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Nye, Phila Calder

Full Name: Nye, Phila Lazarus Calder

Other Names:

  • Phila Lazarus Calder

Gender: female

Date Born: unknown

Date Died: unknown

Place Born: Wilmington, New Hanover, NC, USA

Place Died: Wilmington, New Hanover, NC, USA

Home Country/ies: United States

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

Career(s): educators

Institution(s): Princeton University


Overview

First woman to receive full university professor rank at Princeton University; second director of the Index of Christian Art at Princeton. Phila Lazarus Calder attended the Mount Vernon Seminary and College in Washington, D.C. from 1889 to 1891. In 1893, she married Joseph Keith Nye (b. 1858) from New Bedford, Massachusetts. Little is known about Nye’s earlier time at Mount Vernon Seminary, although she returned to teach there in 1899. Her first publication appeared in 1901, Art History in Outline, a 283-page textbook “for the art classes of Mount Vernon Seminary.” Nye’s publications on medieval Italian sculpture appeared in Art in America and Art & Archaeology marking her academic career at Princeton University, first as a graduate student in the Department of Art & Archaeology in 1905. During some of the most formative years of the Index, Nye worked alongside the Index’ founder Charles Rufus Morey. Morey and a staff of volunteers, recording their iconographic research on objects when the terminus date of the collection was still set at 700.

She became director of the Index in 1920. During her tenure at the Index, the dates of art history coverage were extended twice, once to 1200 and then again to 1400. Archival records at the Index record that Nye traveled widely to study medieval works of art in European countries, doubtless for inclusion into the growing Index collection. It was during Nye’s directorship that the Index acquired funding that secured its institutional efforts for years to come. Her article, “The Romanesque Signs of the Zodiac,” was published in Art Bulletin in 1923. That same year, Nye was the subject of a pastel portrait by American artist Gertrude Magie (1862-1942), now in the collection of the Princeton University Art Museum (x1946-411). According to the 2001 alumni publication of the Mount Vernon Seminary and College, Nye was the first woman to receive full university rank at Princeton and have her name printed in the Princeton catalogue. She retired in 1933, succeeded by Helen M. Woodruff. Sometime after 1940, Nye retired to her hometown in North Carolina and dedicated the next several years of her life to the charitable and cultural efforts of the local women’s organization N.C. Sorosis. Records of that organization praise Nye for bringing numerous art exhibitions and lectures to the community.


Selected Bibliography

  • Art History in Outline. Washington, D.C.: Press of W.F. Roberts, 1901;
  • “Cherub Frieze of the Pazzi Chapel in Florence.” Art and Archaeology, I (1914): 73-80;
  • “Two Italian Madonnas.” Art in America 5 (1917): 246-51;
  • “The Davis Madonna at the Metropolitan Museum of Art.” Art in America 6 (1918): 82-87;
  • “The Oblong Caskets of the Byzantine Period,” American Journal of Archaeology 23 (1919): 401-12;
  • “The Romanesque Signs of the Zodiac,” Art Bulletin 5 (1923): 55-57.

Sources

  • Morey, Charles Rufus. “An Important Instrument of Research: Princeton’s Index of Christian Art, Covering 50,000 Subjects and Twelve Centuries of Time, Is Used by Scholars All Over the World.” Princeton Alumni Weekly 23 (1931): 236-37;
  • Woodruff, Helen. The Index of Christian Art at Princeton University. Princeton: Princeton University Press, 1942;
  • Mikhalevsky, Nina. Dear Daughters: A History of Mount Vernon Seminary and College. Washington, D.C.: Mount Vernon Seminary and College Alumnae Association, 2001, 22-23;
  • Block, Susan Taylor, “N.C. Sorosis” in A History of St. John’s Museum, https://www.stblock.net/#_ftn40.


Contributors: Jessica Savage


Citation

Jessica Savage. "Nye, Phila Calder." Dictionary of Art Historians (website). https://arthistorians.info/nyep/.


