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Schede, Martin

Full Name: Schede, Martin

Gender: male

Date Born: 1883

Date Died: 1947

Place Born: Magdeburg, Saxony-Anhalt, Germany

Home Country/ies: Germany

Subject Area(s): ancient, Ancient Greek (culture or style), archaeology, Byzantine (culture or style), and Roman (ancient Italian culture or period)


Overview

Archaeologist and art historian who specialized in ancient Greek, Roman and Byzantine art. He was active in archaeological expeditions in Asia Minor 1910-1913. He served as Professor in the antiquities division of the Berlin Museum (1919-1924) before returning to Turkey for the German Archaeological Institute (Deutsches Archäologisches Institut, DAI) in 1924, becoming director of the newly created Istanbul branch in 1929. In 1938 he succeeded Theodor Wiegand as president of the whole DAI, a post he held until 1945. He died in 1947 in a Russian prisoner of war camp.


Selected Bibliography

Die Burg von Athen, 1922; Griechische und römische Skulpturen des Antikenmuseums, 1928. (a catalog of masterworks in the Turkish museum in Constantinople).


Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 220-221. Suzanne L. Marchand. Down from Olympus: Archaeology and Philhellenism in Germany, 1750-1970. Princeton, NJ: Princeton University Press, 1996: 333-334, 336-337, 369.




Citation

"Schede, Martin." Dictionary of Art Historians (website). https://arthistorians.info/schedem/.


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Archaeologist and art historian who specialized in ancient Greek, Roman and Byzantine art. He was active in archaeological expeditions in Asia Minor 1910-1913. He served as Professor in the antiquities division of the Berlin Museum (1919-1924) bef

Scheen, Pieter Arie

Full Name: Scheen, Pieter Arie

Gender: male

Date Born: 1916

Date Died: 2003

Place Born: The Hague, South Holland, Netherlands

Place Died: Apeldoorn, Gelderland, Netherlands

Home Country/ies: Netherlands

Subject Area(s): biography (general genre) and Dutch (culture or style)

Career(s): art dealers and art historians


Overview

Art dealer; writer of dictionary of Dutch artists. Scheen grew up in The Hague. He attended school until the age of fifteen. He then began working in his father’s art business. In 1931 he himself became an art dealer in The Hague. Eager to know who the artists were whose paintings he was involved with, he started collecting biographical data of thousands of Dutch painters and draughts men. In 1946 his first publication in this field appeared: Honderd Jaren Nederlandsche Schilder en Teekenkunst; de Romantiek met voor- en natijd (1750-1850). In 1950, he selected the illustrations for Gerben Colmjon’s publication on the painters of the Hague School. With the organization of exhibitions, including a major one on the romantic painter Wijnand Nuyen (1813-1839), he contributed to a better appreciation of Dutch nineteenth-century painting. Around 1962, Scheen began a new and exhaustive dictionary of artists born between 1750 and 1950, as a follow up to his 1946 publication, now including sculptors, ceramists, gold- and silversmiths, printmakers etc. Assisted by his daughter and his second wife, Elske van Santen, whom he married in 1965, he excerpted exhibition catalogs and searched through archives, including those kept at the Rijksbureau voor Kunsthistorische Documentatie (Netherlands Institute of Art History) in The Hague. Other important sources were art historical studies and various dictionaries of artists, in particular those of Johannes Immerzeel, Jr., Christiaan Kramm, and Alfred Wolfgang von Wurzbach, and the Allgemeines Lexikon of Ulrich Thieme and Felix Becker. Scheens two-volume illustrated work, Lexicon Nederlandse Beeldende Kunstenaars 1750-1950, appeared in 1970. In 1975 Scheen turned his art business over to his son-in-law, Joop Breeschoten. Scheen and his wife moved to Antibes, in France, where they lived for six years. Returning to the Netherlands, the couple retired in Apeldoorn. When Scheen’s successful publication was out of print, his son Pieter Scheen, Jr. started working on a revision of his father’s Lexicon. For practical reasons, however, he left out contemporary artists, focusing instead on the period between 1750 and 1880. Scheen, Jr. published his revised edition in 1981, as Pieter A. Scheen: Lexicon Nederlandse Beeldende Kunstenaars 1750-1880. Herzien door P. Scheen. Scheen, Sr., died 22 years later, in 2003. Scheen was one of the first art dealers whose interest extended to art from the Dutch Romantic and the Hague schools. He organized a retrospective exhibition of Nuyen’s work at the Panorama Mesdag Museum in The Hague.


