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Lowrie, Walter

Full Name: Lowrie, Walter

Gender: male

Date Born: 1868

Date Died: 1959

Place Born: Philadelphia, Philadelphia, PA, USA

Place Died: Princeton, Mercer, NJ, USA

Home Country/ies: United States

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

Career(s): art historians

Institution(s): Princeton University


Overview

His book, Monuments of the Early Church (1901) was one of the early required texts to be listed in the course catalog for the art history classes of Princeton University.





Contributors: Lee Sorensen


Citation

Lee Sorensen. "Lowrie, Walter." Dictionary of Art Historians (website). https://arthistorians.info/lowriew/.


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His book, Monuments of the Early Church (1901) was one of the early required texts to be listed in the course catalog for the art history classes of Princeton University.

Lowry, Bates

Full Name: Lowry, Bates

Gender: male

Date Born: 1925

Date Died: 2004

Place Born: Cincinnati, Hamilton, OH, USA

Place Died: Brooklyn, Cattaraugus, NY, USA

Home Country/ies: United States

Subject Area(s): architecture (object genre), Modern (style or period), and sculpture (visual works)


Overview

Architectural historian and Director of the Museum of Modern Art, New York 1968-1969. Lowry served in the army during World War II. Initially considering the law as a career, he served an assistant to Justice Robert Jackson in Paris at the war crimes tribunal. He returned to Chicago and received a B. A. degree in philosophy, working as assistant editor for the American Bar Association journal. He married Isabel Barrett in 1946. Lowry traveled again to Europe, studying art at Grenoble and the Sorbonne. Moving back to Chicago, he completed an A.M. in 1952 and his Ph.D. in 1957, both at the University of Chicago under Ulrich Middeldorf. His dissertation topic was on the architectural programs of the Louvre. After teaching at the University of California, Riverside, 1954-1957, he taught at New York University, Institute of Fine Arts, 1957-59, before chairing the art department at Pomona College in California. In 1963 he joined Brown University as professor of art, becoming chair of the department in 1967. When the 1966 floods in Florence destroyed many works of art, Lowry and fellow Brown art historian Fred Licht. Lowry became chairman of the Committee to Rescue Italian Art, (CRIA) which acted as a fund-raising group, eventually raising $1,750,000. At the retirement of Museum of Modern art Director, René d’Harnoncourt, Lowry succeeded him. From the first, however, his position was fraught with controversy. New York artists picketed the museum and threatened a sit-in demanding more of a say in museum affairs. Lowry offered to set up committees where artists would be involved. The public input to the private museum was viewed with alarm by MoMA’s wealthy board. Lowry attempted to take on the job of curator of painting and sculpture in addition to his job as director, a plan that was resented by the department. Scarcely more than a year later, Lowry tendered his resignation at the Board’s insistence in 1969. He joined the University of Massachusetts in Boston as faculty in 1971 to 1980. In 1980, Lowry was founding director of the National Building Museum in Washington, D.C. and consulted with the Getty Museum on Daguerreotype photographs, of which he and his wife were collectors. He died of pneumonia in Brooklyn, NY. He is not related to the current MoMA Director, Glenn D. Lowry.


Selected Bibliography

[dissertation:] Palais du Louvre, 1528-1624: The Development of a Sixteenth-Century Architectural Complex. Chicago, 1957; “Redefinitions of Style: High Renaissance Architecture.” College Art Journal 17 (1958): 115-28; The Architecture of Washington, D.C. 2 vols. Washington, DC: Dunlap Society, 1976-1979; The Silver Canvas: Daguerreotype Masterpieces from the J. Paul Getty Museum. Los Angeles: The J. Paul Getty Museum, 1998; Building a National Iimage: Architectural Drawings for the American Democracy, 1789-1912. Washington, DC: National Building Museum,1985; and Lowry, Isabel. Looking for Leonardo: Naive and Folk Art Objects Found in America. Iowa City: University of Iowa Museum of Art /University of Iowa Press, 1993; Renaissance Architecture. New York: G. Braziller, 1962; The Visual Experience: an Introduction to Art. Englewood Cliffs, NJ:, Prentice-Hall, 1961.


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, 51 mentioned; Knox, Sanka. “Modern Museum Names Director.” New York Times May 12, 1967, p. 94; [obituary:] Glueck, Grace. “Bates Lowry, 80, Head of Building Museum.” The New York Times March 18, 2004, p. 10.




