K

Kaufmann, Paul

November 8, 2023March 29, 2024

Full Name: Kaufmann, Paul

Gender: male

Date Born: 1896

Date Died: 1983

Home Country/ies: Germany

Subject Area(s): architecture (object genre), art theory, Neoclassical, sculpture (visual works), and Vienna School

Institution(s): Gemäldegalerie Berlin

Overview

Second generation Vienna School; historian of neo-classical architecture

Sources

Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986 p. 155.

Contributors: Lee Sorensen

Second generation Vienna School; historian of neo-classical architecture

Kaufmann, Thomas DaCosta

November 8, 2023March 29, 2024

Full Name: Kaufmann, Thomas DaCosta

Other Names:

Thomas DaCosta Kaufmann

Gender: male

Date Born: 07 May 1948

Place Born: New York, NY, USA

Home Country/ies: United States

Subject Area(s): Baroque and Renaissance

Overview

Renaissance and Baroque specialist of central Europe, Marquand Professor of Art and Archaeology, Princeton University. Kaufmann’s parents were Richard Kohns Kaufmann (1902-1989), a Manhattan stockbroker, and Manette Rodrigues DaCosta Kaufmann. Kaufmann completed both a B. A. summa cum laude and M.A. (with honors) at Yale University 1970. After working at the Metropolitan Museum of Art, New York as a staff lecturer, 1971, he entered the Warburg Institute, University of London, receiving a M.Phil., in 1972. His thesis, written under E. H. Gombrich, was titled Theories of Light in Renaissance Art and Science. He returned to the United States, matriculating at Harvard University. He married Virginia (“Heidi”) Burns Roehrig, a medievalist student of art history, in 1974. His Ph.D., granted in 1977 included a thesis on the art and collecting of the Holy Roman emperors supervised by James S. Ackerman; Konrad J. Oberhuber was also a reader. Kaufmann joined the faculty of Princeton University as an assistant professor the same year. He lectured as visiting professor of art history at University of Pennsylvania in 1980. He rose to associate professor of art and archaeology at Princeton in 1983. Kaufmann won the Humboldt Prize for 1985-1986. He studied at the Zentralinstitut fur Kunstgeschichte, Munich and at the Freie Universität, Berlin. He acted as negotiator for two important agreements for the American Council of Learned Societies, the Czechoslovak Academy of Sciences Agreement, 1985-1987 and, as chief negotiator, of the Societies-Polish Academy of Sciences Cultural Agreement, 1987. He received a second Humboldt prize for Berlin for the 1989-1990 year. His book, The School of Prague: Painting at the Court of Rudolf II 1988 won the Mitchell Prize for the best book on art history in English. His book Forschungsschwerpunkt Geschichte und Kultur Ostmiteleuropa appeared in 1994. After a divorce, Kaufmann married the art historian Elizabeth Pilliod in 1999. The early 21st century, brought to Kaufmann an examining of the role of geography as an intellectual determinent to art history. A 2000 conference in London that Kaufmann participated in focused on the goals of art history and the role of geographical origin as a tenet of the discipline. His book on the topic, Toward a Geography of Art, appeared in 2004. A second book on the theme, edited by Kaufmann, Time and Place: Essays in the Geohistory of Art, called attention to the significance of place as well as time in the social and physical sense, extending historically from Heroditus to the present and geographically from Latin America to East Asia. Between 2009 to the start of 2010 Kaufmann was at the Netherlands Institute for Advanced studies. He was given an honorary doctorate from the Technical University, Dresden in 2011. “Thomas Kaufmann is the preeminent scholar of Central European art of the Renaissance and Baroque. His interest in the art of the Holy Roman Empire under the Haspsburgs at a time when art historians have favored that of Italy and Western Europe has led him also to innovative investigations of the role of geography in the creation of art. His interest in Central European art focused initially on the Prague court of Rudolf II, who brought there artists from across Europe” (Ackerman).

Selected Bibliography

[master’s thesis:] Theories of Light in Renaissance Art and Science. Warburg Institute, 1972; [dissertation:] Variations on the Imperial Theme: Studies in Ceremontial Art and Collecting in the Age of Maxilian II and Rudolf II. Havard University, 1977; [collected essays:] The Eloquent Artist: Essays on Art, Art Theory and Architecture, Sixteenth to Nineteenth Century. London: Pindar, 2004; The School of Prague: Painting at the Court of Rudolf II, Chicago: University of Chicago Press, 1988; The Mastery of Nature: Aspects of Art, Science and Humanism in the Renaissance. Princeton, NJ: Princeton University Press, 1993; Court, Cloister, and City: the Art and Culture of Central Europe, 1450-1800. Chicago: University of Chicago Press, 1995; Toward a Geography of Art. Chicago: University of Chicago Press, 2004; edited, with Pilliod, Elizabeth. Time and Place: Essays in the Geohistory of Art. Burlington, VT: Ashgate, 2005; Painterly Enlightenment: the Art of Franz Anton Maulbertsch, 1724-1796. Chapel Hill, NC: University of North Carolina Press, 2005; Arcimboldo: Visual Jokes, Natural History, and Still-life Painting. Chicago: University of Chicago Press, 2010.

