Full Name: Jenkins, I. D.
Gender: male
Date Born: unknown
Date Died: unknown
“The Composition of the So-Called Eponymous Heroes on the East Frieze of the Parthenon,” American Journal of Archaeology 89, no. 1 1985: 121-127.
Ridgway, Brunhilde Sismondo. “The State of Research on Ancient Art,” Art Bulletin 68 (March 1986): 9 note 17.
Full Name: Jessen, Peter
Gender: male
Date Born: 1858
Date Died: 1926
Home Country/ies: Germany
Institution(s): Ethnology Museum
Ornament scholar.
Das Ornament der Rococo. 1894. Der Ornamentstich; Geschichte der Vorlagen der Kunsthandwerks seit dem Mittelalter. Berlin: Verlag für kunstwissenschaft g.m.b.h., 1920.
Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986 p. 194
Contributors: Lee Sorensen
Ornament scholar.
Full Name: Joachim, Harold
Gender: male
Date Born: 1909
Date Died: 24 November 1983
Place Born: Göttingen, Lower Saxony, Germany
Place Died: Chicago, Cook, IL, USA
Home Country/ies: Germany and United States
Subject Area(s): drawings (visual works) and prints (visual works)
Career(s): curators
Institution(s): Art Institute of Chicago
Museum curator at the Art Institute of Chicago; specialist in drawings, particularly Italian and French of the 17th and 18th centuries. Joachim was born in Göttingen in 1909 to Dr. Johannes Joachim, a librarian, and Else Gensel; his grandfather was the noted violinist Joseph Joachim. Joachim attended school at a classical Gymnasium in Göttingen, completing his abitur in 1927. He studied art history, archaeology, history, musicology, and philosophy in Göttingen, Berlin, and Leipzig; his teachers included Leo Bruhns, Georg Vitzthum von Eckstädt, Hermann Theodor Beenken, Theodor Hetzer, Hans Kauffmann, Nikolaus Pevsner, and Wolfgang Stechow. Joachim completed his dissertation, Die Stiftskirche zu Königslutter: ein Beitrag zur deutschen Kunstgeschichte des 12. Jahrhunderts (The Collegiate Church at Königslutter: a Contribution to German Art History of the 12th Century), at Leipzig in 1935 under Bruhns; it was published in Göttingen in the same year. In 1938, Joachim emigrated from Germany to the USA, presumably due to persecution on the basis of his Jewish parentage. From 1940 to 1941 he worked as an assistant at the Department of Printing and Graphic Arts of the Harvard Library in Cambridge, Massachusetts. Joachim served in the U.S. Army from 1940 to 1945, and was naturalized in 1944. In 1946 he began his career in the Department of Prints and Drawings at the Art Institute of Chicago as a research assistant under director Carl Schniewind, later becoming assistant curator. Joachim left briefly in 1956 to serve as curator of the Print Department of the Minneapolis Institute of Arts. He returned to the Art Institute of Chicago in 1958 as curator of the Department of Prints and Drawings, where he remained until 1973. Under his direction, the collection underwent substantial expansion; he also served as the co-editor of Museum Studies.
Joachim was noted for his connoisseurship and breadth of expertise. He acquired over 10,000 prints and drawings for the Art Institute of Chicago during his tenure, and was greatly influential on fellow collectors and curators. Egbert Haverkamp-Begemann wrote that he “set national and worldwide standards that will be observed for a long time to come”, signifying his reach and influence.
Contributors: Lee Sorensen and Lindsay Dial
Museum curator at the Art Institute of Chicago; specialist in drawings, particularly Italian and French of the 17th and 18th centuries. Joachim was born in Göttingen in 1909 to Dr. Johannes Joachim, a librarian, and Else Gensel; his grandfather wa
Full Name: Janitschek, Hubert
Gender: male
Date Born: 1846
Date Died: 1893
Place Born: Troppau, Silesia
Place Died: Leipzig, Saxony, Germany
Home Country/ies: Germany
Subject Area(s): Romanesque
Alberti and Romaneque art scholar; Gratz education; taught at Leipzig. In 1882 he married the writer Maria Tölk (1859-1927) [pseudonym Marius Stein]. His students included Georg Dehio, Aby M. Warburg and Paul Clemen. Colleague of Anton Springer. At Strassburg, Janitschek’s students included Wilhelm Vöge. In 1890, Janitschek was the first to use the terms “Ottonian art” and “Ottonian painting” for art (i.e., independent of the architectural mode) first identified by Johann Dominico Fiorillo, Franz Kugler and Gustav Friedrich Waagen. His terminology left unclear a terminus of either the beginning or end of 11th century, which his colleague Springer insisted ended mid-century.