Citation

"Lowry, Bates." Dictionary of Art Historians (website). https://arthistorians.info/lowryb/.


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Architectural historian and Director of the Museum of Modern Art, New York 1968-1969. Lowry served in the army during World War II. Initially considering the law as a career, he served an assistant to Justice Robert Jackson in Paris at the war cri

Löwy, Emanuel

Full Name: Löwy, Emanuel

Other Names:

  • Emanuel Loewy

Gender: male

Date Born: 1857

Date Died: 1938

Place Born: Vienna, Vienna state, Austria

Place Died: Vienna, Vienna state, Austria

Home Country/ies: Austria

Subject Area(s): archaeology, art theory, Classical, and psychology


Overview

Classical archaeologist and theorist; employed methodology of universal psychological sources of form; influenced by the concept of “das Gedächtnisbild” (image of memory) from Ernst Brücke. Also friend of and influenced by Sigmund Freud. Specialist in ancient Greek painting. Professor of archaeology at the University of Rome, 1891-1915, a. o. Professor of archaeology at the University of Vienna, 1918-1938. His students included Giulio Quirino Giglioli. The architectural historian Emil Kaufmann was influenced by his lectures.


Selected Bibliography

Die Naturwiedergade in der älteren griechischen Kunst. Rome: Loescher, 1900. Die Anfänge des Triumphbogens. Vienna: Anton Schroll, 1928. Griechische Inschrifttexte. Vienna: Tempsky: 1888. Die griechische Plastil. 2 vols. Leipzig: Klinkhardt und Biermann, 1911. Lysipp ind seine Stellung in der griechischen Plastik. Hamburg: Sammlung gemeinverständlicher wissenschafter Vorträge, 1891. Neuattische Kunst. Leipzig: Seeman, 1922. Polygnot: Ein Buch von grieschischer Malerei. 2 vols. Vienna: Anton Schroll, 1929. Stein und Erz in der statuarischen Kunst. Innsbruck: Wagner, 1915. Untersuchungen zur griescischen Künstlergeschichte. Vienna: Gerold’s [sic] Sohn, 1883. Ursprünge der bildenden Kunst. Vienna: Holder-Pilchler-Tempsky, 1930. Zur Chronologie der frügriechischen Kunst: Die Artemistempel von Ephesos. Vienna: Holder-Pichler-Tempsky, 1932.


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, pp. 95-6; Dvorák, Max. Idealism and Naturalism in Gothic Art. Translated and noted by Randolph J. Klawiter. Preface by Karl Maria Swoboda. Notre Dame, IN: University of Notre Dame Press, 1967, pp. 211-12; Praschniker, C. “Emanuel Löwy.” Almanach der österreichischen Akadamie der Wissenschaft 88 (1938); Bazin 318; Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 120-121.




Citation

"Löwy, Emanuel." Dictionary of Art Historians (website). https://arthistorians.info/lowye/.


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Classical archaeologist and theorist; employed methodology of universal psychological sources of form; influenced by the concept of “das Gedächtnisbild” (image of memory) from Ernst Brücke. Also friend of and influenced by Sigmund Freud. Specialis

Lozoya, Juan de Contreras y Lopez de Ayala, marquis de

Full Name: Lozoya, Juan de Contreras y Lopez de Ayala, marquis de

Gender: male

Date Born: unknown

Date Died: unknown

Home Country/ies: Spain

Subject Area(s): Spanish (culture or style)


Overview

historian of Spanish Art; professor of Madrid


Selected Bibliography

Historia del arte hispanico. 5 vols. 1931-1949.


Sources

Bazin 442




Citation

"Lozoya, Juan de Contreras y Lopez de Ayala, marquis de." Dictionary of Art Historians (website). https://arthistorians.info/lozoyaj/.


