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Gouma-Peterson, Thalia

Image Credit: Wikipedia

Full Name: Gouma-Peterson, Thalia

Other Names:

  • Thalia Gouma-Peterson

Gender: female

Date Born: 20 June 1933

Date Died: 2001

Place Born: Athens, Region of Attica, Greece

Place Died: Oberlin, Lorain, OH, USA

Home Country/ies: United States

Subject Area(s): Byzantine (culture or style), feminism, and Medieval (European)

Institution(s): College of Wooster


Overview

Professor of Art at the College of Wooster, feminist and Byzantine art historian, and former director of the college’s museum. Thalia Gouma-Peterson was born in Athens, Greece in November, 1933 to Sophia Bitzanis and Lambros Groumas. She attended Arsakeion, Athens and Pierce College, Helleniko for her elementary and secondary education, respectively. She received her junior college diploma from Pierce College in 1952. Following this, Gouma-Peterson came to the United States as a Fullbright scholar. She attended Mills College from 1952 to 1957, receiving both her B.A. and M.A.

Influenced by her professors Horlbeck, Watrous, and Barkere, Gouma-Peterson received her Ph.D. from UW Madison in 1964. Her thesis, entitled “The Frescoes of the Parecclesion of St. Euthymios in Thessalonica: An Iconographic and Stylistic Analysis,” began her lifelong fascination with Byzantine art and culture. After being appointed as a professor at the College of Wooster, she moved to Oberlin in 1958 with her husband Carl Peterson.

Gouma-Peterson was a professor at the College of Wooster for 32 years. Throughout her time there, particularly during the 1980’s, at the College of Wooster, Gouma-Peterson showcased contemporary female artists, like Faith Ringgold, Audrey Flack, and Hung Liu.

Her passion for the art of Miriam Schapiro began in 1977 at the College Art Association meetings in Los Angeles. Gouma-Peterson attended a panel entitled “The Decorative in Contemporary Painting” with Miriam Schapiro. Drawn to her two works, Lady Gengi’s Maze and Anatomy of a Kimono, Gouma-Peterson then introduced herself to Schapiro, beginning a lifelong friendship. Due to their close relationship, Gouma-Peterson has been able to see the changes in the art of Schapiro, often visiting her in New York and East Hampton. A year later, at the Board meeting of the Women’s Caucus for Art of CAA and in her studio, Gouma-Peterson decided to begin working with Schapiro on creating an exhibition at the College of Wooster. In 1980, Gouma-Peterson completed her work Miriam Schapiro, A Retrospective: 1953-1980. She used this piece as a catalog for the exhibition. This work included essays from other leading art historians, namely Linda Nochlin, Norma Broude, John Perreault, Paula Bradley, and Ruth A. Appelhof. The exhibition was later shared with eight other museums, expanding its scope outside New York. In 1990, Gouma-Peterson began working on her most well-known work, Miriam Schapiro: Shaping the Fragments of Art and Life. While researching the work, she consulted with Schapiro. Gouma-Peterson received her notebooks, consisting of more than 100, as resources throughout her writing process. Gouma-Peterson worked under the direction of Executive Director of the Polk Museum in Lakeland, Florida, Daniel E. Stetson.
In 2000, Gouma-Peterson wrote her last work, entitled Anne Komnene and Her Times cataloging a collection of letters by a 12th century Byzantine princess and author. Throughout her career, Gouma-Peterson was featured in a number of other art history works. Additionally, she served as a member of the College Art Association. She retired emerita. Gouma-Peterson died on June 20, 2001 of complications from ovarian cancer.


Selected Bibliography

  • “The Frescoes of the Paracclesion of St. Euthymios in Thessalonica: An Iconographic and Stylistic Analysis (Volumes One and Two)” Order No. 6410290, The University of Wisconsin – Madison, 1964;
  • Miriam Schapiro, A Retrospective: 1953-1980;
  • Miriam Schapiro: Shaping the Fragments of Art and Life. New York City: Harry N. Abrams, Inc., Publishers (1999);
  • Anne Komnene and Her Times. Oxfordshire: Routledge, 2000.

Sources



Contributors: Kerry Rork


Citation

Kerry Rork. "Gouma-Peterson, Thalia." Dictionary of Art Historians (website). https://arthistorians.info/goumapetersont/.


