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Sauerlandt, Max

Full Name: Sauerlandt, Max

Other Names:

  • Friedrich August Max Sauerlandt

Gender: male

Date Born: 06 February 1880

Date Died: 01 January 1934

Place Born: Berlin, Germany

Place Died: Hamburg, Germany

Home Country/ies: Germany

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

Institution(s): Landeskunstschule Hamburg, Museum für Kunst und Gewerbe Hamburg, Städtisches Museum für Kunst und Kunstgewerbe Halle, and Universität Hamburg


Overview

Museum director and expert of decorative arts (especially ceramics and porcelain), expressionism, and museum concepts. Max Sauerlandt was born in 1880 to Max Saurelandt, a timber merchant, and Marie Plath (Sauerlandt). Sauerlandt was born into the Protestant faith. Growing up in Hamburg, he attended Matthias-Claudius-Gymnasium and received his abitur in 1898. He spent his first five semesters of study in Marburg and Berlin learning about classical philology, then the next four semesters in Munich and Berlin studying art history. His instructors were Heinrich Wölfflin, Karl Voll, Wesse, Adolph Goldschmidt, and Berthold Riehl. He finished his doctoral studies in 1903 in Berlin under Heinrich Wölfflin, and his dissertation was published under the title Die Bildwerke des Giovanni Pisano (The Pictorial Works of Giovanni Pisano) the following year. In 1904, he also played a minor role for a year as a collaborator on the Thieme-Becker Künstlerlexikon, a bibliographical dictionary of artists which was ultimately a decades-long research project. From 1905-1908, Sauerlandt was a trainee at the Museum für Kunst und Gewerbe in Hamburg under the director of the museum, Justus Brinckmann. He married Alice Schmidt, who was herself an art historian and student of Kӓthe Kollwitz, in 1907. After satisfactory completion of his training, he took the position of Director of the Städtisches Museum für Kunst und Kunstgewerbe in Halle, Germany. He remained in this role from 1908-1914, his chief contribution being the reorganization and supplementation of the disorganized holdings according to modern museum practice. Sauerlandt’s dedication to promoting modern art in Germany is evidenced by his acquisition of works from the progressive artists of the time, including Emil Nolde and Max Beckmann. From 1914-1918, Sauerlandt’s museum work was interrupted by his service in World War I. After his service, Sauerlandt succeeded Justus Brinckmann as the Director of the Museum für Kunst und Gewerbe in Hamburg. There, similar to his time at the Städtisches Museum für Kunst und Kunstgewerbe, he reorganized the collections, refurbished the exhibition rooms, and acquired new works to add to the collection. His most noteworthy purchases were of contemporary graphic art and sculpture, including the works of Henry Moore and several German expressionist “Die Brücke” artists. At the museum, he also promoted Emil Nolde, Rolf Nesch, Missei Kogan, Gustav Heinrich Wolff, and Richard Haizmann. He was Director until 1933. In 1919, Sauerlandt was appointed an honorary professor for the history of arts and crafts at Universität Hamburg. During his time there, the art history department became the only one in Germany to have a focus of study on the applied arts. In 1922, Sauerlandt became the editor of the reports of the Justus Brinckmann Society in Hamburg. Sauerlandt became embroiled in a heated debate in 1926 when Paul Heise began his planning for the celebrations of the 700th anniversary of the city of Lübeck. In an effort to put on a grand exhibition, Heise acquired the loan of several original works by Lübeck artists, which was quite a triumph for the city since most were on display abroad. However, Heise used reproductions for the original pieces that could not be lent, infuriating Sauerlandt and his contemporaries from Hamburg. The debate is known as the Hamburger Faksimile-Streit (Hamburg facsimile dispute). Starting in 1930, he became the Director of the Landeskunstschule, a fine arts university, in Hamburg. He used his recognition to publish newspapers and magazines that promoted German contemporary art. In April of 1933, Sauerlandt took a leave of absence as museum director and was removed from office by the National Socialist Party as the Director of the Landeskunstschule for his open commitment to contemporary art. He actually harbored political sympathies for the Nazi Party, but his fight for reinstatement was ultimately futile. Because he still remained in his position at Universität Hamburg, Sauerlandt used the summer semester of 1933 to engage students in a number of lectures that were intended to warn of what was to come under a new regime. His lecture titles included “Art of the Last 30 Years” and “The Present Situation and the Task of Museums in the New State.” In November of 1933, he was removed from his office at Universitӓt Hamburg due to the Law for the Restoration of the Professional Civil Service. In 1934, Sauerlandt was the victim of a vicious cancer that took his life.

Sauerlandt argued vigorously for the sole validity of the original art piece. He believed that in every copy, reconstruction, or forgery at least one crucial element of the viewing experience was lost. His polemic was mainly directed at facsimile reproductions, as is evidenced by the Hamburg facsimile dispute (Hüneke, Von der Verantwortung, p. 265). Sauerlandt was an authority on all matters of the museum of the present. His lectures at conferences and in the classroom provided material for discussion and informed the taste and judgement of the time. He changed the notion of the museum at the time and reached out to the public museum banners and posters in the urban space (Hüneke, Von der Verantwortung, p. 264). Sauerlandt used a number of Brinckmann’s principles in museum technique (Hüneke, Von der Verantwortung, p. 261). He also, however, staunchly promoted German contemporary art.


Selected Bibliography

  • [dissertation:] Die Bildwerke des Giovanni Pisano Düsseldorf, Leipzig 1904;
  • Die blauen Bücher, Griechische Bildwerke Düsseldorf, Leipzig 1907;
  • Die blauen Bücher, Der stille Garten. Deutsche Maler der Ersten Hälfte des 19. Jahrhunderts Königstein, Leipzig 1908;
  • Die blauen Bücher, Deutsche Plastik des Mittelalters Königstein, Leipzig 1909;
  • Die blauen Bücher, Deutsche Plastik des Mittelalters Königstein, Leipzig 1909;
  • Die blauen Bücher, Michelangelo Königstein, Leipzig 1911;
  • Stätten der Kultur: Halle Leipzig 1913;
  • Jahresbericht der städtischen Museen Haue 1908-12;
  • Emil Nolde Munich 1921
  • Die blauen Bücher, Kinderbildnisse aus fünf Jahrhunderten der europäischen Malerei von etwa 1450 bis etwa 1850 Königstein, Leipzig 1921;
  • Norddeutsche Barockmöbel Elberfeld 1922;
  • Die blauen Bücher, Die Musik in fünf Jahrhunderten der europäischen Malerei. Etwa 1450 bis 1850 Königstein, Leipzig 1922;
  • Deutsche Porzellan-Figuren des 18. Jahrhunderts Cologne 1923;
  • Die blauen Bücher, Deutsche Bildhauer um 1900. Von Hildebrand bis Lehmbruck Königstein, Leipzig 1925;
  • Einheit des Künstlerischen: die deutschen Museen und die deutsche Gegenwartskunst 1925;
  • Die deutsche Plastik des 18. Jahrhunderts Munich 1926;
  • Werkformen deutscher Kunst. Vom Wesen der Kunst und der Kunstbetrachtung Königstein, Leipzig 1926;
  • Die blauen Bücher, Kleinplastik der deutschen Renaissance Königstein, Leipzig 1927;
  • Edelmetallfassungen in der Keramik Berlin 1929;
  • Festschrift zum 50jährigen Bestehen des Museums für Kunst und Gewerbe in Hamburg Hamburg 1929;
  • Drei Betrachtungen zur Stellung der Kunst in unserer Zeit, Das Sofabild oder die Verwirrung der Kunstbegriffe Hamburg 1930;
  • Drei Betrachtungen zur Stellung der Kunst in unserer Zeit, Original und Faksimilereproduktion Hamburg 1930;
  • Drei Betrachtungen zur Stellung der Kunst in unserer Zeit, Die deutschen Museen und die deutsche Gegenwartskunst Hamburg 1930.