Sources

Kaufmann, Thomas DaCosta. Variations on the Imperial Theme. Outstanding Dissertations in the Fine Arts. Boston: G. K. Hall, 1978, pp. ii-iii; Kaufmann, Thomas DaCosta. “Introduction.” Art and Architecture in Central Europe, 1550-1620: an Annotated Bibliography. Boston: G.K. Hall, 1988, pp. ii-xxxvii. [personal correspondence, James Ackerman, 2012; Thomas DaCosta Kaufmann, February 2012]; curriculum vitae, http://www.princeton.edu/artandarchaeology/faculty/kaufmann/kaufmanncv.pdf

Contributors: Lee Sorensen

Kautzsch, Rudolf

November 8, 2023March 29, 2024

Full Name: Kautzsch, Rudolf

Gender: male

Date Born: 1868

Date Died: 1945

Place Born: Leipzig, Saxony, Germany

Place Died: Frohnau, Berlin, Germany

Home Country/ies: Germany

Subject Area(s): manuscripts (documents) and Medieval (European)

Institution(s): Technische Hochschule Darmstadt

Overview

Wrote Der Begriff der Entwicklung in der Kunstgeschichte (1917), one of the early examinations of art historiography in Germany; taught in Frankfurt (1915-1930). His students included Oswald Goetz.

Selected Bibliography

Der Begriff der Entwicklung in der Kunstgeschichte. Frankfurt am Main: , 1917. Dissertation (?)

Sources

Dilly, 27; DIN, 207; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 210-212.

Wrote Der Begriff der Entwicklung in der Kunstgeschichte (1917), one of the early examinations of art historiography in Germany; taught in Frankfurt (1915-1930). His students included Oswald Goetz.

Kay, H. Isherwood

November 8, 2023March 29, 2024

Full Name: Kay, H. Isherwood

Other Names:

Harold Isherwood Kay

Gender: male

Date Born: unknown

Date Died: unknown

Home Country/ies: United Kingdom

Career(s): curators

Overview

Assistant Keeper, National Gallery, London.

Selected Bibliography

John Sell Cotman’s Letters from Normandy, 1817-1820: Part I, 1817 and 1818. Oxford: s.n., 1912-1950; John Sell Cotman’s Letters from Normandy, 1817-1820: Part II, the Letters of 1820. Oxford: s.n., 1950(?)

Assistant Keeper, National Gallery, London.

Kayser, Stephen Sally

November 8, 2023March 29, 2024

Full Name: Kayser, Stephen Sally

Other Names:

Stephen Salli Kayser

Gender: male

Date Born: 23 December 1900

Date Died: 1988

Place Born: Karlsruhe, Mecklenburg-Vorpommern, Germany

Place Died: Los Angeles, CA, USA

Home Country/ies: Germany

Subject Area(s): Jewish (culture or style) and Judaism

Career(s): curators

Institution(s): University of Judaism in Los Angeles

Overview

Art critic, lecturer, painter, curator, and professor; known for his expertise and work with Jewish art and aesthetics, especially painting, synagogue architecture and art. Kayser was born as Stephen Salli Kayser in Karlsruhe, Germany to parents Siegbert Kayser and Mina Hilb (Kayser). He began his education at the humanistisches Gymnasium in Karlsruhe. For his higher education, Kayser generally studied art history, philosophy, and musicology at Technische Hochschule Karlsruhe from 1919 to 1922, under professors like Carl Neumann. In 1924, Kayser completed his dissertation Die Wille und die Idee der Erkenntnis (Will and Idea of Experience) under the professor Heinrich Rickert (1863-1936) at University of Heidelberg, thus earning his PhD in Philosophy. After graduation, Kayser continued his studies informally at the Universities of Munich, Zurich, and Vienna. Afterwards, he completed a one-year stay in Florence and Venice, and then spent twelve years working as an editor for scientific and art-historical works in Mannheim, Hamburg, and Berlin. In 1930, Kayser married visual artist Louise Darmstaedter (1894 – 1983). During this time period, Kayser also engaged in his own career as an artist, primarily in painting. Before 1933, Kayer’s written work solely consisted of articles on art and music, including composer Ernest Toch and artists El Greco and Munch.

