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Gabrielli, Noemi

Full Name: Gabrielli, Noemi

Gender: female

Date Born: 30 September 1901

Date Died: 09 July 1979

Place Born: Pinerolo, Torino, Piedmont, Italy

Place Died: Asti, Piedmont, Italy

Home Country/ies: Italy

Subject Area(s): art history and conservation (process)

Career(s): art historians

Institution(s): Galleria Sabauda


Overview

Art historian and art conservator during World War II. Noemi Gabrielli was born in Pinerolo, Italy. She initially studied piano graduating from a Neapolitan conservatory, but later received her undergraduate degree from Turin in 1926, with a thesis on Paolo Veronese written under Lionello Venturi. She continued to specialize in art history at the La Sapienza University of Rome graduating in 1928 with a doctorate degree. Her relationship with Venturi allowed her to take his place in reorganizing the Pinacoteca at the Accademia Albertina after his resignation in 1934. 

Gabrielli’s early years in her career were marked by the second World War. She worked to safeguard important artworks from RAF bombings throughout the war. Her main project consisted of accompanying the paintings, after the bombing of Genoa, while they were being transferred from the Galleria Sabauda and from churches in the Susa and Aosta Valleys to safer locations such as Castle of Guglia and Isola Bella. Inside the forty-one crates of art that were transferred in these operations are some notable works from El Greco and Veronese. When the locations eventually became unsafe the art was returned back to its original holders in 1943. These operations were often dangerous as Gabrielli frequently had to evade Nazi authorities, but she remained committed to protecting cultural heritage, even receiving the nickname “Noemi Jet” for the force that she had become within the profession. Her efforts were later acknowledged after the war, in 1948, when Gabrielli was awarded a commendation award from the Ministry of Public Education. 

In 1952, Gabrielli was appointed as the Superintendent for medieval and modern art of the Piedmont and Liguria regions for the gallery where she worked until her retirement in 1966. Under that position, she reinvented the Galleria Sabauda making space for 7 rooms to be dedicated to the Riccardo Gualino collection which she brought from the Italian Embassy in London. She wrote a book on the gallery called Galleria Sabauda a Torino in 1959 and then later in 1961 focused her writing on the Gaulino collection in her book Collezione Gualino that details those works included in the gallery. 

Gabrielli’s work for the gallery continued to inspire her many publishings. Her book Museo dell’Arredamento/Stupinigi, published in 1966, comments on the Stupinigi royal hunting lodge which she helped refurnish in preparation for the centenary Italian unification celebrations. Gabrielli died in Asti in 1979 and is survived by a street named in her honor in her hometown Pinerolo and a dedicated room to her in the Civic Museum of Casale Monferrato.


Selected Bibliography

Le pitture romaniche. Torino: Soc. anonima tipografico editrice Torinese, 1944;

Galleria Sabauda a Torino. Roma:  Istituto poligrafico dello Stato,1959;

Collezione Gualino. Torino: Galleria Sabauda, 1961;

Museo dell’Arredamento/Stupinigi. Torino: T. Musilini,1966;

Racconigi. Torino: Istituto bancario, 1972;

Arte e cultura ad Asti attraverso i secoli. Torino: Istituto bancario, 1977
 


Sources

Borghetti, Francesca. “Paladine Podcast.” Episode Puntata 1: Noemi Gabrielli, May 2022,https://open.spotify.com/episode/5tDAwFPWd9ucwPUulH9uBJ?si=583089f1df8142f5.Accessed 21 Jan. 2023. 

“Noemi Gabrielli.” Wikipedia, Wikimedia Foundation, 21 Apr. 2021,https://en.wikipedia.org/wiki/Noemi_Gabrielli.

Ragusa, Andrea.” I Giardini Delle Muse: Il Patrimonio Culturale Ed Ambientale in Italia Dalla Costituente All’Istituzione Del Ministero (1946-1975).” FrancoAngeli, 2014: 278; https://books.google.com/books?id=s9kyBgAAQBAJ&pg=PA278#v=onepage&q&f=false.



Contributors: Octavia Chilkoti


Citation

Octavia Chilkoti. "Gabrielli, Noemi." Dictionary of Art Historians (website). https://arthistorians.info/gabriellin/.


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Art historian and art conservator during World War II. Noemi Gabrielli was born in Pinerolo, Italy. She initially studied piano graduating from a Neapolitan conservatory, but later

Gerke, Friedrich

Full Name: Gerke, Friedrich

Gender: male

Date Born: 15 November 1900

Date Died: 23 August 1966

Place Born: Uelzen, Lower Saxony, Germany

Place Died: Mainz, Rhineland Palatinate, Germany

Home Country/ies: Germany

Subject Area(s): Classical


Overview

Theologian and later art historian in Universität Mainz.  Gerke studied at the universities of Hamburg, Marburg and Berlin between 1924 and 1928, focusing on theology, art history and archaeology.  He published a qualifying thesis on the writing of Pope Clement I in 1931, Die Stellung des ersten Clemensbriefes innerhalb der Entwicklung der altchristlichen Gemeindeverfassung und des Kirchenrechts, granting his Ph.D from Berlin.  Gerke’s habilitation was granted in 1934, also by Universität Berlin, “Die ein- und zweizonigen Reihensarkophage der Tetrarchenzeit.”  After only a year as a privatdozent, he was appointed Außerordentlicher Professor in Berlin in 1935 and as director of the  Institut für Christliche Archäologie und Kunstgeschichte at the same time.  Between the years 1940 and 1942 he was a visiting lecturer in Budapest.  As World War II waged on, the Nazi government formed the infamous Einsatzstab Reichsleiter Rosenberg, a civilian and military unit to identify important works of art and loot them for Reich officials and planned German museum.  Gerke worked as a researcher for two months in the Occupied Territories division of the ERR, under the notorious Hans Reinerth in the Crimean.  He fought as a solidier between 1943 and 1945 in Greece and the Dolomites.  After the War, Gerke founded the Association for Fine Arts in Mainz (Gesellschaft für Bildende Kunst Mainz) in 1947.  He was appointed Ordentlicher Professor, at the University of Mainz, (Universität Mainz) and director of the University’s Kunstgeschichtliches Institut,  He was named a member of the  Deutsches Archäologisches Institut in 1949.  He was instrumental in sheparding several book collections to the Mainz Institute of Art History.  He retired in 1966.  The following year, his Spätantike und frühes Christentum appeared.

