Subject Area(s): Baroque, Flemish (culture or style), Northern European, and painting (visual works)
Career(s): educators
Overview
Rubens scholar and University of North Carolina, Chapel Hill professor, 1959-77. Huemer graduated from the Woman’s College of Duke University in 1944. She moved to New York where she wrote her Master’s thesis (1952) at New York University. She taught art history at Smith College while pursuing her dissertation, co-supervised under Richard Krautheimer and Walter F. Friedländer. It was granted in 1959 on baroque architectural decoration in Rome. That year she joined the faculty of the University of North Carolina at Chapel Hill. She remained there the rest of her career. She received a Kress fellowship in 1972 to study the portraits of Rubens. This resulted in the 1977 volume on Rubens’ portraiture (I) for the catalogue raisonné on Rubens.
Selected Bibliography
[dissertation:] A Study of Roman Architectural Decoration of the Seventeenth Century. New York University, 1959; “Raphael and the Villa Madama: General Plan Attributed to Battista da Sangallo.” Marsyas 2nd Supplement I (1965): 92-9; [Rubens’] Portraits pt. 1. Corpus Rubenianum Ludwig Burchard 19. London: Harvey Miller, 1977; “Dionysiac Connection in an Early Rubens.” Art Bulletin 61 (December 1979): 562-74; “A New View of the Mantuan Friendship Portrait.” in, Papers Presented at the International Rubens Symposium: April 14-16, 1982, the John and Mable Ringling Museum of Art. Sarasota, FL: John and Mable Ringling Museum of Art Foundation, 1983; Rubens and the Roman Circle: Studies of the First Decade. New York: Garland, 1996; “Borromini and Michelangelo.” [series of articles] Source 18, no. 4, (summer 1999): 19-29, Source 20, no. 4, (summer 2001): 12-22, Source 20, no. 4, (summer 2001): 23-29, Source 21, no. 1, (fall 2001): 17-23, Source 21, no. 2 (winter 2002): 30-35.
Sources
Directory of American Scholars. 8th edition, vol. 1. New York: R. R. Bowker, 1982, p. ; personal information.
Citation
"Huemer, Frances." Dictionary of Art Historians (website). https://arthistorians.info/huemerf/.
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Rubens scholar and University of North Carolina, Chapel Hill professor, 1959-77. Huemer graduated from the Woman’s College of Duke University in 1944. She moved to New York where she wrote her Master’s thesis (1952) at New York University. She tau
Subject Area(s): architecture (object genre) and sculpture (visual works)
Overview
French romantic author who also wrote about architecture. In 1832 Hugo wrote a book on the famous cathedral in Paris, Notre Dame. Hugo’s publications were the backdrop for a number of important French illustrators. Among Hugo’s favorite was Célestin Nanteuil (1813-73), who provided the frontispieces for the first edition of Notre-Dame de Paris. Later illustrated editions of Notre-Dame de Paris included those by Louis Boulanger and the Johannot Brothers in 1836, Aimé de Lemud (1816-87) in 1844, and Luc Olivier Merson in 1889. Dessins de Victor Hugo a book of his own drawings, appeared in 1862. His chapter “Paris à vol d’oiseau” in Notre dame de Paris was the inspiration for topographical analysis of Georgian architecture by John Newenham Summerson in Summerson’s book of 1946.
Sources
[regarding his influence on Summerson] Middleton, Robin. “John Summerson.” Burlington Magazine 135 (April 1993): 278;
Citation
"Hugo, Victor." Dictionary of Art Historians (website). https://arthistorians.info/hugov/.
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French romantic author who also wrote about architecture. In 1832 Hugo wrote a book on the famous cathedral in Paris, Notre Dame. Hugo’s publications were the backdrop for a number of important French illustrators. Among Hugo’s favorite was Célest
Cultural historian (and champion) of the Middle Ages. Huizing’s father, Dirk Huizinga, was a professor of physiology. His mother, Jacoba Tonkens, died when Huizinga was only two. As a child, he witnessed the re-enactment of medieval procession in Groningen, which kindled an interest in history. He attended the municipal Gymnasium, intent on studying history, but, the history teachers were so poor that he changed to linguistics, learning Arabic. He entered the University of Groningen in 1891, studying Sanskrit and literature. His Indic studies were greatly influenced by the writing of the anthropologist Sir Edward Burnett Tylor (1832-1917). He studied comparative linguistics at the University of Leipzig, returning the Netherlands to receive his Ph.D. in 1897. His dissertation was written on classical Indian drama. In 1902, Huizinga saw the famous exhibition of early Netherlandish “primitives” and read the accompanying documentary catalog by William Henry James Weale. This instilled a lifelong interest in the middle ages, particularly as it was represented through the arts. He taught school in Haarlem, lecturing on ancient history between 1903-1905 at the university in Amsterdam. His history professor, Petrus Johannes Blok (1855-1929), secured a chair in History for Huizinga at the university in Groningen in 1905. Huizinga’s wife, Mary Vincentia Schorer (1877-1914) died in 1914. The following year he accepted the chair of history at Leiden. Between 1916 and 1932 Huizinga edited the periodical De Gids. Huizinga was fascinated with the United States. In 1918, he published his Mensch en menigte in Amerika, a study of what he considered the national characteristics without ever having visited the U.S. His most famous book, Herfsttij der Middeleeuwen, the Waning of the Middle Ages (retranslated as the Autumn of the Middle Ages) appeared in 1919. Using the painting of Jan and Hubert van Eyck, he theorized their time as the transition from the middle ages to the renaissance. Dutch historians were largely unimpressed by the work which was written for a wider, popular audience as much as