Subject Area(s): painting (visual works) and Spanish (culture or style)
Overview
Art Historian whose research centered primarily on Francisco Goya. Gassier was born in 1915 in Étampes outside Paris. After attending the Lycée Henri-IV and the Sorbonne, he was appointed professor of French literature at the French Institute in Barcelona 1941, later moving to Madrid. Gassier’s involvement with the publication of Drawings by Goya at the Prado Museum in 1947, prefaced by André Malraux, would establish his reputation as a specialist on Francisco Goya’s work (Delcroix).
Gassier returned to France in 1957 and remained there until 1968 when he was appointed cultural attaché at the French embassy in Greece. Shortly afterwards, in 1971, Gassier was appointed cultural advisor to the French embassy in Italy. In the same year, Gassier published The Life and Work of Francisco Goya in collaboration with Juliet Wilson. The book, which would earn its authors international recognition, explores the evolution of Goya’s work over the course of his life. Through subtle readings of the images, Gassier and Wilson demonstrated how Goya’s work explored contemporary issues from a range of perspectives, examining what the author’s describe as “the many-sided expression of an idea or theme.”
Between 1973 and 1975 Gassier published a two-volume work, The Drawings of Goya, which explores the artist’s work in much greater detail than his previous survey. Volume I, The Complete Albums (1970), focuses on the final thirty years of the artist’s life during which he produced numerous sketchbooks including the series that would form the basis for his Caprichos. Volume II, The Sketches, Studies and Individual Drawings (1975), looks at the artist’s preparatory drawings.
In 1975, Gassier was elected ordinary professor of art history at the University of Neuchâtel. In Switzerland he went on to produce two more books, both of which extended beyond his earlier concentration on Goya. In Léopold Robert, he argued that the nineteenth century painter’s suicide was the result of mental instability, exacerbated by the death of his brother. The monograph was awarded the prize for Most Beautiful Swiss Book in 1983. In the same year he also published a study of the early career of French artist Henri Manguin, Manguin Parmi Les Fauves.
Selected Bibliography
Goya: biographical and critical study. New York: Skira, 1955;
with Juliet Wilson. The life and complete work of Francisco Goya: with a catalogue raisonné of the paintings, drawings and engravings. New York: Reynal, 1971;
Drawings: the complete albums. New York: Praeger; London: Thames and Hudson, 1973;
Goya: A witness of his times. Secaucus, N.J.: Chartwell Books, 1983;
The drawings of Goya: the sketches, studies and individual drawings. New York: Harper and Row, 1975;
Léopold Robert. Neuchâtel: Ides et Calendes, 1983;
Manguin parmi les Fauves. Martigny: Fondation Pierre Gianadda, 1983.
Sources
Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986: 443;
Mayor, A. Hyatt. Review of Francisco Goya. Drawings. The Complete Albums by Pierre by Pierre Gassier. Master Drawings, vol. 12, no. 3 (Autumn, 1974): 285-286;
Paulson, Ronald. Review of The Drawings of Goya: Vol. I, The Complete Albums by Pierre Gassier: The Drawings of Goya: Vol. II, The Sketches, Studies and Individual Drawings by Pierre Gassier. The Georgia Review, vol. 30, No. 4 (Winter 1976): 1010-1015;
Whiteley, J. J. L. Review of Léopold Robert by Pierre Gassier. The Burlington Magazine, vol. 126, no. 975 (1984): 364.
Contributors: Lee Sorensen and Shane Morrissy
Citation
Lee Sorensen and Shane Morrissy. "Gassier, Pierre." Dictionary of Art Historians (website). https://arthistorians.info/gassierp/.
