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Éméric-David, T.-B.

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Full Name: Éméric-David, T.-B.

Other Names:

  • Toussaint-Bernard Éméric-David

Gender: male

Date Born: 1755

Date Died: 1839

Place Born: Aix-en-Provence, Provence-Alpes-Côte d'Azur, France

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

Home Country/ies: France

Subject Area(s): Classical and sculpture (visual works)


Overview

Classical sculpture writer and critic. Éméric-David gained a law degree at the university at Aix-en-Provence in 1775. He moved to Florence and Rome were he became enthralled with art. In 1787 he inherited his father’s printing business, necessitating a move back to Aix. He was elected mayor of Aix in 1791, but as the French Revolution worsened for public officials, he moved to Paris and then briefly into hiding during the Reign of Terror. Paris became his new home and he resolved to be an art historian. In 1796 he published Musée olympique de l’école vivante des beaux-arts. The book attacked current art institutions such as the Salon, the Institut de France and the Louvre citing the lack of coverage they gave to modern artists. Éméric-David’s notion helped establish the Musée du Luxembourg exhibitions. In 1799, the Institut de France chose as its essay topic, “What were the reasons behind the perfection of antique sculpture, and how might it be achieved?” Éméric-David’s entry, his 1805 Recherches sur l’art statuaire, framed Greek art as the product of an indigenous tradition of artistic principles and rules of excellence connected to the master-pupil relationship. For Éméric-David, evolution in art derived from the artist and not from institutional strictures. He denied the argument of Johann Joachim Winckelmann that the Greek’s ideal beauty existed beyond natural observation. Greek art was perfect, he argued, because it was true to nature. Such notions caused both immense popularity and disagreement: it was counter to the writings of Antoine Quatremère de Quincy; sculptors and art students, however, took the Recherches as their guide. Napoleon’s campaigns in Italy resulted in ancient statuary, later Classical antiquities, coming to the Louvre. Much of the contemporary writing found these statues were inferior (Winckelmann for example saw is as the decline of the genre). Éméric-David’s proved himself a visionary for the less-appreciated art of Rembrandt, writing approvingly in Le musée français of the thirty-six works the Musée Napoléon (Louvre) mounted in 1807. His interpretation of Greek sculpture attributed the 3rd century BC era as one of further refinements, thus again drawing public approval for his theories. Éméric-David collaborated with Ennio Guirino Visconti to further alter the assumption of a 5th and 4th centuries decline. Emeric-David’s focused his attention on medieval art, long neglected in France and elsewhere. Though lacked any understanding of the objects, his interest in the genre introduced a nationalism into art history. His catalog of the Louvre collection with Visconti (1803-9). The Académie des Inscriptions et Belles-Lettres elected him a member in 1816. In 1823 he completed the manuscript of Jean-Baptiste Séroux d’Agincourt, who had died in 1814, publishing this joint art history, Histoire de l’art par les monumens, depuis sa décadence au IVe siècle jusqu’à son renouvellement au XIVe He also contributed information on artists for the Biographie universelle. An American edition of his essays, A Series of Studies, was brought out in English in Bost in 1875.Éméric-David’s ability to both reflect and make popular taste makes important for art history. His endorsement of Rembrandt in 1807 came at a time when the painter was much less appreciated than Rubens or Van Dyck. His writings on ideal beauty as the product of visible reality refined through careful selection, strongly endorsed the realistic tendencies of the new art of his era. The book’s detailed instructions on achieving perfection in art were used by both connoisseurs and art students.


Selected Bibliography

Jupiter: Recherches sur ce dieu, sur son culte, et sur les monumens qui le représentent. Ouvrage précédé d’un essai sur l’esprit de l religion grecque. 2 vols. Paris: Imprimerie royale, 1833; and Séroux d’Agincourt, Jean-Baptiste, and Dufourny, Léon, and Feuillet, Laurent François, and La Salle, Achille étienne Gigault de. Histoire de l’art part les monuments depuis sa décadence au IVe siècle jusqu’à son renouvellement au XVIe siècle. 6 vols. Paris: Treuttel et Würtz, 1811-1820; and Croze-Magnan, S. C., and Robillard-Pe´ronville, and Visconti, Ennio Quirino, and. Laurent, Henri. Le Muse´e francçais: recueil complet des tableaux, statues et bas-reliefs, qui composent la collection nationale: avec l’explication des sujets, et des discours historiques sur la peinture, la sculpture et la gravure. Paris: Imprimerie de L.-E. Herhan, 1803-1809; Suite d’e´tudes calque´es et dessine´es d’après cinq tableaux de Raphaël: accompagne´es de gravures de ces tableaux et de notices historiques et critiques. Paris: C. Bance et Aumont, 1818, English, A Series of Studies: Designed and Engraved after Five Paintings by Raphael. Boston: J. R. Osgood and Company, 1875; Histoire de la peinture au Moyen A´ge: suivie de l’histoire de la gravure, du discours sur l’influence des arts du dessin, et du Muse´e Olympique. Paris: imprimerie Èdouard Blot, s.d.; Recherches sur l’art statuaire: conside´re´ chez les anciens et chez les modernes, ou, Me´moire sur cette question propose´e par l’Institut National de France: Quelles ont e´te´ les causes de la perfection de la sculpture antique, et quels seroieut les moyens d’y atteindre?. Paris: la veuve Nyon aine´, 1805; Muse´e Olympique de Le´cole vivante des beaux arts: ou conside´rations sur la ne´cessite´ de cet e´tablissement, et sur les moyens de le rendre aussi utile qu’il peut l’être. Paris: Plassan, s. d.[1796].