scholars. It was translated into English and became an immediate success in the English-speaking world. A work on Erasmus was published in 1924. In 1926 he visited the U. S., producing a second book on the country, Amerika Levend en Denkend the same year. His reputation as a cultural historian found a strong following in Germany; his studies were translated into German in 1930 by Werner Kaegi (1901-1979). However, as fascist dictators in Germany, Italy and Spain came to power, Huizinga found himself ever at odds with them. He authored In de schaduwen van morgen (In the Shadow of Tomorrow), 1935. In 1937 Huizinga remarried to a twenty-eight year old woman, Auguste Schölvinck. He delivered a lecture at the Warburg Institute the same year on the concept of play in history and linguistics. The talk was expanded and published the following year as Homo ludens. In 1938, too, he accepted the vice-presidency of the International Committee of Intellectual Cooperation with the League of Nations in 1938 to defend Western intellectual traditions against totalitarianism. During the German occupation of the Netherlands the Nazis closed the University of Leiden. Huizinga was arrested after a speech criticizing the Nazis and banished to the village of De Steeg in Gelderland, near Arnhem, in 1942. Huizinga died during the harsh winter of 1945, shortly before the town’s liberation, ever confident of the ideals for which he had stood and written about. Kaegi published both an ecomium and a biography shortly after Huizinga’s death. Huizinga was a conservative historian who favored the positivists of the previous century, such as Thomas Babbington Macaulay (1800-1859) and Leopold van Ranke (1795-1886), to the methodologies of his day. He criticized the work of Jacob Burckhardt and its attribution of the rise of the individual to the renaissance instead of the middle ages. From Tylor, Huizinga adopted the view that cultures functioned the same worldwide; it was only in their particulars that they varied (Payton). Though his book on the middle ages employs the biomorphic rise-and-decline analogies, Huizinga denied a cyclical view of history, such as Marxism, asserting that historical knowledge is essentially intuitive and subjective, not based upon material. The Autumn of the Middle Ages is his most clear thesis of this. He emphasized history as an esthetic concept and declared that art museums should be incorporated in the general museums. The art historian E. H. Gombrich praised Huizinga’s Homo ludens (1938) for its Warburg-like concept of broad cultural phenomenon. His belief that art history made sense only through the outline of general (cultural) history, stated in Cultuurhistorische verkenningen was criticized by subsequent art historians, notably Horst Gerson.
Selected Bibliography
[collected works:] Verzamelde Werken. 9 vols. Haarlem: H. D. Tjeenk Willink, 1948-1953; Herfsttij der Middleeuwen: Studie over Levens- en Gedachtenvormen der Veertiende en Vijftiende eeuw in Frankrijk en de Nederlanden. Haarlem: H. D. Tjeenk Willink, 1919, English, The Waning of the Middle Ages: A Study of the Forms of Life, Thought, and Art in France and the Netherlands in the XIVth and XVth Centuries. London: E. Arnold, 1924, retranslated and published as, The Autumn of the Middle Ages. Chicago: University of Chicago Press, 1996; Nederlands beschaving in de zeventiende eeuw: Een schets. Haarlem: H. D. Tjeenk Willink,1941, English, Dutch Civilisation in the Seventeenth Century: and Other Essays. New York: F. Ungar, 1968; Nederland’s geestesmerk. Leiden: A.W. Sijthoff, 1935; Leven en werk van Jan Veth. Haarlem: H. D. Tjeenk Willink, 1927; Cultuurhistorische verkenningen. Haarlem: H.D. Tjeenk Willink, 1929, German, Wege der Kulturgeschichte: Studien. Munich: Drei Masken, 1930; In de schaduwen van morgen: Een diagnose van het geestelijk lijden van onzen tijd. Haarlem: H. D. Tjeenk Willink, 1935, English, In the Shadow of Tomorrow. New York: W. W. Norton; Philosophy and History; Essays Presented to Ernst Cassirer. Oxford: The Clarendon Press, 1936; De wetenschap der geschiedenis. Haarlem: H. D. Tjeenk Willink, 1937; Homo ludens: Proeve eener bepaling van het spelelement der cultuur, 1938, English, Homo ludens: a Study of the Play Element in Culture. New York: Roy Publishers, 1950; Geschonden wereld: een beschouwing over de kansen op herstel van onze beschaving. Haarlem: H. D. Tjeenk Willink, 1945; Men and Ideas: History, the Middle Ages, the Renaissance: Essays. New York: Meridian Books, 1959; De Nederlandse natie: vijf opstellen. Haarlem: H. D. Tjeenk Willink & Zoon N.V., 1960.
Sources
Kaegi, Werner. Johan Huizinga: zum Gedächtnis. Bern: Presseabteilung der Kgl. Niederländischen Gesandtschaft, 1945; Polman, Pontien. Huizinga als kultuurhistoricus. Haarlem: H. D. Tjeenk Willink & Zoon, 1946; Kaegi, Werner. Das historische Werk Johann Huizingas. Leiden: Universitaire pers Leiden, 1947; Schallenberg-Van Huffel, Wa. C. Huizinga. Baarn: Hollandia, 1950; Weintraub, Karl J. “Huizinga 1872-1945.” in Visions of Culture. Chicago: University of Chicago Press, 1966, pp. 208-292; Huizinga, Johan. “My Path to History.” in, Dutch Civilisation in the Seventeenth Century: and Other Essays. New York: F. Ungar, 1968; Gerson, Horst. “Huizinga und die Kunstgeschichte.” Bijdragen en mededelingen betreffende de geschiedenis der Nederlanden 88 no. 1 (1973): 348-364; 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. 147; Gombrich, Ernst. “The High Seriousness of Play: Reflections on Homo ludens by J. Huizinga (1872-1945).” in, Tributes: Interpreters of Our Cultural Tradition. Ithaca, NY: Cornell University Press, 1984, pp. 138-163; Payton, Rodney J. “Renaissance, Interpretation of the, ‘Johan Huizinga’.” The Encyclopedia of the Renaissance (1999) 5: 296-297; Strupp, Christoph. Johan Huizinga: Geschichtswissenschaft als Kulturgeschichte. Göttingen: Vandenhoeck & Ruprecht, 2000.