Sources

  • Hüneke, Andreas “Von der Verantwortung des Museumsdirektors – Max Sauerlandt” Avantgarde und Publikum Hrsg. v. Henrike Junge. Köln, Weimar, Wien 1992, S. 261-268;
  • Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten Stuttgart: Metzler, 1999, pp. 337-39;
  •  
  • Wendland, Ulrike Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. Munich: Saur, 1999, vol. 2, pp. 581- 586;
  • Gosebruch, Martin “Sauerlandt und Klähns Kunst.” in Gädeke, Thomas, ed., Wolfgang Klähn und die Krise der Mondern/Wolfgang Klähn and the Crisis of Modern Art. Leipzig: E. A. Seemann, 2007, p. 138


Contributors: Lee Sorensen and Paul Kamer


Citation

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


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Museum director and expert of decorative arts (especially ceramics and porcelain), expressionism, and museum concepts. Max Sauerlandt was born in 1880 to Max Saurelandt, a timber merchant, and Marie Plath (Sauerlandt). Sauerlandt was born into the

Saxl, Fritz

Full Name: Saxl, Fritz

Other Names:

  • Fritz Saxl

Gender: male

Date Born: 08 January 1890

Date Died: 22 March 1948

Place Born: Vienna, Vienna state, Austria

Place Died: Dulwich, Southwark, London, Greater London, England, UK

Home Country/ies: Austria

Career(s): educators and librarians


Overview

Courtauld Institute professor and librarian, instrumental force in moving Warburg library to London and administering it duirng Warburg’s mental illness. Saxl was born to Ignaz Saxl and Wilhelmine Falk (Saxl). His father was a distinguished state attorney in Vienna. Although of devout Jewish grandparentage, Saxl’s father had rejected religion and the children were raised in a secular, culturally-Jewish home. After receiving an Abitur from the Maximilians gymnasium in 1908, where his classmate was the future art historian Emil Kaufmann, Saxl studied art history and archaeology in Vienna at the Institut für Österreichische Geschichtsforschung under the [second] “Vienna School” art historians Franz Wickhoff, Julius Alwin von Schlosser and Max Dvořák and in Berlin, 1909-1910 under Heinrich Wölfflin. Saxl completed his dissertation still only age 22, under Dvořák on various aspects of Rembrandt in 1912. The year before he had met the private scholar-art historian Aby M. Warburg. Saxl spent the academic year 1912-1913 on a stipend in Rome where he studied medieval texts on astrology and mythology. In 1913 he married Elise Bienenfeld and joined the Warburg Library in Hamburg as the librarian. Saxl fell under Warburg’s spell, adopting his mentor’s methodology, viewing the history of art as the transmission of pagan myth through literature and art of the medieval and renaissance periods. Although Saxl had specialized in the baroque era in Vienna, his interest in the medieval period and astrological manuscripts, alive before he met Warburg, took on new meaning. The first volume of a catalog of astrological manuscripts appeared in 1915. When World War I erupted, Saxl served as a first lieutenant in the Austro-Hungarian army (1914-1918) seeing action in Italy and 1918-19 as a teacher for the army. In 1919 he returned to the Warburg. Warburg himself was indefinitely committed to a mental asylum and Saxl took over the day-to-day running of the library foundation, and developing it, with colleague Gertrud Bing, from 1922 onward, according to Warburg’s wishes into the Warburg Institut, aligning it with the newly founded University of Hamburg in 1921. Saxl enlisted Warburg’s brothers, financiers in New York and Hamburg, to assist financially. Saxl initiated the Vorträge der Bibliothek Warburg, publishing an article himself in the series. Saxl was a privatdozent (1922-1923) and then lecturer between 1923-1933 for the University in Hamburg. In 1923 Saxl and another Warburg exponent, Erwin Panofsky, jointly authored an important study building on Warburg’s principle of pictorial themes migrating to intellectual realm, using Dürer’s Melancholia I. Warburg returned from hospitalization in 1924. Saxl traveled on research outings to Rome, London, Vienna and Heidelberg. A second volume of the astrological manuscripts appeared in 1927. At Warburg’s death in 1929, Saxl succeeded him as director. Saxl foresaw the disasters the Nazis promised for scholarship in Germany, especially for those institutions intimately connected with Jewish founders and scholars such as Saxl and Warburg. He gave fellow Schlosser student Otto Kurz a position as librarian when Kurz could find no work in anti-semitic Austria. Saxl himself hoped to move the Warburg to Holland, but when those deliberations failed, Saxl contracted with Samuel Courtauld (1876-1947, principal benefactor of the Courtauld Institute) and Arthur Hamilton Lee (Viscount Lee of Fareham, 1868-1947, Chairman, Management Committee of the Courtauld Institute of Art) to move the Warburg Library “on loan” to the Courtauld Institute at the University of London in 1933. At the same time, other Hamburg scholars who were connected with the Warburg followed. These included the recently graduated Hugo Buchthal, Edgar Wind and E. H. Gombrich. The library was temporary housed in the basement of Thames House. In 1938 the Warburg lost this temporary housing and the papers had once again to be crated up. Funds to maintain this unusual think-tank were particularly hard to come by. Saxl devoted the remaining years of his life to maintaining the Institute, at the cost of his own scholarship. When Britain entered the World War II, the Warburg was evacuated to Denham, England, and Saxl hired Buchthal to be its librarian for most of the 1940s and as a scholar to keep it responsive to the needs of research. Saxl became a British citizen in 1940. In 1944 the Warburg Institute was officially made part of the University of London. Between 1945 and 1946, he traveled to the United States, securing cooperation on a number of scholarly projects, among them the Illustrated Bartsch, (the Peintre graveur of Adam von Bartsch, updated scholarship and illustrations), and a Census of Classical Works of Art Known to the Renaissance, sparked by the enthusiasm of Karl Leo Heinrich Lehmann, Richard Krautheimer and Panofsky. Saxl spent the final years of his life maintaining the Warburg. It was often noted by biographers that he sacrificed personal scholarship in order to run the Warburg. At his death in 1948, he was succeeded by Henri Frankfort. The remaining volumes of the Verzeichnis astrologischer und mythologischer illustrierter Handschriften, renamed the Catalogue of Astrological and Mythological Illuminated Manuscripts of the Latin Middle Ages, were issued in 1953 by Hans Meier and Harry Bober. Bing was his life partner and the two maintained a house in Dulwich, England, where they entertained.