Leone Battista Albertis kleinere kunsttheoretische Schriften. Vienna: W. Braumüller, 1877; Die Gesellschaft der Renaissance in Italien und die Kunst. Stuttgart: W. Spemann, 1879; Die Geschichte der deutschen Malerei. Vol. III of Geschichte der deutschen Kunst. 5 vols. Berlin: Grote, 1887-1890; Die Kunstlehre Dantes and Giottos Kunst. Leipzig: Brockhaus, 1892; “Zwei Studien zur Geschichte der karolingischen Malerei.” In Strassburger Festgruss an Anton Springer zum 4. Mai 1885. Stuttgart: Spemann, 1885: 1-30.
Kleinbauer, W. Eugene. Research Guide to the History of Western Art. Sources of Information in the Humanities, no. 2. Chicago: American Library Association, 1982, p. 32, 147 mentioned; Dvorák, Max. Idealism and Naturalism in Gothic Art. Notre Dame, IN: University of Notre Dame Press, 1967, pp. 205-6; 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. 91; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 190-2
Alberti and Romaneque art scholar; Gratz education; taught at Leipzig. In 1882 he married the writer Maria Tölk (1859-1927) [pseudonym Marius Stein]. His students included Georg Dehio, Aby M. Warburg a
Full Name: Jamot, Paul
Gender: male
Date Born: 1863
Date Died: 1939
Home Country/ies: France
Subject Area(s): ancient and painting (visual works)
Career(s): art collectors and curators
Curator of the department of Painting, Louvre, 1927-1939; art collector. Jamot studied at the Lycée Louis-le-Grand, Paris and the École normale supérieure in Paris where his classmate was the future art historian Étienne Michon. Graduating in 1884 he was named member of the School of Athens in 1887. There he explored Argos and the valley of the Spercheios, leading excavations in the valley of the Muses in Thespies between 1888 and 1891. He cataloged inscriptions, most notably the so-called stele of Hesiod. These recollections were covered in his En gréce avec Charalambos Eugénidis (1914). He married Madeleine Dauphin-Dornès (1864-1913). He joined the Musee du Louvre’s Department of Oriental Antiquities and Ancient Ceramics in1890, under the direction of Léon Alexandre Heuzey and Pottier. There he devoted his time to writing catalogs for the department and developing a reputation for disputing long-held attributions. A celebrated disagreement over the Athena Lemnia, an attribution by the eminent Adolf Furtwaengler ultimately ended in his favor. In 1894, Georges Perrot appointed him secrétariat de la publication, editor of the newly established publication Monuments et mémoires de la Fondation Eugène Piot, (Monuments et mémoires publiés par l’Académie des inscriptions et belles-lettres), ultimately editing twenty-two volumes. He became deputy curator in 1902. Jamot turned his interest to painting, initially research in 1906 on Nicolas Poussin. In 1909, he was assigned the task of reorganizing the Musée des Beaux-Arts de Valenciennes with Le Prieur. He supervised the installation of art at the new Musée des beaux-arts de Reims in 1913. At the outbreak of World War I in 1914 Jamot oversaw the evacuation of Louvre artworks to Toulouse, remaining with them there. He returned to Paris at the sudden death of Le Prieur succeeding him in the painting department overseeing the return of the work. He was awarded the chevalier de la Légion d’Honneur, one of the first civilians. He resigned from Monuments editorship in 1919 when named deputy curator of the painting department at the Louvre at the suggestion of Jean Guiffrey. Jamot began publishing catalogs and writing on a variety of French painters, but his affection was clearly Delacroix. Together with the comtesse Waresquiel, he lead the l’âme de la Société des Amis de Delacroix. He became head of the department of painting in 1927. Under his leadership at the Louvre, many scholars developed their craft, including Charles Sterling. Jamot and Sterling mounted the famous 1934 exhibition at the Orangerie, Peintres de la réalité en France au XViie siècle. The exhibition caused a re-evaluation of French 17th-century painting, revealing Georges de la Tour as major figure and bringing to fore the work of the Le Nain, among others. After retiring from the Louvre, he focused attention on monuments preservation, succeeding Henri Cochin as the head of the Société Saint- Jean. His interest was particularly the cathedrals of Reims and Autun. He was succeeded at the Louvre department by Rene Huyghe. At his death, his personal art collection of paintings by Corot, Carpeaux, Courbet, Delacroix, Maurice Denis, Forain, Ingres, Picasso, and Renoir was bequeathed to the Louvre. He is buried at the Montparnasse Cemetery, Paris.