Citation
"Huizinga, Johan." Dictionary of Art Historians (website). https://arthistorians.info/huizingaj/.
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Cultural historian (and champion) of the Middle Ages. Huizing’s father, Dirk Huizinga, was a professor of physiology. His mother, Jacoba Tonkens, died when Huizinga was only two. As a child, he witnessed the re-enactment of medieval procession in
Place Born: Ghent, East Flanders, Flanders, Belgium
Place Died: Brussels, Brussels-Capital Region, Belgium
Home Country/ies: Belgium
Overview
Specialist and professor in early Flemish painting. After having attended high school (Koninklijk Atheneum) in Ghent, Hulin studied at the State University of Ghent, where he received his first doctorate from the Faculty of Arts in 1883, and his second one from the Faculty of Law in 1886. He continued his academic education abroad, in Berlin, Strasbourg, and Paris. During his stay in Paris, in 1888-1889, he studied at the Collège de France, the École des Hautes-Études and the École libre des Sciences Politiques. Upon his return in Belgium, he obtained, in 1889, an extraordinarius professorship at his Alma Mater in Ghent, where he taught psychology, logic, ethics and law. In 1892 he was promoted to full professor. He also taught economic history at the faculty of law. However, exploring early Flemish art was his real vocation. Around 1900, his first publications in this field began to appear. He wrote the critical catalog of the famous 1902 exhibition of Flemish paintings from the fourteenth to the sixteenth centuries in Bruges, Exposition de tableaux flamands des XIVe, XVe et XVIe siècles, with an introduction on the identity of a number of anonymous masters. This introduction also appeared separately in the same year, De l’identité de certains maîtres anonymes. He in addition published his research on a number of painters, including Jan Provoost, who worked in Bruges in the first half of the sixteenth century, Quelques peintres brugeois de la première moitié du XVI siècle. In 1907 he contributed a catalog of the paintings of Pieter Bruegel the Elder to a monograph by the Belgian art historian René van Bastelaer (1865-1940), Pieter Bruegel l’Ancien, son Åuvre et son temps. In 1908 he began teaching the history of Flemish painting at Ghent University. In his 1909 article, “An Authentic Work by Jacques Daret, Painted in 1434,” Hulin identified the Master of Flémalle with Robert Campin. Daret, as well as Rogelet de le Pasture, later known as Rogier van der Weyden, entered Campin’s workshop in 1427. In 1911 Hulin’s important study of the Heures de Milan appeared. In the introduction, Hulin set out the history of this Book of Hours that once had belonged, before it was finished, to the so called Très-Belles Heures de Jean de France, Duc de Berry. A different part of the same Book of Hours, preserved in the Biblioteca Nazionale in Turin and known as the Heures de Turin, had been studied and reproduced in black and white by the French art historian Paul Durrieu in 1902. Unfortunately, the original was destroyed by fire in 1904. Durrieu discovered in the Turin Book of Hours a number of exquisite miniatures in which he recognized the hands of Hubert and Jan van Eyck. This important finding, which Durrieu first communicated to the Société nationale des Antiquaires de France in June 1901 (it was published in the same year in the Bulletin of this association), was corroborated by Hulin in his November 1902 paper, “L’atelier de Hubrecht van Eyck et les Heures de Turin”, published in Annuaire de la Société pour le progrès des études philologiques et historiques. Both Hulin and Durrieu continued publishing on this topic. In his 1910-11 study of the Heures de Milan, Hulin made the connection between the Milan and the Turin Hours, today jointly known as the Turin-Milan Hours, and attributed two series of miniatures to Jan and Hubert van Eyck. The Eyckian authorship of these famous miniatures, however, has remained a subject of scholarly debate among Van Eyck scholars, and is questioned by most of them. Hulin was a member of many committees and associations. In 1910 and 1911 he successively became a corresponding and active member of the Fine arts section of the Académie royale de Belgique. In 1912 he joined the committee of the Biographie Nationale, published by the Académie. In the same year, he became a member of the consultative committee of the Burlington Magazine, to which journal he regularly contributed. In 1920 Hulin began to teach the history of painting at the newly founded Higher Institute for Art History and Archaeology at Ghent University. In 1927 he was involved in the organization of the exhibition Flemish and Belgian Art, 1300-1900, held in the London private art club, the Burlington House. He wrote the introduction to the catalog of early Flemish paintings in the Renders Collection. The owner of this collection was the Bruges banker Émile Renders. When the director of the Berlin ZentralbibliothekFriedrich Winkler expressed serious doubts on the authenticity of several paintings from this and other collections, Hulin tried to save his reputation as distinguished connoisseur. In 1929 Hulin held an exchange professorship at the University of Lyon in France, and in the same year he received a doctorate honoris causa from Utrecht University in the Netherlands. In 1930 Ghent University was converted into an exclusively Flemish institution and Flemish (the southern variant of Dutch) became the mandatory language for all classes. Hulin, who was French speaking, refused to conform to this governmental decision. His protest led to serious conflicts at the university and even in the Belgian government. He retired from Ghent University in 1932, but he continued to teach in French at the Ghent École des Hautes Études, as well at the Institut supérieur d’Histoire de l’Art et d’Archéologie in Brussels, located at the Musées royaux des Beaux-Arts. He regularly wrote articles in the Bulletin de la Classe des Beaux-Arts. In 1931 Belgian and international scholars honored him with a Festschrift, Mélanges Hulin de Loo. In 1935 he was elected president of the Académie royale. His Van der Weyden biography appeared in 1938 in the Biographie nationale. In 1942 he published a monograph on Pedro Berruguete, Pedro Berruguete et les portraits d’Urbin. Hulin, who remained single, died in an accident in 1945. Hulin was one of the first connoisseurs of early Flemish painting. His critical contributions following the 1902 Bruges exhibition and his continuing research on Flemish painters and miniaturists became the foundation for further studies in this field. During his frequent travels he had the opportunity to see many art works in situ. His stylistic observations are influenced by the method of Giovanni Morelli. In the early 1930s, Renders attacked Hulin, along with other art historians, for not agreeing with his views on the Master of Flémalle and Hubert van Eyck. Although Max J. Friedländer and some others followed the views of Renders on these matters, Hulin remained firm in his opinion that Rogelet de le Pasture, apprenticed by the Master of Flémalle, was the same person as the celebrated Brussels painter Rogier van der Weyden. His students included Domien Roggen.