Because of his Jewish heritage, Kayser was forced to leave Germany in 1935 on the grounds for “racial purification” reasons, and thus also changed his name to Stephen Sally Kayser at this time. He emigrated to Czechoslovakia, where he worked as a lecturer in philosophy, culture and art history at the Masaryk Volkshochschule in Brno, as well as in Prague, until emigrating to the United States two years later. His experience teaching in Brno was the start of his lifetime passion for teaching as a beloved professor and lecturer. In 1936, Kayser published one of his first works, titled Fritz Mauthner in seiner Beziehung zur modernen Philosophie (Fritz Mauthner in his relation to modern philosophy).

In the US in 1938, Kayser first worked for a year in the library of the Art Department at the Union Theological Seminary of Columbia University in New York, as well as the Art Department of the Public Library in New York. Kayser then completed half a year working at the Frick Art Reference Library and the Pierpont Morgan Library. From 1941 to 1943, he worked at the University of California at Berkeley as a Research Associate then lecturer. During his time, he also conducted research for the Bible Dictionary of Art. From 1943 to 1944, Kayser completed Wartime work at a Richmond Virginia shipyard as an engineering draftsman, but then quickly returned to his teaching roots as a Professor at San Jose State College until 1947. Moving back to New York in 1947, Kayser became a Curator and Director of Exhibitions at the Jewish Museum until 1963. Within the museum, he oversaw the transfer of the Ephraim Benguiat art collection from the Jewish Theological Seminary in New York to the Jewish Museum in 1947.

The same year, Kayser served as Associate Professor at the Jewish Theological Seminary in New York. In relation to his extensive studies on Jewish art history, Kayser published Defining Jewish Art in 1953. In 1955, Kayser collaborated with Guido Schoenberger on an exhibition of Judaic art at the Metropolitan Museum of Art, resulting in the catalog Art of the Hebrew tradition: Jewish ceremonial objects for synagogue and home. In 1956, Kayser published The book of books in art: A selection of biblical paintings and sculptures which offered a more broader look at art history.

Starting in 1963 until his death, Kayser was also Professor of Aesthetics at the University of Judaism in Los Angeles. He also worked extensively at the University of California Los Angeles as a visiting professor from 1966 to 1970, and then as a Lecturer from 1970-1976.

Selected Bibliography

and Schoenberger,Guido. Art of the Hebrew tradition: Jewish ceremonial objects for synagogue and home. Philadelphia: Jewish Publication Society of America, 1955;
Defining Jewish Art. In: Mordecai M . Kaplan Jubilee Volume. New York 1953, Bd. l, S. 457-469;
Fritz Mauthner in seiner Beziehung zur modernen Philosophie. Konstanz, 1926;
The book of books in art. A selection of biblical paintings and sculptures. New York, 1956;

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. 363-364.

Contributors: Helen Jennings

Keck, Andrew S.

November 8, 2023March 29, 2024

Full Name: Keck, Andrew S.

Other Names:

Andrew S. Keck

Gender: male

Date Born: 15 February 1902

Date Died: 21 December 2003

Place Born: Allentown, Allegheny, PA, USA

Place Died: Barnstable, MA, USA

Home Country/ies: United States

Subject Area(s): archaeology and Medieval (European)

Overview

Medievalist, chair of the department of art and archaeology, American University, Washgington, D. C. Keck was the son of William G. Keck, a lumber company owner and Emma L. Mosser (Keck) (1860-1944). Keck graduated from Williams College in 1924, working in the familylumberyard in Allentown, PA, and at Lehigh Trust, Allentown, 1924-1926 before entering Princeton University where he received a master of fine art’s degree in 1931, under Charels Rufus Morey. He also taught art history at Williams for five years. He married Katherine Young (1900-1988) in 1940. During World War II, Keck served in the navy and afterward as a lieutenant commander in the Naval Reserve. Keck was appointed to the art and archaeology department of American University, Washgington, D. C., serving as chair of the department. Keck taught Princeton University and was a reseach scholar at Dumbarton Oaks, Washgington, D. C. He retired from the department in 1969. Keck Park, in Allentown is named after him and his sister, who jointly donated the land in 1940. He retired to Barnstable, Massachusetts where he died at home at age 101. An Andrew S. Keck Distinguished Visiting Professorship of Art History was established at the American University in his honor. Keck held to the methodology of his mentor, Morey.

Selected Bibliography

“A Group of Italo-Byzantine Ivories.” Art Bulletin 12 (1930): 147-62; Observations on the Iconography of Joshua.” Art Bulletin 32, no. 4 (Dec., 1950): 267-274; Picasso on Painting and War. Washington, DC: American University, 1967.