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historian of Spanish Art; professor of Madrid

Lübke, Wilhelm

Full Name: Lübke, Wilhelm

Gender: male

Date Born: 17 January 1826

Date Died: 05 April 1893

Place Born: Dortmund, North Rhine-Westphalia, Germany

Place Died: Karlsruhe, Mecklenburg-Vorpommern, Germany

Home Country/ies: Germany

Subject Area(s): art history, nineteenth century (dates CE), and twentieth century (dates CE)

Career(s): art historians


Overview

Founder of the popular German art history survey of the nineteenth and early twentieth centuries, Grundriss der Kunstgeschichte. Lübke’s father and grandfather were hosiery merchants. Denied art training by his father, Lübke entered a Catholic school at 21.  The cruelty of the school caused him unhappiness.  Lübke next studied philology at Bonn in 1845.  The teaching of Gottfried Kinkel there inspired him in art history. At the time, Kinkel was one of only two professors of art history (the other being Franz Kugler). Lübke’s initial interest was in medieval art, inspired by castles in the Rheinland.  After three semesters he left Bonn for Berlin, as moving about in universities was standard at that time.  In Berlin, he heard the famous professors, Leopold Ranke and, in art history Heinrich Hotho and Friedrich Waagen.  The philologist Franz Susemihl (1826 -1901) and art historian Friedrich Eggers became friends and also, to a lesser degree, Jakob Burckhardt. Lübke was extremely poor these years and had relied on benefactors and modest work to remain in Berlin.  After passing his exam, he was hired at a gymnasium to teach philology.  The work of Ludwig Puttrich, Denkmale der Baukunst des Mittelalters in Sachsen, became a model for Lübke.  In 1871, Lübke was among the team of art historians (the others including Moriz Thausing, Carl von Lützlow, Adolf Bayersdorfer, Friedrich Lippmann, Alfred Wolters, 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. In the mid 1880s, Lübke and Lützlow took over publication of the Denkmäler der Kunst, begun by August von Voit, as an atlas to Handbuch der Kunstgeschichte of Franz Kugler. At Lübke’s death in 1893 the series was taken over by Max Semrau.  His students include Cornelius Gurltt

Lübke’s Handbuch became the standard view of art among the German public much the same (and for much the same reason) that Horst Woldemar Janson and his History of Art was in the United States in the 1960s and 1970s. Lübke’s declaration that “Jews, having no artistic sensibility of their own, [and had] borrowed architectural forms on an eclectic principle from the nations dwelling around them,” lent a historical validity to anti-Semitic stereotypes of Jews as parasites (Olin).


Selected Bibliography

Geschichte der italienischen Malerei: vom vierten bis ins sechzehnte Jahrhundert. Stuttgart: Ebner & Seubert, 1878-79; and Kugler, Franz, and Burckhardt, Jacob. Geschichte der Baukunst. 5 vols. Stuttgart: Ebner & Seubert, 1859-72; Geschichte der deutschen Kunst von den frühesten Zeiten bis zur Gegenwart. Stuttgart; Ebner & Seubert, 1890; and Kugler, Franz, and Voit, August von.Denkmäler der Kunst, English, Monuments of Art: Showing its Development and Progress from the Earliest Artistic Attempts to the Present Period. New York: E. Seitz, [188-?].Denkmäler der Kunst, English, Monuments of Art: Showing its Development and Progress from the Earliest Artistic Attempts to the Present Period. New York: E. Seitz, [188-?].


Sources

Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 249-251; Kultermann, Udo. The History of Art History. New York: Abaris, 1993, p. 145; Olin, Margaret. “C[lement] Hardesh (Greenberg) and Company: Formal Criticism and Jewish Identity.” in Kleeblatt, Norman L. ed. Too Jewish? Challenging Traditional Identities. New York: The Jewish Musuem/New Brunswick, NJ: Rutgers University Press, 1996, p. 42.




Citation

"Lübke, Wilhelm." Dictionary of Art Historians (website). https://arthistorians.info/lubkew/.


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Founder of the popular German art history survey of the nineteenth and early twentieth centuries, Grundriss der Kunstgeschichte. Lübke’s father and grandfather were hosiery merchants. Denied art training by his father, Lübke entered

Lucie-Smith, Edward

Full Name: Lucie-Smith, Edward

Other Names:

  • Edward Lucie-Smith

Gender: male

Date Born: 1933

Place Born: Kingston, Surrey, Jamaica

Home Country/ies: United Kingdom

Career(s): art critics, art historians, authors, and poets


Overview

Poet, art critic and prolific art-book writer. Lucie-Smith was the son of a British civil servant assigned to Jamaica, John Dudley Lucie-Smith (d. 1941) and Mary Frances Lushington (Lucie-Smith). His forbears had been some of the first white settlers in colonizing the island in 1627. Raised in the privileged environment of the white colonial class, his father died when he was eight years old. He and his mother moved to England in 1946. In 1949 Lucie-Smith received a scholarship to Merton College, Oxford University, still only seventeen. However, the college was full of older returning servicemen and he felt much out of place. Lucie-Smith wrote art criticism for Isis, Oxford’s student magazine, and earned a B.A. in 1954. His art criticism broadened into articles for the Listener, the New Statesman and the BBC program “Critics” as well. Lucie-Smith was much impressed with the criticism of John Berger. He fulfilled a military obligation as an Education Officer in the Royal Air Force for two years. Failing the foreign-office exam, Lucie-Smith entered Notley’s Advertising agency in London as a copywriter in 1956, working as a journalist and in broadcasting on the side, and writing poetry. There he met two other writers later to be famous, the poet Peter Redgrove (1932- 2003) and the playwright William Trevor (b. 1928). The critic and poet Philip Hobsbaum (1932-2005) invited Lucie-Smith to join the avant-garde poetry discussion group known simply as “the Group.” With Hobsbaum’s encouragement, Lucie-Smith published a collection of poems, A Tropical Childhood. The book was highly praised and Lucie-Smith became a poet of note overnight. He assumed chairmanship of the Group when Hobsbaum withdrew. In 1961 the publisher Paul Hamlyn (1926-2001) commissioned Lucie-Smith’s first book, a popularized 48-page art history on Peter Paul Rubens for the “Spring Books” series. This started a spate of art book writing. He met Black Mountain and Beat poets on his various trips to New York on art research. Lucie-Smith founded Turret Books in 1965, editing The Penguin Book of Elizabethan Verse for Penguin Press the same year. In 1966 he left Notley’s to become a freelance writer. His most popular art book, Movements in Art since 1945 first appeared in 1969 and has been continually been revised. A second poetry anthology, Penguin Anthology British Poetry Since 1945 appeared in 1970. Lucie-Smith published an influential popular book on photography, The Invented Eye, in 1975 as well as his autobiography, The Burnt Child. In 1977, Art Now, a book of “unconventional judgments” (New York Times) appeared as well as a novel. The Thames and Hudson Dictionary of Art Terms (1984) In the late 1990’s, he began a collaboration with the artist Judy Chicago, first co-authoring Women and Art: Contested Territory (1999) with her, a book exploring women both as subjects and creators of art, and then a biography of Chicago in 2000. Lucie-Smith’s art books do not incorporate new research, rather, they have been praised for restating the complexities of art history to a larger lay audience. Topics such as erotics in art and his work with Judy Chicago have explored new ground. Lucie-Smith’s unusual viewpoints of modern art, from the poets purview, have made his work on art more than simple survey work.


Selected Bibliography

Rubens. London: Spring Books, 1961; The Invented Eye: Masterpieces of Photography, 1839-1914. London: Paddington Press, 1975; Art Now: from Abstract Expressionism to Superrealism. New York : Morrow, 1977; Movements in Art Since 1945. London: Thames & Hudson, 1969; Visual Arts in the Twentieth Century. London: Laurence King, 1996; The Thames and Hudson Dictionary of Art Terms. London Thames and Hudson, 1984; and Chicago, Judy. Women and Art: Contested Territory. London : Weidenfeld & Nicolson, 1999; Judy Chicago: an American Vision. New York : Watson-Guptill Publications, 2000; Ars Erotica: an Arousing History of Erotic Art. New York: Rizzoli, 1997.


Sources

Lucie-Smith, Edward. The Burnt Child: an Autobiography. London: Gollancz, 1975, pp. 181-189; “Exploring Gay Male Erotic Art: An Interview with Edward Lucie-Smith.” Journal International Journal of Sexuality and Gender Studies 3, no. 2 (April, 1998): 135-155.




Citation

"Lucie-Smith, Edward." Dictionary of Art Historians (website). https://arthistorians.info/luciesmithe/.


