Full Name: Tintelnot, Hans
Gender: male
Date Born: 1909
Date Died: 1970
Place Born: Lemgo, North Rhine-Westphalia, Germany
Place Died: Kiel, Schleswig Holstein, Germany
Home Country/ies: Germany
Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 418-20.
Full Name: Timmers, J. J. M.
Other Names:
Gender: male
Date Born: 1907
Date Died: 1996
Place Born: Sittard, Limburg, Netherlands
Place Died: Maastricht, Limburg, Netherlands
Home Country/ies: Netherlands
Professor of Art History, Museum Director. Timmers grew up in Sittard. At the age of eleven, he entered the Gymnasium of the Canisiuscollege in Nijmegen. In 1926, he became a friar in the order of the Carmelites in Boxmeer. After his novitiate he studied philosophy in the Carmelite House in Nijmegen. He left the order in 1930, remaining socially active as as a regional leader in the [Netherlands] Scout Association. During this time he began painting and etching. Between 1936 and 1940 he studied Art History at the Catholic University of Nijmegen, where, in 1942, he obtained his doctorate with a dissertation on the painter and art theorist Gérard de Lairesse (1640-1711). His adviser was Gerard Brom (1882-1959), Professor of Aesthetics and Art History. Between 1942 and 1946 he was the curator of the Aartsbischoppelijk Museum of Utrecht (Museum of the Archbishopric Utrecht). When Brom left his position in 1947, Timmers succeeded him as extraordinarius Professor of Aesthetics and Art History “of the New Era” at roughly the same time as his colleague, Frits van der Meer, was appointed as extraordinarius Professor of Early Christian and Mediaeval Art (1946). Timmers’ inaugural lecture, held on December 3, 1948, was on: De beeldhouwkunst van het Neder- en Middenmaasdal tijdens de 16de eeuw (Sculputre of the Lower and Central Valley of the Meuse in the Sixteenth Century). In addition to his Nijmegen position, Timmers took on the duties of Professor of Art History and Iconography at the Jan van Eyck Academy of Fine Arts in Maastricht, from 1948 until 1977. In 1949 he moved to Maastricht, the capital of the province of Limburg. Timmers relinquished his position at Nijmegen University in 1955 to become the Director of the Jan van Eyck Academy and allow himself to concentrate on his work in Maastricht. From 1945-46 onwards, he also was Director of the Provinciaal Museum van Oudheden in Maastricht and Curator of the Bisschoppelijk Museum (Museum of the Bishopric Roermond). Timmers brought together the collections of both institutions in a former convent in Maastricht, the so-called Bonnefanten complex, which was converted into a museum. He retired from his position as Director of the Bonnefantenmuseum in 1972 when the restoration was completed. Between 1947 and 1968, Timmers chaired the editorial board of De Maasgouw, in which periodical he frequently published, and of the Publications de la société historique et archéologique dans le Limbourg, both issued by the Limburgs Geschied- en Oudheidkundig Genootschap (LGOG). Timmers was an expert and connoisseur of medieval and sixteenth-century sculpture in wood. In addition, he was specialized in the arts of the valley of the Meuse. Two elaborate monographs on that subject appeared successively in 1971 and 1980. He also published broader studies on art in the Netherlands and in Europe, such as Atlas van de Nederlandse beschaving (1957) and Atlas van het Romaans (1965), both translated into English, in 1959 and 1969 respectively. In the Dutch speaking world, Timmers is best known as the author of Christelijke Symboliek and Iconografie. Between 1947 and 1987, several editions of this useful lexicon were published. His attempt, in 1965, to be appointed as the director of the Nederlands Historisch Instituut in Rome ended in disappointment, something he deeply regretted. During his lifetime he received special recognition for the work he had done in Maastricht and in the province of Limburg. The city of Sittard, the Bishopric of Roermond, the Province of Limburg, and the city of Maastricht granted him honorary awards. Timmers died in Maastricht at the age of 89. His name lives on in the Prof. Dr. Timmersstichting, the Timmers Foundation based in Sittard.