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Professor of Art at the College of Wooster, feminist and Byzantine art historian, and former director of the college’s museum. Thalia Gouma-Peterson was born in Athens, Greece in November, 1933 to Sophia Bitzanis and Lambros Groumas. She attended

Guilbaut, Serge

Image Credit: The University of British Columbia

Full Name: Guilbaut, Serge

Other Names:

  • Serge Guilbaut

Gender: male

Date Born: unknown

Date Died: unknown

Home Country/ies: France

Subject Area(s): art theory and Marxism


Overview

Professor of art history at the University of British Columbia; Marxist (methodology) art historian. Guilbaut graduated from the University of Pau, Pau, France in 1965 with a B.A. in philosophy. He moved to University of Bordeaux where he was granted his Licence in 1969 and master’s degree in 1972. Guilbaut entered the graduate program at U.C.L.A., attracted to the progressivest/Marxist (methodology) program there led by O. K. Werckmeister and T. J. Clark. In 1976, as a part of the nascent Caucus for Marxism and Art of the College Art Association, Guilbaut delivered a paper along with other prominent Marxist art historians, including Werckmeister, Lee Baxandall, and Clark. Guilbaut mounted an art history symposium at U.C.L.A., “War Crisis: Art Production in Times of Turmoil” with fellow students Thomas E. Crow, Ken Silver, Liz Baldewicz, and Marcia Byrstryn. He received his Ph.D. in 1979 with a dissertation (written in French) on the ideology of Abstract Expressionism, supervised by Clark. After graduation he was appointed to the art history department at the University of British Columbia, Canada. In 1983 Guilbaut published a revised version of this thesis as How New York Stole the Idea of Modern Art: Abstract Expressionism, Freedom and the Cold War. He was appointed (full) professor in 1990. In 2003 he was awarded a Getty Research Institute Distinguished Research scholarship.


Selected Bibliography

[dissertation:] Création et développement d’une avant-garde à New York: et son antagonisme idéologique avec Paris, 1945-1955. University of Carlifornia, Los Angeles, 1979; “The New Adventures of the Avant Garde in America: Greenberg, Pollock, or Trotskyism to the New Liberalism of the ‘Vital Centre’:” October 15, (Winter 1980): 61-78; “Art History After Revisionism: Poverty and Hopes”, Art Criticism 2, no. 1, (1985): 39-50; How New York Stole the Idea of Modern Art: Abstract Expressionism, Freedom and the Cold War. Chicago: University of Chicago Press, 1983; “Post-war Painting Games: the Rough and the Slick,” in Reconstructing Modernism. Cambridge, MA: M.I.T. Press, 1990, pp 30-85; “The New Adventures of the Avant Garde in America.” in Frascina, Francis, ed. Pollock and After: The Critical Debate (second ed.). London: Routledge, 2001. pp.197-211.


Sources

curriculum vitae http://www.ahva.ubc.ca/FacultyCVs/guilbaut_5_051310_010101.pdf;




Citation

"Guilbaut, Serge." Dictionary of Art Historians (website). https://arthistorians.info/guibauts/.


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Professor of art history at the University of British Columbia; Marxist (methodology) art historian. Guilbaut graduated from the University of Pau, Pau, France in 1965 with a B.A. in philosophy. He moved to University of Bordeaux where he was gran

Guinard, Paul

Full Name: Guinard, Paul

Gender: male

Date Born: unknown

Date Died: unknown

Home Country/ies: France

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


Overview

Professor at Toulouse; wrote monograph on Zubarán; Director of Casa Velázquez, Institut français at Madrid



Sources

Bazin 446-447




Citation

"Guinard, Paul." Dictionary of Art Historians (website). https://arthistorians.info/guinardp/.


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Professor at Toulouse; wrote monograph on Zubarán; Director of Casa Velázquez, Institut français at Madrid

Gunnis, Rupert

Image Credit: Wikipedia

Full Name: Gunnis, Rupert

Other Names:

  • Rupert Forbes Gunnis

Gender: male

Date Born: 1899

Date Died: 1965

Place Born: London, Greater London, England, UK

Place Died: Reading, England, UK

Home Country/ies: United Kingdom

Subject Area(s): sculpture (visual works)

