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Lützeler, Heinrich

November 8, 2023March 29, 2024

Full Name: Lützeler, Heinrich

Other Names:

Heinrich Lützeler

Gender: male

Date Born: 27 January 1902

Date Died: 13 June 1988

Place Born: Bonn, North Rhine-Westphalia, Germany

Place Died: Bonn, North Rhine-Westphalia, Germany

Home Country/ies: Germany

Subject Area(s): art theory

Overview

Art historiographer and theorist; refounder of art department at Bonn after World War II. Lützeler’s father was a porcelain painter and later a day laborer. Attending university from such a modest background proved a challenge, but Lützeler nevertheless pursued university at Friedrich-Wilhelms-Universität (Bonn) studying art history and Germanistik under Paul Hankamer (1891-1945), Oskar Walzel (1864-1944), Paul Clemen and Wilhelm Worringer. Beginning in 1919 he concentrated in philosophy at Cologne under the phenomenologist Max Scheler (1874-1928), whom Lützeler found as a spiritual friend and mentor. Lützeler planed to earn his doctorate in art history, but his thesis topic on art perception was considered too philosophical for art historians. His Ph.D. was granted in 1924 in philosophy, his dissertation supervised by the philosophy professor Adolf Dyroff (1866-1943). While writing his habilitation he worked as a theater critic and lecturer in Bonn. His Habilitationschrift, accepted in 1930 was Grundstile der Kunst (foundational styles of art). Lützeler’s strong Roman Catholic convictions, however, put him at odds with the Nazis, who assumed power in Germany in 1933. His support of Jewish colleagues and opposition to Hitler resulted in the annulling of his habilitation in 1940, preventing him from teaching further. He was banned from lecturing or publishing in the whole of the Reich in 1942. Lützeler fearlessly lectured, mostly to Catholic associations in the Rheinland. After the fall of the Nazis in World War II, the occupying British forces re-established his academic rights in June 1945; he was appointed professor of art history and esthetics at Bonn in 1946, assuming direction of the Kunsthistorisches Institut in Bonn. Lützeler helped found the Zeitschrift für ästhetik und allgemeine Kunstwissenschaft in 1947 which he edited with Joseph Gantner beginning in 1952. He also founded the Bonner Beiträge zur Kunstwissenschaft with Herbert von Einem in 1950. During the student unrest years of 1967-1968 Lützeler served as Dean of the Faculty of Arts at Bonn. He helped found the “Forschungsstelle für Orientalische Kunstgeschichte” (Research Center for Oriental Art History), and, after his retirement in 1970, acted as its director between 1974 and 1985. His wife, Marga, died in 1979. He died at age 86 and is buried at the Südfriedhof in Bonn.

Lützeler conceived of art experience in a tripartite of what he termed “experience”, “perception” and “understanding.” He employed the diverse methodologies of anthropology, psychology and philosophy to create a world art history. Contemporary methodological approaches like iconology or Geistesgeschichte were viewed with suspicion by him (Fork). His reputation, however, has been largely limited to the German-speaking world as Lützeler published no scholarly work in English.

Selected Bibliography

[complete bibliography] Kroll, Frank-Lothar, ed. Wege zur Kunst und zum Menschen: Festschrift für Heinrich Lützeler zum 85. Geburtstag. Bonn: Bouvier, 1987;
[dissertation:] Formen der Kunsterkenntnis. Bonn: F. Cohen, 1924;
[habilitation:] Grundstile der Kunst, Bonn, 1930;
Die christliche Kunst des Abendlandes. Bonn am Rhein: Verlag der Buchgemeinde, 1932;
[Herder mini-books on art subjects] Bräutliche Paare. Freiburg im Breisgau: Herder, 1952; Das Kind. Freiburg: Herder, 1953, English, Childhood. Herder Interbook, 1954;
Weltgeschichte der Kunst. Gütersloh: Bertelsmann Lesering, 1959;
Die Eisenbahn in der Malerei. Bonn: Boldt, 1971;
Kunsterfahrung und Kunstwissenschaft: systematische und entwicklungsgeschichtliche Darstellung und Dokumentation des Umgangs mit der bildenden Kunst. Freiburg: K. Alber, 1975.

