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King-Hammond, Leslie

Full Name: King-Hammond, Leslie

Other Names:

  • Leslie Ann King
  • Leslie King-Hammond

Gender: female

Date Born: 04 August 1944

Place Born: New York, NY, USA

Home Country/ies: United States

Subject Area(s): African American, Modern (style or period), nineteenth century (dates CE), and women (female humans)

Career(s): art historians and curators


Overview

First African American president of the College Art Association (CAA). Leslie King-Hammond was born on August 4, 1944, in South Bronx, New York to parents originally from Barbados. King-Hammond largely raised her two younger sisters. Having lost sight in one eye, the young King-Hammond became fascinated with art from watching a glass-blower creating her artificial eyes. Her family later moved to Baltimore, where she currently lives.

After graduating high school in 1964, she attended the State University of New York at Buffalo but dropped out. She then worked at General Electric, taking night classes at The New School.

In 1967, she received a full scholarship at Queens College and earned her BFA there in 1969, focusing on painting and ceramic sculpture. Upon graduation, she turned to art history obtaining her MA in 1973 and PhD in 1975, both from Johns Hopkins University. Charles Stuckey (b. 1945) was her PhD advisor with Egon Verheyen (1936-2008) serving as the second reader.

For the first two years of her career, King-Hammond worked in New York City to promote education and job opportunities for young African Americans. As one of the first cohorts of African art history graduate students at Johns Hopkins University, she and her close friend and fellow graduate student, Lowery Stokes Sims, were guides to younger students.

She began curating collections in the early 1970s at the Baltimore Museum of Art, Maryland Art Place, and others. King-Hammond started teaching at The Maryland Institute College of Arts (MICA) in 1973, first as a part-time lecturer in art history before becoming a professor, administrator, and curator. Three years after her initial appointment, she was promoted to Graduate Studies Dean and went on to receive a Mellon Grant for Faculty Research in 1984. Between 1977 and 1982, King-Hammond was a doctoral supervisor at the Department of African Studies at Howard University.

In 1974, King-Hammond received a Kress Fellowship, a key moment in her curatorial career. In 1982, she curated the “Ritual and Myth: A Survey of African American Art” exhibition at the Studio Museum in Harlem. This exhibition featured around forty-five artists and more than seventy works. Some of her notable exhibitions include the 1989 “Black Printmakers and the WPA” and, with Lowery Stokes Sims, the 1988-1989 “Art as a Verb: The Evolving Continuum” at MICA.  She and Sims co-curated multiple exhibitions featuring African American artists, such as the 1994 “Jacob Lawrence, An Overview: Paintings from 1936-1994.”

She was a National Endowment of the Humanities panelist between 1980 and 1982, served as the Commissioner for Baltimore’s Civic Design Commission from 1983 to 1987, and directed the Phillip Morris Scholarships for Artists of Color from 1985 to 1998.  Around 2000, King-Hammond met Jose J. Mapily, a sculptor and art professor. The two became close collaborators in art. In 2002, she received the Studio Museum in Harlem’s Lifetime Achievement Award. In 2007, she was elected to be the Chairperson of the Board of Directors at the Reginald F. Lewis Museum. She added transatlantic African art to her research expertise in the late 2000s decade and, with Sims, curated the exhibition “The Global Africa Project,” which premiered in the Museum of Arts and Design in New York City.

King-Hammond’s research focuses mostly on nineteenth and twentieth-century African American art and women artists. Her work on William Henry Johnson, the focus of her PhD dissertation in 1975 titled “The Life and Works of William Henry Johnson, 1901-1970,” received critical applause from Beth Anne Margolies. Some other artists whom she has written literature or curated exhibitions for include Hughie Lee-Smith and Jacob Lawrence.

While being an academic, King-Hammond maintained an artist. Her assemblage “Barbadian Spirits: Altar for My Grandmother Ottalie Adalese Maxwell (1882-1991)” was exhibited in 1997, which explored her Barbadian ancestry and her family.

King-Hammond is currently a senior fellow at the Robert W. Deutsch Foundation and MICA’s Founding Director of the Center for Race and Culture, MICA offers a graduate student fellowship in her name.

Historians and writers such as Lisa Farrington and Beth Anne Margolies have cited her as a foundational figure in African American art history.


Selected Bibliography

  • [dissertation:] The Life and Works of William Henry Johnson, 1901-1970. Johns Hopkins University, 1975.
  • Ritual and Myth: A Survey of African-American Art. New York: Studio Museum in Harlem, 1982.
  • Black Printmakers and the WPA. New York: Lehman College Art Gallery, 1989.
  • Gumbo YaYa: Anthology of Contemporary African-American Women Artists. New York: Midmarch Arts Press, 1995.
  • Masks and Mirrors: African-American Art, 1700–Now. New York: Abbeville, 1995.
  • and Benjamin, Tritobia.  Three Generations of African American Women Sculptors: A Study in Paradox. Philadelphia: Afro-American Historical and Cultural Museum, 1996.
  • “Identifying Spaces of Blackness: The Aesthetics of Resistance and Identity in American Planation Art.” In Landscape of Slavery: The Plantation in American Art, edited by Angela D. Mack and Stephen G. Hoffius, 58-84. Columbia: University of South Carolina Press, 2008.
  • Hughie Lee-Smith. San Francisco: Pomegranate Press, 2010.
  • and Naomi Beckwith, Judith Bettelheim, Christopher Cozier, et al. The Global Africa Project. Prestel: Museum of Art and Design, 2010.

