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Oxenaar, Rudi

Full Name: Oxenaar, Rudi

Other Names:

  • Rudi Oxenaar

Gender: male

Date Born: 1925

Date Died: 14 December 2005

Place Died: Arnhem, Gelderlands, Netherlands

Home Country/ies: Netherlands


Overview

Director Museum Kröller-Müller, 1963-1990. Oxenaar studied art history at Leiden University under Henri Van de Waal. In the 1950s Oxenaar held the position of research assistant at the Municipal Museum of The Hague. In 1958-59 he contributed on modern sculpture to the Winkler Prins van de Kunst encyclopedia, edited by W. R. Juynboll and V. Denis. In 1963, Oxenaar succeeded Abraham Marie Wilhelmus Jacobus Hammacher as director of the Rijksmuseum Kröller-Müller in Otterlo. In Hammacher’s footsteps he continued to broaden the sculpture collection in and around the museum. In 1965, the sculpture garden was enriched with the Rietveld Pavilion, which was originally designed by the Dutch architect Gerrit Rietveld (1888-1964), in 1955, for the third international Open-air Sculpture Exhibition in Sonsbeek Park, Arnhem. After its relocation to Kröller-Müller, the pavilion opened with a retrospective exhibition of Barbara Hepworth. Oxenaar added, in 1965 and 1967, eight sculptures by Hepworth to the permanent collection. He also acquired works of other British sculptors, such as Henry Moore, Henri Gaudier-Brzeska, Anthony Caro and Philip King. A spectacular purchase was Dubuffet’s Jardin d’émail, which was constructed, in 1974, in the sculpture garden. In 1976 Oxenaar earned his doctor’s degree from Utrecht University with a dissertation on the painter Bart van der Leck, a member of De Stijlmovement, Bart van der Leck tot 1920. Een primitief van de nieuwe tijd. In the same year the museum organized a retrospective of the work of van der Leck, Bart van der Leck (1876-1958). Between 1970 and 1977 Oxenaar played an active role in the realization of the new extension to the museum, designed by Wim Quist (b. 1930). It opened in 1977. The sober architecture of this extension creates a harmonious unity with the sculpture garden and the surrounding nature. In the 1970s and 1980s Oxenaar purchased works of some younger British sculptors, including Richard Long and Anish Kapoor. He had a particular interest in Minimal Art artists, such as Don Judd, Robert Morris, Sol LeWitt, and Dan Flavin. From 1979 onwards he built up the Arte Povera collection of the museum, purchasing works by Mario Merz and others. From the mid-eighties Oxenaar privately began collecting picture books, developing the children’s book collection of his late wife, Thil Oxenaar-van der Haagen. In 1990 Oxenaar was succeeded by Evert van Straaten. After his retirement, Oxenaar kept an ongoing interest in what happened in the museum. He also was actively involved in the establishment of the De Pont Museum of Contemporary Art in Tilburg. In 2007, two years after his death, this museum honored its former board member with the presentation “Picture Books from the Collection of Rudi Oxenaar.”


Selected Bibliography

[dissertation] Bart van der Leck tot 1920. Een primitief van de nieuwe tijd. Rijksuniversiteit Utrecht, published, The Hague: Interprint Sneldruk, 1976; De schilderkunst van onze tijd. Zeist: De Haan, 1958; “Barbara Hepworth and the Rijksmuseum Kröller-Müller.” Barbara Hepworth. The Tate Gallery, 3 April-19 May 1968. London: Tate gallery, 1968, pp. 48-49; Dubuffet, Jardin d‘émail. Otterlo: Rijksmuseum Kröller-Müller, 1974;; Tentenprojekt, Cornelius Rogge. Otterlo: Rijksmuseum Kröller Müller, 1976; and others Kröller-Müller: honderd jaar bouwen en verzamelen. Haarlem: Joh. Enschedé, 1988, English: The First Hundred Years. Haarlem: Joh. Enschedé, 1989.


Sources

Stegeman, Elly. “Oxenaar in Kröller-Müller.” Kunst & Museumjournaal 2, 3 (1990): 50-60; [obituaries]: “Oud-directeur Oxenaar Kröller-Müller overleden” Apeldoornse Courant December 16, 2005; Reith, Maarten. “Levensloop Rudi Oxenaar – Een pionier in het Kröller Müller Museum.” De Gelderlander December 16, 2005; Schoonenboom, Merlijn. “Sobere kunsthistoricus met lef” Volkskrant December 16, 2005.



Contributors: Monique Daniels


Citation

Monique Daniels. "Oxenaar, Rudi." Dictionary of Art Historians (website). https://arthistorians.info/oxenaarr/.


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Director Museum Kröller-Müller, 1963-1990. Oxenaar studied art history at Leiden University under Henri Van de Waal. In the 1950s Oxenaar held the position of research assistant at the Municipal Museum of The Hague. In 19

Ozinga, Murk Daniël

Full Name: Ozinga, Murk Daniël

Other Names:

  • Murk Daniël Ozinga

Gender: male

Date Born: 1902

Date Died: 1968

Place Born: Pernis, South Holland, Netherlands

Place Died: Utrecht, Netherlands

Home Country/ies: Netherlands

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


Overview

Professor of Architecture at Utrecht University. Ozinga was the son of a minister. He attended the Gymnasium at Schiedam and studied Law and history at Leiden University, 1920-24. He decided to specialize in History of Art, particularly Architectural history. At Leiden, under Wilhelm Martin he completed his dissertation in 1929 on the subject of Protestant churches: Protestantsche kerken hier te lande gesticht, 1596-1793. Martin had secured an appointment at the Rijksbureau voor de Monumentenzorg in 1926, charged with the task of describing historical monuments. In 1947, he became the head of the Description Department. Throughout his career, he was devoted to the preservation of all kinds of monuments. He contributed to the series Voorlopige lijst der Nederlandsche Monumenten van Geschiedenis en Kunst, succeeded by the Nederlandse Monumenten van Geschiedenis en Kunst: Geïllustreerde Beschrijving, and the Kunstreisboek voor Nederland. From 1932 onwards he was one of the editors of the Oudheidkundig Jaarboek and the Bulletin van de Koninklijke Nederlandse Oudheidkundige Bond. Between 1930 and 1947 he wrote a number of entries for the Allgemeines Lexikon der bildenden Künstler by Ulrich Thieme and Felix Becker. Much of his research focused on the life of the artist Daniël Marot, a French designer of ornaments, interior decorator and architect, who settled in the Netherlands as a Protestant refugee around 1685, and created in Dutch architecture a variant of the Louis XIV-style. His monograph on Marot appeared in 1938 and won the Wijnaendts Francken-award of the Maatschappij der Nederlandse Letterkunde. In 1938 Nikolaus Bernard Leon Pevsner reviewed this work, along with his book on Protestant churches and his account of the general history of architecture in Holland during the seventeenth and eighteenth centuries in Kunstgeschiedenis der Nederlanden, edited by H. E. Van Gelder in 1936. In this Burlington Magazine review Pevsner observed: “It is a great pity that almost all Dr. Ozinga’s writings have been brought out in Dutch only. Thus the results of twelve years of patient and successful research into a subject of considerable bearing upon the history of architecture in England have remained unnoticed over here”. In 1947, Ozinga obtained an extraordinarius professorship of Architecture at the Institute of Art History at Utrecht University. His inaugural lecture: Mythe en ratio in de verklaring der middeleeuwse architectuurgeschiedenis (1948) reflected his interest in medieval architecture. In 1949 he published De romaanse kerkelijke bouwkunst, followed in 1953 by De gothische kerkelijke bouwkunst. In these two richly illustrated books in the series “De schoonheid van ons land” Ozinga gives an overview of Romanesque and Gothic churches in The Netherlands, providing descriptions based on direct observations and, where available, on archival research. He also insisted that his students should be confronted with monuments in situ, and therefore he frequently organized excursions. He traveled widely, including the United States and the Caribbean. In Curaçao he investigated Dutch colonial architecture, which resulted, in 1959, in the publication: De monumenten van Curaçao in woord en beeld. He was very committed to the preservation of monuments in the Dutch Caribbeans and in Suriname. He relinquished his position at the Rijksdienst in 1958 when he became a full professor at Utrecht University, but he continued working in the preservation field as a member of the Monumentenraad (Council for Monuments) as well as several other organizations, including the Koninklijke Nederlandse Oudheidkundige Bond. He suddenly died in 1968 shortly after his retirement.


Selected Bibliography

Protestantsche kerken hier te lande gesticht, 1596-1793: onderzoek naar hun bouw- en ontwikkelingsgeschiedenis. Dissertation. Amsterdam: H.J. Paris, 1929. Also published as: De Protestantsche Kerkenbouw in Nederland van Hervorming tot Franschen Tijd. Amsterdam: H.J. Paris, 1929; Daniël Marot. De Schepper van den Hollandschen Lodewijk XIV-stijl. Amsterdam,: H.J. Paris, 1938; Mythe en ratio in de verklaring der middeleeuwse architectuurgeschiedenis (inaugural lecture) Utrecht, 1948; De romaanse kerkelijke bouwkunst (De schoonheid van ons land, 4) Amsterdam: Contact, 1949; De gothische kerkelijke bouwkunst. Met medewerking van R. Meischke (De schoonheid van ons land, 12) Amsterdam: Contact, 1953; De monumenten van Curaçao in woord en beeld. Willemstad: Stichting Monumentenzorg Curaçao, 1959.For a complete bibliography (until 1962) see: Heckscher W.S. en Langedijk, Karla “Bibliografie van de geschriften van M.D. Ozinga tot het eind van het jaar 1962” in Opus Musivum, mentioned above: 475-501.


Sources

Heckscher, W.S. “Murk Daniel Ozinga. Een biografische schets vooraf” in Opus Musivum. Een bundel studies aangeboden aan Professor Doctor M.D. Ozinga ter gelegenheid van zijn zestigste verjaardag op 10 november 1962. Assen: Van Gorcum, 1964: 469-473; Singelenberg, P. “Murk Daniël Ozinga als onderzoeker” Simiolus 2 (1967-1968): 114-116; Braat, W.C. “Enkele herinneringen aan Murk Daniël Ozinga. 10 november 1902- 21 mei 1958” (read: 1968) Nieuwsbulletin van de Koninklijke Nederlandse Oudheidkundige Bond (1968): 59-60; Meischke, R. “M.D. Ozinga, fel strijder voor onze monumenten” in Nieuwe Rotterdamsche Courant, 8-6-1968. Wekelijks bijvoegsel, 9.; Storm van Leeuwen, J. “Ozinga, Murk Daniël” in J. Charité (ed.) Biografisch woordenboek van Nederland 3. The Hague, 1989; Bosman, L. “De oratie van M.D. Ozinga (1948), het ontstaan van de gotiek en het probleem van stijlperioden” Bulletin van de Koninklijke Nederlandse Oudheidkundige Bond 95 (1996): 1-11; Bosman, L. “De geschiedenis van de Nederlandse architectuurgeschiedenis: middeleeuwse bouwkunst” in Hecht, Peter; Hoogenboom, Annemieke; Stolwijk, Chris (eds.) Kunstgeschiedenis in Nederland. Negen opstellen. Amsterdam: Prometheus, 1998: 63-87.Festschrift: Opus Musivum. Een bundel studies aangeboden aan Professor Doctor M.D. Ozinga ter gelegenheid van zijn zestigste verjaardag op 10 november 1962. Assen: Van Gorcum, 1964



Contributors: Monique Daniels


Citation

Monique Daniels. "Ozinga, Murk Daniël." Dictionary of Art Historians (website). https://arthistorians.info/ozingam/.


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Professor of Architecture at Utrecht University. Ozinga was the son of a minister. He attended the Gymnasium at Schiedam and studied Law and history at Leiden University, 1920-24. He decided to specialize in History of Art, particularly Architectu

Owenson, Sydney J.

Full Name: Owenson, Sydney J.

Other Names:

  • Lady Morgan

Gender: female

Date Born: c. 1776

Date Died: 1859

Place Born: Dublin, Ireland

Place Died: London, Greater London, England, UK

Home Country/ies: Ireland

Subject Area(s): biography (general genre)

