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Laporte, Paul

Full Name: Laporte, Paul Milton

Other Names:

  • Paul Milton Heilbronner

Gender: male

Date Born: 22 November 1904

Date Died: 04 June 1980

Place Born: Munich, Bavaria, Germany

Place Died: Santa Barbara, Santa Barbara, CA, USA

Home Country/ies: Germany

Institution(s): Immaculate Heart College in Los Angeles


Overview

Art historian, professor, and artist; taught at numerous universities including Immaculate Heart College in Los Angeles. Paul Laporte was born as Paul Milton Heilbronner in 1904 Munich, Germany to banker Hugo Heilbronner (1869-1924). Heilbronner attended Altes Realgymnasium in Munich, earning his Abitur in 1924. From 1921 to 1925, he studied painting, arts, and crafts at the Kunstgewerbeschule and Akademie in Munich, and the Kunstschule in Halle. At these institutions, Heilbronner worked under teachers such as the architect Richard Riemerschmid (1868-1957), painter and graphic artist Erwin Hahs (1887-1970), and painter Karl Caspar (1879-1956). After departing these arts and crafts schools, he developed his artistic career as a painter and etcher until 1931. Heilbronner experienced some success as an artist in Thomas Mann’s Unordnung und frühes Leid (Disorder and Early Suffering) where his woodcuts were featured (1930).

In 1929, Heilbronner resumed his educational career at the University of Munich, where he studied art history, archaeology, and philosophy. During his university studies, Heilbronner gained practical experience in photography, with an emphasis on photography of artworks. This experience likely influenced his later projects with film. In 1933, Heilbronner finished his studies and published his dissertation under Wilhelm Pinder, titled Studien über Johann Michael Fischer (Studies on Johann Michael Fischer).

In response to growing anti-semetic policies enforced under Hitler in the same year, Heilbronner was forced to flee his home of Germany. He emigrated to Florence, Italy, where he spent his time conducting research on a variety of subjects, including prehistoric art, anthropology, and ethnology. He also became deeply involved with the Italian art and film scene, which was greatly prompted by his newfound relationship with Rudolf Arnheim and his wife Annette Siecke. Heilbronner’s relationship with film took the form of both critic and artist. He published articles on art and film in numerous popular Italian magazines, such as Il municipio di Augusta, di Elia Holl, e i suoi rapporti con il barocco Italiano (Elia Holl’s Augsburg Town Hall and its Relations to the Italian Baroque, 1938) in Palladio. Heilbronner also created his own short films focused on art works in Italy, with the most notable cinematic being a larger film project centered on Florence.

In 1939, Heilbronner emigrated to the US with the help of Arnheim and the American Guild for German Cultural Freedom, and officially took the name of Laporte. Upon arriving, he continued his scholarly work and contributed to a publication on human representation in the Palaeolithic. He also began to lecture for the College Art Association, commencing his lifelong involvement with education. From 1939 to 1940, Laporte worked as a teacher of art and handicrafts at numerous schools, including the Gordon School in Providence, Rhode Island and at the Providence Country Day School. In 1940, Laporte became an art and art history teacher at the Ethel Walker School in Simsbury, Connecticut until 1944. During this time period, he also worked at the Institute of International Education.

In 1943, Laporte married Annette Siecke, the former wife of Arnheim. Their romantic relationship began during his stay with the Anheims in Italy, where the two scandalously parented a child in 1937. Their union was Laporte’s second marriage, as he had previously been married in Germany before getting divorced in 1933.

In terms of his writing, Laporte published numerous works on a variety of subjects in 1943, including Humanism and the Contemporary Primitive (1946) and The classic art of Renoir (1948). Over time, his work became more focused on the intersection of science and the arts, a relationship he often explored through the cubist work of Picasso. While teaching art history at Olivet College in 1946, Laporte corresponded with Albert Einstein for input on his own investigations into this relationship that would inform his later works. Based upon his research up until this point, Laporte published The space-time concept in the work of Picasso and Cubism and science in 1948.

From 1948 to 1949, Laporte became a lecturer at the Design Institute in Chicago. In that year, he left to assume the role of Chairman of the Department of Art at Macalester College, which he would hold until 1956. After leaving Macalester College, Laporte continued his career in education that same year as a professor of art history at Immaculate Heart College, Los Angeles. From 1960 to 1961, he taught at the Chouinard Institute of Art and in 1962, became a visiting professor at University of Southern California until 1963, when he transitioned to University of California at Berkeley. During this time, Laporte’s scholarly interest in Picasso continued with the publication of Picasso’s portrait of the artist in 1961 and Four paintings by Picasso in 1963. His continued interest into the scientific intertwinings of cubism is represented in Cubism and Relativity, which was first published in 1965 and then republished posthumously in 1988. The later version featured a more thorough translation of a letter from Albert Einstein from their 1946 correspondence, as well as an introduction by Rudolf Arnheim. Laporte remained in California until his death in 1980 in Santa Barbara.


