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Rose, Bernice

Full Name: Rose, Bernice

Other Names:

  • Bernice Rose
  • Bernice Berend
  • Bernice Berend Rose
  • Bunny
  • Bernice Harriet Berend Rose

Gender: female

Date Born: 07 October 1935

Date Died: 14 April 2023

Place Born: Miami, Miami-Dade, FL, USA

Place Died: New York, NY, USA

Home Country/ies: United States

Subject Area(s): Abstract Expressionist and Modern (style or period)

Career(s): art historians and curators

Institution(s): Menil Collection and Museum of Modern Art


Overview

Museum curator and gallerist who brought the study of drawing to the fore of study. Rose was born as Bernice Berend to Rose and Bert Berend. Her mother was a homemaker and her father sold electrical fixtures in Miami Beach. The family relocated to Brooklyn, New York, in 1941 when she was about six. In 1956, she married Herbert Bernard Rose (1929–2010), a lawyer to many prominent American charitable organizations.  Rose received a B.A. from Hunter College, City of New York, where she studied painting with Robert Motherwell and William Baziotes, two artists at the forefront of modern art. In 1965 she joined the Museum of Modern Art, New York, as a secretary in the department of painting and sculpture. Moving rapidly, she was given curatorial options.  Her first exhibition was “Jackson Pollock, Works on Paper,” 1969.  By 1971 she was named associate curator of the Museum’s newly created Drawings Department. She served under the tutelage of MOMA’s chief curator, William Lieberman, a curator known for his encyclopedic visual memory.  Through Lieberman she, too, developed an acute eye (Glueck).   As curator in the museum’s drawing department, Rose organized numerous exhibitions, including her 1976 landmark show, “Drawing Now: 1955-1975” featuring drawings by artists not known for that medium. In that show, Rose highlighted the way in which these artists were transforming drawing. Together with Jean Leymarie (1919-2006) director of the French Academy in Rome and French museum curator Geneviève Monnier (b. 1939), she published Drawing: History of an Art, the first major history of drawing, in 1979.  Another monumental show, “Cezanne Treasure: The Basel Sketchbooks” was launched in 1988.  In 1993 she transitioned to the gallery world, joining PaceWildenstein, where she led a department strictly devoted to drawings. There she was responsible for the 1995 “Picasso and Drawing,” featuring  a number of rarely seen works lent from private collections. By then she and her husband were living in Kips Bay Plaza, an early work of I. M. Pei in New York. When the Menil Drawing Institute and Study Center was founded, Rose was hired as its first Chief Curator in 2007.  She oversaw the foundation’s more that 1,200 works on paper as well as developing the study center’s mission.  She retired from the Menil in 2018.  Shortly after completing the six-volume Jasper Johns Catalogue Raisonné of Drawing in 2023, she died of pancreatic cancer at her home in Manhattan.   She is not related to the art historian Barbara Rose though the two knew each another.

 

Rose was one of the first curators to recognize that younger artists were creating drawings as a separate artistic form. She argued that contemporary drawing was as significant as the other media artists created, countering consensus in the 1960s and 1970s that it was of interest only as a study for a completed art work (Costello).


Selected Bibliography

  • and Geneviève Monnier. Drawing: History of an Art. New York: Rizzoli, 1979;
  • Jasper Johns: Catalogue Raisonné of Drawing. 6 vols. Houston: The Menil Collection, 2018-2023.

Sources



Contributors: Eileen Costello


Citation

Eileen Costello. "Rose, Bernice." Dictionary of Art Historians (website). https://arthistorians.info/roseb1934/.


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Museum curator and gallerist who brought the study of drawing to the fore of study. Rose was born as Bernice Berend to Rose and Bert Berend.

Rosenbaum, Elisabeth Alföldi

Full Name: Rosenbaum, Elisabeth Alföldi

Gender: female

Date Born: 06 September 1911

Date Died: 06 October 1992

Place Born: Koblenz, Saxony, Germany

Place Died: Princeton, Mercer, NJ, USA

Home Country/ies: Germany and United States

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

Institution(s): University of Toronto


Overview

Historian of classical antiquity and medieval art. She was born in Koblenz but grew up in Cologne, Germany. Between 1939 and 1940 she studied at the Pädagogische Hochschule in Leipzig. From 1941 to 1942 she spent some time in Budapest and then Vienna, studying under art historian Andreas Alföldi (1895-1981) (Cahn). It was at this point in her career that Rosenbaum began to develop an interest in late antiquity and the early Middle Ages (Cahn). In 1942 she was a research assistant at the Institut für Christliche Archäologie in Berlin which continued until 1946. In the same year she received a scholarship from the University of Budapest, during which her interest in Christian archaeology was sparked. Rosenbaum received her doctoral degree at the Freie Universität Berlin, focusing on Early Christian Archaeology. She finished her degree in 1944, spending much of that time in air raid shelters because of World War II (Campbell). Her dissertation focused on the portraits of Pannonian grave stelae. In 1945 she was an assistant at the Universität Mainz, teaching at their ​​Institut für Kunstgeschichte. She left Germany in 1950 to get her second doctoral degree in Medieval Art History at the Warburg Institute at the University of London. From 1950 to 1951 she was assistant to art historian Friedrich Gerke. In 1952 she received a doctorate in art history from the Cour­tauld In­sti­tu­te der Uni­ver­si­ty of Lon­don. She became the archaeological editor of the Türk Tarih Kurumu research society in 1963. The Türk Tarih Kurumu focused on Turkish history and Anatolian archaeology. While in Turkey she met Jale Inan, a Turkish archaeologist. The two collaborated on publications covering Roman and Byzantine portraiture. She began to excavate the site of Anamur in Cilicia and Adrasos in Isauria in 1965. In 1966 her editorial work ended and she began working with the Department of Fine Art at the University of Toronto. In 1967 she married her former instructor Andreas Alföldi. Her excavation work ended in 1970. She was awarded a professorship at the University of Toronto 1973. Her legacy as a professor was notoriously dedicated to her teaching, fueled by a vigor that occasionally surpassed that of her students (Cambell). This vigor appeared in the form of late night study sessions in Rosenbaum’s very own home (Campbell). She retired in 1984 at the age of 63, leaving the University of Toronto with the title of Professor Emerita. She spent her time in retirement finishing the unpublished work of her husband on contorniate medals (Campbell). Rosenbaum continued her own writing on Alexandrian game pieces, objects that had previously been held in obscurity (Campbell). Rosenbaum would never finish this work due to her death at the age of 71 in 1992.

One of Alföldi-Rosenbaum’s notable hypotheses is in reference to the Portrait Bust of a Woman with a Scroll, held in the Metropolitan Museum of Art. The sculpture shows a woman by herself, however, there were several theories about the reasoning for her damaged shoulder. Alföldi-Rosenbaum was the first to theorize that rather than this damage being the result of repair work, it was initially the location for a male figure meant to be the husband. While this motif had been shown in other forms of media, this would be the first known example of a sculptural example.

The book Justinianic Mosaic Pavements in Cyrenaican Churches addressed the mosaic work in the Qasr-el-Lebia. These nave mosaics were included in eight different churches. In covering these different churches the book covers large scale details like the overall composition of the structures and more miniscule details like pavement and inscriptions. These different details are then compared to acknowledge the similarities and differences between the churches.

In her book, The Necropolis of Adrassus (Balabolu) in Rough Cilicia (Isauria), written in collaboration with Joyce Reynolds, Alföldi-Rosenbaum covers her discoveries on the excavation done in Anemurium. The book also covers the mountain site Palaeopolis and the excavations done from 1962 to 1966. A notable detail shared in this book is the description of the tombs onsite and their included sarcophagi. In addition to this is a description of a church held in the necropolis. The book also provides a count for each of the various artifacts found onsite.