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Poet, art critic and prolific art-book writer. Lucie-Smith was the son of a British civil servant assigned to Jamaica, John Dudley Lucie-Smith (d. 1941) and Mary Frances Lushington (Lucie-Smith). His forbears had been some of the first white settl

Loeschcke, Georg

Full Name: Loeschcke, Georg

Gender: male

Date Born: 1852

Date Died: 1915

Place Born: Penig, Saxony, Germany

Place Died: Baden-Baden, Baden-Württemberg, Germany

Home Country/ies: Germany

Subject Area(s): Ancient Greek (culture or style), archaeology, ceramic ware (visual works), Greek pottery styles, and pottery (visual works)


Overview

Archaeologist and scholar of Greek pottery. Loeschcke studied archaeology under Johannes Overbeck in Leipzig between 1871-73, together with fellow student Adolf Furtwängler. He continued study at Bonn under Reinhard Kekulé von Stradonitz where he specialized in pottery. He traveled to Greece and Italy in 1877, funded by a stipend from the Deutsches Archäologisches Institut (German Archaeological Institute ) in order to study the finds of the Heinrich Schliemann excavation, then widely assumed to be of little importance. The result of his findings was an important book for Mycenaean pottery. Mykenische Thongefäße, written with Furtwängler, 1879, established the basic chronology of Mycenaean ceramics. That same year Loeschcke accepted a professorship in philology and archaeology at the university in Dorpat, (modern Tartu, Estonia). While at Dorpat he published his second major work on Mycenaean pottery, also with Furtwängler, Mykenische Vasen, in 1886. In 1887 he was named first secretary to the Deutsches Archäologisches Institut in Athens. When Kekulé advanced to the university in Berlin, Loeschcke replaced him in Bonn in 1889. At Bonn, he supervised many dissertations including Margarete Bieber, Hans Dragendorff, Paul Jacobsthal, Georg Karo, T. Leslie Shear (1880-1945) and Fritz Weege (1880-1945). Loeschcke again succeeded Kekulé in Berlin when Kekulé died in 1912. In Berlin the young Bernhard Schweitzer, who later constructed a chronology for Geometric pottery, took courses under him. Loeschcke and Furtwängler revolutionized the approach to pottery, basing it less upon esthetic appreciation and more on historical evaluation. Their analysis of Mycenaean pottery established it as distinct from Geometric. They concluded that pottery could be used to date an excavation by determining the latest styles to be found there. Loeschcke’s later research focused on the limes (outskirts) of the Roman world. In Loeschcke’s case, he analyzed the Rhineland digs, dating them accurately through artifacts ignored by other scholars.


Selected Bibliography

and Furtwängler, Adolf. Mykenische Thongefäße. Festschrift zur Feier des fünfzigjährigen Bestehens des Deutschen Archaeologischen Institutes in Rom. Berlin: A. Asher & Co., 1879; and Furtwängler, Adolf. Mykenische Vasen: vorhellenische Thongefässe aus dem Gebiete des Mittelmeeres. Berlin: Asher & Co., 1886.


Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 106-107; Medwid, Linda M. The Makers of Classical Archaeology: A Reference Work. New York: Humanity Books, 2000 pp. 186-88; Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 2, pp. 688.




Citation

"Loeschcke, Georg." Dictionary of Art Historians (website). https://arthistorians.info/loeschckeg/.


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Archaeologist and scholar of Greek pottery. Loeschcke studied archaeology under Johannes Overbeck in Leipzig between 1871-73, together with fellow student Adolf Furtwängler. He continued study a

Löffler, Fritz

Full Name: Löffler, Fritz

Gender: male

Date Born: 1899

Date Died: 1988

Place Born: Dresden, Saxony, Germany

Place Died: Dresden, Saxony, Germany

Home Country/ies: Germany

Subject Area(s): architecture (object genre), German (culture, style, period), Modern (style or period), painting (visual works), and sculpture (visual works)


Overview

Otto Dix scholar and architectural historian in East Germany. After studying in a variety of areas, Löffler obtained his Ph.D. at the Ludwig-Maximilians-Universität in Munich in 1928 with a dissertation on the poet Eduard von Keserling. Following his degree, Löffler joined the Staatlichen Gemäldegalerie in Dresden. He was part of the group of artists and intellectuals, the so-called “Deer Group” (Hirsche) which centered around Fritz Bienert, son of the Dresden modernist art collector Ida Bienert (1870-1965/6). Another of this group was the Neue Sachlichkeit (New Objectivitiy) painter Otto Dix, whom Löffler met in the 1920s. Löffler organized the first exhibition of Dix’s works in Dresden in 1933. After the Nazi’s ascension to government Löffler found this art disparaged and he was ultimately dismissed for promoting “left-wing art.” He returned the the Dresden Museum in 1948 following World War II. However, in 1950 he was again dismissed, this time by the (communist) East German government for, ironically, being too reactionary. Between 1951 and his retirement in 1968 he worked at the Institut für Denkmalpflege in East Germany. During this time he published articles and books on the somewhat safer area of Dresden architecture, and was actively involved in the restoration of the Baroque city. In 1960 he wrote a biography on Otto Dix, which he turned into a catalogue raisonnée of Dix’s paintings, the first, in 1981.