Selected Bibliography

  • [dissertation:] (Paul Heilbronner): Studien über Johann Michael Fischer. München 1933;
  • (Paul Heilbronner): II municipio di Augusta di Elia Holl e i suoi rapporti con il barocco italiano. In: Palladio. 1938, pp. 45-54;
  • Humanism and the contemporary primitive. In: Gaz. Bx Arts. 29,1946, pp. 47-62;
  • The classic art of Renoir. In: Gaz. Bx-Arts. 35, 1948;
  • Cubism and science. In: Aesthetics. 7, 1948, pp. 243-256;
  • The space-time concept in the work of Picasso. In: Mag. of Art. 41, 1948, pp. 26-30;
  • Picasso’s portrait of the artist. In: Centennial R. 1961;
  • Four paintings by Picasso. In: B. Los Angeles County Mus. 15,1963, H. 3, pp. 3-13;
  • Cubism and relativity. In: Art. 25,1965, pp. 246-248;
  • Cubism and relativity, with a letter of Albert Einstein. Introd. by Rudolf Arnheim. In: Leonardo. 21,1988, pp. 313-315;

Sources



Contributors: Helen Jennings and Lee Sorensen


Citation

Helen Jennings and Lee Sorensen. "Laporte, Paul." Dictionary of Art Historians (website). https://arthistorians.info/laportep/.


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Art historian, professor, and artist; taught at numerous universities including Immaculate Heart College in Los Angeles. Paul Laporte was born as Paul Milton Heilbronner in 1904 Munich, Germany to banker Hugo Heilbronner (1869-1924). Heilbronner a

Larkin, Oliver Waterman

Full Name: Larkin, Oliver Waterman

Gender: male

Date Born: 17 August 1896

Date Died: 17 December 1970

Place Born: Medford, Piscataquis, MA, USA

Place Died: Northampton, Hampshire, MA, USA

Home Country/ies: United States

Institution(s): Harvard University


Overview

Professor of art at Smith college and Pulitzer Prize author. Larkin was born in Massachusetts to Charles Ernst and Kate Mary Larkin. His father worked as a collector and dealer of antiques. The younger Larkin took an early interest in the arts as a high school student in Perley Free School in Georgetown, Massachusetts. He received his B.A. from Harvard in 1918. Between 1918 and 1919 Larkin served in the medical corps of the 73rd infantry during World War I. In 1919 he earned his M.A. degree from Harvard and, two years later, returned as an assistant of fine arts. Larkin was appointed assistant professor of art at Smith College in 1925. That summer he married Ruth Lily McIntire. The following year he was named associate professor and was awarded a full professorship in 1931.

Larkin is best known for Art and Life in America. The book, published in 1949, was an introductory survey to the art and architecture of the United States from the seventeenth century onward. Larkin’s focus was to demonstrate the ways in which the arts served to express American culture, in particular its democratic norms. Larkin was awarded the Pulitzer Prize for History in 1950 — the first such award for an art historical study — and the book went on to serve as “a standard text for the study of American art and culture” for almost two decades (Wallach).

In 1950, and again in 1955, Larkin lectured at the Salzburg Seminar in American Studies. In 1954, continuing his emphasis on the relationship between American democracy and art, he published Samuel F.B. Morse and American Democratic Art which focused on the renowned inventor’s early career as a painter. Larkin argued that Morse’s turn to the telegraph as a source of income had deprived America of the career of a great artist. His third book, Daumier in His Time and Ours, was published in 1962. He retired from teaching in 1964.

Although it was not widely recognized or promoted in the early years of the Cold War, Larkin’s emphasis on the social and cultural context, in addition to is affiliation with the Communist party, the “Popular Front,” and the New Masses in the early 1930s, have led subsequent historians to identify his work as Marxist (Denning; Wallach). Of all the surveys of American art published in the twentieth century, “Larkin’s book stands out as the most intellectually serious,” not only for the “scope and profundity” of his work, but his “warm sympathy for the aspirations of ordinary Americans” (Wallach).


Selected Bibliography

  • Art and Life in America. New York: Rinehart & Co., 1949;
  • Samuel F.B. Morse and American Democratic Art. Boston: Little, Brown, 1954;
  • Daumier in His Time and Ours. Northampton, MA: Smith College, 1962.

Sources

  • “Oliver W. Larkin Is Dead at 74.” New York Times, December 19, 1970: 30;
  • Brennan, Elizabeth A., Elizabeth C. Clarage, and Seymour Topping. Who’s Who of Pulitzer Prize Winners. Phoenix: Oryx Press, 1999;
  • Denning, Michael.  The Cultural Front: The Laboring ofAmerican Culture in the Twentieth Century. London: Verso, 1996;
  • Larkin, Oliver Waterman. Art and Life in America. New York: Rinehart & Co., 1949;
  • Wallach, Alan. “Oliver Larkin’s “Art and Life in America”: Between the Popular Front and the Cold War.” American Art, Vol. 15, No. 3. (Autumn, 2001): 80-89.

Archives


Contributors: Lee Sorensen and Shane Morrissy


Citation

Lee Sorensen and Shane Morrissy. "Larkin, Oliver Waterman." Dictionary of Art Historians (website). https://arthistorians.info/larkino/.


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Professor of art at Smith college and Pulitzer Prize author. Larkin was born in Massachusetts to Charles Ernst and Kate Mary Larkin. His father worked as a collector and dealer of antiques. The younger Larkin took an early interest in the arts as

Larson, Lars Olof

Full Name: Larson, Lars Olof

Gender: male

Date Born: 1934

Home Country/ies: Sweden

Institution(s): Växjö University


Overview


Selected Bibliography

Adrian de Vries, Hagiensis Batavus. Vienna and Munich, 1967.


Sources

Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986 pp. 191, 501



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Larson, Lars Olof." Dictionary of Art Historians (website). https://arthistorians.info/larsonl/.


