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Puttfarken, Thomas

Full Name: Puttfarken, Thomas

Other Names:

  • Thomas Puttfarken

Gender: male

Date Born: 19 December 1943

Date Died: 05 October 2006

Place Born: Hamburg, Germany

Place Died: Essex, England, UK

Home Country/ies: Germany

Subject Area(s): art theory, nineteenth century (dates CE), and Renaissance


Overview

Scholar of Renaissance and 19th-century art; professor of art history and theory, University of Essex. Puttfarken’s father, Franz Ferdinand Puttfarken, was a dentist (though the family had made a name in jurisprudence); his mother was Traut Dorothea Bruhn (Puttfarken), He studied art history, philosophy and classical archaeology at the Universities of Innsbruck and Munich, settling on graduate work at the Kunsthistorisches Institute, Hamburg. In 1967 he was named the first, Aby M. Warburg fellow, a single-year fellowship at the Warburg Institute, London. He returned to the institute in Hamburg as a teacher lecturing during the political upheavals which were occurring at Hamburg, as they were at most continental universities in 1968. Despite an incomplete doctorate, Puttfarken was elected chair of a committee which placed him between the conservative faculty and the demonstrating students. He completed his Ph.D. at Hamburg and married Herma Zimmer, both in 1969. His dissertation topic was on scale in Renaissance art. As the Hamburg situation became more untenable, Puttfarken was recruited by the newly founded art history department at the University of Essex in the United Kingdom in 1971. Though he returned to Hamburg–for family reasons–and to lecturing at the University the same year, he rejoined the Essex faculty in 1974 as a senior lecturer. He remained at Essex the rest of his career, rising to Reader in 1978. The same year as his divorce, 1981, he married to Elspeth Crichton Stuart. Puttfarken was appointed to the professor of art history and theory chair and dean of the School of Comparative Studies in 1984 (though 1986). The following year his book on Roger de Piles, the late 17th-century French art theorist, appeared. In the book he contrasted de Piles, who stressed visual impact and color, with academic writers such as André Félibien, who emphasized drawing and decorous representation of its subject matter. He was made pro vice-chancellor, beginning 1987 (through 1990). He delivered the Durning Lawrence lectures given at University College London, which appeared in 2000 as Discovery of Pictorial Composition. Puttfarken wrote that modern notions of pictorial composition–overall pictorial order of space–were just that, i.e., modern, and had no equivalent in the Italian Renaissance. The book also posited a theory as to why geometrical optics, known for centuries, were applied only in painting of the 15th century. He was elected a Fellow of the British Academy in 2003. Puttfarken published his final book, Titian and Tragic Painting, in 2005. It was a revision of traditional views that painters strove to rise in social status by linking their painted works to literature. In it, he argued that depictions of violence in Titian’s work relate to the painter’s interest in Aristotle’s sense of tragic drama, an interest he shared with the writers of the age. He was researching a book on the representation of violence in Caravaggio when he suffered an aneurysm at the age of 62 and died. Puttfarken employed literary and rhetorical theory to analyse painting. He focused on the conflicting concepts of pictorial unity as a theme of his study. His Titian book examined the status of artists and writers in the Renaissance, theorizing why the artist referred to his canvases as poems. Titian he contended was most unique for his depictions of suffering rather than his “Titianesque” women.


Selected Bibliography

Roger de Piles’ Theory of Art. New Haven, CT: Yale University Press, 1985; The Discovery of Pictorial Composition: Theories of Visual Order in Painting, 1400-1800. New Haven, CT: Yale University Press, 2000; Titian & Tragic Painting: Aristotle’s Poetics and the Rise of the Modern Artist. New Haven, CT: Yale University Press, 2005.


Sources

[obituaries:] Podro, Michael. “Thomas Puttfarken: An Art Historian of the Renaissance and Pivotal Figure at Essex University.” Guardian (London). October 21, 2006, p. 39; “Professor Thomas Puttfarken.” The Times (London), October 27, 2006, p. 79.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Puttfarken, Thomas." Dictionary of Art Historians (website). https://arthistorians.info/puttfarkent/.