Gérard Lairesse. Amsterdam: H.J. Paris, 1942; Kerkelijke monumentenzorg: geïllustreerde handleiding voor het bewaren en verzorgen van kerkelijke kunst. Utrecht: Het Spectrum, 1945; Symboliek en iconographie der christelijke kunst. (Romen’s compendia) Roermond – Maaseik: Romen, 1947. Further revised editions: Christelijke symboliek en iconografie. Bussum: Fibula – Van Dishoeck, 1974 etc.; De religieuse schilderkunst. (Kunst van Nederland) Naarden: In den Toren, [1947]; De beeldhouwkunst van het Neder- en Middenmaasdal tijdens de 16de eeuw. Rede uitgesproken bij de aanvaarding van het ambt van buitengewoon hoogleraar in de kunstgeschiedenis der nieuwere tijden aan de R.K. Universiteit te Nijmegen op Vrijdag 3 December 1948. Nijmegen – Utrecht: Dekker en Van de Vegt, 1948; Houten beelden. De houtsculptuur in de Noordelijke Nederlanden tijdens de late middeleeuwen. (De schoonheid van ons land, 5) Amsterdam: Contact, 1949; De Sint Servaaskerk te Maastricht. Utrecht: Het Spectrum, 1955; Atlas van de Nederlandse beschaving. Amsterdam: Elsevier, 1957; Second edition, Kleine atlas van de Nederlandse beschaving. Amsterdam: Elsevier, 1963;Second edition: Kleine atlas van de vroege Middeleeuwen, Baarn: Tirion, 1989 A history of Dutch life and art. = translation of Atlas van de Nederlandse beschaving by Mary F. Hedlund. London: Nelson – Amsterdam: Elsevier, 1959; Oude schoonheid in Limburg. Maastricht: Leiter-Nypels, 1962; St.-Servatius’ noodkist en de Heiligdomsvaart: Maastricht Heiligdomsvaart 1962. Maastricht: [Stichting Heiligdomsvaart], 1962; Spiegel van twintig eeuwen: de mens in de lage landen. (Elsevierpocket A 70) Amsterdam: Elsevier, 1963; Atlas van het Romaans. Amsterdam: Elsevier, 1965. A Handbook of Romanesque Art. = translation of Atlas van het Romaans by Marian Powell. London: Nelson – New York: Macmillan: 1969; Jan van Steffeswert: vroeg 16e eeuws Maaslands beeldhouwer. Catalogus van de tentoonstelling gehouden te Stevensweert 14 mei tot 12 juni, te Hasselt 12 juni tot 15 juli, te Sittard 15 juli tot 30 augustus en te Venlo 30 augustus tot 20 september 1966, with an introduction by J.J.M. Timmers. [Sittard: Alberts, 1966]; and Fischer F.W. Late gotiek (Kunst van Europa) Amsterdam: Elsevier, 1971. Published in various languages; Banden met het Zuiden. Tentoonstellingscatalogus by H.L.M. Defoer a.o., with an introduction by J.J.M. Timmers. 16 september tot en met 14 november 1971. Utrecht: Aartsbischoppelijk Museum, 1971; De glorie van Nederland. Amsterdam: Elsevier, 1972. Second edition: Henk Nieuwenkamp (ed.) Baarn: Tirion, 1989; Geschiedenis van het Spaans Gouvernement te Maastricht. Maastricht: Vroom en Dreesmann/Veldeke, 1976; De kunst van het Maasland. I: De Romaanse periode. (Maaslandse monografieën, groot formaat 1) Assen: Van Gorcum, 1971; De kunst van het Maasland. II: De Gotiek en de Renaissance. (Maaslandse monografieën, groot formaat 3) Assen: Van Gorcum, 1980; Christelijke symboliek en iconografie. Sixth edition. Houten: De Haan, 1987.
Schutgens, Kees “Prof. Dr. J.J.M. Timmers [1907-1996]. Biografische schets van de naamgever van de ‘Prof. Dr. Timmersstichting'” in Janssen, Guus e.o. (eds.) Sittardse Cultuurdragers 1299-1999. Sittard: Prof. Dr. Timmersstichting, 1999.
