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Einstein, Carl

November 8, 2023April 10, 2024

Full Name: Einstein, Carl

Other Names:

Carl Einstein

Gender: male

Date Born: 26 April 1885

Date Died: 03 or 05 July 1940

Place Born: Neuwied, Rhineland Palatinate, Germany

Place Died: Lestelle-Bétharram, Nouvelle-Aquitaine, France

Home Country/ies: Germany

Subject Area(s): African (general, continental cultures), Cubist, German (culture, style, period), and Modern (style or period)

Career(s): art critics and art historians

Overview

Early writer on modern art in Germany; first to discus African art in aestheric terms and one of the first to connect it to Cubism. Einstein’s father was Daniel Einstein (1847-1899), a rabbi, Hebrew teacher and cantor. His mother was Sophie Lichtenstein (Einstein) (b. 1860). In 1888 the family moved to Karlsruhe, where the younger Einstein initially studied Banking. Between 1904-1908 he attended the philosophy lectures of Georg Simmel (1858-1918) at the University of Berlin and art historical lectures of Heinrich Wölfflin. Because Einstein lacked a high school diploma (Abitur) he was unable to attain his doctorate. In 1907 he made his first trip to Paris where he discovered Picasso, Braque, Gris and other artists. He wrote prose, joining the radical circle of Franz Pfemfert (1879-1954) and his magazine Die Aktion. In 1912 Einstein’s novel, Bebuquin oder die Dilettanten des Wunders, appeared, which included the graphic illustrations of the German Expressionist artist Wilhelm Lehmburck. He married Maria Ramm, Pfemfert’s daughter, in 1913 (divorced 1923). His first well-known work was an art-historical piece on primitivism, called Negerplastik (Black Sculpture). Negerplastik circulated widely among avant-garde artists of the time, though it incited controversy within the intellectual community, including the philosopher Ernst Bloch (1885-1977), the authors Hermann Hesse (1877-1862) and Hanns Johst (1890-1978) and the art historians Hedwig Fechheimer, Curt Glaser, Wilhelm Hausenstein and Hans Tietzte. In World War I, he was a soldier stationed in Brussels. Immediately after the war he lived in Berlin (1919-1928), working on the weekly magazine of Wieland Herzfelde (1896-1988) and George Grosz, Die Pleite. He became editor and publisher of the satirical paper Der blutige Ernst. He wrote several short essays on artists for Das Kunstblatt under Paul Westheim as well as for Der Querschnitt, Action (Paris) and Die neue Rundschau. His satirical depiction of god in Die schlimme Botschaft resulted in a fine. In 1922 he was commissioned to write the volume on Die Kunst des 20. Jahrhunderts for the Propyläen Art History series. It’s publication in 1926 made it the first survery of modern art (Foster et al). Einstein’s contacts with artists and dealers such as Daniel-Henry Kahnweiler (1884-1979) and others resulted in a diverse selection of art objects. In 1928, branded as a communist, he moved to Paris and, with Georges Bataille (1897-1962) and others, published the magazine Documents, 1929-1931. Einstein sided with Bataille in view of Surrealism that radically contrasted the official line set forth by André Breton (1896-1966). He wrote a monograph on Braque (1934) though more a theoretical work on the Cubist movement than the artist himself. In the 1930s, Einstein produced his Handbuch der Kunst which focuses primarily on modern art. He married a second time, in 1932, to an Armenian woman, Lydia Guevrekian. By this time he had become disillusioned by most modern artists has having capitulated to the ruling authorities. Though disillusioned with communism as well, he volunteered as a soldier in the Spanish civil war 1936-1937. After the defeat by Franco, Einstein returned to Paris, writing a German expatriate newsletter. With the fall of France in 1940 he was arrested by Vichy government officials and deported to the concentration camp at Lager Gurs. Though released he found himself unable to emigrate again to Spain. Hunted by the Gestapo for his communist beliefs and Jewish heritage, he committed suicide by throwing himself into the Pau river. The Kahnweiler placed a plaque in his gallery “Freedom fighter”. Negerplastik is one of the early links of so-called primitive sculpture and the modern art movement. The book was the first to discuss African sculpture in esthetic terms as opposed to ethnographic artifacts (Foster, et al). It postulated a spatial way of seeing “plastisches Sehen” that addresses the problems of Cubism. It is not a history of African sculpture as it ignored the peoples who made the sculptures. Einstein adhered strongly to the notion that sculpture “spoke” directly to the viewer and therefore required no background information. Die Kunst des 20. Jahrhunderts represented a genuinely original vision of modern art. Together with an handful of other modernist art historians, such as Max Osborn and Paul Ferdinand Schmidt he ushered in modern art as an art-historical subject in Germany. His criticism is akin to that of the Frankfurt School theorists, particularly Theodor Adorno (1903-1969) and Walter Benjamin (1892-1940) (Foster et al). Einstein had his blind spots, however. His Marxist beliefs precluded an appreciation of German Expressionism until after World War I, preferring French Cubism largely because of its closer connection to African art. His analytical style, especially in the shorter reviews of artists, often has a hyper-critical edge to it. Because of the political and cultural events of the 1930s, his major literary theory, Fabrikation der Fiktionen, only appeared in 1973.