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First woman to receive full university professor rank at Princeton University; second director of the Index of Christian Art at Princeton. Phila Lazarus Calder attended the Mount Vernon Seminary and College in Washington, D.C. from 1889 to 1891. I

Nemser, Cindy

Full Name: Nemser, Cindy

Other Names:

  • Cindy Nemser

Gender: female

Date Born: 26 March 1937

Date Died: 26 January 2021

Place Born: Brooklyn, Cattaraugus, NY, USA

Home Country/ies: United States

Subject Area(s): feminism

Career(s): art critics

Institution(s): Feminist Art Journal


Overview

Feminist art historian and critic; founded Feminist Art Journal. Nemser received a B.A. in Education from Brooklyn College concentrating on eighteenth and nineteenth-century literature. She taught elementary school in the New York Public School System, and became an exponent of the United Federation of Teachers union. She concurrently pursued an M. A. art historyat New York University contributing reviews for Arts Magazine. She received an internship at the Museum of Modern Art, New York writing early articles on Chuck Close, Vito Acconci, Eva Hesse, and Gordon Matta-Clark. Her feminist convictions lead her to help found the group Women in the Arts in 1972, and, with Patricia Mainardi, Irene Peslikis, Irene Moss, Michelle Wallace and Marjorie Kramer, was appointed to the editorial board of Woman and Art, a forerunner of the Feminist Art Journal.

She was the publisher and editor of the Feminist Art Journal (FAJ) from 1972-1977, working with Patricia Mainardi and Irene Moss for the first year of publication before continuing on as the sole editor of the FAJ. By 1977 when Nemser closed the Feminist Art Journal, it had been instrumental in securing positions for creative women and boasted world-wide readership, reaching major public and university libraries as well as many prominent artists, art critics and historians.

 

In 1973, Nemser organized three panels on women in the arts along with Patricia Sloan for the artists’ division of the College Art Association.

 

In 1975 Nemser authored Art Talk: Conversations with 12 Women Artists, which included interviews with Barbara Hepworth, Sonia Delaunay, Louise Nevelson, Lee Krasner, Alice Neel, Grace Hartigan, Marisol, Eva Hesse, Lila Katzen, Eleanor Antin, Audrey Flack, and Nancy Grossmann. A reprint published by Harper Collins in 1995 also included conversations with Betye Saar, Isabel Bishop, and Janet Fish. She continued her contribution to the studies on Op Art when she published Ben Cunningham: A Life with Colorin 1989. Her numerous articles have appeared in Artforum, Art in America, Arts Magazine, The New York Times, The Village Voice, Newsday, MS Magazine, The Journal of Aesthetic Education, Art Education and many more magazines and newspapers.

Nemser has written several novels, short stories, and scripts for theater and television including her published book Eve’s Delight of 1982. Often these works combine her literary interest with her experiences in the art world.

 

In the 1990’s Nemser became involved theater criticism, writing for publications such as Theater Guild Quarterly. Feminism continued to influence her work which exposed the sexism that permeated the theater world. She continues to be an active theater critic today.

Nemser has served as curator or co-curator of several exhibitions which celebrate female artists and feminist art, including “In Her Own Image,” which showed at the Fleisher Art Memorial Gallery of the Philadelphia Museum of Art in 1974, “FOCUS: Women’s Work— American Art in 1974” (with Marcia Tucker, Adele Breeskin, Anne d’Hanoncourt and sculptor Lila Katzen) which showed at the Philadelphia Civic Center, and “Women’s Work: Homage to Feminist Art” at the Tabla Rasa Gallery in Brooklyn in 2007. Her papers are held at the Getty Research Institute in Los Angeles, California.

 



Sources

Firebrand (personal blog) http://cindynemser.blogspot.com/p/about-me.html



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Nemser, Cindy." Dictionary of Art Historians (website). https://arthistorians.info/nemserc/.


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Feminist art historian and critic; founded Feminist Art Journal. Nemser received a B.A. in Education from Brooklyn College concentrating on eighteenth and nineteenth-century literature. She taught elementary school in

Nyholm, Esther

Full Name: Nyholm, Esther

Gender: female

Date Born: unknown

Date Died: unknown


Overview


Selected Bibliography

Arte e teoria del Manierismo. Odense, 1977.