Sources

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. 59 mentioned; Kleinbauer, W. Eugene. Research Guide to the History of Western Art. Chicago: American Library Association, 1982, p. 63 mentioned; [obituary:] “Andrew S. Keck, 101.” Morning Call (Allentown, PA) December 25, 2003. p B7

Contributors: Lee Sorensen

Kekulé von Stradonitz, Reinhard

November 8, 2023March 29, 2024

Full Name: Kekulé von Stradonitz, Reinhard

Other Names:

Reinhard Kekulé

Gender: male

Date Born: 1839

Date Died: 1911

Place Born: Darmstadt, Hesse, Germany

Place Died: Berlin, Germany

Home Country/ies: Germany

Subject Area(s): antiquities (object genre), ceramic ware (visual works), pottery (visual works), sculpture (visual works), and vase

Overview

Director of the collection of antique sculpture and vases at the Berlin Museum (1889-?) and also director of the antiquarium of the Berlin Museum (1896-?). Kekulé was the nephew of the famous organic chemist Friedrich August Kekulé von Stradonitz (1829-1896). Kekulé studied at the universities of Erlangen under Karl Friedrichs, and at Berlin under Eduard Gerhard, Johann Gustav Droysen (1808-1884), and August Böckh (1785-1867). His time in Rome with Enrico Brunn was most influential for his later writing. In 1870 he succeeded Otto Jahn, who had died prematurely, at the University in Bonn. His 1879 habilitation was written under Adolf Furtwängler. While teaching at Bonn one of his students was the later art historian Aby M. Warburg. In 1889 Kaiser Wilhelm II of Germany personally requested Kekulé to be the antiquities director of the collections in Berlin. In the following year he succeeded Carl Robert at the university in Berlin which he held jointly with the directorship. It was then that the emperor allowed the “von Stradonitz” designation. Kekulé greatly increased the size of the imperial collections through a combination of astute buying and commissioning excavations, assisted in the latter by Theodor Wiegand. His students included Hermann Ullmann and Ulrich von Wilamowitz-Moellendorff (1848-1931), whose tradition they maintained. Kekulé has been termed the founder of modern iconology (Langlotz). He eschewed Jahn’s “monumental philology” and classification for a methodology closer to Brunn mixed with an esthetic sensitivity akin to Johann Joachim Winckelmann. His connoisseurship, more than Winckelmann’s, was rooted in scholarship. Kekulé was a prominent lecturer though his writings are tinged with what today appear as superficial comments.

Selected Bibliography

über die Entstehung der Götterideale der grieschischen Kunst. Stuttgart: Verlag von W. Spemann,1877; Die Gruppe des Künstlers Menelaos in Villa Ludovisi: Ein Beitrag zur Geschichte der griechischen Kunst. Leipzig: W. Engelmann, 1870. Bronzestatuette eines kämpfenden Galliers in den Königlichen Museen. Berlin: G. Reimer, 1909; Echelos und Basile, attisches Relief aus Rhodos in den Königlichen Museen. Berlin, G. Reimer, 1905; Die griechische Skulptur. Berlin: G. Reimer, 1906; über copien einer frauenstatue aus der zeit des Phidias. Berlin: G. Reimer, 1897; über ein Bildnis der Perikles in den königlichen Museen. Berlin: G. Reimer, 1901.

Sources

Schiering, W. “Kekulé von Stradonitz, Reinhard.” Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988, pp. 73-74; Calder, William, III. “Kekulé von Stradonitz, Reinhard (1839-1911).” Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 1, pp. 632-33; Langlotz, E. 150 Jahre Reinische Friedich-Wilhelms-Universität zu Bonn 1818-1968. Bonn: Friedich-Wilhelms-Universität, 1968, pp. 227-32.

Kellen, Johan Philip van der

November 8, 2023March 29, 2024

Full Name: Kellen, Johan Philip van der

Gender: male

Date Born: 1831

Date Died: 1906

Place Born: Utrecht, Netherlands

Place Died: Baarn, Utrecht, Netherlands

Home Country/ies: Netherlands

Subject Area(s): connoisseurship, Dutch (culture or style), and prints (visual works)