Saxl represents in some ways the “purest” continuation of Aby M. Warburg’s methodology. Other Warburg scholars (Wind, Gombrich, Panofsky) developed their own stamp. But Saxl remained fascinated by the transmission of mythology through the language of forms on which Warburg had founded his institution. His methodological influence was particularly profound on Jean Adhémar.


Selected Bibliography

[complete bibliography:] La fede negli astri: dall’antichità al Rinascimento. Settis, Salvatore, editor. Torino: Boringhieri, 1985, pp. 499-513; [dissertation:] Rembrandt Studien. University of Vienna, 1912; Verzeichnis astrologischer und mythologischer illustrierter Handschriften des lateinischen Mittelalters. volume 1, Heidelberg: C. Winter, 1915, volume 2, Heidelberg: C. Winter, 1927, [vols 3 and 4 issued under the English:] and Meier, Hans, and Bober, Harry, and McGurk, Patrick. Catalogue of Astrological and Mythological Illuminated Manuscripts of the Latin Middle Ages. volume 3 and volume 4, London: Warburg Institute, 1953-66; edited, Vorträge der Bibliothek Warburg. Leipzig: B. G. Teubner, 1923-1932; and Panofsky, Erwin. Dürer’s “Melancholia I”: Eine quellen- und typengeschichtliche Untersuchungen. Leipzig and Berlin: B. G. Teubner, 1923. Expanded and translated into English as, Saturn and Melancholy: Studies in the History of Natural Philosophy, Religion and Art. Revised with the collaboration of Raymond Klibansky. London: Nelson, 1964; Frühes Christentum und spätes Heidentum in ihren künstlerischen Ausdrucksformen. [Special supplement to] Wiener Jahrbuch für Kunstgeschichte, vol. II (XVI). Vienna: Krystall-Verlag, 1925; [Saxl major contributor] Mithras, typengeschichtliche Untersuchungen. Berlin: Heinrich Keller, 1931; and Panofsky, Erwin. “Classical Mythology in Medieval Art.” Metropolitan Museum Studies 4 (1932-1933): 228-280; La fede astrologica di Agostino Chigi: interpretazione dei dipinti di Baldassare Peruzzi nella sala di Galatea della Farnesina. Rome: Reale accademia d’Italia, 1934; Rembrandt’s Sacrifice of Manoah. Studies of the Warburg Institute 9. London: The Warburg Institute, 1939; “The Battle Scene without a Hero.” Journal of the Warburg and Courtauld Institutes 3 (1939-40): 70-87; “The Ruthwell Cross.” Journal of the Warburg and Courtauld Institute 6 (1943): 1-19;and Wittkower, Rudolf. British Art and the Mediterranean. New York: Oxford University Press, 1948; English Sculptures of the Twelfth Century. London: Faber and Faber, 1954; Lectures. London: Warburg Institute, University of London, 1957; A Heritage of Images: A Selection of Lectures by Fritz Saxl. Introduction by E. H. Gombrich. 2 vols. Harmondsworth, Middlesex: Penguin, 1970; “The History of Warburg’s Library.” In Gombrich, Aby Warburg. 2nd ed. Oxford: Phaidon Press, 1986, pp. 325-338.


Sources

Bing, Gertrud. “Fritz Saxl: 1890-1948” (Introduction), in Fritz Saxl: 1890-1948: A Volume of Memorial Essays from his Friends in England. D. J. Gordon, ed. New York: T. Nelson, 1957, pp. 1-46; Kleinbauer, W. Eugene. Modern Perspectives in Western Art History: An Anthology of 20th-Century Writings on the Visual Arts. New York: Holt, Rinehart and Winston, 1971, pp. 62, 83, 55 n. 117; Kleinbauer, W. Eugene. Research Guide to the History of Western Art. Sources of Information in the Humanities, no. 2. Chicago: American Library Association, 1982, p. 65; Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, p. 216; McEwan, Dorothea, editor. Ausreiten der Ecken: die Aby Warburg – Fritz Saxl Korrespondenz, 1910 bis 1919. Hamburg: Dölling und Galitz, 1998; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 339-40; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 337-39; Wendland, Ulrike. Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. Munich: Saur, 1999, vol. 2, pp. 586-592; Bing, Gertrud. “Saxl, Fritz.” Dictionary of National Biography 1941-1950: 761-62; [obituaries:] “Professor Fritz Saxl, The Warburg Institute.” The Times (London) March 27, 1948, p. 7; Webb, Geoffrey. “Fritz Saxl 1890-1949.” Burlington Magazine 90 (July 1948): 209.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Saxl, Fritz." Dictionary of Art Historians (website). https://arthistorians.info/saxlf/.


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Courtauld Institute professor and librarian, instrumental force in moving Warburg library to London and administering it duirng Warburg’s mental illness. Saxl was born to Ignaz Saxl and Wilhelmine Falk (Saxl). His father was a distinguished state

Salerno, Luigi

Full Name: Salerno, Luigi

Other Names:

  • Luigi Salerno

Gender: male

Date Born: 03 September 1924

Date Died: 22 July 1992

Place Born: Rome, Lazio, Italy

Home Country/ies: Italy

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


Overview

Scholar of the Italian baroque and Salvator Rosa; historiographer. Luigi Salerno was born Aldo Salerno and Maria Santangelo. His maternal uncle was the art historian Antonino Santangelo. He graduated from Università di Roma, “La Sapienza,” in 1946 with a laurea in Storia dell’arte moderna, writing his thesis on the Macchiaioli under Lionello Venturi. He secured a scholarship from the Istituto d’archeologia e storia dell’arte in 1946 and during its final year, 1948, a fellowship at the Warburg Institute in London. At the Warburg he came in contact with the important, largely expatriate art historians who in many ways defined his methodology. These included Fritz Saxl and E. H. Gombrich, and most closely, Rudolf Wittkower. In London, too, Salerno encountered the art historian/collector, heir to the Guinness Mahon merchant banking fortune, Denis Mahon. The two became life-long friends with Mahon advising Salerno’s early works particularly his books on Giovanni Lanfranco and Giulio Mancini. Mahon also introduced Salerno to Benedict Nicolson, the editor of the prestigeous The Burlington Magazine. Nicolson encouraged him to publish in the magazine, which became his entre into the English-language art world. Salerno shared a flate in Rome with Alessandro Marabottini, assistant to Mario Salmi. In 1953 Salerno married Elda Campana. Salerno joined the Antichità e belle arti del ministero della pubblica istruzione in 1947 and the following year to the Soprintendenza alle gallerie di Roma. After the catalog Il Seicento Europeo, 1956, written with Marabottini, he was promoted in 1958 to monuments director for Lazio (Soprintendenza ai monumenti del Lazio). There he researched and wrote on the urban history of Rome beginning with, Altari barocchi in 1959. The same year he was appointed professor in art history at the Università di Roma. He joined the editorial committee of the Enciclopedia universale dell’arte publishing the monumental article on art historiography in the 1963 volume. His articles in the Burlington Magazine on the inventory of the collection of Vincenzo Giustiani, 1960, established his scholarly reputation. Salerno followed this with important contributions to the Via del Corso edited by Carlo Pietrangeli, 1961. Other studies of the Roman architecture and urban space by Salerno included Palazzo Rondinini (1964), Piazza di Spagna (1967), and Roma communis patria (1968). Together with Luigi Spezzaferro and the architectural historian Manfredo Tafuri, the trio published Via Giulia: una utopia urbanistica del 500 in 1973. Salerno acted as visual arts co-director for the journal Palatino. In 1965 he taught as a visiting professor at Pennsylvania State University for the fall semester. An acquaintance with Robert Enggass and his wife, Catherine, resulted in their acting as translators of several of his works. In the 1960s, Salerno, again with Mahon, authenticated two Caravaggio paintings in American museums, “Martha and Mary Magdalene” (Detroit Institute of Arts) and “The Crucifixion of Saint Andrew” (Cleveland Museum of Art). Salerno won a 1968-1969 Fulbright scholarship as a fellow at the American Academy in Rome. He developed a particular interest in the relatively neglected painter Salvator Rosa, culmonating in a monograph on the painter in 1963. In 1967 Salerno was appointed director at the Calcografia nazionale and around this same time entrusted with the directorship of the Ufficio esportazione, known as the Dogana, the department authorizing exportation of works of art from Italy. In 1973 he left Rome for the Soprintendenza dell’Aquila but retired early from his administrative responsibilities to devote more of his time to research. Among publications during this time was a second book on Salvator Rosa in 1975 and the exhibition catalog for the Metropolitan Museum of Art’s 1985, “The Age of Caravaggio” His I dipinti del Guercino, 1988.and I pittori di vedute in Italia, 1991, followed. He co-editor of the journal Storia dell’arte, founded by Giulio Carlo Argan in 1987. After a long illness, Salerno died in 1992, leavnig a photo archive of more than 3,500 photographs. His papers are held at the Getty Research Institute. Salerno’s contributions to the history 17th and 18th century art in Italy was significant. His co-discovery of two Caravaggio paintings in the United States has not been questioned. His scholarship on Guercino remains important and he was an established authority on Luca Giordano and particularly Salvator Rosa. His specialty was in the so-called “unacademic painters” Filippo Napoletano, Jacques Callot, Angelo Caroselli, Giovanni Benedetto Castiglione, Pier Francesco Mola, and Pietro Testa.