Career(s): art collectors


Overview

Amateur scholar of British sculpture and collector; sculpture dictionary author. Gunnis was the son of Francis George Gunnis (1862-1932), a merchant, and Ivy Marion Streatfeild (Gunnis) (1869-1960). As a boy, he was fascinated by church monuments. After graduating from Eton in 1916, he worked as the secretary to the last commissioner of the British South Africa Company (1923), and then entered the colonial (foreign) civil service. He was the private secretary to the governors of Uganda (1923-1926) and then Cyprus (1926-1932). In 1932 he became inspector of antiquities for the Cyprus Museum, writing Historic Cyprus: a Guide to its Towns and Villages, Monasteries and Castles (1936). He returned to England during the World War II (1939) where he was left a small fortune at the death of his aunt, the widow of General Sir Francis Lloyd. He bought Hungershall Lodge, a mansion in Tunbridge Wells, Kent, where he and his life partner, then referred to as his “Cypriot manservant,” Namuk Kemal, lived in style. Gunnis began collecting eighteenth- and nineteenth-century English sculpture. Gunnis began assiduously compiling data on sculpture around 1942, visiting churches, libraries, and archives throughout Britain. He intended his index to be part of a projected book, Dictionary of British sculptors in England by Katharine Esdaile. Apparently Esdaile suggested Gunnis widen his research to include sculptors from the British Reformation to the Great Exhibition. During these years, Gunnis worked in tandem with another art-dictionary compiler, Howard Montagu Colvin; Colvin on a biographical dictionary of architects. The two shared Gunnis’ limousine on jaunts to archives throughout Britain. Esdaile died without completing her project. Gunnis published his Dictionary of British Sculptors, 1660-1851 in 1953 and Colvin’s Biographical Dictionary of English Architects 1660-1840 appeared in 1954. Gunnis compiled a revised edition in 1964, which was published posthumously in 1968. He also collaborated with Margaret Whinney on a catalogue, The Collection of Models at University College by John Flaxman (1967). He died in the vicinity of Reading, England, UK of a heart attack at age 66 and is buried in the Streatfeild Mausoleum in Chiddingstone churchyard, Kent. Most of his sculpture collection was bequeathed to the Victoria and Albert Museum, London. Gunnis’s Dictionary of British Sculptors 1660-1851 was…the work of a connoisseur and collector attempting to garner the lives and works of British sculptors much as Colvin was doing at the same time for English architects.” (Summerson). Gunnis was, like Colvin, an “archives man” who insisted on documentation for his lists. Though the public quibbled with some attributions, Gunnis’ work stood the test of time. His approach to the objects was one of connoisseurship.


Selected Bibliography

Dictionary of British Sculptors, 1660-1851. London: Odhams Press, 1953; and Whinney, Margaret. The Collection of Models by John Flaxman, R.A. at University College London. London: Athlone P., 1967.


Sources

Knox, Tim. “Portrait of a Collector: Rupert Gunnis at Hungershall Lodge and his Bequest to the Victoria and Albert Museum.” Sculpture Journal 2 (1998): 85-96; Summerson, John. “Margaret Dickens Whinney, 1894-1975.” Proceedings of the British Academy 68 (1982): 640; [obituaries:] “Mr Rupert Gunnis.” Times (London) August 2, 1965, p. 10; Whinney, Margaret. “Rupert Gunnis.” Burlington Magazine 107, no. 753. (December 1965): 634.




Citation

"Gunnis, Rupert." Dictionary of Art Historians (website). https://arthistorians.info/gunnisr/.


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Amateur scholar of British sculpture and collector; sculpture dictionary author. Gunnis was the son of Francis George Gunnis (1862-1932), a merchant, and Ivy Marion Streatfeild (Gunnis) (1869-1960). As a boy, he was fascinated by church monuments.

Gurlitt, Cornelius

Full Name: Gurlitt, Cornelius

Other Names:

  • Cornelius Gurlitt

Gender: male

Date Born: 01 January 1850

Date Died: 25 March 1938

Place Born: Nischwitz bei Wurzen, Saxony, Germany

Place Died: Dresden, Saxony, Germany

Home Country/ies: Germany

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

Institution(s): Technische Hochschule Berlin


Overview

Architect and seminal architectural historian for the Baroque. Gurlitt hailed from an illustrious creative family of assimilated Jews. He was named for his great uncle, the well-known composer [Gustav] Cornelius Gurlitt (1820-1901). His father was Louis Gurlitt (1812-1879), a Danish/German landscape painter and his mother Elisabeth Lewald (Gurlitt), sister of the writer Fanny Lewald (1811-1889). The conductor and composer Manfred Gurlitt (1890-1972) was also a relative. The younger Gurlitt was initially apprenticed to a carpenter before studying architecture at the Berliner Bauakademie and between 1869-1872 at the Polytechnikum in Stuttgart were he studied esthetics, under Friedrich Theodor Vischer (1807-1887) and art history under Wilhelm Lübke. He became a practicing architect in 1871. However he abandoned this to study art history, under Anton Springer in Leipzig. After seeing the Baroque architecture in Dresden, he realized how poor contemporary sources for Baroque art were. Appreciation for the baroque was at a low ebb; the style was almost universally regarded as decadent since the enlightenment writings of Francesco Milizia. He toured Prague and Berlin studying additional examples of art of the period. Gurlitt joined the staff of the Dresden Kunstgewerbemuseum in 1879. Alwin Schultz commissioned Gurlitt to write the Baroque sections for the updating of Geschichte der bildenden Künste (History of the Pictorial Arts) left unfinished at the death of Karl Julius Ferdinand Schnaase. In 1883 Gurlitt began publishing his survey of Baroque decorative arts in Germany, Das barock- und rococo-Ornament Deutschlands. To study the original Baroque examples, Gurlitt traveled to Italy where even there scholars greeted him with suspicion. The humble draughtsman he employed to make renderings refused to work on the art of that period. Even Lübke, his former teacher, cautioned him not to squander his time on “Baroque folly.” Beginning in 1886, Gurlitt began publishing his survey of Baroque art (Low Countries, France and England in 1886, Italy in 1887, and Germany in 1889) as part of the Geschichte der Baukunst series begun by Franz Kugler, a series in the process of being revised as Geschichte der neuren Baukunst. Gurlitt lectured at the Technische Hochschule (Technical University) Charlottenburg [Berlin] beginning in 1889. In 1893 he succeeded the late Richard Steche as associate professor professor of history at the practical arts. Commensurate with his duties was the continuation of the inventory of the monuments of Saxony. He was promoted to full professor in 1899 where the following year he expanded the program to allow architectural students to achieve Ph.D’s. similar to his own situation. As such, Gurlitt supervised the doctoral thesis of one of the most eminent architect/architectural historians, Hermann Muthesius.

From 1902 Gurlitt lectured on urban planning, among the first at technical universities. As an editor of Stadtbaukunst alter und neuer Zeit (Urban architecture in previous and modern times) he helped get Frühlicht, a radical architectural magazine by the architectural visionary Bruno Taut (1880-1938), published. Gurlitt initially embraced Nazi ideology with the rise of Hitler in 1933. However, the government declared him of Jewish ancestry. An investigation after his death in 1938 determine this to be false and he was buried in the Johannisfriedhof (cemetery) in Dresden. Gurlitt wrote over 90 books and hundreds of articles on all aspects of architecture, art, urban planning and politics. A street in south Dresden is named after him. His brother, Fritz Gurlitt (1854-1893), was a Berlin gallery dealer who represented Anselm Feuerbach (1829-1880), among others.

Gurlitt’s work marks the beginning of a reevaluation of the Baroque and Rococo in art history. A full treatment of the period came with August Schmarsow in 1887, whose book Barock und Rokoko covered the entire spectrum of baroque art and not just architecture. Even after Gurlitt’s publications on the Baroque, the twenty-four year old Heinrich Wölfflin in his study, Renaissance und Barock, 1888, had condemned the full Baroque style (Watkin). Aloïs Riegl began lecturing on the Baroque in 1894 and 1895, though he criticized Gurlitt’s studies for avoiding historical background and for defining the term “Baroque” insufficiently. Gurlitt’s ideas reject the classicism standard Karl Friedrich Schinkel (1781-1841) and other architects Schinkel espoused. In his memoirs, Gurlitt wrote that he had always considered himself more an architect than an architectural historian, confiding in Jahn’s biographical profile that he feared becoming an academic. Like most pioneers, his appreciation had limitations; he found the work of the great baroque architect Borromini lacking in “intrinsic value.” Other advisees of dissertations included Walther Leopold.


