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Tipping, Marjorie

Full Name: Tipping, Marjorie Jean

Other Names:

  • Marjorie Jean McCredie

Gender: female

Date Born: 26 March 1917

Date Died: 28 September 2009

Place Born: Melbourne, Victoria, Australia

Place Died: Melbourne, Victoria, Australia

Home Country/ies: Australia

Subject Area(s): Australian, Australian regional styles, colonialism, colonization, penal colonies, and South Australian

Institution(s): University of Melbourne


Overview

Australian colonial art historian and art patron. Marjorie Jean McCredie was born to John Alexandra and Florence Amelia Paterson (McCredie). During her childhood, McCredie was influenced by her parents’ politics, her father a Fabian socialist and her mother active in the Australian National Women’s League. McCredie grew up in Princes Hill and Kew, Australia. She attended Presbyterian Ladies’ College boarding school and the University of Melbourne, where she graduated. During her time at the University of Melbourne, Tipping worked as a part-time journalist for the Suns News-Pictorial, writing a regular column, called “Farrago.” It was then edited by her future husband, E.W. (Bill) Tipping (1915–1970). They married in 1942, she taking the name Tipping.

During the second World War, Tipping continued to work as a part-time journalist, eventually moving to a full-time position at the magazine Scientific and Industrial Research. Additionally, she held a position in the industrial welfare and human resources department at Cyclone, a company that manufactured mosquito nets and stretchers for the war effort. The family lived in Boston, Massachusetts a the year when her husband was presented an award at Harvard University in 1951. During that year, Tipping took numerous classes at Harvard that furthered in her interests in the arts and history before returning to Australia. In 1965, She convened the first conference of the Royal Historical Society of Victoria. The family returned to the US in 1968, where her husband had been appointed Washington correspondent for the Herald but due to his rapidly declining health, they returned to Australia the same year. In 1968, Tipping became the first woman fellow of the Royal Historical Society of Victoria. After her husband’s death in 1970, Tipping founded a charity for children with disabilities in her husband’s name. She published her husband’s collected writings, The Tipping Olympics, Melbourne – 1956, Rome – 1960, in 1972.

From 1972 to 1975, Tipping served as the first woman president of the Royal Historical Society of Victoria. Motivated by the Foundation Herald Chair of the Fine Arts at the University of Melbourne, Professor Sir Joseph Burke, Tipping began researching for a work on Australian landscapes, later published as Eugene von Guerard’s Australian Landscapes (1975). It was this work that began her interest in the arts and research, particularly of colonial Australia.

In 1977, she published the picture book, Melbourne on the Yarra. Her 1978 book, The Life and Work of Ludwig Becker (1808-1861) garnered her an honorary MA in art history from the University of Melbourne.  Following this publication, Tipping produced an edition of the sketches of colonial artist William Strutt: Victoria the Golden. Tipping was named a Member of the Order of the British Empire in 1981. A year later, she published an edition of the journals of Australian artist Eugene Von Guerard (1811-1901), An Artist on the Goldfields. She returned to the topic of colonial Australian history, publishing Convicts Unbound: The Story of the Calcutta Convicts and their Settlement in Australia in 1988. She later consulted for the Grundy Television’s series Convicts Unbounded. She produced entries for the Australian Dictionary of Biography.

The University of Melbourne granted her the first woman to earn the degree of Doctor of Letters by examination in 1990. In 1999, Tipping served as a contributor to both the Encyclopedia of Melbourne project at Monash University and the University of Melbourne’s Oral History project. She died of a stroke in 2009, age 92.


Selected Bibliography

  • Eugene von Guerard’s Australian Landscapes. Melbourne: Lansdowne Editions, 1975;
  • Melbourne on the Yarra. Melbourne: Lansdowne Editions, 1977;
  • Ludwig Becker: Artist & Naturalist with the Burke & Wills Expedition. Melbourne: Melbourne University Press, 1978;
  • Victoria the Golden. Melbourne: Parliament of Victoria, 1980;
  • An Artist on the Goldfields. South Yarra: Currey O’Neill, 1982;
  • Convicts Unbound: The Story of the Calcutta Convicts and their Settlement in Australia. New York City: Viking O’Neill Publishing, 1988.

Sources



Contributors: Kerry Rork


Citation

Kerry Rork. "Tipping, Marjorie." Dictionary of Art Historians (website). https://arthistorians.info/tippingm/.


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Australian colonial art historian and art patron. Marjorie Jean McCredie was born to John Alexandra and Florence Amelia Paterson (McCredie). During her childhood, McCredie was influenced by her parents’ politics, her father a Fabian socialist and

Tea, Eva

Full Name: Tea, Eva

Gender: female

Date Born: 29 July 1971

Date Died: 1971

Place Born: Biella, Piedmont, Italy

Home Country/ies: Italy

Subject Area(s): Medieval (European) and Modern (style or period)