Selected Bibliography

Honderd Jaren Nederlandsche Schilder en Teekenkunst; De Romantiek met voor- en natijd (1750-1850). The Hague: Boek en Periodiek, 1946; [in collaboration with] Gerben, Colmjon. De Haagse School: de vernieuwing van onze schilderkunst sinds het midden der negentiende eeuw. Rijswijk: Leidsche Uitgeversmij., 1950; Lexicon Nederlandse Beeldende Kunstenaars 1750-1950. 2 vols. The Hague: Kunsthandel Pieter A. Scheen N. V., 1969-1970; and Scheen, Pieter, jr. Lexicon Nederlandse Beeldende Kunstenaars 1750-1880. Herzien door P. Scheen. The Hague: Uitgeverij Pieter A. Scheen BV, 1981.


Sources

De Bruijn, Jr. H. C. ‘Pieter Scheen, kunstambassadeur met ere.’ Op de Uitkijk: Christelijk Cultureel Maandblad (October, 1960): 7-11; Heijbroek, J. F. ‘Kunsthandel Scheen.’ De Boekenwereld 18 (2002): 2-7; Visser, Jan. ‘Pieter Scheen schrijft zijn levensverhaal.’ Apeldoornse Courant August 27, 2003; [Obituaries] Haagsche Courant November 12, 2003; De Gelderlander November 13, 2003; Brabants Dagblad November 13, 2003; De Telegraaf November 14, 2003; Rappard, Willem Frederik. ‘Scheen, Pieter A(rie), Ridder.’ Dictionary of Art 28: 65; De Leeuw, Ronald, and Sillevis, John, and Dumas, Charles, eds. The Hague School: Dutch Masters of the 19th Century. London: Royal Academy of Arts/Weidenfeld and Nicolson, 1983, p. 134.



Contributors: Monique Daniels


Citation

Monique Daniels. "Scheen, Pieter Arie." Dictionary of Art Historians (website). https://arthistorians.info/scheenp/.


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Art dealer; writer of dictionary of Dutch artists. Scheen grew up in The Hague. He attended school until the age of fifteen. He then began working in his father’s art business. In 1931 he himself became an art dealer in The Hague. Eager to know wh

Sandrart, Joachim von

Full Name: Sandrart, Joachim von

Gender: male

Date Born: 1606

Date Died: 1688

Place Born: Frankfurt am Main, Hesse, Germany

Place Died: Nuremberg (also Nürnberg), Germany

Home Country/ies: Germany

Subject Area(s): biography (general genre) and painting (visual works)