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Art Historian whose research centered primarily on Francisco Goya. Gassier was born in 1915 in Étampes outside Paris. After attending the Lycée Henri-IV and the Sorbonne, he was appointed professor of French literature at the French Institute in B
Subject Area(s): Abstract Expressionist, American (North American), and Expressionist (style)
Overview
Americanist, especially on Abstract Expressionism and particularly Franz Kline. Gaugh graduated from Indiana University in 1960. He initially considered a career in journalism, working as a police and court reporter in Chicago while earning an M.A. in journalism in 1963. He became interested in art history, writing a second M.A. in art history in 1966 and joining the faculty of Skidmore College, Saratoga Springs, NY. A 1972 dissertation on Franz Kline, the first ever, was granted also from Indiana University. In 1979 Gaugh organized a show for Franz Kline at the Phillips Gallery in Washgington, D. C. His first monograph from Abrams (Abbeville) Press was a 1983 short work on Willem de Kooning. In 1985, he wrote the first full-length biography of Kline as part of an exhibition on the artist he organized at the Cincinnati Art Museum. He delivered the Edwin M. Moseley Faculty Research Lecture at Skidmore College in 1986. Gaugh considered himself an art critic and throughout his career published art criticism, mostly on modern art. He contracted lymphoma at age 53 from which he died. He is buried in Indiana. Gaugh was responsible for providing the standard account of one of the most important and difficult Abstract Expressionists, Franz Kline, who, like Gaugh, died early. A painter himself, Gaugh approached the movement on formal terms connecting Kline’s work to the events of his life. Gaugh largely brought the painter back into scholarly focus.
Selected Bibliography
[dissertation:] The Art of Franz Kline 1930-1950: Figurative to Mature Abstraction. Indiana University, 1972; The Vital Gesture, Franz Kline: Cincinnati Art Museum. New York: Abbeville Press, 1985; Willem de Kooning. New York: Abbeville Press, 1983.
Sources
[obituaries:] “Harry F. Gaugh Dies, Art Professor Was 53.” New York Times September 16, 1992, p. D25; “Harry F. Gaugh, 53, Art Instructor.” [Albany] Times Union September 14, 1992.
Citation
"Gaugh, Harry F.." Dictionary of Art Historians (website). https://arthistorians.info/gaughh/.
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Americanist, especially on Abstract Expressionism and particularly Franz Kline. Gaugh graduated from Indiana University in 1960. He initially considered a career in journalism, working as a police and court reporter in Chicago while earning an M.A
Place Born: Kingston-Upon-Hull, Yorkshire, England, UK
Place Died: London, Greater London, England, UK
Home Country/ies: United Kingdom
Subject Area(s): drawings (visual works) and Pre-Raphaelite
Career(s): art critics, artists (visual artists), and authors
Overview
Artist, art critic and art historian. Born the son of a graphic designer and chromolithographer, Gaunt dabbled in drawing and writing as a youth. In 1914, after winning a literary contest in the Connoisseur for an essay on Shakespeare’s The Tempest, his thoughts seriously turned to criticism. He served briefly in World War I, fighting in the Durham Light Infantry, 1918, until the war ended that year. The following year he attended Worcester College, Oxford, where he read modern history and participated in the Art Society. At Oxford his friends included John Rothenstein and Cyril Connolly. Graduating with honors in 1922, he studied at the Ruskin School of Drawing and wrote reviews of art exhibitions. He worked as a free-lance contributor for The Studio magazine, editing several special issues. Gaunt was fascinated by the Pre-Raphaelites, at that time undervalued as Victorian. He published in 1924 his most enduring title on that subject, The Pre-Raphaelite Tragedy. He completed an M.A. in 1926. In 1930 he published a collection of his drawings, called London Promenade. 1935 he married Mary Catherine Reilly Connolly (died, 1980). The years 1930-39 were spent writing various literary and artistic criticism, including The Pre-Raphaelite Tragedy. During the Second World-War, he took a special appointment for the war effort and researched for the book The Aesthetic Adventure. The Gaunts lived in a country cottage near the Surrey Hampshire borders.
Sources
Kunitz, Stanley J. Twentieth Century Authors. First supplement. New York: H. W. Wilson, 1955, p. 355-6; “Mr William Gaunt” [obituary] Times [London]. May 26, 1980, p. 10.
Citation
"Gaunt, William." Dictionary of Art Historians (website). https://arthistorians.info/gauntw/.