Overview

First director of the Amsterdam Rijksprentenkabinet; connoisseur of prints. In the footsteps of his father and grandfather, die-cutters at the National Mint in Utrecht, Van der Kellen joined the Mint as an apprentice at the age of fifteen, and worked there until 1876. In this period, he began collecting prints on a large scale. In 1859, Christiaan Kramm (1797-1875) listed him in his biography of artists and described his collection of 6,000 prints, including 4,500 prints of Jan and Casper Luyken. In addition to his interest in father and son Luyken, he collected at least one print from nearly every Dutch and Flemish artist, with a view to documenting Dutch and Flemish printmaking from the sixteenth to the nineteenth centuries. As a print expert, he built up a private art library, visited and studied other private collections, and frequently traveled to print rooms abroad. The documentary value of prints and drawings was often a decisive factor in his choice. Between 1866 and 1873 the first part of his Le peintre-graveur hollandais et flamand appeared in various installments. This was meant as a follow up, as he called it, to the Peintre-Graveur of Adam von Bartsch and dealt with prints of 36 artists living in the sixteenth, seventeenth, and eighteenth centuries. Van der Kellen’s friend Carel Vosmaer contributed to the work with biographies of these artists. The book received great acclaim and he was invited to contribute to the Allgemeines Künstler-Lexicon, edited by Julius Meyer. Unfortunately, van der Kellen never was able to publish the other volumes of the Peintre-Graveur as he originally intended. In 1874, Van der Kellen was offered the position of director of the Berlin Kupferstichkabinett, but he preferred to stay in the Netherlands. By that time, he was in contact with Victor Eugène Louis de Stuers (1843-1916), who became the head of department of arts and sciences in the Ministry of Home Affairs in 1875. De Stuers realized that the Amsterdam Rijksprentenkabinet (Print Room), housed in the Trippenhuis, had been neglected and needed reorganization. Although the collection was internationally known, it had not expanded for many years. However, in 1871, an important donation, by Daniel Franken Dzn (1838-1898), of 3,813 Dutch engraved portraits had been added to the collection. In 1874, this art lover and banker published a pamphlet pleading for a more active purchasing policy. De Stuers proposed Van der Kellen as the right person to broaden, rearrange, and catalogue the collection. In 1876 Van der Kellen accepted the invitation to become the first director of the Print room and he left the National Mint were he had served for 30 years. His brother, David (1827-1895), was appointed in the same year as the first director of the Nederlandsch Museum voor Geschiedenis en Kunst (National Museum of History and Art), founded in 1875 in The Hague. Johan Philip’s new position did not allow him to have a private collection. This was sold, therefore, at Frederik Muller & Co. in 1878, but the Rijksprentenkabinet was able to purchase around 2,950 of its prints. Under Van der Kellen’s directorship, the collection grew from around 70,000 to around 125,000 prints, purchased at sales and acquired by donations. His budget was rather meager, though it increased by the years up to 10,000 guilders annually. In 1883, on the occasion of the sale of drawings from the collection of Jacob de Vos Jbzn in Amsterdam, some wealthy art lovers in Amsterdam decided to found the Vereniging Rembrandt, in order to finance purchases on a loan basis. This gave Van der Kellen the opportunity to purchase 494 drawings from this collection, for over 50,000 guilders. De Vereniging Rembrandt, which still exists today, continued to play an important role in financing drawings, at sales in 1887 and 1895. In this way, Van der Kellen built up an impressive collection of drawings, with a predilection for Dutch seventeenth-century painters. An important purchase in 1881 was the so- called Historische Atlas van Frederik Muller, containing historical prints, drawings, cards and portraits in 52 portfolios and 163 plates. This fitted into van der Kellen’s conception of the Rijksprentenkabinet as a center of documentation and study in a broader field of sciences and arts. In the following years, more historical and topographical materials were bought, lent or transferred to the Rijksprentenkabinet. Van der Kellen also built up a small collection of ornamental prints, and he published a monograph on the silver designs of Michel Le Blon: Michel Le Blon: Receuil d’ornaments, accompagné d’une notice biographique et d’un catalogue raisonné de son œuvre. The library collection expanded considerably as a result of the acquisition of sale catalogues and books. In 1885 the library and the print room were relocated in the new Rijksmuseum building, designed by P. J. H. Cuypers. Meanwhile, from 1882 onwards, Van der Kellen also held the position of deputy director of the Leiden University Print Room, a position that allowed him to transfer some prints and drawings from Leiden to Amsterdam, including a drawing by Rembrandt. From the Amsterdam Rijksacademie van Beeldende Kunsten he transferred 43 prints of Hercules Segers. In co-operation with Daniel Franken he described and catalogued the prints of Jan van de Velde the Younger: L’œuvre de Jan van de Velde, published in 1883. In 1898, the legacy of Franken to the Rijksprentenkabinet included almost the complete œuvre of this master. Van der Kellen did not succeed in setting up a critical catalog of all the prints and drawings, partly due to the collection’s rapid expansion. He retired in 1896, but kept an advising position in the Rijksmuseum. His successor, Cornelis Hofstede de Groot, complained about the inefficient classification of the works and set up a complete card index, which he completed in two years. More than once, he came in conflict with the authority of De Stuers and Van der Kellen, and he quit his position in 1898. Van der Kellen was allowed to return to his former position, where he stayed for five more years. In 1905, Pieter van Eeghen (1844-1907) published a monograph on the above-mentioned artists Jan and Casper Luyken, which was co-authored by Van der Kellen who, with his notes and advice, made a significant contribution to this two-volume work: Het werk van Jan en Casper Luyken. Van der Kellen may not have left an impressive list of publications, but his qualities as connoisseur and his vigorous directorship were of the greatest importance for the expansion of the Rijksprentenkabinet collection.