Career(s): art historians, authors, biographers, and novelists


Overview

Novelist and author of a biography of Salvator Rosa. Owenson was named for her paternal grandmother, Sydney Crofton Bell, disowned by her family after eloping with a farmer. Owenson’s father, Robert MacOwen (1744 – 1812), an actor, Anglicized his name to Owenson and married Jane Hill (d.1789). Their daughter, Sydney Owenson, learned narrative, language, folklore, and music from her actor father. After her mother died in 1789, she and her younger sister were sent to Madame Terson’s boarding school in Dublin, a Huguenot (Protestant) academy, and Mrs. Anderson’s finishing school. Owenson found a job as a governess and began write poetry and tales for pleasure. In 1801 her Poems were published followed by her first novel in1802/1803. Thus began a career of gothic-romance novels based on national pride and titillating (for the time) detail. In 1801 the British Parliament had passed the Act of Union making Ireland a province of the United Kingdom. Owenson’s novels built upon an Irish sense of nation, not through logic, but by weaving a romantic vision of an indigenous people. Owenson gave up governnessing, returned to Dublin and became a fashionable literary society person. She negotiated the sale of her manuscript in England, unusual for a woman, eventually published by Richard Phillips, the publisher of Thomas Paine’s 1791 Rights of Man. Her novel The Wild Irish Girl: A National Tale, perhaps her most famous novel, appeared in 1806. She also published versions of old Irish songs and a collection of folk music, Twelve Original Hibernian Melodies, with English Words, Imitated and Translated, from the Works of the Ancient Irish Bards in 1805. Owenson wrote the libretto for a popular musical comedy in 1807. In 1809, her fourth novel, Woman; or Ida of Athens, appeared. That year, too, she joined the household of the marquis of Abercorn, which allowed her contact with the rich and famous. The Missionary-An Indian Tale (1811) was one of the first novels to employ Orientalism as a theme. Owenson married Abercrom’s physician, the recently knighted Thomas Charles Morgan (1783-1843) in 1812, and became “Lady Morgan.” Morgan himself was forced to retire from practice after an 1818 book, Sketches of the Philosophy of Life, adumbrated Darwinian evolution. Owenson’s publisher, Henry Colburn (d. 1855), sent the couple to France following Napoleon’s defeat at Waterloo in 1815 for travel and research on a book to encourage British tourists back to that country. She published a two-volume travelogue on France in 1817. Colburn commissioned a similar volume on Italy, which appeared in 1821. Owenson used the Italian travel opportunity to research and publish a work of art history, a biography of the baroque painter Salvator Rosa. This appeared in 1824, but the book was poorly received. A German translation appeared the same year. Another “nationalistic tale,” The O’Briens and the O’Flahertys (1827) and The Book of the Boudoir (1829), a collection of essays followed. She was awarded a literary pension of three hundred pounds per year beginning in 1837 from British government and the couple returned to London. In her later years her eyesight failed. Woman and Her Master of 1840 was the first in what she hoped would be a series on women’s contributions to history. Her husband died in 1843. Owenson revised her Rosa book, issuing a second edition in 1855. Her autobiography Passages from My Autobiography was completed in 1859 shortly before her death. Owenson’s novels incorporate the travelogue, history, ethnology, and literature in the vein of Sir Walter Scott. She was one of the most successful female authors of the nineteenth century and the first English author to write a book on Rosa. Her treatment of Rosa is a novel written along factual lines, with an emphasis on unsubstantiated anecdotes, overly expanded, and according to her own admission, a scant knowledge of the actual paintings. However, as a work of romantic art history, her biography “rises above historical inaccuracies” (Sutherland).


Selected Bibliography

[omitting works of fiction] Twelve Original Hibernian Melodies, with English Words, Imitated and Translated, from the Works of the Ancient Irish Bards. London: Preston, 1805; The Life and Times of Salvator Rosa. 2 vols. London: H. Colburn, 1824, and Morgan, T. Charles. France. London: H. Colburn, 1817; and Morgan, T. Charles. Italy. London: H. Colburn, 1824.


Sources

Fitzpatrick, William J. Lady Morgan: Her Career, Literary and Personal [sic] with a Glimpse of her Friends, and a Word to her Calumniators. London: C. J. Skeet, 1860; Stevenson, Lionel. The Wild Irish Girl: the Life of Sydney Owenson, Lady Morgan (1776-1859). London: Chapman & Hall, 1936; Dixon, W. H., ed. Lady Morgan’s Memoirs: Autobiography, Diaries and Correspondence. 2 vols. London, 1862; [Review of The Life and Times of Salvator Rosa]. [Hazlitt, William.] Edinburgh Review 40 (1824): 316-49; Sutherland, John. “The Legend and Influence of Salvator Rosa in England in the Eighteenth Century.” Burlington Magazine 115 no. 849 (December 1973): 785-789.




Citation

"Owenson, Sydney J.." Dictionary of Art Historians (website). https://arthistorians.info/owensons/.


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Novelist and author of a biography of Salvator Rosa. Owenson was named for her paternal grandmother, Sydney Crofton Bell, disowned by her family after eloping with a farmer. Owenson’s father, Robert MacOwen (1744 – 1812), an actor, Anglicized his

Overbeck, Johannes

Full Name: Overbeck, Johannes

Gender: male

Date Born: 1826

Date Died: 1895

Place Born: Antwerp, Flanders, Belgium

Place Died: Leipzig, Saxony, Germany

Home Country/ies: Germany


Overview

Early historian to use written documents to support art research (e.g., Die antiken Schriftquellen). Overbeck studied at the university in Bonn under Friedrich Gottlieb Welcker. Overbeck’s early work was on Pompeii. His monograph on the subject, first appearing in 1856 (and subsequently appearing in four later editions), was the inspiration for the fuller monograph by August Mau. In 1858 Overbeck was named Ordinarius (professor) at the university in Leipzig. He remained at Leipzig for the rest of his life. Throughout his career, he concentrated on publishing corpora (or inventories) of art. His Griechische Kunstmythologie, a corpus of mythological representations in Greek art, began in 1871. It remained uncompleted at his death, in five parts (three volumes). He also was highly interested in the written documentation of classical art. Die Antiken Schriftquellen zur Geschichte appeared beginning in 1868. It drew from sources taken from De pictura veterum (1637) of Franciscus Junius. Overbeck’s source documentation was the precursor to many others, including that of Julius Alwin von Schlosser. He died late in 1895 and was succeeded by Franz Studniczka. In addition to his scholarship, Overbeck was a devoted teacher and molded some of the most important classical art scholars of the next generation. These included Georg Loeschcke, Adolf Furtwängler, Paul Arndt, Adolf Michaelis and Theodor Schreiber.  The American Lucy Myers Mitchell was inspired by his lectures to study ancient art.


Selected Bibliography

Die antiken Schriftquellen zur Geschichte der bildenden Künste bei den Griechen. Leipzig: W. Engelmann, 1868. Geschichte der griechischen Plastik. Leipzig: J. C. Hinrichs, 1857-58; Pompeji in seinen gebäuden, alterthümern und kunstwerken, für kunst- und alterthumsfreunde. Leipzig: W. Engelmann, 1856; Griechische Kunstmythologie. 3 vols. [Original plan called for vol. 1 to be the “Allgemeiner Theil,” but it was never issued.] Leipzig, W. Engelmann, 1871-89, [incomplete].