Overview

Painter and author of an early history/biographical dictionary of artists, Teutsche Academie. Sandrart’s father was a Calvinist who had fled Valenciennes, in the county of Hainaut (then under Spain) to Frankfurt. The younger Sandrart began a career as an artist, studying drawing. In 1620, he moved to Nuremberg, where he learned engraving. In Prague, the engraver Aegidius Sadeler advised him to specialize in painting. Around 1625, he became a pupil of the Dutch painter Gerard van Honthorst in Utrecht. In Honthorst’s house, he met Peter Paul Rubens, whom he accompanied on Rubens’ tour through Holland. After working for Honthorst at the English court, Sandrart traveled to Rome in 1629 where he met the artistic and intellectual community there. Between 1632 and 1635, he was in charge of the collection of Vincenzo Giustiani (1564-1637) and oversaw the 1635 publication of the antique sculptures entitled Galleria Giustiniani. Two years after his return to Frankfurt (1635), Sandrart married Johanna Milkau. The Thirty Years War forced them to move to Amsterdam where Sandrart specialized in portrait painting. His clients included the most famous writers and poets, including Joost van den Vondel (1587-1679) and Caspar Barlaeus (1584-1648). In 1645, Sandrart moved to an estate in Stockau, Germany which he had inherited from his father-in-law. He continued to paint, especially large works such as group portraits and altarpieces. Between 1651 and 1653, he worked for Emperor Ferdinand III (1608-1657). In 1670 he moved to Augsburg, and then to Nuremberg in 1673, founding academies in both cities. These art schools probably were studios in which amateurs and maybe Sandrart’s pupils had the opportunity to draw from life (Pevsner, 1940). In this period Sandrart composed his magnum opus, the L’Academia Todesca della Architectura Scultura et Pictura, oder Teutsche Academie der Edlen Bau-, Bild- und Mahlerey- Künste, published in Nuremberg in 1675. A second part appeared in 1679 and an abridged Latin translation followed in 1683. The Teutsche Academie is an illustrated compendium of art education and of artist biographies compiled from a variety of sources as well as descriptions of Roman antiquities, inventories of famous private art collections and libraries, and a German translation of Ovid’s Metamorphoses based on the Dutch translation by Karel Van Mander. The biographies were largely taken from the biographical editions of Giorgio Vasari, Van Mander, and others and many of the accounts of art collections from the French doctor and numismatist Charles Patin (1633-93). Sandrart’s provided original entries on a number of German, Dutch, French, Italian, and Spanish artists as well as his own life and it is these that make his work important. Sandrart published another work, his Sculpturae veteris admiranda, on ancient sculpture donated to the Giustiniani collection, in 1680. He also published an illustrated study on ancient gods, Iconologia deorum that year. A treatise on Roman topography, Romae antiquae et novae theatrum appeared in 1684. But it is the Teutsche Academie that gained him most fame. The work was in its turn used as one of the main sources for De Groote Schouburgh der Nederlantsche Konstschilders en Schilderessen by Arnold Houbraken, published in 1718-1721 and remains an important primary source today. Critical reception on Sandrart’s work has varied. In the 1920s, Wilhelm Waetzoldt rightly pointed out that Sandrart was neither a great scholar nor an original thinker, merely a learned aristocrat and humanist possessed of a high self-esteem. Scholars also have criticized the archaeological data of the Academie. The 1925 edition by Rudolf Peltzer, though only a partial republication, is evidence of the importance of the Teutsche Academie. In recent years, the Teutsche Academie has been the subject of numerous studies, and a three-volume facsimile edition, by Christian Klemm and Jochen Becker, in 1994-95. The third part contains Ovid’s Metamorphoses as well as Sandrart’s 1680 illustrated work on ancient mythology, Iconologia deorum (after Vincenzo Cartari, b. ca 1500). Klemm, who cataloged Sandrart’s painting in 1986, called Sandrart the most important German writer on art between Albrecht Dürer and Johann Joachim Winckelmann.


Selected Bibliography

L’Academia Todesca della Architectura Scultura et Pictura, oder Teutsche Academie der Edlen Bau- Bild- und Mahlerey-Künste. 2 vols. Nuremberg: Jacob von Sandrart, 1675; Nuremberg: Michael und Johann Friedrichen Endtern, 1679. Facsimile edition, (introduced by Klemm, Christian and Becker, Jochen). 3 vols. Nördlingen, Uhl, 1994-1995; Iconologia deorum, oder Abbildung der Götter, welche von den Alten verehret worden. Nuremberg: Froberger, 1680.