Selected Bibliography

  • [Dissertation] Porträts Auf Pannonischen Grabsteinen. Freie Universität Berlin. 1944
  • “The Vine Columns of Old St. Peter’s in Carolingian Canon Tables.” Journal of the Warburg and Courtauld Institutes 18, no. 1/2 (1955): 1–15.
  • A Catalogue of Cyrenaican Portrait Sculpture. London: Published for the British Academy by Oxford University Press. 1960
  • “Richard Brilliant, Gesture and Rank in Roman Art. the use of Gestures to Denote Status in Roman Sculpture and Coinage. (Memoirs of the Connecticut Academy of Arts and Sciences, Vol. XIV.) New Haven: Connecticut Academy, 1963. Pp. 238, 479 Ills. $20.00.” The Journal of Roman Studies 54 (1-2): 223-224.
  • and İnan, Jale. Roman and early Byzantine portrait sculpture in Asia Minor. London: Published for the British Academy by Oxford University Press. 1966
  • and Gerhard Huber, and Somay Onurkan. A survey of coastal cities in western Cilicia: preliminary report. Ankara: Türk Tarih Kurumu Basimevi. 1967
  • “Portrait Bust of a Young Lady of the Time of Justinian.” Metropolitan Museum Journal 1 (1968): 19–40.
  • “External Mosaic Decoration on Late Antique Buildings.” Frühmittelalterliche Studien 4 (1970): 1-7.
  • “The Finger Calculus in Antiquity and in the Middle Ages Studies on Roman Game Counters I” Frühmittelalterliche Studien, vol. 5, no. 1, 1971, pp. 1-9.
  • “Matronianus, Comes Isauriae: An Inscription from the Sea Wall of Anemurium.” Phoenix 26, no. 2 (1972): 183–86.
  • and İnan, Jale. Römische und frühbyzantinische Porträtplastik aus der Türkei: neue Funde. Mainz am Rhein: Von Zabern. 1979
  • and Ward-Perkins, J. B. 1980. Justinianic Mosaic Pavements in Cyrenaican Churches. Roma: “L’Erma” di Bretschneider. 1980
  • and Alföldi, Andreas. 1984. Caesariana: gesammelte Aufsätze zur Geschichte Caesars und seiner Zeit. Bonn: R. Habelt.
  • 1989. “Anemurium : A Bath Building of the Early Christian – Early Byzantine Period.” Publications De l’École Française De Rome 123 (1): 1647-1659.

Sources

  • Campbell, Sheila D., and James Russell. “Elisabeth Alföldi-Rosenbaum, 1921-1992.” American Journal of Archaeology 97, no. 3 (1993): 565–66.
  • Campbell, Sheila. Reviewed Work: Justinianic Mosaic Pavements in Cyrenaican Churches by Elisabeth Alföldi-Rosenbaum, John Ward-Perkins Phoenix 39, no. 1 (1985): 96–98.
  • “Elisabeth Alföldi-Rosenbaum.” Portal Reinische Geschichte Accessed December 8, 2022.
  • Williams, Hector. Reviewed Work: The Necropolis of Adrassus (Balabolu) in Rough Cilicia (Isauria) by Elisabeth Alföldi-Rosenbaum, Joyce Reynolds, Karl-Dietrich Schmidt Phoenix 45, no. 2 (1991): 180–82.
  • Cahn, Herbert A. “Elisabeth Alföldi-Rosenbaum.” Gnomon 65, no. 8 (1993): 762–63.
  • Metropolitan Museum of Art, 2006.


Contributors: Caitlin Childers


Citation

Caitlin Childers. "Rosenbaum, Elisabeth Alföldi." Dictionary of Art Historians (website). https://arthistorians.info/rosenbaume/.


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Historian of classical antiquity and medieval art. She was born in Koblenz but grew up in Cologne, Germany. Between 1939 and 1940 she studied at the Pädagogische Hochschule in Leipzig. From 1941 to 1942 she spent some time in Budapest and then Vienna

Richter, George Martin

Full Name: Richter, George Martin

Other Names:

  • George M. Richter
  • Georg Richter

Gender: male

Date Born: 27 March 1875

Date Died: 09 June 1942

Place Born: San Francisco, San Francisco, CA, USA

Place Died: Norwalk, Fairfield, CT, USA

Home Country/ies: Germany and United States


Overview

Renaissance-subject art historian and appraiser; part of the greater Richter family of art historians. Richter was the son of Clemens Max Richter, M.D. (1848–1936), a surgeon and Emma Sophia Bierwirth (Richter) (1853-1929), both German immigrants. His older cousin was Jean-Paul Richter, a Leonardo scholar in Germany. The younger Richter began college at the University of California, Berkeley with the intent of following in his father’s footsteps studying science. With his parents’ divorce, he accompanied his mother in returning to Dresden, Germany in 1896. He spent the following year at the Königliches Gymnasium Dresden-Neustadt to allow him to enter the German university system. Richter took university courses in Munich, Heidelberg and Berlin intent on being a languages scholar. He also experimented in publishing. Richter returned to the United States where he taught German literature for a year in 1899 at the University of Pennsylvania. Returning to Germany, now interested in art history, he obtained his degree at the Institut für Kunstgeschichte, Ludwig-Maximilians-Universität, Munich, in 1907. His dissertation, written under the Institute’s chair and founder, Berthold Riehl was on the topic of the artist Melchior Feselen (d. 1538) and sixteenth-century German art. After graduation, Richter worked at the Galerie Helbing auction house in Munich, beginning in 1910, providing the texts for the auction publications under its founder Hugo Helbing (1863-1938). In 1912 he joined the firm Galerie Georg Caspari. With the United States’ entry into the First World War, Richter, an American Citizen, would have been obliged to leave Germany. He is speculated to have moved to neutral Switzerland where his cousin, Jean-Paul, now an eminent art historian, was also living. Richter traveled among prestigious circles in Europe aided by his family and gallery contacts. He formed a long friendship with the author Thomas Mann (1875-1955). Richter returned to Munich after the war, now dealing art personally and founding the Phantasus-Verlag publishing house in 1919 with H.H. Schlieper. Mann loaned him money to purchase a house in Feldafing, Bavaria, on the shores of Starnberg Lake.

In 1920 he married Amalie (“Amely”), Baroness Zündt von Kenzingen, whose cousin, Hildegard “Hilla” Rebay von Ehrenwiesen would later become the first director of the Solomon Guggenheim Museum. Richter named the Feldafing house “Villino”. Mann was a frequent visitor; the house was the place of Mann’s psyche reorientation after the First World War. While there Mann acted as godfather to the Richters’ daughter, Gigi (1922-2020). The financial collapse of the German Mark forced Richter to sell the home and move his family to Florence in 1923. It was in Italy that his interest intensified to Renaissance painting. In Florence Richter visited both Bernard Berenson and Mary Berenson at their Villa I Tatti. His research on Giorgione already under way. Musolini’s rise to power in 1929 forced Richter and his family to move to England but he rented an apartment on the Lido in Venice to continue his research. The completed book appeared in 1937 as Giorgio da Castelfranco, called Giorgione. As war loomed in Europe, Richter heeded a suggestion from Mann, now living and lecturing in Princeton, New Jersey, to relocate to the United States. In addition to his family, Richter also moved the large photographic collection of works of art, in 1939. In New York, his wife’s cousin, Hilla von Rebay, was now the director of Solomon Guggenheim’s new Museum of Non-Objective Art. Rebay was crucial in helping Richter make art-world connections and encouraging him to lecture and write. He returned to his research on Andrea del Castagno. Unable to establish an art dealership in New York, he looked for buyers for his large image archive and art-book collection. Among those he contacted was David Finley, director of the still-to-be-completed National Gallery of Art, but Finley declined. As Richter’s situation became more dire, Rebay prevailed on Guggenheim to provide the funds for his photographic collection to be housed at the National Gallery of Art. In declining health, Richter died at Rebay’s home before the agreement could be completed. His widow sold his art book collection at auction.  His final article published in his lifetime was co-written with Erwin Panofsky; His final article and his book on Andrea del Castagno appeared after his death

Richter wrote on a variety of subjects including expertising, motivational aesthetics and art history. His method was largely a psychological approach to art (one that was disparaged by August L. Mayer). A forceful personality, Kenneth Clark) declined to review Richter’s Giorgioni book because of perceived hostility should Richter find the review unfavorable. He pressured his daughter, Gigi, into a career in art and art conservation; after his death she returned to her original passion of the natural sciences later becoming a noted botanist publishing under her married name, Crompton. Richter’s Giorgioni book is still considered an essential work on the study of the artist.