Institution(s): Università Cattolica di Milano


Overview

Professor of Medieval and Modern Art History. Tea was the daughter of a medical doctor and Anna Ricci, the director of the Asilo Umberto I in Vercelli. She was raised in Verona and graduated from University of Padua in 1911. She completed her graduate studies in art history in Rome in 1916 studying under Adolfo Venturi. Tea taught in Rome at a Liceo Classico and was an ispettrice di belle arti (Inspector of Fine Arts) in Ravenna as a Sovrintendenza ai Monumenti, and in Venice, Trento and Roman Forum. It was at the Roman Forum that she met Giacomo Boni. While he asked her to work as a secretary, they eventually conducted excavations together including that of the Basilica of Santa Maria Antiqua. She was then nominated to be a librarian in Milan at the Real Accademia di Belle Arti in Brera. In 1926, she enrolled in a free course at the Catholic University of Milan. She began working with Giuseppe Polvara (1884-1950) in 1929 to organize the Beato Angelico School. For many years, she worked with this avant-garde institution of artistic and political reform, however, when the school transformed into a religious institution subject to juridical conditions, she decided to focus on her students. The Scuola Beato Angelico eventually moved its headquarters to viale San Gimignano; she, however, remained at its old location and founded the Opera di assistenza agli artisti e alle modelle. Upon completion of the course at the Catholic University of Milan, she was first named to the department of Art Criticism and then to the department of Art History and Magisterium. Her most important contributions are found in the Arte Cristiana publications from 1927 to 1962. In 1964, she fractured her femur and her health slowly declined. She retired to live with her sister in 1967 and dying in 1971. She worked on the magazines Arte cristiana , Theatrica , and Vita e pensiero and the newspapers Corriere della Sera and Italia . Tea wrote the collection Quaderni dell’artista, and Umanesimo cristiano , Chiesa e impero nell’arte dei primi secoli Cristiani , Meditazioni su Giotto , and Paolo Veronese .


Selected Bibliography

  • [complete bibliography:] Albricci, G. “Bibliografia di Eva Tea.” Arte Cristiana 65 (1977): 7-8;
  • Giacomo Boni nella vita del suo tempo. Milan: Casa editrice Ceschina, 1932;
  • La vita di Cristo. Bergamo: Istituto italiano d’arti grafiche, 1960;
  • Medioevo. Storia Universale Dell’arte ; v. 3. Torino : Unione Tipografico-Editrice Torinese, 1957;
  • Pitture e sculture nelle chiese di Milano . Milano: Banco ambrosiano, 1951;
  • Preistoria, Civiltà Extraeuropee . Storia Universale Dell’arte  v. 1. Turin: Unione tipografico-editrice torinese, 1953;
  • Quattrocento e Cinquecento. Storia Universale Dell’arte  v. 4. Turin Unione tipografico-editrice torinese, 1964;
  • and Banco Ambrosiano. Architetture e decorazioni nelle chiese di Milano: con 48 tavole fuori testo. (Milan: Officina d’Arti Grafiche E. Milli), 1952;
  • and Mino Borghi. Arte italiana: critica e storia. Milan: Libreria scientifica universitaria, 1941;

Sources

  • Buti, a cura di Maria Bandini. Poetesse e Scrittrici. Enciclopedia Biografica e Bibliografica Italiana ; Ser. VI. Roma, E.B.B.I., Istituto editoriale italiano B.C. Tosi, 1942.
  • Melzi, Marco. “Eva Tea.” In Arte cristiana, 250–54, 1971;
  • Scano, Mario Gastaldi and Carmen. Dizionario Delle Scrittrici Italiane Contemporanee (Arte, Lettere, Scienze). Milan, 1961.


Contributors: Denise Shkurovich


Citation

Denise Shkurovich. "Tea, Eva." Dictionary of Art Historians (website). https://arthistorians.info/teae/.


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Professor of Medieval and Modern Art History. Tea was the daughter of a medical doctor and Anna Ricci, the director of the Asilo Umberto I in Vercelli. She was raised in Verona and graduated from University of Padua in 1911. She completed her grad