 His students included Elisabeth Alföldi Rosenbaum.


Selected Bibliography

  • [dissertation:] Die Stellung des ersten Clemensbriefes innerhalb der Entwicklung der altchristlichen Gemeindeverfassung und des Kirchenrechts, Berlin, 1931, published, Leipzig, Hinrichs, 1931.
  • Spätantike und frühes Christentum.   Kunst der Welt vol. 2. (Die Kulturen des Abendlandes). Baden-Baden: Holle, 1967

Sources

“Friedrich Gerke.” Verzeichnis der Professorinnen und Professoren der Universität Mainz 1477-1973.  Guten Biogragraphics. https://www.gutenberg-biographics.ub.uni-mainz.de/personen/register/eintrag/friedrich-gerke.html (accessed 1/30/2023.


Archives

  • Friedrich Gerke, Universitätsarchiv der Humboldt-Universität Berlin
  • Friedrich Gerke, Universitätsarchiv Mainz, NL 51

Contributors: Lee Sorensen


Citation

Lee Sorensen. "Gerke, Friedrich." Dictionary of Art Historians (website). https://arthistorians.info/gerkef/.


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Theologian and later art historian in Universität Mainz.  Gerke studied at the universities of Hamburg, Marburg and Berlin between 1924 and 1928, focusing on theology, art history and archaeology.  He published a qualifying thesis on the writing o

Greene, Carroll

Full Name: Greene, Carroll Theodore Jr.

Gender: male

Date Born: 17 June 1931

Date Died: 30 May 2007

Place Born: Washington, DC, USA

Place Died: Savannah, Chatham, GA, USA

Home Country/ies: United States

Subject Area(s): African American, American (North American), Modern (style or period), nineteenth century (dates CE), and twentieth century (dates CE)

Career(s): art critics, curators, and publishers

Institution(s): The Smithsonian Institute


Overview

Smithsonian curator of 19th & 20th century African American Art; Romare Bearden scholar. Carroll Greene was born in 1931 in Washington D.C., and studied at Columbia University and New York University, earning degrees in History and English. Greene’s combining of his passions for African American history and art began in the 1960s while teaching English at NYU and co-curating collections on campus as a hobby. In 1967, he co-curated The Evolution of Afro-American Artists: 1800-1959 with prominent African-American artist Romare Bearden at the College of the City University of New York. The following year, he began a fellowship in Museum Studies at the Smithsonian and published 1969, Twelve Afro-American Artists, a catalog highlighting the first major exhibition of black artists in a New York midtown commercial gallery. In 1970, Greene was hired by the Museum of Modern Art as a consultant to its director, John Hightower (1933-2013). Greene also maintained his close relationship with Bearden, publishing The Prevalence of Ritual, an essay on the themes of childhood memories and urban life present in Bearden’s 1971 exhibition in the Museum of Modern Art. Throughout the 1970s and 1980s, Greene privately purchased artifacts to save them from destruction and neglect. Furthermore, he advised curators throughout the U.S. on how to form and expand their collections of African American art. In the mid- to late-1980’s, Greene worked as a writer and editor of American Visions, a popular scholarly publication on African American art published by the American Visions Foundation and supported in part by the Smithsonian Institution. Greene’s work appeared in the inaugural edition of this magazine. In 1984, he moved to Savannah. Greene published American Visions, Afro-American Art, 1986, an overview of all African American art museums at the time. Greene used his collection of works to form the basis of the Acadia Collection, a collection of African American artifacts, including arts and charts, furniture, pottery, musical instruments, quilts and tools, in 1989. The mission statement of this collection was “to collect, research, preserve and exhibit selected artifacts created by African Americans, especially those inspired by or related to historic traditions.” Throughout the 1990s, Greene curated several shows at the Beach Institute in Savannah, including the Ulysses Davis Folk Art Collection, which received the W.W. Law Legacy Award.  He conducted oral history interviews with noted African-American artists, including Jacob Lawrence.  Greene was a guest curator at the Beach for “Look Back, Ponder, and Move On: Glimpses of the African-American Experience in Savannah 1750-1900.” He died in 2007 at age 75 at his home in Greene Square, Savannah.

Carroll Greene was an ardent advocate for increased African art presence throughout his time in D.C. and Savannah. During his 1968 fellowship at the Smithsonian, Greene learned that the institute had inadequate research on African American culture to support his work, and had since sought to increase the knowledge base of African American art and culture. He insisted on his collections like the Arcadia being placed in universities, museums, and other research-oriented settings. In his catalogue for 1969: Twelve Afro-American Artists, Greene criticized the separation of African artists from mainstream culture, citing a fundamental lack of the equality of opportunity that America advertises. His strong opinions on what constituted African American culture preserving art extended to the curation of the Arcadia collection. For instance, Greene avoided collecting many slave-made objects because he believed such objects reflected what the slave-owning class wanted to impose on black individuals, rather than their personal creativity and culture. One of the U.S.’s biggest collectors of African American art, Dr. Walter O. Evans (b. 1943), said Greene “was extremely important. He was a giant in the field, a leading proponent of African-American art long before it was a fashionable thing to do.”  Overall, Greene’s goals were to highlight an aesthetic rooted in the will of African Americans maintaining their cultural values in the midst of economic and social oppression.