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Lasko, Peter Erik

Full Name: Lasko, Peter Erik

Other Names:

  • Peter Lasko

Gender: male

Date Born: 1924

Date Died: 2003

Place Born: Berlin, Germany

Place Died: London, Greater London, England, UK

Home Country/ies: Germany

Subject Area(s): Medieval (European)


Overview

Medievalist and director of the Courtauld Institute; authored Pelican History of Art volume, Ars Sacra. Lasko grew up in Berlin during the Weimar Republic. His father, Leo Lasko, was a prominent figure in the German film industry and a Jew. The younger Lasko knew the avant-garde and Bauhaus sensibilities first hand. With the Nazi rise to power in 1933, Lasko’s father retired to Paris, but returned Germany believing the threat to Jews had passed. Leo Lasko fled again in 1936, this time to England and the family, including Peter, his mother, Wally, and sister, followed in 1937. Lasko first considered being a painter and attended Hammersmith and St. Martin’s School of Art, but switched to art history at Birkbeck College, under the guidance of Nikolaus Bernard Leon Pevsner. Lasko was admitted to the Courtauld Institute in 1946. His German background won him friends with the refugee art historians at the University of London and the Warburg. He became a British subject in 1948, marrying Lyn Norman the same year. Lasko graduated from the University of London in 1949. He was appointed assistant keeper in the department of British and medieval antiquities of the British Museum in 1950. It was the era when Rupert Bruce Mitford (1914-1993) was publishing the Sutton Hoo ship burial and Lasko work slightly on this project. He left the Museum in 1965, lured away to set up a school of music and the fine arts at the new University of East Anglia. He acceded to the chair in art history there and set about assembling one of the most dynamic faculties in the British Isles. In 1971 his Kingdom of the Franks appeared, partially the result of his years of research on medieval migrational peoples at the British Museum. His earlier connection with Pevsner, who was now editor of the Pelican History of Art series, led to the commissioning of the 1973 volume in the series on medieval objects, Ars Sacra: 800 and 1200. The book was stylistic analysis major ecclesiastical objects, and, though perhaps more conservative than the main currents of art-historical methodology, fit well into the limited subject of portable objects of the middle ages. At the University, Lasko proved an able administrator. Among other accomplishments, he persuaded Robert and Lisa Sainsbury to donate their art collection, where the University built a new building to house art and the department designed by Norman Foster. In 1974, Lasko made a bid to replace Anthony Blunt as director of the Courtuald Institute. Lasko won the appointment, largely on his record as an administrator. However, the Courtauld faculty were powerful and deeply entrenched in their traditions. Lasko was unable to make the administrational reforms he had with the new institution in Norwich. Among his successes, however, was the moving of the Courtauld to a permanent building. The lease on the former Robert Adam building at 20 Portman Square had not been renewed and attempts to build a modern building for the Courtauld failed. Lasko assembled a large part of the funding and negotiations to move to Somerset House, combining art and faculty into a single environ. Lasko resigned citing ill health in 1985 before the move was completed. In retirement, Lasko worked on The Corpus of Romanesque Sculpture in Great Britain And Northern Ireland, which he had taken over from George Zarnecki, and a book on German expressionist art, which never ceased to fascinate him. His book on German Expressionism, The Expressionist Roots of Modernism, was published posthumously.


Selected Bibliography

The Expressionist Roots of Modernism. New York: Manchester University Press: Palgrave,2003; The Kingdom of the Franks: North-west Europe Before Charlemagne. New York: McGraw-Hill, 1971; Ars Sacra: 800-1200. Baltimore: Penguin Books, 1972; Medieval Art in East Anglia, 1300-1520. Norwich, England: Jarrold & Sons, 1973; The Painting Collections of the Courtauld Institute of Art. Chicago: University of Chicago Press, 1979.


Sources

[obituaries:] The Guardian (London) May 29, 2003, p. 27; The Times (London), May 29, 2003, p. 40.




Citation

"Lasko, Peter Erik." Dictionary of Art Historians (website). https://arthistorians.info/laskop/.


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Medievalist and director of the Courtauld Institute; authored Pelican History of Art volume, Ars Sacra. Lasko grew up in Berlin during the Weimar Republic. His father, Leo Lasko, was a prominent figure in the German film industry and a Je

Lassus, Jean-Baptiste

Full Name: Lassus, Jean-Bapiste

Other Names:

  • Jean-Baptiste-Antoine Lassus

Gender: male

Date Born: 1807

Date Died: 1857

Place Born: Paris, Île-de-France, France

Place Died: Vichy, Auvergne-Rhône-Alpes, France

Home Country/ies: France

Subject Area(s): architecture (object genre), Medieval (European), restoration (process), and sculpture (visual works)