Sources

[obituaries:] Kross, Siegfried. In memoriam Heinrich Lützeler: Reden gehalten am 13. Januar 1989 bei der Gedenkfeier der Philosophischen Fakultät der Rheinischen Friedrich-Wilhelms-Universität Bonn. Bonn: Bouvier, 1989;
Kroll, Frank-Lothar. “Heinrich Lützeler (1902-1988).” Zeitschrift für Religions- und Geistesgeschichte 41, no. 4 (1989): 362-365;
Bandmann, Gunter, ed. Der Mensch und die Künste: Festschrift für Heinrich Lützeler zum 60. Geburtstage. Düsseldorf: Verlag L. Schwann, 1962 (biographical sketch);
Kroll, Frank-Lothar, ed. Wege zur Kunst und zum Menschen: Festschrift für Heinrich Lützeler zum 85. Geburtstag. Bonn: Bouvier, 1987 (biographical summary);
Fork, Christiane. “Heinrich Lützeler.” Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 2007, pp. 271-274;
Kroll, Frank-Lothar. Stadtmuseum Bonn [website] “Heinrich Lützeler.” http://www2.bonn.de/stadtmuseum/inhalte/luetzeler.htm;
Kroll, Frank-Lothar. Intellektueller Widerstand im Dritten Reich: Heinrich Lützeler und der Nationalsozialismus. Berlin: Duncker & Humblot, 2008;

Contributors: Lee Sorensen

Lützow, Karl F. A. von

November 8, 2023March 29, 2024

Full Name: Lützow, Karl F. A. von

Other Names:

Carl F. A. Lützow

Gender: male

Date Born: 1832

Date Died: 1897

Place Born: Göttingen, Lower Saxony, Germany

Place Died: Vienna, Vienna state, Austria

Home Country/ies: Germany

Overview

Lützow and Wilhelm Lübke continued the Denkmäler der Kunst of August von Voit, which began as an atlas to the Handbuch der kunstgeschichte by Franz Kugler. The added the explanatory text. In 1871, Lützow was among the team of art historians (the others including Moritz Thausing, Alfred Woltmann, Adolf von Bayersdorfer, Friedrich Lippmann, Wilhelm Lübke, Bruno Meyer, Karl Woermann, G. Malsz and Wilhelm Bode) who convened in Dresden to determine which of two versions of Hans Holbein the younger’s Meyer Madonna was the autograph work. The so-called “Holbein convention,” one of the important events in nineteenth-century art history when many methodical approaches were employed to determined authenticity, concluded that the Darmstadt version was the original.

Selected Bibliography

Die Völker des Orients (Karl Schnasse, see that entry for full details). Volume I of Geschichte der Bildenden Kunst. 2nd ed. 8 vols. Stuttgart: Ebner & Seubert, 1866-79; and Guhl, Ernst, and Caspar, Josef, and Lübke, Wilhelm. Denkmäler der Kunst zur übersicht ihres Entwickelungsganges von den ersten künstlerischen Versuchen bis zu den Standpunkten der Gegenwart. (new, 2-volume edition). Verlag von Ebner & Seubert, 1858.

Sources

Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 254-6; Kultermann, Udo. The History of Art History. New York: Abaris, 1993, p. 145.

Lützow and Wilhelm Lübke continued the Denkmäler der Kunst of August von Voit, which began as an atlas to the Handbuch der kunstgeschichte by Franz Kugler. The added the ex

Lyna, Frédéric

November 8, 2023March 29, 2024

Full Name: Lyna, Frédéric

Gender: male

Date Born: unknown

Date Died: unknown

Home Country/ies: Belgium

Subject Area(s): manuscripts (documents)

Overview

Manuscripts scholar.