Torres Balbás, Leopoldo

Full Name: Torres Balbás, Leopoldo

Gender: male

Date Born: 23 May 1888

Date Died: 28 November 1960

Place Born: Madrid, Spain

Place Died: Madrid, Spain

Home Country/ies: Spain

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

Institution(s): Escuela Superior de Arquitectura de Madrid


Overview

Architect, archaeologist, responsible for major restorations of Alhambra and Generalife. Torres Balbás was the son of the Spanish geographer and historian Rafael Torres Campos (1853-1904) and Victorina Balbás. Torres Balbás obtained his bachelor’s degree from the Instituto Cardenal Cisneros de Madrid where he worked with his father’s friend and Spanish art historian Manuel Bartolome Cossio (1857-1935). Beginning in 1910, he attended the Escuela Superior de Arquitectura de Madrid (Superior School of Architecture of Madrid) and earned his degree in architecture in 1916. At the same time, he studied architecture at the Centro de Estudios Historicos (Center of Historic Studies) where he was a disciple of Miguel Asin y Palacios (1871–1944) and Manuel Gomez Moreno (1834-1918) and befriended Fransisco Javier Sánchez Cantón (1891–1971). Between 1918-1923, he served as the secretary for the journal Arquitectura, the official publication of Spanish architects and the main forum of architectural debate at that time. His work for the journal not only allowed him to shape architectural criticism in Spain, but was also one of the first to open the door for public debate on contemporary architecture (Céspedes). He participated in the VIII Congreso Internacional de Arquitectura (8th International Architecture Conference) in Zaragoza in 1919. Between 1923 to 1936, he was the preservation architect of the Alhambra in Granada and was responsible for directing extensive restoration work on the cathedral. He simultaneously worked on the restoration of the Cathedral of Sigüenza from 1929 to 1936. In 1931, he succeeded Vicente Lampérez y Romea (1861-1923) as the chair of the Historia de las Artes plásticas (History of Fine Arts) and Historia de la Arquitectura (History of Architecture) departments at the Escuela Superior de Arquitectura de Madrid. One month after the beginning of the Spanish Civil War, he was dismissed from his position as the preservation architect of Alhambra by the Francoist regime. He remained in Soria during the war and worked as a professor of Spanish history at the Instituto de Segunda Enseñanza de Soria (Institute of Secondary Education of Soria) until 1939. Despite his culturally liberal background, he did not publicly express his political opinions during the Civil War. In 1942, he was named Jefe de Sección de La Escuela de Estudios Árabes de Madrid (Head of School of Islamic Studies) and, in 1944, head of the Instituto Miguel Asín de Estudios Árabes del CSIC (Miguel Asin Institute of Islamic Studies). During his time in this position, he wrote the Crónica Arqueológica de la España Musulmana de Al-Andalus, an important work on Hispanic-Muslim archaeology. He published one of his most important works Arte Almohade, Arte Mazari, Arte Mudejar in 1949. Toward the end of his life, he was the director of the Instituto Valencia de Don Juan from 1951 until 1960. He was a member of the Academic de Ciencias, Bellas Artes y Nobles Artes de Córdoba and the Hispanic Society of America of New York. He passed away from a stroke two days after a motorcycle collision.

Torres Balbás’s both written and architectural works marked a shift in approach to architectural restoration in Spain. Like many others at the time, his mentor Lampérez embraced the theories of Eugène Viollet-le-Duc of interventionist restoration––he prioritized restoring monuments’ original forms, but often lacked factual historical and archeological knowledge (Céspedes). Torres Balbás, in contrast, aligned with John Ruskin as he argued for the conservation over restoration of monuments. At the 7th National Congress of Architects, he explained that in order to engage with the monuments of the past, they must be preserved in their current state––their ancient construction must be respected without remaking existing parts. He demanded a scientific approach to monuments’ archaeological history. He suggested that in order to ensure the building’s preservation, they must be put to modern use through activities compatible with their essence. In his diary recounting his work on the Alhambra, he outlined how he implemented his theories––he restored degraded spaces with modern materials and removed previous fantasizing Orientalist additions he viewed as arbitrary. He broke with a tradition of excessive mystification and turned to embrace a more methodological model of historiography (Céspedes). His ideas were continued by his disciple Fernando Chueca Goitia.


Selected Bibliography

  • Arte almohade: Arte nazarí : Arte mudéjar. Madrid: Editorial Plus-Ultra, 1949; Arquitectura gótica. Madrid: Plus Ultra, 1952;
  • La Alhambra y el Generalife de Granada. Granada: Editorial Universidad de Granada Patronato de la Alhambra y el Generalife, 2009;
  • La mezquita de Córdoba y las ruinas de Madinat al-Zahra. Madrid: Editorial Plus-Ultra, 1965;
  • Artes almorávide y almohade. Madrid: Instituto Diego Velázquez, 1955;
  • Obra dispersa. crónica de la España musulmana 1, 1,. Madrid: Instituto de España, 1982.

Sources

  • Alzuria, Gonzalo Pasamar, and Ignacio Peiró Martín. Diccionario Akal de Historiadores españoles contemporáneos. Ediciones AKAL, 2002;
  • Calatrava, Juan, and María González-Pendás. “Leopoldo Torres Balbás: Architectural Restoration and the Idea of ‘Tradition’ in Early Twentieth-Century Spain.” Future Anterior: Journal of Historic Preservation, History, Theory, and Criticism 4, no. 2 (2007): 40–49;
  • Céspedes, Miguel Ángel Martín. “Leopoldo Torres Balbás, Conservation Architect for the Alhambra.” Cuadernos de La Alhambra; Granada 42 (2007): 196–200;
  • Cosme, Alfonso Muñoz. La vida y la obra de Leopoldo Torres Balbás. Junta de Andalucía, Consejería de Cultura, 2005;
  • García Gómez, Emilio. “Leopoldo Torres Balbás.” Al-Andalus; Madrid 25, no. 2 (January 1, 1960): 257–286;
  • González-Capitel Martínez, Antonio. Leopoldo Torres Balbás. Colección Textos Dispersos (Escuela Técnica Superior de Arquitectura de Madrid) (2012) (5): 137-145;
  • Gualis, Gonzalo Máximo Borrás. “La construcción de la Historia de la Arquitectura hispanomusulmana: la figura de Leopoldo Torres Balbás.” In Lecciones de los maestros: aproximación histórico-crítica a los grandes historiadores de la arquitectura española: [Seminario celebrado en Zaragoza los días 26, 27 y 28 de noviembre de 2009], 2011, ISBN 978-84-9911-134-6, págs. 159-168, 159–68, 2011 https://dialnet.unirioja.es/servlet/articulo?codigo=4238394;
  • I, D. A. “Don Leopoldo Torres Balbás (1888-1960).” Archivo Español de Arte; Madrid 33, no. 132 (October 1, 1960): 451–454; Ter, Fernando de. “A la memoria de D. Leopoldo Torres Balbás,” n.d., 1.