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Scholar of Renaissance and 19th-century art; professor of art history and theory, University of Essex. Puttfarken’s father, Franz Ferdinand Puttfarken, was a dentist (though the family had made a name in jurisprudence); his mother was Traut Doroth

Puyvelde, Léo Van

Full Name: Puyvelde, Léo Van

Gender: male

Date Born: 1882

Date Died: 1965

Place Born: Sint-Niklaas-Waas, Liège, Wallonia, Belgium

Place Died: Uccle, Brussels-Capital Region, Belgium

Home Country/ies: Belgium

Career(s): curators


Overview

Professor of Art History; Museum Curator. Van Puyvelde was a student at the Episcopal High School in Sint-Niklaas (Waas), in the Flemish part of Belgium, and then enrolled at the Faculty of Arts of the Catholic University of Louvain, where he obtained a doctoral degree in 1905. During his university years, he was active in promoting the Flemish language, which at that time was undervalued in favor of the French, and was not in use in schools and official institutions. His dissertation was on the Flemish poet Albrecht Rodenbach (1856-1880). A reworked version of it was published in 1908: Albrecht Rodenbach. Zijn leven en werk (“His Life and Work”). Van Puyvelde did further research on Rodenbach and published, among other things, the complete edition of his poems. In 1911, he became a member of the Koninklijke Vlaamse Academie voor Taal en Letterkunde (Flemish Academy for Language and Literature). In 1912, this institution published his book Schilderkunst en toneelvertooningen op het einde van de middeleeuwen, which was devoted to the relationship between Flemish painting and theater plays in the late Middle Ages. In the same year, he was appointed lecturer of Art History at the State University of Ghent, which marked the beginning of his career as an art historian. In 1920, he became full professor and chair of the Hoger Instituut voor Kunstgeschiedenis (Higher Institute of Art History) at the same university. He taught medieval art and archaeology as well as medieval-, Renaissance- and seventeenth-century painting. In 1925, he published a study on the ancient abbey of Ghent, called the Bijloke, where an important ensemble of fourteenth-century mural paintings had been uncovered during the restoration campaign of 1924. In 1927, he left Ghent University for a full professorship in Art History at the University of Liège. At the same time, he was appointed chief curator of the Royal Museums of Fine Art of Belgium (Brussels). He was active in reorganizing the museum and changed the display of the works of art in the galleries. In 1934, he expressed his ideas on this matter in an article in Mouseion: “Principes de la présentation des collections dans les musées”. He argued that the aim of a museum is not only to preserve works of art, but also to make them accessible to the wider public for education and enjoyment. A number of the major works of art should be selected on esthetical grounds and displayed in the main galleries, whereas the lesser works may be placed in other departments, accessible to students and researchers only. The selected works should be enjoyed in their own right. This article reflects wide spread thoughts on museum reform. The same ideas prevailed for instance in the Netherlands, where his Dutch colleagues, like F. Schmidt-Degener and H. E. Van Gelder were engaged in reorganizing respectively the Amsterdam Rijksmuseum and the Municipal Museum of The Hague. As curator, Van Puyvelde was deeply committed to the conservation of works of arts, and established a modern laboratory in the museum in 1929-30. Cleaning old pictures was his main concern, but the procedure was rather controversial in those days. As an art historian, he was particularly interested in Flemish and Netherlandish painting, including the Van Eycks and the Flemish Primitives, Quinten Metsys, Bosch, Bruegel, and the masters of seventeenth-century Flemish Baroque: Rubens, Van Dyck, and Jordaens. He also followed with interest the artistic evolution of the work of contemporary artists, including the sculptor George Minne (1866-1941), the painters James Ensor, Gustave De Smet (1877-1943), and Frits Van den Berghe (1883-1939). He frequently published articles on these artists in international journals. As visiting professor, he taught at several universities abroad, in Paris (1932), Algiers (1933), the USA (1939, Princeton, Harvard and Yale), and in Poland. During World War II, Van Puyvelde lived in England as an exile. On invitation by the King of England, he studied the Flemish and Dutch drawings in the royal collection of drawings at Windsor Castle. This resulted in two separate publications: on the Flemish Drawings in 1942 and on the Dutch Drawings in 1944. When the war was over in Belgium, Van Puyvelde was appointed General Director for the Fine Arts in 1944, in charge of the cultural heritage of his country. As lieutenant colonel, he accompanied the army of the Allied searching for works of art that had been stolen by the Germans during the occupation. The Ghent Polyptych, “The Adoration of the Lamb”, along with other masterworks, was found in the salt mine of Alt Aussee, in Austria. Before its return to the Cathedral of St. Bavon, the recovered altarpiece was on show in the Royal Museums of Fine Art in Brussels for a month. Van Puyvelde, who resumed his post as chief curator, took the opportunity to study this masterwork thoroughly. Van Eyck: L’Agneau Mystique was published in 1946. The English edition (Van Eyck: The Holy Lamb) and a Dutch one followed respectively in 1947 and 1948. This study however did not become authoritative. His analysis of the style of the Van Eyck brothers was rather subjective, and his controversial premise that they would not have used oil in the painting was proven to be incorrect. Van Puyvelde nevertheless won great acclaim as a specialist in Flemish art as well as a modern museum curator. When he retired from this position in 1948, his students and colleagues in Belgium and abroad honored him in Miscellanea Léo Van Puyvelde. The introductory articles include an analysis of his impressive art-historical oeuvre. In 1950, 1952 and 1953 respectively, his monographs on Van Dyck, Rubens, and Jordaens appeared. In 1952, Van Puyvelde retired from his post as professor, but he continued publishing. A monograph on Velasquez appeared in 1963; one on Goya in 1966. In the same period he also published broad overviews on Flemish art. His posthumous work La peinture flamande au siècle de Rubens appeared in 1970. Van Puyvelde was self-trained in art history. In his publications, he repeatedly defended his method of art historical research. He argued that the work of art itself and the style of the artist who created it should be the main object of investigation. Historical documentation, he contended, must be part of the scholarly work, but cannot in itself be the main goal of the study of a work of art. In search of the “genius” of an artist, Van Puyvelde’s style analysis shows a rather personal involvement, with a romantic undertone.