Sources

  • Burchard, Hank. “Some Who Can Do as well as Teach,” The Washington Post, January 8, 1998.
  • Sims, Lowery Stokes, “Leslie King-Hammond: Sister, Mentor, Prime Mover.” The International Review of African American Art 18, no. 1 (2001): 34-35.
  • The History Makers. “Leslie King-Hammond.” The History Makers, April 26, 2007, thehistorymakers.org/biography/leslie-king-hammond-41.
  • Farrington, Lisa. Creating their Image: The History of African-American Women Artists. Oxford: Oxford University Press, 2005.
  • Marquis. Who’s Who in American Art, 36th ed. New Providence: Marquis Who’s Who, 2016, p. 504.
  • Mabe, Chauncey. “Leslie King Hammond–Making Order Out of the Chaos,” Florida International University, accessed January 19, 2024, artspeak.fiu.edu/reviews/leslie-king-hammond-making-order-out-of-the-chaos/.
  • Smithsonian American Art Museum. “Minority Artist Biographical Sources,” Smithsonian American Art Museum, accessed January 19, 2024, americanart.si.edu/research/my-art/learn-more/minority.


Contributors: Zhihui Jerry Zou


Citation

Zhihui Jerry Zou. "King-Hammond, Leslie." Dictionary of Art Historians (website). https://arthistorians.info/king-hammondl/.


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King-Hammond is an art historian focusing on nineteenth and twentieth-century African American art and women artists. She is also the Founding Director of the Center for Race and Culture at Maryland Institute College of Arts and the first African American president of the College Art Association.

Koetschau, Karl

Full Name: Koetschau, Karl Theodor

Gender: male

Date Born: 27 March 1868

Date Died: 17 April 1949

Place Born: Ohrdruf, Thuringia, Germany

Place Died: Düsseldorf, North Rhine-Westphalia, Germany

Home Country/ies: Germany

Subject Area(s): Renaissance

Institution(s): Historisches Museum Dresden


Overview






Citation

"Koetschau, Karl." Dictionary of Art Historians (website). https://arthistorians.info/koetschauk/.


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Kennedy, Ruth Wedgwood

Full Name: Kennedy, Ruth Wedgwood

Other Names:

  • Ruth Wedgwood
  • R.W. Kennedy
  • R Wedgwood
  • Ruth Wedgwood Doggett Kennedy
  • Ruth Kennedy

Gender: female

Date Born: 19 August 1896

Date Died: 30 November 1968

Place Born: Providence, RI, USA

Place Died: Boston, Suffolk, MA, USA

Home Country/ies: United States

Subject Area(s): Italian (culture or style), Italian Renaissance-Baroque styles, and Renaissance

Career(s): art historians

Institution(s): Radcliffe College and Smith College


Overview

Professor, scholar and historian of Italian Renaissance art. Kennedy was born in Providence, RI. Her father was Laurence L. Doggett (1864-1957), President of Springfield College. She initially pursued economics, studying at the University of California Berkeley, Radcliffe College, and Oxford University between the years of 1919 and 1922 where she also taught. While she was in London at Oxford in 1921, she met and married the sculpture historian Clarence Kennedy. She took up an interest in Italian art during this time, because of the rising of international recognition for his photography of Greek and Italian Renaissance sculpture. Kennedy spent three summers in Greece with him after graduating, which introduced her to the artistic sphere.

She became the assistant to the Director of Graduate Study in Art at Smith College, where her husband worked, from 1925-1926 and 1927-1928. She was a special lecturer in Italian art history in 1928-1929 at Smith as well. Smith president William Allan Neilson (1869-1946) sent the Kennedy couple to Florence for the years 1929-1932 where they inaugurated the Smith College Graduate Program Abroad, training young women in art history scholarship. Kennedy received academic tenure from Smith in 1930, during which time she became a Guggenheim Fellow for her scholarship in the arts. When she returned from Greece she lectured at Smith, Springfield College, Wellesley College, and the Toledo Museum of Art.

Kennedy completed a study of Florentine painter Alesso Baldovinetti and his associates in Italy, which was published in 1938, establishing her reputation as a scholar. A second book, The Renaissance Painter’s Garden, appeared in 1948. She wrote several catalogs for the Smith College Museum of Art. In 1958 she began serving on the editorial board of Renaissance News and Quarterly, and throughout her career she was also a board member of Art in America and the Art Bulletin. She became a Resident Art Historian at the American Academy in Rome in 1960. Although officially retired in 1961, she continued to assist with her husband’s courses at Smith until a few years after this. One of the last projects she worked on after her retirement was a series of lectures and synchronized slides on Italian painter Titian that were designed for general audiences, in accordance with her belief of widely disseminating education and making knowledge readily available to all. She had spent over a decade gathering notes on Titian, and gave them to Michelangelo Muraro before she died, who shared her passion for sharing knowledge.