 


Selected Bibliography

  • 1969, Twelve Afro-American Artists. NAACP Special Contribution Fund, 1969;
  • American Visions: Afro-American Art, 1986. Visions Foundation, 1987;
  • Romare Bearden: the Prevalence of Ritual. New York: Museum of Modern Art, 1971;
  • The Evolution of Afro-American Artists: 1800-1950. New York:  City University of New York, 1967;

Sources

  • [Obituaries:] “Carroll Greene.”Savannah Morning News. June 5, 2007. https://www.legacy.com/amp/obituaries/savannah/88688193;
  • Wyatt, Doug. “African-American Art Expert Carroll Greene Dies.” Savannah Morning News, May 31, 2007. https://www.savannahnow.com/article/20070531/NEWS/305319858;
  • [dissertation:] Landsmark, Theodore C. “Haunting echoes”: Histories and exhibition strategies for collecting nineteenth-century african-american crafts. Boston University, 1999;

Archives


Contributors: Zahra Hassan


Citation

Zahra Hassan. "Greene, Carroll." Dictionary of Art Historians (website). https://arthistorians.info/greenec/.


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Smithsonian curator of 19th & 20th century African American Art; Romare Bearden scholar. Carroll Greene was born in 1931 in Washington D.C., and studied at Columbia University and New York University, earning degrees in History and English. Greene

Garcia Vega, Blanca

Full Name: Garcia Vega, Blanca

Gender: female

Date Born: 04 September 1947

Place Born: Valladolid, alladolid, Castile-Leon, Spain

Home Country/ies: Spain

Subject Area(s): engravings (prints), European, prints (visual works), and Spanish (culture or style)

Institution(s): Universidad de Valladolid


Overview

Professor of Art History at the University of Valladolid with interests in Spanish and European engravings. Garcia Vega was born on September 4th, 1947, in Valladolid, Spain. In 1971, she received a bachelor’s in Philosophy and Letters. In 1982 she earned a doctorate in Art History at the University of Valladolid, where she began her tenure as an Art History professor. With research interests in European and Spanish engravings, as well as Oriental art, Garcia Vega won multiple awards during her time at Valladolid. In 1984, she received the Simancas Culture research award from the Madrid Mint Foundation and Museum of Art, and wrote her longest work on Spanish and European engravings, El Grabado Del Libro español, Siglos XV, XVI, XVII: Aportación a Su Estudio Con Los Fondos De Las Bibliotecas De Valladolid. She was a general member of the International association of Art Critics from 1987-1987 before she was promoted to General Secretary within the same organization. She was also a general member of the Artecampos Cultural Association (1997-2000), the Plastic Arts Panel at the Provincial Council of Valladolid (1999), the International Scientific Committee of the Florence Biennale (1999), and the Advisory Council of the Asia House of Barcelona (2003).

Throughout her tenure at the University of Valladolid, Garcia Vega expressed a desire to break through the male centric lens of Art History. In an obituary she wrote to Maria Teresa Ortega Coca on October 15th, 2018, she commended Teresa Ortega Coca for advocating for female dissemination and criticism of contemporary art from the beginning of their careers, a period that Garcia Vega described as “a man’s world”. Her passion for engravings shone through in her book, outlining the differences between the medium of print and photography, highlighting the historical value of engravings, and exploring the cultural context surrounding the works she explored

.


Selected Bibliography

  • “In Memoriam: María Teresa Ortega Coca (1930-2018).” BSAA arte, 2018, 9–12;
  • El Grabado Del Libro español, Siglos XV, XVI, XVII: Aportación a Su Estudio Con Los Fondos De Las Bibliotecas De Valladolid. Valladolid, Spain: Inst. Cultural Simancas, 1984.

Sources

  • García Vega, Blanca. “In Memoriam: María Teresa Ortega Coca (1930-2018).” BSAA arte, 2018, 9–12.


Contributors: Zahra Hassan


Citation

Zahra Hassan. "Garcia Vega, Blanca." Dictionary of Art Historians (website). https://arthistorians.info/garciavegab/.


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Professor of Art History at the University of Valladolid with interests in Spanish and European engravings. Garcia Vega was born on September 4th, 1947, in Valladolid, Spain. In 1971, she received a bachelor’s in Philosophy and Letters. In 1982 sh

Gisbert, Teresa

Full Name: Gisbert Carbonell de Mesa, Teresa

Gender: female

Date Born: 11 November 1926

Date Died: 19 February 2018

Place Born: La Paz, Bolivia

Place Died: La Paz, Bolivia

Home Country/ies: Bolivia

Subject Area(s): art theory, Bolivian, Native Andean, political art, and social history