Contributors: Denise Shkurovich


Citation

Denise Shkurovich. "Torres Balbás, Leopoldo." Dictionary of Art Historians (website). https://arthistorians.info/torresbalbasl/.


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Architect, archaeologist, responsible for major restorations of Alhambra and Generalife. Torres Balbás was the son of the Spanish geographer and historian Rafael Torres Campos (1853-1904) and Victorina Balbás. Torres Balbás obtained his bachelor’s

Thompson, Dorothy Abbott

Full Name: Dorothy Abbott Thompson

Gender: female

Date Born: 1807

Date Died: 1869

Place Born: St. Paul, Ramsey, Minnesota

Place Died: Lincoln, Middlesex, MA, USA

Home Country/ies: United States

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

Career(s): curators

Institution(s): Carleton College


Overview

Boston curator and artist. Abbott was born in Minnesota. After her parents’ divorice, she lived with her grandmother and three aunts. In 1940, she graduated from Carleton College and joined the Art Students League of New York. Abbott married Lawerence Evans Thompson (1918-2005) a lieutenant in the US Navy who later became a professor of business administration at Harvard University.  After WWII, the family moved to Cambridge, Massachusetts where her husband had secured a job. Throughout her early years, Abbott Thompson traveled with her family to China, Afghanistan, Egypt, Rome, and Lisbon. In 1960, the family moved to Lincoln, Massachusetts. For her 50th birthday, Abbott Thompson received a studio from them. Abbott Thompson’s first introduction to the Boston art scene came in 1970, when she became a board member of both the deCordova Museum in Lincoln, Mase Cambridge Center for Adult Education. In 1986, Abbott Thompson published Origins of Boston Expressionism: The Artist’s Perspective. After this work, she turned her research focus to Hyman Bloom. She published Hyman Bloom, a work describing the critical role Bloom played in the Boston Expressionist movement. At the Fuller Museum of Art in Brockton, MA, Abbott Thompson curated Bloom’s work in a 1996 exhibit titled “The Spirit of Hyman Bloom: Sixty Years of Painting and Drawing.” Abbott Thompson was widely known for her group shows, including “Landscape as Metaphor: The Transcendental Vision”(1993) at Fitchburg Art Museum and a series at the Concord Art Association titled “The Master Printers,” “Exploring the Woodcut,” and “The Unique Print.” Abbott Thompson had an art gallery for her own work from 1970 to 2010. She contracted pancreatic cancer and died in Lincoln, Massachusetts in 2012.  

According to painter Roger Kizik, Abbott Thompson was “a great friend of New England artists.” Artist and former professor at Massachusetts College of Art Jeremy Foss shared a similar sentiment, stating “So many of us were helped professionally by important exhibitions Dorothy organized, sometimes with more difficulty and frustration than most people knew…No one had better taste or more integrity.”


Selected Bibliography

Origins of Boston Expressionism: The Artist’s Perspective. Lincoln, MA: DeCordova and Dana Museum and Park, 1986; “Hyman Bloom Paintings.” Hyman Bloom. The Estate of Dorothy Abbott Thompson, 1989. https://hymanbloominfo.org/st-botolph/;  Hyman Bloom. New York: Chameleon Books and Fuller Museum of Art, 1996; “Dorothy Thompson: Paintings, Prints, Drawings 1970-2010.” Concord Art. February 2010. https://www.concordart.org/exhibitions/dorothy-thompson-paintings-prints-drawings-1970-2010


Sources

“Dorothy Abbott Thompson.” Artnet. Artnet Worldwide Corporation. 9 October 2019. http://www.artnet.com/artists/dorothy-abbott-thompson/biography; “Dorothy Abbott Thompson” Concord Funeral Home, 2012. http://concordfuneral.tributes.com/obituary/show/Dorothy-Abbott-Thompson-93818943; Negri, Gloria. “Dorothy Abbott Thompson, 93, artist, curator, art historian.” Boston.com, 19 June 2012;  ttp://archive.boston.com/news/local/massachusetts/articles/2012/06/19/dorothy_abbott_thompson_art_historians_writings_reignited_interest_in_hyman_bloom/; “Dorothy Abbott Thompson.” South Pasadena High School. Lincoln Journal, 21 May 2012; http://www.sphsaa.org/class_profile.cfm?member_id=1414719; Lamm, Kimberly. “Hyman Bloom Chronology.” Hyman Bloom. National Academy of Design, 2002. https://hymanbloominfo.org/chronology/; http://archive.boston.com/news/local/massachusetts/articles/2012/06/19/dorothy_abbott_thompson_art_historians_writings_reignited_interest_in_hyman_bloom/



Contributors: Kerry Rork


Citation

Kerry Rork. "Thompson, Dorothy Abbott." Dictionary of Art Historians (website). https://arthistorians.info/thompsonda/.