Marcel Aubert characterized Jamot’s scholarship as focusing mainly on the technique and connoisseurship, “à son esprit: méthode délicate, parfois dangereuse, mais qu’il maniait avec une habileté remarquable.” Daniel Catton Rich in his Degas (1966) praised Jamot for his careful analysis, attributing him as first recognizing Degas’ psychology (“interior drama”).
En gréce avec Charalambos Eugénidis. Paris: H. Floury ed. 1914; Degas. Paris: Éd. de la Gazette des Beaux-arts, 1924; Edouard Manet, 1832-1883 : a retrospective loan exhibition for the benefit of the French Hospital and the Lisa Day Nursery. New York: Wildenstein, 1937; Connaisance de Poussin. Paris: Floury, 1948; Introduction à l’histoire de la peinture. Paris: Plon 1947.
Qui êtes-vous?: annuaire des contemporains: notices biographiques. Paris: Ruffy, 1924; Gros, G. J. “La collection Paul Jamot.” Beaux Arts Magazine (October 7 1938): 4; Haskell, Francis. The Ephemeral Museum: Old Master Paintings and the Rise of the Art Exhibition. New Haven, CT: Yale University Press, 2000, p. 137ff; [obituary:] Beaux Arts Magazine (January 1 1940): p.26; Rich, Daniel Catton. Degas. New York: Harry N. Abrams, 1966, p. 11.
Contributors: Lee Sorensen
Curator of the department of Painting, Louvre, 1927-1939; art collector. Jamot studied at the Lycée Louis-le-Grand, Paris and the École normale supérieure in Paris where his classmate was the future art historian Étienne Michon<
Full Name: Jameson, Anna
Other Names:
Gender: female
Date Born: 1794
Date Died: 1860
Place Born: Dublin, Ireland
Place Died: London, Greater London, England, UK
Home Country/ies: United Kingdom
Subject Area(s): Early Christian, iconography, Italian (culture or style), Italian Renaissance-Baroque styles, and Renaissance
Early female art historian of the Italian Renaissance; author of the first systematic study of Christian iconography in the English language. Born the daughter of the Irish miniaturist painter Denis Murphy and English wife (name now lost), the family emigrated to England in 1798, finally settling in London in 1803. Anna Murphy worked as a governess for several wealthy families, one of whom took her to the continent. She met Robert Jameson (1773/4-1854), a barrister, in 1821 and after some doubt about marriage and a termination of the engagement the same year, they eventually married in 1825. The couple moved to Bloomsbury. Jameson’s earliest novel, The Diary of an Ennuyée, 1826, employs keen descriptions of the art works viewed by her protagonist. Jameson’s own marriage was not happy. Robert was a poor husband and moved, without Anna, first to the West Indies and then to Canada. Mrs. Jameson earned a meager living writing. Two works, Memoirs of Celebrated Female Sovereigns, 1831 and Characteristics of Women, 1832, established her serious literary reputation. She traveled to Germany in 1829 and 1833, and armed with letters of introduction, met the novelist Ludwig Tieck (1773-1853) and philosopher August Wilhelm Schlegel (1772-1829). In Munich she toured the new royal palace with its architect, Leo von Klenze (1784-1864). Her travelogues published during this period discussed art at length. Her husband now established in Canadian politics, she made a brief trip to North America for appearances, and returned to Europe with an understanding to live independently of him with a small yearly stipend. In 1840, Jameson wrote an introduction to the English translation of Peter Paul Rubens by Gustav Friedrich Waagen. In it she argued for the broader, German interpretation of images over the rather pedestrian view most British art critics took. In 1842 she published A Handbook to the Public Galleries of Art in and Near London, a guide to the art museums of London, but also an apology for a wider collecting policy for the National Gallery. The work was so successful that a sequel, Companion to the Most Celebrated Private Galleries of London appeared in 1844. Her espousal of British art as worthy of study predated that of John Ruskin in Modern Painters. Her criticisms of the National Gallery coincided with and perhaps resulted in the naming of Charles Lock Eastlake and Ralph Nicholson Wornum by Sir Robert Peel, both of whom she had been corresponding for her Private Galleries series. Between 1834-1845 Jameson wrote a series of profiles of Italian quattrocento painters, then known as “primitives,” in the Penny Magazine. The series was republished as a book, Memoirs of the Early