Selected Bibliography

[bibliography ot 1948] Roemans, Rob. Analytische bibliographie van Prof. Dr. Leo van Puyvelde (Koninklijke Academie voor Taal-en Letterkunde IV, 12) Turnhout 1949; “Extrait de la Bibliographie de Leo van Puyvelde” in Miscellanea Leo van Puyvelde. Brussels: éditions de la Connaissance, 1949: 37-42; [for the bibliography until 1969, see] Roemans, Rob and Van Assche, Hilda in Jaarboek van de Maatschappij der Nederlandse Letterkunde te Leiden 1969-1970. Leiden: E.J. Brill, 1971: 176-181; Albrecht Rodenbach, zijn leven en zijn werk. Amsterdam: L.J. Veen, 1908; Schilderkunst en Tooneelvertooningen op het einde van de Middeleeuwen. (Koninklijke Vlaamsche Academie voor Taal- en Letterkunde) Ghent: W. Siffer, 1912; Un Hôpital du Moyen âge et une Abbaye y annexée. La Biloke de Gand. étude archéologique. (Université de Gand. Recueul de Travaux publiés par la Faculté de Philosophie et Lettres 57) Ghent-Paris: Van Rysselberghe et Rombaut – Edouard Champion, 1925; Dessins de maîtres de la collection des Musées royaux des Beaux-Arts de Belgique. Basle: éditions Holbein, 1940; Les Esquisses de Rubens. Basle: éditions Holbein, 1940; The Flemish Drawings in the Collection of His Majesty the King at Windsor Castle. London: Phaidon, 1942; The Dutch Drawings in the Collection of His Majesty the King at Windsor Castle. London: Phaidon, 1944; The Genius of Flemish Art; a Lecture given in the University of London on 27 November 1943. London: Phaidon, 1949; La peinture flamande à Rome. Brussels: Librairie Encyclopédique, 1950; Van Dyck. Brussels: Elsevier, 1950; Rubens. Paris: Elsevier, 1952; Jordaens. Paris: Elsevier, 1953; La peinture flamande au siècle des Van Eyck. Brussels: Elsevier: 1953; La peinture flamande au siècle de Bosch et Breughel. Brussels: Elsevier, 1962; Velasquez. Paris: Meddens, 1963; Goya. Paris: Meddens, 1966; La peinture flamande des Van Eyck à Metsys. Brussels: Meddens, 1968 (translated in Dutch in 1969), English: Flemish Painting from the van Eycks to Metsys. New York, McGraw-Hill, 1970; and Van Puyvelde, Thierry La peinture flamande au siècle de Rubens. Brussels: Meddens, 1970, English: Flemish Painting: the Age of Rubens and van Dyck. New York: McGraw-Hill, 1971; La Renaissance flamande de Bosch à Breughel. Brussels, Meddens, 1971.