Institution(s): Universidad Mayor de San Andrés


Overview

Bolivian architect, educator, and art historian specializing in the Andean region. Teresa Gisbert was the daughter of Spanish emigrants. Growing up in La Paz, she attended Santa Ana, a private Catholic school. In 1950, she was one of the first women to graduate from the Universidad Mayor de San Andres (Major University of San Andres) in La Paz. She earned a bachelor’s degree in architecture and urbanism. Shortly after, she married architect and historian Jose de Mesa (1925-2010) and went to pursue a graduate degree in Spain in art history with him. During her time in Spain, she worked at the University of Seville and at the Diego Velazquez Art Institute. It was her professors in Spain, Diego Angulo Iñiguez (1901-1989) and Enrique Marco Dorta” (1911-1980), who motivated her to pursue studies in the Andean region because it was rather undocumented. She returned to Bolivia in 1954 and worked at the University of San Andres where she taught Bolivian culture, art history, and American art for almost 20 years. She played an essential role in founding a history department at the university. She was awarded her first Guggenheim Fellowship in 1958 and conducted expeditions with de Mesa to catalogue monuments, paintings, sculptures, and churches in the Andes. This was the first catalogue of mestizo art in the region. She was named Woman of the Year in La Paz in 1965 and the Spanish government granted her the Medal of Merit. Between 1970 to 1976, she was the director of the National Art Museum in La Paz. She published one of her most important works, Iconografía y Mitos Indígena en el Arte (Iconography and Indigenous Myths in Art) in 1980, where she described the effects of colonization on local societies and specifically, how those impositions were received and interpreted in artistic works. She explained how a system of mutual appropriations between different cultures extended beyond syncretism. She explained her perception of the world through her analysis of Andean Textile art as she published Arte Textil y Mundo Andino (Textile Art and Andean World) in 1987.  From 1987 to 1995, Gisbert taught seminars on Andean Art at the University of Paris, at the Culture Institute in Ecuador, at FLASCO (Facultad Latinoamericana de Ciencias Sociales) Bolivia, and at the Interamerican University in Puerto Rico. During this time she was the president of the Bolivian Society for History (1983-1984), the director of the Bolivian Cultural Institute (1985-1989), and the president of the International Council on Monuments and Sites in Bolivia (1986-1992). She was awarded the Bolivian government’s most prestigious recognition, the Order of the Condor of the Andes in 1987. The Getty Foundation invited her to present her works on Andean Art in 1994. She explored Criollo Christian mythology and the development of a baroque aesthetic in El Paraiso de los Pájaros Parlantes (Paradise of the Talking Birds) which was published in 1999. A year later, she earned the National Cultural Award in Bolivia. During her career, she became a member of a great number of professional organizations including the College of Architects of Bolivia, the Bolivian Academy of History, the National Academy of Sciences, the Bolivarian Architect Society, and the Chilean Academy of History. Moreover, she was a correspondent of the Spanish Royal Academy of History, the San Fernando Royal Academy of Arts, and the Academy of Fine Arts in Seville. During the last years of her life, she was a professor at the University of Our Lady of La Paz. In 2016, she published Arte, Poder, e Identidad (Art, Power, Identity) where she continued to explore the relationship between image and power, ultimately concluding that the Andeans, were not artisans of colonial creations, but rather had previously developed their own style of art. Her son, Carlos Diego Mesa Gisbert, served as the Bolivian president from 2003-2005.

In addition to being a pioneer of art research in the Andean region, Teresa Gisbert exemplified how art must be considered in the context of its own history. She explained that the socio-economic difference between fine arts and applied arts is a construct of the Italian Renaissance. Therefore, the aesthetic values of Andean art must be analyzed outside of the norms established by the West. In contrast to European art where painting plays an integral role in the development of artistic styles, textile art has the equivalent value in this region (Pinilla). She pursued this transgressive, interdisciplinary approach to art history in a period before women had the right to vote in Bolivia. She not only set a new standard for Latin American art research, but also for women art historians (Pinilla).


Selected Bibliography

  • Esquema de literatura virreinal en Bolivia. La Paz: Dirección Nacional de Informaciones de la Presidencia de la República, 1963;
  • Iconografía y mitos indígenas en el arte. La Paz: Gisbert, 1980;
  • Arte Textil y Mundo Andino. La Paz : Gisbert y Cía., 1987., 1987;
  • Textiles En Los Andes Bolivianos. [La Paz, Bolivia : Agencia Boliviana de Fotos : Fundación Cultural Quipus, 2003] 2003;
  • Arte, poder e identidad. La Paz. 2016;

Sources

  • Bouysse-Cassagne, Thérese. “In memoriam: Teresa Gisbert (1926-2018).” Revista Chungara. Revista de Antropologia Chilena 50, no. 4 (October 2018): 529;
  • Anne Commire, editor ; Deborah Klezmer. Dictionary of Women Worldwide : 25,000 Women through the Ages. Gale Virtual Reference Library. Detroit, Mich. : Thomson Gale, 2007;
  • Foster, David William. Notable Twentieth-Century Latin American Women : A Biographical Dictionary. Westport, Conn. : Greenwood Press, 2001;
  • Mujica Pinilla, Ramón. “In Memoriam Teresa Gisbert (1926–2018).” Colonial Latin American Review 27, no. 3 (July 3, 2018): 426–28; https://doi.org/10.1080/10609164.2018.1527577;
  • Rivera Casanovas, Claudia. “Teresa Gisbert y la arqueologia Andina.” Revista Chungara. Revista de Antropologia Chilena 50, no. 4 (October 2018): 533-;


Contributors: Denise Shkurovich


Citation

Denise Shkurovich. "Gisbert, Teresa." Dictionary of Art Historians (website). https://arthistorians.info/gisbertt/.


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Search for materials by & about this art historian:

Bolivian architect, educator, and art historian specializing in the Andean region. Teresa Gisbert was the daughter of Spanish emigrants. Growing up in La Paz, she attended Santa Ana, a private Catholic school. In 1950, she was one of the first wom

Gómez-Bárcena, María Jesús

Full Name: Gómez-Bárcena, María Jesús

Gender: female

Date Born: 26 December 1944

Place Born: San Sebastián, Guipúzcoa, Basque Provinces, Spain

Home Country/ies: Spain

Subject Area(s): Gothic (Medieval), sculpture (visual works), and Spanish (culture or style)

Institution(s): Universidad Complutense de Madrid


Overview

Academic art historian; and professor. Gómez-Bárcena completed her university degree in Philosophy and Letters (History section). She achieved her PhD in 1998 under the guidance of José María de Azcárate Ristori at the Universidad Complutense de Madrid. Her thesis is titled “Escultura gótica funeraria en Burgos y su provincia.” She held various positions, including University Lecturer in the Medieval History Department, faculty member in the Geography and History departments, all at the Universidad Complutense de Madrid. Gómez-Bárcena was interested in researching funerary gothic sculpture, late gothic sculpted altarpieces, “flamenco” sculpted altarpieces.