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Artist, art critic and art historian. Born the son of a graphic designer and chromolithographer, Gaunt dabbled in drawing and writing as a youth. In 1914, after winning a literary contest in the Connoisseur for an essay on Shakespeare’s <
French art critic and poet; primary exponent of the art-for-art’s sake approach. Gautier was the son of bureaucrat in the French tax office, Pierre Gautier, and his mother was mother was Antoinette-Adelaïde Concarde. In 1814 his family moved to Paris where Gautier received a formal education at the Collège Charlemagne. In 1829 he entered the studio of Louis-Edouard Rioult (1790-1855), a pupil of Jacques-Louis David. Though he did not remain there long, he adopted a bohemian lifestyle, joining the Romantic circle of Victor Hugo. Following the July Revolution (1830), he was among the esthetes who embraced the notion of art’s autonomy and freedom from supporting ideology. Gautier’s preface to his 1835 book, Mademoiselle de Maupin became an early statement of the “l’art pour l’art” ideology, i.e., art need bear no deep meaning or be for any purpose other than its own beauty to be important. When Emile de Girardin (1806-1881) founded his La Presse in 1836, Gautier was one of its first regular art and theatre critics. Gautier covered nearly all the Salons for La Presse during Louis-Philippe’s reign, 1830-1848. He wrote on architecture and the applied arts as well. Gautier promoted the work of Ingres and Delacroix largely through his technique of actively and personally entering into the picture’s story. Gautier’s 1843 travelogue, Tra los montes, and reissued as Voyage en Espagne in 1845, introduced France to the work of Francesco Goya. He fell in love with the ballerina Carlotta Grisi (1819-1899), whose performances he reviewed, eventually marrying her sister Ernestina Grisi. After the 1848 revolution, Gautier focused on sculpture as the prime medium. In 1854 he joined Le Moniteur universel, leaving La Presse the following year, to write a book on the Exposition Universelle of 1855, Les Beaux-arts en Europe (1855-56). He assumed the editorship of L’Artiste in 1856. The following year his poem “L’Art” appeared. “L’Art” is the most specific statement of his view of sculpture, the naked, idealized body as expressing a metaphor of the primacy of the life (Snell). Gautier became the Second Empire’s chief arbiter of artistic sensibility, both artistic and literary. He framed both Delacroix and Ingres as modern Old Masters. He was instrumental in the official acceptance of Gustav Courbet, though he condemned the artist as a willful, misguided anti-idealist. Gautier did not approve of Impressionism, criticizing Manet’s “Olympia” (1863) because it could not allow a nostalgic interpretation. His later Salon reviews, from the 1860s onward are simple descriptions of paintings, resorting to ghost-writers to handle the ever-increasing size of the shows. He secured a sinecure as the librarian to Princess Mathilde Bonaparte (1820-1904) in 1868. His final Salon review was in 1872. He succumbed to cardiac failure at age 61 and is interred at the Cimetière de Montmartre, Paris. The notion “l’art pour l’art” (art for art’s sake) preceded Gautier’s use. It had been popularized in the early 19th century in De l’Allemagne (1813) by Madame de Staël (1766-1817) and in the philosophy lectures delivered by Victor Cousin (1792-1867) at the Sorbonne, “Du vrai, du beau et du bien” 1816-1818. Gautier however, was the first to publish the phrase in 1833, followed closely by Cousin’s published lectures three years later. Gautier’s art theory views art as a microcosm of an inner world, perceived and translated through the outer world of appearances by the viewer. Art appreciation for Gautier “transported” him to a world of pure emotions, violence and sensations that heightened the dramatic truth of art. This idealism lead to a religious experience of art, which he termed the “temple of art,” a somewhat ironic position for a person who viewed himself as a modern pagan. His interest in 18th-century art led to a reappraisal of the style. His emphasis on the subjective in art appreciation greatly influenced Edmond and Jules de Goncourt as well as the younger Charles Baudelaire (1821-1867). His approach continued its appeal in twentieth century, though it was replaced by other methodologies. Nicos Hadjinicolaou, in his 1978 Art History and Class Struggle provided a strong critique against “l’art pour l’art.” A passionate temperament during revolutionary times, he had caught the imagination of revolutionary young artists and writers and yet balanced his reputation with the cautious bourgeoisie (Licht).