Selected Bibliography
[complete bibliographies:] J. M. T. “Bibliographie de l’auteur” Pedro Berruguete et les portraits d’Urbin. Brussels: Librairie encyclopédique, 1942: pp. 57-68, and “Publikaties van Georges Hulin” Rijksuniversiteit te Gent. Liber memorialis 1913-1960. 1. Faculteit der Letteren en Wijsbegeerte. Ghent: Uitgave van het Rectoraat, 1960, pp. 52-55; Bruges 1902: Exposition de tableaux flamands des XIVe, XVe et XVIe siècles. Catalogue critique précédé d’une introduction sur l’identité de certains Maîtres anonymes. Ghent: A. Siffer, 1902 ; “L’atelier de Hubrecht van Eyck et les Heures de Turin.” Annuaire de la Société pour le progrès des études philologiques et historiques (1902): 69-74; Quelques peintres brugeois de la première moitié du XVI siècle. Ghent: Librairie générale, 1902; and Van Bastelaer, René. Peter Bruegel l’Ancien, son Åuvre et son temps: étude historique suivie des catalogues raisonnés de son Åuvre dessiné et gravé, par R. van Bastelaer et d’un catalogue raisonné de son Åuvre peint, par Georges H. de Loo. Brussels: G. van Oest, 1907; “An authentic Work by Jaques Daret, Painted in 1434” Burlington Magazine 15 (1909): 202-208; Heures de Milan. Troisième partie des Très-Belles Heures de Notre Dame, enluminées par les peintres de Jean de France, Duc de Berry, [etc.]. Brussels: G. van Oest, 1910-1911; Early Flemish Paintings in the Renders Collection at Bruges. Exhibited at the Belgian Exhibition, Burlington House, January, 1927. With an Introduction by G. Hulin de Loo and Notices by Edouard Michel. London: B. T. Batsford, 1927; “Weyden (Rogier de le Pasture, alias Van Der)” in Biographie nationale publiée par l’Académie royale des sciences, des lettres et des beaux-arts de Belgique 27. Brussels: Établissements Émile Bruylant, 1938, pp 222-245; Pedro Berruguete et les portraits d’Urbin. Brussels: Librairie encyclopédique, 1942.
Sources
C[ust], L[ionel]. [review] “Heures de Milan” Burlington Magazine 20, no. 104 (November 1911): 118-119; Winkler, Friedrich. “Die flämisch-belgische Ausstelling in London” Der Kunstwanderer 7 (1927): 221-224; Bergmans, Paul. Introduction [Festschrift] Mélanges Hulin de Loo. Brussels: G. Van Oest, 1931, pp V-IX; Duverger, Jozef. “Georges Hulin de Loo (1862-1945)” Rijksuniversiteit te Gent. Liber memorialis 1913-1960. 1. Faculteit der Letteren en Wijsbegeerte. Ghent: Uitgave van het Rectoraat, 1960, pp. 50-52; Lavalleye, Jacques. “Notice sur Georges Hulin de Loo. Membre de l’Académie” Annuaire de l’Académie (1961) Brussels : Académie royale de Belgique; Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 244-246, 505; Laemers, Suzanne. ” ‘A Matter of Character’ Max J. Friedländer et ses relations avec Émile Renders et Jef van der Veken” in Vanwijnsberghe, Dominique (ed.) avec la collaboration de Bourguignon, Catherine and Debergh, Jacques. Autour de la Madeleine Renders: Un aspect de l’histoire des collections, de la restauration et de la contrefaçon en Belgique dans la première moitié du XXe siècle. Brussels: Institut royal du Patrimoine artistique, 2008, pp. 147-176 ; [obituaries:] Popham, Arthur E. Burlington Magazine 88 (March 1946): 75; Bautier, Pierre. “Un eminent historien de l’art Flamand.” Revue Belge d’Archéologie et d’Histoire de l’Art 16, 1-2 (1946): 88-90; Arts, Beaux-Arts, Litterature, Spectacles (February 1946): 3; Phoebus 1, 2 (1946): 82; Marquet-Tombu, J. ” En hommage à Hulin de Loo” Phoebus 2, no. 1 (1948): 37.
Contributors: Monique Daniels
Citation
Monique Daniels. "Hulin de Loo, Georges Nicolas Marie." Dictionary of Art Historians (website). https://arthistorians.info/hulindeloog/.