Löffler’s intimate connection with his native Dresden defined much of his activity as an art historian and critic. The ironic situation he found himself between the two government ideologies–National Socialism in the period up to the end of World War II, and Soviet-style communism, meant that his progressive-style methodology was continually out of favor.


Selected Bibliography

[dissertation:] Das epische Schaffen Eduard v. Keyserlings. Ph. D., Ludwig-Maximilians-Universität zu München, 1928, published under the same title, Munich: Buchdruckerei der Dr. Güntzschen Stiftung, 1928; Ausstellung Dresdner Künstler: Aquarelle, Handzeichnungen, Graphik. Freiberg am Dom: Stadt- und Bergbaumuseum Freiberg am Dom, 1946; “Expressionismus in Dresden.” Imprimatur (new series) 111 (1962): 235-9; Otto Dix: Graphik aus fünf Jahrzehnten. Leipzig: Insel-Verlag, 1978; Das alte Dresden: Geschichte seiner Bauten. Dresden: Sachsenverlag, 1955. Otto Dix, der Krieg: Radierungen, Zeichnungen. Albstadt: Städtische Galerie, 1977; Otto Dix: Leben und Werk. Dresden: Verlag der Kunst, 1960; Bernhard Kretzschmar. Dresden: VEB Verlag der Kunst, 1985; Gottlieb Traugott Bienert. Leipzig: O. Leiner, 1940s; Das Körnerhaus in Dresden. Dresden: C. Heinrich, 1936; Der Zwinger: ein denkmal des Dresdener Barock. Dresden: Sachsenverlag, 1957; Otto Dix, 1891-1969: Å’uvre der Gemälde. Recklinghausen: Bongers, 1981.


Sources

Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 244-6; Walther, Sigrid, and Moldehn, Dominique, and Boswank, Herbert, and Zadnicek, Franz. Fritz Löffler 1899-1988: ein Leben für Kunst und Denkmalpflege in Dresden. Dresden: M. Sandstein, 1999; Fritz Löffler, Freund der Künstler: die Schenkung Slava und Fritz Löffler: Kupferstich-Kabinett der Staatlichen Kunstsammlungen Dresden. Dresden: Staatlichen Kunstsammlung Dresden, 1988; Löffler, Fritz. “Lebenslauf [of Löffler],” Das epische Schaffen Eduard v. Keyserlings. Munich: Buchdruckerei der Dr. Güntzschen Stiftung, 1928, p. 66.




Citation

"Löffler, Fritz." Dictionary of Art Historians (website). https://arthistorians.info/loffler-fritz/.


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Otto Dix scholar and architectural historian in East Germany. After studying in a variety of areas, Löffler obtained his Ph.D. at the Ludwig-Maximilians-Universität in Munich in 1928 with a dissertation on the poet Eduard von Keserling. Following

Lohse, Bruno

Full Name: Lohse, Bruno

Gender: male

Date Born: 1912

Date Died: 2007

Home Country/ies: Germany

Career(s): art dealers


Overview

Art historian and art dealer. After earning his Ph.D., he began working in Paris in 1941 for the Einsatzstab Reichsleiter Rosenberg (ERR), the Nazi agency set up to loot art from victims of the Reich. He was Hermann Göring’s personal contact and organized exhibitions of looted art in the Jeu de Paume museum. Lohse mounted ten separate exhibitions (as he termed them) of confiscated art for Göring to examine and choose from. This amounted to 422 works by later 1942. At the conclusion of World War II, he was sentenced and served three years in prison between 1948 and 1951. After his release, Lohse worked as an art consultant in Munich. Upon his death in 2007, a painting was discovered in his safe in Zürich which had been sought for decades by the heirs of a Jewish collector.



Sources

“Raub und Resitution” Jüdisches Museum Berlin (exhibition webpage) http://www.jmberlin.de/raub-und-restitution/en/home.php; Petropoulous, Jonathan. The Faustian Bargan: The Art World in Nazi Germany. New York: Oxford University Press, 2000, p. 201; Yeide, Nancy. Beyond the Dreams of Avarice: The Hermann Goering Collection. Dallas, TX: Laurel Publishing, 2009, p. 14.