Sources

Kultermann, Udo. The History of Art History. New York: Abaris, 1993, p. 130.




Citation

"Éméric-David, T.-B.." Dictionary of Art Historians (website). https://arthistorians.info/emericdavidt/.


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Classical sculpture writer and critic. Éméric-David gained a law degree at the university at Aix-en-Provence in 1775. He moved to Florence and Rome were he became enthralled with art. In 1787 he inherited his father’s printing business, necessit

Elsen, Albert E.

Full Name: Elsen, Albert E.

Other Names:

  • Albert Edward Elsen

Gender: male

Date Born: 1927

Date Died: 1995

Place Born: New York, NY, USA

Place Died: Palo Alto, Santa Clara, CA, USA

Home Country/ies: United States

Subject Area(s): Modern (style or period) and sculpture (visual works)


Overview

Rodin scholar and modernist art historian, Stanford University professor 1968-95. Elsen was born to Albert Elsen, Sr., and Julia Huseman (Elsen). His father was an attorney and his mother taught school. He served in the U.S. Army in the 752nd Tank Batallion in Italy during World War II, rising to the rank of sergeant major. He attended Columbia University where he graduated with distinction in 1949, continuing for his Master’s Degree in 1951. He was awarded a Fulbright fellowship 1949-50. That year, too, he married Patricia Morgan Kline. He began his teaching career at Carleton College, Northfield, MN, in 1952 as instructor, rising to assistant professor of history of art. He received his Ph. D., from Columbia in 1955 writing his dissertation under Meyer Schapiro on August Rodin, a subject which would interest him his lifelong. In 1958 he moved to Indiana University in Bloomington, IN, as associate professor. Elsen was an earlier proponent of television for art education, appearing on the “Images of Man in Modern Art,” series in 1958, as well as acting as art commentator for KQED in San Francisco. In 1962 he published his groundbreaking art survery, Purposes of Art, which organized art by theme rather than historically. He became full professor at Indiana in 1963. In that year he also served as curator for the Rodin exhibition at the Museum of Modern Art, NY, a show which brought Rodin solidly into the modernist canon. He received a Guggenheim fellowship for 1966-67 to research the origins of modern sculpture and was an adviser to Kinsey Institute for Sex Research, 1966-68. He served on the board of the College Art Association of America 1966-70 and as president, 1974-76. In 1968 he accepted the position of professor of art history at Stanford University. In 1975 he was named Walter A. Haas Professor of Art History, a title he held until his death. At Stanford, Elsen built a large collection of outdoor sculpture and the second largest Rodin collection in the world, through the collector B. Gerald Cantor. He divorced his first wife and married, Sharon McClenahan. In 1981 he served as director of the National Gallery of Art’s enormous “Rodin Rediscovered” exhibition in Washgington, D. C. He suffered a heart attack at his home at age 67 and died. His students included Kirk Varnedoe.Elsen’s Purposes of Art was a thematic rather than historic survey of art history was written to counterman a linear concept of art history. As a Rodin scholar alarmed by the fakes and poorly issued estate copies of the sculptor’s work, he helped write a comprehensive “Statement on Standards for Sculptural Reproduction and Preventive Measures to Combat Unethical Casting in Bronze” using his position as president of the College Art Association to launch.


Selected Bibliography

and Varnedoe, J. Kirk, and Thorson, Victoria, and Geissbuhler, Elisabeth Chase. The Drawings of Rodin. New York: Praeger Publishers, 1972; The Gates of Hell. Stanford, CA: Stanford University Press, 1985; Modern European Sculpture, 1918-1945: Unknown Beings and Other Realities. New York: G. Braziller, 1979; The Partial Figure in Modern Sculpture: from Rodin to 1969. Baltimore: Baltimore Museum of Art, 1969; Pioneers of Modern Sculpture. London: Arts Council of Great Britain/Hayward Gallery, 1973; Rodin & Balzac: Rodin’s Sculptural Studies for the Monument to Balzac from the Cantor, Fitzgerald Collection. Beverly Hills, CA: Cantor, Fitzgerald, 1973; and Alhadeff, Albert. Rodin Rediscovered. Washington, DC: National Gallery of Art, 1981; Rodin’s Thinker and the Dilemmas of Modern Public Sculpture. New Haven: Yale University Press, 1985; Purposes of Art. New York: Holt, Rinehart and Winston 1962.