Sources

Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 64, 396; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 335-37; Sponsel, Jean Louis. Sandrarts Teutsche Academie Kritisch gesichtet. Dresden: Wilhelm Hoffman, 1896; Peltzer, Rudolf A. Joachim von Sandrarts Academie der Bau-, Bild- und Mahlerey-Künste von 1675: Leben der berühmten Maler, Bildhauer und Baumeister. Munich: G. Hirth’s Verlag, 1925; Pevsner, Nikolaus. Academies of Art, Past and Present. Cambridge/New York: Cambridge University Press, 1940, pp. 115-117; Waetzoldt, Wilhelm. Deutsche Kunsthistoriker von Sandrart bis Rumohr. Berlin: Verlag Bruno Hessling, 1965, vol. 1. pp. 23-42; Klemm, Christian. Joachim von Sandrart: Kunst-Werke u. Lebens-Lauf. Berlin: Deutsche Verlag für Kunstwissenschaft, 1986; Porteman, Karel. Joachim von Sandrart, Joost van den Vondel, Caspar Barlaeus: De maanden van het jaar. Wommelgem: Den Gulden Engel, 1987; Kränzle, Peter in Biografisch-Bibliografisches Kirchenlexikon. 8 (1994) pp. 1314-1321 (www.bautz.de/bbkl); Klemm, Christian. “Sandrart, Joachim.” The Dictionary of Art. 27, 1996, pp. 724-726; Schlosser, Julius. La letteratura artistica: Manuale delle fonti della storia dell’arte moderna. Revised and edited by Otto Kurz. Florence: La Nuova Italia, 1964, pp. 478-79; “Sandrart, Joachim von.” Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 2, pp. 1004.



Contributors: Monique Daniels


Citation

Monique Daniels. "Sandrart, Joachim von." Dictionary of Art Historians (website). https://arthistorians.info/sandrartj/.


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Painter and author of an early history/biographical dictionary of artists, Teutsche Academie. Sandrart’s father was a Calvinist who had fled Valenciennes, in the county of Hainaut (then under Spain) to Frankfurt. The younger Sandrart bega

Sanfaçon, Roland

Full Name: Sanfaçon, Roland

Gender: male

Date Born: unknown

Date Died: unknown

Home Country/ies: Canada

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


Overview

french late Gothic (“gothic tardif”) architecture; “flamboyant” style


Selected Bibliography

L’Architecture flamboyante en France. Québec, 1972.


Sources

Bazin 288




Citation

"Sanfaçon, Roland." Dictionary of Art Historians (website). https://arthistorians.info/sanfaconr/.


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french late Gothic (“gothic tardif”) architecture; “flamboyant” style

Santi, Giovanni

Full Name: Santi, Giovanni

Gender: male

Date Born: 1430

Date Died: 1494

Home Country/ies: Italy

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


Overview

Raphael’s father; wrote book on Urbino and artists, including netherlandish (1482)



Sources

KGK, 20




Citation

"Santi, Giovanni." Dictionary of Art Historians (website). https://arthistorians.info/santig/.


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Raphael’s father; wrote book on Urbino and artists, including netherlandish (1482)

Santos, Reynaldo dos

Full Name: Santos, Reynaldo dos

Other Names:

  • Reinaldo dos Santos

Gender: male

Date Born: 1880

Date Died: 1970

Place Born: Oeiras, Portugal

Place Died: Lisbon, Portugal

Home Country/ies: Portugal

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

Career(s): physicians


Overview

Historian of Portuguese art and medical doctor; successor to José de Figueiredo at the Academia de Belas Artes, Lisbon. Santos’ parents were Clemente José dos Santos, a physician, and Maria Amelia dos Santos Pinheiro. His grandfather was Clement José dos Santos, Baron Santos Clemente. After secondary school, Santos entered the Medical-Surgical School of Lisbon in 1898, graduating in 1903. The Portuguese industrialist João Afonso de Carvalho gave Santos a stipend to study with French surgeons in Paris, 1904-1905, Santos subsequently tavelled to the United States to continue his study medicine. An interest in art developed during holidays in Portugal at Figueira da Foz where, with his friend, Henrique de Vilhena, where he participated in amateur archaeology. He read and was deeply influenced by the historical-positimism of Hippolyte Taine, suggested by António Santos Rocha. He completed a medical Ph.D., writing a thesis and surgical treatments of pancreatitis, Aspectos Cirúrgicos das Pancreatites Crónicas in 1906, joining the faculty of the School of medicine in Lisbon the following year. Throughout his life, his primary career would be medicine with a specialty in urology and artierography. He became disillusioned with the conditions and staff of the hospital and left under dispute, becoming Director of Municipal Hospitals. In 1915, he and the art historian José de Figueiredo discovered tapestries in Pastrana, Guadalajara, Spain derived from the Asilah region. He was critical of Portugal’s neutral status in World War I, particularly by its decision not to send medical aid to the wounded. During the War he volunteered as a surgeon for British hospitals in northern France (26th General Hospital unit) and the hospital at Wimereux. He was discharged with the British rank of major. After the War, Santos studied in Tuscany, writing a book on the Portuguese Renaissance painter Álvaro Pires de Évora in 1922. The same year he published a book on the church of Manueline, identified Francisco Alvarez as the artist of the symbol of Manueline art. He and Jorge Cid published a monograph on Nuno Gonçalves in 1925, examining in particular Gonçalves’ panels of the Adoration of S. Vicente. In 1930, he was appointed to a newly-created Chair of Urology. In 1932 he was one of ten who founded the Portuguese Academy of Fine Arts (Academia Nacional ed Belas Artes). His book on Nuno Gonçalves appeared in 1939. He and his wife, Irene Quilhó, printed a book privately on Portuguese goldsmith work of the sixteenth and seventeenth centuries in 1954. His Historia del arte portugués appeared in 1960. After his death in Lisbon, a symposium was held in his memory by the Fundução Gulbenkian. As president of the Academia Nacional ed Belas Artes, Santos had “revived a somnolent institution” by creating the Inventario artistico de Portugal (Smith). His view of Portuguese architecture was not in the European model, but as in the case of the Manueline, finding its own style.


Selected Bibliography

[dissertation:] Aspectos Cirúrgicos das Pancreatites Crónicas, Lisbon, 1906; A Tôrre de Belém, 1514-1520: estudo historico & arqueologico. Coimbra: Imprensa da Universidade, 1922; Alvaro Pires d’Evora, pintor quatrocentista em Italia. Lisbon: Imprensa Libanio da Silva 1922; As Tapeçarias da Tomada de Arzila. Lisbon: Oficinas gráficas da Biblioteca nacional de Lisboa, 1925; “L’Homme et la Mer dans l’Art Portugais.” in, Ramalho Ortigão, conferência proferida em 8 de agosto de 1935 pelo ilustre crítico de arte [conference]. Anals das bibliotecas, museus e arquivo histórico municipals 9 (1935); L’art portugais: architecture, sculpture, peinture Paris: Plon, 1938; Nuno Gonçalves, o Maior Pintor Peninsular até ao Século XVII, 1939, English, Nuno Gonçalves: the Great Portuguese Painter of the Fifteenth Century and his Altar-piece for the Convent of St. Vincent. New York: Phaidon, 1955; Os primitivos portugueses (1450-1550). Lisbon: Academia Nacional de Belas Artes, 1940; and Lacerda, Aarão de, História da arte em Portugal. 3 vols. Pôrto, Portugal: Portucalense Editora, 1942-53 [actually 1947-56]; andQuilhó, Irene. Ourivesaria portuguesa nas colecçóes particulares. Lisbon: [self-published], 1954; Historia del arte portugués. Barcelona, Editorial Labor, 1960.