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Specialist and professor in early Flemish painting. After having attended high school (Koninklijk Atheneum) in Ghent, Hulin studied at the State University of Ghent, where he received his first doctorate from the Faculty of Arts in 1883, and his s
Architectural historian of the classical era who later changed to medieval and Renaissance. Hülsen studied classical philology, ancient history and archaeology with Ernst Curtius, Johann Gustav Droysen (1808-1884), Ernst W. E. Hübner (1834-1901), Johannes Vahlen (1830-1911), and Theodor Mommsen (1817-1903). His dissertation, on Ovid, was directed by Mommsen and Hübner. Through Mommsen, he was awarded a stipend from the DAI (Deutsches Archäologisches Institut or German Archaeological Institute) to travel to Rome where he assisted in the corpus of Latin inscriptions from the city of Rome. In 1904 he published his Das Forum Romanum, an important and widely translated work on the Roman Forum. As a topographical scholar he gained equal fame for another volume, this one on Roman topography, appearing as volume three of Topographie der Stadt Rom in Altertum, in 1907. Hülsen’s knowledge of architecture was not as sound as other disciplines, however; his conclusions in the Topographie often belie the Beaux-Arts assumptions of the architects who advised him (Richardson). Despite these accomplishments and his service as second secretary to the DAI in Rome, 1887-1909, he was twice denied the appointment of first secretary. In disillusionment, he left the Institute to live in Florence, where he changed focus to medieval and Renaissance art. His collaboration with Wladimir de Grüneisen on the paintings for Santa Maria Antiqua, Rome resulted in a significant monograph (1911). In Florence he published studies on the historic drawings of Rome by Marten van Heemskerck (in collaboration with the Vienese art historian Hermann Egger), as well as Guilio San Gallo, Giovanni Antonio Dosio and other artists. In 1927 his study on the churches of medieval Rome, Le Chiese di Roma nel Medio Evo, appeared. Like his other books in the many disparate fields, it represented significant original scholarship. He remained in Florence the remainder of his life except for five years as professor at the University of Heidelberg. He was the recipient of honorary degrees from Oxford, Erlangen, and New York. Hülsen’s counterpart and rival in Roman topographic studies was Rodolfo Lanciani, an engineer who’s knowledge of architecture was better than Hülsen’s. His Roman Forum book, distinctive by its deep jade buckram cover, was a staple of libraries and used books stores for years.
Selected Bibliography
[dissertation] Varronianae doctrinae quaenam in Ovidii fastis vestigia extent. Berlin: Goetsch und Mann, 1880; Das Forum romanum; rekonstruktion nach angaben und mit erläuterunger. Rome: Spithöversche, 1892; and Kiepert, H. Formae Urbis Romae antiquae. 1896, English, The Forum and the Palatine. New York: A. Bruderhausen, 1927; Das Forum Romanum: seine Geschichte und seine Denkmäler. Rome: Loescher, 1905; and Jordan, Henri. Topographie der Stadt Rom im Alterthum. volume I, part 3. Berlin: Weidmannsche Buchhandlung, 1907; “Le monument payen et la topographie du lieu.” in, Sainte-Marie-Antique, le caractère et le style des peintures du VIe au XIIIe siècle. Rome: M. Bretschneider, 1911, pp. 61-70; and Egger, Hermann. Die Skizzenbücher des Marten van Heemskerck. 2 vols. Berlin: J. Bard, 1912-1916; Römischen Antikengärten des XVI. Jahrhunderts, 1917; ed., with Fiechter, Ernst. Römische Gebälke. Toebelmann-Stiftung der Heidelberger Akademie der Wissenschaften. Heidelberg: C. Winter, 1923; Le chiese di Roma nel medio evo, cataloghi ed appvnti. Florence: L.S. Olschki, 1927; edited, Dosio, Giovanni Antonio. Das Skizzenbuch des Giovannantonio Dosio im Staatlichen Kupferstichkabinett zu Berlin. Berlin: H. Keller, 1933.
Sources
Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 126-127; Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 1, pp. 598-600; Richardson, Lawrence, Jr. A New Topographical Dictionary of Ancient Rome. Baltimore: John Hopkins University Press, 1992, p. xxv.
Contributors: Lee Sorensen
Citation
Lee Sorensen. "Hülsen, Christian Karl Friedrich." Dictionary of Art Historians (website). https://arthistorians.info/hulsenc/.
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Architectural historian of the classical era who later changed to medieval and Renaissance. Hülsen studied classical philology, ancient history and archaeology with Ernst Curtius, Johann Gustav Droysen (1808-1884), Ernst W.
Subject Area(s): Ancient Greek (culture or style), archaeology, architecture (object genre), Greek sculpture styles, and sculpture (visual works)
Overview
Self-educated archaeologist who discovered the Pergamon altar and later led the excavation. Humann was an innkeeper’s son. He studied engineering until a diagnosis of tuberculosis necessitated a move to a southern European climate. He worked as a surveyor in Turkey assigned to the railway and road construction departments. There, Humann gained a personal familiarity with the classical-era ruins. In 1878 he began excavating the site of Pergamon, secretly supported with funds from Alexander Conze. In 1884, he made a squeeze (paper impression) of the Monumentum Ancyranum at the request of Theodor Momsen (1817-1903). The same year he was named foreign director of Royal Museum in Berlin, responsible for all Prussian archaeological expeditions in the Near East. His further excavations included Tralles (1888, Magnesia-on-the-Maeander (1890-93), Priene (1895), and Ephesos (1895). He continued at the Pergamon site until 1886, assisted by Wilhelm Dörpfeld. Between 1878-1886 he excavated at Pergamon, discovering the great altar, located now in the Berlin Museum, the finest example of Hellenistic sculpture. He died in Smyrna, Greece, which is present-day İzmir, Turkey. At his death in 1896 he was buried at the Catholic cemetery in Smyrna. In 1967 his remains were re-interred at Pergamon, the site of his spectacular find, just south of the altar. Humann never studied archaeology or took an advanced degree of any kind. He exemplified the nineteenth-century self-made archaeologist, akin to Heinrich Schliemann and Dörpfeld.
Selected Bibliography
and Conze, Alexander, and others. Die ergebnisse der ausgrabungen zu Peramon. Berlin: Weidmannsche buchhandlung, 1880; Der Pergamon Altar. Dortmund: Ardey Verlag, 1959; [and other members of] Orient-komitee, Berlin. Ausgrabungen in Sendschirli. 4 vols. Berlin, W. Spemann, 1893-1911.
Sources
Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 69-70; Calder, William, III. Carl Humann. Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, p. 600.
Citation
"Humann, Carl." Dictionary of Art Historians (website). https://arthistorians.info/humannc/.