Selected Bibliography
Mademoiselle de Maupin: double amour. Paris: E. Renduel, 1835-1836; Tra los montes. Paris: G. Charpentier et cie, 1843 [most commonly cited edition is the 2nd, corrected ed. Voyage en Espagne. Paris: G. Charpentier, 1845]; Les Beaux-Arts en Europe, 1855. 2 vols. Paris, Michel Lévy, 1855-1856; L’art moderne. Paris: Michel Lévy Frères, 1856; Abécédaire du Salon de 1861. Paris: E. Dentu, 1861.
Sources
Richardson, Joanna. Théophile Gautier, his Life & Times. London: Coward-McCann 1959; Spencer, Michael C. The Art Criticism of Theophile Gautier. Geneva: Droz, 1969; Licht, Fred. Goya in Perspective. Engelwood Cliffs, NJ: Prentice-Hall, 1973, p. 170; Snell, Robert. Théophile Gautier, a Romantic Critic of the Visual Arts. New York: Oxford University Press, 1982; Lacoste-Veysseyre, Claudine. La critique d’art de Théophile Gautier. Montpellier: Sup Exam, 1985 [includes an index of artists discussed by Gautier]; Snell, Robert. “Gautier, (Pierre-Jules-)Théophile.” Dictionary of Art.
Citation
"Gautier, Théophile." Dictionary of Art Historians (website). https://arthistorians.info/gautiert/.
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French art critic and poet; primary exponent of the art-for-art’s sake approach. Gautier was the son of bureaucrat in the French tax office, Pierre Gautier, and his mother was mother was Antoinette-Adelaïde Concarde. In 1814 his family moved to Pa
Subject Area(s): Byzantine (culture or style) and Medieval (European)
Overview
Byzantinist art historian. Galavaris studied at the University of Athens. He received his Ph.D. from the department of art and archaeology at Princeton University in 1958, writing a thesis on Byzantine liturgical illustration under Kurt Weitzmann. He joined the faculty of McGill University, Montreal. In 1990 in collaboration with Weitzmann, he co-published the reseach collected on the Monastery of St. Catherine’s at Mount Sinai, Egypt, The Illuminated Manuscripts. He retired in 1994. Galavaris’ area was Byzantine manuscript illuminations. A scholar of broad interests, his research areas ranged from philosophy to poetry and liturgy. He painted professionally, played piano avocationally, and published short stories.
Selected Bibliography
[dissertation:] The Illustration of the Liturgical Homilies of Gregory ofNazianzenus. Ph.D., Princeton University, 1958, “Symbolism of the Imperial Costume as Displayed on Byzantine Coins.” Museum Notes (American Numismatic Society) 8 (1958): 99-117; “Seals of the Byzantine Empire.” Archaeology 12 (December 1959): 264-70; Bread and the Liturgy; the Symbolism of Early Christian and Byzantine Bread Stamps. Madison, WI: University of Wisconsin Press, 1970; The Illustrations of the Prefaces in Byzantine Gospels. Vienna: Verl. d. Österr. Akad. d. Wiss., 1979; “Alexander the Great Conquerer and Captive of Death: his Various Images in Byzantine Art.” RACAR, Revue d’Art Canadienne/Canadian Art Review 16 no. 1 (1989): 12-18; and Weitzmann, Kurt. The Monastery of Saint Catherine at Mount Sinai: the Illuminated Greek Manuscripts. vol. 1, From the Ninth to the Twelfth Century. Princeton, NJ: Princeton University Press, 1990, Holy Monastery of Iveron: the illuminated Manuscripts. Mount Athos: The Monastery, 2002.
Sources
“George Galavaris *58.” Princeton Alumni Weekly December 17, 2003. http://paw.princeton.edu/memorials/23/61/index.xml
Citation
"Galavaris, George P.." Dictionary of Art Historians (website). https://arthistorians.info/galavarisg/.