Sources

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. 76 cited; [obituaries:] Smith, Roberta. “Albert Elsen, 67, Art Historian And an Authority on Rodin.” New York Times, February 8, 1995, p. 9; Workman, Bill. “Albert Elsen.” San Francisco Chronicle, February 3, 1995, p. D5.


Archives


Contributors: Emily Crockett and Lee Sorensen


Citation

Emily Crockett and Lee Sorensen. "Elsen, Albert E.." Dictionary of Art Historians (website). https://arthistorians.info/elsena/.


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Rodin scholar and modernist art historian, Stanford University professor 1968-95. Elsen was born to Albert Elsen, Sr., and Julia Huseman (Elsen). His father was an attorney and his mother taught school. He served in the U.S. Army in the 752nd Tank

Elderkin, George

Full Name: Elderkin, George Wicker

Other Names:

  • George W. Elderkin
  • G.W. Elderkin

Gender: male

Date Born: 1879

Date Died: 19 December 1965

Place Born: Chicago, Cook, IL, USA

Place Died: Venice, Sarasota, FL, USA

Home Country/ies: United States

Subject Area(s): ancient, Ancient Greek (culture or style), and Classical

Career(s): art historians

Institution(s): Princeton University


Overview

Classicist art history professor and archaeologist.  Elderkin was born in Chicago in 1879.  He graduated from Darthmouth in 1902 continuing to graduate work at Johns Hopkins University.  His Ph.D., was granted from Hopkins in 1906 with a dissertation topic of speech in Greek epics.  He joined Princeton University in 1910, part of the founding nucleus of the University’s Art and Archaeology department being developed by Charles Rufus Morey.  His first book, Problems In Periclean Buildings. was published by the University in 1912; a second work, Kantharos: Studies In Dionysiac And Kindred Cult, appeared in 1924.  Morey had begun excavations at Antioch, a Hellenistic city in modern-day Turkey, starting in 1928. Elderkin oversaw the fieldwork of Antioch that began on March 4, 1932. He was there on behalf of Princeton; however several other institutions were stakeholders in the project including Musées de France, Worcester Art Museum, the Baltimore Museum of Art, and the Fogg Museum of Art. It was Elderkin’s intention to devote the second half of the next five academic school years to the excavation. In 1934 the Corinth Museum was opened and Elderkin was one of the initial directors of the educational work at the museum. He was elected a corresponding member of the Deutsche Archäologische Institut in 1936. He began teaching at the American School of Classical Studies in Athens in 1938 and continued to do so for the next four years. The excavations in Antioch officially ended in September of 1939 with the declaration of war in Europe. Notable discoveries in Antioch made by Elderkin from the excavation included a mosaic floor showing Dionysus, Hermes, Athena, Aphrodite, and other Greek deities. The imagery on the mosaics included landscapes and hunting scenes bordered by a pictorial atlas of Daphne. He later published a book on the excavation titled Antioch on the Orontes. Because of his work on Antioch Elderkin was named vice president of the Archaeological Institute of America in 1942.

His graduate courses at Princeton included; Etruscan Art, Olympia, Delphia, and Epidaurus, Greek Archaeology, Greek Vase Painting, Greek Archaeology, and Art Commentary on Greek Literature. In 1948 he retired from Princeton as a professor emeritus after reaching the statutory age limit of 68 enforced by the university.

In 1954 he joined a public religious controversy at the University, publishing The Roman Catholic Problem in response to objections by Princeton’s Catholic chaplain, Reverend Hugh Halton (1913-1979.) Elderkin described the book as a “challenge to the authoritarianism of the Vatican” and criticized the Catholic church’s hold on Princeton. Halton’s response claimed Elderkin’s piece was blasphemous and questioned Elderkin’s academic integrity. This, in addition to similar unpleasant critiques of Princeton’s religion department staff, caused Halton to be removed from Princeton’s faculty.

Two portraits were donated to the Princeton University Art Museum in Elderkin’s name by his daughter; a German Portrait of a Young Man was donated in 1968 and a Dutch portrait from 1542 was donated in 1992.