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Self-educated archaeologist who discovered the Pergamon altar and later led the excavation. Humann was an innkeeper’s son. He studied engineering until a diagnosis of tuberculosis necessitated a move to a southern European climate. He worked as a
Place Born: Ghent, East Flanders, Flanders, Belgium
Place Died: Brussels, Brussels-Capital Region, Belgium
Home Country/ies: Belgium
Overview
Rubens and Jordaens scholar: professsor of art history at the University of Ghent, 1957-1985. d’Hulst worked as a curator at the Royal Museum of Fine Arts in Brussels begiining in 1949. He received a Ph.D. in art history from the University of Ghent in 1955, writing his dissertation on Jacob Jordaens’s drawings, De tekeningen van Jakob Jordaens: bijdrage tot de geschiedenis van de XVIIe-eeuwse kunst in de Zuidelijke Nederlanden. He joined the University beginning in 1957, teaching art history. In 1959 he co-founded the Belgian Institute for the study of 16th- and 17th-century Flemish art, serving as its director for most of the rest of his life. D’Hulst and Burchard co-wrote a book on Rubens’s drawings in 1963. A book on Rubens’s oil sketches appeared in 1968. A book Flemish tapestries written in 1971. d’Hulst succeeded in getting Ludwig Burchard to will his extensive library to the Institute, which then became the Centrum Rubenianum. There he began assigning scholars to write volumes for an eventually twenty-volume catalogue raisonné. The Corpus Rubenianum Ludwig Burchard. In 1974 d’Hulst published a four-volume work on Jordaens’s drawings followed by a monograph on the artist in 1982
D’Hulst’s documentation on other artists and schools was for the greater part integrated in the artwork documentation of the Rubenianum. His library was added to the Rubenianum’s library..He was largely responsible for the reconstruction of Jordaens work. (New York Times).
Selected Bibliography
[complete list:] Vander Auwera, Joost. “Bibliografie R.-A. d’Hulst” Rubens and his World. Antwerp: Het Gulden Cabinet, 1985, pp xix-xxviii; [dissertation:] De tekeningen van Jakob Jordaens: bijdrage tot de geschiedenis van de XVIIe-eeuwse kunst in de Zuidelijke Nederlanden. Ghent University, published, Brussels: Academie voor Wetenschappen, Letteren en Schone Kunsten, Paleis der Academiën, 1956; Drawings and Watercolors by Flemish and Dutch Masters. Washington, Cambridge, Baltimore, Cleveland, San Francisco, New York, 1954; and Burchard, Ludwig. Tekeningen van P. P. Rubens. Antwerp: Uitgeverij ontwikkeling, 1956; and Burchard, Ludwig. Rubens Drawings. Brussels: Arcade Press, 1963; and Vey, Horst. Antoon Van Dyck, tekeningen en olieverfschetsen. Deurne-Antwerp: Rubenshuis/C. Govaerts, 1960; and Liebaers, Herman and Duverger, Jozef. Vlaamse wandtapijten van de XIVe tot de XVIIIe eeuw. Brussels: Arcade, 1960, English: Flemish Tapestries, from the Fifteenth to the Eighteenth Century. New York: Universe Books, 1967; Tekeningen van Jacob Jordaens. 1593-1678. Antwerp: Rubenshuis, 1966; The Royal Museum, Brussels. London, Oldbourne Press, 1966; and Baudouin, Frans. Rubens en zijn tijd. Tekeningen uit Belgische verzamelingen. Antwerp: Rubenshuis, 1971; Flemish Drawings of the Seventeenth Century from the Collection of Frits Lugt, Institut néerlandais, Paris. Paris: Institut néerlandais, 1972; Jordaens Drawings. 4 vols. New York: Phaidon Press, 1974; Jacob Jordaens, tekeningen en grafiek: catalogus. Antwerp: Museum Plantin-Moretus, 1978; Jacob Jordaens. Antwerp: Mercatorfonds, 1982, English: Ithaca, NY: Cornell University Press, 1982; and Vandenven, M. Rubens: the Old Testament. Corpus Rubenianum Ludwig Burchard 3. London: Harvey Miller, 1989; “Elk volgens zijn begaafdheid” in D’Hulst and others, (Buyle, Marie-Anne ed) De Kruisoprichting van Pieter Paul Rubens. Brussels: Ministerie van de Vlaamse Gemeenschap. Bestuur Monumenten en Landschappen. Roularta Books, 1992, pp. 23-41; and De Poorter, N. and Vandenven, M. Jacob Jordaens (1593-1678). 1. Schilderijen en wandtapijten, 2. Tekeningen en prenten. Antwerp, 1993.
Sources
Baudouin, Frans. “Woord vooraf/Preface.” Rubens and his World: Bijdragen – Études – Studies – Beiträge. Opgedragen aan Prof. Dr. Ir. R.-A. d’Hulst naar aanleiding van het vijfentwintigjarig bestaan van het Natioinaal Centrum voor de Plastische Kunsten van de 16de en de 17de Eeuw. Antwerp: Het Gulden Cabinet, 1985, pp. ix-xvii; Baudouin, Frans. “Hulst, Roger-Adolf d’ ” Nationaal Biografisch Woordenboek 16. Brussel: Paleis der Academiën, 2002, pp. 458-465; [obituaries:] “Roger-A. d’Hulst, Rubens Expert, 77” New York Times (24 February 1996); Bruyn, J. “Levensbericht R. A. d’Hulst” in Koninklijke Nederlandse Akademie voor Wetenschappen. Levensberichten en herdenkingen. Amsterdam, 1997, pp.15-18; Baudouin, Frans. “In Memoriam R.-A. d’Hulst.” in Jaarboek 2000. Koninklijke Vlaamse Academie van België voor Wetenschappen en Kunsten. Brussel, 2001, pp. 113-117.