Selected Bibliography

  • [dissertation:] Melcher Feselein, ein Beitrag zur Geschichte der oberdeutschen Kunst im XVI. Jahrhundert. Ludwig-Maximilians-Universität München, 1907, published, Munich: Kastner & Callwey, 1908;
  • “Lotto’s Portrait of a Young Barberini.” International Studio 99 (May 1931): 26-27;
  • “Three Different Types of Titian’s Self-portraits.” Apollo 13 (June 1931): 339-343;
  • “Conscious and Subconscious elements in the creation of works of art.” Art Bulletin 15 (September 1933): 273-289;
  • “Limitations of the Gentle Art of Faking.” ARTnews 32 (November 25 1933): 14-14;
  • “Unfinished Pictures by Giorgione.” Art Bulletin 16 (September 1934): 272-290;
  • Giorgio da Castelfranco, called Giorgione. Chicago: The University of Chicago Press, 1937;
  • and Panofsky, Erwin .“Conrad Celtes and Kunz von der Rosen: Two Problems in Portrait Identification.” Art Bulletin 24 (June 1942): 199-199;
  • [essay] “Giorgione’s Evolution in the Light of Recent Discoveries,” in De Batz, Georges. Giorgione and his circle. Baltimore,: Johns Hopkins University, 1942;
  • “Architectural Phantasies by Bramante.” Gazette des Beaux Arts (January 1943): 5-20:
  • Andrea dal Castagno. Chicago: The University of Chicago Press, 1943;

Sources

  • [obituaries:] “George Martin Richter” The Burlington Magazine 81, no. 472 (July 1942): 181;
  • “Dr. G. M. Richter, An Art Authority.” New York Times June 11, 1942, p. 23;


Contributors: Lee Sorensen


Citation

Lee Sorensen. "Richter, George Martin." Dictionary of Art Historians (website). https://arthistorians.info/martingm/.


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Renaissance-subject art historian and appraiser; part of the greater Richter family of art historians. Richter was the son of Clemens Max Richter, M.D. (1848–1936), a surgeon and Emma Sophia Bierwirth (Richter) (1853-1929), both German immigrants. Hi

Romanini, Angiola Maria

Full Name: Romanini, Angiola Maria

Gender: female

Date Born: 26 February 1926

Date Died: 18 January 2002

Place Born: Legnano, Milan, Lombardy, Italy

Place Died: Rome, Lazio, Italy

Home Country/ies: Italy

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

Institution(s): Sapienza University of Rome


Overview

Professor of art history; directed the publications of the Enciclopedia Italiana, founder and director of the magazine Arte Medievale. Romanini was born in Legnano and trained at the University of Pavia under Eduardo Yetwart Arslan (1899-1968). She then continued her studies at the Scuola di specializzazione di Roma under  Geza De Francovich and Guilo Carlo Argan where she focused on late medieval art and architecture. She wrote extensively on the humanistic culture of northern Italy including works on Donatello, Mategna, and Bramante. She contributed to important works on Lombard architecture throughout the 13th to 15th century and also Romanques art during the Veronese era. She argued that the formation of the Cistercians and their development of the fulcrum marked a transition between the Romanesque and Gothic in Lombardy. Her monograph on Arnolfo di Cambio marked a transition in the scholars focus from individual artists to scientific research. In 1972, she transferred to the University of Rome as the Chair of the Medieval Art History department. She organized Settimane di Storia dell’arte medievale, a weekly international conference that has been fundamental for international bibliography. Many of these conferences lead to publications.  She was a member of the Accademia dei Lincei beginning in 1987, the Pontificia Accademia di Archeologia e Storia dell’Arte, and the Österreichische Akademie der Wissenschaften of Vienna. The first of her twelve publications for the l’Enciclopedia dell’arte medievale was released in 1991. These monumental volumes, noted for their scholarly approach, were promoted by the Istituto della Enciclopedia Italiana.

In addition to her work in academia, she promoted the discipline of art history through her organization of international conventions which lead to the formation of Storia dell’arte medioevale in Italia, a university textbook. Her commitment to the field of art history and work on the prestigious magazine Arte medievale contributed to a revival of medieval studies in Italy.

 


Selected Bibliography

  • [Complete bibliography]: https://biblio.saras.uniroma1.it/sites/default/files/Bibliografia%20ROMANINI.pdf
  • L’architettura Gotica in Lombardia. Milan: Casa Editrice Ceschina, 1964;
  • Arnolfo di Cambio e lo “Stil Novo” del gotico italiano. Florence: Sansoni, 1980;
  • ”Nuovi dati sulla statua bronzea di San Pietro in Vaticano”. Arte medievale Ser. 2, vol. 4, p. 1-50, 1900;
  • directed, Enciclopedia dell’arte medievale. Rome: Istituto della Enciclopedia italiana, 1991;
  • L’arte medievale in Italia. Milan: Sansoni, 1996;

Sources

  • Cadei, Antonio. 1994. “Romanini, Angiola Maria in ‘Enciclopedia Italiana.’” Treccani. 1994. https://www.treccani.it/enciclopedia/angiola-maria-romanini_%28Enciclopedia-Italiana%29/;
  • De Angelis, Elettra. “Fondo Romanini, Biblioteca Dipartimento di Storia Antropologia Religioni Arte Spettacolo.” Sapienza Universita di Roma. Accessed April 5, 2021. https://biblio.saras.uniroma1.it/node/7110;
  • Pilo, Giuseppe Maria. “Angiola Maria Romanini: [in memoriam].”  Arte documento, 16 (2002): 257–258;
  • Pistilli, Pio Francesco. “L’avvento Del Medioevo. Angiola Maria Romanini e La Rivista ‘Storia Dell’arte’ (1976-1983). (Italian).” Storia Dell’Arte (2019): 151/152 (1/2): 111–120;
  • Righetti, Marina. “Ricordo Di Angiola Maria Romanini.” Obituary, no. 101 (January 2002): 6;



Contributors: Denise Shkurovich


Citation

Denise Shkurovich. "Romanini, Angiola Maria." Dictionary of Art Historians (website). https://arthistorians.info/romaninia/.


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Professor of art history; directed the publications of the Enciclopedia Italiana, founder and director of the magazine Arte Medievale. Romanini was born in Legnano and trained at the University of Pavia under Eduardo Yetwart Arsl

Roussel, Christine

Full Name: Roussel, Christine Leo

Other Names:

  • Christine Roussel
  • Christine Leo
  • Christine Leo Roussel

Gender: female

Date Born: 20 January 1939

Place Born: New York, NY, USA

Home Country/ies: United States

Subject Area(s): Modern (style or period), sculpture (visual works), and statues

Institution(s): Metropolitan Museum of Art


Overview

Statue and sculpture conservator; special assistant for International Exhibit Loans at the Metropolitan Museum of Art. Leo was born in New York City to Elinore Baisley Leo (Wellington) (1914–2008) and Arnold Leo II. Graduating from The High School of Music and Art, Roussel continued her studies at Wilson College,  where she earned a Bachelor’s Degree. Enrolling in Goddard College, Ms. Leo received her Master’s Degree in Art and Education before traveling to Greece and later France to intern under the sculptor Ossip Zadkine and study at the Académie de la Grande Chaumière. After returning to New York City, Roussel began her decade of work at the Metropolitan Museum of Art. Working as a Special Assistant to the director, Thomas Hoving, Roussel traveled internationally to curate the Metropolitan’s exhibits of King Tutankhamen, the Scythian Treasures, and Treasures of Island. In 1977, Roussel founded the art conservation company Roussel Studios, where she focused primarily on New York City art. Restoring the Statue of Liberty, The Reclining Figure by Henry Moore, and Le Guichet by Alexander Calder. Internationally, Roussel worked in the Israel Museum in Jerusalem, the Louvre, and the Musées de France. She was a board member of the American Friends of the Benaki Museum in Athens, the Madoo Gardens in Sagaponack, and the Nieuwe Kerk in Amsterdam. In addition, Roussel worked at the American Museum of Natural History in New York, and the Dallas Museum of Fine Arts.