Elderkin’s work, Problems in Periclean Buildings, was credited with shining a new light on the potential architectural workings of the Propylea and the Caryatid Porch of the Erectheum. In Golgotha, Kraneion, and the Holy Sepulchre he also applied a unique architectural perspective on pre-Christian sites which was previously missing from the work’s analysis. Elderkin was considered an expert on Greek religions and mystic cults, this is particularly evident in his work Kantharos. Elderkin’s book focused on the study of religion in the ancient world and its connections to other religious narratives. He analyzed the iconography of Greek and Roman gods and explained the evolution of these symbolic meanings through time. In addition to his personal writings, he also brought a variety of subjects to his students at Princeton. He was reported to be “informative, sensitive, and generally satisfying to students”(Smyth and Lukehart). The junior courses Elderkin provided are the following; Minoan and Mycenean Painting, Minoan and Mycenean Metal Work, Vase Paintings with Scenes from Epic Stories, The Works of Praxiteles, Types of Greek Coins, and the Comparative Study of Greek and Roman Portraits. Elderkin, in collaboration with Morey, is credited with teaching the first course at Princeton focusing on Classical Numismatics.(Lavin). This course was particularly innovative because it worked in collaboration with Princeton’s museum collection, an opportunity that previously had not been offered.


Selected Bibliography

  • [dissertation:]  Aspects of the Speech in the Later Greek Epic. Johns Hopkins University, published, Baltimore: J.H. Furst Company, 1906;
  • Problems In Periclean Buildings. Princeton: Princeton University Press, 1912;
  • Kantharos: Studies In Dionysiac And Kindred Cult. Princeton: Princeton University Press,1924;
  • Antioch on the Orontes. Princeton: Department of Art and Archeology, 1934;
  • Studies in Early Athenian Cult. Princeton: Princeton University Press, 1936;
  • “A Pedestal in the Light of Aristophanes.” Classical Philology 32, no. 4 (1937): 365–66.;
  • “Aphrodite and Athena in the Lysistrata of Aristophanes.” Classical Philology 35, no. 4 (1940): 387–96.;
  • “The Name of Sardis.” Classical Philology 35, no. 1 (1940): 54-56.;
  • The Lenaion, Limnaion and Boukoleion at Athens. Archaeological Papers 5.. Springfield, MA: Pond-Ekberg Company, 1943;
  • The Bull and the Dove at Costig: Eastern Influence in Basque. Springfield Mass: Pond-Ekberg, 1945;
  • Zagreus in Ancient Basque Religion. Princeton N.J: Princeton University Store, 1952;
  • Mystic Allusions in the Frogs of Aristophanes. Princeton: Princeton University Store, 1955;
  • A Comparative Study of Basque and Greek Vocabularies. Princeton: Princeton University store, 1958;
  • The First Three Temples at Delphi: Their Religious and Historical Significance. Princeton: Princeton University store, 1962;
  • Related Religious Ideas of Delphi Tara and Jerusalem : A Study of the Dionysiac Tradition. Springfield Mass: Pond-Ekberg. 1962;

Sources

  • M.C. [Martin Conway “Problems of Periclean Buildings [review].” The Burlington Magazine for Connoisseurs 24, no. 128 (1913): 116;
  • Robinson, David M. The Classical Weekly 6, no. 26 1913: 206–7;
  • Princeton Alumni Weekly 18. Princeton: Princeton University Press, 1917;
  • “First Century Art Found In Corinth.” New York Times, August 4th, (1932): 21;
  • “Find More Mosaics Buried in Syria.” New York Times 1923, Feb 13, (1933): 6;
  • “3 Retire at Princeton’” New York Times, August 15, (1948): 9;
  • “Individuals Held Heart of Nation.” New York Times, March 24, (1958): 52;
  • “Dr. George Elderkin, 86, Dies; Archaeologist at Princeton to ’48.” New York Times, December 20, (1965): 35;
  • Lavin, Marilyn Aronberg. The Eye of the Tiger: The Founding and Development of the Department of Art and Archaeology, 1883-1923 Princeton University. Department of Art and Archaeology and the Art Museum, 1983;
  • Dyson, Stephen. Ancient Marbles to American Shores: Classical Archaeology in the United States. Philadelphia: University of Pennsylvania Press, 1998, pp. 161, 163, 168, 202;
  • De Giorgi, Andrea U. Ancient Antioch: From the Seleucid Era to the Islamic Conquest. Cambridge University Press, 2016: 27;
  • Smyth, Craig Hugh., and Lukehart, Peter M. The Early Years of Art History in the United States : Notes and Essays on Departments, Teaching, and Scholars in, Smyth, Craig Hugh and Peter M. Lukehart. Princeton: Dept. of Art and Archaeology, Princeton University, 1993, pp. 26-27, 42,176;
  • Hugh Halton, O.P. and the Princeton Controversy Archive. Booth Family Center for Special Collections, Georgetown University Library, Washington, D.C.