Contributors: Monique Daniels
Professor of Art History, Museum Director. Timmers grew up in Sittard. At the age of eleven, he entered the Gymnasium of the Canisiuscollege in Nijmegen. In 1926, he became a friar in the order of the Carmelites in Boxmeer. After his novitiate he
Full Name: Tietze, Hans
Other Names:
Gender: male
Date Born: 01 May 1880
Date Died: 04 April 1954
Place Born: Prague, Praha, Hlavní Město, Czech Republic
Place Died: New York, NY, USA
Home Country/ies: Austria
Subject Area(s): Ancient Italian, art theory, Baroque, Early Western World, Italian (culture or style), Mediterranean (Early Western World), Venetian (Republic, culture or style), Vienna School, and Viennese
Career(s): art historians and historiographers
Institution(s): Baroque Museum (Vienna)
“Vienna School”-trained historian of Venetian art; author of a major “principles of art history” monograph and developer of Baroque Museum, Vienna. Tietze was the son of a Czech lawyer, Siegfried Tietze (d. 1920), and Auguste Pohl. The family name had originally been Taussig. He was born in Prague, Czechoslovakia, which is present-day Prague, Czech Republic. He attended the Gymnasium Altstadt in Prague. His father converted the family from Judaism to protestant Christianity in 1893 moving the family to Vienna. Tietze graduated from the Schottengymnasium there in 1898. Anxious to be seen as fully Austrian, he volunteered for a year’s service in the Austrian army 1899-1900. Following discharge he entered the university in Vienna studying archaeology and history and art history between 1900-1903. Vienna’s art history program was in the midst of solidifying its famous “Vienna School” methodology and Tietze studied with the masters including Aloïs Riegl, Julius Alwin von Schlosser and Franz Wickhoff. He wrote his dissertation under Wickhoff on the topic of medieval typological representation, awarded his degree in 1903. His article on Francesco de Hollanda was termed by Schlosser “an exemplary piece of research” (Held). In 1905 he married fellow Vienna art-history student Erika Conrat who hailed from a prominent and cultural Viennese family. Tietze wrote his habilitation (also under Wickhoff) on the topic of Anibale Caracci’s frescos at the Palazzo Farnese, accepted in 1905. Study of baroque artists was still rare in academic art history, the period generally considered degenerate. Tietze worked as Wickhoff’s assistant holding an ad personam chair in the Erstes Kunsthistorisches Institut of Josef Rudolf Thomas Strzygowski. The Tietzes raised their four children largely with a governness so as to be able to devote their energies to art. He became an assisant at the Commission for Monument Preseveration (Zentralkommission für Denkmalplege), rising to secretary of the Commision in 1909. Headng a relatively small staff, he oversaw an inventory of monuments ultimately comprising thirteen volumes, Österreichische Kunsttopographie. In 1909, too, he was accepted as a Privatdozent at the University. Tietze and his wife enthusiastically supported modern art, commissioning the twenty-three-year-old expressionist paingter Oskar Kokoschka to paint their marriage portrait in 1909. When World War I broke out, he mobilized into the army again intially seeing action but later as an officer assigned to art protection in Italy (1914-1918). At the war’s conclusion–disastrous for Austria–he, as a negotiator for war reparations of Austrian art, skillfully kept Austria’s heritage intact (Buschbeck). Afterward, Tietze received an ausserordentlicher (assistant) professor appointment at Vienna and began editing the periodical Die bildenden Künste. The next year Tietze submitted a proposal for the reorganization of Austrian museums and was appointed by Emil Förster-Streffleur to the art section of the Austrian government’s instruction initiatvie (österreichische Staatsamt für Unterricht). In 1920, too, the Tietzes consolidated their position as major public exponents of modern art by joining the Association for the Promotion of Modern Art in Vienna (Gesellschaft zur Föderung der modernen Kunst in Wien). Beginning in 1923, Tietze reorganized the art museum system in Vienna from its imperial arrangement to one more reflecting the popular and pedagogical direction of the new federal goverment, integrating the Hapsburg collections into existing museums. This included combining of the print collection of the Hofbibliothek into the Albertina collection and the creation of the Belvedere galleries: the baroque museum in the Lower Belvedere, the 19th-century museum in the Upper Belvedere and the modern (20th-century) art museum in the Orangerie. He worked at this successfully until 1925 when he resigned over bureaucratic frustrations. He continued as a private teacher with a titular appointment to the University with a new outlook toward art–to portray art and artists as fully real players in history and not simply producers of art (Gombrich, 1954), writing radio broadcasts on art. His knowlege of modern art and respect as a scholar allowed him to continue to advise Austrian museums on purchase of late-19th-century (“Post-Impressionist) art. He embarked on a new assessment of Albrecht Dürer, joined by Erica. Volume one, Der junge Dürer, appeared in 1928, a ground-breaking work for its integration of all Dürer media and its “ruthless rejection of many traditional and recent attributions” (Gombrich, 1954). It was the new approach to Dürer that led him to study Venentian art, a favorite of his mentor, Wickhoff. Tietze made guest lectures