Italian Painters in 1845. In 1848 her most important art-historical work, Poetry of Sacred and Legendary Art, appeared. Published in two volumes, it is a systematic treatment of Christian iconography. Its encyclopedic scope resembles the Iconographie Chrétien (1843) of Adolphe Napoléon Didron. Unlike Didron or Ruskin, Jameson discusses Christian symbolism without arguing its supremacy through personal religious faith. Her dispassionate prose shows the detachment of the historian rather than the polemicist or critic. Several works on religious subject matter analyzed through art sources followed, including Legends of the Madonna, 1852. That year, too, she and other burgeoning art writers, including Matthew Digby Wyatt, later Slade Professor of Art at Cambridge University, published The History of the Painters of All Nations. Her husband had retired because of alcoholism in 1851 and in 1854 he died, leaving her excluded completely from any inheritance. Jameson, who always supported her parents and unmarried sisters, was given a small annual stipend by the crown. Jameson authored several pamphlets of women’s suffrage in the 1850s and became part of the British ex-patriot community in Florence, along with the Brownings and James Jackson Jarves. At age 65 she began to write two more volumes of Sacred and Legendary Art and a new work, A History of Our Lord. However, after a trip to Rome, she fell ill and, complicated by arthritis and failing eyesight, succumbed to pneumonia in 1860. Elizabeth Rigby Eastlake completed A History and was executor of her estate. Bernard Berenson ranked her among the other 19th-century pioneers of art history including Luigi Antonio Lanzi, Karl Julius Ferdinand Schnaase and Ruskin. Ruskin himself charged that Jameson was totally devoid of any critical faculty in art, but the American writer Nathaniel Hawthorne (1804-1864) observed that she could read a picture like a book. Jameson represents the best 19th-century art writing without consultation of primary documents. Drawing upon Vasari’s Lives and the Handbuch der Geschichte der Malerei by Franz Kugler, she fearlessly, if politely, debunked many myths of art and argued for a more direct public appreciation of art. She was clearly familiar with the writing (and bibliography) of Karl Friedrich von Rumohr. Her iconography was in part the inspiration for George Kaftal and his work on Italian saints. Though her writing reputation today as an art historian rests today upon her Sacred and Legendary Art volumes, Jameson’s championing of the “primitive” schools of art, i.e., the late-medieval and early Renaissance art, is her greatest contribution to the history of art history.
Diary of an Ennuyée. Boston: Lilly, Wait, Colman, and Holden, 1833; The History of Our Lord as Exemplified in Works of Art: with that of His types; Sketches of Art, Literature, and Character. 2 vols. Boston: Ticknor and Fields, 1857; Poetry of Sacred and Legendary Art. London: Longman, Brown, Green and Longmans, 1848; and Waring, John Burley, and Wyatt, Matthew Digby, and Blanc, Charles. The History of the Painters of All Nations. London: John Cassell, 1852.
Macpherson, Gerardine. Memoirs of the Life of Anna Jameson. Boston: Roberts Brothers, 1878; Rowland, Jr. Benjamin. “Introduction.” Jarves, James Jackson. The Art-Idea. Cambridge, MA: Belknap Press, 1960, p. xii, note 1; Thomas, Clara. Love and Work Enough: The Life of Anna Jameson. Toronto: University of Toronto Press, 1967; Steegman, John. Victorian Taste: a Study of the Arts and Architecture from 1830 to 1870. [previously published as, Consort of Taste, 1830-1870]. Cambridge, MA: M.I.T. Press, 1971; Holcomb, Adele M. A.-F. Rio, Anna Jameson and Some Sources of the Second Volume of Modern Painters by Ruskin (1846). Gazette des Beaux-Arts 91 (1978): 35-8; Holcomb, Adele M. Anna Jameson (1794-1860): Sacred Art and Social Vision. In, Women as Interpreters of the Visual Arts, 1820-1979. Westport, CT: Greenwood Press, 1981, pp. 93-121; Johnston, Judith. Anna Jameson: Victorian, Feminist, Woman of Letters. Brookfield, VT: Scolar Press, 1997; Adams, Kimberly Van Esveld. Our Lady of Victorian Feminism : the Madonna in the Work of Anna Jameson, Margaret Fuller, and George Eliot. Athens, OH: Ohio University Press, 2001; Warr, Cordelia. “Anna Jameson (1794-1860): ‘Primitive’ Art and Iconography.” in, Chance, Jane, ed. Women Medievalists in the Academy. Madison: University of Wisconsin Press, 2005, pp. 25-36.