Archives


Contributors: Caitlin Childers


Citation

Caitlin Childers. "Elderkin, George." Dictionary of Art Historians (website). https://arthistorians.info/elderking/.


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Classicist art history professor and archaeologist.  Elderkin was born in Chicago in 1879.  He graduated from Darthmouth in 1902 continuing to graduate work at Johns Hopkins University.  His Ph.D., was granted from Hopkins in 1906 with a dissertation

Elbern, Victor

Full Name: Elbern, Victor

Gender: male

Date Born: 1918

Home Country/ies: Germany

Subject Area(s): ceremonial objects, iconography, liturgical objects, liturgy, and religious objects

Institution(s): Berlin State Museums


Overview

developed “iconography of ornament” for liturgical items


Selected Bibliography

“Das Engerer Bursenreliquiar und die Zierkunst des frühen Mittelalters.” Niederdeutsche Beiträge zur Kunstgeschichte 10 (1971): 41-102.


Sources

KRG, 124; KMP, 87 mentioned



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Elbern, Victor." Dictionary of Art Historians (website). https://arthistorians.info/elbernv/.


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developed “iconography of ornament” for liturgical items

Eitner, Lorenz

Full Name: Eitner, Lorenz

Other Names:

  • Lorenz Edwin Alfred Eitner

Gender: male

Date Born: 1919

Date Died: 2009

Place Born: Brno, Jihomoravsk, Kraj, Czech Republic

Place Died: Stanford, Santa Clara, CA, USA

Home Country/ies: United States

Subject Area(s): French (culture or style) and painting (visual works)

Career(s): educators


Overview

Stanford University Art History professor and Géricault scholar. Eitner was the son of William Eitner and Katherine Thonet [Eitner], Austrians citizens living in Czechoslovakia. His father worked in his wife’s family bentwood furniture business, a process which the Thornet family had founded. After attending grade schools in Frankfurt and Berlin, his family, then living in Brussels, immigrated to South Carolina in 1935. He entered Duke University the following year. While a student at Duke, Eitner wrote a somewhat positive account of his experiences in Hitler’s Germany for the school literary magazine. He graduated summa cum laude at Duke. in 1940, he was drafted into the U.S. Army in World War II, serving in intelligence with the Office of Strategic Services. Stationed in Washington, London, Paris and Salzburg, he headed the research section in the Office of Chief Prosecution for the Nuremberg Trials. Following the war, he married Trudi von Kathrein in 1946, a member of the Austrian resistance. At the conclusion of his Office of Chief of Prosecution duties at the Nuremberg War Crimes trials in 1947, he returned to the United States completing an M.F.A from Princeton University in 1948. Eitner began teaching art at the University of Minnesota in 1949. He continued his graduate studies at Princeton, studying with among others Kurt Weitzmann. In 1952 he received his Ph.D. from Princeton writing on what would be his area of expertise, Theodore Géricault. Eitner continued researcch as a Fulbright Fellow during the 1952-1953 year in Brussels. The publication of his dissertation in book form by Princeton University press in 1952 appeared the same year as the first full-length biography on Géricault (in German) by the German-American art historian Klaus Berger. Eitner took Berger to task for his overtly Marxist methodology and authentication of some of questionable Géricault paintings. In 1955 he was elected chair of the College Art Association. A Guggenheim Fellowship was awarded for the 1956-1957 year for Munich. He left Minnesota to chair of the Department of Art and Architecture at Stanford University in 1963, which included on a volunteer basis the administration of the Stanford art museum. Under his tenure he refocused university art museum to be a center for art; it previously had held a variety of realia including a railroad car and biological specimens. A gifted fundraiser, Eitner was able to buy Turners and Géricaults at auctions in London and New York. The 52,000-square-foot Cummings Art Building was completed in 1968. Eitner developed the art history department at Stanford, hiring the Rodin scholar Albert E. Elsen in 1963, the Asianist Michael Sullivan and future Getty director Kurt Forster. Eitner received both The Mitchell Prize for the History of Art and a Charles Rufus Morey Book Award of the College Art Association in 1983 for his book Géricault: His Life and Work. He retired from the University in 1989; two months before the Loma Prieta earthquake closed the university’s art museum for a decade. Eitner was working on his autobiography at the time of his death. His students included Kirk Varnedoe.