Career(s): restorers


Overview

Medievalist architectural historian and restorer. Lassus studied at the École des Beaux-Arts, Paris moving to the architectural studio of Henri Labrouste. He early on became a critic of the dominance of the Académie Française and the exclusivity it placed on the Greco-Roman ideal of architecture. His Salon work included an 1833 reconstruction of the Palais des Tuileries conforming to their original design (by Philibert de L’Orme, but the most indicative were the restoration proposals for Gothic monuments, such as a project for Sainte-Chappelle in 1835. Lassus began a restoration of St-Séverin, Paris the same year. Lassus’ espousal of the Gothic as a valid (and indeed, primally French) style put him at odds with classicists. To Lassus, the Renaissance’s reintroduction of the classic-order style was a foreign and pagan influence to French building. In 1836, he mounted another Salon project, the restoration of the refectory of St. Martin-des-Champs. He and Félix Duban were appointed that same year to restore Sainte-Chappelle, a project which involved Lassus the rest of his life. He focused his attention on the spire and interior decoration, removing later alterations. Lassus also maintained an architectural practice designing churches and additions to convents. In 1842, Lassus, together with the painter Eugène Emmanuel Amaury Duval (1806-1885) and restorer Adolphe Napoléon Didron issued their nine-volume documentation on Chartres cathedral, Monographie de la cathédrale de Chartres. Together with the other great Gothic-architecture restorer and exponent, the auditor to the Conseil des Bâtiments Civils, Eugène Viollet-le-Duc the two launched the restoration Notre-Dame, Paris, in 1844, beginning an era of extreme intervention of architectural restoration in France (Leniaud, Dictionary of Art). New sculpture was substituted for the old, the old often moved to museums. Lassus received commissions for the reworking of Chartres in 1846 and in Le Mans and Moulins, 1852. Lassus’ assumptions, that the early Gothic was A) rational and functional, B) an acme of archtitecture, C) indigenously French and core to its national identity and D) inherently Christian, directly opposed the theory and hegonomy expounded by French Academy’s theorist, Antoine Quatremère de Quincy. As an architectural “restorer,” Lassus remained the most scrupulous of his group by insisting on historic materials and building materials. He did not allow iron or stucco as previous practice had. In contrast to Vilolette-le-duc, who frequently discarded historical accuracy for effect, Lassus insisted on pragmatic and erudite solutions to his restorations, resulting a lower profile than Vilolette-le-duc.


Selected Bibliography

and Amaury-Duval, Eugène Emmanuel, and Didron, Adolphe Napoléon. Monographie de la cathédrale de Chartres. 9 vols of 72 plates. Paris: Imprimerie impériale, 1842-1865.


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. 71; 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. 66 cited; Middleton, Robin, and Watkin, David. Neoclassical and 19th Century Architecture. New York: Electa/Rizzoli, 1987.




Citation

"Lassus, Jean-Baptiste." Dictionary of Art Historians (website). https://arthistorians.info/lassusj/.


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Medievalist architectural historian and restorer. Lassus studied at the École des Beaux-Arts, Paris moving to the architectural studio of Henri Labrouste. He early on became a critic of the dominance of the Académie Française and the exclusivity i

Lasteyrie du Saillant, Robert Charles, comte de

Full Name: Lasteyrie du Saillant, Robert Charles, comte de

Other Names:

  • Robert de Lasteyrie

Gender: male

Date Born: 1848

Date Died: 1921

Home Country/ies: France

Subject Area(s): archaeology, French (culture or style), Medieval (European), monuments, Romanesque, and sculpture (visual works)


Overview

Medieval archaeologist who helped establish a chronology for Romanesque monuments in France. His students at the école des Chartes included Camille Enlart and Marcel Aubert.


Selected Bibliography

and Quicherat, Jules étienne Joseph. Mélanges d’archéologie et d’histoire, archéologie du moyen âge, mémoires et fragments réunis. Paris: A. Picard, 1886; Bibliographie générale des travaux historiques et archéologiques publiés par les sociétés savantes de la France. 6 vols. Paris: Imprimerie nationale, 1888-1916; L’architecture religieuse en France à l’époque gothique. Paris: A. Picard, 1912.


Sources

Aubert, Marcel, ed. L’architecture religieuse en France à l’époque gothique. 2 vols. Paris: A. Picard, 1926-27; Cahn, Walter. “Henri Focillon.” Medieval Scholarship: Biographical Studies on the Formation of a Discipline. Volume 3: Philosophy and the Arts. Edited by Helen Damico. Garland Reference Library of the Humanities 2110. New York: Garland Publishing, 2000, p. 265, mentioned.




Citation

"Lasteyrie du Saillant, Robert Charles, comte de." Dictionary of Art Historians (website). https://arthistorians.info/lasteyrier/.


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Medieval archaeologist who helped establish a chronology for Romanesque monuments in France. His students at the école des Chartes included Camille Enlart and Marcel Aubert.

Lampérez y Romea, Vicente

Full Name: Lampérez y Romea, Vicente

Gender: male

Date Born: 21 March 1861

Date Died: 19 January 1923

Place Born: Madrid, Spain

Place Died: Madrid, Spain

Home Country/ies: Spain

Subject Area(s): architecture (object genre) and sculpture (visual works)

Institution(s): Escuela Superior de Arquitectura de Madrid


Overview

Architect, restorator, archeologist. Lampérez was born into a wealthy family of Aragonese descent. He studied at the Instituto de Zaragoza (Institute of Zaragoza) and earned his BA at the Escuela de Bellas Artes de Zaragoza (School of Fine Arts of Zaragoza) in 1879. After obtaining his degree in architecture from the Escuela Superior de Arquitectura de Madrid (Superior School of Architecture of Madrid) in 1885, he began working under the architect and archaeologist Ricardo Velazquez Bosco (1843-1923) to restore the Cathedral of Leon. He married the Spanish author Blanca de los Ríos (1859-1956) who was the daughter of Demetrio de los Ríos (1818-1878), a prominent Spanish architect and archaeologist who also contributed to the restoration of the Cathedral of Leon. He was responsible for directing major restorative work on the Catedral de Burgos from 1887 to 1914. He first worked as an auxiliary at the Escuela de Artes y Oficios de Madrid (School of Arts and Offices of Madrid) in 1894 and later became a professor there in 1898. He became chair of the Teoría de la Arquitectura y Proyectos (Theory of Architecture and Projects) department at the Escuela Superior de Arquitectura de Madrid in 1901, and taught in the Historia de la Arquitectura (History of Architecture) and Artes Plasticas (Visual Arts) departments as well. He was the president of the Sección de Artes Plásticas del Ateneo de Madrid from 1903 to 1904 and then again from 1916 to 1917. In 1909, he published Historia de la arquitectura cristiana española (History of the Spanish Christian Architecture). In 1914, he was in charge of directing a major restoration project on the Cathedral of Cuenca. He was named a member of the Real Academia de la Historia beginning in 1916 and to the Real Academia de Bellas Artes de San Fernando in 1917. He was the president of the Congreso Nacional de Arquitectos de Zaragoza in 1919. A year before his death, he published Historia de la arquitectura civil española (History of Spanish Civil Architecture). He served as the director of the Escuela Superior de Arquitectura de Madrid from 1920 until his death in 1923. He belonged to the Hispanic Society of America and the la Société Française d’Arqueologie.