Selected Bibliography

[complete bibliography:] Ihrig, Wilfried. “Bibliographie zu Carl Einstein.” Text und Kritik 95 (1987): 87-101; Bebuquin, oder, Die Dilettanten des Wunders: ein Roman. Berlin-Wilmersdorf: Verlag der Wochenschrift Die Aktion, 1912; Negerplastik. Munich: K. Wolff, 1915; Die Kunst des 20. Jahrhunderts. Propyläen Kunstgeschichte 16. Berlin: Propyläen-Verlag 1926; Georges Braque. Paris: éditions des Chroniques du jour/New York: E. Weyhe, 1934; Gesammelte Werke. Wiesbaden: Limes Verlag, 1962; Die Fabrikation der Fiktionen. Reinbek bei Hamburg: Rowohlt, 1973.

Sources

[book review] Fechheimer, Hedwig. “Carl Einstein: Negerplastik.” Kunst und Künstler 13 (1915): 576 – 578; Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, p. 204; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 74-76; Wendland, Ulrike. Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. Munich: Saur, 1999, vol. 1, pp. 129-36; Carl-Einstein-Gesellschaft (website), “Biographie.” http://www.carleinstein.uni-muenchen.de/Index2.htm; “Album di famiglia – Storia di un incontro: Carl Einstein.” Bollettino Archivio Giuseppe Pinelli. no 15 (April 2000): 45-47; “Carl Einstein (1885-1940)” [inset]. in Foster, Hal, et al. Art Since 1900. 2nd ed. vol. 1 New York: Thames and Hudson, 2011, p. 265.

Eisenmann, Oskar

November 8, 2023March 29, 2024

Full Name: Eisenmann, Oskar

Gender: male

Date Born: 1842

Date Died: 1933

Overview

Selected Bibliography

Geschichte der bildenden Künste im 15. Jahrhundert. Edited by Wilhelm Lübke. Volume VIII of Geschichte der Bildenden Künste. 2nd ed. 8 vols. Stuttgart: Ebner & Seubert, 1866-79.

Eisler, Colin T.

November 8, 2023March 29, 2024

Full Name: Eisler, Colin T.

Other Names:

Colin Tobias Eisler

Gender: male

Date Born: 1931

Place Born: Hamburg, Germany

Home Country/ies: Germany

Subject Area(s): Early Netherlandish, Northern Renaissance, and painting (visual works)

Overview

Art historian of Netherlandish painting and graphic works of art; Robert Lehman Professor of Fine Arts, New York University. Eisler was born to George B. Eisler, a Hamburg publisher, and Kate Basseches (Eisler). The family emigrated to the United States where the younger Eisler graduated from Yale University in 1952. He continued graduate study at Oxford University, 1952-53, before entering Harvard University. At Harvard he received his A.M. in 1954. While working on his doctorate, he was appointed instructor in art history at Yale and Curator in art gallery’s department of prints and drawings (1955-1957). He received his Ph.D. in 1957 from Harvard. He spent the 1957-58 academic year as a Fellow at the Institute for Advanced Study in Princeton. He married Benita Blitzer (b. 1937) in 1961, a literary scholar and biographer. Eisler was made assistant professor, New York University, in 1958, advancing to associate professor in 1960. He was named professor of art history in 1968 and Robert Lehman Professor of Fine Arts. Eisler wrote an early summary of how the German expatriate art-history community affected American scholarship, “‘Kunstgeschichte’ American Style.” Eisler professed to disliking many major areas of art, German Expressionism, the art of Blake and Fuseli and the late Picasso. His specialty of northern Renaissance art was his major area of publication.