For her work in New York art conservation, Roussel was honored with awards from both the National Association of Professional Women and the Association for a Better New York. She also served as an art consultant for four Presidential Administrations, and Vice President Nelson Rockefeller—helping him establish a 3-D art reproduction studio. Roussel appeared on The Daily Show, the Cunard Insight Series, and in the Men in Lunch Movie where she explained her investigation into the famed “Lunch atop a Skyscraper” photograph.


Selected Bibliography

  • Lucien Romier (1885-1944): historien, économiste, journaliste, homme politique. Paris: Editions France-Empire, 1979;
  • Concurrences de pouvoirs et aménagement du territoire en Ile-de-France. Lille: Atelier national de Reproduction des Thèses, 1997;
  • The Art of Rockefeller Center. New York, NY: Norton, 2006;
  • The Guide to the Art of Rockefeller Center. New York: W.W. Norton, 2006.

Sources



Contributors: Eleanor Ross


Citation

Eleanor Ross. "Roussel, Christine." Dictionary of Art Historians (website). https://arthistorians.info/rousselc/.


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Statue and sculpture conservator; special assistant for International Exhibit Loans at the Metropolitan Museum of Art. Leo was born in New York City to Elinore Baisley Leo (Wellington) (1914–2008) and Arnold Leo II. Graduating from The High School of

Rodríguez Prampolini, Ida

Full Name: Rodríguez Prampolini, Ida

Gender: female

Date Born: 24 September 1925

Date Died: 26 July 2017

Home Country/ies: Mexico

Subject Area(s): Mexican, nineteenth century (dates CE), Surrealist, and twentieth century (dates CE)

Institution(s): Instituto Veracruzano de Cultura


Overview

Professor at the UNAM. Rodríguez Prampolini was born in Veracruz in 1926 to Carlos Rodriguez Mendoza, the director of the regional hospital of Veracruz, and Ida Prampolini who came from Italian descent. She obtained her masters in world history from the Facultad de Filosofía y Letras de la Universidad Nacional Autónoma de México (Autonomous National University of Mexico (UNAM)) and earned her doctorate from that same institute in 1948 while graduating with magna cum laude honors. Her mentors included Francisco de la Maza (1913-1972), Manuel Toussaint (1890-1955), and Justino Fernandez(1904-1972) who encouraged her to compile a work on nineteenth-century art criticism. After her graduation, she was awarded a scholarship by the Mexican government to complete her post doctorate in art history at the Escuela de Verano de la Universidad de Santander, Spain. She remained in Spain to study abstract art at the Escuela de Altamira de Santillana del Mar. In Spain, she met Mathim Goeritz (1915-1990) who she later married. Throughout the 1950s, she continued her studies abroad at McGill University and at the universities of Perugia and Bologna. Starting in 1957, she was a researcher at the Instituto de Investigaciones Estéticas de la UNAM. Throughout the 1960s, she published her most important works, El arte contemporáneo: esplendor y agonía, La crítica en México en el siglo XIX, and El surrealismo y el arte fantástico de México. She was named Adjunct Professor at the UNAM and worked alongside Justino Fernandez. Furthermore, she released important pieces on Mexican artists including that of Pedro Friedeberg (1936-). In the early 1970s she founded a school in the rural municipality of Tlayacapan. Towards the end of her career, she focused on recovering indigenous art in her hometown of Veracruz. She was the first director of the Instituto Veracruzano de Cultura from 1987 to 1993 and founded fifty-seven cultural centers, 11 museums, and 2 art schools. Her last work analyzed Mexican muralism. She was named to the Academic Mexicana de Historia in 1988 and a year later to the Real Academia Española de Historia. The Universidad Cristobal Colon awarded her the Calasanz Medal. She was a member of the Academic Mexicana de Historia and of the Union Academique International of Brussels and was given the title Professor Emeritus of the Sistema Nacional de Investigadores.

Rodríguez Prampolini dedicated her life to the preservation of historical and artistic heritage. Her more than 400 publications and her role in establishing numerous cultural institutions mark her as an essential figure in contemporary Mexican culture.


Selected Bibliography

  • La crítica de arte en México en el siglo XIX. México, 1964;
  • Pedro friedeberg. México: UNAM, DGP, 1973;
  • Una década de crítica de arte. México: Secretaría Educación Pública, 1974;
  • and Juan O’Gorman. Juan O’Gorman: arquitecto y pintor. México: Universidad Nacional Autónoma de México, 1982;
  • El arte contemporáneo: esplendor y agonía. México: Instituto de Investigaciones Estéticas, 2006;
  • and Raúl Arias Lovillo, Consuelo Sáizar, Teresa Vicencio Alvarez, Narro R, José, and Joaquín Díez-Canedo. Muralismo mexicano, 1920-1940. Xalapa, Veracruz; México, D.F.: Universidad Veracruzana ; Instituto Nacional de Bellas Artes y Literatura: Universidad Nacional Autónoma de México : Fondo de Cultura Económica, 2012.

Sources

  • Aguirre Agencias y Roxana. “Fallece Ida Rodríguez Prampolini, Académica y Fundadora Del IVEC” La Jornada Veracruz, July 27, 2017;
  • Cardenas, Rocio. “Ida Rodríguez Prampolini 1925-2017.”  Art Nexus, December, 2018, 36;
  • “Falleció La Investigadora Ida Rodríguez Prampolini.”  El Universal, Jul 27, 2017;
  • González Rosas, Blanca. “Ida Rodríguez Prampolini (1925-2017).” Proceso, July 30, 2017, 65ff.;
  • “Rinden Homenaje a La Humanista Ida Rodríguez Prampolini.”  La Jornada, November 19, 2011;
  • “Rendirá IVEC homenaje a su fundadora Ida Rodríguez Prampolini.” Referente, September 22, 2016;
  • “Instituciones Preparan Homenaje a Ida Rodríguez Prampolini.” Notimex, July 27, 2017;
  • Roberto Ponce. “Adiós a la historiadora Ida Rodríguez Prampolini (1925-2017).” Proceso July 26, 2017;
  • Río, Rosa. “Ida Rodríguez Prampolini.” Actual, October 1998, 106+. Gale OneFile: Informe Académico’.


Contributors: Denise Shkurovich


Citation

Denise Shkurovich. "Rodríguez Prampolini, Ida." Dictionary of Art Historians (website). https://arthistorians.info/rodriguezprampolinii/.


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Professor at the UNAM. Rodríguez Prampolini was born in Veracruz in 1926 to Carlos Rodriguez Mendoza, the director of the regional hospital of Veracruz, and Ida Prampolini who came from Italian descent. She obtained her masters in world history fr

Roe, Helen M.

Full Name: Roe, Helen Maybury

Other Names:

  • Helen Roe

Gender: female

Date Born: unknown

Date Died: unknown

Place Born: Mountrath, County Laois, Ireland

Place Died: Killiney, Dún Laoghaire-Rathdown, Dublin, Ireland

Home Country/ies: Ireland


Overview

Roe was born on December 18, 1895, the only child of Anne Lambert Shields and William Ernest Roe in the town of Mountrath, Ireland. Her mother’s side came from Birr, Co. Offaly and her father’s had lived in Mountrath since the seventeenth century, working at the family owned mill. Roe attended primary school in Mountrath and secondary school in the nearby Abbeyleix, the private school of Mrs. Robert Wild. During WWI, Roe joined the St. John’s Ambulance Brigade, serving as a volunteer at the Cambridge Military Hospital and as a cook at Aldershot Barracks in England. She had attempted to volunteer Aldershot Barracks in England, the center of the British power, as a nurse but was denied.

