Skip to content

L

Liedtke, Walter

Full Name: Liedtke, Walter Arthur, jr.

Gender: male

Date Born: 28 August 1945

Date Died: 03 February 2015

Place Born: Plainfield, Union, NJ, USA

Place Died: Valhalla, Westchester, NY, USA

Home Country/ies: United States

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

Institution(s): Metropolitan Museum of Art


Overview

Scholar of Dutch Baroque painting, principally Vermeer.  Liedtke was born in Plainfield, New Jersey to Walter Liedtke, Sr, and Elsa Liedtke.  The family moved to nearby Livingston, New Jersey where he was raised.  After entering Rutgers University as an undergraduate he became interested in art history and, following his BA in 1967 entered Brown University, where he achieved his MA in 1969. Liedtke chose the Courtauld Institute of Art at the University of London for his Ph.D.  While working on his dissertation, he taught at Florida State University (1969-1971). His dissertation, focused on the role of architecture (largely interior churches) in Delft painting, was accepted in 1974, supervised by Michael Kitson.  Liedtke accepted an appointment at Ohio State University where he taught between 1975 and 1979.  There he met and married Nancy B. Nitcher (b.1947), later a mathematics teacher.  Awarded an Andrew W. Mellon Fellowship in 1979 at the Metropolitan Museum of Art he left academics for the museum where he studied under the supervision of Sir John Pope Hennessy.  Pope Hennessy offered Liedtke the position of Curator of Seventeenth-century Dutch and Flemish Painting at the Met the following year.  He remained Curator of Northern European Painting at the museum for the remaining thirty-five years of his life.  In 1983 he helped form The Historians of Netherlandish Art. His first duties at the Mueseum were to compile catalog of the Met’s holdings in Netherlandish art.  He published the Flemish catalog in 1984.  However, as Liedtke’s curational profile grew, the Dutch catalog waited.

As a curator, Liedtke produced some of the most innovative and successful exhibitions at the Met.  His “Rembrandt/Not Rembrandt, 1995-1996, showed Rembrandts in the Met which were authenticated by the Rembrandt Research Project (RRP) and those in the collection it disattributed.  Liedtke in fact disagreed with the RRP in some cases, writing an article in Oud Holland about the Berensteyn paintings of Rembrandt’s early career.  It caused the RRP to change its opinion.  The twenty-first century marked his museum interest to Vermeer.  A 2001 exhibition, A View of Delft: Vermeer and his Contemporaries, resulted in a catalgo of over 600 pages. The following year he launched Vermeer and the Delft School exhibition which brought praise for relating the artist to his city.  The catalogue raisonne of the Dutch collection at the Museum by Liedtke appeared in 2007.  His dedication to Vermeer capstone into a in a 2008 monograph and catalogue raisonné on the artist, considered by many to be his mature understanding of the artist (Brown).

Liedtke’s work was based on a knowledge of Dutch and Flemish theoretics.  His dissertation and 1982 book examined how the painters Gerard Houckgeest, Hendrick van Vliet, Emanuel de Witte rendered and altered their painting of church interiors.  His approach was one of traditional connoisseurship (which pleased Pope Hennessy enough to offer him his job) with broad knowledge of the literature of the time.  An experiential historian, he visited many of the venues and church interiors which Netherlandish artists painted, so he could write about the works more effectively.

Throughout his career, Liedtke stated his opinions forcefully.  His counterpart at the National Gallery of Art, Arthur Wheelock, and he diverged in their views frequently and publicly on Dutch art.  However Liedtke and Wheelock produced the exhibition for the Scuderie del Quirinale, Rome, Liedtke’s last, Vermeer and the Golden Age of Dutch Art, 2012. In later years he taught occasional courses for the Institute of Fine Arts, New York University, as well as lecturing.  He utilized the internet for publicize the Museum and his work with videos on Youtube. In 2015, the commuter train he was riding in wrecked at a crossing near Vallhala, NY, and Liedtke, working in the “quiet car” in the front of the train was killed along with six others.