Selected Bibliography

Das barock- und rococo-Ornament Deutschlands. 4 vols. Berlin: E. Wasmuth, 1883-1889; [the following three books are also part of the larger Geschichte der neuren Baukunst series:] Geschichte des Barockstiles, des Rococo, und des Klassicismus in Belgien, Holland, Frankreich, England. Stuttgart: Ebner & Seubert, 1886, (Geschichte der neuren Baukunst vol. 5, section 1); Geschichte des Barockstiles in Italien. Stuttgart: Ebner & Seubert, 1887, (Geschichte der neuren Baukunst vol 5, section 2, part 1); Geschichte des Barokstiles und des Rococo in Deutschland. Stuttgart: Ebner & Seubart, 1889, (Geschichte der neuren Baukunst vol. 5., section 2, part. 2); August der Starke, ein Furstenleben aus der zeit des deutschen Barock. Dresden: Im Sibyllem-Verlag, 1924.


Sources

“Cornelius Gurlitt.” in Jahn, Johannes, ed. Die Kunstwissenschaft der Gegenwart in Selbstdarstellungen. Leipzig: F. Meiner, 1924, pp. 1-32; Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 174, 284; Watkin, David. The Rise of Architectural History. London: Architectural Press, 1980, p. 11; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 135-137; Kultermann, Udo. The History of Art History. New York: Abaris, 1993, pp. 136-137; Schrön, Barbara. Cornelius Gurlitt: Versuch einer biographischen und fachgeschichtlichen Darstellung seiner Persönlichkeit unter besonderer Berücksichtigung seines Wirkens als Kunsthistoriker, Hochschullehrer und Denkmalpfleger. [unpublished dissertation], Leipig, 1987; Paul, Jürgen. Cornelius Gurlitt: ein Leben für Architektur, Kunstgeschichte, Denkmalpflege und Städtebau. Dresden: Hellerau, 2003; Lienert, Matthias, and Gülck, Oliver. Cornelius Gurlitt (1850 bis 1938): sechs Jahrzehnte Zeit- und Familiengeschichte in Briefen. Dresden: Thelem, 2008.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Gurlitt, Cornelius." Dictionary of Art Historians (website). https://arthistorians.info/gurlittc/.


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Architect and seminal architectural historian for the Baroque. Gurlitt hailed from an illustrious creative family of assimilated Jews. He was named for his great uncle, the well-known composer [Gustav] Cornelius Gurlitt (1820-1901). His father was

Gustenberg, Kurt

Full Name: Gustenberg, Kurt

Gender: male

Date Born: unknown

Date Died: unknown

Home Country/ies: Germany


Overview

Sought to establish German origins of late Gothic in what he termed the “Sondergotik” style (1350-1550) of the Rhine and South German areas.


Selected Bibliography

Deutsche Sondergotik. Eine Untersuchung über der Wesender deutschen Baukunst in späten Mittelalter. Munich, 1913.


Sources

Bazin 285




Citation

"Gustenberg, Kurt." Dictionary of Art Historians (website). https://arthistorians.info/gustenbergk/.


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Sought to establish German origins of late Gothic in what he termed the “Sondergotik” style (1350-1550) of the Rhine and South German areas.

Grote, Ludwig

Full Name: Grote, Ludwig

Gender: male

Date Born: 1893

Date Died: 1974

Place Born: Halle, Saxony-Anhalt, Germany

Place Died: Gauting, Bavaria, Germany

Home Country/ies: Germany

Subject Area(s): Modern (style or period) and museums (institutions)

Career(s): directors (administrators) and museum directors


Overview

Museum director; modernist art historian. Grote’s father owned a construction firm and his mother was a pianist. He studied art history briefly at the university in Jena in 1912 before switching to architecture in Braunschweig (1912-1919), with time off for military service in the First World War. After the war he studied art history in Munich and then at Halle. He wrote his dissertation at Halle under Paul Frankl on the printmaker Georg Lemberger in 1922. In 1924 he accepted a position as a conservator (Landeskonservator) at the Gemäldegalerie in Dessau, rising to director. He was a motivating force in the move of the Bauhaus to Dessau from Weimar. His connection with the Bauhaus resulted in his dismissal in 1933 by the Nazis at the ascension to power. Grote moved to Berlin where he taught privately and consulted. He was part of the circle of Berlin intellectuals that included Carl Georg Heise, the cultural minister Theodor Heuss (1884-1963), and Leopold Reidemeister. Despite his dismissal by the Nazi government, Grote fought for Germany as a soldier, assigned to the Eastern front. After the war Grote was an art dealer in Munich 1945-49. In 1949 he curated one of the first post-war exhibitions of German Expressionist art, “Der Blaue Reiter/München und die Kunst des 20. Jahrhunderts.” Other important modernist exhibitions followed resurrecting the art that the Nazi’s had termed “degenerate.” These included “Die Maler am Bauhaus” for the Haus der Kunst gallery and “Oskar Kokoschka” both in 1950, and one of Max Beckmann 1951. He was appointed the first director of the Germanischen Nationalmuseums in Nuremberg in 1951, launching other important exhibitions including Ludwig Kirchner (1952), a traveling show on Walter Gropius to the United States, and a Picasso graphics exhibition. Grote’s interest was in variety of areas of German art, including the Romantic and modern periods, as well as that of Albrecht Dürer.