Kennedy was regarded among her students as an inspiring and intellectual teacher with enthusiasm for Italian culture and art, and was admired both in the United States and in Europe. Her Baldovinetti writing conveys the context under which each artist worked and the complexity of their time periods (Lee). Her Renaissance garden book showed her familiarity with the Italian countryside, although some argue that this work failed to paint a full picture of the Quatrocento garden and its history (Pope-Hennessy). Her novelty and tradition demonstrated her interest in the relationship between artistic tradition and progress (Lee). Likewise, her legacy lies in her steadfast belief in the importance of education and her intense knowledge about and enthusiasm for Italian art. (Lee).


Selected Bibliography

  • Alesso Baldovinetti: A Critical and Historical Study. London: Oxford University Press, 1938;
  • and Kennedy, Clarence. The Idea of Originality in the Italian Renaissance. Northampton, MA: Cantina Press, 1938;
  • Italian Drawing: 1330-1780. Smith College Museum of Art. Northampton MA: Smith College, 1941;
  • A Study Collection of Drawings. Northampton, MA: Smith College Museum of Art, 1947;
  • The Renaissance Painter’s Garden. New York: Oxford University Press, 1948;
  • “Cellini and Vincenzo de’ Rossi.” Renaissance News 4, no. 3 (1951): 33-39. doi:10.2307/2857196;
  • The Italian Renaissance. New York: Art Treasures of the World, 1954;
  • Smith College Museum of Art. Northampton, MA: Smith College Museum of Art, 1958;
  • and Kennedy, Clarence and Harold McGrath. Four Portrait Busts. Northampton, MA: Gehenna Press. 1962;
  • Novelty and Tradition in Titan’s Art. Northampton, MA: Smith College, 1963.

Sources

  • [obituaries:] Lee, Rensselaer W. “Ruth Wedgwood Kennedy.” Renaissance Quarterly 22, no. 2 (1969): 206–8;
  • Lee, Rensselaer W. “Ruth Wedgewood Kennedy, 1896-1968.” Art Journal 29, no. 1 (1969): 100–101;
  • Pope-Hennessy, John. “Ruth Wedgwood Kennedy, “the Renaissance Painter’s Garden” (Book Review).” The Art Bulletin 32, (1950): 158;
  • Solum, Stefanie. “Attributing Influence: The Problem of Female Patronage in Fifteenth-Century Florence.” The Art Bulletin 90, no. 1 (March, 2008): 76-100.


Contributors: Rachel Hendrix


Citation

Rachel Hendrix. "Kennedy, Ruth Wedgwood." Dictionary of Art Historians (website). https://arthistorians.info/kennedyr/.


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Professor, scholar and historian of Italian Renaissance art. Kennedy was born in Providence, RI. Her father was Laurence L. Doggett (1864-1957), President of Springfield College. She initially pursued economics, studying at the University of Californ

Knapp, Fritz

Full Name: Knapp, Fritz

Gender: male

Date Born: 1870

Date Died: 1938

Place Born: Halle, Saxony-Anhalt, Germany

Place Died: Würzburg, Bavaria, Germany

Home Country/ies: Germany

Subject Area(s): Renaissance

Institution(s): Universität Greifswald


Overview

Renaissance scholar. Knapp was the son Wilhelm Georg Knapp (1840-1908), a publisher. His father published Knapp’s first publications in Halle. He studied philosophy in Marburg and Halle from 1890, switching to art history at Bonn under Carl Nicolaus Heinrich Justi. He continued studies at Berlin, Munich and Basel. He received Ph.D., in 1896 from Basle under Heinrich Wölfflin. Between 1897 and 1904 he worked as an assistant in the (Berlin Museum Service) principally at the Picture Gallery and at the Nationalgalerie under its director, Wilhelm Bode. Together with Bode the two published Meisterwerke der Malerei. Alte Meister in 1900. His habilitation was granted in 1905, also under Wölfflin, who had by then moved to Berlin. Knapp briefly taught as associate professor at the University of Greifswald in 1906 before joining the University of Würzburg as a professor of art history in 1907. He remained the remainder of his career. Knapp was elevated to full professorship in 1921. Knapp built a summer house in Würzburg in 1932 designed by Franz Kleinsteuber in a Neue Sachlichkeit style. The following year at Hitler’s accession to the Chancellorship of Germany, he joined the Nazi party (NSDAP) in 1933.

Knapp’s specialty was Italian and German Renaissance/Baroque although he lectured on modern art and the middle ages.


Selected Bibliography

Fra Bartolommeo della Porta und die schule von San Marco. Halle: Wilhelm Knapp, 1903 https://babel.hathitrust.org/cgi/pt?id=mdp.39015017072680;view=1up;seq=15


Sources

Die Geschichte des Instituts für Kunstgeschichte der Universität Würzburg (http://www.kunstgeschichte.uni-wuerzburg.de/institut/geschichte-des-instituts/)



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Knapp, Fritz." Dictionary of Art Historians (website). https://arthistorians.info/knappf/.