Selected Bibliography

Lavagnino, Emilio, and Ansaldi, Guilio R. Altari barocchi in Roma. Rome: Banco di Roma, 1959; “Historiography.” Encyclopedia of World Art. Englewood Cliffs, NJ: Prentice-Hall, 1963: 196-229; Salvator Rosa. Milan: Club del Libro, 1963; Indice delle pitture esistenti in Roma. Rome: Fratelli Palombi, 1975; Pittori di paesaggio del seicento a Roma/Landscape Painters of the Seventeenth Century in Rome. 3 vols. Rome: U. Bozzi, 1977-1978; La natura morta italiana, 1560-1805/Still Life Painting in Italy, 1560-1805. Rome: Ugo Bozzi Editore, 1984, English, Still Life Painting in Italy, 1560-1805. Rome: Bozzi, 1984; The Age of Caravaggio. New York: Metropolitan Museum of Art/Electa/Rizzoli, 1985; Nuovi studi su la natura morta Italiana/New Studies on Italian Still Life Painting. Rome: Bozzi Editore, 1989; I dipinti del Guercino. Rome: U. Bozzi, 1988;


Sources

Kleinbauer, W. Eugene. Modern Perspectives in Western Art History: An Anthology of 20th-Century Writings on the Visual Arts. New York: Holt, Rinehart and Winston, 1971, p. 37 n. 75; Ferrari, Oreste. “Luigi Salerno, 1924-1992.” Strenna dei romanisti 1993, p. 453-454; Julier, Insley. [finding aid for] Luigi Salerno research papers, 1948-1996. Getty Research Center. http://hdl.handle.net/10020/cifa2000m26.


Archives


Contributors: Emily Crockett and Lee Sorensen


Citation

Emily Crockett and Lee Sorensen. "Salerno, Luigi." Dictionary of Art Historians (website). https://arthistorians.info/salernol/.


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Search for materials by & about this art historian:

Scholar of the Italian baroque and Salvator Rosa; historiographer. Luigi Salerno was born Aldo Salerno and Maria Santangelo. His maternal uncle was the art historian Antonino Santangelo. He graduated from Università di Roma, “La Sapienza,” in 1946

Salet, Francis

Full Name: Salet, Francis

Gender: male

Date Born: 1909

Date Died: 2000

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

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

Home Country/ies: France


Overview

Heraldry authority and Director of the Musée Cluny, 1967-1979. Salet graduated from the École nationale des chartes of the Sorbonne, in archival paleography in 1932. Salet was hired at the Louvre Museum in 1937 in the Department of Sculpture. After World War II, he moved to the the Department of Objets d’Art in 1945. Three years later, in 1948 he joined the Musée national du Moyen Age (Cluny) Museum as a conservator. Salet wrote the volume on Gothic art for the series Les Neuf muses: histoire générale des arts in 1963. His interests included medieval heraldry and emblems which he used to identify dates of art works. He published his Histoire et heraldique: La succession de Bourgogne de 1361, in 1966. He rose to conservateur en chef in 1967. He edited the Bulletin Monumental and was president of the Societe Francaise d’Archeologie. In that capacity he and Alain Erlande-Brandenburg sponsored the American Walter B. Cahn for membership in the Société. In 1972 he added the role of Inspector General of the Museums of France, holding all position until his retirement in 1979. As Inspector General, the Musée de la Renaissance au château d’Ecouen (Val- d’Oise) was created. Bewteen 1981 and 1999 he was part of the college of curators in Chantilly (Oise). Throughout his life, Salet argued for a study of monuments and art objects based on the examination of relevant sources and texts. His life was dedicated to safeguarding France’s cultural heritage, from its museum treasures to its historical monuments.


Selected Bibliography

La Madeleine de Vézelay. Melun: Librairie d’Argences, 1948; L’art gothique. Paris: Presses universitaires de France, 1963; “Histoire et heraldique: La succession de Bourgogne de 1361.” in, Gallais, Pierre, and Riou, Yves-Jean, eds. Mélanges offerts à René Crozet: a l’occasion de son 70. anniversaire par ses amis, ses collègues, ses élèves et les membres du C.É.S.C.M. Poitiers: Société d’Études Médiévales, 1966, pp. 1307-1316; Cluny et Vézelay: l’ouvre des sculpteurs. Paris: Société française d’archéologie, 1995.


Sources

Sears, Elizabeth. “The Art-Historical Work of Walter Cahn.” in Hourihane, Colum, ed. Romanesque Art and Thought in the Twelfth Century: Essays in Honor of Walter Cahn. University Park, Pa: Penn State Press, 2008, p. 21, note 39; [obituaries:] Sauerlander, Willibald. Bulletin Monumental 158 no. 4 (2000): 289-292; Joubert, Fabienne. “Francis Salet (1909-2000).” Revue de l’Art 130 (2000): 87; Vaivre, Jean-Bernard de. “Francis Salet, un eminent connaisseur de l’heraldique et de l’emblematique medievales.” Bulletin Monumental 158 no. 4 (2000): 293-295.




Citation

"Salet, Francis." Dictionary of Art Historians (website). https://arthistorians.info/saletf/.