Selected Bibliography

Early Netherlandish Painting [Thyssen-Bornemisza Collection]. London: Sotheby’s (Philip Wilson Publishers), 1989; The Master of the Unicorn: the Life and Work of Jean Duvet. New York: Abaris Books, 1977; Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian. Oxford: Phaidon Press, 1977; Flemish & Dutch Drawings from the 15th to the 18th Century. New York: Shorewood Publishers, 1963; The Seeing Hand: a Treasury of Great Master Drawings. New York: Harper & Row, 1975; “What Takes Place in the Getty Annunciation?” Gazette des Beaux-Arts 111 (March 1988): 193-202; “French Painting in the Time of Jean de Berry: the Limbourgs and Their Contemporaries.” The Art Bulletin 63 (June 1981): 328-32; “Two Entombments and a Deposition from Early Netherlandish Passion Altars.” Gesta 20 no. 1 (1981): 257-62; “American Art History, God Shed his Grace on Thee.” Art News 75 (May 1976): 64-73; “Golden Christ of Cortona and the Man of Sorrows in Italy.” The Art Bulletin 52 (June-September 1970): 233-46, part II, The Art Bulletin 51 (June-September 1969): 107-18; “‘Kunstgeschichte’ American Style,” in Fleming, D. and Bailyn, Bernard, eds. The Intellectual Migration: Europe and America, 1930-1960. Cambridge, MA: Harvard University Press, 1969.

Sources

Eisler, Colin. [Memorial essay to Gert Schiff]. In Memoriam Gert Schiff, 1926-1990. New York: Institute of Fine Art, New York University, 1991, pp. 20-22.

Eisner, Lotte H.

November 8, 2023April 11, 2024

Full Name: Eisner, Lotte H.

Other Names:

Lotte H. Eisner

Gender: female

Date Born: 1896

Date Died: 1983

Place Born: Berlin, Germany

Place Died: Neuilly-sur-Seine, Île-de-France, France

Home Country/ies: Germany

Subject Area(s): Expressionist (style), film (discipline), German (culture, style, period), German Expressionist (movement), painting (visual works), and photographs

Overview

Film and painting historian of German Expressionism. Eisner’s father was Hugo Eisner (1856-1924), a textile exporter and magistrate, and her mother Margarethe Feodora Aron (1866-1942). She was raised in a prosperous middle-class Jewish family living in near the Zoo quarter of Berlin. After receiving her Abitur at the Humanistisches Gymnasium in Karlsruhe, 1917, she studied archaeology, art history and philosophy at the universities in Berlin (under Heinrich Wölfflin), Freiburg im Breisgau (under Ludwig Curtius), Munich and finally Rostock where she was awarded her Ph.D. Her dissertation, written under the classicist Gottfried von Lücken on the compositional development of Greek vases, was accepted in 1924. She worked on Italian archaeological excavations in Italy, 1924-1926 and then journalism for the newspapers Literarische Welt and the Berliner Tageblatt, 1926-1927, writing arts reviews. She met Hans Feld (1909-1992) editor of the Berlin film periodical Filmkuriers in 1927. Feld invited her to review, and Eisner became the first woman film critic. Jewish and an exponent of Expressionism, the hated movement by the Nazis, she became a target of persecution. Filmkuriers was purged of Jews by the Nazis and, after a phone call warned her of her impending arrest, she fled to France in 1933 to live with her sister in Paris. Between 1933 and 1939 she was a film correspondent for the British Film World News, the Czech Internationale Filmschau and Die Kritik, supporting herself as a secretary, nanny and translator. When France entered World War II, Eisner was interned in an enemy alien camp at Gurs, France, for three months. She escaped and, using the name Louise Escoffier, worked as a cook in Figeac (déparetment Lot) of unoccupied France. Her mother perished in the camp at Theresienstadt, Czechoslovakia, in 1942. Even before the end of the war, Eisner worked for the film preservationist Henri Langlois (1914-1977), inventorying films he had saved from Nazi destruction. In 1945 she was appointed chief conservator for the Cinémathèque française in Palais de Challiot, Paris. She was naturalized a French citizen in 1952. The same year she wrote L’écran démoniaque: influence de Max Reinhardt et de l’expressionisme, her most important book. She co-founded the Musée Cinémathèque with Langlois in 1972. In 1980 a documentary film was made on her by S. M Horowitz, Lotte Eisner in Germany.The Times (London) obituary characterized her film reviews as that of an art historian.