to the United States in 1932 and 1935. The text for a catalog on Venetian renaissance drawings by the the pair was completed 1935 but remained unpublished until the English edition of 1944. A monograph on Titian was issued in 1936. The annexation of Austria by the Nazis in 1938 resulted in Tietze’s non-grata status as a pacificist and of “non-Arian” background. While traveling in Italy, the Tietzes were forbidden to return and their home plundered. The couple fled to London and then the United States leaving their apartment in the hands of their housekeeper. Tietze secured an appointment as a visiting professor at the Toledo Museum of Art under a Carnegie Foundation support for 1938-1939. The following year the couple settled in New York city, sold their Kokoschka to the Museum of Modern Art (1939) living as private scholars. Tietze wrote introductions to European art catalogs for various regional American museums, lighter books for a general public (“great art” surveys and a book on forgeries) and continued his steady stream of scholarly aricles. He secured occasional assignments from the Metropolitan Museum of Art and the National Gallery of Art, Washgington, D. C. He lectured at Columbia University on Venetian painting in the spring semester of 1954, but, already ill with cancer, was too ill to finish the class. The course was completed by Erica. He was cremated and his ashes buried under a tree at their summer home in New Boston, MA. Students greatly influenced by his teaching in Vienna included E. H. Gombrich and Otto Kurz. Tietze’s Geistesgeschichte approach to art history–most clearly seen in the Dürer catalogs–a view of an artist as a living personality and not as an evolution of styles–was directly inherited from his Vienna School training. He was fascinated by neglected periods and genres; his early research into the Bolognese Anibale Carracci perhaps influenced the younger Kurz to write his dissertation on the (still unfashionable) baroque artist Guido Reni. The Tietzes as a scholarly couple divided their work between Hans, the theorist and actual writer of the texts and Erica who provided the details (Held). E. H. Gombrich characterized Tietze’s Methode der Kunstgeschichte as, in addition to displaying Tietze’s learning, betraying the inner crisis of art history: what, in fact, the goal of the art historian should be (Gombrich, 1954). Both Tietzes were intense driving personalities, a fact remarked upon by friends and adversaries alike. Kokoschka described his sitters as “closed personalities so full of tension” (MoMA). Julius S. Held, in a saludatory obituary, characterized Tietze as “uncompromising” and “strong willed.” This assured, unbending nature proved a detriment as much as an advantage. Tietze, who had made such significant reforms in Austrian museum culture, found himself shut out of appointments in the American Art Museum world. His lack of admiration for connoisseurship as an end–a staple of art museology–brought distrust from museum directors. “To identify connoisseurship with art history would be like confusing detection with jurisprudence,” he remarked (Gombrich, 1954). The offense this caused can be seen in two reviews of Tietze books by the Art Institute of Chicago associate director John Maxon, whose analysis appeared so vindictive that that Columbia scholar David Rosand (b. 1938) decried it in print as a personal vendetta by Maxon. Udo Kultermann characterized Tietze as “one of the outstanding scholars both in the area of the art of the Renaissance and of the modern era.”
[complete bibliography:] Kurz, Otto, and Kurz, Hilde. “A Bibliography of the Writings of Hans Tietze and Erica Tietze-Conrat,” in Gombrich, E. H., and Weinberger, Martin, and Held, Julius, eds. Essays in honor of Hans Tietze, 1880-1954. New York: Gazette des Beaux-Arts, 1958, [Hans Tietze:] pp. 439-453; [collected writings] Krapf-Weiler, Almut, ed. Hans Tietze: Lebendige Kunstwissenschaft: Texte 1910-1954. Vienna: Schlebrügge Editor, 2007; [dissertation:] Die Entwicklung des typologischen Bilderkreises im Mittelalter. Vienna, 1903, published, Jahrbuch des Kunsthistorischen Institutes der k. k. Zentralkommission für Denkmalpflege Wien (neue folge) 2 no. 2 (1904): 21-88; [habilitation:] Annibale Caraccis Fresken im Palazzo Farnese und sein römische Werkstätte. Vienna, 1908; “Francesco de Hollanda und Donato Giannottis Dialoge über Michelangelo,” Repertorium für Kunstwissenschaft 28 (1905): 295-320; Die Österreichische Kunsttopographie. 13 vols. Vienna, 1907-1920; Die Methode de Kunstgeschichte: ein Versuch. Leipzig: E.A. Seeman, 1913; and Tietze-Conrat, Erika. Kritisches Verzeichnis der Werke Albrecht Dürers. 3 vols. Augsburg: B. Filser, 1928-38; Tizian: Leben und Werk. 2 vols. Vienna: Phaidon-verlag 1936; Tizian: Gemälde und Zeichnungen. Vienna: Phaidon, 1936, English, Titian: Paintings and Drawings. Vienna: Phaidon Press, 1937; Four Centuries of Venetian Painting; March, 1940. Toledo, OH: Toledo Museum of Art, 1940; and Tietze-Conrat, Erica. The Drawings of the Venetian Painters in the 15th and 16th Centuries. New York: J.J. Augustin, 1944; Tintoretto: the Paintings and Drawings. London: Phaidon Press, 1948; Genuine and False: Copies, Imitations [and] Forgeries. New York: Chanticleer Press, 1948; Treasures of the Great National Galleries: an Introduction to the Paintings in the Famous Museums of the Western World. New York: Phaidon/Garden City Books, 1954; The Bob Jones University Collection of Religious Paintings. Greenville, SC: Bob Jones University, 1954.