Soon after, returning to Ireland, she worked briefly at the Military Hospital in Bray, Co. Wicklow, where the majority of the soldiers were Irish. By the end of the war, Roe had cemented a strong feeling of nationalism towards her home country of Ireland. Despite her Protestant roots, after the 1916 Rising, British soldiers spat on her as she passed. This shift in perception of her own national identity shaped the rest of her career. After the war, Roe traveled throughout Europe as a private tutor and visited a number of Greek, Italian, and English museums. This shaped how she viewed Irish art in the context of the art she had seen around Europe. She also began to develop an interest in iconography, arising from her studies of botany and heraldry.

In 1921, Roe earned a BA in Modern Languages and in 1924, a Master’s degree from Trinity College, Dublin. After graduation, Roe taught briefly at the Royal School in Dungannon, Tyronne and then in Alexandra College, Dublin. In 1923, Roe joined the Carnegie Library Service at Coleraine, Co. Londonderry, Northern Ireland. At this time, Roe worked also as an assistant to essayist and scholar Hubert Butler. One year later, in 1924, she soon returned to the Midlands to take care of her parents after the failure of the family mill and due to her parents’ failing health. She transferred to the library at Thurles, Co. Tipperary to work as an assistant. In 1926, Roe became the first person to hold the post of County Librarian in Laois, sparking the beginning of her interest in history. She began to collect artifacts that would later become a part of the Laois County Museum’s collection. She also kept in close contact with the National Museum of Ireland and produced bi-yearly Reports of the Laoighis Country Library Service, later reproduced in the Leinster Express for fourteen years. Throughout her library service, she often published under the Irish spelling of her name, Eibhlín Ní Ruaidh, as an expression of her Irish nationalism. Her publications while working as a librarian were often constrained, as she wrote under pseudonyms and focused on the articles required by her employment. During this time period, Roe would travel around Ireland, giving speeches on antiquities of Laois to schools and local meetings. In 1937, Roe published an article for the first time in the Journal of the Royal Society of Antiquaries of Ireland (JRSAI) on a local monument. She also devised an extensive glass-slide collection on the antiquities and history of Co. Laois.

In 1939, Roe retired from library service to focus on the history of medieval Ireland, photography sites and traveling around the country. Her delayed admission into the academic field was due to her membership in the Protestant minority. She had been the only Protestant county librarian in the Free State, as many fled or sought refugee in the new nation. Around this time, Roe became a companion of amateur archaeologist Lord Walter FitzGerald. She volunteered on the excavation of the famous Neolithic sites of Fourknocks under P.J. Hartnett and Knowth with archaeologist John Bromwich and Celtic scholar Rachel Bromwich in Meath and contributed to the publication of the excavation reports, namely in Journal of the Royal Society of Antiquaries of Ireland. She joined the Royal Society of Antiquaries of Ireland, becoming a regular frequenter of its evening lectures and often used their library. Roe also studied with fellow student, Nóra Ní Shúilliobháin, across Ireland, who quickly became a close friend. Roe worked to save the tombs of Bishop Thomas (13th century) and Bishop Walter Wellesley (16th century).

In the next 48 years after her retirement from library service, she published 37 articles in the Journal of the Royal Society of Antiquaries of Ireland and contributed to journals such as An Leabharlann, Bealoideas, Seanchas Ard Mhacha, and Carloviana. She would also regularly have articles in the Irish Press and Leinster Express. Her research often focused on topics like medieval art history and religious history, investigating pieces like baptismal fonts and illustrations of Trinity College. In 1947, Roe published her research into the medieval period in the article “Two Baptismal Fonts in County Laoighis,” a piece that gained her much praise. In 1949, Roe published her most famous work, “The ‘David Cycle’ in Early Irish Art,” attempting to prove that the figural scenes came from the life of David from the Old Testament on Irish High Crosses. She wrote this to disapprove of the interpretations of Eric Sexton and  A. Kingsley Porter. In the early 1950s, Roe visited the Armagh area, later publishing the first systematic survey of the High Crosses in 1954 and 1955 in Seanchas Ardmahacha. During these visits, she would often be driven around by Catholic curate Thomas O’Fíach, archbishop of Armagh who later became a historian. In 1958, Roe published “The high crosses of Western Ossory” and one year later, “High Crosses of Kells.” She hoped to keep these publications compact and affordable, particularly based on her years in library work. After these publications, she became more interested in medieval tomb sculpture, medieval fonts, and other primarily religious topics.

In 1965, Roe became the first woman to be elected president of the Royal Society of Antiquaries of Ireland, a position she held until 1968. In 1981, Roe was the principal speaker at the inaugural meeting of the Federation of Local History Societies. During this year, Roe published another booklet on High Crosses, titled “Monasterboice and its Monuments,” a piece that she collaborated on with Rory O’Farrell, the chairman of the trustees of the Cambrian Archaeological Association. In 1984, she was elected a member of the Royal Irish Academy. She continued to lecture across the country into her nineties. In her later years, Roe was unable to visit as many sites because of her health. On May 28, 1988, Helen Roe died at Grove Nursing Home in Killiney, Co. Dublin. She was buried beside her parents at St. Peter’s Church cemetery in Mountrath, Co. Laois. Her grave was specially designed to match a life of funerary monument scholarship.

A fellow historian, Siobhán de hOir claimed, “An evening with Miss Roe in her home might last long into the night as she dispensed good and practical advice or while she found yet another reference from her large library.” Patrick E. Wallace, director of the National Museum of Ireland, further described Roe as “one of Ireland’s greatest medievalists…A thorough and well published scholar, particularly in the iconography of our carved stone crosses and of the physical evidence for medieval Christian devotion, Roe was remarkably generous with her knowledge and celebrated for her encouragement of young archaeologists, art historians, and genealogists whom she inspired.” Art historian Peter Harbison additionally wrote, that Roe’s “charming prose which reflects the warmth of that personality which has made Roe one of our most captivating antiquarians, so widely loved beyond her native lands.” Her student, senior Irish professor of archaeology Etienne Rynne states, “She made the study of Early Christian and Medieval periods respectable.” John Bradley placed her work alongside fellow art historians, Margaret Stokes and Françoise Henry, claiming that her success arises from a “broaden[ing of] the study of early Irish art and a deepen[ing of] the body of information that had been gathered by Stokes and Henry by focusing her attention on iconography of Irish art before 1170.”

In an obituary, speaking of Roe’s extensive knowledge in various subject areas and how she brought that to her work in art history, her peer and friend, Nóra Ní Shúilliobháin wrote, “I have heard very few others bring from memory quotations from the Four Masters, the Bible, or the New Testament, to bear with exact relevance on this item under inspection.”


Selected Bibliography

  • “The “David Cycle” in Early Irish Art.” The Journal of the Royal Society of Antiquaries of Ireland 79, no. 1/2 (1949): 39-59. http://www.jstor.org/stable/25510685;
  • “The High Crosses of Kells.” Meath Archaeological and Historical Society (1988);
  • “The High Crosses of Western Ossory.” Kilkenny Archaeological Society (1976);
  • “Monasteries and Its Monuments.” Turner’s Printing Co, Longford (1981);
  • “Two Baptismal Fonts in County Laoighis.” The Journal of the Royal Society of Antiquaries of Ireland 77, no. 1 (1947): 81-83. http://www.jstor.org/stable/25510604.