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Renaissance scholar. Knapp was the son Wilhelm Georg Knapp (1840-1908), a publisher. His father published Knapp’s first publications in Halle. He studied philosophy in Marburg and Halle from 1890, switching to art history at Bonn under <

Kurz, Hilde

Full Name: Kurz, Hilde

Other Names:

  • Hilde Schüller

Gender: female

Date Born: 22 February 1910

Date Died: 26 March 1981

Place Born: Vienna, Vienna state, Austria

Place Died: London, Greater London, England, UK

Home Country/ies: Austria

Subject Area(s): art theory and Vienna School

Institution(s): Universität Wien


Overview

Private scholar who worked extensively with husband Otto Kurz to produce publications on a variety of art historical topics. Hilde Kurz was born as Hilde Schüller in Vienna to parents Richard Schüller (1870-1972), a lawyer, doctor, and professor, and Emma Rosenthal (Schüller) (1880-1968). Hilda Schüller studied at Mädchenrealgymnasium in Josefstadt, Vienna, where she received her Abitur in 1928. In the same year, she began her studies in art history and archaeology at the University of Vienna (“Vienna School”), under professors like Julis Schlosser, Hans Tietze, and Karl Swoboda. Schüller took one semester off her studies at University of Vienna to study in Frankfurt. In 1933, she graduated and published her dissertation under Schlosser, titled Die Entwicklung der altniederländischen Tafelmalerei und Tapisserie von 1475 bis 1495 (The development of Old Netherlandish panel painting and tapestry from 1475 to 1495).

After earning her degree, Schüller completed a traineeship at the Albertina Collection of Prints and Drawings in Vienna. In 1937, she married Otto Kurz, a fellow art historian. Due to her Jewish heritage, Kurz was persecuted on “racial grounds” in the same year, and was thus forced to flee the country and emigrate to England. In the years following her arrival in England, Kurz worked mainly on her husband’s research. She published a larger essay of her own in 1952, titled Italian models of Hogarth’s picture stories

Kurz experienced a significant health scare in 1952, which resulted in her undergoing brain surgery. She then developed hemiplegia and loss of speech. Kurz was taken care of by her husband in their home, against the recommendations of doctors. Regardless of a drastic decline in her health, Kurz still published works in the years following her brain surgery. In 1958, a joint work of hers written with Otto Kurz, titled “A bibliography of the writings of Hans Tietze and Erica Tietze – Conrat” in Feststhrift  Hans Tietze, was published. Another joint essay between the two was published in 1972, titled The Turkish dresses in the costume-book of Rubens. As of 1979, Kurz lived in London, but her whereabouts afterwards are indeterminable up until her death in 1981.


Selected Bibliography

  • [dissertation:] Die Entwicklung der altniederländischen Tafelmalerei und Tapisserie von 1475 bis 1495. Vienna, 1933;
  • ”Italian Models of Hogarth’s Picture Stories.” Journal of the Warburg and Courtauld Institutes 15 (1952): 136-168;
  • and Kurz, Otto. “A bibliography of the writings of Hans Tietze and Erica Tietze – Conrat.” Essays in honor of Hans Tietze, 1880-1954. New York: Gazette des Beaux-Arts, 1958,  pp. 439-359;
  • and Kurz, Otto. “The Turkish Dresses in the Costume-book of Rubens.” Nederlands Kunsthistorisch Jaarboek 23 (1972): 275-290;

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. 351-355;
  • Nyburg, Anny.” ’’Dein großer Brief war ein Ereignis’: The Private and Professional Correspondence of the Refugee Art Historians Hilde and Otto Kurz”, in: Hammel, Andrea, ed. Anthony Grenville: Refugee Archives: Theory and Practice. Amsterdam: Rodopi, 2007, pp. 123-139;
  • ”Dr. Hilde Schüller.” Hohems Genealogy (website) https://www.hohenemsgenealogie.at/en/genealogy/getperson.php?personID=I5196.


Contributors: Helen Jennings


Citation

Helen Jennings. "Kurz, Hilde." Dictionary of Art Historians (website). https://arthistorians.info/kurzh/.


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Private scholar who worked extensively with husband Otto Kurz to produce publications on a variety of art historical topics. Hilde Kurz was born as Hilde Schüller in Vienna to parents Richard Schüller (1870-1972), a lawyer, doctor, and professor,