Selected Bibliography

L’écran démoniaque: influence de Max Reinhardt et de l’expressionisme. Paris: A. Bonne 1952, English, The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt. Berkeley: University of California Press, 1969. 0.Metzler

Sources

Horowitz, S. M. Lotte Eisner in Germany. New York: New Yorker Films, 1980; Eisner, Lotte H. Ich hatte einst ein schönes Vaterland: Memoiren. 2nd ed. Heidelberg: Wunderhorn, 1984; Wendland, Ulrike. Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. Munich: Saur, 1999, vol. 1, pp. 136-8; [obituaries] “Lotte Eisner.” Times (London) December 3, 1983, p. 8; “Lotte H. Eisner.” New York Times November 29, 1983, p. B5.

Eitelberger von Edelberg, Rudolf

November 8, 2023April 11, 2024

Full Name: Eitelberger von Edelberg, Rudolf

Other Names:

Rudolf Eler Eitelberger von Edelberg

Gender: male

Date Born: 1817

Date Died: 1885

Place Born: Olomouc, Olomoucký Kraj, Czech Republic

Place Died: Vienna, Vienna state, Austria

Home Country/ies: Austria

Overview

Early academic art historian; founder and first chair of art history (Ordinarius) at the University of Vienna (1851) and founder of the österreiches Museum für Kunst und Industrie. Eitelberger was the son of an Austrian military officer. He was born in Olmütz, Olomouc, Moravia, which is present-day Olomouc, Czech Republic. He studied law in Olmütz in 1832 before changing to Romance philology in which he gained his degree under Julius von Ficker (1826-1902). He lectured in philology between 1839-1848 at the University in Vienna. In the 1840s he started making connections with art collectors, such as Joseph Daniel Böhm (1794-1865), director of the Graveurakademie am k. k. Hauptmünzamte (Engraving Academy and Royal Mint) whose art objects later became the core of the Austrian Museum. Eitelberger’s first essay on art theory appeared in 1855 on the study of antiquity. In 1846 Eitelberger mounted a large show of old master paintings, organized around history rather than a stylistic continuum. He was also a Privatdozent (private lecturer) for theory and art history attached to the University in Vienna. Ever the reformist, he edited a pro-Revolutionary literary newspaper Wiener Zeitung in 1848. That same auspicious year he also published a diatribe against the teaching methods of the academy director, the artist Ferdinand G. Waldmüller (1793-1865). In 1850, he delivered a series of lectures on art history, his opening lecture entitled, “Die Bildungsanstalten für Künstler und ihre historische Entwicklung” (Educational Institutions for Artists and their Historical Development). Eitelberger’s revolutionary zeal was thereafter directed toward art history. His writing attracted the interest of Count Leo Thun-Hohenstein (1811-1888), the government minister who controlled cultural projects for Austria. Eitelberger was still so revolutionary that the Emperor Franz Joseph declined to give him a professorial appointment. Thun secured a travel grant for Eitelberger for Italy and resubmitted his request to the Emperor. On November 9th,1852, Eitelberger became the first Professor “für Kunstgeschichte und Kunstarchäologie” (Art History and Archaeology) at the University of Vienna, one of the first in the continent, and in direct acknowledgement (if not competition) with the appointment of Gustav Friedrich Waagen at a similar chair in Berlin in 1844. Eitelberger immediately set up a training facility where students could study art works directly. In 1854 he created and became the first President of the Kunsthistorisches Institut of the University in Vienna, drawing scholars from a wide array of disciplines and resulting in some of the first serious studies of iconography. He published (with Gustav A. Heider) the two-volume atlas of medieval monuments in the Austro-Hungarian Empire, Mittelalterliche Kunstdenkmäler des österreichischen Kaiserstaates, between 1858 and 1860. He married Pauline Lederer, but she died two years later. Eitelberger and Jakob Falke founded the Kaiserliches Königliches österreichisches Museum für Kunst und Industrie (now the österreiches Museum für Angewandte Kunst) in Vienna in 1864, with Eitelberger as director and Falke as his assistant. The museum was a direct inspiration of the South Kensington Musuem (modern Victoria and Albert Museum). Again, Austria’s bid to be a world power lay at the heart of the Emperor’s commission of this museum. Eitelberger married a second time, to Marie Lott, a daughter of professor Franz Lott (1807-1874) at Göttingen. A separate building to house the structure was completed in 1871. Eitelberger lectured exclusively in the museum–covered all periods except the then maligned 18th century–in order to avoid conclusions too far afield from the objects themselves. This became a hallmark of the (first) Vienna school which Eitelberger’s colleagues Mortiz Thausing (q.v.) and Franz Wickhoff adopted. At his death in 1885, Wickhoff succeeded him as the chair and the university of Vienna and Falk as director of the Museum für Kunst. Eitelberger set as one of the hallmarks of the (first) Vienna School of art history the combined appreciation of the object and its history. Works of art were studied in their original in the museum. It was a tradition that Gustav A. Heider had initiated. The Vienna School trained the major art historians of the German-speaking world and not simply Austria. These included Robert Vischer, Justus Brinckmann, Hugo von Tschudi and Hubert Janitschek. Other Germans whom Eitelberger directly influenced included the later Director General of the Prussian Museums, Wilhelm Bode. A second characteristic of the Vienna School methodology was its allegiance to primary source documentation. Eitelberger founded the Quellenschriften für Kunstgeschichte series in 1871, a monographic series devoted to publishing the important documents of art history. It was continued in fact and in spirit by Julius Alwin von Schlosser, the last great practitioner of the School’s methods.