Rubens and Jordaens scholar: professsor of art history at the University of Ghent, 1957-1985. d’Hulst worked as a curator at the Royal Museum of Fine Arts in Brussels begiining in 1949. He received a Ph.D. in art history from the University of Ghent
Place Born: Waldangelloch, Baden-Württemberg, Germany
Place Died: Berkeley, Alameda, CA, USA
Home Country/ies: Germany
Subject Area(s): Medieval (European)
Overview
Medievalist professor of art history at the University of California, Berkeley. Horn was the son of a Karl Horn, a Lutheran minister, and Matilde Peters (Horn). He grew up in Heidelberg, attending the university there, and in Berlin and Hamburg studying art history. He settled on the newly establish art history department there, writing his disseration under Erwin Panofsky. Horn served as a research associate beginning in 1934 at the Kunsthistorisches Institut in Florence. His disseration was on the fascade of the church of St-Gilles, was granted for his Ph.D.from Hamburg in 1937. Horn’s first article, “Das Florentiner Bapisterium,” 1938, disproved a Roman or early Christian date for the famous baptistry, based on a careful study of the building materials. Horn’s strong opposition to National Socialism forced him to emigrate to the United States the same year. He secured an appointment at the University of California, Berkeley as a visiting lecturer in 1939 and assistant professor the following year. He remained there his entire career.He married Ann Binkley Rand. Horn became a U.S. citizen in 1943 and joined the army to fight the Nazis. He became part of General George S. Patton’s 3rd Army in Europe. Given his art background, he was transferred to the division to investigate looted treasures in Germany, Third Army Intelligence Center, interviewing Germans responsible for the thefts. He was discharged from the army with the rank of captain in 1946 and returned to Berkeley and was appointed professor in 1948. In 1949. He married a second time to Alberta West Parker, a physician. Together with the classicist Darrell A. Amyx, he helped found the History of Art Department at Berkeley. After participating in a conference on the plan of St. Gall in 1957, he published a 1958 article on the bay system in stone architecture. Horn concluded that stone structures of the Romanesque period owed much to the wood churches of the era which had all disappeared. Horn employed a San Francisco architect and draftsman, Ernst Born, to assist him with his drawings. Beginning in 1960, Born and Horn began collaborating on the measurement of medieval buildings, publishing several studies of related Cistercian buildings in England and France. Born went on to a career in architectural history at Berkeley through Horn’s encouragement. Horn retired emeritus from the University in 1974. In 1979, Horn and Born published a complete study of the plan of St. Gall which received twelve major awards and the AIA medal. His students include W. Eugene Kleinbauer, Jr. (master’s degree). The hallmark of Horn’s methodology was the precise date of medieval buildings by a study of their building techniques and materials. Throughout his career, Horn contended that the plan of St. Gall was a copy of a lost master plan of 816 or 817. This proved controversial and many of Horn’s greatest critics argued that the plan was an ideal plan rather than actual.
Selected Bibliography
[dissertation:] Die Fassade von St. Gilles: Eine Untersuchung zur Frage des Antikeneinflusses in der südfranzösischen Kunst des 12. Jahrhunderts. Hamburg, 1937; “Das florentiner Baptisterium.” Mitteilungen des Kunsthistorischen Institutes in Florenz. Sonderdruck, 5 no.2, (December 1938): 99-151; “Romanesque Churches in Florence.” Art Bulletin 25 (1943): 112-321; “On the Origins of the Medieval Bay System.” Journal of the Society of American Historians 17 (1958): 2-23; The Barns of the Abbey Beaulieu at its Granges of great Coxwell and Beaulieu-St. Leonards. Berkeley: University of California Press, 1965; “On the Author of the Plan to the Monastic Reform Movement.” in Duft, Johannes, ed. Studien zum St. Galler Klosterplan. St. Gallen: Fehr, 1962; and Born, Ernst. The Plan of St. Gall: A Study of Architecture and Economy of, and Life in a Paradigmatic Carolingian Monastery. 3 vols. Berkeley: University of Califirnia Press, 1979.
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. 125 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, p. 39, mentioned, pp. 50, 85 mentioned; Kleinbauer, W. Eugene and Mellinkoff, Ruth, and Marrow, James. “Memoir of Walter W. Horn.” Speculum 71 (July 1996): 800-802; 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. 324-326.
Citation
"Horn, Walter W.." Dictionary of Art Historians (website). https://arthistorians.info/hornw/.
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Medievalist professor of art history at the University of California, Berkeley. Horn was the son of a Karl Horn, a Lutheran minister, and Matilde Peters (Horn). He grew up in Heidelberg, attending the university there, and in Berlin and Hamburg st
Subject Area(s): Italian (culture or style), Italian Renaissance-Baroque styles, and Renaissance
Career(s): art collectors
Overview
Art collector and historian of Italian Renaissance art. Horne was the son of Horace Horne (d. 1894) and Hannah Louisa Gibson (Horne) (d. 1903). His father was a practicing architect. He attended the Kensington grammar school where the art critic for the Birmingham Post, D. Barron Brightwell (1834-1899), first introduced Horne to art. Horne then apprenticed to the architect George Vigers in London. Horne moved to the studio of Arthur Heygate Mackmurdo (1851-1942 ), becoming a partner in the 1880s. A social visionary, Mackmurdo, like William Morris, founded the Century Guild in 1882 with the artist Selwyn Image (1849-1930)–and likely Horne–to promote crafts of decoration and book publishing as fine arts. The Century Guild published the periodical The Hobby Horse, between 1884 and 1894, dedicated to fine design. Horne had read the Studies in the History of the Renaissance by Walter Pater which emphasized an aesthetic approach to art. Privately a libertine, his personal life amounted to