Kurz, Otto

Full Name: Kurz, Otto

Gender: male

Date Born: 1908

Date Died: 1975

Place Born: Vienna, Vienna state, Austria

Place Died: London, Greater London, England, UK

Home Country/ies: Austria

Subject Area(s): Warburg School


Overview

Kurz was the son of a medical doctor, Maximilian Kurz (1871-1941) and Anna Mandel (Kurz) (1884-1941). He attended the humanistiches Gymnasium in Vienna before entering the University of Vienna to study art history in 1927. There he heard lectures by Josef Rudolf Thomas Strzygowski and Hans Tietze, eventually completing his dissertation in 1931 under Julius Alwin von Schlosser on the topic of the early work of Guido Reni, then a much under-valued artist. For two years he taught a course on conservation at the Institut für österreichischen Geschichtsforschung, an institution modeled after the école des Chartres. He also volunteered in the main art-history library of Vienna, the österreichisches Museum für Kunst und Industrie. Kurz assisted fellow Schlosser student Ernst Kris, now a curator at the Kunsthistorisches Museum, on the myths of artists, which appeared as the book Die Legende vom Künstler in 1933. While still a Schlosser student, Nazi thugs took advantage of the police immunity in the university, bludgeoning Kurz, a Jew, in the middle of the university library. Untimately unable to find work in an Austria evermore aligning itself with Nazi Germany, Schlosser and Kris, helped Kurz secure a job at the private Warburg Library in Hamburg, then under the direction of Fritz Saxl. Saxl returned to Vienna only long enough to pass the eleven examinations at the Geschichtsforschung institute (1933). When Saxl moved the Warburg to London, Kurz was invited to emigrate to England as well. In England he completed the first volume of Warburg’s Bibliography of the Survival of the Classics (1934). A fellow Schlosser student, the art historian Hilde Schüller accompanied him and the two were married in 1937 (see Hilde Kurz). Kurz was able to find employment editing a critical edition of Marco Polo’s Description of the World. His interest in Guido Reni caught the attention of art historian Denis Mahon, one of the few Italian baroque enthusiasts in England at the time. Kurz used an introduction from Heinrich Bodmer to assist Mahon with Italian translation and Mahon took Kurz to the Soviet Union to view baroque art. Mahon’s contribution to Kurz’s salary made it possible for Kurz to survive in England. He completed a book with Hugo Buchthal on Christian manuscripts. In 1939 Saxl secured a two-year grant for Kurz and Gombrich from Sir Percival David (1892-1964). When World War II was declared in Britain, Kurz was interned as an enemy alien. In 1943 he was commission by Anthony Blunt to catalog the collection of Bolognese drawings at Windsor Castle (published 1955). By 1944, Kurz had secured a position as assistant librarian at the Warburg, whose permanent home was now the University of London. He was made Librarian in 1949.Throughout his life, Kurz venerated the memory of his mentor, Schlosser. He updated and translated Schlosser’s Kunstliteratur into Italian (1964) and issued a moving personal memoir in 1955. Kurz was so enamored of his teacher that, according to Gombrich, Kurz deleted paragraphs of a draft of his dissertation with pencil marks next to them, assuming they were criticisms by Schlosser, never bothering to ask (they were marks of approval).


Selected Bibliography

[complete bibliography:] “Bibliography of O. Kurz’s Published Articles.” Otto Kurz, 1908-1975. s.l.: s.n, 1975, pp. 4-14; “Barocco: storia di un concetto.” Barocco europeo e barocco veneziano. Vittore Branca, ed. Florence: 1963; [and Kris, Ernst] Die Legende vom Künstler: ein geschichtlicher Versuch. Vienna: Krystall-Verlag, 1934, English, Legend, Myth and Magic in the Image of the Artist: An Historical Experiment. Trans. Alistair Laing. Revised by Otto Kurz. New Haven, CT: Yale University Press, 1979; and Buchthal, Hugo. A Hand List of Illuminated Oriental Christian Manuscripts. London: The Warburg Institute, 1942; edited, with Gombrich, Ernst H., and Held, Julius. Essays in Honor of Hans Tietze, 1880-1954. New York: Gazette des Beaux-Arts, 1958; Bolognese Drawings of the XVII & XVIII Centuries: in the Collection of Her Majesty the Queen at Windsor Castle. London: Phaidon Press, 1955, 2nd ed. Bologna: Nuova Alfa Editoriale, 1988; European Clocks and Watches in the Near East. London: Warburg Institute, University of London, 1975; Fakes: a Handbook for Collectors and Students. New Haven: Yale Univ. Press, 1948; Selected Studies. London: Dorian Press, 1977-1982; Bibliography of Jewish Art. Jerusalem: Magnes Press, Hebrew University, 1967; and Mayer, L. A., and Ettinghausen, Richard. Mamluk Playing Cards. Leiden: Brill, 1971, [in fact, 1972]; “Julius von Schlosser: Personlità-Metodo-Lavoro.” Critica d’arte 11/12 (1955): 402-19.


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. 89 mentioned, 24 n. 48; Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 165, 530; 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. 399-404; “Words Spoken at Otto Kurz’s funeral, 10 September, 1975.” Otto Kurz, 1908-1975. s.l.: s.n, 1975, pp. 2-3; Gombrich, Ernst H. “Preface.” The Decorative Arts of Europe and the Islamic East. Selected Studies [of] Otto Kurz. vol. 1 London: Dorian Press, 1977, pp. i-iii; Gombrich, Ernst. “The Exploration of Culture Contacts: The Services to Scholarship of Otto Kurz (1908-1975).” Tributes: Interpreters of our Cultural Tradition. Ithica, NY: Cornell University Press, 1984, pp. 235-49.




Citation

"Kurz, Otto." Dictionary of Art Historians (website). https://arthistorians.info/kurzo/.