Sources

Kleinbauer, W. Eugene. Research Guide to the History of Western Art. Sources of Information in the Humanities, no. 2. Chicago: American Library Association, 1982, p. 32; Archëologenbildnisse: Porträts und Kurzbiographien von Klassichen Archëologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 51-52; “Overbeck, Johannes.” Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 2, pp. 834-5.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Overbeck, Johannes." Dictionary of Art Historians (website). https://arthistorians.info/overbeckj/.


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Early historian to use written documents to support art research (e.g., Die antiken Schriftquellen). Overbeck studied at the university in Bonn under Friedrich Gottlieb Welcker. Overbeck’s early work was on Pompeii

Ottley, William Young

Full Name: Ottley, William Young

Gender: male

Date Born: 1771

Date Died: 1836

Place Born: Thatcham, West Berkshire, UK

Place Died: London, Greater London, England, UK

Home Country/ies: United Kingdom

Subject Area(s): Italian (culture or style), Italian Renaissance-Baroque styles, painting (visual works), and Renaissance

Career(s): art collectors


Overview

Collector and early British historian of Italian painting. Ottley was the son of Richard Ottley, a wealthy India plantation owner. He was born near Thatcham, Berkshire, UK. His schooling in Richmond, Northern Yorkshire, included drawing lessons from George Cuitt the elder (1743-1818). Ottley attended Winchester College, entering the Royal Academy Schools at Landon in 1787, studying under the Scottish draughtsman and printmaker John Brown (1749-1787). Ottley traveled throughout Italy for eight years beginning in 1791 in the grand tour manner, drawing and buying art, much of it made available through anxious Italians fearing they would lose in anyway with Napoleon’s invasion in 1796. His acquisitions from this period included Parmigianino drawings from the Zanetti collection, disparate ones from the Galleria degli Uffizi in Florence, and drawings by Michelangelo and Raphael amassed by (and stolen from) Jean-Baptiste Wicar (1762-1834), who had himself received them from the French occupiers. Ottley returned to London in 1799, establishing himself as an art dealer and connoisseur. His first writing on art history was the 1808 The Italian School of Design with both plates and text by Ottley. It was Ottley’s intention to write a history of the “most eminent artists of Italy.” In the interim, Ottley completed the British Gallery of Pictures catalog, a work begun by Henry Tresham, and An Inquiry into the Origin and Early History of Engraving on Copper and Wood, both in 1818. The The Italian School of Design was completed in 1823, marking the first chronological treatment of the Italian schools by a British art historian. In 1826 Ottley brought out his Series of Plates Engraved After the Paintings and Sculptures of the Most Eminent Masters of the Early Florentine School, and A Descriptive Catalogue of Pictures in the National Gallery, commissioned by the President of the Royal Academy, Sir Thomas Lawrence (1769-1830). Ottley’s personal collection included a Rembrandt, Botticelli’s Mystic Nativity (now in the National Gallery, London), Raphael’s Dream of Scipio Africanus (now National Gallery) and a Rape of Europa then ascribed to Titian (now, Wallace Collection, London). His collection, which also including Trecento and Quattrocento works, was one of the better known in England. Ottley began a dictionary of engravers, Notices of Engravers, and their Works, of which only volume one appeared in 1831. By this time Ottley’s fortune was waning, in part because of the abolition of slavery, which had made his West-Indian plantation so profitable. When the Keeper of Prints and Drawings at the British Museum John Thomas Smith died in 1833, Ottley was invited to succeed him. Another publication, An Inquiry into the Invention of Printing, was published posthumously in 1863. The Italian School of Design brought a modern, chronological approach and quality illustrations, some of the first for British art publication. Most Eminent Masters of the Early Florentine School was important for the reassessment of 14th- and 15th-century Italian painting. His book work was selected for inclusion in the Connoisseurship Criticism and Art History in the Nineteenth Century reprint series, selected by Sydney Joseph Freedberg.


Selected Bibliography

A Collection of Fac-similes of Scarce and Curious Prints, by the Early Masters of the Italian, German, and Flemish Schools. London: Longman, Roes, Orme, Brown, and Green, 1826; A Descriptive Catalogue of the Pictures in the National Gallery: with Critical Remarks on their Merits. 3 pts. London: John Murray, 1826; Engravings of the Most Noble the Marquis of Stafford’s Collection of Pictures in London: Arranged According to Schools and in Chronological Order with Remarks on Each Picture. London: Longman, Hurst, Rees, Orme, and Brown, 1818; An Inquiry Concerning the Invention of Printing: in which the Systems of Meerman, Heinecken, Santander and Koning are Reviewed [etc]. London: Joseph Lilly, 1862; The Italian School of Design: being a Series of Fac-similes of Original Drawings, by the Most Eminent Painters and Sculptors of Italy; with Biographical Notices of the Artists, and Observations on their Works. London: Taylor and Hessey, 1823; Notices of Engravers, and their Works, being the Commencement of a New Dictionary, [etc.]. London: Longman, Rees, Orme, Brown, & Green, 1831; and Tresham, Henry.The British Gallery of Pictures: Selected from the Most Admired Productions of the Old Masters in Great Britain, accompanied with Descriptions, Historical and Critical. London: Longman, Hurst, Rees, Orme, and Brown, 1818; A Series of Plates Engraved after the Paintings and Sculptures of the Most Eminent masters of the early Florentine School: Intended to Illustrate the History of the Restoration of the Arts of Ddesign in Italy. London: Colnaghi, 1826.[estate catalogs] The Ottley Collection of Prints: Catalogue of the Very Valuable and Extensive Collection of Engravings. London: Southeby Leigh, 1837; Catalogue of Some Rare and Choice Books together with a Few Manuscripts: to which are Added some Miscellaneous Books and Illumined Miniature Paintings formerly in the Collection of the Late William Young Ottley, Esq. London: S. Leigh Sotheby & Co., 1849.


Sources

Griffiths, Antony. “The Department of Prints and Drawings During the First Century of the British Museum.” Burlington Magazine 136 (August 1994): 531-44; Gere, J “William Young Ottley as a Collector of Drawings.” British Museum Quarterly 18 (1953), pp. 44-53; Waterhouse, Ellis K. “Some Notes on William Young Ottley’s Collection of Italian Primitives.” Italian Studies (1962): 272-80; Rogers, David. “Ottley, William Young.” Dictionary of Art; Scheller, R. W. “Case of the Stolen Raphael Drawings.” Master Drawings 11 no. 2 (Summer 1973):119-37; Herrmann, F. “Dr Waagen’s Works of Art and Artists in England.” Connoisseur 161 (March 1966): 173-7.