Selected Bibliography

  • “Con un valioso ejemplar en Las Huelgas de Burgos: la Anunciación en los sepulcros góticos burgaleses.” Reales sitios 20 (1983): 65-72;
  •  
  • El mundo bizantino. Madrid, La Muralla, 1984;
  • “Procedente del Monasterio de Fresdelval: el sepulcro de Gómez Manrique y Sancha de Rojas; conservado en el Museo Arqueológico de Burgos”. Reales sitios. Madrid, 22 (1985); 29-36;
  • Una escultura perteneciente al Maestro del retablo de Nuestra Señora en la capilla de la Buena Mañana de la iglesia de San Gil, de Burgos. Boletín del Seminario de Estudios de Arte y Arqueología/Consejo Superior de Investigaciones Científicas, Universidad de Valladolid, Facultad de Historia. Valladolid, 52 (1986);
  • El retablo de Nuestra Señora de la Iglesia de San Gil de Burgos. Zaragoza, 1986: 369-371;
  • Escultura gótic a funeraria en Burgos. Burgos, Excma. Diputación Provincial de Burgos, 1988;
  • “Un Santo Tomás de Gil de Siloe”. Archivo español de arte/Consejo Superior de Investigaciones Científicas, Departamento de H. del Arte “Diego Velazquez”, Centro de Estudios Históricos. Madrid, 63 (1990): 92-97;
  • Retablos flamencos en España. Madrid: Historia, 16, 1991;
  • Retablos flamencos en España. Madrid: Historia, 16, 1992;
  • Revisión de algunos aspectos del retablo de la Santa Cruz en la Iglesia de San Lesmes de Burgos. Madrid, Universidad Complutense, Departamento de Historia del Arte II, 1992;
  • La capilla funeraria de Don Fernando de Coca en la iglesia de San Pedro de Ciudad Real. Madrid, Universidad Complutense, Facultad de Geografía e Historia, 1992;
  • “San Eustaquio o San Huberto?: un santo cazador en el retablo del árbol de Jesé en la capilla del obispo Acuña de la catedral de Burgos”. Anales de historia del arte. 4 (1993);
  • “Un grupo escultórico del Convento de San Antonio el Real de Segovia”. Goya (1997): 333-336;
  • “La capilla funeraria de Don Fernando de Coca en la iglesia de San Pedro de Ciudad Real”. Anales de historia del arte. 9 (1999): 67-90;
  • “”El sepulcro del infante Alfonso”. Actas del congreso internacional sobre Gil Siloe y la escultura de su época. Burgos, 2001, pp. 189-205; 67-90; 419-429;
  • “Arte y devoción en las obras importadas: los retablos “flamencos” esculpidos tardo góticos; estado de la cuestión.” Anales de historia del arte.  14 (2004): 33-71

Sources

  • Borras Gualis, Gonzalo, and Ana Reyes Pacios Lozano, eds.. Diccionario de Historiadores Espanoles del Arte.  Madrid: Catedra, 2006, p.165.


Contributors: Sophia Cetina


Citation

Sophia Cetina. "Gómez-Bárcena, María Jesús." Dictionary of Art Historians (website). https://arthistorians.info/gomezbarcenam/.


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Academic art historian; and professor. Gómez-Bárcena completed her university degree in Philosophy and Letters (History section). She achieved her PhD in 1998 under the guidance of José María de Azcárate Ristori at the Universidad Complutense de M

Gómez-Moreno, María Elena

Full Name: Gómez-Moreno, María Elena

Gender: female

Date Born: 28 January 1907

Date Died: 15 December 1998

Place Born: Granada, Andalusia, Spain

Place Died: Madrid, Spain

Home Country/ies: Spain

Subject Area(s): architecture (object genre), sculpture (visual works), and Spanish (culture or style)

Institution(s): Instituto Diego Velázquez del Consejo Superior de Investigaciones Científicas, Instituto Escuela de Madrid, and Real Academia de Bellas Artes de San Fernando


Overview

Architectural- and art historian. Gómez-Moreno was the daughter of the famous art historian Manuel Gómez-Moreno Martínez Manuel Gómez-Moreno Martínez and followed in his footsteps. She went to la Universidad Central and studied philosophy and literature. She was then licensed in “Ciencias Historicas” and became an assistant professor at the Instituto Escuela de Madrid in 1924. She traveled to Tunisia, Malta, Egypt, Crete, Cypress, Palestine, Turkey, Greece, Italy and Sicily in 1933. During the Spanish Civil War (1936-1939) she took various positions as a summer term professor in la Junta de Ampliacion teaching courses for foreign students (1932-1936), was a technical assistant in the Junta de Salvamento del Tesoro Artístico. She also ran various conferences in the Prado Museum of Madrid and various institutes in Spain. In this period, she was also selected as a member of the Hispanic Society of New York because of her work as a Spanish Art professor at the Smith College club in Spain (1951-1956). She was a member of the Diego Velázquez Institute of the CSIC (1957-1968). In 1959, she also became the director of the Vega-Inclán Foundations (which includes the House and Museum of El Greco). In 1970 she also collaborated with the publication of her father’s biography and in 1996 published a monograph dedicated to him. To honor her father’s work further, she and her sisters collaborated in extending and overlooking their father’s large archaeological, artistic and documentary collection. Because of this exemplary work, her sisters and her were awarded with a Medal of Honor by the  Real Academia de Bellas Artes de San Fernando in 1973. She then was named an honorary academic of this corporation in 1990.


Selected Bibliography

  • Breve Historia De La Escultura Española. Madrid: Dossat, 1935;
  • Un cuaderno de dibujos inéditos de Goya. Madrid: Archivo español de arte, 1941;
  • Juan Martinez Montañes. Barcelona:  Ediciones Selectas, 1942;
  • Gregorio Fernández. Madrid: Instituto Diego Velázquez, CSIC, 1953;
  • Alonso Cano: Estudio y Catálogo De La Exposición Celebrada En Granada En Junio De 1954. Madrid: Direccion General de Bellas Artes, 1954;
  •  
  • Anuario Guía De Los Museos De España. Madrid: Ministerio de Educación Nacional, Dirección General de Bellas Artes 1955;
  •  
  • “Las miniaturas de la Biblia visigótica de San Isidoro de León”. Archivos Leoneses revista de estudios y documentación de los Reinos Hispano-Occidentales XV. Archivo Histórico Diocesano de León (1961): 77-85;
  • Escultura del siglo xvii, Madrid: Editorial Plus-Ultra, 1963;
  • Visita a la casa y museo del Greco y Sinagoga del Tránsito de Toledo. Madrid: Fundaciones Vega-Inclán, 1966;
  • Catálogo de las pinturas del Museo y Casa del Greco en Toledo . Madrid: Fundaciones Vega- Inclán, 1968;
  • Guía del Museo Romántico. Madrid: Fundaciones Vega-Inclán, 1970;
  • and Jesús Bermúdez Pareja. Bibliografía De Don Manuel Gómez Moreno: Homenaje En El Centenario De Su Nacimiento. Madrid: R.A. de B.A. de San Fernando, 1970;
  • Pintura y escultura españolas del siglo xix, Madrid: Espasa Calpe, 1993;