In both of his major publications mentioned above, Lampérez used a technical and scientific approach that considered both social and political contexts to create an inventory of Spanish architectural styles and schools. He was the first Spanish art historian to use these techniques to catalogue works. His inventory spanned from the Romantic period to the end of the 19th century and analyzed each monument in terms of its school, aesthetic style, and chronology. In his works as restorative architect, he followed the theories of Eugène Viollet-le-Duc who embraced an interventionist approach to restoration. In his work on the Cathedral of Cuenca, he completely reconstructed the facade in an attempt to restore the monument’s original appearance. Lampérez led the “escuela restauradora” (Restoration School) in Spain during the latter half of the 19th century. The next generation of art historians, including his disciple Leopoldo Torres Balbás (1888-1960), critiqued this interventionist approach to restoration arguing that the reconstruction of monuments lacked substantial historic and archeological evidence of their original appearance (Céspedes).


Selected Bibliography

  • Arquitectura civil española de los siglos I al XVIII. Madrid: Giner, 1922-3;
  • Historia de la arquitectura cristiana española en la edad media. Valladolid: Ambito, 1999;
  • “Sobre algunas posibles influencias de la arquitectura cristiano-española de la Edad Media en la francesa’.” Revue hispanique 16/50 (1907): pp. 565–75.

Sources

  • Santamaría, Eduardo Carrero. “Restauración Monumental y Opinión Pública: Vicente Lampérez En Los Claustros de La Catedral de Burgos.” Locvs Amoenvs 3, (December 1, 1997): 161–76. https://doi.org/10.1093/gao/9781884446054.article.T048937;
  • Céspedes, Miguel Ángel Martín. “Leopoldo Torres Balbás, Conservation Architect for the Alhambra.” Cuadernos de La Alhambra; Granada 42 (2007): 196–200;
  • Castañeda y Alcover, Vicente. “Don Vicente Lampérez y Romea.” Boletín de La Real Academia de La Historia. Tomo 82, Año 1923, 2010;
  • Blanco, Javier Rivera. “El comienzo de la Historia de la Arquitectura en España, Vicente Lampérez y Romea.” In Lecciones de los maestros: aproximación histórico-crítica a los grandes historiadores de la arquitectura española: [Seminario celebrado en Zaragoza los días 26, 27 y 28 de noviembre de 2009], 59–90, 2011;
  • García-Gutiérrez Mosteiro, Javier. “Vicente Lampérez y Romea | Real Academia de La Historia.”


    Contributors: Denise Shkurovich


    • Citation

    Denise Shkurovich. "Lampérez y Romea, Vicente." Dictionary of Art Historians (website). https://arthistorians.info/lamperezv/.


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    Search for materials by & about this art historian:

    Architect, restorator, archeologist. Lampérez was born into a wealthy family of Aragonese descent. He studied at the Instituto de Zaragoza (Institute of Zaragoza) and earned his BA at the Escuela de Bellas Artes de Zaragoza (School of Fine Arts of

    Lamprecht, Karl

    Full Name: Lamprecht, Karl

    Other Names:

    • Karl Lamprecht

    Gender: male

    Date Born: 1856

    Date Died: 1915

    Place Born: Jessen, Saxony-Anhalt, Germany

    Place Died: Leipzig, Saxony, Germany

    Home Country/ies: Germany

    Subject Area(s): Medieval (European)