Selected Bibliography

Europäische Malerei in deutschen Galerien. 3 vols. Munich: Prestel 1961-1965, English, European Paintings in German Art Galleries. 3 vols. Munich: Prestel Verlag 1961-1965; edited, Die Deutsche Stadt im 19. Jahrhundert: Stadtplanung u. Baugestaltung im industriellen Zeitalter. Munich: Prestel, 1974. 0.Metzler


Sources

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. 251-5.




Citation

"Grote, Ludwig." Dictionary of Art Historians (website). https://arthistorians.info/grotel/.


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Museum director; modernist art historian. Grote’s father owned a construction firm and his mother was a pianist. He studied art history briefly at the university in Jena in 1912 before switching to architecture in Braunschweig (1912-1919), with ti

Grüneisen, Wladimir de

Full Name: Grüneisen, Wladimir de

Other Names:

  • Wladimir de Grüneisen

Gender: male

Date Born: 05 April 1868

Date Died: after 1932

Place Born: Gatcina, Leningrad Oblast, Russia

Home Country/ies: Russia

Subject Area(s): Byzantine (culture or style), frescoes (paintings), Italian (culture or style), and manuscripts (documents)

Career(s): art collectors


Overview

Scholar of Byzantium and manuscript collector; principal author of the first serious monograph ever on the frescoes in Santa Maria Antiqua, Rome (1911). Grüneisen was the son of an apothecary from a Baltic-German family living in Russia. He grew up in St. Petersburg, attending the St. Petri school between 1881-1890. He attended the university in St. Petersburg and then the Imperial Architectural Institute, eventually teaching there was well. He settled permanently in Italy by the early 20th century, pursuing research in the field of early Christian and Byzantine art, especially in the stylistic developments between Christian Egypt and Minor Asia. Beginning in 1903, he began to publish his scholarship in both the Italian and French languages including Rassegna d’Arte, and the Mélanges d’Archéologie et d’Histoire, the journal of the Ecole Française in Rome. He received a pensioned baronate by Czar Nicolas II in 1911 and commissioned as a foreign correspondent to Rome by the Imperial Archeological Institute Russia in 1913 (Barroux). Grüneisen published a chapter on the fresco work of Santa Maria Antiqua in a monograph devoted to various aspects of the church in 1911. His collaborators in that volumed also included the architectural historian Christian Karl Friedrich Hülsen. He lost his title and support with the Russian Revolution in 1917. Grüneisen described and analyzed important features of the Coptic art in Egypt in a later tome, Les caractéristiques de l’art copte (1922). From the mid-twenties de Grüneisen apparently moved to Paris, publsihing exclusively in French, and assuming the title of “Baron” from this time in his works. The latter part of his career was devoted to study on Greek, Roman and Etruscan antiquities, particularly sculpture. He sold his vast personal library of books, manuscripts and autographs in 1930, the catalog of which appeared as a volume in Rassegna d’Arte. “De Grüneisen cannot be considered just a minor figure in the survey of the Byzantine studies.” (Gasbarri).


Selected Bibliography

Le portrait: traditions hellénistiques et influences orientales. Rome: W. Modes, 1911; and Hülsen, Christian, and Giorgis, Giovanni. Sainte-Marie-Antique, le caractère et le style des peintures du VIe au XIIIe siècle. Rome: M. Bretschneider, 1911; Le portrait d’Apa Jérémie. Note à propos du soi-disant nimbe rectangulaire. Paris: Imprimerie nationale, 1912; Les caractéristiques de l’art copte. Florence: Fratelli Alinari, 1922; Art classique: sculpture grecque, romaine, étrusque: exposition, Paris: Galerie M. Bing/Florence: Collection Grüneisen, 1925; Art chrétien primitif du haut et du bas moyen-âge: introduction et catalogue raisonné. Paris: J. Schemit, 1930; Collection de Grüneisen; catalogue raisonné. Paris: J. Schemit, 1930; Sculpture grecque archaïque; étude sur les kouroï et les korés de la collection Lazare Moutafoff. Paris: “Aegina”, 1932.Vente de l’importante bibliothèque d’art et d’archéologie formée par le baron de Gruneisen, Hôtel des ventes, salle 9, du 15 au 24 décembre 1930. Desvouges, A. Paris, 1930.