Selected Bibliography

  • [complete bibliography:] “Bibliography of Complete Publications of Walter Liedtke.”  Journal of Historians of Netherlandish Art 9 no. 1 (Winter 2017): 1-12, 12p; 
  • [dissertation:] Architectural painting in Delft: 1650-1675.  University of London (Courtauld Institute of Art),  1974;
  • Architectural painting in Delft: Gerard Houckgeest, Hendrick van Vliet, Emanuel de Witte. Doornspijk, the Netherlands: Davaco, 1982; 
  • Flemish paintings in the Metropolitan Museum of Art. New York: Metropolitan Museum, 1984;
  • Rembrandt/not Rembrandt in the Metropolitan Museum of Art: Aspects of Connoisseurship. New York: Metropolitan Museum of Ar, 1995; 
  • A View of Delft: Vermeer and his Contemporaries. Zwolle: Waanders Publishers, 2000;
  • and  Plomp, Michiel C. and Rüger, Axel. Vermeer and the Delft School.  New York: Metropolitan Museum of Art, 2001;
  • Dutch paintings in the Metropolitan Museum of Art.  New York: Metropolitan Museum of Art. 2007; 
  • Vermeer: the Complete Paintings.  Ghent, Belgium: Ludion Press, 2008;
  • The Milkmaid by Johannes Vermeer. New York: Metropolitan Museum of Art, 2009; 
  • And Bandera, Sandrina, and Wheelock, Arthur K. Vermeer: il secolo d’oro dell’arte olandese. Milan: Skira, 2012.
  • Rembrandt.  New York, NY: Phaidon Press, 2015. 

videos


Sources

  • [obituaries:]  “Walter Liedtke.” JHNA 9:1 (Winter 2017);
  • Walter Liedtke (1945-2015).” HNA Newsletter April 2015;
  • Wolkoff, Julia. Art in America. 103 no. 4 (April 2015):128;
  • Christiansen, Keith, and Meagher, Jennifer.  “In Memoriam: Walter Liedtke.” Metropolitan Museum Journal, 50 (2015):  10-11;
  • Brown, Christopher.  “Walter Liedtke (1945-2015).” Burlington Magazine 157 no. 1345, (April 2015): 268-269;
  • Ducos, Blaise. “Walter Liedtke (1945-2015).” Revue de L’Art, no. 188, 2015: 87; 
  • Turner, Simon.  “Metropolitan Museum of Art European Paintings curator Walter A. Liedtke (1945-2015).” Art in Print, March/April 4 no. 6 (2015): 58;
  • Kennedy, Randy.  “Walter Liedtke, 69, Met Curator and Vermeer Scholar.” The New York Times. February 5, 2015: 18.


Contributors: Lee Sorensen


Citation

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


More Resources

Search for materials by & about this art historian:

Scholar of Dutch Baroque painting, principally Vermeer.  Liedtke was born in Plainfield, New Jersey to Walter Liedtke, Sr, and Elsa Liedtke.  The family moved to nearby Livingston, New Jersey where he was raised

Loga, Valerian von

Full Name: Loga, Valerian von

Gender: male

Date Born: 1861

Date Died: 1918

Home Country/ies: Germany

Institution(s): Universität Berlin


Overview

Supervisor of Karl Giehlow‘s 1898 dissertation along with Anton Springer and Christian Belger.






Citation

"Loga, Valerian von." Dictionary of Art Historians (website). https://arthistorians.info/logav/.


More Resources

Search for materials by & about this art historian:

Supervisor of Karl Giehlow’s 1898 dissertation along with Anton Springer and Christian Belger.

Landau, Sarah

Full Name: Landau, Sarah Bradford

Gender: female

Date Born: unknown

Date Died: unknown

Home Country/ies: United States

Institution(s): New York University


Overview

Architectural historian. Landau received her Bachelor’s degree (Fine Arts) from the University of North Carolina, Chapel Hill in 1957; She entered New York University where she received her master’s degree,1959 and doctorate in 1978. Her dissertation, supervised by Henry-Russel Hitchcock, focused on the American nineteenth-century architects Edward Tuckerman Potter (1831-1904) and his half-brother William Appleton Potter (1842-1909).


Selected Bibliography

[dissertation:] Edward T. and William A. Potter:: American High Victorian Architects, 1855-1901.  New York University, 1978.



Archives

Sarah Landau Papers, Columbia University, https://clio.columbia.edu/catalog/12304787/


Contributors: Lee Sorensen


Citation

Lee Sorensen. "Landau, Sarah." Dictionary of Art Historians (website). https://arthistorians.info/landaus/.