Citation

"Ottley, William Young." Dictionary of Art Historians (website). https://arthistorians.info/ottleyw/.


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Collector and early British historian of Italian painting. Ottley was the son of Richard Ottley, a wealthy India plantation owner. He was born near Thatcham, Berkshire, UK. His schooling in Richmond, Northern Yorkshire, included drawing lessons fr

Ostrow, Stephen E.

Full Name: Ostrow, Stephen E.

Other Names:

  • Stephen Ostrow

Gender: male

Date Born: 1932

Place Born: New York, NY, USA

Home Country/ies: United States

Subject Area(s): American (North American), photographs, and prints (visual works)


Overview

Art Museum director and Chief of Prints and Photography, Library of Congress, 1984-1996. Ostrow’s parents were Herman Ostrow, M.D. (1896-1954), a New York eye surgeon and Anne Ostrow, an attorney. He graduated from Oberlin College, continuing at the Institute of Fine Arts, New York University where he received his Ph.D. in 1966 with a dissertation topic of Agostino Carracci. Ostrow was appointed professor at Rutgers University (where he advised James H. Stubblebine on his 1964 book on Guido da Siena) and then at Brown University. At Brown he mounted a 1969 exhibit called “Raid the Icebox,” inviting Andy Warhol to select a show from the University’s art museum. Ostrow became director of the Rhode Island School of Design’s museum in 1971. He joined the Portland (Oregon) Art Association as director. In 1984 the Library of Congress appointed him Chief of the Prints and Photography Department. Ostrow brought the division into the electronic age, modernizing the department and seeking special funds for photography outreach programs. A Stephen Ostrow Distinguished Visitors program was established in 1988 at Reed College Ed and Sue Cooley and John and Betty Gray in honor of his advisory role in the formulation of the Cooley-Gray gift to the College. He retired emeritus from the Library in 1996 and was succeeded by Linda Ayres.


Selected Bibliography

[dissertation:] Agostino Carracci. 4 vols. New York University, 1966; Baroque painting: Italy and her influence. New Haven: Eastern Press, 1968.


Sources

Richard, Paul. “Corcoran Front-Runner.” Washington Post, September 23, 1977, p. C6; Goodwin, George M. “A New Jewish Elite: Curators, Directors and Benefactors of American Art Museums.” Modern Judaism 18, no. 1, (February 1998): ; 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, pp. 39-59.




Citation

"Ostrow, Stephen E.." Dictionary of Art Historians (website). https://arthistorians.info/ostrows/.


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Art Museum director and Chief of Prints and Photography, Library of Congress, 1984-1996. Ostrow’s parents were Herman Ostrow, M.D. (1896-1954), a New York eye surgeon and Anne Ostrow, an attorney. He graduated from Oberlin College, continuing at t

Oppé, Adolph Paul

Full Name: Oppé, Adolph Paul

Other Names:

  • Adolphus Paul Oppé

Gender: male

Place Born: London, Greater London, England, UK

Place Died: Chelsea, Kensington and Chelsea, London, England, UK

Home Country/ies: United Kingdom

Subject Area(s): drawings (visual works)

Career(s): art collectors

Institution(s): Victoria and Albert Museum


Overview

Brithish curator and drawings collector; scholar of Raphael and Botticelli, later British artists. Oppé was the son of Siegmund Armin Oppé, a silk merchant, and Pauline Jaffé (Oppé). He attended St. Andrews University and then New College, Oxford, where he majored in classics. After graduation, he was appointed a professor’s assistant in Greek in 1902 at St. Andrews, advancing to lecturer in 1904 and Lecturer in ancient history at Edinburgh University. In 1904 he began collecting drawings, beginning with the work of John Sell Cotman sold to him by the art historian Herbert P. Horne. The collection grew after his marriage into a vast works-on-paper collection which included Fra Bartolommeo, Giovanni da Udine, Barocci, Veronese, Poussin, and Claude Lorrain. He joined the Board (Department) of Education in 1905 where he worked on teacher training standards. In 1906 he briefly joined the Victoria and Albert Museum for one year. He married Lyonetta Edith Regina Valentine Tollemache (1886/7-1951) in 1909. The same year he published his first monograph on a Renaissance artist, Raphael. Oppé returned as deputy director of the V&A in 1910. During his years as deputy director (through 1913), A second monography, on Botticelli, appeared in 1911. He returned to the Board of Education in 1913 and, except for service in World War I in the Ministry of Munitions, never left. Oppé’ grew to a great scholar of Cozens. His 1919 Burlington Magazine article disproved the long-standing legend that the artist was the son of Peter the Great. In 1923 he published two books, one on Rowlandson and another on Cotman. The following year he co-published with the great native song collector Cecil Sharp (1859-1924) a history of folk dancing. In 1925, Turner, Cox and de Wint appeared. He began advising the National Gallery of Canada, Ottawa on prints and drawings acquisitions in 1937. Oppé retired from the Board of Education in 1938. His book on Hogarth was published in 1948 and English Drawings at Windsor Castle in 1950. His magnum opus on Cozens finally appeared until 1952 as Alexander and John Robert Cozens. He died in Chelsea, London. His collection of 3000 British works on paper was acquired by Tate Gallery in 1996.

Oppé led the study of British drawings as a scholarly pursuit. He was one of a few early collectors in England of works on paper whose number during the first quarter of the twentieth century, others among whom included Laurence Binyon, Randall Davis (1866-1946) and Thomas Girtin (1874-1961).  As an art historian, Oppé ventured independent conclusions, doubting, for example, the that Raphael’s painting “La Fornarina” is a portrait of his (supposed) mistress, Margharita Luti.

 

 


Selected Bibliography

Raphael. London: Methuen and Co. 1909; Sandro Botticelli. New York: Hodder and Stoughton, 1911;  and Sharp, Cecil James. The Dance: an Historical Survey of Dancing in Europe. London: Halton & Truscott Smith, 1924; The Drawings of Paul and Thomas Sandby in the Collection of His Majesty the King at Windsor Castle. Oxford: Phaidon Press, 1947; The Drawings of William Hogarth. New York: Phaidon Press, 1948; English Drawings, Stuart and Georgian periods, in the Collection of His Majesty the King at Windsor Castle. London: Phaidon, 1950; Alexander & John Robert Cozens. Cambridge, MA: Harvard University Press, 1954;


Sources

Ford, Brinsley. “Oppé, Adolph Paul.” Oxford Dictionary of National Biography; [obituary:] “Mr. Paul Oppé A Notable Art Historian.” Times (London) April 1, 1957, p.. 14; Ford, Brinsley. “Paul Oppé.” Burlington Magazine 99, no. 651 (June 1957): 207-208.