Selected Bibliography

Le peintre-graveur hollandais et flamand: Catalogue raisonné des estampes gravées par les peintres de l’école hollandaise et flamande. vol. 1. Utrecht: Kemink et fils, 1866-1873; Catalogue raisonné des estampes de l’école hollandaise et flamande formant la collection de feu M. de Ridder. Rotterdam: Dirk A. Lamme, 1874; Catalogue de gravures anciennes des écoles hollandaise et flamande suivies d’une collection d’eaux-fortes modernes. Amsterdam: F. Muller & Co., 1878; and Franken, Daniel. L’œuvre de Jan van de Velde. Amsterdam: Muller, 1883, 2nd edition, L’œuvre de Jan van de Velde. Graveur hollandais, 1593-1641 avec additions et corrections par Simon Laschitzer. Amsterdam: G.W. Hissink, 1968; Michel Le Blon.: Receuil d’ornaments, accompagné d’une notice biographique et d’un catalogue raisonné de son œuvre. The Hague: M. Nijhoff, 1900; Teekeningen door Jan van Goyen (Leiden 1596-1656 ‘s Gravenhage) uit het Rijksprentenkabinet te Amsterdam: zes en twintig stuks in chronologische volgorde. Amsterdam: Rijkom, 1900-?; and Van Eeghen, P. Het werk van Jan en Casper Luyken. 2 vols. Amsterdam: F. Muller & Co., 1905; Afbeeldingen naar belangrijke prenten en teekeningen in het Rijksprentenkabinet. Amsterdam: W. Versluys, 1908; and Benthem, E.J. Nederlandsche zeeschepen van ongeveer 1470 tot 1830. Afbeeldingen naar prenten, schilderijen en scheepsmodellen hoofdzakelijk berustende in het Rijks-museum te Amsterdam. Leiden: E.J. Brill, 1913.

Sources

Adama van Scheltema, F. Johan Philip van der Kellen De Kroniek 4 (1898): 18-19; Steenhoff, W. Johan Philip van der Kellen De Amsterdammer, June 17, 1906, p. 6; Johan Philip van der Kellen Eigen Haard, June 16, 1906, pp. 382-384; Johan Philip van der Kellen Kunstchronik 17 (1906): 458; Johan Philip van der Kellen Algemeen Handelsblad, June 7 1906, p. 2; June 9 1906, p. 3; Johan Philip van der Kellen De Nederlandsche Spectator, June 9 1906, p. 183; Nieuws van den Dag, June 8 1906; Blok, Ima in Nieuw Nederlandsch Biografisch Woordenboek 10, 1937, p. 451; P. Boon, K.G. Korte geschiedenis van de verzamelingen in Gids voor het Rijksprentenkabinet. Amsterdam, 1964, pp. 18-25; De Hoop Scheffer, Dieuwke Het afscheid van een directeur van ‘s Rijks Prentenkabinet Bulletin van het Rijksmuseum 22 (1974): 96-99; Van Thiel, P.J.J. Het Rijksmuseum in het Trippenhuis, 1814-1885 (1): bestuursvorm en personeel Bulletin van het Rijksmuseum 29 (1981): 79-100, 85; Korthals Altes, Everhard Johan Philip van der Kellen (1831-1906), de eerste directeur van het Rijksprentenkabinet Bulletin van het Rijksmuseum 46 (1998): 206-263 [with English Summary: 343-348].