Sources

Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986 p. 190




Citation

"Nyholm, Esther." Dictionary of Art Historians (website). https://arthistorians.info/nyholme/.


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Novotny, Fritz

Full Name: Novotny, Fritz

Gender: male

Date Born: c. 1902-1903

Date Died: 1983

Place Born: Vienna, Vienna state, Austria

Place Died: Neunkirchen, Niederösterreich, Austria

Home Country/ies: Austria

Subject Area(s): French (culture or style), nineteenth century (dates CE), and painting (visual works)

Career(s): curators


Overview

Cézanne and 19th-century art scholar, curator and museum director. Novotny was born into a Roman Catholic family, his father Franz Novotny, worked as a mechanic and his mother was Josefine Bartosch (Novotny). He studied under Josef Rudolf Thomas Strzygowski at Strzygowski’s competing school of art history within the university in Vienna, the Wiener Institut. Novotny wrote his dissertation in 1927 on Romanesque sculpture and churches in Austria. He worked between 1928-39 as Assistant at the Kunsthistorischen Institut in Vienna. His Romanische Bauplastik in österreich established a strong interregional connection. Novotny, like a number of other Strzygowski students, was able to incorporate the rigorous research method of his mentor without the fanaticism, often racial in its conception, that marred his mentor’s work. Novotny shied away from the broad generalizations. In 1939 he was appointed curator at the österreichische Galerie in Vienna. From 1948 onward he was professor at the University. After the war, he became director of the Galerie from 1961-68. During his tenure, Novotny worked to repatriate works of art added to the Gallery during the post-war period to their rightful owners, including works owned by Alma Mahler-Werfel (he was turned down by the Austrian Education Minister, Erwin Thalhammer). Despite his training in Romanesque art, most of Novotny’s publications deal with modern artists because of his appointment at the österreichische Galerie. His book on Anton Romako redefined the artist as a precursor to Expressionism and Gustav Klimt. Novotny was a key figure for Modernism because of his analytical precision in the work of Cézanne. Cézanne und das Ende der wissenschaftlichen Perspektive (1938) placed the artist within an strong intellectual tradition. Novotny use painter’s works to establish a criteria for an art historical process useful for the who era of modernism. That book is his clearest use of Strukturanalyse of the Vienna School to which his thought belongs. Novotny argued that Cézanne the tension between “scientific” or natural perspective and the artist’s willful altering of it makes Cézanne a pivotal entity in Impressionism. His work influenced Meyer Schapiro and other Cézanne scholars. His Pelican History of Art volume, Painting and Sculpture in Europe 1780 to 1880, is notable for the way it treats artists as individual personalities, eschewing national characteristics less common to modern-era artists. The Pelican volume omitted Russian artists because Novotny did not consider Russia as part of Europe. Novotny emphasized the role that Idealism played in 19th-century Europe. Philosophy was key to Novotny; he used Kant (specifically the Critique of Pure Reason, [Kritik der reinen Vernunft]) to explain Cezanne’s work. His emphasis of the intellectual milieu of artistic production was not at the cost of the artwork’s formal aspects. Novotny was not a social historian, however. He avoided biographical and other documents when no direct connection could be made to the art.


Selected Bibliography

Cézanne und das Ende der wissenschaftlichen Perspektive. Vienna: A. Schroll, 1938, excerpt, English, “Passages from Cézanne and the End of Scientific Perspective (1938).” The Vienna School Reader: Politics and Art Historical Method in the 1930s. Christopher White, ed. New York: Zone Books, 2000, pp. 379-433; Romanische Bauplastik in österreich. Vienna: Dr. B. Filser, 1930; Painting and Sculpture in Europe, 1780 to 1880. Pelican History of Art 20. Baltimore: Penguin Books, 1960; Adalbert Stifter als Maler. Vienna: A. Schroll, 1941.


Sources

Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 285-7; The Vienna School Reader: Politics and Art Historical Method in the 1930s. Christopher White, ed. New York: Zone Books, 2000, pp. 378; Decker, Andrew. “A Legacy of Shame.” Artnews 83 no. 10 (December 1984): 65.




Citation

"Novotny, Fritz." Dictionary of Art Historians (website). https://arthistorians.info/novotnyf/.