Selected Bibliography

Edited, Quellenschriften für Kunstgeschichte und Kunsttechnik des Mittelalters und der Neuzeit (series). 18 vols. Vienna: C. Graeser, 1871-1908; and Heider, Gustav. Mittelalterliche Kunstdenkmale des österreichischen Kaiserstaates. 2 vols. Stuttgart: Ebner & Scubert, 1858-60; Cividale in Friaul und seine Monumente. Vienna: K.-K. Hof-und Staatsdruckerei, 1857; Gesammelte kunsthistorische Schriften. 4 vols. Vienna: Braumueller, 1879-1894; Die preisgekrönten Entwürfe zur Erweiterung der inneren Stadt Wien: mit sieben in der Kaiserlich-Königlichen Hof- und Staatsdruckerei in Farbendruck ausgeführten Plänen und einem erläuternden Texte. Vienna: Aus der Kaiserlich-Königlichen Hof- und Staatsdruckerei, 1859; Die Reform des Kunstunterrichts und Professor Waldmüllers Lehrmethode. Vienna: [s.n.?], 1848.

Sources

Elsner, Wilhelm. “Eitelberger von Edelberg, Rudolf.” Allgemeine Deutsche Biographie 55 (1910): 734; Schlosser, Julius von. “Die Wiener Schule der Kunstgeschichte.” Mitteilungen des österreichischen Instituts für Geschforschungen 13 no. 2 (1934): 145ff.; Borodajkewycz, Taras von. “Aus der Frühzeit der wiener Schule der Kunstgeschichte.” in, Festschrift für Hans Sedlmayr. Munich: Beck, 1962, pp. 321-348; 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. 32; Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, p. 155; German Essays on Art History. Gert Schiff, ed. New York: Continuum, 1988, p. xlii mentioned; Kultermann, Udo. The History of Art History. New York: Abaris, 1993, pp. 158-59; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 76-78.

Eastlake, Charles L.

November 8, 2023March 29, 2024

Full Name: Eastlake, Charles L.

Other Names:

Charles Eastlake

Gender: male

Date Born: 1833

Date Died: 1906

Place Born: Plymouth, Plymouth, City of, England, UK

Place Died: Bayswater, City of Westminster, London, England, UK

Home Country/ies: United Kingdom

Subject Area(s): architecture (object genre), Gothic (Medieval), and sculpture (visual works)