Contributors: Monique Daniels

Kalf, Jan

November 8, 2023March 29, 2024

Full Name: Kalf, Jan

Other Names:

Jan Kalf Kalff

Gender: male

Date Born: 1873

Date Died: 1954

Place Born: Amsterdam, North Holland, Netherlands

Place Died: The Hague, South Holland, Netherlands

Home Country/ies: Netherlands

Overview

Director of the Rijksbureau voor de Monumentenzorg. Kalf attended the Gymnasium in Amsterdam. Already in his high school period he wrote critical articles on art. Inspired by his father, Martinus Kalf (1847-1898), the editor of the Algemeen Handelsblad, he was interested in literature, including plays, architecture, and arts and crafts. Between 1892 and 1896, Kalf studied Dutch literature and art history at the University of Amsterdam. He frequently published in various periodicals, often displaying a polemic attitude to the cultural and religious climate of his day. In the progressive periodical De Kroniek, created in 1895 and directed by P.L. Tak (1848-1907), Kalf wrote on plays and criticized the prevailing romanticism in this branch of art. His historical interest in the past included mediaeval mystery plays as well as monumental art and iconography. After his graduation, he paid particular attention to arts and crafts and to the conservation of monuments. In 1898, he became a volunteer at the Nederlandsch Museum voor Geschiedenis en Kunst, a museum for decorative arts, sculpture and architecture within the Amsterdam Rijksmuseum, directed by Aart Pit. Between 1899 and 1903, he worked as Pit’s assistant. In this capacity he made an inventory of the collection of book covers and did research on the textiles in the museum. On this latter subject, he published a number of articles in the Bulletin uitgegeven door den Nederlandschen Oudheidkundigen Bond (Bulletin of the Dutch Antiquarian Association), while his catalog of these textiles appeared in 1903. After his conversion to the Catholic Church, in 1899, he became a fierce opponent of neo-gothic art in catholic churches, which in his opinion was a romantic and unauthentic imitation of mediaeval art and architecture. In 1901, he founded De Violier, a group of young catholic artists who under the influence of J. A. Alberdingk Thijm (1820-1889) strove for an innovative Catholic approach to modern art and literature. Since 1899, he was one of the founding members of the above-mentioned Nederlandse Oudheidkundige Bond. In 1903, this association, focusing on the conservation of the cultural heritage, created a national committee for the documentation and description of monuments of history and art in the Netherlands. Kalf accepted the post of secretary of this committee and gave up his work at the Nederlandsch Museum. In 1912, he published his illustrated description of the former Baronie of Breda: Geïllustreerde beschrijving der voormalige Baronie van Breda. This work, published in the series: De Nederlandsche monumenten voor geschiedenis en kunst, is considered his magnum opus. In the same year, Kalf was awarded a doctorate honoris causa in Letters at the University of Utrecht. The ongoing debate on the conservation of monuments led the Oudheidkundige Bond to publish, in 1917, Grondbeginselen en voorschriften voor het behoud, de herstelling en de uitbreiding van oude bouwwerken. This work on general principles and rules for preservation, conservation, and renovation of historical buildings reflected Kalf’s progressive views on this matter. Kalf had a great love for monuments, as witnesses of the development of human artistic and social activity throughout history. His adagio was: conservation before innovation. When innovation was necessary, he valued modern architecture above historical reconstructions. In 1918, a new committee was founded, the Rijkscommissie voor de Monumentenzorg, which had a broader task than the earlier committee and now was responsible for both the description and the conservation of monuments. At the same time, the Rijksbureau voor de Monumentenzorg was set up, directed by Kalf, who held this position until 1939. This organization, since 1947 the Rijksdienst voor de Monumentenzorg (The Netherlands Department for the Conservation of Historic Buildings and Sites), was responsible for the practical implementation of both the description and conservation of monuments as well as for documentation, including photographs. From 1924 onwards, Kalf acted as the secretary of the committee, in addition to his directorship of the Rijksbureau, which made his position very influential. In this year he wrote an article on the practical and material aspects of the conservation of historical monuments. This publication shows his genuine involvement with, and dedication to, this field. In 1926, he described two monuments in the city of Maastricht, in De Monumenten van geschiedenis en kunst in de provincie Limburg. In 1927, Kalf was elected a member of the Koninklijke Nederlandse Akademie van Wetenschappen (Royal Netherlands Academy of Sciences). In the pre-war years, he was preoccupied with the prevention of destruction of works of art. In 1938, in his capacity as secretary of the Rijkscommissie voor de Monumentenzorg, he wrote a report for the Ministry of Education, Arts and Sciences on the protection of art objects against the danger of war: Bescherming van kunstwerken tegen oorlogsgevaar. After his retirement, in 1939, Kalf was appointed inspector for the protection of the cultural heritage. He also kept his position as secretary of the Rijkscommissie. During the war, thanks to Kalf, a number of major works of arts were preserved, hidden in bombproof shelters in the dunes. In 1942 Kalf contributed to the Johan Huizinga (1872-1945) Festschrift, which was published in 1948. In this article he published the results of his archival research on the mediaeval construction of the town hall of Middelburg, which was destroyed in 1940. After the war, Kalf continued being engaged in the reform of the conservation of monuments. His progressive insights contributed to the development of modern standards in the field of conservation in the Netherlands.