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Cézanne and 19th-century art scholar, curator and museum director. Novotny was born into a Roman Catholic family, his father Franz Novotny, worked as a mechanic and his mother was Josefine Bartosch (Novotny). He studied under

Novak, Barbara J.

Full Name: Novak, Barbara J.

Other Names:

  • Barbara Novak Deutsch

Gender: female

Date Born: 1928

Place Born: New York, NY, USA

Home Country/ies: United States

Subject Area(s): American (North American)

Career(s): educators


Overview

Americanist and Altschul Professor of Art History at Barnard College and Columbia University, 1958-98. Novak graduated from Barnard College in 1950 and attended Radcliffe for her graduate work. She received a Fulbright fellowship in 1953 to pursue her dissertation, which appeared in 1957 on the Hudson River School artists Thomas Cole and Asher Durand. She joined the faculty of Barnard College the following year. In 1960 she married the art critic Brian O’Doherty (an exhibiting artist under the name Patrick Ireland) in 1960. She began publishing art criticism in various newspapers and art journals, most notably Artforum. Her book on nineteenth century painting was published in 1969. She received a Guggenheim Fellowship in 1974. In 1980 she published her Nature and Culture: American Landscape and Painting, 1825-1875 and the concomitant show, Next to Nature: Landscape Paintings from the National Academy of Design whose catalog appeared the same year. A novel, Alice’s Neck, was published in 1987. Novak was awarded the distinguished Teaching of Art History Award from the College Art Association and retired emerita as Helen Goodhart Altschul Professor from Barnard in 1998. A chaired professorship at Barnard College was named in her honor. Nature and Culture: American Landscape and Painting, 1825-1875, was described by John I. H. Baur of the Whitney Museum of American Art, as “the most important contribution to the understanding of nineteenth-century American art that has been written in our generation.”


Selected Bibliography

[dissertation:] Cole and Durand: Criticism and Patronage: a Study of American Taste in Landscape, 1825-65. Radcliffe, 1957; Nature and Culture: American Landscape and Painting 1825-1875. New York: Oxford University Press, 1980; American Painting of the Nineteenth Century: Realism, Idealism, and the American Experience. New York: Praeger, 1969; Alice’s Neck. New York: Ticknor & Fields, 1987; Next to Nature: Landscape Paintings from the National Academy of Design. New York: National Academy of Design, 1980.


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. 149-50; “Barbara Novak.” Challenging Art: Artforum 1962-1974. Newman, Amy, ed. New York: Soho Press, 2000, p. 478.




Citation

"Novak, Barbara J.." Dictionary of Art Historians (website). https://arthistorians.info/novakb/.


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Americanist and Altschul Professor of Art History at Barnard College and Columbia University, 1958-98. Novak graduated from Barnard College in 1950 and attended Radcliffe for her graduate work. She received a Fulbright fellowship in 1953 to pursue

Notten, Marinus, van

Full Name: Notten, Marinus, van

Gender: male

Date Born: 1875

Date Died: unknown

Home Country/ies: Netherlands

Subject Area(s): conservation (discipline), conservation (process), Dutch (culture or style), monuments, and Netherlandish


Overview

First director of the department of Conservation of Monuments, Netherlands.


Selected Bibliography

Rombout Verhulst, beeldhouwer, 1624-1698: een overzicht zijner werken. ‘s-Gravemhage: M. Nijhoff, 1907.





Citation

"Notten, Marinus, van." Dictionary of Art Historians (website). https://arthistorians.info/nottenm/.


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First director of the department of Conservation of Monuments, Netherlands.