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Byzantinist art historian. Galavaris studied at the University of Athens. He received his Ph.D. from the department of art and archaeology at Princeton University in 1958, writing a thesis on Byzantine liturgical illustration under
Medevialist architectural historian. He was born in Danzig, Prussia which is present-day Gdańsk, Poland. Gall initially studied law before switching to art history and studying in Grenoble, Paris and ultimately Berlin under Adolph Goldschmidt. He served in World War I, during which time his dissertation, Neiderrheinische und normännische Architektur in Zeitalter der Frühgotik, appeared as a book in 1915. His notion of Norman Romanesque influence on Gothic architecture was taken up by another young art historian, Jean Bony, in Bony’s dissertation. After the War, Gall took a position as a monuments conservator in Halle in 1920. Gall founded the Jahrbuch für Kunstgeschichte in 1923 and authored the volume in the Handbücher der Kunstgeschichte series on Gothic architecture in France and Germany, Die gotische Baukunst in Frankreich und Deutschland, in 1925. Beginning in 1930, he was the assistant to Paul Hübner in the government office of castles and gardens in Berlin (Verwaltung der Staatlichen Schlösser und Gärten in Berlin). The Gall merged the Jahrbuch with another art-historical periodical, the Zeitschrift für Kunstgeschichte founded and still under the editorship of Wilhelm Waetzoldt. In 1934 Gall began a revision of the Handbuch der Deutschen Kunstdenkmäler by Georg Dehio planned for ten volumes. Gall remained in Berlin during World War II until the Soviets took control of East Berlin in 1945, when he resigned and move to the western (American) quarter of the city, becoming the head of the Art and Monuments. In 1946 he was named director of the Bavarian Castle commission. Gall became an editor for the Kunstchronik in 1948. He joined Ludwig H. Heydenreich in 1951 as an editor for the project of a general dictionary of art history, Reallexikon zur deutschen Kunstgeschichte, founded by Otto Schmitt in 1937. The following year he received the additional position of honorary professor for the history of architecture at the University of Munich. He revised the Handbücher der Kunstgeschichte volume in 1955. Gall continued his revisions for the Dehio volume, but his final volume was issued in 1956, still incomplete. Gall was methodologically a formalist. His dissertation was published the same year as the major manifesto of formalism, Kunstgeschichtliche Grundbegriffe (Principles of Art History) by Heinrich Wölfflin, appeared. Gall’s use of the terms “calm” and “agitated” (Ruhevoll and Bewegte) for architecture correspond to Wölfflin’s categories of painterly and sculpture in the Principles (Fork).
Selected Bibliography
[dissertation:] Neiderrheinische und normännische Architektur in Zeitalter der Frühgotik. Berlin, (published under the same title), 1915; [festschrift] Kühn, Margarete, and Grodecki, eds. Gedenkschrift Ernst Gall. Munich: Deutscher Kunstverlag, 1965; Die gotische Baukunst in Frankreich und Deutschland. Handbücher der Kunstgeschichte 2. Leipzig: Klinkhardt & Bierman, 1925; Dome und Klosterkirchen am Rhein. Munich: Hirmer Verlag, 1956, English, Cathedrals and Abbey Churches of the Rhine. New York: Abrams, 1963; “Niedersachsen und Westfalen.” and “Hessen-Nassau.” revisions of volumes 1 and 3 of, Dehio, Georg. Handbuch der deutschen Kunstdenkmäler. Berlin: Deutscher Kunstverlag, 1935ff; edited, with Schmitt, Otto, and Heydenreich, Ludwig. Reallexikon zur deutschen Kunstgeschichte. Stuttgart, J.B. Metzler, 1937ff.
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. 84, 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. 46 mentioned, 48, 51 mentioned; Fork, Christiane. “Gall, Ernst.” Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 107-108; Heydenreich, Ludwig. “Ernst Gall.” Reallexikon zur deutschen Kunstgeschichte. volume 5. Stuttgart, J. B. Metzler, 1967, p. [ii]; [obituaries:] Kühn, Grete. “Ernst Gall 1888-1958.” Zeitschrift für Kunstgeschichte 21 no. 2 (1958): 105-106.
Citation
"Gall, Ernst." Dictionary of Art Historians (website). https://arthistorians.info/galle/.