Career(s): curators

Institution(s): The National Gallery

Overview

Keeper of the National Gallery, London, 1878-1898 and Gothic architecture writer, nephew of Elizabeth and Charles Lock Eastlake. Eastlake was the son of George Eastlake (b. 1785), an Admiralty law agent and judge-advocate, and the nephew of the painter and future first director of the National Gallery, London, Charles Lock Eastlake. As his then unmarried uncle had no children, the painter spent much time with the younger Eastlake, seeing that he attended Westminster School. Eastlake studied under the architect Philip Hardwick (1792-1870), attending the Royal Academy Schools in 1853. Three years later he married Eliza Bailey (d. 1911). He abandoned architecture shortly thereafter in favor of art history, spending the next two years studying art and buildings in Europe. He was caught up in the nineteenth-century’s renewed interest in the Gothic style. By this time his uncle had married the art writer Elizabeth Rigby Eastlake, Elizabeth Rigby Eastlake, and become the director of the National Gallery, London. The younger Eastlake wrote articles for Cornhill Magazine, Building News, Punch, and the London Review as a freelance journalist on a variety of topics. However, interior design was his greatest interest. After a series of pieces on taste in the journal The Queen, he published a highly popular book on the topic, Hints on Household Taste, in Furniture, Upholstery and other Details in 1868. The title went through many British editions and an American edition appeared in 1881. Eastlake was appointed secretary of the Royal Institute of British Architects in 1866. A second book, A History of the Gothic Revival in England, appeared in 1872. His lectures on decorative art and workmanship for the Social Science Congress appeared in published form in 1876. His writings led the Prime Minister Benjamin Disraeli, Lord Beaconsfield (1804-1881), to appoint Eastlake keeper and secretary of the National Gallery in 1878. He was an attentive curator, with a modern view toward conservation, placing many works under glass to protect them from the sooty London air. His sensitivity toward the public resulted in his making the museum more welcoming to art students and copyists and devoting several galleries devoted to the works on paper of J. M. W. Turner. As an historian, Eastlake reorganized all the paintings of the Gallery into schools or intellectual groupings, which he called “scholastic subdivisions.” As a curator, Eastlake published small books evaluating the principal pictures in foreign galleries. These included the Brera Gallery in Milan, 1883, the Louvre, 1883, the Alte Pinakothek in Munich, 1884, and the Accademia in Venice, 1888. When Frederic William Burton retired in 1894, Eastlake was passed over as director of the Gallery, along with Charles Fairfax Murray, in favor of Edward John Poynter, a great disappointment to him. He published an anecdotal autobiography, Our Square and Circle, in 1895, retiring from the Gallery in 1898. Spending his remaining years at his Bayswater, London, home where he died in 1906. He is buried in Kensal Green cemetery.

Eastlake’s art history was most influential in taste-making. Hints on Household Taste espoused “simplicity, rectangularity, and honest craftsmanship” in opposition to the popular rococo and neo-Renaissance style of the day. He encouraged the public to “furnish their houses picturesquely, without ignoring modern notions of comfort and convenience.” His ideas had a direct affect on contemporary furniture design and in the United States in particular, the verb “to Eastlake” a home was synonymous with the new style. Though not a scholar, his understanding of art history advanced the principles for the British public. The similarities in the names and vocations of him and his uncle has resulted in some confusion between the two in contemporary references.

Selected Bibliography

A History of the Gothic Revival: an Attempt to Show How the Taste for Mediæval Architecture, which Lingered in England during the Two Last Centuries. London: Longmans, Green, 1872; London: Longmans, Green, 1868, [1st American ed.] Boston: J. R. Osgood and Company, 1872; Notes on the Principal Pictures in the Brera Gallery at Milan. London: Longmans and Co., 1883; Notes on the Principal Pictures in the Old Pinakothek at Munich. London: Longmans, 1884; “Picture Hanging at the National Gallery.” Nineteenth Century 22 (1887): 817-826; “The Administration of the National Gallery: a Retrospect.” Nineteenth Century and After 54 (December 1903): 926-946.

Sources

Spielmann, Marion H. The History of “Punch.” London: Cassell and Co., 1895, p. 362; Eastlake, Charles Locke. Our Square & Circle, or, the Annals of a Little London House. New York: Macmillan, 1895; Crook, J. Mordaunt. “Introduction.” Eastlake, Charles Locke. A History of the Gothic Revival. Leicester, UK: Leicester U. P., 1970, pp. i-xviii; Robertson, David. Sir Charles Eastlake and the Victorian Art World. Princeton, NJ: Princeton University Press, 1978, pp. 401-402; Scherr, B. L. “The Gothicist, Shades of Charles Locke Eastlake.” Connoisseur 213 (July 1983): 75-79; Gibson, F. W., and Brunskill, Charlotte L. “Eastlake, Charles Locke.” Dictionary of National Biography; [obituary:] Art Journal 69 (January 1907): 31-32.