Selected Bibliography

[complete bibliography:] “Bibliographie de Frédéric Lyna”: Miscellanea F. Lyna. Scriptorium 23. Ghent: E. Story-Scientia, 1969. pp. vii-x;

Sources

Hommage à Fre´de´ric Lyna. Ghent: E. Story-Scientia, 1979.

Manuscripts scholar.

Lynes, Russell, Jr.

November 8, 2023March 29, 2024

Full Name: Lynes, Russell, Jr.

Other Names:

Russell Lynes Jr.

Gender: male

Date Born: 1910

Date Died: 1991

Place Born: Great Barrington, Berkshire, MA, USA

Place Died: New York, NY, USA

Home Country/ies: United States

Subject Area(s): American (North American)

Career(s): art critics

Overview

President of the Archives of American Art and columnist for Art in America. Lynes was the son of an Episcopal minister, Joseph Russell Lynes and Adelaide Sparkman (Lynes). Lynes was raised in the Berkshires area of Massachusetts and later in New York. He attended Yale University, graduating in 1932. Initially he worked at a clerk at the publisher Harper & Brothers between 1932 and 1936. He married the art historian Mildred Akin in1934. He briefly took a position as director of publications at Vassar College in 1937 before working as an assistant school principal (1937-40) and principal 1940-44 at the Shipley School in Bryn Mawr, PA. During World War II, he served in the pre-induction unit of the Army Service Forces (a civilian position) of the United States War Department, between 1942-44. Lynes began a long association with Harper’s magazine by writing the column “After Hours” and working as an assistant editor for the magazine, 1944-47. He rose to managing editor, 1947-67. Lynes also authored a feature in Art in America called “The State of Taste.” He was a founding member of the Archives of American Art in 1961, serving as its president from 1966-71. He was also a founding member of the Landmarks Preservation Commission of New York, serving between 1962-69. His Art-makers (1970) was a popular survey of 19th-century art production. In 1973 he published a history of the Museum of Modern Art, New York and in the 1980’s penned an monthly piece for Architectural Digest called “Russell Lynes Observes.” He died of heart failure in 1991 New York city. Lynes’ interest was in the social phenomenon of art. He wrote numerous books and articles on taste. His books on American taste and manners. In books such as Snobs, The Tastemakers, and Highbrow, Lowbrow, Middlebrow, were satirical and popular. Lynes criticized American conservative preferences in art and architecture along with a general ridicule of pretentious people.

Selected Bibliography

Good Old Modern: an Intimate Portrait of the Museum of Modern Art. New York: Atheneum, 1973; The Art-makers of Nineteenth-century America. New York, Atheneum, 1970; Architecture in America: a Photographic History from the Colonial Period to the Present. New York: Atheneum Publishers, 1960; The Tastemakers. New York: Harper, 1954; More than Meets the Eye: the History and Collections of Cooper-Hewitt Museum, the Smithsonian Institution’s National Museum of Design. New York: Smithsonian Institution, 1981.

Sources

Lynes, Russell. Good Old Modern: an Intimate Portrait of The Museum of Modern Art. New York: Atheneum, 1973, p. 493; Lynes, Russell. Life in the Slow Lane: Observations on Art, Architecture, Manners, and Other Such Spectator Sports. New York: HarperCollins, 1991; Confessions of a Dilettante. New York: Harper & Row, 1966; [obituary:] Severo, Richard. “Russell Lynes, 80, an Editor and Arbiter of Taste.” The New York Times, September 16, 1991.