Early female art historian of the Italian Renaissance; author of the first systematic study of Christian iconography in the English language. Born the daughter of the Irish miniaturist painter Denis Murphy and English wife (name now lost), the fam
Full Name: James, Monty
Other Names:
Gender: male
Date Born: 1862
Date Died: 1936
Place Born: Goodnestone, Kent, England, UK
Place Died: Eton, Windsor and Maidenhead, England, UK
Home Country/ies: United Kingdom
Subject Area(s): manuscripts (documents) and Medieval (European)
Medieval manuscripts scholar and provost, King’s College, Cambridge (1905-1918). James was the son of Herbert James (1822-1909), rector of Great Livermere in Suffolk (near Bury St. Edmunds) and Mary Emily Horton (1818-1899) daughter of Admiral Joshua Sydney Horton. James attended the private boarding school at Temple Grove in Surrey between 1873-76 and then Eton (1876-82). He received a scholarship for King’s College, Cambridge in 1882. He graduated in 1886, writing a thesis on the Apocalypse of Peter, a second-century apocryphon, which led to an election a fellow of the college and soon, dean. James published his work on the Apocalypse of Peter after discoveries aiding the document in Egypt, 1886-87, J. Armitage Robinson (1858-1933) in 1892. His Apocrypha anecdota of 1893 and 1897 also appeared. James was appointed assistant director of the Fitzwilliam Museum, Cambridge, in 1886 and director in 1889, which he held until 1908. At the Fitzwilliam, he concerned himself with iconographic studies of medieval art, such as the damaged sculptural program of the Lady Chapel at Ely Cathedral, which he published in 1892. In 1895 James began a series of descriptive catalogs of medieval and Latin manuscripts of holdings at Eton, the Fitzwilliam, but the Cambridge colleges of King’s College, Jesus College, and Sidney Sussex College, continuing until 1914. Compiled from his teenage examination of manuscripts while an Eton student and later evaluation, they formed his reputation as a manuscripts scholar. James’ reputation was so great that the manuscripts from these libraries were delivered to his apartments at King’s College in order to review them during his private time. He also wrote the catalogs for the private collection of publisher and manuscript collector Henry Yates Thompson (1838-1928) in 1898 and 1902. The collection of Trinity manuscripts was published in four volumes between 1900 and 1905. These included the manuscripts of the Parker Library at Corpus Christi, one of the most valuable collections of Anglo-Saxon manuscripts extant, the Bury Bible and the two-volume Matthew Paris Chronica maiora. In 1905 James was elected provost of King’s College, which he held through the difficult years of World War I. In 1907 he cataloged the manuscripts for J. Pierpont Morgan (1837-1913) and his library in New York. At his resignation from the Fitzwilliam in 1908, he was succeeded by Sydney Cockerell. The catalogs for Gonville and Caius Colleges appeared 1907-1908, and 1914, the McClean collection at the Fitzwilliam Museum (1912), and St. John’s (1913) appeared in rapid succession. These are still considered among his best. During the years of World War I, James worked on manuscripts outside the Cambridge University system, the Latin manuscripts of the recently founded John Rylands Library in Manchester and those at Lambeth Palace, published 1921 and 1930-32 respectively. At the end of the war, James left Cambridge to become provost of Eton. In 1925 James wrote a survey of abbeys for the Great Western Railway and an East Anglian guidebook, Suffolk and Norfolk (1930). In 1927 he delivered the British Academy Schweich lectures, published as The Apocalypse in Art in 1931. He died purportedly of renal failure in 1936 and is buried in the parish churchyard of Eton. His catalog of the medieval manuscripts at the university library at Cambridge remained uncompleted at the time of his death. James also produced several volumes of ghost stories in 1904, 1911, 1919 and 1925. James’ strength as a manuscript cataloger was in the thoroughness of description of illustration and hagiographic knowledge, his analysis of legal and scientific manuscripts were less learned.
[complete bibliography:] Scholfield. A. F. “List of Writings” in, Lubbock, Samuel Gurney. A Memoir of Montague Rhodes James. Cambridge, University Press, 1939, pp. 47-87; Apocrypha anecdota: a Collection of Thirteen Apocryphal Books and Fragments now First Edited from Manuscripts. Cambridge: The University Ppress, 1893; The Apocalypse in Art. London: British Academy/H. Milford/Oxford University Press, 1931; Robinson, Joseph Armitage. The Gospel According to Peter, and the Revelation of Peter: Two Lectures on the Newly Recovered Fragments, together with the Greek Texts. London: C. J. Clay, 1892; A Descriptive Catalogue of Fifty Manuscripts from the Collection of Henry Yates Thompson. Cambridge: Cambridge University Press, 1898; A Descriptive Catalogue of the Manuscripts in the Library of Gonville and Caius. 2 vols. Cambridge: University press, 1907, 1908, supplement, 1914; The Sculptured Bosses in the Roof of the Bauchun Chapel of Our Lady of Pity in Norwich Cathedral. Norwich: Goose and Son, 1908; Catalogue of Manuscripts and Early Printed books from the Libraries of William Morris, Richard Bennett, Bertram, Fourth Earl of Ashburnham, and Other Sources now Forming portion of the Library of J. Pierpont Morgan. London: Chiswick Press, 1906-07; and Thompson, A. Hamilton. Abbeys, with an Additional Chapter on “Monastic Life and Buildings.” London: The Great Western Railway, 1925.
