York: Phaidon, 1971; Michelangelo-Bibliographie, 1927-1970. Wiesbaden: Harrassowitz, 1974.
Sources
Deutsche biographische Enzyklopädie. Munich: K.G. Saur, 1995ff. vol. 2: 657; Wendland, Ulrike. “Mayer, August Liebmann.” Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. Munich: Saur, 1999, vol. 1, pp. 429.
Citation
"Dussler, Luitpold." Dictionary of Art Historians (website). https://arthistorians.info/dusslerl/.
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Scholar of Italian Renaissance artists, especially Michelangelo. Dussler attended the university in Munich. He served as a soldier in World War I. Afterward, Dussler worked in the Bavarian State Museums. He received a scholarship from the German I