Norton, Richard

Full Name: Norton, Richard

Other Names:

  • Richard Norton

Gender: male

Date Born: 1872

Date Died: 1918

Place Born: Dresden, Saxony, Germany

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

Home Country/ies: United States

Subject Area(s): archaeology, Baroque, and Classical

Institution(s): American School of Classical Studies


Overview

Archaeologist and amateur baroque-art scholar. Norton was the son of Charles Eliot Norton, the Harvard art historian, and Susan Ridley Sedgwick (Norton), who died giving birth to him. He graduated from Harvard University in 1892 and continued study in Germany, attending the courses of Adolf Furtwängler on Greek sculpture, and at the American School of Classical Studies, Athens. An early study of Greek grave reliefs appeared in the Harvard Studies in Classical Philology. He was appointed the first lecturer in Greek art at the School, and in 1899, director of the program, which he held until 1907. He returned to Boston where he married the Boston socialite Edith White (they divorced in 1910) and acted as European art expert for the Boston Museum of Fine Arts. In 1903 he traveled to central Asia to conduct field research as part of the Pumpelly Expedition. In 1910 Norton led the dig in the former Greco-Roman outpost of Cyrene, Libya for the Academy, along with Joseph Clark Hoppin and others. The expedition was beset with problems; Norton was nearly assinated by anti-American agitators (his assistant director was killed) and a war erupted between Turkey and Italy, forcing the abandonment of the project. At the outbreak of World War I, Norton traveled to France were he witnessed the (first) battle of the Marne. Appalled at the poor transportation of wounded soldiers, he organized the American Volunteer Motor Ambulance Corps, known locally as “Norton’s Corps.” It merged with the H. H. Harjes ambulance unit of the French army. In 1917 it was absorbed by the United States army with American entrance into the war. Norton then worked for American Naval Intelligence in France. He contracted meningitis in 1918 in Paris and died shortly there after.


Selected Bibliography

[collected writings:] Bernini, and Other Studies in the History of Art. New York: The Macmillan Company, 1914; Catalogue of the Corbett Collection of Casts from Greek and Roman Sculpture. Portland, OR: The Portland Art Association, 1897; “The Boston Counterpart of the Ludovisi Throne.” Journal of Hellenic Studies 34 (1914): 66-75 [Reply to article with same title of E. A. Gardner in v. 33]; [contributor] Waldstein, Charles. The Argive Heraeum. 2 vols. Boston: Houghton Mifflin, 1902-05; Greek Grave-Reliefs. Harvard Studies in Classical Philology. Boston: Ginn & co, 1897.


Sources

[obituaries:] Kelsey, Francis W. “Richard Norton.” Art and Archaeology 8 (1919): 329-335; “Prof. R. Norton is Dead in Paris, Organizer and Head of American Ambulance Corps a Victim of Meningitis.” New York Times August 4, 1918, p. 19; Sheftel, Phoebe S. “Archaeological Institute of America.” Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 1, p. 62;



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Norton, Richard." Dictionary of Art Historians (website). https://arthistorians.info/nortonr/.


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Archaeologist and amateur baroque-art scholar. Norton was the son of Charles Eliot Norton, the Harvard art historian, and Susan Ridley Sedgwick (Norton), who died giving birth to him. He graduated from Harvard University in

Norton, Charles Eliot

Full Name: Norton, Charles Eliot

Gender: male

Date Born: 1827

Date Died: 1908

Place Born: Cambridge, Cambridgeshire, England, UK

Place Died: Cambridge, Middlesex, MA, USA

Home Country/ies: United States

Subject Area(s): Medieval (European)