Panofsky, Erwin. “The History of Art.” In, The Cultural Migration: The European Scholar in America. Introduction by W. Rex Crawford, p. 85, mentioned; Pfaff, Richard W. “James, Montague Rhodes (1862-1936).” Oxford Dictionary of National Biography; Lubbock, Samuel Gurney. A Memoir of Montague Rhodes James. Cambridge: Cambridge University Press, 1939; Cox, Michael Andrew. M. R. James: an Informal Portrait. New York: Oxford University Press, 1983; Gaselee, Stephen. “Montague Rhodes James, C.M., 1862-1936.” Proceedings of the British Academy 22 (1936); Pfaff, Richard William. Montague Rhodes James. London: Scolar Press, 1980.
Medieval manuscripts scholar and provost, King’s College, Cambridge (1905-1918). James was the son of Herbert James (1822-1909), rector of Great Livermere in Suffolk (near Bury St. Edmunds) and Mary Emily Horton (1818-1899) daughter of Admiral Jos
Full Name: James, John
Gender: male
Date Born: 1931
Place Born: London, Greater London, England, UK
Home Country/ies: Australia
Subject Area(s): archaeology, architecture (object genre), Medieval (European), and sculpture (visual works)
Institution(s): none
Medievalist, École de Chartes scholar; used an archaeological approach for Chartres scholarship. James entered the University of Melbourne in 1949. As a student, completed a sub-major in art history under Joe Burke by surveying the Melbourne terrace house and its cast-iron tracery in 1951. His Bachelor’s degree in [practicing] Architecture (with honors) was awarded in 1953. He married his wife, Hilary, at this time. After working in British West Africa, the couple returned to Australia where James founded an architectural practice in Roseville (greater Sydney) in 1957. James’ interest was always as an architect/builder; he became the first certified builder-architect approved by the Australian Institute of Architects in 1958. James became the first certified builder-architect approved by the Australian Institute of Architects in 1958; his Readers Digest head office in Sydney is now a protected National Monument. Bconstruction and design experience spurred an interest in the part master masons played in medieval European building. James left his practice in 1963 to pursue a Master of Building Science degree under Sydney University. While a student, he taught courses in architectural history and studio design from 1965 at Sydney Technical College and the Universities of Sydney and New South Wales. After receiving his degree in 1966, he traveled to France in 1969 to examine the construction archaeology of Chartres cathedral from the builder’s point of view in an attempt to reconcil it with established art history. James developed a research technique he termed “Toichology” (above ground archaeology) for deducing the construction history from the masonry. His first research article on this appeared in the AAQ in 1972. The article demonstrated how Chartres had been built layer by layer and as such redefining the entire constructional history of the building. This article spurred Columbia University architectural historian Robert Branner to write an endorsement on what such a method could offer to scholarship. James and his family remained in Europe for the next five years, except for a brief stay in Bali, funded by income from rental properties he owned and had designed. To gain a serious appreciation of medieval experience, he took his family on the pilgrimage route from Chartres to Compostella (walking nearly 400 kilometers) in 1973. James returned to Australia in 1974. He lectured in the U.S., Europe and Australia in 1977, researching the cathedral of Durham and Southwell Minster in the UK and a buildings in France associated with Chartres. His Chartres, les constructeurs (translated into French by local architect Dominique Maunoury) appeared beginning in 1977. The English version, The Contractors of Chartres appearing between 1979 and 1981. James expanded his research work in 1980 to the region around Paris, resulting in his on-site survey to identify all the early Gothic churches in the Paris area. His research, requiring visits to more than 3500 sites to determine which had been constructed between 1100 and 1250, appeared in the Art Bulletin in 1984. He was awarded a Ph D from the University of New South Wales in 1988. James returned to the topic of Gothic construction, examining the evolution of the rib vault and a catalog of early Gothic capitals in the Paris region in 1993, attempting to identify the distinct carvers. In 2000, he received a grant to study the construction history of Durham Cathedral in northern England, and began to assemble the material needed for a ten-volume Corpus of French Early Gothic architecture. His work appeared in 2002 as the first two volumes of The Ark of God. In 2004 he Robert Ferré began investigating the meanings of the labyrinth of Chartres cathedral. He published two further books in 2005, In Search of the Unknown in Medieval Architecture and volume 3 of The Ark of God.