More Resources

Search for materials by & about this art historian:

Architectural historian. Landau received her Bachelor’s degree (Fine Arts) from the University of North Carolina, Chapel Hill in 1957; She entered New York University where she received her master’s degree,1959 and doctorate in 1978. Her dissertat

Lamy-Lassalle, Colette

Full Name: Lamy-Lassalle, Colette Marie Eugenie

Other Names:

  • Colette Lassalle
  • Colette Lamy
  • Colette Lamy-Lassalle
  • Madame Maurice Lamy-Lassalle
  • Colette Eugenie Lassalle

Gender: female

Date Born: 22 June 1906

Date Died: 07 January 2001

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

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

Home Country/ies: France

Subject Area(s): architecture (object genre), French (culture or style), Medieval (European), and sculpture (visual works)


Overview

Specialist of engraved medieval objects; architecture of the High Middle Ages in France art historian. Colette Lassalle was born to Branche Berthe Thuillier and Lucien Lassalle in Paris, France suburb. The fourth of five children, Lamy-Lasalle attended secondary school at the Lycée Molière before marrying Maurice Lamy (1895-1975), a physician, in 1928. Lamy-Lasalle later graduated from L’École du Louvre with a degree in literature and the Art and Archeology Institute. She was a student of Henri Focillon, Jean Hubert, André Grabar at the Sorbonne when Grabar encouraged her to study pilgrimage brooches. Bought on journeys to sanctuaries from the 12th to 16th century, these engraved brooches were made from lead and represented different saints and other images. Following Grabar’s advice, Lamy-Lasalle indexed brooches discovered in Rouen and kept at the Musée des Antiquités or the Louvre, later generating a brooch catalog for the Musée des Arts Décoratif de Lyon.

Lamy-Lasalle continued her art history career through adding scholarly archeological and historical notices to publications by Jean Hubert (1902-1994). A medievalist, Lamy-Lassalle wrote on ancient Parisian churches before the 10th century like Saint Etienne des Grès, Saint Séverin, and Saint-Victor as well as writing monographs about Parisian hotels and houses. In 1978, she successfully led preservation efforts for La Chapelle de catéchistes de Sainte Clotilde and saved the church from destruction.

Lamy-Lassalle was a member of La Montagne Sainte-Geneviève et ses abords, la Société des antiquaires de Picardie, la Société historique du VIe arrondissement de Paris, and la Société d’histoire et d’archéologie du VIIe arrondissement de Paris. She joined la Société d’histoire et d’archéologie du VIe arrondissement de Paris in 1961, presenting a lecture on La Comtesse de Verrue (1670-1736) in 1977. Lamy-Lassalle joined la Société d’histoire et d’archéologie du VIIe arrondissement de Paris in 1934. In 1950, she became an administrator; in 1966, she was named the Vice President, and from 1979 until 1986 she was the president. La Société d’histoire et d’archéologie du VIIe arrondissement de Paris named her a president of honor after her tenure.

During her career, Lamy-Lassalle worked with artist Jacques Godard (1908-1974) and geographer Philippe Pinchemel (1923-2008) and mentored Denis Bruna, the curator of textile and fashion collections at the Musée des Arts Décoratifs.


Selected Bibliography

  • Jean Lenfant, graveur Abbevillois. Amiens: Yvert & Cie, 1938;
  • and Pinchemel, Philippe, and Jacques Godard. Visages de la Picardie. Paris: Horizons de France, 1949;
  • La Première monographie de Castelseprio [Santa-Maria]. Paris: Gazette des beaux-arts, 1950;
  • and Vieillard-Troïekouroff, May; Denise Fossard, and Élisabeth Chatel. Les églises suburbaines de Paris du IVe au Xe siècle. Paris: [s.n.], 1961;
  • Saint-Martin de Triel. Paris: Éditions du Cerf, 1964;
  • “Les archanges en costume impérial dans la peinture murale italienne”. Synthronon / Recueil D’études Par André Grabar Et Un Groupe De Ses Disciples. 189-198, 1968;
  • “Enseignes de pèlerinage à miroirs”. Bulletin De La Société Nationale Des Antiquaires De France / Société Nationale Des Antiquaires De France. 45-47, 1973;
  • Gournay, Brigitte, and Diane Baude. Vie et histoire du VIIe Arrondissement: Saint-Thomas d’Aquin, Invalides, Ecole militaire, Gros Caillou : histoire, anecdotes, curiosités, monuments, musées. Paris: Hervas, 1986;
  • Bruno Pons, and Anne Forray-Carlier. La Rue du Bac: Faubourg Saint-Germain : études offertes à Colette Lamy-Lassalle. [Paris]: Délégation à l’action artistique de la ville de Paris, 1990;
  • Pons, Bruno, Michel Borjon, and Béatrice de Andia. Le Quai Voltaire: le Faubourg Saint-Germain : études offertes à Colette Lamy-Lassalle. [Paris]: Délégation à l’action artistique de la ville de Paris, 1990;
  • 1990. “Enseignes de pèlerinage de saint Léonard”. Bulletin De La Société Nationale Des Antiquaires De France / Société Nationale Des Antiquaires De France. 157-166;
  • Les enseignes de pèlerinage du Mont-Saint-Michel. [Paris]: [P. Lethielleux], 1993. 