President of the Archives of American Art and columnist for Art in America. Lynes was the son of an Episcopal minister, Joseph Russell Lynes and Adelaide Sparkman (Lynes). Lynes was raised in the Berkshires area of Massachusetts and later

Lynton, Norbert Caspar Loewenstein

November 8, 2023March 29, 2024

Full Name: Lynton, Norbert Caspar Loewenstein

Other Names:

Norbert Lynton

Gender: male

Date Born: 27 September 1927

Date Died: 30 October 2007

Place Born: Berlin, Germany

Place Died: Brighton, Brighton and Hove, England, UK

Home Country/ies: United Kingdom

Subject Area(s): Modern (style or period)

Career(s): educators

Overview

Modernist art historian and critic; Professor, University of Sussex, Brighton, 1976-1989. The son of a Jewish father, the Berlin publisher Paul Loewenstein (who took the name Lynton in 1944), and a Roman Catholic mother Amalie, Lynton’s family emigrated to London in 1935 as the Nazi’s power in Germany consolidated. When his father’s attempts at a dressmaking business in London failed, Lynton and his brothers were sent back to Germany to continue their education, but recalled in 1938 just as the Holocaust intensified. Lynton studied at Douai, the Benedictine school near Reading. He entered the University of London, Birkbeck College, the University’s night school for mature students, taking courses from Nikolaus Bernard Leon Pevsner and assisting him with his Buildings of England series. It was Pevsner, who despite Lynton’s interest in music, convinced him to study art history at the Courtauld Institute. He married Janet Irving in 1949 (divorced in 1968). After graduating from the Courtauld, Lynton joined Leeds College of Art in 1951 as a lecturer in the School of Architecture and then the School of Art in 1955. Leeds was directed by Harry Thubron (1915-1985) and assisted by E. J. Victor Pasmore (1908-1998), Terry Frost (1915-2003) and Tom Hudson (1922-1997), all of who were modernizing art education under the principles of Herbert Read. Lynton learned under these revolutionizing educators. He soon moved his courses into teaching 20th-century art at summer school, the artist Bridget Riley was among his early students. In 1961 he was appointed Senior lecturer (and later head of the Department of Art and General Studies) at Chelsea School of Art, London. The same year he became London correspondent for the Art International (through 1966) and separated from his first wife to live with a former student, Sylvia Towning. He reviewed for Art News and Review, replacing Lawrence Alloway at Alloway’s suggestion, for Art International. When Patrick Heron (1920-1999) retired from art criticism at The Guardian, Lynton assumed his role in 1965, competing with the substantially methodologically different critics David Sylvester and John Berger (Times) In 1970 he relinquished both positions to become the Director of Exhibition for the Arts Council of Great Britain. There he mounted shows including “Art in Revolution: Soviet Art and Design since 1917” in 1971, “Pioneers of Modern Sculpture,” 1973 and, in 1974, “Edvard Munch” as well as a succession of contemporary one-person exhibitions by Lucian Freud, Diane Arbus, Morris Louis and Antoni Tàpies. Lynton invited Tate curator Ann Seymour to create the show “The New Art” for the Hayward, a project impossible at her own institution (Independent). His shows treating photography as an art form, unusual for the time in London, raised the profile of the Hayward. He resigned from the Art Council in 1975 after difficulties with its notoriously difficult chairman of the Art Panel, John Pope-Hennessy. After a year teaching at the Open University, Lynton joined the University of Sussex, Brighton as professor. From 1975 he also lectured as professor at the School for European Studies. Lynton wrote The Story of Modern Art in 1980 as an attempt to update The Story of Art by E. H. Gombrich. He acted as School for European Studies’ Dean between 1985 and 1988. in 1985 he was appointed a trustee of the National Portrait Gallery, London, which he held until 1999. In 1987 he mounted the British Council Henry Moore exhibition in Delhi, India, and for the exhibition “Picturing People in Kuala Lumpur, Hong Kong and Singapore” during 1989-1990 year. He retired from both Sussex (emeritus) and lecturing at the School for European Studies in 1989. His second marriage to Towning ended in 1989 when his affair with another woman became known (Telegraph). Another Henry Moore exhibition under his aegis was held between 1991 and 1992 in Leningrad, Moscow and Helsinki. Lynton’s book on Vladimir Tatlin was posthumously published in 2009. Lynton was not an infallible eye. He deplored late Picasso (in a famous review of the Grand Palais show in 1966), and later, Francis Bacon. His Story of Modern Art was criticized for ignoring new art historical approaches–social and feminist; he approached art from the point of view of the artist, largely formal values.