Sources

Bernard, Charles “Leo van Puyvelde et les Musées Royaux der Beaux-Arts” in Miscellanea Leo van Puyvelde. Brussels: éditions de la Connaissance, 1949: 9-14; Bergmans, Simone “Leo van Puyvelde, le Professeur et le Conservateur” ibidem: 15-17; Gilissen, John “Leo van Puyvelde, historien d’art” ibidem: 23-36; Bergmans, Simone “Léo van Puyvelde (1882-1965)” Revue Belge d’Archéologie et d’Histoire de l’Art; Belgisch tijdschrift voor Oudheidkunde en Kunstgeschiedenis 35, 1-2 (1966): 118-120; Roemans, Rob. and Van Assche Hilda “Leo van Puyvelde (Sint-Niklaas (Waas), 30 juli 1882 – Ukkel, 27 oktober 1965)” Jaarboek van de Maatschappij der Nederlandse Letterkunde te Leiden 1969-1970. Leiden: E.J. Brill, 1971: 171-175; Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 502-503.



Contributors: Monique Daniels


Citation

Monique Daniels. "Puyvelde, Léo Van." Dictionary of Art Historians (website). https://arthistorians.info/puyveldel/.


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Professor of Art History; Museum Curator. Van Puyvelde was a student at the Episcopal High School in Sint-Niklaas (Waas), in the Flemish part of Belgium, and then enrolled at the Faculty of Arts of the Catholic University of Louvain, where he obta

Prior, Edward S.

Full Name: Prior, Edward S.

Other Names:

  • Edward Schröder Prior

Gender: male

Date Born: 1852

Date Died: 1932

Home Country/ies: United Kingdom

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


Overview

Medievalist art and architectural historian. Nikolaus Bernard Leon Pevsner characterized him as, “the best English interpreter of the Gothic style.”


Selected Bibliography

A History of Gothic Art in England. London: G. Bell and Sons, 1900; An Account of Medieval Figure-Sculpture in England. Cambridge, University Press, 1912; The Cathedral Builders in England. London: Seeley and Co/New York: E.P. Dutton & Co., 1905; Eight Chapters on English Medieval Art: a Study in English Economics. Cambridge: Cambridge University Press, 1922.


Sources

Pevsner, Nikolaus. Matthew Digby Wyatt: the First Cambridge Slade professor of Fine Art: an Inaugural Lecture. Cambridge: Cambridge University Press, 1950, p. 23; Watkin, David. The Rise of Architectural History. London: Architectural Press, 1980, pp. 105-108.




Citation

"Prior, Edward S.." Dictionary of Art Historians (website). https://arthistorians.info/priore/.


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Medievalist art and architectural historian. Nikolaus Bernard Leon Pevsner characterized him as, “the best English interpreter of the Gothic style.”

Procacci, Ugo

Full Name: Procacci, Ugo

Gender: male

Date Born: 1905

Date Died: 1991

Place Born: Florence, Tuscany, Italy

Place Died: Florence, Tuscany, Italy

Home Country/ies: Italy

Subject Area(s): Renaissance

Institution(s): Università degli Studi di Firenze


Overview

art historian of technical process in Renaissance art


Selected Bibliography

Sinopie e affreschi. Milan: 1961.


Sources

KMP, 39



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Procacci, Ugo." Dictionary of Art Historians (website). https://arthistorians.info/procacciu/.


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art historian of technical process in Renaissance art

Proske, Beatrice

Full Name: Proske, Beatrice

Other Names:

  • Beatrice Irene Gilman Proske

Gender: female

Date Born: 1899

Date Died: unknown

Place Born: Thornton, Grafton, NH, USA

Place Died: Ardsley, West Chester, NY, USA

Home Country/ies: United States

Subject Area(s): sculpture (visual works) and Spanish (culture or style)

Institution(s): Hispanic Society of America


Overview

Historian of Spanish sculpture.


Selected Bibliography

Castilian Sculpture, Gothic to Renaissance. New York: Hispanic Society of America, 1951; Juan Martínez Montañés, Sevillian Sculptor. New York: Hispanic Society of America, 1967.


Sources

[transcript] “Beatrice G. Proske.” Interviews with Art Historians, 1991-2002. Getty Research Institute, Los Angeles, CA.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Proske, Beatrice." Dictionary of Art Historians (website). https://arthistorians.info/proskeb/.


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Historian of Spanish sculpture.