Sources



Contributors: Eleanor Ross


Citation

Eleanor Ross. "Lamy-Lassalle, Colette." Dictionary of Art Historians (website). https://arthistorians.info/lamylassallec/.


More Resources

Search for materials by & about this art historian:

Specialist of engraved medieval objects; architecture of the High Middle Ages in France art historian. Colette Lassalle was born to Branche Berthe Thuillier and Lucien Lassalle in Paris, France suburb. The fourth of five children, Lamy-Lasalle attend

Levin, Gail

Full Name: Levin, Gail Sandra

Gender: female

Date Born: 17 September 1948

Place Born: Atlanta, Fulton, GA, USA

Home Country/ies: United States

Subject Area(s): Modern (style or period), painting (visual works), and twentieth century (dates CE)

Institution(s): Whitney Museum of American Art


Overview

Professor of Art History, American Studies, and Women Studies at Baruch College and Graduate Center at the City University of New York. Levin graduated from Northside High School in Atlanta. In 1969, she completed her B.A. from Simmons College and a year later, her M.A. in fine arts from Tufts University.  While working on her Ph.D.,  Levin joined the New School for Social Research (NSSR) in 1973 as an instructor. She held this position for two years, followed by a year appointment to the Connecticut College as an assistant professor in art history. Levin received her Ph.D. from Rutgers University in 1976 writing her dissertation on “Wassily Kandinsky and the American Avant-Garde, 1912-1950” under Americanist art historian  thesis director Matthew Baigell.

From 1976 to 1984, Levin served as the curator of the Whitney Museum of American Art in New York City, primarily focusing on their collection of Edward Hopper paintings for which she became an expert.  In 1984 while researching the Hopper estate, Levin began to question how the Rev. Arthayer Sanborn (1916-2007), former owner of one of the largest collections of Hopper art and memorabilia, gained so much of his work. She accused the Sanborn and his family of illegally obtaining the collection after examining notes, letters, and wills from the Hopper family. This resulted in the Whitney Museum firing her, claiming that she had written a book without the museum’s consent, an assertion she disputed.

From 1979 to 1980, Levin took a position as a visiting assistant professor at the Graduate School at the City University of New York. In 1985, Levin acted as the guest curator at the Rutgers’s Zimmerli Museum, creating an exhibit entitled “Hopper’s Places.” In it, she took pictures of the locations of Hopper’s work alongside the painting itself. Following her exhibition, Levin taught as an associate professor at Baruch College in New York for two years. During her last year as an associate professor, she additionally worked as a Will & Ariel Durant Professor of the Humanities at St. Peter’s College in Jersey City.

In 1987, Levin published her work, “Twentieth Century American Painting: The Thyssen-Bornemisza Collection” and in 1989 “Marsden Hartley in Bavaria.” She joined Baruch College and Graduate Center at the City University of New York the same year.  Levin received the President’s Award for Excellence in Scholarship in 1991. She continued her Ph.D. research with her publication, “Theme and Variation: Kandinsky & the American Avant-Garde, 1912-1950.”  Returning to Hopper, Levin published two works: “Edward Hopper: An Intimate Biography” and “Edward Hopper: A Catalogue Raisonné” in 1995, the latter considered a definitive catalog of his work.