Selected Bibliography

Ben Nicholson. London : Phaidon Press, 1993; Henry Moore: the Human Dimension. London: HMF Enterprises for the Henry Moore Foundation in association with the British Council/Lund Humphries, 1991; The Story of Modern Art. Ithaca, NY: Cornell University Press, 1980; and Russell, John. William Scott. London : Thames & Hudson, 2004; and Langmuir, Erika. The Yale Dictionary of Art and Artists. New Haven: Yale University Press, 2000.

Sources

The Writers Directory 2005. Chicago: St. James Press. vol.1, p. 1051; “Professor Norbert Lynton” [Dept. of Art History hompage, University of Sussex.} http://www.sussex.ac.uk/arthistory/profile1664; [honorary awards announcement, University of Brighton, 17.07.2003] http://www.brighton.ac.uk/news/2003/030717honorarygrads.php?PageId=804; [obituaries:] “Professor Norbert Lynton, Prolific art critic who organised major exhibitions at the Hayward Gallery and taught at Sussex University.” Daily Telegraph [London] November 13, 2007, p. 27, “Professor Norbert Lynton, Art historian and critic who directed the Hayward Gallery in its heyday and later taught at Sussex.” Independent (London), November 7, 2007, p. 44, “Professor Norbert Lynton.” Times (London), November 6, 2007, p. 67.

Contributors: Lee Sorensen

Lythgoe, Albert M.

November 8, 2023March 29, 2024

Full Name: Lythgoe, Albert M.

Gender: male

Date Born: 1868

Date Died: 1934

Subject Area(s): Egyptian (ancient)

Overview

Founder of the departments of Egyptian art for both the Museum of Fine Arts, Boston, and the Metropolitan Museum of Art, New York. In 1905, while excavating for the Boston Museum of Fine Arts in Egypt, he met William M. Laffan the collector and friend of the financier and collector J. P. Morgan (1837-1913). Morgan, chairman of the Metropolitan Museum of Art’s board of directors, was interested in forming an Egyptian Department similar to the Museum of Fine Arts, Boston. Laffan’s approval of Lythgoe convinced Morgan to hire him away from Boston. In 1906 Lythgoe resigned from both his Harvard lectureship and the Boston Museum to become the first curator of Egyptian Art at the Metropolitan. Lythgoe invited his former Harvard student, Herbert Eustis Winlock, to join the staff of the Metropolitan Museum of Art’s expedition in Egypt. Winlock later rose through the ranks under Lythgoe, from assistant curator of Egyptian art Lythgoe spent the next ten years making extraordinary finds for the Met in Egypt. At the Metropolitan, Lythgoe hired the Oxford scholar Arthur C. Mace (1874-1928), Ambrose Lansing (1891-1959), and Charles Wilkinson, who later founded the Metropolitan’s Department of Ancient Near Eastern Art. in 1907, Lythgoe and his staff excavated the pyramids at Lisht, in 1908 the Oasis of Kharga and in 1910 Luxor (Thebes), the seat of the XI Dynasty. Lythgoe’s friendship with millionaire Edward S. Harkness (1874-1940) brought donations from him and Henry Walters (1848-1931), then on the board of the Metropolitan and later founder of the Walters Art Museum in Baltimore. Winlock eventually succeeding Lythgoe as curator of Egyptian art when Lythgoe retired in 1929.

Sources

Tomkins, Calvin. Merchants and Masterpieces: The Story of the Metropolitan Museum of Art. 2nd. ed. New York: Henry Holt, 1989, pp. 136-39.