Citation

"Lohse, Bruno." Dictionary of Art Historians (website). https://arthistorians.info/lohseb/.


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Art historian and art dealer. After earning his Ph.D., he began working in Paris in 1941 for the Einsatzstab Reichsleiter Rosenberg (ERR), the Nazi agency set up to loot art from victims of the Reich. He was Hermann Göring’s personal contact and o

Lomazzo, Giovanni Paolo

Full Name: Lomazzo, Giovanni Paolo

Gender: male

Date Born: 1538

Date Died: c. 1600

Place Born: Sorano, Grosseto, Tuscany, Italy

Home Country/ies: Italy

Subject Area(s): biography (general genre)


Overview

Biographer of artists (1590); painter and art theorist. Lomazzo was raised in a family of moderate social status. He trained under the painter Gaudenzio Ferrari (1470-1546). During this time he came into contact with the famous doctor and autobiographer Girolamo Cardano (1501-1576) and the heir to and owner of Leonardo’s notebooks, Francesco Melzi. After becoming an independent master, he received a steady stream of commissions for murals and altarpieces, many the auspices of Giuliano Goselini (1525-1587), a secretary to successive dukes of Milan. Lomazzo made a tour in 1562 to various countries, studying art. In 1568 he became “Prince” (‘Abbot’ or ‘Nabad’) of the Accademia della Balle del Blenio. By 1571, however, Lomazzo had become completely blind and he turned to art writing. His most important work for scholars today, Trattato della pittura, was published in 1584. An autobiography, Rime, appeared in1589. The following year, 1590, Idea del tempio della pittura was issued. This book, organized around the concept of a temple whose architectural components signify the seven parts of painting, included artists’ biographies. Thus Lomazzo emerged as a proto-historian of art. His other writing remained in manuscript. His most famous pupil, Figino, was the subject of a 1592 dialogue-style work by Canon Antonio Comanini (d. 1608).Lomazzo is studied by art historians today for his metaphysical theories of artistic creation. His discussions rival in complexity of those from any period. His Trattato, a seven-book (or part) neo-Platonic work shows the influence by the thinking of Marcello Ficino. A conspicuous figure in artistic and intellectual circles in northern Italy, Lomazzo’s contemporary reputation was as much as a painter as theorist, reaching beyond his native Milan. His treatises were not reprinted for several hundred years, though translations, such an English one by Richard Haydocke of parts of the Trattato was published in 1598; a French translation in 1649. In the 20th century, the art historians Erwin Panofsky, Gerald M. Ackerman, Robert Klein and Roberto Ciardi brought his writings back to light and works to a new audience.


Selected Bibliography

Trattato dell’arte de la pittura. Milan: Paolo Gottardo Pontio, 1584, English, A Tracte Containing the Artes of Curious Paintinge, Carvinge & Buildinge. Translated by Richard Haydocke. Oxford: Printed by I. Barnes, 1598; Rime . . . divise in sette libri, nelle quali ad imitatione de’ grotteschi usati da’ pittori, ha cantato le lodi di Dio . . . con la vita dell’autore. Milan: Paolo Gottardo Pontio, 1587; Idea del tempio della pittura. Milan: Paolo Gottardo Pontio, 1590; Della forma delle muse cavate dagli antichi autori greci e latini: Opera utilissima a’ pittori e scultori. Milan: Paolo Gottardo Pontio, 1591.


Sources

Lomazzo, Giovanni. Rime divise in sette libri, nelle quali ad imitatione de’ grotteschi usati da’ pittori, ha cantato le lodi di Dio con la vita dell’autore. Milan, 1587; Ackerman, Gerald M. The Structure of Lomazzo’s Treatise on Painting. Ph.D. dissertation, Princeton University, 1964; KGK, 47-8; Kemp, Martin. “Giovanni Lomazzo.” Dictionary of Art; Webb, Nick. “Giovan Paolo Lomazzo and Federico Zuccaro.” in Key Writers on Art. Chris Murray, ed. London/New York: Routledge, 2003, vol. 1, pp. 82-89.




Citation

"Lomazzo, Giovanni Paolo." Dictionary of Art Historians (website). https://arthistorians.info/lomazzog/.


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Biographer of artists (1590); painter and art theorist. Lomazzo was raised in a family of moderate social status. He trained under the painter Gaudenzio Ferrari (1470-1546). During this time he came into contact with the famous doctor and autobiog