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Heraldry authority and Director of the Musée Cluny, 1967-1979. Salet graduated from the École nationale des chartes of the Sorbonne, in archival paleography in 1932. Salet was hired at the Louvre Museum in 1937 in the Department of Sculpture. Afte

Salis, Arnold von

Full Name: Salis, Arnold von

Gender: male

Date Born: 1881

Date Died: 1958

Place Born: Liestal, Basle-Country, Switzerland

Place Died: Zürich, Switzerland

Home Country/ies: Germany

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


Overview

Specialist in ancient Greek and hellenic art. He was born in Liestal, Switzerland, near Basel. Salis graduated from a Gymnasium in Basel and attended courses in classics, philology and art history at prominent German-speaking universities. At the university of Basel Salis studied classics under Hans Dragendorff art history under Heinrich Wölfflin, and classical philology under Erich Bethe (1863-1940), Alfred Körte (1866-1946) (who succeeded Bethe) and Jacob Wackernagel (1853-1938). At Bonn under the pottery scholar Georg Loeschcke and philology with Franz Bücheler (1837-1908) and Hermann Usener (1834-1905). In Berlin he studied further under Wölfflin and philology with Ulrich von Wilamowitz-Moellendorff (1848-1931). His Ph.D. was granted in 1905 with a dissertation, written in Latin, on the vestiages of Doric plays in Attic comedy. It would be his only philological writing. In 1906 he began publishing on archaeology, traveling to Greece and Asia Minor. He worked as an assistant at the Pergamon Museum in Berlin. He became Loeschscke’s assistant at Bonn in 1908 and a lecturer in 1909. He married Helen von der Mühll. Important articles on Greek vases (the satyrplay vase in Naples) appeared in 1910. The same year he was appointed extraordinarius (außerordentlicher) professor at the University of Rostock, Germany (though 1916). The result of his work at the Pergamon Museum was his first book, published in 1912, Der Altar von Pergamon: Eine Erklärung des hellenistischen Barockstils in Kleinasien. Here Salis was already drawing the artistic connection between Helenic art and the Baroque. He was named Ordentlicher (full) professor at the University in Münster in 1916. Salis published his Kunst der Griechen, a history of Greek art from the second millenium to the Roman domination. The book went through four editions to 1953. Salis also contributed the first volume, on Greek art, to the series Sechs Bücher der Kunst, edited by the art historian Albert Brinckmann, in 1924. He succeeded Ludwig Curtius as professor at Heidelberg University in 1929. His important article on the iconography of the shield of Athena in the Parthenon, “Die Gigantomachie am Schilde der Athena Parthenos,” is a work of this period. In 1940, disappointed with the rise of the Nazi’s in Germany, Salis returned to Switzerland, succeeding the archaeologist Otto Waser (1870-1952) at the University of Zürich. At Zürich he reorganized the archaeological museum there and advised many students on their dissertations. After the death of Ernst Pfuhl, he accepted the lectureship at the university in Basel in 1941 (through 1948). Two books published during this time reflect his interest between ancient art and the Renaissance, Klassische Komposition and Antike und Renaissance. He retired in 1951 emeritus at the univeristy and died seven years later, still publishing. The classicist art historian Margarete Bieber considered Salis’ book on the Pergamon altar figures still the best explanation 46 years after its publication. Von Salis’s work on the transmission of the antique to the Renaissance was another area of his interest. In these works, he noted that nowhere in the Renaissance are works directly quoted from ancient architecture in their entirety, partially due to the limited availability of monuments, but also to the Renaissance vision of remaking rather than borrowing from the classics.


Selected Bibliography

[dissertation:] De Doriensium ludorum in comoedia Attica vestigiis. Basel, 1905, published Birkhaeuser, 1905; Der Altar von Pergamon: ein Beitrag zur Erklärung des hellenistischen Barockstils in Kleinasien. Berlin: G. Reimer, 1912; Die Kunst der Griechen. Leipzig: S. Hirzel, 1919; Kunst des Altertums. Die sechs Bücher der Kunst 1. Berlin-Neubabelsberg: Athenaion 1924; Das Grabmal des Aristonautes. Berlin, W. de Gruyter & Co., 1926; “Die Gigantomachie am Schilde der Athena Parthenos.” Jahrbuch des Deutschen Archäologischen Instituts 55, nos. 1 and (1940): 90-169; Antike und Renaissance: über Nachleben und Weiterwirken der Alten in der neueren Kunst. Erlenbach-Zürich: E. Rentsch, 1947; Löwenkampfbilder des Lysipp. Berlin: De Gruyter, 1956.


Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 210-211; [obituary:] Bieber, Margaret. “Necrology.” American Journal of Archaeology 62, no. 4 (October 1958): 429-430.




Citation

"Salis, Arnold von." Dictionary of Art Historians (website). https://arthistorians.info/salisa/.


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Specialist in ancient Greek and hellenic art. He was born in Liestal, Switzerland, near Basel. Salis graduated from a Gymnasium in Basel and attended courses in classics, philology and art history at prominent German-speaking universities. At the

Salles, Georges

Full Name: Salles, Georges

Other Names:

  • Georges Salles

Gender: male

Date Born: 1889

Date Died: 20 October 1966

Place Born: Sèvres, Île-de-France, France

Place Died: Germany

Home Country/ies: France

Subject Area(s): Afghan (Central Asian style), Asian, Chinese (culture or style), French (culture or style), Iranian, and twentieth century (dates CE)

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


Overview

Museum director of Asian art, historian of twentieth-century French art. Salles was the son of Adolphe Salles and Claire Eiffel, the daughter of Gustav Eiffel. As a boy he spent time in his famous grandfather’s house and met many prominent people. As a young man he met most of the Fauves and Cubist artists. As a student he studied literature and law. Salles fought as a soldier in the First World War, twice winning the Croix de Guerre. He excavated sites in Iran, Afghanistan and China. He served as secretary to the Direction des Beaux-Arts between 1921 and 1924. In 1926 he joined the Louvre Museum, rising to curator at the Department of Asian Art. He and Georges Duthuit authored a book on Byzatine art in 1933. In 1941 he became director of the Musée Guimet. A member of the resistence during World War II, he was the chief reason, according to his British counterpart, Kenneth Clark, that so many works of French museums were spared from destruction. After the war, Salles was appointed Director of Museums of France, 1945. His mandate was to bring provincial museum up to the quality of the major French institutions. He established many special-interest museums in the provinces. In 1953 Salles commissioned Georges Braque to decorate the ceiling of the Henry II (or Etruscan) room in the Palais du Louvre. The same year he became second president of ICOM, the International Council of Museums. He received a KBE from Great Britain in 1954. Salles pressed for a modern art museum with a broad public mission, joined by Jean Cassou. He published Histoire des Arts de l’Orient (History of Arts of the East) and Au Louvre, scènes de la vie du musée, and Le Regard in 1939. After his retirement in 1957, he joined André Malraux to edit the book series L’Univers des formes. He died in a German nursing home at age 77. His personal preference in art was for the non-figurative art of Persia and the middle east (Clark). In French art he admired Picasso and Matisse, both of whom drew his portrait. Salles was an Anglofile and one of the first French art historians to recognize the importance of Henry Moore as a sculptor.