In 1996, she received an honorary doctorate from Simmons College at their 91st commencement. Additionally, Levin published two collections of Hopper works: “The Poetry of Solitude: A Tribute to Edward Hopper (ed.), Hopper in poetry collected and introduced” (1995) and “Silent Places: A Tribute to Edward Hopper, Hopper in fiction collected and introduced” (2000). In 2000, too, she published “Aaron Copland’s America: A Cultural Perspective.”

Levin received a Senior Fulbright scholarship to Japan. Levin became increasingly interested in Jewish artists, writing two works: “Becoming Judy Chicago: A Biography of the Artist.” (2007) and “Lee Krasner: A Biography” (2011). She retired from Baruch in 2007, named a distinguished professor at Baruch College and Graduate Center at the City University of New York.  The following year she was promoted to Distinguished Professor at Baruch College and the Graduate Center of the City University of New York. 

Most recently she published “Theresa Bernstein: A Century in Art” (2013). Working alongside doctoral students at the City University of New York, Levin created a book, website, and exhibition on Theresa Bernstein.


Selected Bibliography

  • Wassily Kandinsky and the American Avant-garde, 1912-1950. 2 vols. New Brunswick: Rutgers The State University of New Jersey, 1980;
  • Twentieth Century American Painting: The Thyssen-Bornemisza Collection. Sotheby Publications, 1987;
  • Twentieth Century American Painting. New York: Harper & Row, 1988;
  • Marsden Hartley in Bavaria. Hannover, NH and London: University Press of New England, 1989;
  • Theme and Variation: Kandinsky & the American Avant-Garde, 1912-1950. New York: Bullfinch Press, 1992;
  • “Edward Hopper: An Intimate Biography. New York: Alfred A. Knopf, 1995;
  • edited, The Poetry of Solitude: A Tribute to Edward Hopper [and the essay:] “Hopper in poetry collected and introduced.” New York: Universe Books, 1995;
  • Edward Hopper: A Catalogue Raisonné. New York: W.W. Norton, 1995;
  • Aaron Copland’s America: A Cultural Perspective. New York: Watson-Guptill, 2000;
  • Silent Places: A Tribute to Edward Hopper, Hopper in fiction collected and introduced. New York: Universe Books, 2000;
  • Becoming Judy Chicago: A Biography of the Artist. New York: Harmony Books, 2007;
  • Lee Krasner: A Biography. New York: William Morrow, 2011;
  • Theresa Bernstein: A Century in Art. Lincoln: University of Nebraska Press, 2013.

Sources


Archives

Levin interview. Archives of American Art: https://www.youtube.com/watch?v=hpg8b3cr5jc


Contributors: Kerry Rork


Citation

Kerry Rork. "Levin, Gail." Dictionary of Art Historians (website). https://arthistorians.info/leving/.


More Resources

Search for materials by & about this art historian:

Professor of Art History, American Studies, and Women Studies at Baruch College and Graduate Center at the City University of New York. Levin graduated from Northside High School in Atlanta. In 1969, she completed her B.A. from Simmons College and

Leopold, Walther

Full Name: Walther Leopold

Gender: male

Date Born: 1862

Date Died: 1976

Place Born: Bologna, Emilia-Romagna, Italy

Place Died: Sulzano, Brescia, Lombardy, Italy

Home Country/ies: Germany

Subject Area(s): Italian (culture or style), Medieval (European), and Sicilian (culture or style)


Overview

Scholar of Sicilian medieval architecture. While a student at the Technische Hochschule, Dresden he travelled to Sicily in 1910 to study the architecture of four small towns, Castrogiovanni (today known as Enna), Piazza Armerina, Nicosia and Randazzo, in order to trace the influence of Lombardic culture in the indigenous architecture. His dissertation, published in 1917, was on that very topic (Passalacqu). Leopold’s Ph.D. advisors were the medievalist Hugo Hartung (1855-1932), art historian Cornelius Gurlitt and Robert Bruck (b. 1863). Leopold photographed many of the monuments of Sicily, documenting their appearance before modern re-arrangement of the cities.