Institution(s): Harvard University


Overview

First Professor of Fine Arts, Harvard University; influential mentor for a generation of art historians. Norton was born to a wealthy Boston family with strong intellectual interests. His father, Andrews Norton (1786-1853), was a Unitarian theologian and professor of sacred literature at Harvard. The younger Norton attended Harvard University, graduating with an A. B. in 1846. After college he toured India and Europe, particularly England between 1849-51. With his various attempts at business a failure, he returned to Europe in 1855, remaining there until 1857. In Switzerland, Norton met John Ruskin,  the art critic and historian whose writings deeply affected him. Norton returned to focus on writing and literature. He edited the North American Review between 1864-68 and co-founded The Nation in 1865. His articles at this time demonstrated both a knowledge in art history and archaeology as well as literature. In 1859 he published his Notes of Study and Travel in Italy largely an art-historical travelogue of that country. In 1862 he married Susan Ridley Sedgwick. The Nortons made a trip to Europe in 1868, stopping in England, where his interests in architectural history and enthusiasm for Britain heightened, and then Italy in 1869 before finally settling in Dresden in 1871. In 1872, his wife died in childbirth and a shattered Norton wended his way back to the United States (via England). His cousin, Harvard University President Charles W. Eliot (1834-1926) appointed Norton to be the first lecturer of Fine Arts at Harvard in 1873. On years of even date, he delivered a weekly lecture on Dante; on years of odd date, on the Italian medieval church. A dynamic lecturer though little interested in scholarship, Norton influenced some of the greatest American art historians of the next generation as well as advised the Boston collector Isabella Steward Gardner. He organized an 1874 exhibition devoted to the work of J. M. W. Turner. Classical interests always high with Norton, he founded the Archaeological Institute of America, whose first local society was in Boston, in 1879. A short while later he founded the American Academy in Rome. In 1880, he issued his Historical Studies of Church Building in the Middle Ages. Norton employed a moral interpretation of art history, fuelled by a romantic vision of the middle ages and a disillusion with late-19th century industrialism. His most popular course at Harvard was “The History of the Fine Arts as Connected with Literature.” His collected Harvard lectures, published in 1891 as History of Ancient Art, belie the debt to Ruskin’s Oxford lectures on beauty as a source for moral uprightness. Norton was the literary executor for Ruskin as well as Thomas Carlyle (1795-1881). As a man of letters, Norton maintained a correspondence with many of the later 19th-century authors, including Charles Dickens, Matthew Arnold, Charles Darwin, Robert Browning and Ralph Waldo Emerson. His cottage in Ashfield in the Massachusetts Berkshires as well as Shady Hill, his home in Cambridge (Massachusetts) were the meeting place for many intellectuals and discussions. In 1898 he retired from Harvard. At Ruskin’s death in 1900, Norton became his literary executor. A Charles Eliot Norton Professorship of Poetry (a distinguished visiting professorship in the Faculty of Arts) at Harvard was established in 1925. Norton never supervised a doctoral dissertation, wary of the professionalization of the discipline. Harvard-trained art historians influenced by his teaching included Bernard Berenson, Edward Waldo Forbes, Paul J. Sachs, and Rathfon Post among many others. His son, Richard Norton, was an archaeologist and art historian as well. Methodologically, Norton followed a connoisseurship mode of art history, prevalent among the Italo-Anglo and art historians, eschewing German methods of art as a historical phenomenon. Like many English-speaking art scholars, he was deeply affected by the writings of Ruskin whom he knew personally from his trips to England, and whose writing he promoted in America. Norton’s lectures and writing focused on Italian art and civilization, paralleling the aesthetics of Ruskin and the Pre-Raphaelites, which linked esthetic purity to social reform. In Church Building in the Middle Ages he suggested that spiritual values, such as those embodied in the middle ages, led to the creation of fine art while materialism, such as that of his own age, poisoned it. Democracy, he mused may be incompatible with a “healthy culture.” His Ruskin-sentimentalist views did not prevent him from championing modern technology, especially the mass reproduction of art. Unashamedly subjective, his influence rests largely on the scholars he encouraged rather than his own writings.


Selected Bibliography

Letters of Charles Eliot Norton. Boston: Houghton Mifflin, 1913; List of the Principal Books Relating to the Life and Works of Michel Angelo. Cambridge, MA: Press of J. Wilson and Son, 1879; and Ruskin, John. The Correspondence of John Ruskin and Charles Eliot Norton. New York: Cambridge University Press, 1987; and Ruskin, John. Letters of John Ruskin to Charles Eliot Norton. 2 vols. Boston: Houghton, Mifflin and Company, 1905; [exhibition curated], Ruskin, John. Notes on Drawings. Cambridge: University Press, John Wilson and son, 1879; Historical Studies of Church-building in the Middle Ages: Venice, Siena, Florence. New York: Harper & Brothers, 1880; Notes of Travel and Study in Italy. Boston: Houghton, Mifflin and Company 1859; Brown, Harry Fletcher, and Wiggin, William Harrison, eds. History of Ancient Art. Boston: A. Mudge & Son, 1891.