Selected Bibliography

L’institution des consulats: son origine, son développement au moyen-âge, chez les différents peuples. Paris: E. Leroux, 1898; and Volbach, Wolfgang, and Duthuit, Georges. Art byzantin; cent planches reproduisant un grand nombre de pièces choisies parmi les plus représentatives des diverses. Paris: A. Lévy, 1933;


Sources

Ashton, Dore. “Big Task Finished: French Museums’ Head Starts Another Scope of the Plans.” New York Times October 27, 1957, p. X11; [obituary:] Clark, Kenneth. “M. Georges Salles Former Director Of Louvre.” Times (London) October 27, 1966, p.14



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Salles, Georges." Dictionary of Art Historians (website). https://arthistorians.info/sallesg/.


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Museum director of Asian art, historian of twentieth-century French art. Salles was the son of Adolphe Salles and Claire Eiffel, the daughter of Gustav Eiffel. As a boy he spent time in his famous grandfather’s house and met many prominent people.

Salmi, Mario

Full Name: Salmi, Mario

Other Names:

  • Mario Salmi

Gender: male

Date Born: 1889

Date Died: 1980

Place Born: San Giovanni Valdarno, Arezzo, Tuscany, Italy

Place Died: Rome, Lazio, Italy

Home Country/ies: Italy

Subject Area(s): architecture (object genre), Italian (culture or style), Italian Renaissance-Baroque styles, Renaissance, Romanesque, sculpture (visual works), and Tuscan (culture or style)


Overview

Historian of Romanesque architecture, Tuscan sculpture and the early Italian Renaissance. Salmi received a law degree in 1910, but was won over to art history while attending the art history school of Adolfo Venturi at Rome University. The following year, 1911, Salmi published his first article in the journal L’Arte followed by numerous other pieces on Romanesque architecture and sculpture. Salmi was apppointed professor of medieval and modern art history at the university in Pisa, establishing the Instituto di Storia dell’Arte in 1927 and its study library (with Matteo Marangoni), Biblioteca del Gabinetto di Storia dell’Arte, in 1930. In 1929, Salmi moved to the University of Florence. There he founded the Instituto Nazionale di Studi sul Rinascimento in 1937. His students included Alessandro Marabottini. After World War II, Salmi established the art review journal Commentari in 1949. He was called to the University of Rome in 1950, which had been reorganized after World War II, assuming (Adolfo) Venturi’s position as chair of the Renaissance and modern art history. Salmi brought the Commentari with him, co-edited now with Venturi’s son, Lionello Venturi. He oversaw the creation of the multicultural 15-volume scholarly encyclopedia for art, Enciclopedia universale dell’arte, which appeared in 1958 and in English a year later as the Encyclopedia of World Art. As president of the Consiglio Superiore dele Antichità e Belle Arti until 1971, Salmi worked in the field of patronage and the evaluation of works of art. He wrote about many aspects of Florentine art, including manuscript illuminations, and a monograph on Piero della Francesca. Notes about Salmi’s opinions on Giotto appear in Richard Offner‘s annotated catalog of the 1937 Mostra Giottesca. His papers and photographs collection are held at the Getty Research Institute, Los Angeles, CA. In 1989 a conference sponsored by the Accademia Petrarca di Lettere, Arti e Scienze of Arezzo was held in commemoration of the centenary of Salmi’s birth. His students in Pisa included Enzo Carli and, in Florence, Roberto Salvini.


Selected Bibliography

and de Tolnay, Charles. Michelangelo: artista, pensatore, scrittore. 2 vols. Novara: Comitato nazionale per le onotanze a Michelangelo/Istituto geografico de Agostini,1965; and Khvoshinsky, Basile. I pittori toscani dal XIII al XVI secolo. 2 vols. Rome: E. Loescher, 1912-1914; and De Ruggieri, Raffaello. Le chiese rupestri di Matera. Rome: De Luca,1966; The Complete Work of Michelangelo. 2 vols. London: Macdonald, 1966; L’architettura romanica in Toscana. Milan: Bestetti e Tumminelli, 1928; La Basilica di San Salvatore di Spoleto. Florence: Olschki, 1951, [series editor] Enciclopedia universale dell’arte. 15 vols. Venice/Rome: Istituto per la Collaborazione Culturale, 1958-1967, English, Encyclopedia of World Art. 15 vols. New York: McGraw-Hill, 1959-1968.


Sources

d’Onofrio, Mario. “Salmi, Mario.” The Dictionary of Art 27: 635; Ladis, Andrew. “The Unmaking of a Connoisseur.” in, Offner, Richard. A Discerning Eye: Essays on Early Italian Painting. University Park, PA: Pennsylvania State University Press, 1998, p.19, note 1; “Premessa.” Scritti di storia dell’arte in onore di Mario Salmi. vol. 1. Rome: De Luca, 1961, pp. vii-xi; [essays on Salmi’s scholarship:] Studi di storia dell’arte sul Medioevo e il Rinascimento nel centenario della nascita di Mario Salmi: atti del convegno internazionale Arezzo-Firenze, 16-19 novembre 1989. vol. 1. Florence: Polistampa, 1992, specifically, Russo, Eugenio. “Il contributo di Mario Salmi agli studi sull’arte dell’età paleocritiana e altomedievale.” pp. 37-101, Gatti Perrer, Maria Luisa. “Il contributo di Mario Salmi agli studi sull’arte Lombarda.” pp. 137-149, Ciardi Duprè Dal Poggetto, Maria Grazia. “Il contributo di Mario Salmi agli studi sulla miniatrua italiana: un primo rescoconto generale.” pp. 151-162, Paolini, Maria Grazia. “Mario Salmi e l’arte nell’aretino: riflessioni e spunti di ricerca.” pp. 163-194; Salvini, Roberto. “Ricordo di Mario Salmi.” in, “Popoli e paesi nella cultura altomedievale” Settimane di Studi del Centro Italiano di Studi sull’Alto Medioevo 29 (1983): 47; Mario Salmi: storico dell’arte e umanista. Spoleto: Centro italiano di studi sull’alto Medioevo, 1991; [obituaries:] Angelis d’Ossat, Guglielmo. [untitled]. Palladio n.s. 3 [30] fascicule part 1/4 (1980): 6; Baldini, Umberto. “Commemorazione di Mario Salmi, Presidente Onorario dell’Accademia Petrarca.” Atti e memorie della Accademia Petrarca di lettere arti e scienze 44 (1981): 1-12; Scapecchi, Angelo. “Omelia nella Messa di trigesima del prof. Mario Salmi.” Atti e memorie della Accademia Petrarca di lettere arti e scienze 44 (1981): 13-16.




Citation

"Salmi, Mario." Dictionary of Art Historians (website). https://arthistorians.info/salmim/.