Sources



Contributors: Sofia Silvosa


Citation

Sofia Silvosa. "Gómez-Moreno, María Elena." Dictionary of Art Historians (website). https://arthistorians.info/gomezmorenoma/.


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Architectural- and art historian. Gómez-Moreno was the daughter of the famous art historian Manuel Gómez-Moreno Martínez Manuel Gómez-Moreno Martínez and followed in his footsteps. She went to la Universidad Central a

Gállego Serrano, Julián

Full Name: Gállego y Aragón, Julián

Gender: male

Date Born: 17 January 1919

Date Died: 21 May 2006

Place Born: Zaragoza, Aragon, Spain

Place Died: Madrid, Spain

Home Country/ies: Spain

Subject Area(s): painting (visual works)

Institution(s): Complutense University of Madrid


Overview

Spanish art historian and university professor. Originally from the capital of Aragon, Gállego developed an affinity for the law, which led him to study law. Later, though, he discovered that the study of art was where he would apply his skills. Gállego received his doctorate in Art History at the Sorbonne University, Paris. There, he would meet Pablo Picasso, whose work inspired various texts (Picasso: suite Vollard, De Velázquez a Picasso: crónicas de París, 1954-1973). Gállego remained in Paris until 1970. In Spain, he worked as a professor at the Complutense University of Madrid. He was a dedicated scholar and tenacious writer. Gállego considered himself Aragonese, and kept close ties with his native land in personal and professional ways. Many aspects of Aragonese art were covered by Gállego. These findings were published in several magazines and particularly the newspaper Heraldo de Aragón. He returned to Zaragoza, a city in Aragon and his birthplace, on numerous occasions. Gállego took part in numerous courses and conferences there (in addition to participating in various exhibitions, including one in 1992 that was dedicated to Goya). Goya, in turn, was an artist who captivated Gállego (Goya y la caza, Las majas de Goya, L’Univers de Goya). Gállego is thought of as one of the historians to understand Goya best, through his texts and research. Gállego’s participation as a member of the Comité Científico focused on Goya in various exhibitions. This painter and the themes in his work were of greatest interest to Gállego, who devoted many texts to him. Some of his work was also dedicated to the Aragonese sculptor Pablo Serrano (1908-1985), and to the Spanish painter Diego Velásquez (Pablo Serrano, Reflexiones sobre Velázquez, Velázquez en Sevilla). The Zaragoza City Council awarded him the Gold Medal of the City of Zaragoza in 1996. In that same year he received the Medal of Aragon for professional merit from the Government of Aragon. He would later curate a presentation on the life and art of Velázquez at the Metropolitan Museum of Art in New York in 1969. Moreover, in 1987, Gállego was admitted as an academic of merit at the Royal Academy of Fine Arts of San Fernando. He also acted as a member of the Scientific Council of the Prado Museum.

Gállego resonates as an art historian who felt a deep connection with his Aragonese roots, valued cataloging the artistic process (and understanding Goya’s), and wrote with a creative and critical voice (Wifredo). His perspectives as a writer were astute and well-informed; Gállego drew from his own experiences and travels to make meaningful claims about art and life (El arte de la memoria, El cuadro dentro del cuadro). Gállego’s proclivity for writing led to favorable results; in 1951 he received the Amparo Balaguer award for a play he wrote called Fedra. And in 1965, he received the Leopoldo Alas Prize for Spanish Apocrypha. Gállego’s ties as an author are very much linked with the newspaper Heraldo de Aragón, which also linked him to his native land (Wifredo). Gállego was a seasoned traveler and an incredible writer. His efforts to understand Goya also paid off; Gállego’s insights about this artist are apt, important, and exceptional. Gállego saw art as a means for reflection and introspection—he carried this idea with him as a professor, as a historian, and as a person who adored the history of art.