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Boston curator and artist. Abbott was born in Minnesota. After her parents’ divorice, she lived with her grandmother and three aunts. In 1940, she graduated from Carleton College and joined the Art Students League of New York. Abbott married Lawer

Tyler, Royall

Full Name: Tyler, Royall

Other Names:

  • Royall Tyler

Gender: male

Date Born: 04 May 1884

Date Died: 02 March 1953

Place Born: Quincy, Norfolk, MA, USA

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

Home Country/ies: United States

Subject Area(s): Byzantine (culture or style), Medieval (European), and Spanish (culture or style)


Overview

Byzantinst and Spanish arts authority. Tyler was born to William Royall Tyler (d. 1897), a principal of Adams Academy and Ellen Curtis Krebs (Tyler) (d. 1904), an heiress to a Boston shipbuilding fortune. Tyler’s great-grandfather and namesake was Royall Tyler (1757-1826), first chief justice of Vermont and a playwright. Tyler attended Milton Academy after his father’s death and then Harrow [school], London, in 1898 where his mother lived. His mother’s remarriage to Josiah Quincy (1859-1919), a former Boston mayor resulted a Venice trip with his family. There his experience of the church of San Marco profoundly swayed him to Byzantine art. In 1902 he entered New College, Oxford, but left after two years for Salamanca, forming a friendship with the philosopher (and rector of the university there) Miguel de Unamuno (1864-1936). His mother died in 1904, leaving Tyler independently wealthy. After some study in Germany he settled in Paris by 1905, making Europe his permanent home. Study at the École des Sciences Politiques in Paris resulted in no degree. He began collecting objet d’art and corresponding with the American socialite Mildred Barnes (1860-1969), who married an American Foreign Service officer, Robert Woods Bliss (1875-1962) in 1908. A fascination with things Spanish bore fruit in his first book, Spain: A Study of Her Life and Arts, 1909. Tyler eloped with his publisher’s wife, Elisina Grant, née Contessa Elisina Palamidessi de Castelvecchio (1875-1959), great-great granddaughter of Napoleon’s brother, Louis, and Florence native, to Paris. Tyler edited the Calendar of Letters, Despatches, and State Papers Relating to the Negotiations Between England and Spain for the British government, making use of his diverse language skills. Bliss was appointed secretary to Paris embassy in 1912. It was Tyler who introduced the couple to Byzantine art, thereby creating the great collectors of the (later) Dumbarton Oaks collection, as well as their interest in pre-Columbian art. In 1913 Tyler made a significant acquistion of a sixth-century silver Byzantine chalice himself. The Tylers worked for war relief efforts with the author Edith Wharton (1862-1937) during World War I with Royall working as a German interrogator after the United States’ entrance, at the rank of lieutenant. Eventually as Major Tyler, he and his Elisina were made chevaliers of the Legion of Honor and serving in the peace delegations. In 1920 the Blisses purchased a Georgetown mansion, Dumbarton Oaks, where they lived with among their collections and Byzantine research library which Tyler had urged them to form. In 1923 the Tylers bought Antigny, a château near Arnay-le-Duc, Burgundy. In this Gothic edifice, which they restored, Tyler studied Byzantine art in earnest with the American Hayford Peirce (1883-1946). During this time, Tyler as a deputy commissioner general for Hungary, 1924-1928. Peirce and Tyler published their book, Byzantine Art in 1926. In 1931, Tyler assisted in organizing the first exhibition devoted to Byzantine art, at the Musée des Arts Décoratifs in Paris, including objects owned by the Blisses. The first two volumes of Peirce and Tyler’s larger study of Byzantine art, L’Art byzantin, projected for five volumes, appeared in 1932 and 1934. Tyler completed various missions for the League and banks, especially for Hungary, until World War II. During the war, his wife lived at Antigny trying to protect it from enemy damage until forced out in 1941, with Royall working in Geneva. After the War, Tyler worked for the World Bank in Paris, until 1949. Tyler additionally served at the United Nations Economic Survey and then as European representative of the National Committee for a Free Europe, ultimately founding Free Europe College in Strasbourg. He committed suicide in Paris with the volume of The Emperor Charles the Fifth nearly completed. It was published in 1956. His son, William Royall Tyler, a god-son of the Blisses, became a director of Dumbarton Oaks Center in 1969. His papers are held at Harvard University Archives. Fifty years after the publication of his initial Spain: A Study of Her Life and Arts, 1909, the art historian Walter Muir Whitehill could still write it “remains an unrivaled introduction to the subject.”


Selected Bibliography

Spain, a Study of her Life and Arts. New York: M. Kennerley/London, G. Richards, 1909; and Hume, Martin A. S. Calendar of Letters, Despatches, and State Papers Relating to the Negotiations Between England and Spain, Preserved in the Archives at Vienna, Simancas and Elsewhere. London: H.M.S.O./Hereford Times, 1912; and Peirce, Hayford. Byzantine Art. New York: F. A. Stokes, 1926; edited, with Tatlock, R. R. Spanish Art, an Introductory Review of Architecture, Painting, Sculpture, Textiles, Ceramics, Woodwork, Metalwork. London, B.T. Batsford, 1927; Exposition internationale d’art byzantin [exhibition catalog, Exposition internationale d’art byzantin]. Paris: Musée des arts décoratifs, 1931; L’Art byzantin. vol. 1. Paris: Libr. de France, 1932, vol. 2, 1934; Three Byzantine Works of Art. Dumbarton Oaks Papers 2. Cambridge, MA: Harvard University Press, 1941.