Eggers, Friedrich

November 8, 2023April 10, 2024

Full Name: Eggers, Friedrich

Other Names:

Hartwig Karl Friedrich Eggers

Gender: male

Date Born: 27 November 1819

Date Died: 11 August 1872

Place Born: Rostock, Mecklenburg-Vorpommern, Germany

Place Died: Berlin, Germany

Home Country/ies: Germany

Overview

Art Historian and poet. At his death he was succeeded by Eduard Dobbert.

Sources

Woltmann, Alfred. “Eggers, Hartwig Karl Friedrich.” Allgemeine Deutsche Biographie 5 (1877) pp. 671-673.

Art Historian and poet. At his death he was succeeded by Eduard Dobbert.

Egger, Hermann

November 8, 2023March 29, 2024

Full Name: Egger, Hermann

Other Names:

Hermann Egger

Gender: male

Date Born: 1873

Date Died: 1949

Home Country/ies: Austria

Subject Area(s): art theory and Vienna School

Overview

Vienna School historian. He collaborated with the classicist art historian Christian Karl Friedrich Hülsen on the edited facsimile of the notebook of Martin van Heemskerk’s important drawings of Rome. Egger’s Ph.D. students included Walter Frodl.

Selected Bibliography

Architektonische Handzeichnungen alter Meister. Vienna/Leipzig: F. Wolfrum & co., 1910; Codex escurialensis, ein skizzenbuch aus der werkstatt Domenico Ghirlandaios Vienna: A. Hölder, 1906, 1905; and Christian Hülsen. Die römischen Skizzenbücher [of Martin van Heemskerk]. 2 vols. Berlin: J. Bard, 1913-1916; Kritisches Verzeichnis der Stadtrömischen Architektur-Zeichnungen der Albertina. [part I}: Aufnahmen antiker Baudenkmäler aus dem XV. bis XVIII. Jahrhundert. Vienna: Schroll, 1925; and Ehrle, Franz. Die Conclavepläne; Beiträge zu ihrer Entwicklungsgeschichte. Vatican City: Biblioteca apostolica vaticana, 1933; and Ehrle, Franz. Der vaticanische Palast in seiner Entwicklung bis zur Mitte des XV. Jahrhunderts. Vatican City: Biblioteca apostolica vaticana, 1935.

Sources

KRG, 19; KMP, 21 mentioned

Egbert, Donald Drew

November 8, 2023March 29, 2024

Full Name: Egbert, Donald Drew

Other Names:

Donald Drew Egbert

Gender: male

Date Born: 1902

Date Died: 1973

Place Born: Norwalk, Fairfield, CT, USA

Place Died: Princeton, Mercer, NJ, USA

Home Country/ies: United States

Subject Area(s): American (North American), architecture (object genre), Medieval (European), and sculpture (visual works)