frequenting bars and keeping numerous mistresses in a bohemian lifestyle. He was frequently in contact with Oscar Wilde between 1886 and 1891. Horne’s interest turned to Renaissance art in earnest. He met the art historian and Bernard Berenson in 1888 and the (then Italian renaissance) art scholar Roger Fry. In 1889 he traveled to north Italy to study architecture for a commission. In England, he lived with his parents until 1890s when he fitted himself out with an aesthete’s apartment replete with Renaissance prints. Horne left Mackmurdo in 1892 to practice on his own, designing buildings in a vague quattrocento style. Using an 1894 commission of George Bell & Sons intended for a popular treatment on Botticelli, Bell moved to Italy to study the artist seriously. From then on, Italian art history became the focus of his life. He sold his collection British of works on paper, including an important group of Alexander Cozens in order to remain in Florence. In Italy in 1897 he conducted tours of the monuments to Britishers such as Mary Costelloe (later Mary Berenson) and Julia Ady. In 1901 the first of two articles on Botticelli’s Adoration in the first issue of the Burlington Magazine. Horne moved permanently to Italy in 1904. He published his most important book in 1908, on Botticelli, in a small edition, dedicated to Pater. Fry’s elegant review in the Burlington Magazine of the same year praised Horne’s analysis. In Florence he developed his art dealing, partnering sometimes acerbically with Fry and Berenson, facilitating and possibly an accomplice to smuggling art works to Italy to Britain and the United States. He bought and restored the Palazzo Corsi in 1911, a fifteenth-century edifice which he transformed into a living museum of renaissance life. The same year he sold the Baltimore collector Henry Walters the magnificent Entombment predella by Giovanni di Paolo. The Hamburg art historian Aby M. Warburg visited a dying Horne in 1915, occupying only the tiniest rooms in his palazzo. Berenson’s wife, Mary Berenson convinced Horne to leave the palazzo to the Italian state, which he did as “Museo Horne.” Horne died there in 1916 and is buried in the Gli Allori (protestant) cemetery in Florence. Horne’s art history, clearest in his Botticelli is a narrative parsed with personalized descriptions of the paintings. His approach was compatible with Berenson and Fry, i.e., centered on the formal qualities, assigning attribution, and identifying the details in the manner of Giovanni Morelli. Horne’s archival research, unlike Berenson or Fry, was solid and stated in a forthright manner. As contrasting scholars as the museum curator John Pope-Hennessy and Warburg scholar Fritz Saxl, praised Horne’s works years after his death (1979 and 1944). Leopold D. Ettlinger described Horne’s Botticelli in 1978 as “one of the finest and still unsurpassed art-historical books ever written.” John Rothenstein was wary of his personal traits. Horne’s contrasting personality of scholar and bohemian (in her diaries Mary Berenson alluded to his bisexuality) makes his life difficult to characterize.
Selected Bibliography
“The Story of a Famous Botticelli.” Monthly Review (February 1902): 133-145; “A Lost ‘Adoration of the Magi’ by Sandro Botticelli.” Burlington Magazine 1 no. 1 (March 1903): 63-74; The Life of Leonardo da Vinci, by Giorgio Vasari, done into English from the Text of the Second Edition of the “Lives”. London: At the Sign of the Unicorn/Edinburgh: Morrison and Gibb, 1903; translated, Condivi, Ascanio. The Life of Michelagnolo Buonarroti collected by Ascanio Condivi da la Ripa Transone. Boston: Merrymount Press, 1904; Alessandro Filipepi, Commonly Called Sandro Botticelli, Painter of Florence. London: G. Bell & sons, 1908; A Lost Adoration of the Magi, by Sandro Botticelli.” Burlington Magazine 16 no. 79 (October 1909): 40-41; “Botticelli’s Last Communion of S. Jerome.” Burlington Magazine 28 ( 1915): 44-46; Some Considerations of the Nature of Fine Art. San Francisco: Harold Seeger, Lawton Kennedy, Albert Sperisen, 1947 [paper read at Whitechapel Craft School in Little Alie Street, London, 1891];
Sources
Fletcher, Ian. “Herbert Horne: The Earlier Phase.” English Miscellany 21 (1970): 117-157; Exhibition of the Herbert Horne Collection of Drawings. London: Burlington Fine Arts Club, 1916; Saxl, Fritz. “Three ‘Florentines:’ Herbert Horne, Aby Warburg, Jacques Mesnil.” Lectures, vol. 1. 1957, pp. 331-344; Fletcher, Ian. Herbert Horne: the Earlier Phase. Rome: Edizioni di storia e letteratura, 1970; Codell, Julie Francia. Chelsea Bohemian: Herbert Percy Horne, the Critic as Artist. Ph.D., dissertation, Indiana University, 1978; Ettlinger, Leopold. [Review of Ronald Lightbown’s Botticelli]. Burlington Magazine 121, no. 920 (November 1979): 729; -Pope-Hennessy, John. “Introduction.” Horne, Herbert P. Botticelli: Painter of Florence Princeton, NJ: Princeton University Press, 1980, pp. ix-xiii; Codell, Julie. “Horne’s Botticelli: Pre-Raphaelite Modernity, Historiography and the Aesthetic of Intensity.” Journal of Pre-Raphaelite and Aesthetic Studies 2 (1989): 27-41; Fletcher, Ian. Rediscovering Herbert Horne: Poet, Architect, Typographer, Art Historian. Greensboro, NC: ELT Press, 1990; Codell, Julie, “Herbert Horne,” 1890s Encyclopedia of Art, Literature & Culture. New York: Garland, 1993, pp. 284-5; Preyer, Brenda Isabel. Il Palazzo Corsi-Horne: dal Diario di restauro di H.P. Horne. Rome: Istituto poligrafico e Zecca dello Stato, Libreria della Stato, 1993; Chaney, Edward, and Hall, Jane. “Herbert Horne’s 1889 Diary of his First Visit to Italy.” The Sixty-fourth Volume of the Walpole Society (2002): 69-82; Crawford, Alan. “Horne, Herbert Percy (1864-1916).” Oxford Dictionary of National Biography, Oxford University Press, 2004.
Citation
"Horne, Herbert P.." Dictionary of Art Historians (website). https://arthistorians.info/horneh/.
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Art collector and historian of Italian Renaissance art. Horne was the son of Horace Horne (d. 1894) and Hannah Louisa Gibson (Horne) (d. 1903). His father was a practicing architect. He attended the Kensington grammar school where the art critic f