Selected Bibliography

[For a complete list, see:] Van der Haagen, J.K. Bibliografie van de geschriften van dr. Jan Kalf. Oudheidkundig Jaarboek. 4th series, 8 (1939): 21-52; Christelijke iconographie. (offprint Dietsche Warande en Belfort.) Gent: A. Siffer, 1900; Catalogus van de textiele kunst: weefsels, gobelins, tapijten, borduurwerk, in het Nederlandsch Museum voor Geschiedenis en Kunst te Amsterdam. Amsterdam: Nederlandsch Museum voor Geschiedenis en Kunst, 1903; De Katholieke kerken in Nederland: dat is de tegenwoordige staat dier kerken met hunne meubeling en versiering beschreven en afgebeeld. Amsterdam: Van Holkema & Warendorf, 1906; Van oude en nieuwe kunst; een bundel vertoogen. Amsterdam: C.L. van Langenhuysen, 1908; De monumenten van geschiedenis en kunst in de provincie Noordbrabant. Geïllustreerde beschrijving. 1. De voormalige Baronie van Breda. Utrecht: A. Oosthoek, 1912; Grondbeginselen en voorschriften voor het behoud, de herstelling en de uitbreiding van oude bouwwerken, met inleiding door Jan Kalf. Leiden, 1917; Het restaureren van oude gebouwen. Oudheidkundig Jaarboek. 3rd series, 4 (1924): 88-113; De voormalige Dominicanenkerk en -klooster.; De Onze-Lieve-Vrouwekerk. in De Monumenten van geschiedenis en kunst in de provincie Limburg. Geïllustreerde beschrijving. 1. De Gemeente Maastricht. The Hague: Algemeene Landsdrukkerij, 1926: pp. 164-188; 469-473; Bescherming van kunstwerken tegen oorlogsgevaar. The Hague: Algemeene Landsdrukkerij, 1938; Wat uit de stadsrekeningen te lezen valt over den bouw van het Middelburgsche Raadhuis. in Exuli amico Huizinga historico Haarlem: Tjeenk Willink, 1948: pp 51-92.

Sources

Brom, Gerard. Herleving van de kerkelijke kunst in katholiek Nederland. Leiden: Ars Catholica, 1933: 315-415; Baanders, H.A.J. Bouwkundig Weekblad Architectura 60 (1939) 17 (April 29th): 181-196; Van Beresteyn A.E. and others. [Festschrift: Feestbundel voor Dr. Jan Kalf bij diens afscheid bij het Rijksbureau voor de Monumentenzorg met de bibliografie van zijn publicaties.] Oudheidkundig Jaarboek 4th series, 8 (1939): 1-52; Van Gelder, H.E. Herinneringen aan drie paladijnen. Bulletin Koninklijke Nederlandse Oudheidkundige Bond. 6th series 8 (1955): 165-178; Van Gelder, J.G. Jaarboek der Koninklijke Nederlandse Akademie van Wetenschappen 1955-1956: 252-261; Thys, W. De kroniek van P.L. Tak: brandpunt van Nederlandse cultuur in de jaren negentig van de vorige eeuw. Amsterdam: Wereld-bibliotheek, 1956; Tillema, J.A.C. Schetsen uit de geschiedenis van de monumentenzorg in Nederland. The Hague: Staatsuitgeverij, 1975, passim; Duparc, F.J. Een eeuw strijd voor Nederlands cultureel erfgoed. The Hague: Staatsuitgeverij, 1975: 26-31; De Jong, A.A.M. in J. Charité (ed.) Biografisch Woordenboek van Nederland. 2. The Hague: M. Nijhoff, 1985: pp. 273-275.

Contributors: Monique Daniels

Kallab, Wolfgang

November 8, 2023March 29, 2024

Full Name: Kallab, Wolfgang

Gender: male

Date Born: 1875

Date Died: 1906

Place Born: Prostějov, Czech Republic

Place Died: Vienna, Vienna state, Austria

Home Country/ies: Czechoslovakia

Overview

Vasari scholar of Vienna school. He was born in Prostejov, Czechoslovakia, which is present-day Prostějov, Czech Republic.

Selected Bibliography

Vasaristudien. Vienna: K. Graesser, 1908.

Sources

KRG, 32; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 203-4.

Vasari scholar of Vienna school. He was born in Prostejov, Czechoslovakia, which is present-day Prostějov, Czech Republic.

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