Selected Bibliography

[dissertation] The Work of Theodore Gericault, 1791-1824. Princeton, 1952; “How I saw Hitler.” The Archive [Duke University] 50 no. 3 (December 1936): 5, 19; “The Pacifist, A Satire.” The Archive 51 no. 5 (February 1938): 6-8; The Flabellum of Tournus. Studies in Art and Archaeology 1. New York: The College Art Association of America, 1944; “The Open Window and the Storm-tossed Boat.” Art Bulletin 37 (1955): 281-90; “Open Window and the Storm-tossed Boat: an Essay in the Iconography of Romanticism.” The Art Bulletin 37 (December 1955): 281-90; Géricault: an Album of Drawings in the Art Institute of Chicago. Chicago: University of Chicago Press, 1960; “Homage to Delacroix.” Apollo 77 (January 1963): 32-5; Introduction to Art: an Illustrated Topical Manual. Minneapolis: Burgess Pub. Co. 1967; Neoclassicism and Romanticism, 1750-1850; Sources and Documents. 2 vols. Englewood Cliffs, NJ, Prentice-Hall, 1970; Géricault. Los Angeles: Los Angeles County Museum of Art, 1971; Géricault’s Raft of the Medusa. London: Phaidon, 1972; Gericault: His Life and Work. Ithica, NY: Cornell University Press, 1983; An Outline of 19th-century European Painting: from David through Cézanne. New York: Harper & Row, 1987; The Drawing Collection. Stanford, CA: Stanford University Museum of Art, 1993; French Paintings of the Nineteenth Century. Washington, DC: National Gallery of Art, 2000; 19th Century European Painting: David to Cézanne. Boulder, CO: Westview Press, 2002;


Sources

Kleinbauer, W. Eugene. Research Guide to the History of Western Art. Sources of Information in the Humanities, no. 2. Chicago: American Library Association, 1982, p. 67 mentioned; [obituary:] Haven, Cynthia. “Lorenz Eitner, founding spirit behind museum and Art Department, dies at 89.” Stanford Report March 13, 2009.


Archives


Contributors: Emily Crockett and Lee Sorensen


Citation

Emily Crockett and Lee Sorensen. "Eitner, Lorenz." Dictionary of Art Historians (website). https://arthistorians.info/eitnerl/.


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Stanford University Art History professor and Géricault scholar. Eitner was the son of William Eitner and Katherine Thonet [Eitner], Austrians citizens living in Czechoslovakia. His father worked in his wife’s family bentwood furniture business, a

Ehrenzweig, Anton

Full Name: Ehrenzweig, Anton

Gender: male

Date Born: 1908

Date Died: 1966

Home Country/ies: Austria

Subject Area(s): art theory, psychoanalysis, and psychology

Institution(s): Goldsmiths' College


Overview

Fruedian art theorist


Selected Bibliography

The Hidden Order of Art: A Study in the Psychology of Artistic Imagination. London: Weidenfield & Nicolson, 1967.


Sources

KRG, 100



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Ehrenzweig, Anton." Dictionary of Art Historians (website). https://arthistorians.info/ehreenzweiga/.


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Fruedian art theorist

Eggers, George W.

Full Name: Eggers, George W.

Other Names:

  • George William Eggers

Gender: male

Date Born: 1883

Date Died: 1958

Place Born: Dunkirk, Chautauqua, NY, USA

Place Died: New York, NY, USA

Home Country/ies: United States


Overview

Director of the Art Institute of Chicago (1916-1921)and Worcester Art Museum. He studied at the Pratt Institute Art School to be an artist. In 1906 he moved to Chicago to teach as part of the faculty of the Chicago Normal College. He was appointed Director of the Art Institute of Chicago in 1916. Eggers was responsible for creating the Extension program for the Institute, inaugurating the international water color exhibitions. He also oversaw the first permanent installation of the Institute’s collection. In 1921 he left to become Director of the Denver Art Museum. He subsequently was Director of the Worcester Art Museum, Worcester, Massachusetts and Chairman of the Art Department for the City Colleges of New York. As Chairman of the Art Department to the City University of New York, he was instrumental in steering many students into art history, including the future medievalist of New York University, Harry Bober. In 1930 he wrote the introduction (in German) for the catalog of the American Art Exhibition


Selected Bibliography

George Bellows. New York: Whitney Museum of Art, 1931; Little Churches. Denver: Church Art Commission of the Diocese of Colorad, 1923; Ausstellung Amerikanischer Kunst/Exhibition of American Art: Juni-Juli 1930. Munich: DieKunstverein München., 1930; and Fisher, William Ellsworth. A Monograph of the Work of William E. Fisher [and] Arthur A. Fisher, Architects. Colorado Springs, CO: Dentan Printing Company 1930?.


Sources

“George Eggers.” Libraries and Archives of the Art Institute of Chicago. http://www.artic.edu/aic/libraries/musarchives/archeggers ; “George Eggers, Art Professor, Dead, I Headed Department at City College.” New York Times September 26, 1958, p. 27.


Archives


Contributors: Emily Crockett and Lee Sorensen


Citation

Emily Crockett and Lee Sorensen. "Eggers, George W.." Dictionary of Art Historians (website). https://arthistorians.info/eggersg/.