Sources

Smith, Robert C. “Recent Publications on the Fine Arts of Portugal and Brazil.” Art Bulletin 26, no. 2 (June 1944): 124; Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, pp. 287, 449-450; “Reynaldo dos Santos: Médico, pedagogo, cientista, escritor, historiador e crítico de arte, um ser em movimento, universal: 1880-1970.” [website] http://www.vidaslusofonas.pt/reynaldo_dos_santos.htm; Dicionário Cronológico de Autores Portugueses 3 (1994); [obituary:] Revista de artes e letras 59, (June 1970).



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Santos, Reynaldo dos." Dictionary of Art Historians (website). https://arthistorians.info/santosr/.


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Historian of Portuguese art and medical doctor; successor to José de Figueiredo at the Academia de Belas Artes, Lisbon. Santos’ parents were Clemente José dos Santos, a physician, and Maria Amelia dos Santos Pinheiro. Hi

Sarre, Friedrich

Full Name: Sarre, Friedrich

Gender: male

Date Born: 1865

Date Died: 1945

Place Born: Berlin, Germany

Place Died: Neubabelsberg, Germany

Home Country/ies: Germany

Subject Area(s): Abbasid, Anatolian (culture or style), archaeology, Early Western World, Iranian, Islamic (culture or style), Islamic World, The, Middle Eastern, Near Eastern (Early Western World), and Turkish (culture or style)

Career(s): art collectors


Overview

Collector and archaeologist of middle eastern art. After meeting Carl Humann, Sarre traveled to Anatolia to study its medieval monuments. In 1895 and 1896, he visited Phyrigia, Lycaonia, and Pisidia. Sarre discovered several architectural monuments in the area, where he collected epigraphic material. His work interested Arabists such as Bernhard Moritz (1859-1939), Eugen Mittwoch (1876-1942), and Max van Berchem (q.v.). Sarre collected objects from the Middle East, specifically Iran and Istanbul, which were exhibited in Berlin in 1899, and at the Exposition des arts musulmans in Paris in 1903. He met Ernst Herzfeld in 1905, and together, they excavated a site in Samarra, the 9th-century capital of the Abbasid dynasty. They published their findings in Archäologische Reise im Euphrat-und Tigris Gebeit. An exhibition catalogue of Islamic art in Munich included an essay written by Sarre about the Persian carpets. He donated most of his collection to the Kaiser-Friedrich Museum in Berlin. Many of Sarre’s books, photographs, and papers were destroyed when his house burned down shortly after his death.



Sources

The Dictionary of Art




Citation

"Sarre, Friedrich." Dictionary of Art Historians (website). https://arthistorians.info/sarref/.


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Collector and archaeologist of middle eastern art. After meeting Carl Humann, Sarre traveled to Anatolia to study its medieval monuments. In 1895 and 1896, he visited Phyrigia, Lycaonia, and Pisidia. Sarre discovered several

Sas-Zaloziecky, Wladimir

Full Name: Sas-Zaloziecky, Wladimir

Other Names:

  • Vladimir Sas-Zaloziecky

Gender: male

Date Born: 1896

Date Died: 1959

Home Country/ies: Austria


Overview

Wiener Institut director immediately after World War II (1945) Sas-Zaloziecky was assistant professor at Lemberg between 1935-39 and from 1940 Professor in Vienna. He was a specialist for Eastern European and Byzantine history of art. In 1949 he became professor in Graz.


Selected Bibliography

Die byzantinische Baukunst in den Balkanländern und ihre Differenzierung unter abendländischen und islamischen Einwirkungen; Studien zur Kunstgeschichte der Balkanländer. Munich: R. Oldenbourg, 1955.


Sources

“150 Jahre Kunstgeschichte an der Universität Wien.” http://www.univie.ac.at/kunstgeschichte-tutorium/wienerschule/geschichte.htm




Citation

"Sas-Zaloziecky, Wladimir." Dictionary of Art Historians (website). https://arthistorians.info/saszalozieckyv/.