Sources

  • Shúilliobháin, Nóra Ní. “Helen M. Roe.” The Journal of the Royal Society of Antiquaries of Ireland 118 (1988): 166-69. http://www.jstor.org/stable/25508956;
  • Chance, Jane. Women Medievalists and the Academy. Univ of Wisconsin Press (2005);
  • Seale, Yvonne. “Helen Maybury Roe – A Pioneering Historian of Medieval Ireland.” (2016) https://yvonneseale.org/blog/2016/01/28/helenmayburyroe/;
  • O’Brien, Andrew. “Helen Maybury Roe.” Dictionary of Irish Biography.

Archives


Contributors: Kerry Rork


Citation

Kerry Rork. "Roe, Helen M.." Dictionary of Art Historians (website). https://arthistorians.info/roeh/.


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Roe was born on December 18, 1895, the only child of Anne Lambert Shields and William Ernest Roe in the town of Mountrath, Ireland. Her mother’s side came from Birr, Co. Offaly and her father’s had lived in Mountrath since the seventeenth century,

Roland Michel, Marianne

Full Name: Roland Michel, Marianne

Other Names:

  • Marianne de Cayeux

Gender: female

Date Born: 22 February 1936

Date Died: 18 November 2004

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

Home Country/ies: France

Subject Area(s): catalogues raisonnés, eighteenth century (dates CE), and French (culture or style)

Institution(s): Galerie Cailleux


Overview

Scholar and catalogues raisonnés compiler; dealer of eighteenth-century French art; director of the Galerie Cailleux from 1982-1996. Roland Michel was a student of André Chastel who received her master’s degree at the Sorbonne in 1959 with a thesis on the still life and genre painter Anne Vallayer-Coster (1744-1818). This artist served as the subject of Roland Michel’s first article that appeared in Burlington Magazine in 1960, and of the later monograph, Anne Vallayer-Coster (1970). From 1960 until 1981, Roland Michel regularly contributed articles to Burlington’s supplement on the eighteenth century, writing on artists like Jean-Honoré Fragonard (1732-1806), Hubert Robert (1733-1808), and Nicolas Lancret (1690-1743), among others. In 1982, she began overseeing exhibitions at la Galerie Cailleux, the Parisian commercial gallery that her grandfather, Paul de Cayeux de Sénarpont (1884-1964), had established in 1912, and over which her father, Jean de Cayeux (1913-2009) had also presided. She completed a doctoral degree at the Sorbonne in 1983 under the supervision of Jacques Thuillier with a dissertation on the painter of Rococo interiors, Jacques de Lajoüe (1686-1761), which was published the following year as Lajoüe et l’art rocaille (1984). Roland Michel headed thirteen exhibitions during her time as director of the Galerie Cailleux. She also wrote exhibition reviews that appeared in journals like Master Drawings as well as the Burlington Magazine. Alongside her work as a dealer, Roland Michel published widely as a scholar of eighteenth-century art in French and Anglo-American journals and museum catalogs. In 2002-2003, Roland Michel organized the first and only solo retrospective exhibition on Vallayer-Coster, Anne Vallayer-Coster: Painter to the Court of Marie Antoinette, that travelled from the National Gallery of Art in Washington, D.C. to other venues in Dallas, New York, and Marseille.

After Roland Michel’s sudden passing in 2004, the Fondation Marianne & Roland Michel was established by her husband and children to preserve her influence on eighteenth-century scholarship. Le Centre de Documentation Marianne Roland Michel opened in 2005 near Roland Michel’s home in Neuilly and provided scholars access to her reference collection of materials on seventeenth- thru nineteenth-century, primarily French, art. Since 2016, the collection has been housed at the research library of the Petit Palais museum. In 2006, Roland Michel’s family began funding an annual prize that supports the publication of manuscripts on themes related to her work. Roland Michel’s son, Christian Michel (1958-), is also an art historian, teaching as professor of art history at the Université de Lausanne (UNIL) in Switzerland since 2006. His specialty is the history of collecting and decorative arts of the seventeenth and eighteenth centuries, particularly Charles-Nicolas Cochin the Younger (1715-1790).

Roland Michel catalogs for the gallery are considered her most “enduring contributions” to fellow collectors and scholars (Borne and Williams). Alongside her work as a dealer, Roland Michel published widely as a scholar of eighteenth-century art in French and Anglo-American journals and museum catalogs. A number of her texts have been translated into English and German. “Classic” monographs on artists like Jean-Antoine Watteau (1684-1721) (1982, 1984) and Jean-Siméon Chardin (1699-1779) (1994) bear evidence of her commitment to research based on direct study of original artworks, rather than reproductions (Rosenberg). The majority of her books she formatted as catalogues raisonnés, a style that suited her object-driven approach to art history (Borne and Williams; Rosenberg).


Selected Bibliography

  • “Tapestries on Designs by Anne Vallayer-Coster.” Burlington Magazine 102, no. 692 (November 1960): i-ii;
  • “The Theme of ‘The Artist’ and of ‘Inspiration’ as Revealed by Some Fragonard’s Drawings.” Burlington Magazine 103, no. 704 (November 1961): i-iii;
  • “Of Women and Flowers…” Burlington Magazine 108, 760 (July 1966): i-v;
  • “Sur quelques représentations de fleurs dans la seconde moitié du XVIIIe siècle.” Bulletin de la Société de l’Histoire de  l’Art Français (1966): 169-176;
  • “Observations on Madame Lancret’s Sale.” Burlington Magazine 111, no. 801, Special Issue Devoted to Claude, Nicolas and Gaspard Poussin in Connection with the Claude Exhibition at the Hayward Gallery (December 1969): i-vi;
  • Anne Vallayer-Coster. Paris: CIL-Odege, 1970; “Fragonard Illustrator of the ‘Contes’ of La Fontaine.” Burlington Magazine 112, no. 811 (October 1970): i-vi;
  • “A Taste for Classical Antiquity in Town-Planning Projects: Two Aspects of the Art of Hubert Robert.” Burlington Magazine 114, no. 836 (November 1972): i-vi;
  • L’art et la sexualité. Tournai: Casterman, 1973; “A Basket of Plums.” The Bulletin of the Cleveland Museum of Art (February 1973): 52-59;
  • “A propos d’un portrait par Tischbein au Musée des Beaux Arts de Bordeaux.” Revue du Louvre et des Musées de France 23, no. 3 (1973): 173-178;
  • “Un problème d’attribution pour un dessin du musée des Beaux-Arts, à propos de la Mascarade du sultan à la Mecque, 1748.” Bulletin des Musées et Monuments lyonnais 5, no. 2 (1975): 303-321;
  • “Représentations de l’exotisme dans la peinture en France de la première moitié du XVIIIe siècle.” Studies on Voltaire and the eighteenth century 151-152 (1976): 1437-1457;
  • “Concerning Two Discoveries in Neo-Classical Painting.” Burlington Magazine 119, no. 889, Special Issue in Honour of Benedict Nicolson (April 1977): i-viii; “Cochin illustrateur, et le Missel de la chapelle royale.” Jahrbuch der Berliner Museen 21 (1979): 153-179;
  • “Eighteenth-Century Decorative Painting: Some False Assumptions.” The British Journal for Eighteenth-Century Studies 2, no. 1 (April 1979): 1-18;
  • “François-Thomas Mondon, artiste ‘rocaille’ méconnu.” Bulletin de la Société de l’Histoire de l’Art Français (1979): 149-158;
  • [and Catherine Binda]. “Un portrait de Mme du Barry.” Revue de l’Art 46, (1979): 40-45;
  • Tout Watteau. Collection “La Peinture.” Rizzoli, 1981, Flammarion, 1982;
  • “Un peintre français nommé Ango.” Burlington Magazine 123, no. 945 (December 1981): i-viii;
  • “L’ornement rocaille : quelques questions.” Revue de l’Art 55 (1982): 66-75;
  • “French Eighteenth-Century Drawings [in the Rijksprentenkabinet, Amsterdam].” Apollo 117, no. 256 (June 1983): 469-475;
  • “Le bruit dans la peinture.” Corps écrits 12 (1984): 125-132;
  • Watteau, un artiste au XVIIIe siècle. Paris: Flammarion, 1984, English Watteau, an Artist of the Eighteenth Century. Londres, Trefoil, New York, Alpine, 1984, German Watteau 1684-1721. Munich, Prestel, 1984;
  • Lajoüe et l’art rocaille. Neuilly: Arthéna, 1984;
  • “A propos de portraits de famille : Quelques nouvelles attributions.” Burlington Magazine 128, no. 1000 (July 1986): 546-552;
  • Le dessin français au XVIIIe siècle. Fribourg: L’Office du Livre, 1987, German Die französische Zeichnung im 18. Jahrhundert, Munich, Prestel, 1987;
  • “Portraits français du XVIIIe siècle.” Bulletin de la Société des Amis du Musée des Beaux-Arts de Rennes 6, Numéro spécial sur Le Portrait (1988): 17-26;
  • “Landscape painting in the eighteenth century. Theory training and its place in academic doctrine.” In French landscape painting; Claude to Corot, the development of landscape painting in France. New York: Colnaghi, 1990, p. 99-110;
  • Chardin. Paris: Hazan, 1994 English, Chardin. London: Phaidon, New York: Abrams, 1994;
  • “On some collectors of Eighteenth-Century French Drawings in the United States.” In Mastery and elegance. Two centuries of french Drawings from the Collection of Jeffrey E. Horvitz. Cambridge, MA: Harvard University Art Museums, 1998, p. 53-76;
  • Maurice et Pauline Feuillet de Borsat collectionneurs – Dessins français et étrangers du XVIIe au XIXe siècle. Marseille: Musées de Marseille, 2001;
  • “Vallayer in her time.” In Anne Vallayer-Coster Painter to the Court of Marie-Antoinette. New Haven, CT: Yale University Press and Dallas, TX: Dallas Museum of Art, 2002, French Anne Vallayer-Coster: peintre à la cour de Marie-Antoinette. Marseille: Musée des beaux-arts and Paris: Somogy, 2003;
  • “Exoticism and Genre Painting in Eighteenth-Century France.” In The Age of Watteau, Chardin, and Fragonard: Masterpieces of French Genre Painting. New Haven, CT: Yale University Press and Ottawa: National Gallery of Canada, 2003, p. 106-119;
  • “De Watteau à Boucher: formation d’une manière et d’un genre.” In François Boucher et l’art rocaille dans les collections de l’École des Beaux-Arts, Paris: Ecole nationale supérieure des beaux-arts, 2003, p. 38-45;
  • “Le trésor de leurs études….” In L’apothéose du geste. L’esquisse peinte au siècle de Boucher et Fragonard. Paris: Hazan, Strasbourg: Musées de Strasbourg, Tours: Musées des beaux-arts de Tours, 2003, p. 49-59;