Lücken, Gottfried von

November 8, 2023March 29, 2024

Full Name: Lücken, Gottfried von

Gender: male

Date Born: 1883

Date Died: 1976

Place Born: Wredenhagen, Mecklenburg-Vorpommern, Germany

Place Died: Munich, Bavaria, Germany

Home Country/ies: Germany

Subject Area(s): Ancient Greek (culture or style), Antique, the, and Classical

Overview

Specialist in ancient Greek art, especially sarcophagi. His 1930 book Entwicklung der Parthenonskulptur traced stylistic differences in the North frieze of the Parthenon sculptures not to different artists but to a steady process of stylistic development. Lücken’s academic career spanned the Weimar, Nazi and DDR eras as a Professor at the University of Rostock (1921-1971), but he emigrated from the DDR after retirement (at age 88) to Munich. His students included Lotte H. Eisner.

Selected Bibliography

Die Entwicklung der Parthenonskulptur, 1930.

Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 218-219.

Specialist in ancient Greek art, especially sarcophagi. His 1930 book Entwicklung der Parthenonskulptur traced stylistic differences in the North frieze of the Parthenon sculptures not to different artists but to a steady process of styli

Luckner, Kurt T.

November 8, 2023March 29, 2024

Full Name: Luckner, Kurt T.

Other Names:

Kurt Thomas Luckner

Gender: male

Date Born: 1945

Date Died: 1995

Place Born: Stafford Springs, Tolland, CT, USA

Place Died: Toledo, Lucas, OH, USA

Home Country/ies: United States

Subject Area(s): Classical

Career(s): curators

Overview

Toledo Museum of Art curator, 1969-1995, classical art scholar. Luckner graduated in 1967 from Georgetown University. He worked for the National Endowment for the Arts in Washgington, D. C. (a collage of his hangs in the Rayburn House building). He received an M. A. from Stanford University in art history in 1969, working briefly for the Stanford University Art Museum. The same year, Luckner was hired by Toledo Museum of Art director Otto Wittmann, Jr., as assistant curator for classical art. He married Agathokleia “Kleia” Raubitschek, a nurse-midwife and daughter of Princeton’s classics professor Antony Raubitschek, in 1971. Luckner reinstalled the classical vase collection at Toledo and created the glass gallery, an important collection of historic glass founded by glass magnate Edward Drummond Libby. Luckner was promoted to Curator of Ancient Art in 1973 where he developed the African art gallery. An NEA grant allowed him to write the second fascicule of Toledo’s Corpus Vasorum Antiquorum. His “Silver for the Gods, 800 years of Greek and Roman Silver,” in 1977 was one of two important shows he oversaw. As a curator, he purchased 70 classical antiquities for the collection, none of which was ever questioned in authenticity of provenance, including the Darius painter, Exekias, and Makron. In 1985 he launched an exhibit with Dietrich von Bothmer and Marion True titled, “The Amasis Painter and his World,” one of the most heralded classical art shows of his generation. Luckner was made Curator of Special Exhibitions at Toledo in 1986. Between 1992 and 1994 he worked as guest curator at the Art Institute of Chicago researching and reinstalling that institution’s classical collection which had heretofore been stored. He worked on a similar project for the J.B. Speed Museum in Louisville, KY. He suffered a heart attack slightly before his 50th birthday and died.Luckner was according to one Toledo newspaper account, “an ebullient, indefatigable promoter of all things ancient – and an especially riveting storyteller.” His purchase of gnathia for the museum lead that painter to be named “the Toledo Painter.”

Selected Bibliography

and Boulter, Cedric G. “The Toledo Museum of Art.” Corpus vasorum antiquorum. United States of America, fascicule 17 Toledo: Toledo Museum of Art, 1976.

Sources

Vallongo, Sally. “Museum’s Exhibit of Classic Bronzes Tells Vivid Story of Civilization.” Blade (Toledo, OH) October 13, 1996, p.1; Duncan, Sally Anne. Otto Wittmann: Museum Man for all Seasons. Toledo, OH: Toledo Museum of Art, 2001, p. 23; [obituary:] Kozloff, Arielle P. “Kurt Thomas Luckner, 1945-1995.” American Journal of Archaeology 100, no. 3 (July 1996):. 599-600.