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Wiener Institut director immediately after World War II (1945) Sas-Zaloziecky was assistant professor at Lemberg between 1935-39 and from 1940 Professor in Vienna. He was a specialist for Eastern European and Byzantine history of art. In 1949 he b

Sauer, Bruno

Full Name: Sauer, Bruno

Gender: male

Date Born: 1861

Date Died: 1919

Place Born: Leipzig, Saxony, Germany

Home Country/ies: Germany

Subject Area(s): Ancient Greek (culture or style), Antique, the, and Classical


Overview

Specialist in Ancient Greek art. Professor of Art History at the University of Giessen, 1898-1909, at the University of Kiel, 1909-1919.


Selected Bibliography

Das sogenannte Theseion und sein plastischer Schmuck, 1899. Weber-Labord’schen Kopf und die Giebelbruppen des Parthenon, 1903. Geschichte der Archäologie, 1913.


Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 140-141.




Citation

"Sauer, Bruno." Dictionary of Art Historians (website). https://arthistorians.info/sauerb/.


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Specialist in Ancient Greek art. Professor of Art History at the University of Giessen, 1898-1909, at the University of Kiel, 1909-1919.

Sauerländer, Willibald

Full Name: Sauerländer, Willibald

Other Names:

  • Willibald Sauerländer

Gender: male

Date Born: 28 March 1924

Place Born: Waldsee, Rhineland Palatinate, Germany

Home Country/ies: Germany

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


Overview

Major scholar of French Medieval sculpture in the 20th century; Director Zentralinstitut für Kunstgeschichte, 1970-1989. Sauerländer entered the Ludwig-Maximilians-Universität in Munich in 1946, receiving his Ph.D. there in 1953 under Hans Jantzen. Early on, the friendship and scholarship of Louis Grodecki was formative to his methodology. In 1958 he published a seminal article on the west portals of Senlis and Mantes cathedrals, followed by a second on the west portals of Notre Dame, which redefined the study of Gothic sculpture (Little). He taught in Paris, 1959-1961, and then, at the invitation of Erwin Panofsky, in Princeton, N. J. at the Institute for Advanced Study in 1961. In Princeton, Sauerländer developed his theory for the sculpture at Châlons-sur-Marne, which he presented at the 1961 International Congress of Art History in New York. He further lectured at Marburg 1961-1962 and took an appointment at Freiburg, 1962-1970. While at Freiburg, he utilized the photographic collection of its great medievalist, Wilhelm Vöge. The collection included images of works before their damage or displacement in World War I. Sauerländer was a visiting professor at New York University’s Institute of Fine Arts, 1963-1965, 1969-1970. His 1966 book Von Sens bis Strassburg, established his profile as a medievalist and became “something of a lighting rod for the debate concerning the role of style as an agent of change,” (Little). The same year (1970) he published his best known book, Gotische Skulptur in Frankreich (translated into English as the Gothic Sculpture in France, 1971). The book broke the Chartres-centric view of the genesis of medieval sculpture and secured his reputation among English-language readers. He accepted the director position at the Zentralinstitut für Kunstgeschichte, Munich, in 1970. The work appeared the same year as the Metropolitan Museum of Art, New York, launched an exhibition to commemorate the centenary of the Museum, an exhibition and symposium “The Year 1200” organized by the Chair of the Department of Medieval Art and the Cloisters, Florens Deuchler. Sauerländer lectured at the Institute of Fine Arts, New York University during the run of the show, but the cancellation of classes that spring because of Viet Nam War protests at the university curtailed more interaction. He was a member of the Institute of Advanced Study in Princeton in 1973. During the 1980s he held several visiting appointments, including the Collège de France, Paris, 1981; University of Wisconsin, Madison, in 1982; Harvard University, 1984 and 1985, and the University of California, Berkeley, 1989. He retired from the Zentralinstitut in 1989. Following that he acted as the chief critic for medieval exhibitions for the Süddeutsche Zeitung. In 1991 he presented the Mellon lectures at the National Gallery of Art, Washgington, D. C. Sauerländer was credited by the Times Literary Supplement in the early 1970s as having rewritten the history of early French Gothic Sculpture. His discovery of the importance of the Châlons-sur-Marne cloister fragments was continued by Léon Pressouyre. He has acknowledged his debt to the methodology of Vöge and, working in Paris in the 1950s, to André Chastel. Vöge’s images allowed him to make visual comparisons in juxtaposition. In general, Sauerländer looks at a history of styles within early medieval sculpture to determine influence of masters and date sculpture. His most famous work, Gothic Sculpture in France, shows him avoiding the study of sculpture by monument in favor of grouping the figures by stylistic period. In his historiographic writing, Sauerländer characterized post-World War II art history in Munich as “would-be Positivism,” citing a shift toward empiricism and positivism. Most of his doctoral students were in Germany; his American students include Sharon Jones (IFA) and Michael Ward.