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Citation

"Oppé, Adolph Paul." Dictionary of Art Historians (website). https://arthistorians.info/oppea/.


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Brithish curator and drawings collector; scholar of Raphael and Botticelli, later British artists. Oppé was the son of Siegmund Armin Oppé, a silk merchant, and Pauline Jaffé (Oppé). He attended St. Andrews University and then New College, Oxford,

Osthaus, Karl Ernst

Full Name: Osthaus, Karl Ernst

Gender: male

Date Born: 1874

Date Died: 1921

Place Born: Hagen, North Rhine-Westphalia, Germany

Place Died: Merano, Bolzano, Trentino-Alto Adige, Italy [Tyrol region]

Home Country/ies: Germany

Career(s): art collectors


Overview

Founder the Folkwang-Museum in Hagen, Germany, industrialist and collector. Osthaus was born to wealth. His father was the banker financier Ernst Osthaus and his mother, Selma Funcke (Osthaus), the daughter of a textile industrialist. He was raised in the industrial Westphalian town of his birth and studied at various German-speaking universities, as was common in Germany at the time, at Kiel, Munich, Berlin, Strasbourg, Vienna and Bonn. He graduated from the university in Bonn in 1898, making trips to southern Europe and Asia, feeding and interest in Ethnology and collecting folk art. He returned to Hagen, marrying Gertrud Colsmann, daughter of another wealthy factory owner, in 1899. Osthaus, like many industrial barons in Germany, wanted to make his town a place of culture as well as industry. Around 1900 he decided to collect art, acquiring works by Gauguin, Rodin, Degas, Cézanne, Renoir, Corot and van Gogh. He opened a museum in 1902, which included science displays on the lower level. Osthaus named it “Folkwang” borrowed from “Edda Folkvangar” (in German, “Volkshalle” the assembly hall of Freya). The Folkwang was the first museum solely devoted to modern art that was open to the public. Osthaus hired the Belgian architect-designer Henry van de Velde (1863-1957) to design a Jugendstil interior space for his museum (as well as dresses for his and van de Velde’s wife on opening day). In 1906 Van de Velde also designed Osthaus’s villa, called the Hohenhof, in Hagen. He commissioned the Jugenstil and Symbolist artist Jan Thorn Prikker, who had settled in Hagen, and Henri Matisse to provide decoration. Osthaus acquired the German Expressionist work of Die Brücke, giving early exhibitions to many of its principle artists, including Ernst Ludwig Kirchner, Christian Rohlfs and Emil Nolde. Ferdinand Hodler’s famous “The Consecrated One” was installed in a room designed for it in the villa. Osthaus hoped to make Hagen a center of modern architecture as well. In 1909, he began to share his museum space with the Deutscher Werkbund, or German artisan’s guild. Together, they operated the “Deutsche Museum für Kunst in Handel und Gewerbe” (Germany Museum for Art and Trade Works). Osthaus’ civic interest in art and architecture attracted the commissions of other important architects who, in addition to van de Velde, included Richard Riemerschmid, Peter Behrens’ crematorium, and Walter Gropius. Osthaus hoped to build a museum building with the Werkbund, but the first World War prevented this. He himself was pressed into war service. After the war, he received his Ph.D. from Königliche Bayerische Julius-Maximilians-Universität, Würzburg in 1918, writing his dissertation on the topic of stylistic development in art. In 1920 he wrote a biography of van de Velde published by the Museum. Osthaus contracted cancer at age 47 and died. The city of Hagen was unable to raise the funds to buy the Museum’s collection. In 1922 the larger neighboring industrial city of Essen purchased the Osthaus’ collection, setting up the Folkwang Museum there. Ernst Gosebruch became the new museum’s first director, continuing Osthaus’ collecting model. Osthaus’ home town established a museum named for Osthaus after the war, the Karl Ernst Osthaus-Museum, which yearly awards a prize in his memory. During the years of the Third Reich, the Nazis ransacked his home and art. The building was restored as the museum it is today. Osthaus was more than a collector and museum owner. He actively promoted outsider, indigenous, modernist and the craft-arts as art forms deserving to be in a museum setting. Osthaus maintained contact with numerous other progressive museum directors, including the American John Cotton Dana. His museum assisted with Dana’s groundbreaking exhibition, “Modern German Applied Arts,” from the Deutscher Werkbund in 1912.


Selected Bibliography

[dissertation:] Grundzüge der Stilentwicklung. Würzburg, 1918, published, Hagen: Hagener Verlagsanstalt, 1918; Van de Velde: Leben und Schaffen des Künstlers. Hagen: Folkwang, 1920; contributed, Naumann, Friedrich, et al. Der Werkbund-Gedanke in den germanischen Ländern: österreich-Ungarn, Schweiz, Holland, Dnemark, Schweden, Norwegen. 7. Jahresversammlung des Deutschen Werkbundes (meeting, Cologne). Jena: E. Diederichs, 1914.


Sources

Hesse-Frielinghaus, Herta, et al. Karl Ernst Osthaus. Leben u[nd] Werk. Recklinghausen: Bongers, 1971; Biraghi, Marco. “Osthausstadt: Hagen 1898-1920: Karl Ernst Osthaus.” Casabella 64, no. 682 (October 2000): 70-7, 99-100; Werner, Alfred. “Osthaus and the Folkwang Museum.” Arts Magazine 38 (February 1964): 35-41; Emil und Ada Nolde, Karl Ernst und Gertrud Osthaus: Briefwechsel. Bonn: Bouvier, 1985; Vogt, Paul. Museum Folkwang Essen: die Geschichte einer Sammlung junger Kunst im Ruhrgebiet. Cologne: DuMont, 1983.




Citation

"Osthaus, Karl Ernst." Dictionary of Art Historians (website). https://arthistorians.info/osthausk/.