Sources

Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, p. 540; Calder, William M. “Charles Eliot Norton.” Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 2, p. 812; Vanderbilt, Kermit. Charles Eliot Norton: Apostle of Culture in a Democracy. Cambridge, MA: Belknap Press, 1959; Turner, James. The Liberal Education of Charles Eliot Norton. Baltimore: Johns Hopkins University Press, 1999; Norton, Sara, and Howe, Mark Antony DeWolfe, eds. Letters of Charles Eliot Norton, with Biographical Comment by his Daughter. Boston: Houghton Mifflin, 1913; [obituary] “Dr. C. Eliot Norton Dies in Cambridge.” New York Times October 21, 1908, p. 1.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Norton, Charles Eliot." Dictionary of Art Historians (website). https://arthistorians.info/nortonc/.


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First Professor of Fine Arts, Harvard University; influential mentor for a generation of art historians. Norton was born to a wealthy Boston family with strong intellectual interests. His father, Andrews Norton (1786-1853), was a Unitarian theolog

Noack, Ferdinand

Full Name: Noack, Ferdinand

Gender: male

Date Born: 1865

Date Died: 1931

Place Born: Holzhausen, Hesse, Germany

Place Died: Berlin, Germany

Home Country/ies: Germany

Subject Area(s): ancient, Ancient Greek (culture or style), archaeology, architecture (object genre), decorative art (art genre), and sculpture (visual works)


Overview

Archaeologist who wrote primarily on architecture and decorative arts; specialist in ancient Greek and Minoan architecture. Noack received his Ph.D. from Giessen, writing a dissertation on Euripides. He was appointed professor of archaeology at the University of Jena in 1897. He moved to Kiel as professor in 1904 and Tübingen in 1908. His final appointment was Berlin where he taught between 1916 and his death in 1931. At his death he was succeeded in Berlin by Gerhart Rodenwaldt. The art historian Kurt Weitzmann studied under him in Berlin. His art-historical writing was so valued by Margarete Bieber that she included a passage in her German Readings reader of 1946.


Selected Bibliography

[dissertation:] Iliupersis de Euripidis et Polygnoti quae ad Troiae excidium spectant fabulis. Giessen, 1890, published, G. Keller, 1890; Die Geburt Christi in der bildenden Kunst bis zur Renaissance: im Anschluss an Elfenbeinwerke des Grossherzoglichen Museums zu Darmstadt. Darmstadt: Bergstresser, 1894; Homerische Paläste; eine Studie zu den Dekmälern und zum Epos. Leipzig: B. G. Teubner, 1903; Ovalhaus und Palast in Kreta: ein Beitrage zur frühgeschichte des Hauses. Leipzig: B.G. Teubner, 1908; “Das Gewandproblem in der griechischen Kunstentwicklung.” Neue Jahrbuch für das Klass. Altertum, Gesch, und Deutsche Lit. 23 (1909): 233ff.; Die Baukunst des Altertums. Berlin: Fischer & Francke, 1910; and Kirchner, Johannes, and Körte, Alfred, et al. Eleusis: die baugeschichtliche Entwicklung des Heiligtumes. Berlin, W. de Gruyter, 1927.


Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 162-163.




Citation

"Noack, Ferdinand." Dictionary of Art Historians (website). https://arthistorians.info/noackf/.


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Archaeologist who wrote primarily on architecture and decorative arts; specialist in ancient Greek and Minoan architecture. Noack received his Ph.D. from Giessen, writing a dissertation on Euripides. He was appointed professor of archaeology at th

Niemann, Georg

Full Name: Niemann, Georg

Other Names:

  • Georg Niemann

Gender: male

Date Born: 1841

Date Died: 1912

Place Born: Hanover, Germany

Place Died: Vienna, Vienna state, Austria

Home Country/ies: Germany

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


Overview

Architect and archaeologist. Professor at University of Vienna 1873-?. Particularly known for his artistic reconstruction of ancient buildings based on his architectural training, artiistic ability and archaeological expertise.



Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 80.




Citation

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


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Architect and archaeologist. Professor at University of Vienna 1873-?. Particularly known for his artistic reconstruction of ancient buildings based on his architectural training, artiistic ability and archaeological expertise.