Selected Bibliography

[dissertation:] Sizilianische Bauten des Mittelalters, in Castrogiovanni, Piazza Armerina, Nicosia und Randazzo. Berlin: E. Wasmuth, 1917 https://catalog.hathitrust.org/Record/010249817;


Sources

Passalacqu, Francesca. “Alla ricerca del Medioevo lombardo: il viaggio-studio di Walter Leopold in Sicilia orientale.” in Degli Aspetti dei Paesi (exhibition catalog) CIRICE 2016, pp. 937-946, https://www.academia.edu/30702072/Alla_ricerca_del_Medioevo_lombardo_il_viaggio-studio_di_Walter_Leopold_in_Sicilia_orientale_in_Degli_Aspetti_dei_Paesi_a_cura_di_A._Berrino_A._Buccaro_e-book_CIRICE_2016_pp._937-946.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Leopold, Walther." Dictionary of Art Historians (website). https://arthistorians.info/leopoldw/.


More Resources

Search for materials by & about this art historian:

Scholar of Sicilian medieval architecture. While a student at the Technische Hochschule, Dresden he travelled to Sicily in 1910 to study the architecture of four small towns, Castrogiovanni (today known as Enna), Piazza Armerina, Nicosia and Randa

La Corte Callier, Gaetano

Full Name: La Corte Callier, Gaetano

Gender: male

Date Born: unknown

Date Died: unknown

Home Country/ies: Italy

Institution(s): Civico Museo di San Gregorio


Overview

Antonello da Messina scholar.

 

Gaetano La Corte Cailler, was born on 1 August 1874 by cav. Nicolò La Corte and Pontrelli, music teacher, and by Mrs. Maria Cailler and Pagliano. As a boy he was inclined to the study of history and in particular that of our city, to which he dedicated himself, fighting to the last, for the preservation of the surviving artistic heritage of Messina after the catastrophe of 1908. This is the evocative atmosphere in which we enter, with the incredibly similar grandson of the same name, Gaetano La Corte, with whom I shared the same courtyard as children. «As a boy he lived with his parents in the Cicala houses. Grandpa Gaetano slept downstairs, and his father, great-grandfather Nicolò, a musician by profession, on the upper floor. Late at night he resumed his way home, tired and tried after hours dedicated to his concerts. All awake, awaiting his return, knew by now the moves and the rituals that concluded the nights. And even grandfather remained awake and listened to his footsteps that resounded through the house, until he heard the thud of the first shoe coming from the ceiling, a sign of imminent surrender to sleep. But it was only after the thud of the “second shoe”, finally, it was certainty for everyone that the moment of deserved rest had come “. “…so as to have a pencil and a notepad, he willingly gave up his sandwich…” continues his nephew in a voice broken by emotion. “…and wishing that the people of Messina could draw on the same book sources very dear to him, after the earthquake that almost entirely destroyed the libraries of the city, he loaded all his books on an ox cart and took them personally to the University of Messina”. In fact, there is the “La Corte Cailler Fund” at the Regional University Library. The genuineness and generosity of spirit is a clear prerogative of the La Corte family, and in particular of La Corte Cailler who always did his best for his beloved Messina. “…he took notes on everything, with meticulousness and hard work!”…concludes his nephew. In fact his diaries bear witness to this. Messina was orphaned by the great historian Gaetano La Corte Cailler, on 26 January 1933.



Sources

Messinaweb.eu https://www.messinaweb.eu/cultura/personaggi-illustri-di-ieri/item/449-gaetano-la-corte-cailler.html



Contributors: Lee Sorensen


Citation

Lee Sorensen. "La Corte Callier, Gaetano." Dictionary of Art Historians (website). https://arthistorians.info/cortecallierg/.


More Resources

Search for materials by & about this art historian:

Antonello da Messina scholar. Gaetano La Corte Cailler, was born on 1 August 1874 by cav. Nicolò La Corte and Pontrelli, music teacher, and by Mrs. Maria Cailler and Pagliano. As a boy he was inclined to the study of history and in p

Long, Basil

Full Name: Long, Basil Somerset

Other Names:

  • Basil S. Long

Gender: male

Date Born: 1881

Date Died: 1937

Home Country/ies: United Kingdom

Subject Area(s): English (culture or style), painting (visual works), paintings (visual works), and watercolors (paintings)

Career(s): curators

Institution(s): Victoria and Albert Museum


Overview

Keeper of the Department of Paintings at the Victoria and Albert Museum, and a leading authority on miniatures and early English water-colours. Under his guidence, the Future Director of the Fitzwilliam Museum, Carl Winter, trained.