Overview

Medievalist and American architectural historian. Egbert was born to Rev. George Drew Egbert (1865-1940) and Kate Estelle Powers (Egbert) (d. 1938); his father was a Congregational minister and collector of early American furniture. The younger Egbert received his B.A. from Princeton University in 1924. He studied architecture, receiving an M.F.A. in 1927. Egbert continued graduate between 1927-1929 under Charles Rufus Morey, who was at that time engaged in cataloging the collection of the Museo Cristiano, part of the Vatican library. Several of Egbert’s first articles were on Vatican ivories which he was assisting Morey in researching. Like Morey, too, he never completed a Ph.D. He joined Princeton as an instructor in 1929. His perceptive and scathing 1930 review of the book by Henry-Russell Hitchcock, Modern Architecture, debuted not only his interest in the medium, but an early tendency to look beyond stylistic continua as an explanation of art history. He was a lecturer in ancient architecture at Bryn Mawr College for 1930, but witnessed Frank Lloyd Wright’s Princeton lectures the same year. He continued graduate work at the University of Paris, receiving a Brevet d’Art de la Sorbonne in 1931. In 1935 he was promoted to assistant professor. His early work was on medieval art manifested itself in his first book, which appeared in 1940, The Tickhill Psalter. Egbert had also been working during the 1930’s on a manuscript on the beaux-arts tradition in French architecture, which he completed in 1941. His interest in American art and architecture now came to the fore. At the beginning in World War II, he helped found and teach the undergraduate program “American Civilization” at Princeton in 1942, which he continued until his retirement. In 1943 Egbert was awarded the Haskins Medal from Mediaeval Academy of America for distinguished scholarship for the Tickhill Psalter book. He was promoted to associate professor in 1944. That year, too, Egbert published an innovative study on the foreign influences to American architecture. Two years later, at age 44, he married another medievalist art historian, Virginia Grace Wylie (1912-1998), and was named (full) professor of art, archaeology, and architecture. He never wrote on medieval art after the war, concentrating on social history, architecture and American art. As a photographer, he exhibited photos at Princeton University Library in 1957, and George Eastman House, Rochester, NY, in 1958. Egbert was appointed Butler Professor of the History of Architecture in 1968. He retired, professor emeritus in 1970, continuing to teach the Civilization course. In retirement, he worked on revising his beaux-arts manuscript, but suffered a stroke in late 1972 and died in early 1973. The book The Beaux-Arts Tradition in French Architecture, was published posthumously. His students included David Van Zanten, Neil Levine and the architect Robert Venturi. Egbert was a social and intellectual historian. His writing examined the political forces and cultural influences that shaped the arts, especially architecture, frequently choosing stances and subjects currently out of vogue. His interdisciplinary articles, such as “Art History and the Study of American Civilization” (1945) or “The Idea of the ‘Avant-garde’ in Art and Politics,” in 1967, appeared in a wide variety of academic journals. As an architectural historian, he was at odds with the dominant modernist (and Bauhaus) view of architecture propounded by Hitchcock and Philip Johnson and publicized by the Museum of Modern Art, NY, which de-emphasized the social content of contemporary architecture in favor of formalist values. This distinction is no where clearer than in his book, Social Radicalism and the Arts. A dramatic teacher, his lectures, read from nearly a complete text and while he was seated, were extremely popular at Princeton.

Selected Bibliography

The Tickhill Psalter and Related Manuscripts: a School of Manuscript illumination in England during the Early Fourteenth Century. New York: The New York Public Library/Department of Art and Archaeology of Princeton University, 1940; “Religious Expression in American Architecture.” in, Religious Perspectives in American Culture. Smith, James Ward, and Jamison, A. Leland, eds. Vol. 2 Religion in American Life. Princeton, NJ: Princeton University Press, 1961, pp. 361-408.; [expanded form of his 1952 essay] Socialism and American Art in the Light of European Utopianism, Marxism, and Anarchism. Princeton, NJ: Princeton University Press, 1967; Social Radicalism and the Arts, Western Europe: A Cultural History from the French Revolution to 1968. New York: Alfred A. Knopf, 1970; Van Zanten, David, ed. The Beaux-Arts Tradition in French Architecture. Princeton, NJ: Princeton University Press, 1980; “The Idea of the ‘Avant-garde’ in Art and Politics.” American Historical Review 73 (1967): 339-66; “The Idea of Organic Expression and American Architecture.” In, Persons, Stow, ed. Evolutionary Thought in America. New Haven: Yale University Press, 1950; “Art History and the Study of American Civilization.” College Art Journal 4, no. 4 (May 1945): 182-186; “North Italian Gothic Ivories in the Museo Cristiano of the Vatican Library.” Art Studies 7 (1929): 169-206; [review of Hitchcock book:] “Modern Architecture by Henry-Russell Hitchcock Jr.” Art Bulletin 12, no. 1 (March 1930): 98-99.

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, pp. 128, 126, 159 mentioned; Kleinbauer, W. Eugene. Modern Perspectives in Western Art History: An Anthology of 20th-Century Writings on the Visual Arts. New York: Holt, Rinehart and Winston, 1971, pp. 85, 103, 312, mentioned 51, 59, cited 88; Venturi, Robert. “Donald Drew Egbert–A Tribute,” and Van Zanten, David, “Editor’s Note.” in, Van Zanten, David, ed. Egbert, Donald D. The Beaux-Arts Tradition in French Architecture. Princeton, NJ: Princeton University Press, 1980, pp. xiii-xvii; [obituary:] Shirley, David L. “Donald D. Egbert, an Art Historian.” New York Times January 5, 1973, p. 28.

Edgerton, Samuel Y., Jr.

November 8, 2023April 10, 2024

Full Name: Edgerton, Samuel Y., Jr.

Gender: male

Date Born: 1926

Home Country/ies: United States

Institution(s): Williams College

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The Renaissance Rediscovery of Linear Perspective. New York: Basic Books,1975;

Contributors: Lee Sorensen

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