Sources

Burckhardt, Carl J. “Foreward.” Tyler, Royall. The Emperor Charles the 5th. London: G. Allen and Unwin, 1956; Whitehill, Walter Muir. “Tyler, Royall.”Dictionary of American Biography, Supplement 5: 1951-1955. American Council of Learned Societies, 1977; Nelson, Robert. Hagia Sophia, 1850-1950: Holy Wisdom Modern Monument. Chicago: University of Chicago Press, 2004, pp. 161-164.




Citation

"Tyler, Royall." Dictionary of Art Historians (website). https://arthistorians.info/tylerr/.


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Byzantinst and Spanish arts authority. Tyler was born to William Royall Tyler (d. 1897), a principal of Adams Academy and Ellen Curtis Krebs (Tyler) (d. 1904), an heiress to a Boston shipbuilding fortune. Tyler’s great-grandfather and namesake was

Turner, Thomas Hudson

Full Name: Turner, Thomas Hudson

Gender: male

Date Born: 1815

Date Died: 1852

Home Country/ies: United Kingdom

Subject Area(s): architecture (object genre), English (culture or style), and sculpture (visual works)


Overview

Architectural historian, wrote Some Account of Domestic Architecture in England, later completed by John Henry Parker.


Selected Bibliography

Some Account of Domestic Architecture in England: from the Conquest to the End of the Thirteenth Century. Oxford/London: J. H. Parker, 1851. [continued by John Henry Parker in his, Some Account of Domestic Architecture in England, from Edward I to Richard II [etc.] Oxford, 1853.]





Citation

"Turner, Thomas Hudson." Dictionary of Art Historians (website). https://arthistorians.info/turnert/.


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Architectural historian, wrote Some Account of Domestic Architecture in England, later completed by John Henry Parker.

Tümpel, Christian

Full Name: Tümpel, Christian

Other Names:

  • Christian Tümpel

Gender: male

Date Born: 31 March 1937

Date Died: 09 September 2009

Place Born: Bielefeld, North Rhine-Westphalia, Germany

Place Died: Bad Kissingen, Bavaria, Germany

Home Country/ies: Germany

Subject Area(s): Dutch (culture or style) and painting (visual works)

Career(s): clergy


Overview

Rembrandt scholar; Lutheran minister. Tümpel was the son of the silver- and goldsmith Wolfgang Tümpel (1903-1978), who had been trained at the Bauhaus and subsequently at the Burg Giebichenstein School for the applied arts. Tümpel studied theology and philosophy at the Kirchliche Hochschule Bethel from 1958 to 1963. From this year until 1968 he studied art history and archeology at the universities of Heidelberg, Berlin, and Hamburg. In Hamburg he received the doctor’s degree under the supervision of Wolfgang Schöne with his dissertation, Studien zur Ikonographie der Historien Rembrandts. This study was well received. From 1968 to 1969 he was a fellow at the London Warburg Institute. For the 1970 exhibition Rembrandt legt die Bibel aus, which was organized by the Evangelische Kirche Berlin-Brandenburg and the Berlin Kupferstichkabinett, Tümpel wrote the catalog, in collaboration with his wife Astrid, also an art historian. In 1971 Tümpel was awarded the prize of the Royal Netherlands Academy of Arts and Sciences. In that year he declined an offer from Julius S. Held for a teaching position at Columbia University. Tümpel instead choose to complete his study of theology, and subsequently, during ten years, he served as a Lutheran minister at the Hamburg Matthäusgemeinde. In 1973 he founded Kunstforum Matthäus, an “Akademie in der Gemeinde”, presenting classes, lectures, and travel on art- and church history. In 1984 he obtained a teaching position, and later a professorship, at the Catholic University of Nijmegen in the Netherlands (today, Radboud University). In 1986 his major monograph on Rembrandt, Rembrandt, Mythos und Method, appeared, along with translations in various languages. Astrid Tümpel contributed the chapter on Pieter Lastman, and on Rembrandt’s “Honderdguldenprent” (“The Hundred Guilder Print”), representing Christ Preaching. In 1990 the Amsterdam Joods Historisch Museum took the initiative for an exhibition on the Old Testament in Dutch painting of the Golden Age. To realize this project, Tümpel set up a research team studying the various sources of the representations of Old Testament scenes in Dutch painting of the 1600s. Among the topics was the intellectual discourse between Jews and Christians in that period. The findings were published in the 1991 exhibition catalog, Het Oude Testament in de Schilderkunst van de Gouden Eeuw. It includes an essay by Tümpel on the reception of Flavius Josephus’ Jewish Antiquities in Dutch art. Tümpel’s research led to more exhibitions, including Patriarchs, Angels & Prophets. The Old Testament in Netherlandish Printmaking from Lucas van Leyden to Rembrandt, held in the Amsterdam Rembrandt House Museum in 1996-1997. In addition to the iconography of sixteenth- and seventeenth-century paintings and printmaking, Tümpel also developed an interest in modern sculpture. In 1991 he was involved in an exhibition of German sculptures that were denounced by the Nazis as “entartet”. This show, Deutsche Bildhauer, 1900-1945, Entartet was first held in the Nijmegen Museum Commanderie van Sint-Jan, in collaboration with the Nijmegen University Art History Institute. It subsequently traveled to Haarlem and later to various museums in Germany. After his retirement, in 2002, Tümpel settled in Ahrenberg near Hamburg. Here he founded, in 2004, another section of Kunstforum Matthäus: Kunstforum Schlosskirche Ahrensberg, Tümpel and his wife remained active as scholars. In 2006 a revised English edition of Rembrandt, Mythos und Methode appeared, Rembrandt, Images and Metaphors. Tümpel also contributed to Rembrandt – Quest of a Genius, a publication in conjunction with the 2006 exhibition at the Rembrandt House Museum and at the Berlin Gemäldegalerie. In June, 2009, the couple participated at a Rembrandt conference at Queen’s University International Study Center in Herstmonceux Castle, East Sussex. A few months later, Tümpel died unexpectedly. Tümpel wrote studies on Rembrandt and organized exhibitions and exhibition catalogues.