Catalogs for exhibitions at la Galerie Cailleux:

  • Watteau et sa génération.1968;
  • Autour du Néo-classicisme: peintures, dessins, sculptures. 1973;
  • Giambattista Tiepolo 1696-1770, Domenico Tiepolo 1727-1804 [et] Lorenzo Tiepolo 1736-1776: peintures, dessins, pastels. 1974;
  • [with J. Cailleux and A. Rambaud]. Eloge de l’ovale. Peintures et pastels du xviiie siècle. 1975;
  • [with J. Cailleux and A. Rambaud]. Sanguines, dessins français du XVIIIe siècle. 1978;
  • [with J. Cailleux]. Des Monts et des eaux: Paysages de 1715 à 1850. 1980-1981;
  • Rome 1760-1770:  Fragonard, Hubert Robert et leurs amis. 1983;
  • Le dessin en couleurs. 1984;
  • Oeuvres de jeunesse de Watteau à Ingres. 1985; Artistes en voyage au XVIIIe siècle. 1986;
  • Aspects de Fragonard  Peintures – Dessins – Estampes. 1987;
  • Les étapes de la création: esquisses et dessins de Boucher à Isabey. 1989;
  • Le Rouge et le Noir – Cent dessins français de 1700 à 1850. 1991.

Sources

  • Fondation Marianne & Roland Michel, accessed July 1, 2020; Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, p. 193;
  • Maës, Gaëtane. “Nécrologie: Marianne Roland Michel.” Revue de l’art 148 (2005): 86-88;
  • Rosenberg, Pierre. “Marianne Roland Michel (1936-2004).” Burlington Magazine 147, no. 1225 (April 2005): 257-258;
  • Borne, François and Eunice Williams. “Obituary.” Master Drawings 43, no. 2 (Summer 2005): 242.


Contributors: Yasemin Altun


Citation

Yasemin Altun. "Roland Michel, Marianne." Dictionary of Art Historians (website). https://arthistorians.info/rolandmichelm/.


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Scholar and catalogues raisonnés compiler; dealer of eighteenth-century French art; director of the Galerie Cailleux from 1982-1996. Roland Michel was a student of André Chastel who received her master’s degree at

Ragusa, Isa

Full Name: Ragusa, Isa

Gender: female

Date Born: unknown

Date Died: unknown

Place Born: Rome, Lazio, Italy

Place Died: New York, NY, USA

Home Country/ies: Italy

Subject Area(s): iconography, manuscripts (documents), and Medieval (European)

Institution(s): Princeton University


Overview

Art historian and translator; manuscript scholar and specialist in medieval iconography. Ragusa was the second daughter of Andrea and Anna Ragusa from Sicily. As a child, Ragusa immigrated with her family and settled in New York City in 1931. Her older sister, Olga Ragusa (b. 1922), also pursued an academic career and was an accomplished scholar of Italian Studies and a professor at Columbia University. Ragusa received her BA from New York University and her MA and PhD from the Institute of Fine Arts (IFA), New York University. She completed her master’s thesis, “The Re-Use and Public Exhibition of Roman Sarcophagi During the Middle Ages and the Early Renaissance” in 1951. At the IFA, Ragusa studied with art historians Walter W. S. Cook and Richard Offner and was awarded a Fulbright Fellowship to study at the American School of Classical Studies in Athens. In 1966, she completed her doctoral dissertation “A Gothic Psalter in Princeton: Garrett MS. 35” supervised by Harry Bober.

For over three decades, Ragusa was a member of the research staff of the Index of Christian Art at Princeton University, under director Rosalie B. Green. Ragusa lectured and published widely on iconographic topics throughout her career. Her best-known publication was a collaborative work with Green, Meditations on the Life of Christ: An Illustrated Manuscript of the Fourteenth Century, published by the Princeton University Press in 1961. With this work, Ragusa and Green produced the first English translation in print from the medieval Italian text of the Meditations on the Life of Christ manuscript (Paris, Bibliothèque nationale de France, MS. ital 115). Their introduction acknowledged the encouragement of art historian Erwin Panofsky in undertaking the project. Ragusa and Green’s publication, dedicated to Charles Rufus Morey, became important in making the manuscript available to a wider scholarly audience and remains a standard reference work on the Paris Meditations manuscript.

In 1974, at their father’s death, Isa and Olga Ragusa assumed ownership of their father’s Italian bookstore and publishing house S. F. Vanni in New York City. When the bookstore closed in 2004, the Ragusa papers and remainder of the Vanni collection were donated to the Scuola d’Italia Guglielmo Marconi also in New York. In 2005, at her bequest, New York University offered the Isa Ragusa Travel Fund to support student travel grants. The IFA Alumni Newsletter quoted Isa Ragusa on the motivation of her gift, “It’s so important to see the object [in person]. The work of art is the most important thing.” (Flora, 2005).