Archives


Contributors: Emily Crockett and Lee Sorensen


Citation

Emily Crockett and Lee Sorensen. "Long, Basil." Dictionary of Art Historians (website). https://arthistorians.info/longb/.


More Resources

Search for materials by & about this art historian:

Keeper of the Department of Paintings at the Victoria and Albert Museum, and a leading authority on miniatures and early English water-colours. Under his guidence, the Future Director of the Fitzwilliam Museum, Carl Winter,

Lisner, Margrit

Full Name: Lisner, Margrit

Gender: female

Date Born: unknown

Date Died: unknown

Home Country/ies: Germany

Subject Area(s): Renaissance


Overview

Professor of renaissance art; discovered Michelangelo’s “Santo Spirito” crucifix in 1964.


Selected Bibliography

 Luca della Robbia: Die Sängerkanzel. Stuttgart:  Phillip Reclam, 1960; edited, Kunstgeschichtliche Studien für Kurt Bauch zum 70. Geburtstag von seinen Schülern.
 Berlin: Deutsher Kunstverlag, 1967;  Holzkruzifixe in Florenz und in der Toskana von der Zeit um 1300 bis zum frühen Cinquecento.   Munich: Bruckmann,1970.


Sources

“A Missing Michelangelo?” Life, February 21, 1964, pp. 46-52.




Citation

"Lisner, Margrit." Dictionary of Art Historians (website). https://arthistorians.info/lisnerm/.


More Resources

Search for materials by & about this art historian:

Professor of renaissance art; discovered Michelangelo’s “Santo Spirito” crucifix in 1964.

Luttervelt, Remmet van

Full Name: Luttervelt, Remmet van

Gender: male

Date Born: 1916

Date Died: 1963

Place Born: Haarlem, North Holland, Netherlands

Place Died: Lochem, Gelderland, Netherlands

Home Country/ies: Netherlands

Career(s): curators


Overview

Art historian and museum curator. Remmet van Luttervelt studied art history at Leiden University between 1936 and 1941. In 1943, he obtained his doctoral degree at Utrecht University under Professor Willem Vogelsang with a dissertation on country-houses along the Vecht River: De buitenplaatsen aan de Vecht. He published a rewritten version of this study in 1948. His career in the Dutch museum world began as early as 1941, with his appointment as research assistant at the Centraal Museum in Utrecht. In 1946, he was appointed as curator of the National History Department of the Rijksmuseum at Amsterdam. During the war, the collections were removed from the building for safe keeping in various places. Prior to the return of the objects, Van Luttervelt traveled to the United States on an invitation by the Rockefeller Foundation in New York to visit around ninety museums during a three months’ tour. He was impressed by the fact that American museums tried to present, as far as possible, a complete picture of American history. Van Luttervelt wanted to apply the same approach in his department by introducing a more or less chronological overview of national history. A temporary display, covering the period from the early Middle Ages up to the 1815 Battle of Waterloo, was opened to the public in March 1948. In the early 60s, when plans for a new national museum aborted, Van Luttervelt worked on a new display in the Rijksmuseum, for which a much larger space now was made available. He wanted the visitor to follow a fixed route along the objects, thus creating a coherent story of national history. Discussions about this approach arose, and when Van Luttervelt died prematurely in 1963, his ideas were abandoned. The display that eventually opened in 1971, did not present a story in a chronological order, but highlighted historical events in quite a different way. Van Luttervelt was a many-sided scholar, and as an authority in art history as well as in history, he advocated an interdisciplinary approach in these fields. He was a substantial contributor to the catalogs of the exhibitions held in the Rijksmuseum. His interests included the genealogy and the representation in art of the Dutch royal family and nobility as well as the history of the Dutch East and West India trading companies (VOC and WIC). For many years he prepared the catalog of objects related to the history of these companies. In 1950, he published an album with 96 illustrations of the most important objects in the collection of the Dutch History Department. His study on a particular collection of paintings in the Rijksmuseum, made in Turkey by the painter J.B. Vanmour, born in Valenciennes in the North of France in 1671, was published in 1958. Van Luttervelt was an enthusiastic traveler, always searching and finding new topics for his articles and scholarly work. He published frequently in historical and art-historical journals, such as the Rijksmuseum Bulletin, the Bulletin van de Koninklijke Nederlandse Oudheidkundige Bond, Oud Holland, and the Kunsthistorisch Jaarboek (Netherlands Year-book for History of Art). In one of his articles: “Nationale kunstgeschiedenis” (1957), Van Luttervelt argued against the systematic classification of works of art in national categories, a method widely used in the 19th century. National boundaries are changing in the course of history and, therefore, are unable in his view to serve as a framework for the study of art. Works of art rather need to be studied in relation to their specific historical context and circumstances.