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Kurz was the son of a medical doctor, Maximilian Kurz (1871-1941) and Anna Mandel (Kurz) (1884-1941). He attended the humanistiches Gymnasium in Vienna before entering the University of Vienna to study art history in 1927. There he heard lectures

Kuspit, Donald

Full Name: Kuspit, Donald

Other Names:

  • Donald Kuspit

Gender: male

Date Born: 26 March 1935

Place Born: New York, NY, USA

Home Country/ies: United States


Overview

A.D. White Professor at Large, Cornell University and art critic. Kuspit’s parents were Morris Kuspit, employed as a manager, and Celia Kuspit. Kuspit graduated from Columbia University, in 1955 with a B.A., continuing to Yale University for his M.A.in 1958. He moved to Germany, studying at the University of Frankfurt, lecturing in English at the school, 1957-1959, and receiving his Ph.D. in philosophy at Frankfurt in 1960. He returned to the United States to teach at the Pennsylvania State University as an assistant professor of philosophy in 1960, marrying a Judith Clements Price, a literature scholar (and later psychologist) in 1962. Kuspit became increasingly interested in art history and pursued a second M.A. in art history at Pennsylvania, granted in 1964. He secured a Fulbright lectureship in philosophy and American studies to teach at the University of Saarland, Saarbruecken, Germany, 1964-1965 before teaching at the University of Windsor, Windsor, Ontario, as associate professor of philosophy, between 1966 and 1970. During this time he worked on a Ph.D. in art history at the University of Michigan. Awarded in 1971, his dissertation topic, written under Clifton C. Olds, focused on the critical reception of Albrecth Dürer. He joined the department of art history at the University of North Carolina, Chapel Hill, as professor of art history in 1970, contributing criticsm for Artforum and Arts Magazine. Kuspit researched as a National Endowment for the Humanities younger humanist fellowship for the 1973-1974 year and a Guggenheim fellowship for 1977-1978. In 1978 Kuspit was recruited by the State University of New York at Stony Brook (Long Island) as professor of art history and chair of department, which he held until 1983. At Stony Brook, he and felllow Stony Brook professor Lawrence Alloway co-founded the magazine Art Criticism. Kuspit received a Frank Jewett Mather, Jr., Award for Distinction in Art Criticism from the College Art Association in 1983. In 1991 he became A. D. White Professor at Large, Cornell University, 1991, remaining until 1997. Kuspit’s art writing has always been highly impued with philosophical underpinnings. His interest in the philosophy of art historiography (his article on Meyer Schapiro) and the theory of perception were early works in the field.


Selected Bibliography

[dissertation:] Dürer and the Northern Critics, 1502-1572. University of Michigan, 1971; “Dewey’s Critique of Art for Art’s Sake.” Journal of Aesthetics and Art Criticism 27 no. 1 (Fall 1968):. 93-8; “Phenomenological approach to artistic intention.” Artforum 12 (January 1974): 46-53; Critical Notes on Adorno’s Sociology of Music and Art.” Journal of Aesthetics and Art Criticism 33 no. 3 (Spring 1975): 321-7; “Meyer Schapiro’s Marxism.” Arts Magazine 53 (November 1978): 142-4; “Two Critics: Thomas B. Hess and Harold Rosenberg.” Artforum 17 (September 1978): 32-3; Clement Greenberg, Art Critic. Madison: University of Wisconsin Press, 1979; The Critic is Artist: The Intentionality of Art. Ann Arbor, Michigan: University of Michigan Press, 1984; The Dialectic of Decadence. New York: Stux Press, 1993.


Sources

Directory of American Scholars 8th ed (1982): 425; Halasz, Piri. “Art Criticism (and Art History) in New York: the 1940s vs the 1980s–Part Three: Clement Greenberg.” Arts Magazine 57 (April 1983): 80-89.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Kuspit, Donald." Dictionary of Art Historians (website). https://arthistorians.info/kuspitd/.


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A.D. White Professor at Large, Cornell University and art critic. Kuspit’s parents were Morris Kuspit, employed as a manager, and Celia Kuspit. Kuspit graduated from Columbia University, in 1955 with a B.A., continuing to Yale University for his M

Kutschera-Woborsky, Oswald von

Full Name: Kutschera-Woborsky, Oswald von

Other Names:

  • Oswald von Kutschera-Worborski

Gender: male

Date Born: 1887

Date Died: 1922

Place Born: Prague, Praha, Hlavní Město, Czech Republic

Place Died: Vienna, Vienna state, Austria

Home Country/ies: Austria

Subject Area(s): eighteenth century (dates CE), Italian (culture or style), and painting (visual works)


Overview

He was born in Prague, Austrian Empire, which is present-day Prague, Czech Republic. His collection of fourteen Italian eighteenth-century paintings was donated to the Gemäldegalerie der Bildenden Künste in Vienna in 1922.


Selected Bibliography

Die Wiener Hofburg. österreichische Kunstbücher 5. Vienna: Hölzel, 1920.


Sources

Trenk, Renate. The Picture Gallery of the Academy of Fine Arts in Vienna. Vienna: Böhlau, 2002, pp. 10-11; österreichisches biographisches Lexikon 1815-1950. Graz: H. Böhlaus Nachf., 1954 ff., vol. 4, p. 376.




Citation

"Kutschera-Woborsky, Oswald von." Dictionary of Art Historians (website). https://arthistorians.info/kutschera-woborskyo/.


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He was born in Prague, Austrian Empire, which is present-day Prague, Czech Republic. His collection of fourteen Italian eighteenth-century paintings was donated to the Gemäldegalerie der Bildenden Künste in Vienna in 1922.