Selected Bibliography

  • and Green, Rosalie. Meditations on the Life of Christ: An Illustrated Manuscript of the Fourteenth Century. Princeton, NJ: Princeton University Press, 1961;
  • “An Illustrated Psalter from Lyre Abbey.” Speculum 46 (1971): 267-81; “The Egg Reopened.” Art Bulletin 53 (1971): 435-443;
  • “Terror Demonum and Terror Inimicorum: The Two Lions of the Throne of Solomon and the Open Door of Paradise.” Zeitschrift Für Kunstgeschichte 40 (1977): 93-114;
  • “Porta Patet Vitae Sponsus Vocat Intro Venite and the Inscriptions of the Lost Portal of the Cathedral of Esztergom.” Zeitschrift Für Kunstgeschichte 43 (1980): 345-351;
  • “The Princeton Index of Christian Art.” Medieval English Theatre 4 (1982): 56-60;
  • “Il Manoscritto Ambrosiano L. 58. Sup.: L’Infanzia Di Cristo E Le Fonti Apocrife.” Arte Lombarda, Nuova Serie 83 (1987): 5-19;
  • “Observations on the History of the Index: In Two Parts,” Visual Resources 13:3-4 (1998): 215-251.

Sources


Archives

  • Scuola d’Italia Guglielmo Marconi, New York.

Contributors: Jessica Savage


Citation

Jessica Savage. "Ragusa, Isa." Dictionary of Art Historians (website). https://arthistorians.info/ragusai/.


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Art historian and translator; manuscript scholar and specialist in medieval iconography. Ragusa was the second daughter of Andrea and Anna Ragusa from Sicily. As a child, Ragusa immigrated with her family and settled in New York City in 1931. Her

Raven, Arlene

Full Name: Raven, Arlene

Other Names:

  • Arlene Rubin

Gender: female

Date Born: 02 July 1944

Date Died: 01 August 2006

Place Born: Baltimore, Baltimore Independent City, MD, USA

Place Died: Brooklyn, Cattaraugus, NY, USA

Home Country/ies: United States

Subject Area(s): feminism and Modern (style or period)

Career(s): activists

Institution(s): California Institute of the Arts


Overview

Feminist, pioneer art activist for lesbian artists. Arlene Raven was born into a middle-class Jewish family in 1944 in Baltimore, Maryland, as Arlene Rubin. Her father, Joseph Rubin, was a bar owner, and her mother, Annette Rubin, worked in the home. In 1949, Raven began attending Arlington Grammar School and Peabody Institute for Music, where she studied piano, then Garrison Junior High School and Forrest Park High School in 1958. While a student at Hood College, proficient in Spanish, Raven was an exchange student in Spain. She received a B.A. in studio painting in 1965. A year later, Raven broke off an engagement to H. Thomas Yocum to marry Tim Corkery. Interested in furthering her studies in art history, Raven received her master’s in fine art from George Washington University in 1967.

In 1969, Raven became the youngest faculty member at the Corcoran School of Art, Columbia division. After attending the Conference of Women in Visual Arts at the Corcoran School of Art in Washington, D.C., in 1972, she became more passionate about promoting the works of women in the art world. It was this conference that pushed her to leave the East Coast for California. She helped found the Women’s Caucus for Art founded at the College Art Association annual convention. One week before leaving, however, Raven was raped and kidnapped by two men in Baltimore, Maryland. When interviewed by Judy Chicago, Raven described the incident. Soon after, she divorced Corkery and changed her surname to Raven.

Arriving in California in 1973, Raven taught art classes at Cal-Arts, replacing Paula Harper in the Feminist Art Program. She worked as the teaching assistant for Judy Chicago and Miriam Schapiro. She also wrote an exhibition catalog (Hillwood Art Museum, Long Island University) on her future partner and artist friend, Nancy Grossman, in this same year. Raven received her Ph.D. in art history from John Hopkins University two years later.

On November 28, 1973, along with Chicago and graphic designer Sheila Levrant de Bretteville, Raven founded the Woman’s Building (1973-1991) and the two-year graduate Feminist Studio workshop dedicated to women’s art in Los Angeles. The building was designed to mirror a design by Sophia Hayden from the 1893 Chicago World’s Fair. The goal was to produce a feminist art education, as Chicago had started at Cal-Arts and Fresno State. It also housed the Sisterhood Bookstore, Los Angeles Feminist Theater, Women’s Graphic Center, a women’s travel agency, Gallery 707, Grandview Gallery I and II, Womanspace Gallery, and Women’s Improvisational Theatre. Raven led workshops on making art and feminist thought. The Feminist Studio workshop dissolved in 1981, as the Women’s Building moved to support minorities, single mothers, and working women in the arts.

By 1991, the year the Woman’s Building dissolved, the building had moved from a central downtown Los Angeles location to old Getty office buildings on the edge of Chinatown.

In 1977, Raven was founded the Lesbian Art Project, promoting the art of lesbian artists. During this time, she produced the notable work, The Oral History of Lesbianism. From the late 1980s to the early 1990s, she worked as the main art critic of The Village Voice, an alternative news and culture magazine in New York City founded in 1955. During that time, she served as a passionate advocate for women’s art, particularly the works of June Wayne, Lesley Dill, Petah Coyne, and Michele Oka Doner. Passionately disagreeing with a review by another critic in the Village Voice of an exhibition by Judy Chicago, Raven was fired.

Raven co-founded and edited Chrysalis: A Magazine for Women’s Culture in 1977 (ceased 1980). This magazine was funded by reader donations and the poet and feminist Adrienne Rich from the proceeds from her book, Of Woman Born. The five-member editorial board included Raven, Professor Ruth Iskin, poet Audre Lorde, Professor Kristin Grimstad, and Levrant de Bretteville. The magazine attracted major feminist scholarship by, in addition to Chicago, Mary Daly (1928-2010), Susan Griffin (b. 1943), and the art historians  Carol Duncan, Lucy R. Lippard and, among others, Linda Nochlin. Throughout their short publication, Chrysalis attempted to highlight a variety of female-identifying voices and give a space for feminist conversations. At its peak, Chrysalis had over thirteen thousand readers. One of Raven’s most notable works in this magazine was an essay with Iskin on lesbianism and art. The magazine had 10 issues before closing down due to lack of funding.

In 1982, Raven wrote June Wayne: A Retrospective on the artist June Wayne. Raven moved to New York City in 1983 forming a life-partner relationship with the artist Nancy Grossman. In 1990, Raven produced her work Crossing Over: Feminism and the Art of Social Concern. A year later, she wrote Feminist Art Criticism: An Anthology. In 1999, Raven received The Women’s Caucus of Art Lifetime Achievement Award. Beginning in 2000 Raven acted as the critic-in-residence at the Rinehart School of Sculpture. She was awarded the Frank Jewett Mother award for distinction in art criticism from the College Art Association in 2001.

Physically frail, she died of cancer in her home in Brooklyn, New York, in 2006. An exhibition in honor of the Woman’s Building at the Otis College of Art in 2012, Doin’ It in Public: Feminism and the Arts at the Woman’s Building was mounted by the American curator Meg Linton.

Raven was an “advocate-critic,” “[providing] key coverage to known artists who challenged the status quo… and even more importantly, to many unfamiliar artists who otherwise would have had no voice whatsoever” (Lovelace).


Selected Bibliography

  • Nancy Grossman. Washington, D.C.: Hillwood Art Gallery, 1973;
  • June Wayne: A Retrospective. New York City: Neuberger Museum of Art, 1982;
  • Crossing Over: Feminism and the Art of Social Concern. Ann Arbor: UMI Research Press, 1990;
  • Feminist Art Criticism: An Anthology. Boulder: Westview Press, 1991.

Sources



Contributors: Kerry Rork


Citation

Kerry Rork. "Raven, Arlene." Dictionary of Art Historians (website). https://arthistorians.info/ravena/.


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Feminist, pioneer art activist for lesbian artists. Arlene Raven was born into a middle-class Jewish family in 1944 in Baltimore, Maryland, as Arlene Rubin. Her father, Joseph Rubin, was a bar owner, and her mother, Annette Rubin, worked in the ho