James never recieved advanced training in architectural history and some of his views have been termed “eccentric” (Crossley). He used his building knowledge and detailed measurements to construct an investigative technique of medieval architecture. His work is akin to that of the French archéolgists, historians of medieval architecture who focus on archaeological analysis, a group including Arnold Wolff, Richard Hamman-MacLean and Jan van der Meulen. Their work commonly appears in the monograph form, a “congenial vehicle for exercise in the most precise and detailed examination of a great church’s fabric” (Crossley). James’ conclusion regarding Chartres scholarship included that the tilted, almost annual, layers was the work of different master masons, that nave and the choir were built at the same time, not following each other, the central importance of geometry to the entire design, and that the Royal Portal was not moved but was erected with the western towers. Many of James conclusions have not been accepted by architectural historians. His assertion that architects did not exist for most Gothic churches but rather that Chartres and other ecclessiastical buildings were constructed by bands of wandering ‘contractors’ was effectively refuted by the work of John Harvey and Howard Montagu Colvin. He himself reversed his initial conclusion of 1979 that Chartres experienced as many as thirty-six separate building campaigns because of funding issues in his later Chartres study of 1989. James’ demotion of the architect as prime designer may have inadvertently been driven by the popular “death of the artist'” notion among art historians of the 1970’s and 1980’s (Crossley). James used a connoisseurship approach akin to Giovanni Morelli to try and determine the individual carver of Parisian capitals, as he had done for architecture, completed before 1170.
Chartres, les constructeurs. 2 vols. Chartres: Société archéologique d’Eure-et-Loir, 1977-1982, English, The Contractors of Chartres. 2 vols. Dooralong, N.S.W.: Mandorla, 1979-1981; Chartres: the Masons who Built a Legend. London: Routledge & Kegan Paul, 1982; “An Investigation into the Uneven Distribution of Early Gothic Churches in the Paris Basin, 1140-1240.” Art Bulletin 66 no. 1 (March 1984): 15-46; The Template-makers of the Paris Basin: Toichological Techniques for Identifying the Pioneers of the Gothic Movement. Leura, Australia: West Grinstead, 1989; The Creation of Gothic Architecture: an Illustrated Thesaurus: the Ark of God. 5 vols. Hartley Vale, Australia: West Grinstead., 2002ff.; In Search of the Unknown in Medieval Architecture. London: Pindar Press, 2007; Creation of the Gothic (interactive website) https://www.creationofgothic.org/index.php.
Crossley, Paul. “The Monograph.” [sect xvi of] “Introduction: Frankl’s Text: Its Achievement and Significance.” Frankl, Paul and Crossley, Paul. Gothic Architecture. 2nd ed. New Haven: Yale University Press, 2000, p. 24, 26; “John and Hilary James – Lifestory” [personal web site] http://www.johnjames.com.au/johnjames-bio.shtml; personal correspondence, John James, March 2012.
Contributors: Lee Sorensen
Medievalist, École de Chartes scholar; used an archaeological approach for Chartres scholarship. James entered the University of Melbourne in 1949. As a student, completed a sub-major in art history under Joe Burke by surveying the Melbourne terra
Full Name: Jahn, Otto
Gender: male
Date Born: 1813
Date Died: 1869
Place Born: Kiel, Schleswig Holstein, Germany
Place Died: Göttingen, Lower Saxony, Germany
Home Country/ies: Germany
Subject Area(s): ceramic ware (visual works), Classical, and pottery (visual works)
Career(s): biographers and educators
First scholar of classical pottery to write a major study of them; influential teacher to a generation of classicists and art historians; Mozart biographer. Jahn was born to a wealthy family; his father was a successful lawyer in Kiel. The younger Jahn attended the Schulpforte before the university at Kiel where his professors included Gregor Wilhelm Nitzsch (1790-1861), under whom he eventually wrote his dissertation and Joannes Classen (1805-1891). He also trained under Gottfried Hermann (1772-1848) at Leipzig and August Böckh (1785-1867) and Karl Lachmann (1793-1851) in Berlin before returning to Kiel to complete his doctorate. His dissertation was on Palamedes. Jahn made an extended research trip in Italy. He met and was greatly influenced by Emil Braun in Rome and Otfried Müller in Florence. He joined the faculty at Kiel in 1839 where among his first students was Theodor Mommsen (1817-1903). In 