Selected Bibliography

For a complete list, see Moerman, E.W.L. Jaarboek van de Maatschappij der Nederlandse Letterkunde te Leiden 1966-1967: 113-120; “West-Indië en het verre Oosten in Europeesche visie der 17de eeuw” Historia 8 (1942): 65-73; De buitenplaatsen aan de Vecht. Dissertation. De Bilt: Cuperus Az, 1943; Schoonheid aan de Vecht (Heemschut-serie 40): Amsterdam: De Lange, 1944; Schilders van het stilleven. Naarden: In den Toren, 1947; De buitenplaatsen aan de Vecht. Lochem: De Tijdstroom, 1948. Second edition: 1970; De Stichtsche lustwarande (Heemschut-serie 62) Amsterdam: De Lange, 1949; Album Vaderlandse Geschiedenis in beeld. Amsterdam: Rijksmuseum, 1950; “De Noordnederlandse kunst in de tweede helft der 17e eeuw” in Algemene Geschiedenis der Nederlanden 7, 1954: 58-90; “Nationale kunstgeschiedenis” Bulletin Koninklijke Nederlandse Oudheidkundige Bond 10 (1957): col. 95-116; De “Turkse” schilderijen van J. B. Vanmour en zijn school. De verzameling van Cornelis Calkoen, Ambassadeur bij de Hoge Porte, 1725-1743. Istanbul: Nederlands Historisch-Archaeologisch Instituut in het Nabije Oosten, 1958; “Historische beelden: een verkenning in het grensgebied tussen kunstgeschiedenis en geschiedenis” Tijdschrift voor Geschiedenis 72 (1959): 1-15; Holland’s Musea. Hoogtepunten der oude schilderkunst uit de collecties van het Rijksmuseum te Amsterdam, Museum Boymans-van Beuningen te Rotterdam, Frans Halsmuseum te Haarlem, Mauritshuis te Den Haag. The Hague, 1960; Masterpieces from the Great Dutch Museums: Rijksmuseum, Mauritshuis, Boymans-Van Beuningen, Frans Hals Museum.New York: H.N. Abrams, 1961; “Renaissancekunst in Breda, vijf studies” Nederlands Kunsthistorisch Jaarboek 14 (1963): 31-60.


Sources

Boon, K.G. “In memoriam Dr. Remmet van Luttervelt” Nederlands Kunsthistorisch Jaarboek 14 (1963): 27-29; Van Schendel, A. “In memoriam dr. R. van Luttervelt” Bulletin van het Rijksmuseum 11 (1963) 20-21; Lunsingh Scheurleer, Th. H. “In memoriam dr. L. van Luttervelt” Nieuws-Bulletin Koninklijke Nederlandse Oudheidkundige Bond, 16 (1963): col. 69-72; Cohen, A.E. Jaarboek van de Maatschappij der Nederlandse Letterkunde te Leiden 1966-1967: 110-113, with bibliography by Moerman, E.W.L.: 113-120; Sint Nicolaas, Eveline “Koffers vol gedachten. De opvattingen van Remmet van Luttervelt (1916-1963) over historische musea” Bulletin van het Rijksmuseum 50,4 (2003): 485-513. (English Summary: “Suitcases Full of Ideas. Remmet van Luttervelt’s Conception of Historical Museums”: 538-541.)



Contributors: Monique Daniels


Citation

Monique Daniels. "Luttervelt, Remmet van." Dictionary of Art Historians (website). https://arthistorians.info/lutterveltr/.


More Resources

Search for materials by & about this art historian:

Art historian and museum curator. Remmet van Luttervelt studied art history at Leiden University between 1936 and 1941. In 1943, he obtained his doctoral degree at Utrecht University under Professor Willem Vogelsang with