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Director of the Art Institute of Chicago (1916-1921)and Worcester Art Museum. He studied at the Pratt Institute Art School to be an artist. In 1906 he moved to Chicago to teach as part of the faculty of the Chicago Normal College. He was appointed

Eichler, Fritz

Image Credit: Lexikon der Osterreichischen Provenienz Forschung

Full Name: Eichler, Fritz

Gender: male

Date Born: 1887

Date Died: 1971

Place Born: Graz, Steiermark, Austria

Place Died: Vienna, Vienna state, Austria

Home Country/ies: Austria

Subject Area(s): Ancient Greek (culture or style), Antique, the, and Classical


Overview

Specialist in ancient Greek and Roman art, particularly sculpture and bronze statuary. Curator of varying rank at the Kunsthistorischen Museums, Vienna, beginning in 1915, and director of the Antiquities Collection, 1935-1952. Professor of Classical Archaeology at the University of Vienna (1953-1961), and director of the österreichische archäologische Institut (Austrian Archaeological Institute, or öAI) from 1953 to 1969.


Selected Bibliography

Die Reliefs des Heroon von Gjölbaschi-Trysa, 1950. Die Skulpturen des Heraions von Argos, öJh 19/20, 1919, 15 ff. Thronlehnenstützen des olympischen Zues des Phidias, öJh 45, 1960, 5 ff.


Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 2




Citation

"Eichler, Fritz." Dictionary of Art Historians (website). https://arthistorians.info/eichlerf/.


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Specialist in ancient Greek and Roman art, particularly sculpture and bronze statuary. Curator of varying rank at the Kunsthistorischen Museums, Vienna, beginning in 1915, and director of the Antiquities Collection, 1935-1952. Professor of Classic

Eigenberger, Robert

Full Name: Eigenberger, Robert

Other Names:

  • Robert Eigenberger

Gender: male

Date Born: 1890

Date Died: 1979

Place Born: Sedlice, Jihocesky, Czech Republic

Place Died: Vienna, Vienna state, Austria

Home Country/ies: Austria


Overview

Director of the Picture Gallery of the Academy of Fine Arts (Akademie der Bildenden Künste) 1926-29, 33-65, Vienna. He was born in Sedlitz, Bohemia, which is present-day Sedlice, Czech Republic. Eigenberger studied art history at the universities of Prague, Munich and Göttingen, receiveing his Ph.D., in 1913 in Berlin. He served in the First World War (1915-16). After working in the cultural monuments division of the Austrian Ministry of Culture, he was curator (Kustos) at the Picture Gallery of the Academy of Fine Arts in 1922. He was made director in 1926. As the first director who was not exclusively an artist, Eigenberger reduced the exhibited to only objects of the highest quality and grouped them by schools. He also stopped the practice of “restoration” by retouching. Instead, beginning in the 1920s, he worked in conjunction with scientific experts to restore paintings using more appropriate materials. Eigenberger took over the fledgling “Meisterschule für Konservierung und Technologie” at the Academy in 1933, a facility that grew into the east wing of the museum. His service was suspended briefly in 1945 after World War II. He was reappointed and remained director until 1961, and retired as professor in 1965. Eigenberger was also a painter, a member of the Vienna Secession, and won the 1930 Austrian State Prize for painting.


Selected Bibliography

Die Gemäldegalerie der Akademie der Bildende Künste in Wien. Vienna: Manz, 1927; Peter Paul Rubens. Vienna: Kunstverlag Wolfrum, 1955.


Sources

Dr. Robert Eigenberger: 14. Februar 1890-14. April 1979 : Gedächtnisausstellung. Vienna: Akademie der Bildenden Künste, 1980; Trenk, Renate. The Picture Gallery of the Academy of Fine Arts in Vienna. Vienna: Böhlau, 2002, p. 24; “Master School for Conservation/Restoration, Academy of Fine Arts Vienna.” http://www.ffcr-fr.org/format/europe/autri/autriche.htm; Meissner, G. “Eigenberger, Robert.” Allgemeines Künstlerlexikon: die bildenden Künstler aller Zeiten und Völker. vol. 32. Leipzig: K.G. Saur, 2002, p. 545.




Citation

"Eigenberger, Robert." Dictionary of Art Historians (website). https://arthistorians.info/eigenbergerr/.