Selected Bibliography

    Discursos practicables del nobilísimo arte de la pintura. Madrid, Akal, 1950;
  • San Esteban de Abajo. Barcelona, Seix Barral, 1957;
  • Le peinture espagnole. Paris, Éditions Pierre Tisné, 1962; Apócrifos españoles. Barcelona, Plaza & Janes, 1971;
  • Pintura contemporánea. Navarra, Salvat Editores, 1971;
  • Visión y símbolos en la pintura española del siglo de oro. Madrid, Aguilar, 1972;
  • Velázquez en Sevilla. Sevilla, Diputación Provincial de Sevilla, 1974;
  • Zurbarán, 1598-1664. Barcelona, Ediciones Poligrafa, 1976;
  • El pintor de artesano a artista. Granada, Universidad de Granada, 1976;
  • Pablo Serrano. Madrid, Dirección General del Patrimonio Artístico y Cultural, 1976;
  • L’Univers de Goya. Paris, H. Scrépel, 1977;
  • El cuadro dentro del cuadro. Madrid, Cátedra, 1978;
  • Autorretratos de Goya. Zaragoza, Caja de Ahorros de Zaragoza, Aragón y Rioja, 1978;
  • Zaragoza en las artes y en las letras. Zaragoza, Librería General, 1979;
  • Sempere. Madrid, Ediciones Theo, 1980;
  • Las majas de Goya. Madrid, Alianza Editorial, 1982;
  • Diego Velázquez. Barcelona, Anthropos, 1983;
  • Arte abstracto español en la colección de la Fundación Juan March. Madrid, La Fundación, 1983;
  • Goya y la caza. Madrid, El Viso, 1985;
  • Los bocetos y las pinturas murales del Pilar. Aragón, Caja de Ahorros de la Inmaculada, 1987;
  • Velázquez. New York, Metropolitan Museum of Art, distributed by H.N. Abrams, 1989;
  • Arte europeo y norteamericano del siglo XIX. Madrid, Espasa-Calpe, 1990;
  • Reflexiones sobre Velázquez. Madrid, Real Academia de Bellas Artes de San Fernando, 1992;
  • Siete pintores españoles de la Escuela de París: María Blanchard, Juan de Echevarría, Juan Gris, Francisco Iturrino, Joan Miró, Pablo Ruiz Picasso, Daniel Vásquez Díaz. Madrid, Atenea Comunicación y Mecenazgo, 1993;
  • Goya: the complete etchings and lithographs. Munich; New York, Prestel, 1995;
  • El pintor, de artesano a artista. Granada, Diputación Provincial de Granada, 1995;
  • Picasso: suite Vollard. Madrid, Editorial de Arte y Ciencia, Fundación Juan March, 1996;
  • Artistas pintados: retratos de pintores y escultores del siglo 19 en el Museo del Prado. Madrid, Museo del Prado, Ministerio de Cultura, Ambit Servicios Editoriales, 1997;
  • Pinturas de cuatro siglos. Madrid, Caylus, 1997;
  • El arte de la memoria. Zaragoza, Ayuntamiento de Zaragoza, 1999;
  • De Velázquez a Picasso: crónicas de París, 1954-1973. Zaragoza, IberCaja, 2002;
  • La democracia en tiempos de tragedia: asamblea ateniense y subjetividad política. Buenos Aires, Miño y Davila, 2003.

Sources

  • Cabañas Bravo, Miguel. El arte español del siglo XX: su perspectiva al final del milenio; actas de las X jornadas de arte dedicadas al prof. Don Julián Gallego. Madrid Inst. de Historia, Dep. de Historia del Arte 2001;
  • Museo del Prado. Homenaje a Julián Gállego. Madrid: Museo Nacional del Prado, 2003;
  • Reyero Hermosilla, Carlos. Por debajo de las Torres Blancas: en memoria de Julián Gállego (1919-2006). Universidad Autónoma de Madrid, 2006;
  • Perez Gracia, Cesar. Julian Gallego o el entusiasmo velazqueño. Madrid: Claves de Razón Práctica, No. 168, 2006;
  • Suárez Quevedo, Diego. A Julián Gállego Serrano, “in memoriam.” Madrid: Anales de historia del arte, 2006;
  • Hacia un corpus bibliográfico de Julián Gállego. Madrid: Anales de historia del arte, 2008;
  • Rincón García, Wifredo. Julián Gállego y Aragón. Madrid: Anales de historia del arte, 2008;
  • Calvo Serraller, Francisco. Elogio de Julián Gállego. Madrid: Anales de historia del arte, 2008;
  • Molina Ibañez, Mercedes. Firmissima convelli non posse: homenaje al profesor Julián Gállego. Madrid: Universidad Complutense de Madrid, 2008;
  • Cámara, Alicia. La ciudad en la Literatura del Siglo de Oro. Ediciones Complutense, 2008;
  • Borrás Gualis, M. Gonzalo; Sobre la condición social de los maestros de obras moros aragoneses. Ediciones Complutense, 2008.


Contributors: Sophia Cetina


Citation

Sophia Cetina. "Gállego Serrano, Julián." Dictionary of Art Historians (website). https://arthistorians.info/gallegoserranoj/.


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Spanish art historian and university professor. Originally from the capital of Aragon, Gállego developed an affinity for the law, which led him to study law. Later, though, he discovered that the study of art was where he would apply his skills. G

Gaya Nuño, Juan Antonio

Full Name: Gaya Nuño, Juan Antonio

Gender: male

Date Born: 29 January 1913

Date Died: 06 July 1976

Place Born: Tardelcuende, Soria, Castile-Leon, Spain

Place Died: Madrid, Spain

Home Country/ies: Spain

Subject Area(s): Modern (style or period)

Career(s): art critics

Institution(s): Galerias Layetas


Overview

Author, art critic. Gaya Nuño was born in Tardelcuende, Spain to Antonio Gaya Tovar (1876-1936) and Gregoria Nuño Ortega. His father came from a wealthy family of physicians with republican ideals. In 1920, his family moved to Soria where he earned his bachelor’s degree at the Instituto de Soria. He earned a degree in Filosofia y Letras (Philosophy and Letters) from the Universidad Central de Madrid in 1932. He defended his thesis El románico en la provincia de Soria (Romanesque in the Province of Soria) in 1934. At the university, he worked under Manuel Gómez-Moreno Martínez (1870-1970), Manuel Bartolomé Cossío (1857-1935) and Elias Tormo (1869–1954), Leopoldo Torres Balbás (1888–1960), and Blas Taracena (1895–1951) who later became his mentor. He became a member of the Real Academia de la Historia in 1935. He worked for the Sección de Letras del Instituto de Soria and as an archivist-librarian at the Diputación Provincial de Soria. While he was a candidate to be a professor of Art History, Archaeology, and Numismatics at the University of Santiago and Murica, his career was interrupted by the Spanish Civil War in 1936. Prior to the outbreak of the war, Gaya Nuño was a supporter of Manuel Azaña (1880-1940). The assasination of his father during the first weeks of the war compelled him to join the Frente Popular. He was a lieutenant of the Numancia Battalion and fought in Guadalajara. He married Concepcion Gutierrez de Marco (1916-1989) in 1937. After the war, he surrendered himself and the Consejo de Guerra sentenced him to twenty years in prison. He was imprisoned between 1939 to 1943 at the prisons of San Anton, Carabanchel, Valdenoceda, and Las Palmas de Gran Canaria. After he was released, he moved to Madrid and met Spanish art historian Jose Gudiol Ricart (1904-1985). Thanks to Gudiol, he became the director of the Galerias Layetas from 1947 to 1951. He took interest in Modern art and published volume V Arquitectura y Escultura Románicas for the Ars Hispaniae with Guidol in 1948 and La pintura española del medio siglo (Mid-century Spanish Painting) in 1952. During these years, he travelled throughout Spain studying museums and private collections and wrote Historia y guia de los Museos de España (History and Guide of Museums in Spain) (1955). He was the director of the Boletín de la Sociedad Española de Excursiones (Bulletin of the Spanish Society of Excursions) and worked with the Instituto Diego Velazques as an advisor of scientific investigations. He was named to the Hispanic Society of New York because of his knowledge of North American historiography, and was also part of the Academia Breve de Critica de Arte. He was awarded the Premio Nacional de Literatura in 1957 along with his close friend and Spanish art historian Jose Camon Aznar (1898-1979). He was a visiting professor at the Universidad de San Juan de Puerto Rico between 1962 to 1963. He published La pintura española del siglo XX (Spanish Painting of the 20th Century) in 1970 and Historia de la crítica de arte en España (History of Art Criticism in Spain) in 1975.