Lüdecke, Heinz

November 8, 2023March 29, 2024

Full Name: Lüdecke, Heinz

Gender: male

Date Born: unknown

Date Died: unknown

Subject Area(s): Context Art, Modern (style or period), and Post-1945

Overview

post-war contextual art historian (Rezeptionsgeschichte)

Selected Bibliography

and Heiland, Susanne, eds. Dürer und die Nachwelt: Urkunden, Briefe, Dichtungen und wissenschaftliche Betrachtungen aus vier Jahrhunderten. Berlin: 1955.

Sources

Dilly, 41 mentioned

post-war contextual art historian (Rezeptionsgeschichte)

Lugt, Frits

November 8, 2023March 29, 2024

Full Name: Lugt, Frits

Other Names:

Frits Lugt

Gender: male

Date Born: 1884

Date Died: 1970

Place Born: Amsterdam, North Holland, Netherlands

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

Home Country/ies: Netherlands

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

Career(s): art collectors

Overview

Art collector, cataloger and connoisseur of Netherlandish drawings and prints. Lugt began his career at age twelve in 1899 when he constructed a catalog of the print collection in Rijksprentenkabinet in Amsterdam. By age fifteen, he had written a biography of Rembrandt, illustrated with photographic reproductions and with his own copies of etchings and drawings by Rembrandt (published 1997, Fondation Custodia). Lugt cut short his formal education to become an employee at the auction house Frederik Muller in Amsterdam in 1901. By 1911 he had become a partner of the firm, a position he held until 1915. One of his tasks at the auction house was the compilation of sale catalogs. His ongoing interest resulted in the four volumes of his famous Répertoire des catalogues de ventes publiques (published in 1938, 1953, 1964, and one – posthumously – in 1987). In the 1930s he donated his huge collection of sale catalogues and many other documentary materials to the Rijksbureau voor Kunsthistorische Documentatie at The Hague along with his personal library, which he considered on “permanent loan.” Lugt’s 1910 marriage to Jacoba Klever, a woman of independent means, meant that he could pursue his interests without financial concerns. In 1921, he completed his most famous work, Les marques de collections de dessins et d’estampes, a catalog for identifying collection marks and stamps. A year later, the French Minister of Education and the Fine Arts commissioned him to compile the inventory of Dutch and Flemish drawings in the Louvre. Between 1927 and 1969, he published nine volumes on drawings of the “écoles du Nord” from the Louvre’s collection as well as those in other collections in Paris, including the Petit Palais (collection Dutuit), the Bibliothèque Nationale, and the école des Beaux-Arts. Meanwhile, Lugt, together with his wife, built an impressive collection of drawings, prints, books, paintings etc. During the Second World War, the couple fled to the United States where Wolfgang Stechow secured a temporary position for him lecturing at Oberlin College, Oberlin, Ohio. During this time he participated in a symposium on Dutch art historians were he stated his particular view of the discipline (see the essay in Contributions…, 1943, bibliography). Lugt, whose devout Mennonite faith led him to consider their art collection part of God’s gift, sought a cultural center which would make their collection accessible to the public. This they realized, not in The Netherlands, but in France, with the creation of the Fondation Custodia in 1947. Ten years later, the Institut Néerlandais was opened, also in their honor. Exhibitions and other activities, first initiated by Frits Lugt himself, continued even after his death in 1970.