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Historian of Romanesque architecture, Tuscan sculpture and the early Italian Renaissance. Salmi received a law degree in 1910, but was won over to art history while attending the art history school of Adolfo Venturi at Rome

Salmony, Alfred

Full Name: Salmony, Alfred

Gender: male

Date Born: 10 November 1890

Date Died: 29 April 1958

Place Born: Cologne, North Rhine-Westphalia, Germany

Place Died: Atlantic Ocean

Home Country/ies: Germany and United States

Subject Area(s): Ancient Chinese, archaeology, Asian, Chinese (culture or style), Indian (South Asian), jades (objects), Japanese (culture or style), Russian (culture or style), Thai (culture or style), and Ukrainian (culture or style)

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

Institution(s): Mills College, New York University, Universität Bonn, Universität zu Köln, and Vassar College


Overview

Museum curator and professor with expertise in East Asian art, art of the Eurasian steppes, and Chinese jades. Alfred Salmony was born in Cologne, Germany in 1890. From 1912-1920, Salmony studied art history and archaeology in Bonn and Vienna under Paul Clemen and Josef Strzygowski. His studies were interrupted from 1914-1917 due to his cavalry service in World War I. He was conferred his degree under Clemen and completed his dissertation, Europa – Ostasien. Religiöse Skulpturen (Europe – East Asia, Religious sculptures), in Potsdam in 1922. From 1920-1925 he was a curator at the Museum für Ostasiatische Kunst (Museum of East Asian Art) in Cologne, where he later became the Deputy Director from 1925-1933. While he worked at the museum, he also lectured in art history at the Universität zu Köln. In 1926, he organized the first exhibition of Asian Art in Cologne. During this time, he traveled extensively, as he was given teaching assignments in the US in 1926-1927 and 1932-1933. From 1928-1934, he made nine different research trips to Siberia, the Caucasus, the Volga Valley, Ukraine, China, and Japan. He was dismissed from his role as Deputy Director at the museum due to the “Law for the Restoration of the Civil Service” (Nazi law against Jews in government), after the implementation of which he resided in Paris, France. He briefly worked for the Musee Citroen, but then left for the United States in 1934. Upon arrival in the United States, he found work as a lecturer of fine arts at Mills College in Oakland, California. Then, from 1938-1957, he became a professor of Chinese, Siamese, and Indian Art History at the Institute of Fine Arts at New York University. Beginning in 1943, he was the main editor of a journal Artibus Asiae. He took on the additional role of a lecturer at Vassar College from 1938-1941 and was an exchange professor in Korea in 1950.

Over his lifetime, Salmony assembled an impressive library of books, periodicals, and photographs, which he shared with his colleagues and students. His many articles and books are revered as profound contributions to the study of East Asian art. Some of his works, including Carved Jade of Ancient China are even used as secondary sources to study Eurasian art. Throughout his life, he held a wide range of interests concerning different realms of art history (Haskins, Wendland).


Selected Bibliography

  • [dissertation:] Europa – Ostasien. Religiöse Skulpturen. University of Bonn, 1922;
  • Die Chinesische Landschaftsmalerei. Berlin, 1920;
  • Sculpture in Siam. London, 1925;
  • Chinesische Plastik: Ein Handbuch für Sammler. Berlin, 1925;
  • Asiatische Kunst. Munich, 1929;
  • Sino-Siberian Art in the Collection of C. T. Loo. Paris, 1933;
  • Carved Jade of Ancient China. Berkeley 1938;
  • “An ivory carving from Malta (Siberia) and its significance”.Artibus Asiae. (1948): 285-288;
  • “The third early Chinese owl with snake-legs”.Artibus Asiae. (1951): 277- 282;

  • Archaic Chinese jades from the Edward and Louise B. Sonnenschein collection. Chicago 1952;
  • “Bronzes of India and Greater India. An exhibition held during November 1955 at the Museum of Art, Rhode Island School of Design, Providence”.Artibus Asiae. (1956): 378-380

Sources

  • Wendland, Ulrike. Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. Munich: Saur, 1999, vol. 2, pp. 577-580


Contributors: Paul Kamer


Citation

Paul Kamer. "Salmony, Alfred." Dictionary of Art Historians (website). https://arthistorians.info/salmonya/.


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Museum curator and professor with expertise in East Asian art, art of the Eurasian steppes, and Chinese jades. Alfred Salmony was born in Cologne, Germany in 1890. From 1912-1920, Salmony studied art history and archaeology in Bonn and Vienna unde

Salvini, Roberto

Full Name: Salvini, Roberto

Gender: male

Date Born: 1912

Date Died: 1985

Place Born: Florence, Tuscany, Italy

Place Died: Florence, Tuscany, Italy

Home Country/ies: Italy

Subject Area(s): Italian (culture or style) and Romanesque


Overview

Director of the Galleria degli Uffizi, Florence, 1950 to 1956; contributed to wave of post-WWII scholarship on the Romanesque. Salvini studied under Mario Salmi at the University of Florence in 1929. He continued study in the early 1930s in Berlin and Munich. In Berlin, his work under Albert Brinckmann gave him an appreciation for original texts and an analytical approach to source material. During this time he developed his theory of “pure visibility” in which he sought to give an abstract coherence to figurative values. His studies focused on the writings of the formalist art historians Bernard Berenson and Heinrich Wölfflin as well as the theories of the sculptor Adolf von Hildebrand. He joined the University of Florence where he taught for almost 30 years, over 20 of which being a museum administrator, rising to the directorship of the Galleria degli Uffizi, Florence, in 1950 (to 1956). Salvini’s research area was Romanesque sculpture, building on the work of Pietro Toesca. He published his survey of Romanesque sculpture, La scultura romanica in Europa in 1956. He edited a methodological work, La critica d’arte moderna (la pura visibiltà), which analyzed the formalist from theorists such as Konrad Fiedler to art historians such as Adrian Stokes. His monograph on Wiligelmo appeared in 1956. In 1962 Salvini authored a volume on the capitals in the cloisters of the Duomo of Monreale, Il chiostro di Monreale e la scultura romanica in Sicilia, one in a series of volumes whose authors also included Ernst Kitzinger on the mosaics in the Cathedral and one on Norman architecture and the cathedral by Wolfgang Krönig. Salvini’s work merged historical and aesthetic aspects of art through his concept of “lingua figurativa” (figurative language).


Selected Bibliography

[complete bibliography:] Scritti di storia dell’arte in onore di Roberto Salvini. C. De Benedictis, editor. Florence: Sansoni,1984; La critica d’arte moderna (la pura visibiltà). Florence: L’Arco, 1949; La scultura romanica in Europa. Milan: Garzanti, 1956; Wilgelmo e le origini della scultura romanica. Milan, 1956; Il chiostro di Monreale e la scultura romanica in Sicilia. Palermo: S.F. Flaccovio, 1962, English, The Cloister of Monreale and Romanesque Sculpture in Sicily. Palmero: S.F. Flaccovio 1964.


Sources

Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, p. 263; Dictionary of Art 27: 657.




Citation

"Salvini, Roberto." Dictionary of Art Historians (website). https://arthistorians.info/salvinir/.