Prost, Bernard

Full Name: Prost, Bernard

Gender: male

Date Born: 1849

Date Died: 1905

Place Born: Clairvaux, Grand Est, France

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

Home Country/ies: France

Career(s): archivists


Overview

Historian and archivist of the arts of Dijion. Between 1871 and 1880, Prost worked as an archivist in the Jura region. He became the inspector general of all libraries, scientific museums, and archives in 1896, where he converted his notes and research into historical books and articles focusing on obscure artists, including Félix Trutat (1824-48). Prost used tax records to document Trutat’s existence, and one of his paintings now hangs in the Louvre. In 1898, Prost published Inventaires et extraits des comptes des ducs de Bourgogne, a collection of the archives of the Burgundian dukes. He died after publishing the first volume, and his nephew completed the second volume after his death.



Sources

The Dictionary of Art



Contributors: LaNitra Michele Walker


Citation

LaNitra Michele Walker. "Prost, Bernard." Dictionary of Art Historians (website). https://arthistorians.info/prostb/.


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Historian and archivist of the arts of Dijion. Between 1871 and 1880, Prost worked as an archivist in the Jura region. He became the inspector general of all libraries, scientific museums, and archives in 1896, where he converted his notes and res

Prou, Maurice

Full Name: Prou, Maurice

Gender: male

Date Born: unknown

Date Died: unknown

Home Country/ies: France

Subject Area(s): numismatics


Overview

Numismatist, Cabinet des Médailles in Paris.



Sources

Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986 p. 374




Citation

"Prou, Maurice." Dictionary of Art Historians (website). https://arthistorians.info/proum/.


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Numismatist, Cabinet des Médailles in Paris.

Prown, Jules

Full Name: Prown, Jules

Other Names:

  • Jules David Prown

Gender: male

Date Born: 1930

Place Born: Freehold, Monmouth, NJ, USA

Home Country/ies: United States

Subject Area(s): American (North American)

Career(s): educators


Overview

Americanist art historian and Yale University art professor, 1964-1999. Prown was the son of Max M. Prown and Matilda Cassileth (Prown). He attended Lafayette College for his undergraduate where the lectures of its one-person art history department, Johannes A. Gaertner, inspired him to study art history. After receiving his A.B. in 1951, he began graduate work at Harvard University, receiving his Master’s Degree in 1953. Prown concluded a second Master’s Degree in Early American Culture from the University of Delaware in 1956. The same year he married Shirley Martin. He returned to Harvard for his Ph.D., obtaining it with a dissertation on the formative years of the American painter John Singleton Copley in 1961, and appointed the Edward R. Bacon Art Scholar. At Harvard he served as assistant to director of Fogg Art Museum between 1959 and 1961. That year he joined Yale University as an instructor, adding the responsibilities of curator of Garvan and related collections of American art at Yale Art Gallery, in 1963 (to 1968). He advanced to assistant professor at Yale in 1964 and awarded a Guggenheim fellowship for the 1964-1965 year. His catalogue raisonné on John Singleton Copley appeared in 1966. He was a Visiting lecturer at Smith College for the 1966-1967 year. He was promoted to associate professor in 1967. The following year, Prown became director of the Center for British Art at Yale, which he held until 1976. Prown wrote the first volume (up to the 20th century) of American Painting, a second volume written by Barbara E. Rose, appearing in 1969. Prown was appointed professor of the history of art in 1971. He was conferred the title of Paul Mellon Professor of the History of Art, whose honoree he advised on art acquisition. Yale conferred an A.M. on him in 1971. He joined the Board of Trustees at the Whitney Museum of American Art in 1975, founding Drawings Committee of the Whitney to acquire important works on paper for the Museum. Prown stepped down from the directorship of the Center, writing The Architecture of the Yale Center for British Art, 1977, for the inauguration of the Louis I. Kahn building. At Yale, Prown was instrumental in 1990 in forming a committee recommending that graduate teaching assistants be released from some of their responsibilities in order to complete their degrees sooner. The committee was known as the “Prown Committee.” He retired emeritus from Yale in 1999. His Art as Evidence: Writings on Art and Material Culture, appeared in 2002.