    Career(s): art historians


    Overview

    Medievalist and one of the founders of cultural history who began his career writing art history. Lamprecht was the son of a Lutheran minister, also named Karl Lamprecht. After attending the Volksschule and Gymnasium in Wittenberg, Lamprecht entered the famous Gymnasum boarding school at Schulpforta in 1866. Graduating in 1874, he began university studies (in history) the same year in Göttingen, where the courses of Ernst Bernheim (1850-1942) and philosopher Rudolf Hermann Lotze (1817-1881) were significant. He continued historical study at Leipzig under the historian Carl von Noorden (1833-1883), the historical economist Wilhelm Roscher (1817-1894), and the psychologist Wilhelm Wundt (1832-1920). Perhaps most important, at Leipzig, Lamprecht encounted the cultural historian Georg Voigt (1827-1891) who introduced him to the work of Jacob Burckhardt. He earn his doctorate in 1879, but was so enthused with art that he spent an additional semester as a post-doctorate studying art history in Munich. Lamprecht moved to Bonn where he wrote his Habilitationschrift in 1881, remaining there as a Privatdozent. He published his study of illuminated manuscript initials, Initialornamentik des VIII. bis XIII. Jahrhunderts in 1882. He rose to extraordinarius Professor in 1885. At Bonn, Lamprecht deeply influenced the young art history student (and later seminal medievalist art historian) Wilhelm Vöge, whom Erwin Panofsky cited as Vöge’s true mentor. Lamprecht also exerted an effect on other naiscent art history students at Bonn, Aby M. Warburg and Paul Clemen. In 1890 Lamprecht moved to Marburg as Ordinarius Professor, but had, by the following year, accepted a call to Leipzig, 1891, where he remained for the rest of his career. That year he began publishing his controvericial Deutsche Geschichte (German History). As an historian, Lamprecht’s objectivity was sometimes tempered by partisanship; traditional historians attacked him for his omissions and errors (Gombrich). The historians Max Lenz (1850-1932), Heinrich von Sybel (1817-1895), and Friedrich Meinecke (1862-1954) were among his most virulent. The criticism broadened into methodological arguments, known as the Methodenstreit which became acronmonious, lasting in fact through 1905 but in reality his whole life. In 1904 Lamprecht was a lecturer at the St. Louis Exposition (World’s Fair) and the Columbia University sesquicentennial. His Columbia lectures appeared in English as the book What is History?. The recently-graduated Richard Hamann found his philosophy compelling and begann incorporating it into his own writing. In 1907 he created the Institut fur Kultur- und Universalgeschichte at the university to better host his study interests. “Kultur” for Lamprecht rested on the notion of “Volk,” the notion of popular movements as opposed to the impetus of great individuals in moving history. Immediately after his death, the historian Alfred Doren (1869-1934) authored the first evaluation of Lamprecht as an art historian (1916). Lamprecht was the most prominent cultural historian in late-nineteenth-century Germany, his fame resting upon his Deutsche Geschichte (1891-1909) and three-volume Deutsches Wirtschaftsleben im Mittelalter (1885-1886). He was a champion of the modern “scientific” approach to the humanities (Weintraub). His methodology–his ‘new’ history–took the historical system of G. W. F. Hegel (1770-1831) and translated it into psychological terms (Gombrich). Using Herbart’s notion of association, i.e., why some ideas are pushed asside pscyhologically for others, Lamprecht created a model to explain cultural change. Employing the model of stages of human consciousness, Lamprecht’s mapped this staged development onto German history. As an emerging cultural historian, Lamprecht investigated art history frequently, particularly in the 1880s, the very years in which art history was being shaped as a discipline in universities in Germany. Indeed, Hippolyte Taine in France and Karl Julius Ferdinand Schnaase in Germany were emphasizing art as documentary evidence to history. Lamprecht likewise frequently drew on the art of a period to build his case of collective psychology. Painting and sculpture were Lamprecht’s favorite document in the Deutsche Geschichte. He pinned the development of figural drawing in the middle ages to the emerging consciousness of the individual. He contrasted Rembrandt’s use of what Lamprecht called an imaginary light source (outside the picture) with Impressionism’s disfuse atmosphere as the hallmarks of “individualistic” and “subjective” ages. In the twentieth-century, Lamprecht’s cultural history reputation was overshadowed by the more sober Burckhardt, but Lamprecht’s Kulturgeschichte may have been more directly relevant for art history’s development than Burckhardt’s (Brush). Of his two famous students who became art historians, Warburg adopted Lamprecht’s psycyhological approach to art (Gombrich), and Vöge drew upon Lamprecht’s notion of a total history of art for his own work (Panofsky).


    Selected Bibliography

    Initialornamentik des VIII. bis XIII. Jahrhunderts. Leipzig: Alphons Dürr, 1882;Deutsche Geschichte. 12 vols. Berlin: Gaertner, 1891-1909; Deutsches wirtschaftsleben im Mittelalter: Untersuchungen uber die Entwicklung der materiellen Kultur des platten Landes auf Grund der Quellen zunachst des Mosellandes. 3 vols in 4. Leipzig: A. Durr, 1885-1886; What is History? Five Lectures on the Modern Science of History. New York: Macmillan, 1905.


    Sources

    Doren, Alfred. “Karl Lamprechts Geschichtstheorie und die Kunstgeschichte,” Zeitschrift für Àsthetik und allgemeine Kunstwissenschaft 11 (1916): 353-389; Popper, Annie M. “Karl Gotthard Lamprecht.” in Schmitt, Bernadotte, ed. Some Historians of Modern Europe. Chicago: University of Chicago Press, 1942 , pp. 217-239; Weintraub, Karl J. “Lamprecht 1856-1915.” in Visions of Culture. Chicago: University of Chicago Press, 1966, pp. 161-207; [Vöge reminiscence] Panofsky, Erwin. “Wilhelm Vöge: A Biographical Memoir.” Art Journal 28 no. 1 (Fall 1968): 29; Gombrich, Ernst H. Aby Warburg: An Intellectual Biography. 2nd ed. Chicago: University of Chicago Press, 1986, pp. 29-30; Chickering, Roger. “Young Lamprecht: An Essay in Biography and Historiography.” History and Theory 28, no. 2 (May 1989): 198-214; Brush, Kathryn. “The Cultural Historian Karl Lamprecht: Practitioner and Progenitor of Art History.” Central European History 26 (1993): 139-164; Chickering, Roger. Karl Lamprecht: a German Academic Life (1856-1915). [Atlantic Highlands,] NJ: Humanities Press, 1993.