Kühnel, Ernst

Full Name: Kühnel, Ernst

Gender: male

Date Born: 1882

Date Died: 1964

Place Born: Neubrandenburg, Mecklenburg-Vorpommern, Germany

Place Died: Berlin, Germany

Home Country/ies: Germany

Subject Area(s): Islam and Islamic (culture or style)

Career(s): curators


Overview

Curator over the Islamic collections of the State Museum (Kaiser Friedrich) in Berlin. During his time as a student at Heidelberg, his colleagues included Rosa Schapire, Edwin Redslob, Walter Kaesbach, and Emil Waldmann. Kühnel was part of the group who launched the important 1910 exhibition of Islamic art in Munich. Among his assistants in the late 1920s and 30s was Richard Ettinghausen. In 1922 he updated the book on Persian rugs by Wilhelm Bode. He and Heinrich Glück and Ernst Diez authored the Islamic art volume for the prestigious Propyläen Kunstgeschichte series in 1925. Kühnel wrote supplements to Adolph Goldschmidt‘s Die Elfenbeinskulpturen and his Die byzantinischen Elfenbeinskulpturen des X.-XIII. Jahrhunderts, Die islamischen Elfenbeinskulpturen. VIII.-XIII. Jahrhundert, published posthumously in 1971.


Selected Bibliography

[complete bibliography:] “Bibliographie des Schrifttums von Ernst Kühnel.” Aus der Welt der islamischen Kunst: Festschrift für Ernst Kühnel zum 75. Geburtstag am 26. 10. 1957. Berlin: Gebr. Mann, 1959, pp. 388-404; and Bode, Wilhelm von. Vorderasiatische Knüpfteppiche aus alter Zeit. 3rd ed. [first for Kühnel]. Leipzig: Klinkhardt & Biermann, 1922, English, Antique Rugs from the Near East. New York: E. Weyhe, 1922; and Sarre, Friedrich Paul Theodor, and Martin, F. R. Die Ausstellung von Meisterwerken muhammedanischer Kunst in München, 1910. Munich: F. Bruckmann, 1912; and Goetz, Hermann. Indische Buchmalereien aus dem Jahángîr-Album der Staatsbibliothek zu Berlin. Berlin: Scarabaeus-Verlag, g.m.b.h., 1924; and Glück, Heinrich, and Diez, Ernst. Die Kunst des Islam. Berlin: Propyläen-Verlag, 1925, English, Islamic Art & Architecture. Ithaca, NY: Cornell University Press, 1966; Die islamischen Elfenbeinskulpturen. VIII.-XIII. Jahrhundert. Berlin: Deutscher Verlag für Kunstwissenschaft, 1971; and Volbach, Wolfgang Fritz. Late Antique Coptic and Islamic Textiles of Egypt. London: W. & G. Goyle, 1926; Islamische Kleinkunst. Berlin: R. C. Schmidt & Co., 1925, English, The Minor Arts of Islam. Ithaca, NY: Cornell University Press, 1971.


Sources

Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 233-4.




Citation

"Kühnel, Ernst." Dictionary of Art Historians (website). https://arthistorians.info/kuhnele/.


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Curator over the Islamic collections of the State Museum (Kaiser Friedrich) in Berlin. During his time as a student at Heidelberg, his colleagues included Rosa Schapire, Edwin Redslob,

Kuile, E. H., ter

Full Name: Kuile, E. H., ter

Other Names:

  • E. H. ter Kuile

Gender: male

Date Born: 1900

Date Died: 1988

Place Born: Ambt-Almelo, Netherlands

Home Country/ies: Netherlands

Subject Area(s): architecture (object genre), conservation (discipline), conservation (process), Dutch (culture or style), Netherlandish, and sculpture (visual works)