Selected Bibliography

[bibliography:] Busch, Werner, and Kemp,Wolfgang, and Warnke, Martin, eds. Sauerländer, Willibald. Geschichte der Kunst–Gegenwart der Kritik. Cologne: Dumont, 1999, pp 343-359; “Die Marienkrönungsportale von Senlis und Mantes.” Wallraf-Richartz Jahrbuch 20 (1958): 115-162; “Die kunstgeschichtliche Stellung der Westportale von Notre Dame in Paris.” Marburger Jahrbuch für Kunstwissenschaft 17 (1959): 1-56; and Kauffmann, Georg, eds., Walter Friedlaender zum 90. Geburtstag: eine Festgabe seiner europäischen Schüler, Freunde und Verehrer. Berlin: De Gruyter, 1965; Von Sens bis Strassburg: Ein Beitrag Zur Kunstgeschichtlichen Stellung Der Strassburger Querhausskulpturen. Berlin: Walter De Gruyter, 1966; “Alle Jahre wieder . . . ?” Kunstchronik 25 (1975): 262; Gotische Skulptur in Frankreich: 1140-1270. Munich: Hirmer, 1970, English, Gothic Sculpture in France: 1140-1270. New York: Abrams, 1971; editor, Studien zur mittelalterlichen Kunst 800-1250 : Festschrift für Florentine Mütherich zum 70. Geburtstag. Munich: Prestel-Verlag, 1985.


Sources

“Comparable Carving.” Times Literary Supplement April 13, 1973: 410; Dilly, Heinrich. Kunstgeschichte als Institution: Studien zur Geschichte einer Diziplin. Frankfurt am Main: Suhrkamp, 1979, pp. 46-7; Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986 p. 277;[biographical essay] Sauerländer, Willibald. Geschichte der Kunst–Gegenwart der Kritik. Cologne: Dumont, 1999; Suda, Sasha. “In Conversation: WillibaldSauerländer with Sasha Suda.” Brooklyn Rail: Critical Perspectives on Arts, Politics and Culture February 2010;Sauerländer, Willibald. “Afterthoughts to a Conversation with Sasha Suda.” Brooklyn Rail: Critical Perspectives on Arts, Politics and Culture April 2010; Little, Charles T. “WillibaldSauerländer: Gothic Art and Beyond.” in Hourihane, Colum, ed. Gothic Art and Thought in the Later Medieval Period: Essays in Honor of WillibaldSauerländer. Princeton, NJ: Index of Christian Art, Department of Art & Archeology, Princeton University/Penn State University Press, 2011, pp. 3-6.




Citation

"Sauerländer, Willibald." Dictionary of Art Historians (website). https://arthistorians.info/sauerlanderw/.


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Major scholar of French Medieval sculpture in the 20th century; Director Zentralinstitut für Kunstgeschichte, 1970-1989. Sauerländer entered the Ludwig-Maximilians-Universität in Munich in 1946, receiving his Ph.D. there in 1953 under

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