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Director of the Picture Gallery of the Academy of Fine Arts (Akademie der Bildenden Künste) 1926-29, 33-65, Vienna. He was born in Sedlitz, Bohemia, which is present-day Sedlice, Czech Republic. Eigenberger studied art history at the universities

Einem, Herbert von

Full Name: Einem, Herbert von

Other Names:

  • Herbert von Einem

Gender: male

Date Born: 1905

Date Died: 1983

Place Born: Saarburg, Rhineland Palatinate, Germany

Place Died: Göttingen, Lower Saxony, Germany

Home Country/ies: Germany

Subject Area(s): art theory, eighteenth century (dates CE), German (culture, style, period), and nineteenth century (dates CE)


Overview

Historian of German 18th/19th-century art; methodological theorist. The son of a military officer, von Einem demonstrated an interest in art from high school. After studying law, he turned to art history in 1923, studying at Göttingen, Berlin and Munich. In 1928, he completed his dissertation under Georg Vitzthum von Eckstädt. Einem worked in the Field Museum in Hannover until 1936. His 1935 habilitationschrift was written under the classicist Carl Fernow and Wilhelm Waetzoldt in Halle and Göttingen. From 1936 he began publishing on the subject of Johan Wolfgang von Goethe (1749-1832), of whose art theory he became an expert. In 1938 Einem published a monograph on Caspar David Friedrich which contradicted Kurt Karl Eberlein and Eberlein’s view that Friedrich held strong nationalist pride. Later he returned to privatdozent status for political reasons. Einem was forced to leave a 1936 essay of his on popular (volkisch) elements in art anonymous, though highly regarded by the Warburg school historians, because of the mounting political pressure of the Nazis. In 1943 he was appointed professor at Greifswald, but did not teach there due to military service and subsequent imprisonment (1945). After 1945 he published a series of shorter works dedicated to the master painters of European Renaissance art of the 17th century. He continued Vitzthum’s work as an Ordinariat in Göttingen and in 1947 held one of the chairs with Heinrich Lützeler at the University of Bonn. He and Lützeler founded the Bonner Beiträge zur Kunstwissenschaft in 1950. Einem remained at Bonn becoming emeritus in 1970. Because he had no ties to the Nazi regime, he was an ideal representative for post-war German art historical collaboration. Between 1960-1968 he headed the Association of German Art Historians and was the President of the International Committee of Art History (CIHA), 1964-1969. An invitation to succeed Hans Sedlmayr in Munich of 1963 was declined. In 1974 he returned to Göttingen. Einem was among the great theorists of art history. He regarded art history as a branch of general history, viewing the artist as a product of his/her historical period. He embraced the concept forwarded by Ernst Cassirer that art philosophy is not complete without art history and vice versa. In Fragen kunstgeschichtlicher Interpretation, 1952, von Einem wrote that art history as a particular language with mythical implications. The emergence of Christian mythos created a crisis of art, a loss of art’s order for von Einem. A strong supporter of academic training for art history, he argued that older art forms needed to be understood from a knowledge of contemporary art as well. In this regard, he contrasted art historians such as Joseph Gantner, asserting that the abstraction in Egyptian sculpture, for example, differed from modern sculptural abstraction (see, Revision der Kunstgeschichte? 1931/1932). Einem maintained that Kunstwissenschaft was a resource to understanding mankind. This explains in part his willingness to write on diverse art subjects. His students included Florens Deuchler.


Selected Bibliography

[complete bibliography through 1964:] Osten, Gert von der, editor. Festschrift für Herbert von Einem zum 16. Februar 1965. Berlin: Gebr. Mann, 1965; Caspar David Friedrich. Berlin: Im Rembrandt-verlag 1938; “Aufgaben der Kunstgeschichte in der Zukunft.” Zeitschrift für Kunstgeschichte 5 (1936): 1-6; edited. Fernow, Carl Ludwig. Römische Briefe an Johann Pohrt 1793-1798. Berlin: W. de Gruyter, 1944; Die Bildnisse der deutschen Künstler in Rom, 1800-1830. Berlin: Deutscher Verein für Kunstwissenschaft, 1952; Beiträge zu Goethes Kunstauffassung. Hamburg: M. von Schröder, 1956; Masaccios Zinsgroschen. Cologne: Westdeutscher Verlag, 1967; Die Medicimadonna Michelangelos. Opladen: Westdeutscher Verlag, 1973; Stil und überlieferung: Aufsätze zur Kunstgeschichte des Abendlandes. Dusseldorf: L. Schwann, 1971; “Die Folgen des Krieges”: ein Alterswerk von Peter Paul Rubens. Opladen: Westdeutscher Verlag, 1975; Deutsche Malerei des Klassizismus und der Romantik: 1760-1840. Munich: Beck, 1978.


Sources

Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 70-73;



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Einem, Herbert von." Dictionary of Art Historians (website). https://arthistorians.info/einemh/.


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Search for materials by & about this art historian:

Historian of German 18th/19th-century art; methodological theorist. The son of a military officer, von Einem demonstrated an interest in art from high school. After studying law, he turned to art history in 1923, studying at Göttingen, Berlin and