Overview

Professor of History of Architecture at Delft University of Technology; active at the Netherlands Department for the Conservation of Historic Buildings and Sites. Ter Kuile attended the Gymnasium in Deventer. In 1920 and 1921 he studied architecture, decorative arts, and arts and crafts in Haarlem. In 1922, he became a law student at Leiden University. After one year, he switched to history of art and archaeology, in which field he graduated in 1927. In 1929, he obtained his doctorate with a dissertation on wooden spires in the Northern Netherlands: De houten torenbekroningen in de Noordelijke Nederlanden. During the preparation of his dissertation, supervised by Wilhelm Martin, he worked as a voluntary assistant at the Amsterdam Rijksmuseum. Soon after obtaining his degree, he was appointed curator at the Rijksmuseum Twenthe in Enschede. In 1931, he began his career in the field of documentation and preservation of historic monuments, first at the Rijkscommissie voor de Monumentenzorg, and from 1933 at the Rijksbureau voor de Monumentenzorg, where he served for many years, gradually climbing to higher positions in 1937, 1942, and 1959. As an employee of this latter organization, which had been created in 1918 (from 1947 onwards known as the Rijksdienst voor de Monumentenzorg, i.e., the Netherlands Department for the Conservation of historic Buildings and Sites), he contributed five volumes to the series De Nederlandse Monumenten van Geschiedenis en Kunst. His architectural research led to numerous publications in the Bulletin of the Nederlandse Oudheidkundige Bond (Dutch Antiquarian Association), of which he was the editor for some years. Between 1949 and 1955, he was the president of this association. In 1946 he obtained a teaching position, and subsequently, in 1947, an extraordinarius professorship in the history of architecture at Delft University of Technology. He held his inaugural lecture in October 1947: Het venster in de geschiedenis van de monumentale Westerse architectuur. In addition, between 1949 until 1951, he taught art history, after the retirement of W. A. E. van der Pluym (1879-1960). Ter Kuile also served as the librarian of the department of architecture. The first of two English surveys on sculpture and architecture appeared as the Pelican series Art and Architecture in Belgium: 1600-1800 in1960, co-authored by Horst Gerson. In 1966 he and Seymour Slive and Jakob Rosenberg wrote the accompanying volume for the Netherlands, Dutch Art and Architecture: 1600-1800. These publications led to a wider recognition of his work. His book on Netherlands Romanesque churches appeared in 1975: De Romaanse kerkbouwkunst in de Nederlanden. It covered both the Northern and the Southern Netherlands, including Belgium. The revised second edition of this book was presented to ter Kuile at the age of 82. While most of his work was in Dutch, he occasionally published in French and English. In 1962, he contributed a French article, on the Carolingian churches of Oosterbeek and Tienhoven, to the Festschrift Murk Daniël Ozinga, professor in the history of architecture at Utrecht University. When he retired from Delft University, he was offered a Liber Amicorum: Delftse studiën. His fare well lecture on June 24, 1965 was on Kleurige Architectuur (colorful architecture). Ter Kuile continued publishing after his retirement. His fifth, and last, contribution to the series De Nederlandse Monumenten van Geschiedenis en Kunst appeared in 1974. At the age of 78, he published a study on the architecture of the former residence of the counts of Holland in the Binnenhof at The Hague. His students included C. L. Temminck Groll and J.C. Visser, whose dissertations of 1963 and 1964, respectively, were both on urban architecture in the Middle Ages. Ter Kuile did research on architecture from Antiquity until the nineteenth century. Medieval architecture was one of his favorite fields, in which he published a number of important studies, often on individual monuments. A particularly important study was on the original connection between three churches in Utrecht and the church of St. Lebuinus in Deventer, built under Bishop Bernold of Utrecht (1027-1054). Ter Kuile was attentive to the material and esthetical aspects of buildings and had a strong affinity for the space in architecture.


Selected Bibliography

[For a list of his publications until 1965, see:] Kamstra, T. “Publikaties van E.H. ter Kuile” in Delftse studiën, pp. 410-416; [1966-1979:] Bulletin Koninklijke Nederlandse Oudheidkundige Bond 87, 2 (1988) 77. [Dissertation:] De houten torenbekroningen in de Noordelijke Nederlanden; bijdrage tot hun ontwikkelings- en vormgeschiedenis. Leiden, 1929; “Bouwkunst der Nederlanden: 1600-1800” in Algemene kunstgeschiedenis. IV. Utrecht, 1949, pp. 215-221; “De architectuur.” in Fockema Andreae, S.J.; Ter Kuile, E.H; Hekker, R.C. Duizend jaar bouwen in Nederland. 2 vols. Amsterdam: Albert de Lange, 1948, pp. 131-386; 1957, pp. 77-194; and Gerson, H. Art and Architecture in Belgium: 1600-1800. The Pelican History of Art 18. Baltimore, MD: Penguin Books, 1960; and Rosenberg, Jakob and Slive, Seymour. Dutch Art and Architecture: 1600-1800. The Pelican History of Art 27. Harmondsworth: Penguin Books, 1966; De Romaanse kerkbouwkunst in de Nederlanden. Zutphen: De Walburg Pers, 1975. “De bouwgeschiedenis van het grafelijk paleis op het Binnenhof” Holland 10 (1978): 313-328. [Book review:] Van den Berg, Herma, M. “Engelbert H. ter Kuile, De Romaanse kerkbouwkunst in de Nederlanden.Bulletin Koninklijke Nederlandse Oudheidkundige Bond (1979): 33-35.


Sources

Ter Kuile, G.J. jr. “Engelbert Hendrik ter Kuile. Een biografische studie.” in Meischke R. and others (eds.) Delftse studiën. Een bundel historische opstellen over de stad Delft geschreven voor dr. E.H. Ter Kuile naar aanleiding van zijn afscheid als hoogleraar in de geschiedenis van de Bouwkunst. Assen: Van Gorcum, 1967; Temminck Groll, C.L. “In Memoriam Engelbert Hendrik ter Kuile.” Bulletin Koninklijke Nederlandse Oudheidkundige Bond 87, 2 (1988) 75,77; Bosman, Lex. “De geschiedenis van de Nederlandse architectuurgeschiedenis: middeleeuwse bouwkunst” in Hecht, Peter; Stolwijk Chris; Hoogenboom, Annemieke (eds.) Kunstgeschiedenis in Nederland.Amsterdam: Prometheus, 1998, pp. 63-87.



Contributors: Lee Sorensen and Monique Daniels


Citation

Lee Sorensen and Monique Daniels. "Kuile, E. H., ter." Dictionary of Art Historians (website). https://arthistorians.info/kuilee/.


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Professor of History of Architecture at Delft University of Technology; active at the Netherlands Department for the Conservation of Historic Buildings and Sites. Ter Kuile attended the Gymnasium in Deventer. In 1920 and 1921 he studied architectu