    Citation

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


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    Medievalist and one of the founders of cultural history who began his career writing art history. Lamprecht was the son of a Lutheran minister, also named Karl Lamprecht. After attending the Volksschule and Gymnasium in Wittenberg, Lamprecht enter

    Lanciani, Rodolfo

    Full Name: Lanciani, Rodolfo

    Other Names:

    • Rodolfo Amedeo Lanciani

    Gender: male

    Date Born: 1847

    Date Died: 1929

    Place Born: Montecelio, Rome, Lazio Italy

    Place Died: Rome, Lazio, Italy

    Home Country/ies: Italy

    Subject Area(s): archaeology, Roman (ancient Italian culture or period), and topography (image-making)


    Overview

    Romanist archaeologist and art histoiran; known for his studies of the topography and monuments of the city of Rome. Lanciani hailed from ancient noble family. His father, Pietro Lanciani, was an engineer and his brother-in-law, Comte Virginio Vespignani (1808-1882) was an architect and draftsman for archeological books. After attending the (Jesuit) Collegio Romano and a period training as an engineer at the University of Rome, he joined an excavating project around Trajan’s harbor, in the ancient city of Ostia (Lazio), at the mouth of the Tiber River. The event changed his life forever. After publishing an exemplary description of the site in the Monumenti and Annali of the Instituto di Corrispondenza Archeologica beginning in 1867, Lanciani became absorbed in the archaeological study of monuments taking a degree in Literature (focusing on Greek and Latin). In 1872 Lanciani was appointed secretary of the Commissione Archaeologica Communale (municipal archaeological commission). He married an American translator, Mary Ellen “Elana” Rhodes (d. 1917), of Providence, R. I., in 1875, which gave him entre into scientific and academic circles among U.S. archaeologists. Lanciani was appointed vice-director of the Museo Kircheriano in 1876. By 1878 he had been named director of excavations for the city of Rome and professor of Roman topography at the University of Rome; he remained at the University until two years before his death. He rose to chair of Roman topography in 1882. Lanciani assisted museum acquistion of antiquities, such as the Boston Museum of Arts’ purchase of over 300 ancient objects from Italy. In 1893 he issued the first sheet of perhaps his most important publication, Forma Urbis Romae. An intricate map of the ancient city with modern streets overlaid. As one of the few Italian professors to speak fluently English, he edited, together with important British art historians Austen Henry Layard the 15th edition of the original 1843 A Handbook of Rome and its Environs, a guidebook to Rome for John Murray publishers in 1894.  Despite his success as both an archaeologist and scholar, the newly unified Italian government dismissed him from the archaeological service for improprieties in 1890. These included accusations of aiding looters of archaeological sites and misidentifying the archaeological record. These charges reveal the tensions between the city of Rome and the Italian state on the conservation, preservation and displaying the nation’s antiquities (Dixon). He was a member of the Accademia dei Lincei and the Academia di S. Lucia. He composed several works in English for that readership, his most important in the language, The Ruins & Excavations of Ancient Rome: a Companion Book for Students and Travelers appeared in 1897. By the end of the century, Lanciani was responsible for and supervising all the excavations within the city. He carried out a number of excavations making, most notably, the discovery of the House of Vestals in the Roman Forum. In addition, Lanciani produced maps of this work. His Storia degli scavi di Roma, in four volumes, is a collection of all information available about excavation and discoveries in the city to 1605. He continued to write first-hand descriptions of current archaeological discoveries, and he built a sizable collection of excerpts from Renaissance records and from the albums of Renaissance artists, the archaeological significance of which Lanciani was among the first to recognize. Other English-language works followed as well, including Wanderings in the Roman Campagna, which he published in 1909. At the retirement of Giacomo Boni in 1910 from the Commission of the Zona Monumentale, Lanciani replaced him. In that capacity, he helped prevent the implementation of a city park at the cite of the Baths of Caracalla. Poor health forced him to curtail his writing in 1912. He received numerous honorary degrees, including those from Aberdeen, Würzburg, Oxford, Harvard, and Glasgow. After his first wife succumbed to the influenza epidemic in Europe in 1917, Lanciani remarried a second time in 1920 to the widow of Prince Marco Antonio Colonna, Princess Teresa Caracciolo Colonna. He died in Rome in 1929. Much of this material has been preserved through Lanciani’s own donation of his schedario, or series of portfolios, to the Vatican Library, and through his heirs’ gift of his books, prints, plans, and manuscripts to the Istituto Italiano di Archeologia e Belle Arti. His students at the University of Rome included the archeologist Giulio Quirino Giglioli.

    Lanciani was a pioneer of a rational, modern approach to Roman cartography and archaeology. He formed part of a core of distinguished late nineteenth-century scholars of the Roman forum who included Thomas Ashby, Heinrich Jordan (1833-1886), Christian Huelsen, and Samuel B. Platner (1863-1921). In 1967, Richard Brilliant described Lanciani’s Ruins and Excavations of Ancient Rome as undiminished in vitality as a study of ancient Roman ruins. His Forma Urbis Romae was “a magnificent map of the city and a marvellous example of cartography as well as an encyclopaedia of typographical information. It is still an essential tool for anyone working on the ancient city” (Richardson). City maps of the twenty-first century typically have a scale of 1:20,000 (five cm on the map equivalent to one km on the ground). The forty-six maps of the Forma Urbis have a scale of 1:1,000. The work is still unsurpassed to this day. Many of his English-language books on Rome were subsequently translated into Italian.