Selected Bibliography

[dissertation Hamburg University, 1968:] Studien zur Ikonographie der Historien Rembrandts, published in Nederlands Kunsthistorisch Jaarboek 20 (1969): 107-198; and Tümpel, Astrid. Rembrandt legt die Bibel aus. Zeichnungen und Radierungen aus dem Kupferstichkabinett der Staatlichen Museen Preussicher Kulturbesitz Berlin. Berlin: Hessling, 1970; and Tümpel, Astrid. Rembrandt, Mythos und Methode. Königstein im Taunus: Langewiesche, 1986, English, German, French, and Dutch: Antwerp: Mercatorfonds, 1986; et al.Het Oude Testament in de Schilderkunst van de Gouden Eeuw. Zwolle: Waanders, 1991; et al. Deutsche Bildhauer, 1900-1945, entartet. Zwolle: Waanders, 1992; Van der Coelen et al. Patriarchs, Angels & Prophets. The Old Testament in Netherlandish Printmaking from Lucas van Leyden to Rembrandt. Amsterdam: Museum Het Rembrandthuis, 1996; and Tümpel, Astrid. Rembrandt, Images and Metaphors. London: Haus Publishing Limited, 2006; “Traditional and groundbreaking: Rembrandt’s iconography” in Van de Wetering, Ernst et al.Rembrandt – Quest of a Genius. Zwolle: Waanders, 2006.


Sources

[obituaries:] “The Eminent Scholar Christian Tümpel (1937-2009) has Passed Away” http://codart.nl/news/465/ ; Golahny, Amy. “In Memoriam Christian Ludwig Tümpel (31 March 1937 – 9 September 2009)” http://www.hnanews.org/hna/news/obituary



Contributors: Lee Sorensen and Monique Daniels


Citation

Lee Sorensen and Monique Daniels. "Tümpel, Christian." Dictionary of Art Historians (website). https://arthistorians.info/tumpelc/.


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Rembrandt scholar; Lutheran minister. Tümpel was the son of the silver- and goldsmith Wolfgang Tümpel (1903-1978), who had been trained at the Bauhaus and subsequently at the Burg Giebichenstein School for the applied arts. Tümpel studied theology

Tufts, Eleanor

Full Name: Tufts, Eleanor

Other Names:

  • Eleanor May Tufts

Gender: female

Date Born: 1927

Date Died: 1991

Place Born: Exeter, Rockingham, NH, USA

Place Died: Dallas, TX, USA

Home Country/ies: United States

Subject Area(s): feminism and Spanish (culture or style)


Overview

Pioneer feminist art historian and Spanish-art scholar. Tufts was the daughter of James A. Tufts, a New Hampshire businessman, and Hazel Weinbeck (Tufts), a school teacher. She graduated from Simmons College with a B.S. in Spanish in 1949, working initially as executive secretary at Boston University between 1950 until 1956. She worked on a master’s degree in art history at neighboring Radcliffe College, awarded to her in 1957. Her thesis was written with the assistance of Millard Meiss and Jakob Rosenberg. Tufts was then hired at the Council on International Educational Exchange in New York City as director of program development. She moved to World University Service, New York, as associate director in 1960. In 1964 she became assistant professor of art history at the University of Bridgeport, Bridgeport, CT. In 1966 she joined Southern Connecticut State College, New Haven as an associate professor of art history. Tufts continued working on her Ph.D. at New York University, which was granted in 1971. Her dissertation, written under José López-Rey was on the Spanish artist Luis Meléndez. 1974 was a watershed year for her. She was appointed professor of art history, Chair of the Division of Art at Southern Methodist University, Dallas, TX, along with Alessandra Comini; she published her important book, Our Hidden Heritage: Five Centuries of Women Artists, and was awarded a summer National Endowment for the Humanities grant. Tufts and Comini became partners, the two developing and sharing feminist approaches toward art and a home in Dallas. The two spent summers tracking down works by women artists for the books and to raise curatorial awareness of important works by women languishing in storage. Tufts helped organize the National Academy of Design’s exhibition on her dissertation topic, Meléndez, in 1985. In 1987 the first director of the National Museum of Women in the Arts, Anne-Imelda Radice, asked Tufts to curate the inaugural traveling exhibition, “Women in the Arts, 1830-1930.” The show received extensive and controversial coverage. She contracted ovarian cancer and died at age 64.