Selected Bibliography

[complete bibliography, including catalogs:] La Revue du Louvre 21 (1971): 51-54; Rembrandt. Een biografie door/Une biographie par/A Biography by Frits Lugt 1899. Paris: Fondation Custodia, 1997, 45-124; “Wandelingen met Rembrandt in Amsterdam”. Feest-bundel Dr. Abraham Bredius aangeboden den achttienden April, 1915. Amsterdam: Boek-, kunst-, en handelsdrukkerij, v/h Gebroeders Binger, 1915, 1: 138-177; 2, nrs. 50-74 (also published separately, Amsterdam: P.N. van Kampen & Zoon, 1915); [in addition to his 9 volumes of inventories of drawings, his most famous works are:] Les marques de collections de dessins et d’estampes. Marques estampillées et écrites de collections particulières et publiques. Marques de marchands, de monteurs et d’imprimeurs. Cachets de vente d’artistes décédés. Marques de graveurs apposées après le triage des plaches. Timbres d’éditions, etc. avec notices historiques sur les collectionneurs, les collections, les ventes, les marchands et éditeurs, etc. Amsterdam: Vereenigde Drukkerijen, 1921; Les Marques de collections de dessins et d’estampes. Supplément. The Hague: Martinus Nijhoff, 1956; Répertoire des catalogues de ventes publiques intéressant l’art ou la curiosité. 4 vols. The Hague: Martinus Nijhoff, 1938, 1953, 1964; [4. Paris, 1987]; “History of Art,” in, The Contribution of Holland to the Sciences: A Symposium. A. J. Barnouw and B. Landheer, eds. New York: Querido, 1943, pp. 179-211.

Sources

Hennus, M.F., “Frits Lugt. Kunstvorser – Kunstkeurder”. Maandblad voor beeldende kunsten 26 (1950): 77-140;Van Gelder, Jan Gerrit., Gerson, Horst., De Gorter, S., eds. Frits Lugt: zijn leven en zijn verzamelingen. The Hague: Rijksbureau voor kunsthistorische documentatie, 1964; Van Gelder, J. G., “In memoriam Frits Lugt”. Flemish Drawings of the Seventeenth Century from the Collection of Frits Lugt. Institut Néerlandais Paris. London, 1972: IX-XV; Sutton, Denys, ed. “L’Amateur Accompli: Frits Lugt”. Apollo N.S. 104 (1976); Storm van Leeuwen, J., Biografisch woordenboek van Nederland 1. (The Hague, 1979): 357-358; Nihom-Nijstad, Saskia, “Introduction” in Reflets du siècle d’or. Tableaux hollandais du dix-septième siècle. Collection Frits Lugt, Fondation Custodia (Institut Néerlandais 10 mars – 30 avril, 1983). Paris: Fondation Custodia, 1983: IX-XIII; Bazin, Germain, Histoire de l’histoire de l’art de Vasari à nos jours. Paris: Albin Michel, 1986: 383-384 [mentioned]; Ergmann, R., “L’œil de l’aigle. Frits Lugt et l’Institut Néerlandais de Paris.” Connaissance des Arts 410 (April, 1986): 68-79; Collection Frits Lugt. Paris/ Fondation Custodia. Stichting naar Zwitsers recht. Paris: Fondation Custodia, 1994; Reitsma, Ellen, “Frits Lugt: A Boy with a Vocation” in Rembrandt: Een biografie door/Une biographie par/A Biography by Frits Lugt 1899. Paris: Fondation Custodia, 1997, 9-44; Van Berge-Gerbaud, Mària, “Frits Lugt et Rembrandt” in Rembrandt et son école. Dessins de la collection Frits Lugt, Fondation Custodia, Paris: Fondation Custodia, 1997: XI-XVI; [collection:] Bailey, Colin B., and Galassi, Susan Grace, and van Berge-Gerbaud, Mària, eds. Watteau to Degas: French Drawings from the Frits Lugt Collection. New York: The Frick Collection/Fondation Custodia, 2009; [obituaries:] Van Gelder, J. G, “Frits Lugt”. The Burlington Magazine 112 (1970): 762-763; Van Gelder, J. G, “Frits Lugt 4 mei 1884-15 juli 1970.” Oud Holland 85 (1970): 63-64; Sérullaz, Maurice, “Hommage à Frits Lugt.” La Revue du Louvre 21 (1971): 39-44; Van Gelder, J. G., “Frederik Johannes Lugt (4 mei 1884 – 15 juli 1970)”. Jaarboek van de Koninklijke Nederlandse Akademie van Wetenschappen 1970. Amsterdam: B.V. Noord-Hollandsche Uitgevers Maatschappij, 1971: 261-267;

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