Sources

Barroux, Robert. “Avant-Propos.” Vente de l’importante bibliothèque d’art et d’archéologie formée par le baron de Gruneisen, Hôtel des ventes, salle 9, du 15 au 24 décembre 1930. Desvouges, A. Paris, 1930, pp. v-viii; Gasbarri, Giovanni. “Bridges between Russia and Italy: Studies in Byzantine Art at the Beginning of 20th Century.” http://www.actual-art.org/en/k2010-2/st2010/94-vh/194-studies-in-byzantine-art; Personenlexikon zur christlichen Archäologie: Forscher und Persönlichkeiten vom 16. bis 21. Jahrhundert I (2012): 618-620.




Citation

"Grüneisen, Wladimir de." Dictionary of Art Historians (website). https://arthistorians.info/gruneisenw/.


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Scholar of Byzantium and manuscript collector; principal author of the first serious monograph ever on the frescoes in Santa Maria Antiqua, Rome (1911). Grüneisen was the son of an apothecary from a Baltic-German family living in Russia. He grew u

Gualandi, Michelangelo

Full Name: Gualandi, Michelangelo

Gender: male

Date Born: 1795

Date Died: 1865

Home Country/ies: Italy

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


Overview

Updated Ticozzi’s Nuova raccolta di lettere sulla pittura, scultura ed architettura


Selected Bibliography

Nuova raccolta di lettere sulla pittura, scultura ed architettura, scritte da’ più celebri personaggi dei secoli XV. a XIX. con note ed illustrazioni di Michelangelo Gualandi, in aggiunta a quella data in luce da mons. Bottari e dal Ticozzi. 3 vols. Bologna: A spese dell’editore ed annotatore, 1844-56.





Citation

"Gualandi, Michelangelo." Dictionary of Art Historians (website). https://arthistorians.info/gualandim/.


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Updated Ticozzi’s Nuova raccolta di lettere sulla pittura, scultura ed architettura

Guarnacci, Mario

Image Credit: Wikipedia

Full Name: Guarnacci, Mario

Gender: male

Date Born: 1701

Date Died: 1785

Place Born: Volterra, Pisa, Tuscany, Italy

Place Died: Volterra, Pisa, Tuscany, Italy

Home Country/ies: Italy

Subject Area(s): ancient, Antique, the, archaeology, and Etruscan (culture or style)


Overview

Historian of Etruscans including their art; early excavator of Etruscan tombs. Guarnacci was born to a wealthy, noble family. In 1726 he moved to Rome to participate as a cleric in the church. Returning to his native Volterra on holidays, he began excavating the recently discovered Etruscan tombs. He did so with this two brothers, Piero and Giovanni Guarnacci. Their first excavation in 1738 resulted in the discovery of ten vases. He and his friend and colleague Antonio Francesco Gori (1691-1757) developed an acumen for discerning forgeries, of which there were many during this time and even a few in Guarnacci’s own collection. An excellent scholar, he was advanced by both Pope Clement XII and Benedict XIV. Guarnacci retired to Volterra in 1757. In 1761 he willed his extensive library and his collection (which he called his museum’) to the city of Volterra, today known as the Museo Etrusco Guarnacci in his honor.


Selected Bibliography

Origini italiche, o siano memorie istorico-etrusche: sopra l’antichissimo regno d’Italia e sopra i di lei primi abitatori nei secoli piu remoti. 3 vols. Lucca: Appresso Leonardo Venturini, 1767-72..


Sources

Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 1, p. 546




Citation

"Guarnacci, Mario." Dictionary of Art Historians (website). https://arthistorians.info/guarnaccim/.


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Historian of Etruscans including their art; early excavator of Etruscan tombs. Guarnacci was born to a wealthy, noble family. In 1726 he moved to Rome to participate as a cleric in the church. Returning to his native Volterra on holidays, he began