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Founder the Folkwang-Museum in Hagen, Germany, industrialist and collector. Osthaus was born to wealth. His father was the banker financier Ernst Osthaus and his mother, Selma Funcke (Osthaus), the daughter of a textile industrialist. He was raise

Osten, Gert von der

Full Name: Osten, Gert von der

Gender: male

Date Born: 1910

Date Died: 1983

Place Born: Otterndorf, Lower Saxony, Germany

Place Died: Brühl, Baden-Württemberg, Germany

Home Country/ies: Germany

Subject Area(s): museums (institutions)

Career(s): directors (administrators) and museum directors


Overview

Museum director; specialist on German and Dutch Late-Gothic Renaissance. Between 1919 and 1928, Von der Osten attended the Hannover Kaiserin-Auguste-Victoria-Gymnasium, where his father was Oberstudiendirektor. After graduation, he studied art history, archaeology, and history at the universities of Berlin, Munich, Marburg, and Halle. His work as a student volunteer at the Hannover Landesmuseum in 1930 had a decisive influence on his choice to become an art historian. In 1933, he earned his doctoral degree from Halle University with a dissertation on the iconography of the Man of Sorrows, Der Schmerzensmann: Typengeschichte eines deutschen Andachtsbildwerkes von 1300 bis 1600. His adviser was Paul Frankl. After having worked as a volunteer at the Berlin Museums, Von der Osten was appointed, in 1938, a Kustos at the Hannover Landesgalerie. Together with Ferdinand Stuttmann, the director of the Landesgalerie (1937-1962), he worked on late mediaeval sculpture of Lower Saxony, and co-authored in 1940 Niedersächsische Bildschnitzerei des späten Mittelalters. Both authors then were on duty in the German army at the outbreak of World War II. Von der Osten’s wife, Erika von der Osten-Baare, was involved in the final preparations of the publication. In 1941 Von der Osten completed his Habilitation under Wilhelm Pinder with the study, Manierismus in der deutschen Kunst um 1520. As a soldier during World War II, Von der Osten rose to the officer ranks in the Germany army. After the war he spent more than three years in Russia as a detainee. After that dark period he returned, in 1948, to the Hannover Landesgalerie. In 1951 he obtained a position as Privatdozent at the Technische Hochschule. In 1955 he published a monograph on the German painter Lovis Corinth. Von der Osten also was appointed director of the Städtische Galerie, whose works were on display of the Landesmuseum since 1923. Between 1956 and 1957, he enlarged the collection of the Städtische Galerie with twenty important modern sculptures. The modern sculpture section is included in Von der Osten’s 1957 fully-illustrated Katalog der Bildwerke in der Niedersächsischen Landesgalerie Hannover. This critical catalog, which contains 498 works from the Middle Ages up to the contemporary period, was acclaimed in several leading art periodicals, including the Art Bulletin. Von der Osten spent the academic year 1957-58 in Princeton, as a fellow at the Institute for Advanced Study, where he began working on his Pelican History of Art volume, Painting and Sculpture in Germany and the Netherlands, 1500-1600, and where he had useful discussions on the project with Erwin Panofsky. The work on this survey, however, took many years to complete. In 1960 Van der Osten obtained the position of Director-in- chief of the Cologne Museums and, in addition, the directorship of the Wallraf-Richartz-Museum. He broadened its collection with nineteenth-century and contemporary artworks. An important acquisition, in 1968, was the art collection of Peter and Irene Ludwig, known as the “Sammlung Ludwig”. This collection, on display from 1969, gained popularity and attracted many visitors. Van der Osten’s artfully crafted catalog, Kunst der Sechziger Jahre; Sammlung Ludwig im Wallraf-Richartz Museum, Köln, shows his real involvement in the present-day art scene. The huge collection was later housed in the new Museum Ludwig. His Pelican volume finally appeared in 1969 as Painting and Sculpture in Germany and the Netherlands, 1500 to 1600, one-fifth of which was written by Horst Vey, then curator of the Wallraf-Richartz-Museum. In 1970, nine colleagues, including Vey, offered Van der Osten a Festschrift on the occasion of his sixtieth birthday. Van der Osten spent the last years of his life on a major critical study on Hans Baldung Grien, Hans Baldung Grien: Gemälde und Dokumente, which appeared in 1983. In Painting and Sculpture in Germany and the Netherlands Van der Osten highlights the uniqueness of each artwork. The geographically determined sections are set in the framework of their historical and political context. Van der Osten was a critical and many-sided art historian, as well as a gifted writer. Extracts from his reflections and observations on art are quoted by Horst Keller in his Festschrift contribution, “Gert von der Osten schreibend”.


Selected Bibliography

[complete list:] Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 288-289; Tümmers, Horst-Johs “Bibliographie Gert von der Osten” in Festschrift für Gert von der Osten. (Gert von der Osten zum 60. Geburtstag am 17. Mai 1970 überreicht von seinen Mitarbeitern am Wallraf-Richartz-Museum. Cologne: Verlag M. DuMont Schauberg, 1970, pp. 281-291; [Dissertation Halle:] Der Schmerzensmann: Typengeschichte eines deutschen Andachtsbildwerkes von 1300 bis 1600. Leipzig, 1933, Berlin: Deutscher Verein für Kunstwissenschaft, 1935; and Stuttmann, Ferdinand. Niedersächsische Bildschnitzerei des späten Mittelalters. Berlin: Deutscher Verein für Kunstwissenschaft, 1940; Lovis Corinth. Munich: Verlag F. Bruckmann, 1955; Katalog der Bildwerke in der Niedersächsischen Landesgalerie Hannover. Munich: Bruckmann Verlag, 1957; Kunst der Sechziger Jahre; Sammlung Ludwig im Wallraf-Richartz Museum, Köln. Cologne: Wallraf-Richartz-Museum, 1970; and Vey, Horst. Painting and Sculpture in Germany and the Netherlands, 1500 to 1600. The Pelican History of Art, 31. Baltimore: Penguin Books, 1969, German, Deutsche und Niederländische Kunst der Reformationszeit. Cologne: Verlag M. DuMont Schauberg, 1973; Hans Baldung Grien: Gemälde und Dokumente. Berlin: Deutscher Verein für Kunstwissenschaft, 1983.


Sources

Bier, Justus. [Review:] “Katalog der Bildwerke in der Niedersächsischen Landesgalerie Hannover, bearbeitet von Gert von der Osten” Art Bulletin 41 (1959): 342-344; [biographical contributions by Rudolf Hillebrecht, Herbert von Einem, and Horst Keller in] Festschrift für Gert von der Osten. (Gert von der Osten zum 60. Geburtstag am 17. Mai 1970 überreicht von seinen Mitarbeitern am Wallraf-Richartz-Museum. Cologne: Verlag M. DuMont Schauberg, 1970, pp. 7-16; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 287-9; [obituaries:] Budde, Rainer. “In memoriam Gert von der Osten (17. Mai 1910 – 30. November 1983).” Wallraf-Richartz- Jahrbuch (1983): 7-9; Bloch, Peter. “Gert von der Osten.” Zeitschrift des Deutschen Vereins für Kunstwissenschaft 38 (1984): 123.