Gaya Nuño published more than sixty-six books in his career, where he analyzed artistic movements and schools as well as individual artists. He took particular interest in the study of sources of information used in artistic historiographies. In a time of social, political, and economic uncertainty, Gaya Nuño’s ability to collect and synthesize information allowed for this data to be accessible to a larger population. He not only was the most prolific photographic documentor in Spanish history, he also wrote extensively on foreign artists (with a particular focus in North America) (Alzuria and Martin). While the government and universities refused to offer him a permanent office because of his political ideologies, he is unanimously recognized by art historians for his extensive and exhaustive contributions.


Selected Bibliography

  • La Pintura española en el medio siglo. Barcelona: Omega, 1952;
  • Escultura española contemporánea. Madrid, 1957;
  • Historia y guía de los museos de España. Madrid: Espasa-Calpe, 1968;
  • La pintura española del siglo XX. Madrid: Ibérico Europea de Ediciones, 1972;
  • El Románico En La Provincia de Soria. Madrid: Departamento de Historia del Arte, Instituto de Historia, Consejo Superior de Investigaciones Científicas, Centro de Estudios Sorianos, 2003;

Sources

  • Angulo Iñiguez, Diego. “Juan Antonio Gaya Nuño.” Archivo Español de Arte; Madrid 49, no. 195 (July 1, 1976): 361–362;
  • Marco, Concha de, José María Martínez Laseca, and Ignacio del Río Chicote.Juan Antonio Gaya Nuño, 1913-1976 entre el espectador y el arte. 1990;
  • Alzuria, Gonzalo Pasamar, and Ignacio Peiró Martín. Diccionario Akal de Historiadores españoles contemporáneos. Ediciones AKAL, 2002;
  • Jiménez-Blanco, Dolores. “Gaya Nuño, Juan Antonio.” Oxford Art Online. 2003; https://cvc.cervantes.es/el_rinconete/anteriores/mayo_11/09052011_02.htm;
  • Río Chicote, Ignacio del, and José María Martínez Laseca. “Juan Antonio Gaya Nuño  Real Academia de La Historia.” https://gayanuno.es/wp-content/uploads/2019/01/Bellas-Artes-sept.-1976.pdf


Contributors: Denise Shkurovich


Citation

Denise Shkurovich. "Gaya Nuño, Juan Antonio." Dictionary of Art Historians (website). https://arthistorians.info/gayanunoj/.


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Author, art critic. Gaya Nuño was born in Tardelcuende, Spain to Antonio Gaya Tovar (1876-1936) and Gregoria Nuño Ortega. His father came from a wealthy family of physicians with republican ideals. In 1920, his family moved to Soria where he earne

Goldschmidt, Werner

Full Name: Goldschmidt, Werner

Other Names:

  • André Vernet

Gender: male

Date Born: 27 June 1903

Date Died: 13 June 1975

Place Born: Hildesheim, Lower Saxony, Germany

Place Died: Baden-Baden, Baden-Württemberg, Germany

Home Country/ies: Germany

Subject Area(s): Medieval (European) and sculpture (visual works)


Overview

Spanish art authority. Student of Wilhelm Waeztoldt and Adolph Goldschmidt. Fled to Paris during WW II under the assumed name of André Vernet. 1952 returned to Germany.


Selected Bibliography

  • “W. A. Lindgens.” Deutsche Kunst Dekoration 69 (1932):  211-215;
  • “Spanish bookbindings from the 13th to the 19th century.” Apollo. (1934): 329-332;
  • “Romantic portrait painting in Spain” Studio (1934): 286-289;
  • “Luis de Morales ‘EI divino’.” Connoisseur (1935): 333-339;
  • “EI portico de San Vicente in Avila.” Archivo Español de Arte 33 (1935): 259-273;
  • “EI sepulcro de San Vicente, en Avila.” Archivo Español de Arte 35 (1936): 161-170;
  • “Glassmaking in Spain.” Connaisseur 99 (1937): 25-29;
  • “The Westportal of San Vincente at Avila.” Burlington Magazine 71 (1937): 110-123;
  • “Spanish baroque sculpture.” Connoisseur 11 (1938): 136-142;
  • “Toulouse and Ripoll: The origin of the style of Gilabertus.” Burlington Magazine 74 (1939): 104-110.

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. 219-20.


Contributors: Lee Sorensen


Citation

Lee Sorensen. "Goldschmidt, Werner." Dictionary of Art Historians (website). https://arthistorians.info/goldschmidtw/.


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Spanish art authority. Student of Wilhelm Waeztoldt and Adolph Goldschmidt. Fled to Paris during WW II under the assumed name of André Vernet. 1952 returned to Germany.