Selected Bibliography

[dissertation:] The English Career of John Singleton Copley, R. A. Harvard University, 1961.; John Singleton Copley. 2 vols. Washington, DC: 1966. “The Art Historian and the Computer: An Analysis of Copy’s Patronage, 1753-1774.” Smithsonian Journal of History I (1966): 17-30; and Rose, Barbara. American Painting. 2 vols. [Geneva] Skira 1969; The Architecture of the Yale Center for British Art. New Haven, CT: Yale University, 1977; Art as Evidence: Writings on Art and Material Culture. New Haven, CT: Yale University Press, 2001; and Haltman, Kenneth. American Artifacts: Essays in Material Culture. East Lansing: Michigan State University Press, 2000.


Sources

Kleinbauer, W. Eugene. Modern Perspectives in Western Art History: An Anthology of 20th-Century Writings on the Visual Arts. New York: Holt, Rinehart and Winston, 1971, p. 70 cited, p. 38 n. 79; “Putting a Limit On How Long Graduates Teach; Yale.” New York Times July 22, 1990, p. 34; Prown, Jules David. [comments from the symposium dinner, October 20, 1995] Yale Journal of Criticism 11 no. 1 (1998): 9-10; Roach, Catherine. Preliminary Guide to the Jules Prown Papers. Manuscript Group 1749. Yale University Manuscripts and Archives, http://mssa.library.yale.edu/findaids/stream.php?xmlfile=mssa.ms.1749.xml




Citation

"Prown, Jules." Dictionary of Art Historians (website). https://arthistorians.info/prownj/.


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Americanist art historian and Yale University art professor, 1964-1999. Prown was the son of Max M. Prown and Matilda Cassileth (Prown). He attended Lafayette College for his undergraduate where the lectures of its one-person art history departmen

Pryce, Frederick Norman

Full Name: Pryce, Frederick Norman

Gender: male

Date Born: 1888

Date Died: 1953

Home Country/ies: United Kingdom

Subject Area(s): antiquities (object genre), Classical, and Roman (ancient Italian culture or period)

Career(s): curators


Overview

Keeper of the Department of Greek and Roman Antiquities, British Museum; the curator held principally responsible for the disastrous “cleaning” of the Elgin Marbles incident in 1937-1939. In 1935 he revised The Grandeur that was Rome, a survey originally written by J. C. Stobart (1878-1933). In 1936 Pryce became Keeper of the department of Greek and Roman Antiquities. Under Pryce the cleaning of the Elgin Marbles was resumed. The Elgin Marbles had periodically been washed throughout their history in England. In1932 the group was cleaned again. In the summer of 1937 fourteen blocks of north frieze and the west frieze block II were taken down and their plaster and Portland stone restorations removed. A second “cleaning” of the stones occurred and the group was replaced exhibit. This phase of cleaning continued through 1938.


Selected Bibliography

Corpus vasorum antiquorum. Great Britain. British Museum. Department of Greek and Roman antiquities. London: The Museum, fasicule 7. 1932; revised, Stobart, John Clarke. The Grandeur that was Rome: a Survey of Roman Culture and Civilisation. New York: D. Appleton-Century, 1935.


Sources

The British Museum. section 2. “Cleaning of the Sculptures 1811-1936.” http://www.thebritishmuseum.ac.uk/parthenon/2




Citation

"Pryce, Frederick Norman." Dictionary of Art Historians (website). https://arthistorians.info/prycef/.


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Keeper of the Department of Greek and Roman Antiquities, British Museum; the curator held principally responsible for the disastrous “cleaning” of the Elgin Marbles incident in 1937-1939. In 1935 he revised The Grandeur that was Rome, a s

Puchstein, Otto

Full Name: Puchstein, Otto

Gender: male

Date Born: 1856

Date Died: 1911

Place Born: Lades, Pomerania

Place Died: Berlin, Germany

Home Country/ies: Germany

Subject Area(s): Ancient Greek (culture or style), Antique, the, architecture (object genre), Classical, Roman (ancient Italian culture or period), and sculpture (visual works)


Overview

Specialist in classical Greek and Roman architecture. Professor of archaeology at University of Freiburg (i.Br.) 1896-1904. General Secretary of the German Archaeological Institute (DAI) 1905-1911.


Selected Bibliography

Die griechischen Tempel in Unteritalien und Sicilien, 1899 (with R. Koldewey). Die ionische Säule, 1907.


Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 118-119.




Citation

"Puchstein, Otto." Dictionary of Art Historians (website). https://arthistorians.info/puchsteino/.


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Specialist in classical Greek and Roman architecture. Professor of archaeology at University of Freiburg (i.Br.) 1896-1904. General Secretary of the German Archaeological Institute (DAI) 1905-1911.