Contributors: Lee Sorensen and Monique Daniels


Citation

Lee Sorensen and Monique Daniels. "Osten, Gert von der." Dictionary of Art Historians (website). https://arthistorians.info/osteng/.


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Museum director; specialist on German and Dutch Late-Gothic Renaissance. Between 1919 and 1928, Von der Osten attended the Hannover Kaiserin-Auguste-Victoria-Gymnasium, where his father was Oberstudiendirektor. After graduation, he studied art his

Osborn, Max

Full Name: Osborn, Max

Other Names:

  • Heinrich Garbel

Gender: male

Date Born: 10 February 1870

Date Died: 24 September 1946

Place Born: Cologne, North Rhine-Westphalia, Germany

Place Died: New York, NY, USA

Home Country/ies: Germany and United States

Institution(s): Kulturbund Deutscher Juden


Overview

Art critic, journalist, and prolific author with expertise in modern art and architecture, German literature and theater, and Berlin’s history and architecture. He used the pseudonym Heinrich Garbel. Max Osborn was born in Cologne, Germany in 1870 to a father who was a banker and Clotilde Cohn (Osborn). Osborn studied in Cologne at Apostelgymnasium. In 1881, he moved with his family to Berlin, where he continued his studies at Wilhelms-Gymnasium. He received his abitur there in 1888. From 1889-1893, Osborn studied German literature and art history in Heidelberg, Munich, and Berlin under Herman Grimm. He completed his Theatrum Diabolorum dissertation in literature in 1893 under the tutelage of Erich Schmidt (1853-1913), a pioneer in the field of the history of German literature. From 1894-1914, his primary occupations were working as a co-editor of the Jahresberichte für neuere deutsche Literaturgeschichte, which reported on new published German literature, and as a contributor to the Magazin für Literatur und dem Deutschen Reichsanzeiger, which served much the same purpose. In 1896, he married Martha Boas. He started working as an editor on the major pieces featured in the Berliner Nationalzeitung in 1900. Osborn’s most notable piece of literature was published in 1910, Geschichte der Kunst. Eine kurzgefaßte Darstellung ihrer Hauptepochen. Transitioning to a role at Ullstein Publishing House, one of Germany’s largest publishing establishments at the time, Osborn wrote editorial pieces as a theater critic for the B.Z. am Mittag. He accepted an offer to work as an art critic for Vossische Zeitung in 1914. He remained in this position until 1933, and his most important work over this period of his life was most probably done as correspondent to the front lines of World War I. He chaired the Association of German Art Critics after his return from chronicling the experience of German soldiers in World War I. After his work with Vossische Zeitung, he co-founded and was a staff member of Kulturbund Deutscher Juden (later named Jüdischer Kulturbund Berlin), an organization to celebrate the unique talents of Jewish artists. Through this organization, he advised younger Jewish artists, gave lectures, and organized art exhibitions. From 1934-1935, he studied in Palestine but remained closely connected to contemporary German artists. After Kristallnacht in 1938, Osborn greatly reduced the number of public events hosted by Kulturbund Deutscher Juden and chose to publish under the pseudonym Heinrich Garbel. As a result of the Nazi power after Kristallnacht and his having to severely limit the operations of Kulturbund Deutscher Juden, he fled to Paris in 1938. He worked for the Basler Nationalzeitung remotely from Paris until he emigrated to New York in 1941. In the United States, he wrote for several publications, including Aufbau, Congress Weekly, and the Universal Jewish Encyclopedia.

Max Osborn was an expert on the history of Berlin, and as a member of the Art Committee of the City of Berlin, contributed copious amounts of literature on this subject (Obituary NYT). He had a significant impact on the way German literature, theater, and modern art were interpreted in Germany because he was the chief art critic of Ullstein Publications for three decades (Obituary NYT). Overall, his reviews of different art exhibitions and theatrical events exerted great influence on Germany’s artistic life before Hitler rose to power (Obituary NYT).


Selected Bibliography

  • [dissertation:] Theatrum Diabolorum Berlin, 1893;
  • Andreas Musculus. Vom Hassenteufel (1555) Halle, 1894;
  • Die deutsche Kunst im 19. Jahrhundert 1901;
  • Der Holzschnitt Bielefeld, 1905;
  • Moderne Plastik Berlin, 1905;
  • Porträtmalerei Berlin, 1905;
  • Joshua Reynolds Bielefeld, 1908;
  • Geschichte der Kunst. Eine kurzgefaßte Darstellung ihrer Hauptepochen Berlin, 1910;
  • Meisterbuch der Kunst. Eine kurzgefaßte Geschichte der Kunst Berlin 1910;
  • Franz Krüger Bielefeld, 1910;
  • Eugen Bracht Bielefeld, 1911;
  • Ludwig Richter Bielefeld, 1911;
  • Der Märchenbrunnen im Friedrichshain zu Berlin Berlin, 1914;
  • Drei Straßen des Krieges 1916;
  • Gegen die Rumänen. Mit der Falkenhayn-Armee bis zur Sereth Berlin, 1917;
  • Emil Orlik Berlin, 1920;
  • Max Pechstein Berlin, 1922;
  • Der Maler Christian Schad Berlin, 1927;
  • Irma Stern Leipzig, 1927;
  • Jean Kraemer Berlin, 1927;
  • Die Kunst des Rokoko Berlin, 1929;
  • Leonid Pasternak Warschau, 1932;
  • Der Bunte Spiegel: Erinnerungen aus dem Kunst-, Kultur- und Geistesleben der Jahre 1890 bis 1933.  New York:  Verlag Friedrich Krause, 1945.

Sources

  • Osborn, Max. Der Bunte Spiegel: Erinnerungen aus dem Kunst-, Kultur- und Geistesleben der Jahre 1890 bis 1933. New York: Verlag Friedrich Krause, 1945;
  • “Dr. Max Osborn, 76, Art Critic, is Dead” New York Times, September 25, 1946: 27;
  • Wendland, Ulrike. Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. Munich: Saur, 1999, vol. 2, pp. 465-70.


Contributors: Lee Sorensen and Paul Kamer


Citation

Lee Sorensen and Paul Kamer. "Osborn, Max." Dictionary of Art Historians (website). https://arthistorians.info/osbornm/.


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Search for materials by & about this art historian:

Art critic, journalist, and prolific author with expertise in modern art and architecture, German literature and theater, and Berlin’s history and architecture. He used the pseudonym Heinrich Garbel. Max Osborn was born in Cologne, Germany in 1870