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Director of the Galleria degli Uffizi, Florence, 1950 to 1956; contributed to wave of post-WWII scholarship on the Romanesque. Salvini studied under Mario Salmi at the University of Florence in 1929. He continued study in the

Sandberg, Willem Jacob Henri Berend, Jonkheer

Full Name: Sandberg, Willem Jacob Henri Berend, Jonkheer

Gender: male

Date Born: 1897

Date Died: 1984

Place Born: Amersfoort, Utrecht, Netherlands

Place Died: Amsterdam, North Holland, Netherlands

Home Country/ies: Netherlands

Subject Area(s): typology

Career(s): designers


Overview

Typographer; designer; director Amsterdam Stedelijk Museum (1945-1962). Sandberg grew up in Amersfoort and, from 1904, in Assen, where he attended the Gymnasium. His father had a governmental function as Registrar of the Province of Drenthe. During World War I he did his military service (The Netherlands remained neutral) and subsequently he moved to Amsterdam in 1919. For a short time he attended the Academy of Fine Arts. In 1920 he married Amy Frankamp (1885-1969). Following a stay in Italy he traveled to Jungborn in Germany, for a cure in a natural health sanatorium. In Herrliberg, Switzerland, he joined the Mazdaznan movement and met Johannes Itten, whom he later visited at the Bauhaus in Weimar, Germany. Sandberg also began developing his typographical skills, which marked his later career as designer. In Amsterdam he founded the Dutch Mazdaznan center. After his divorce, he remarried, in 1927, Alida Augustin-Swaneveld (1885-1974), and spent some time in Vienna. In Berlin he met the artist Naum Gabo. In 1928 he returned to Amsterdam to work as a designer. In the following years he studied psychology at Utrecht University, where he also attended lectures in art history. In 1932 he joined the Netherlands Association for Crafts and Industrial Art (VANK). As a representative of this association he became involved in the organization of exhibitions in the Amsterdam Stedelijk Museum, where he also was given assignments as designer. In 1938 he was appointed curator and assistant director under David Cornelis Röell. During the next ten years he was a member of the exhibition council for architecture and applied arts. One of his concerns was the protection of art works in wartime. He traveled to Spain to explore this problem, and published “Bescherming van kunstschatten in oorlogstijd.” After the German invasion in 1940, he joined the resistance. In 1945 he was appointed director of the Stedelijk Museum. In the same year he organized a retrospective of the work of the Groningen printer and painter Hendrik Nicolaas Werkman (1882-1945), who had been arrested by the Nazis and executed a few days before the liberation of the city of Groningen. Sandberg’s overall policy since he entered the museum was to adapt it to modern standards. The interior renovation began in 1938, and the new wing and further extensions were added in the 1950s. Sandberg published several articles on the modernization of the Stedelijk. He frequently organized international exhibitions, such as “COBRA” (1949), “De Stijl” (1951), “Bauen und Formen in Holland, 1920 bis Heute” (1958), “Van natuur tot kunst” (1960). In 1961, he coauthored with deputy director Hans L. C. Jaffé Kunst van heden in het Stedelijk. In 1962 Sandberg was involved in the organization of the exhibition “Art Since 1950” for the 1962 Seattle World’s Fair and in the same year he received an honorary doctorate from the University at Buffalo, New York. He also was awarded the 1962 Medal of AIGA (American Institute of Graphic Arts). The city of Amsterdam awarded him the Gold Medal. In December 1962 he retired from his position at the Stedelijk. On that occasion he received art works from about 100 artists, which he donated to the museum. He was succeeded by Eduard Leon Louis de Wilde (director between 1963 and 1985) and by designer Wim Crouwel (b. 1928). Between 1964 and 1968, Sandberg spent most of his time in Jerusalem. He served as chairman of the Executive Committee of the Israel Museum, which opened in 1965. In 1969-1970 he lectured for a short time in the USA, at the Carpenter Center for the Visual Arts of Harvard University. In 1975 he received the Erasmus Prize in Amsterdam, together with E. H. Gombrich. Sandberg continued designing and publishing up to the 1980s. In 1982, he was honored with an exhibition which focused on his former position as museum man, in combination with his function as typographer, Sandberg, typograaf als museumman. After his death, in 1984, Sandberg’s legacy as designer and as pioneering museum director was highlighted in various exhibitions in The Netherlands and abroad, as well as in publications which continue appearing to this day.


Selected Bibliography

[complete bibliography:] Petersen, Ad. Sandberg: vormgever van het Stedelijk. Rotterdam: 010 Publishers, 2004, English, Sandberg: Designer and Director of the Stedelijk. Rotterdam: 010 Publishers, 2004, pp. 177-183; “Bescherming van kunstschatten in oorlogstijd” Kroniek van Kunst en Kultuur 4, 3 (1938); [and others] 9 jaar Stedelijk Museum Amsterdam 1945-’54. Amsterdam: Stedelijk Museum, 1954; “De nieuwe vleugel van het Stedelijk Museum te Amsterdam” Museumjournaal 1, no. 1 (1955); Nu, midden in de XXe eeuw, de kunst en het leven. Hilversum: Steendrukkerij de Jong & Co, 1959; and Jaffé, H. L. C. Kunst van heden in het Stedelijk, Amsterdam. Amsterdam: Stedelijk Museum and J. M. Meulenhoff, 1961; “Sandberg over zijn werk in het Stedelijk” Museumjournaal special issue, series 8, no 8/9 (April/May 1963).


Sources

[contributions on Sandberg by several authors:] De collectie Sandberg. Amsterdam: J. M. Meulenhof, 1962; Petersen, Ad and Brattinga, Pieter. Sandberg, een documentaire / a Documentary. Amsterdam: Kosmos, 1975; Leeuw-Marcar, Ank. Willem Sandberg, portret van een kunstenaar. Amsterdam: Meulenhoff, 1981; Kassies, Jan “Sandberg heilig overtuigd van noodzaak om te schokken” De Volkskrant (April 10, 1984); Petersen, Ad. “Vitaliteit, karakter, volharding” Het Parool (April 13, 1984); Visser, Mathilde “Eenvoud kenmerkte Willem Sandberg” Het financieele dagblad (April 16, 1984); Jaffé, H. L. C. “Willem Sandberg toonde moed in verzet en kunst” NIW (April 20, 1984); Cornelissen, Igor “Alleen naar voren kijken is goed” and Stokvis, Willemijn “De weg naar de vrijheid” Vrij Nederland (April 21, 1984); Boom, A. L. (Fens, Kees) “Sandberg en het wit” De Tijd (April 27, 1984); Michel, Jacques “Mort de Willem Sandberg” Le Monde (May 2, 1984); Art in America 72 (September 1984): 247-8; Jaffé, H. L. C. “Willem Sandberg” Jong Holland [unnumbered first issue] (November 1984): 53-54; Treumann, Otto “Sandberg Dead” Icograda board message 4 (November 1984): 1-3; Petersen, Ad. Sandberg: vormgever van het Stedelijk. Rotterdam: 010 Publishers, 2004, English, Sandberg: Designer and Director of the Stedelijk. Rotterdam: 010 Publishers, 2004; Roodenburg-Schadd, Caroline. Expressie en ordening: het verzamelbeleid van Willem Sandberg voor het Stedelijk Museum, 1945-1962. Rotterdam: NAi Uitgevers, 2004.



Contributors: Monique Daniels


Citation

Monique Daniels. "Sandberg, Willem Jacob Henri Berend, Jonkheer." Dictionary of Art Historians (website). https://arthistorians.info/sandbergw/.


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Typographer; designer; director Amsterdam Stedelijk Museum (1945-1962). Sandberg grew up in Amersfoort and, from 1904, in Assen, where he attended the Gymnasium. His father had a governmental function as Registrar of the Province of Drenthe. Durin