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Medevialist architectural historian. He was born in Danzig, Prussia which is present-day Gdańsk, Poland. Gall initially studied law before switching to art history and studying in Grenoble, Paris and ultimately Berlin under
Collector, art historian, and founder of the first museum gallery devoted exclusively to modern art in the U. S. Gallatin was born to wealth; his parents were Albert Horatio Gallatin, a chemistry professor at New York University, and Louisa Belford Ewing. His great grandfather, Albert Gallatin (1761-1849), had been Secretary of he Treasury of the United States under Thomas Jefferson and James Madison. After high school, Gallatin briefly studied between 1901-03 at University of the State of New York Law School. In 1902 he inherited the family banking and investment fortune, which set him on a career of art collecting and criticism. Gallatin became interested in art around 1910 when he began forming a collection of classical vases. His interests expanded to modern art during World War I. After the war, he made frequent trips to Paris, beginning in 1921 buy art from the major dealers there. Initially he donated works to the Brooklyn Museum and the Metropolitan Museum of Art in 1922. These museums, however, avoided the work of American artists. Gallatin actively bought work from the so-called Ash Can School in the United States. He used his position as trustee for New York University to establish the first museum in the U. S. dedicated solely to modern art, the Gallery of Living Art, located in South Study Hall that university. The gallery included works by Picasso, Braque, Gris, and Léger. Gallatin wrote the catalogs, which were issued between 1928 and 1940. In 1926 he co-published with the classicist/collector Joseph Clark Hoppin the first fascicule of the prestigious Corpus Vasorum Antiquorum for a United States collection. Between 1928 and 1933 works by Joan Miró, André Masson, Robert Delaunay, Piet Mondrian, and Jean Arp were added to his gallery, the first to enter a public collection in the U. S. Gallatin, however, ignored Expressionism, Futurism, and Dada, art styles with less formal theory attached to them. In 1936 Gallatin renamed his museum the “Museum of Living Art” with his purchase of Picasso’s Three Musicians (1921). Gallatin ceased his French buying trips in 1938 with the declaration of hostilities with Germany. Instead, he focused on American art. The later abstract expressionists Arshile Gorky and Willem de Kooning attributed their early development to the Museum of Living Art. The University closed the museum in 1943 and Gallatin moved the collection to the Philadelphia Museum of Art, donating it at his death in 1952.Gallatin wrote largely about the art he collected, some of it, for example, the Ash Can School, was little valued at the time he made his purchases. James Johnson Sweeney, later curator of the Museum of Modern Art, New York, praised Gallatin in 1931 for showing the widest range of cubism in America, which the fledging Museum of Modern Art, founded two years after Gallatin’s museum by Alfred H. Barr, Jr., would spend the next decade amassing a similar collection. Gallatin’s space at NYU is today Grey Art Gallery and Study Center.
Selected Bibliography
Museum of Living Art: A. E. Gallatin Collection. New York: New York University,1940; American Water-colourists. New York: E. P. Dutton & Company, 1922; Art and the Great War. New York, E.P. Dutton & Company, 1919; Aubrey Beardsley’s Drawings: a Catalogue and a List of Criticisms. New York: Godfrey A. S. Wieners, 1903; Georges Braque: Essay and Bibliography. New York: Wittenborn and Company, 1943; edited. Of Art: Plato to Picasso, Aphorisms and Observations. New York: Wittenborn, 1963; Portraits of Whistler: a Critical Study and an Iconography. New York: J. Lane, 1918; Syracusan Dekadrachms of the Euainetos Type. Cambridge, MA: Harvard University Press, 1930; and Hoppin, Joseph. Corpus vasorum antiquorum. United States of America (fasc 1:). Hoppin and Gallatin Collections. Paris: Champion, 1926.
Sources
Stavitsky, Gail. “The A. E. Gallatin Collection: An Early Adventure in Modern Art,” Bulletin of the Philadelphia Museum of Art 89 (1994): 1-47; Stavitsky, Gail. The Development, Institutionalization, and Impact of the A. E. Gallatin Collection of Modern Art. Ph.D. New York University, 1990.
Citation
"Gallatin, A. E.." Dictionary of Art Historians (website). https://arthistorians.info/gallatina/.
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Collector, art historian, and founder of the first museum gallery devoted exclusively to modern art in the U. S. Gallatin was born to wealth; his parents were Albert Horatio Gallatin, a chemistry professor at New York University, and Louisa Belfor