Selected Bibliography

[dissertation:] A Stylistic Study of the Paintings of Luis Meléndez. New York University, 1971, revised and published as, Luis Meléndez: Eighteenth-century Master of the Spanish Still Life: with a Catalogue Raisonné. Columbia, MO: University of Missouri Press, 1985; and Levin, Gail, and Corn, Wanda, and Comini, Alessandra. American Women Artists, 1830-1930. Washington, DC: International Exhibitions Foundation for the National Museum of Women in the Arts, 1987; Our Hidden Heritage: Five Centuries of Women Artists. New York: Paddington Press, 1974.


Sources

Comini, Alessandra. In Passionate Pursuit: a Memoir. New York: George Braziller, 2004, pp. 155-157, [obituaries:] “Eleanor Tufts 1927-1991.” Woman’s Art Journal 13, no. 1 (Spring, 1992): 55; “Eleanor Tufts, Art History Professor, 64.” New York Times December 10, 1991, p B20;




Citation

"Tufts, Eleanor." Dictionary of Art Historians (website). https://arthistorians.info/tuftse/.


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Pioneer feminist art historian and Spanish-art scholar. Tufts was the daughter of James A. Tufts, a New Hampshire businessman, and Hazel Weinbeck (Tufts), a school teacher. She graduated from Simmons College with a B.S. in Spanish in 1949, working

Treu, Georg

Full Name: Treu, Georg

Gender: male

Date Born: 1843

Date Died: 1921

Place Born: St. Petersburg, Russia

Place Died: Dresden, Saxony, Germany

Home Country/ies: Germany

Subject Area(s): ancient, Ancient Greek (culture or style), and archaeology


Overview

Led later excavation expeditions to Olympia (1878-1881) for Ernst Curtius, and subsequently was Director of the museum in Berlin devoted to the results.


Selected Bibliography

Bildwerke von Olympia in Stein und Thon, 3 vols. 1894-1897.


Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 83-84.




Citation

"Treu, Georg." Dictionary of Art Historians (website). https://arthistorians.info/treug/.


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Led later excavation expeditions to Olympia (1878-1881) for Ernst Curtius, and subsequently was Director of the museum in Berlin devoted to the results.

Trichet du Fresne, Raphaël

Full Name: Trichet du Fresne, Raphaël

Gender: male

Date Born: 1611

Date Died: 1661

Place Born: Bordeaux, Centre-Val de Loire, France

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

Home Country/ies: France

Subject Area(s): Italian (culture or style) and painting (visual works)

Career(s): publishers


Overview

First publisher of Leonardo’s treatise on painting in 1651 and author of the first published annotated art bibliography. Trichet du Fresne was the son of the lawyer and bibliophile Pierre Trichet (1586/7-ca. 1649). He studied at the Collège de Guyenne, Paris. While working for the brother of Louis XIII, Gaston d’Orléans (1608-60), he acquired works of art on buying excursions. While in Rome around 1630, he encounter the French expatriate intellectual community, centered around Sébastien Bourdon. Back in Paris by 1640 Trichet secured an appointment by Cardinal Richelieu to the Imprimerie Royale, reading texts for official authorization. There he met Nicolas Poussin. He was in Rome by 1644 facilitating the interactions between Poussin and the French ambassador to Venice, M. des Hameaux. Trichet published Leonardo da Vinci’s treatise on painting, Trattato della pittura, which had circulated in manuscript form, in 1651. His Trattato contained an early biography of Leonardo and Alberti and contained a list of books at the end, forming the first annotated bibliography of art literature. By the following year, Trichet was working as the librarian and art curator to Queen Christina of Sweden in Stockholm. When the Queen abdication in 1654 and emigrated to Italy, Trichet followed her to Rome. Eventually he returned to Paris where he was the librarian to Nicolas Fouquet, and finally for Jean-Baptiste Colbert. Trichet maintained a personal library of more than 1400 volumes, which was acquired by Fouquet for Saint-Mandé, and later by Colbert for the Bibliothèque Royale (Bibliothèque Nationale). Trichet also amassed a picture collectionincluded the paintings then attributed to Gentile Bellini (The Audience of a Venetian Embassy in an Eastern Town, today at the Louvre, and Bacchanal before a Temple by Poussin and Dead Christ with Angels by Ludovico Carracci, both lost today.


Selected Bibliography

Trattato della pittura di Lionardo da Vinci. Paris: Appresso Giacomo Langlois, 1651; Catalogus librorum bibliothecae Raphaelis Tricheti du Fresne. Paris: apud viduam & haeredes, ruë du Mail, 1662.


Sources

Dezeimeris, Reinhold. Pierre Trichet: un bibliophile bordelais au XVIIe siècle. Bordeaux: Impr. Gounouilhou, 1878; Bonnaffé, Dictionnaire des amateurs français au XVIIe siècle. Paris: A. Quantin, 1884; Bajou, Thierry, Dictionary of Art; Sorensen, Lee. “Art Bibliographies: A Survey of their Development, 1595-1821” Library Quarterly 56 (January 1986): 31-55.




Citation

"Trichet du Fresne, Raphaël." Dictionary of Art Historians (website). https://arthistorians.info/trichetdufresner/.


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First publisher of Leonardo’s treatise on painting in 1651 and author of the first published annotated art bibliography. Trichet du Fresne was the son of the lawyer and bibliophile Pierre Trichet (1586/7-ca. 1649). He studied at the Collège de Guy