1842 he was appointed Extraordinarius professor at Greifswald in philology and archaeology. When Wilhelm A. Becker (1796-1846) retired as professor of archaeology in 1847 at Leipzig, Jahn succeeded him, teaching along side his former student Mommsen. However, he, Mommsen and Mortiz Haupt (1808-1874) were dismissed from the university in 1851 for political agitation in support of the imperial constitution. For the next four years Jahn wrote to support himself, authoring Florus (1851) and, in 1853, an important catalog on the vase collection of Ludwig I in Munich, Museum Antiker Kleinkunst. In 1855 he was appointed professor of Classics and director of the university art museum in Bonn. The following year the first volume of his biography of Wolfgang Amadeus Mozart appeared, a work he is remembered for as much as his archaeological writing. Jahn engaged in a bitter dispute in his later years with Friedrich Ritschl (1806-1876) over the hiring of Hermann Sauppe (1809-1893) at the university in Göttingen. Jahn was succeeded in Bonn by Reinhard Kekulé von Stradonitz. His students, in addition to Mommsen, included Otto Benndorf, Hugo Blümner, Carl Robert, Wolfgang Helbig, Ulrich von Wilamowtiz-Moellendorff (1848-1931) and his nephew was Adolf Michaelis. Jahn opposed the mythical-symbolic interpretation of his contemporaries such as G. F. Creuzer and Theodor S. Panofka. His scientific approach, based on the best 19th-century positivism, forever changed the discipline of archaeology and vase painting studies. His life, however, was ever tragic: his wife went insane, his illegitimate son pursued him, his Leipzig appointment was withdrawn for political reasons, and his bitter feud with Ritschl distracted him from his projects, left uncompleted as his death, such as biographies of Beethoven and a study of Juvenal, as well as a handbook on archaeology. Michael Vickers termed Jahn’s vase scholarship to be the first major study of Greek pottery painting.
Beschreibung der Vasensammlung König Ludwigs in der Pinakothek zu München. Munich: J. Lindauer, 1854, [also issued in a briefer version as] Kurze Beschreibung der Vasensammlung König Ludwigs in der Pinakothek zu München. Munich: J. Lindauer, 1854; “über die Kunsturtheile bei Plinius.” Berichte der sächsischen Akademie der Wissenschaften II (1850): 105-42; Archäologische beiträge. Berlin: G. Reimer, 1847; W. A. Mozart. 4 vols. Leipzig: Breitkopf und Härtel, 1856-59.
Kleinbauer, W. Eugene. Research Guide to the History of Western Art. Sources of Information in the Humanities, no. 2. Chicago: American Library Association, 1982, p. 32; Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 35-36; Calder, William, III. “Jahn, Otto (1813-1869).” Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 1, pp. 616-18; mentioned, Vickers, Michael. “Greek Vases.” Ibid., p. 538; Cook, Robert Manuel. “The History of the Study of Vase-Painting.” Greek Painted Pottery. 3rd ed. New York: Routledge, 1997, p. 285.
First scholar of classical pottery to write a major study of them; influential teacher to a generation of classicists and art historians; Mozart biographer. Jahn was born to a wealthy family; his father was a successful lawyer in Kiel. The younger
Full Name: Jahn, Johannes
Gender: male
Date Born: 1892
Date Died: 1976
Place Born: Wysoka, Greater Poland Voivodeship, Poland
Place Died: Leipzig, Saxony, Germany
Home Country/ies: Germany
Professor and Director of Institut für Kunstgeschichte at the University of Leipzig, 1958-1964. He was born in Orlandshof, Germany, which is present-day Wysoka, Poland. Jahn studied under August Schmarsow and beginning in 1919 was an assistant for Wilhelm Pinder. After World War II, Jahn was appointed the Director of the Fine Art Museum (Museum der bildenden Künste) in Leipzig. In 1958 he succeeded Heinz Ladendorf as Director of Institut für Kunstgeschichte at the University of Leipzig. He stepped down in 1964 and was succeeded by Ernst Ullmann. In 1973 he became emeritus. Jahn’s Die Kunstwissenschaft der Gegenwert in Sebstdarstellung was one of the early attempts to address the methods of the discpline.
edited, Die Kunstwissenschaft der Gegenwert in Sebstdarstellung. Leipzig: 1924.
Dilly, Heinrich. Kunstgeschichte als Institution: Studien zur Geschichte einer Diziplin. Frankfurt am Main: Suhrkamp, 1979, p. 25; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 187-90.
Professor and Director of Institut für Kunstgeschichte at the University of Leipzig, 1958-1964. He was born in Orlandshof, Germany, which is present-day Wysoka, Poland. Jahn studied under August Schmarsow and beginning in