    Selected Bibliography

    Guida del Palatino. Con pianta delineata da Alessandro Zangolini. Rome: Bocca, 1873; Scavi di Ostia. Rome: Salviucci, 1881; Il Tempio di Apolline Palatino: il Tempio della Vittoria. Rome: Salviucci, 1883; Ancient Rome in the Light of Recent Discoveries. Boston: Houghton, Mifflin & Co., 1889; and Salomone, Luigi, and Hoepli, Ulrico. Forma urbis Romae. 8 parts. Mediolani: Apud Ulricum Hoepli, 1893-1901; Pagan and Christian Rome. Boston: Houghton, Mifflin and Co., 1893; The Ruins & Excavations of Ancient Rome: a Companion Book for Students and Travelers. Boston: Houghton, Mifflin & Co., 1897; New Tales of Old Rome. London: Macmillan & Co., 1901; Storia degli scavi di Roma e notizie intorno le collezioni romane di antichità. 4 vols. Rome: Loescher, 1902-1912; revised section on “Ancient Art,” in, Layard, Austen Henry, and Murray, Alexander Stuart, and Pullen, Henry William. A Handbook of Rome and its Environs. 15th ed. London: J. Murray, 1894; Wanderings in the Roman Campagna. London: Constable & Co. Limited, 1909.


    Sources

    Encyclopedia Britanica, 11th ed. (1911); “Signora Rodolfo Lanciani, Wife of the Italian Archaeologist Dies of Influenza.” New York Times.February 18, 1914, p. 5; Brilliant, Richard. “Forward.” The Ruins and Excavations of Ancient Rome. New York: Bell (reprint), 1967, pp. iii-iv; Buonocore, Marco. “Sui codici di Rodolfo Lanciani vaticani latini 13031-13047.” in Miscellanea Bibliothecae Apostolicae Vaticanae 4 (1990): 13-35; Soprintendenza Archeologica di Roma. L’attività di Rodolfo Lanciani sul Palatino by Alessandro Capodiferro in Gli Orti farnesiani sul Palatino, Ecole Française de Rome. Rome: De Boccard, 1990, pp. 109-119; Richardson, Lawrence, Jr. A New Topographical Dictionary of Ancient Rome. Baltimore: John Hopkins University Press, 1992, p. xxv; “Rodolfo Lanciani e la ‘storia degli scavi di Roma.'” Xenia Antiqua 1 (1992): 155-160; Lefevre, Renato. “1889: Rodolfo Lanciani e il palazzo Piombino di piazza Colonna.” Strenna dei Romanisti 58 (1997): 233-237; Lilli, Manlio. Lanuvium: avanzi di edifici antichi negli appunti di R. Lanciani. Rome: L’Erma di Bretschneider, 2001; Palombi, Domenico. Rodolfo Lanciani: l’archeologia a Roma tra Ottocento e Novecento. Rome: L’Erma di Bretschneider, 2006; “L’architettura a Roma fra il 1750 ed il 1823 nei disegni della Collezione Lanciani by Alessandro Spila.” Architetti e ingegneri a confronto a cura direzione scientifica di Elisa Debenedetti. Rome: Bonsignori, 2006, p. 355-374; [obituaries:] “Lanciani, Roberto.” in “Archaeological News” American Journal of Archaeology 34 no.1 (January 1930): 62; “Prof. Lanciani Dies, Famous Scientist.” New York Times May 23, 1929. p. 26; “Professor Lanciani. The Great Roman Topographer.” Times (London) May 23, 1929, p. 16;
    Dixon, Susan M. “Rodolfo Lanciani’s Dismissal.” Bulletin of the History of Archaeology https://www.archaeologybulletin.org/articles/10.5334/bha-592/print/




    Citation

    "Lanciani, Rodolfo." Dictionary of Art Historians (website). https://arthistorians.info/lancianir/.


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    Romanist archaeologist and art histoiran; known for his studies of the topography and monuments of the city of Rome. Lanciani hailed from ancient noble family. His father, Pietro Lanciani, was an engineer and his brother-in-law, Comte Virginio Ves

    Landino, Cristoforo

    Full Name: Landino, Cristoforo

    Gender: male

    Date Born: 1424

    Date Died: 1498

    Place Born: Florence, Tuscany, Italy

    Place Died: Borgo alla Collina, Arezzo, Tuscany, Italy

    Home Country/ies: Italy

    Subject Area(s): biography (general genre), fifteenth century (dates CE), and Italian (culture or style)

    Career(s): art historians


    Overview

    Quattrocento writer, precursor of Vasari in that he constructed a list of biographies artists. Landino was a member of Marcilio Ficino’s group of intellectuals, employing neo-platonistic philosophy in their interpretation of the arts. In 1481 he published a commentary on Dante which included an account of contemporary Florentine artists and sculptors. His evaluations of Cimabue and Giotto drew heavily on the earlier work of Filippo Villani. Landino’s terminology, which he used principally for literary criticism, seems to have been absorbed immediately into the art criticism of others. As a friend of Alberti, Landino’s writings help popularize the more intellectual treatises of his friend.



    Sources

    Kultermann, Udo. The History of Art History. New York: Abaris, 1993, p. 11; The Dictionary of Art 18: 699; Baxandall, Michael. Painting and Experience in Fifteenth Century Italy: A Pprimer in the Social History of Pictorial Style. New York: Oxford University Press, 1988, pp. 144-51.




    Citation

    "Landino, Cristoforo." Dictionary of Art Historians (website). https://arthistorians.info/landinoc/.


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    Search for materials by & about this art historian:

    Quattrocento writer, precursor of Vasari in that he constructed a list of biographies artists. Landino was a member of Marcilio Ficino’s group of intellectuals, employing neo-platonistic philosophy in their interpretation of the arts. In 1481 he p