Jahn, Johannes, ed. Die Kunstwissenschaft der Gegenwart in Selbstdarstellungen. Leipzig: F. Meiner, 1924, pp. 183-198 (“1-16”), includes portrait and signature example; Buschbeck, Ernst H. “Hans Tietze and his Reorganization of the Vienna Museums.” in Gombrich, E. H., and Weinberger, Martin, and Held, Julius, eds. Essays in Honor of Hans Tietze, 1880-1954. New York: Gazette des Beaux-Arts, 1958, pp. 373-375; Dilly, Heinrich. Kunstgeschichte als Institution: Studien zur Geschichte einer Diziplin. Frankfurt am Main: Suhrkamp, 1979, p. 21; 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. 21 mentioned, 18 n. 33; Sciolla, Gianni Carlo. Materiali per la storia della critica d’arte del Novecento. Turin: Editrice Tirrenia-Stampatori, 1980, p. 32; [observations of Tietze in] Gombrich, Ernst. “The Exploration of Culture Contacts: The Services to Scholarship of Otto Kurz (1908-1975).” Tributes: Interpreters of our Cultural Tradition. Ithica, NY: Cornell University Press, 1984, p. 237; Gerold, Suzanne. Hans Tietze 1880-1954: Eine Biographie. [unpublished dissertation] University of Vienna, 1985; Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, p. 156; 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. 689-699; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. 2nd. Stuttgart: Metzler, 2006, pp. 439-441; Krapf-Weiler, Almut. Hans Tietze: Lebendige Kunstwissenschaft: Texte 1910-1954. Vienna: Schlebrügge Editor, 2007, especially “Daten zur Biographie.” pp. 308-315; [on the Methode:] Wagner, Anselm. “Hans Tietze: Die Method der Kunstgeschichte.” in Hauptwerke der Kunstgeschichtsschreibung. Stuttgart: Kröner Verlag, 2010, pp. 440-443; Marchi, Riccardo. “Hans Tietze and Art History as Geisteswissenschaft in Early Twentieth-century Vienna.” Journal of Art Historiography 5 (December 2011): i-xiii, 14-46, http://arthistoriography.files.wordpress.com/2011/12/marchi.pdf; [obituaries:] Münz, Ludwig. “Hans Tietze.”Alte und neue Kunst 3, no. 2 (1954): 60; Gombrich, E. H. “Hans Tietze.” Burlington Magazine 96 no. 618 (September 1954): 289-290; Held, Julius. “Hans Tietze – 1880-1954.” College Art Journal 14, no. 1 (Autumn 1954): 67-69.
Contributors: Lee Sorensen
“Vienna School”-trained historian of Venetian art; author of a major “principles of art history” monograph and developer of Baroque Museum, Vienna. Tietze was the son of a Czech lawyer, Siegfried Tietze (d. 1920), and Auguste Pohl. The family name
Full Name: Tietze-Conrat, Erica
Other Names:
Gender: female
Date Born: 20 June 1883
Date Died: 12 December 1958
Place Born: Vienna, Vienna state, Austria
Place Died: New York, NY, USA
Home Country/ies: Austria
Subject Area(s): Baroque and Renaissance
Historian of Renaissance and Baroque art; wife of art historian Hans Tietze. Conrat was the daughter of Hugo Conrat, a wealthy Viennese businessman with an enormous passion for music. Brahms was a dinner guest during Conrat’s childhood and versions of her father’s poetry Brahms set to music (Zigeunerlieder, opus 103). She attended the Institut Hanausek until age twelve and then the new Mädchenschule gymnasium, graduating in 1901. She attended the University of Vienna between 1902-1905 where she met a young art history graduate student, Hans Tietze, both students of the first “Vienna school” art historian Franz Wickhoff. She wrote and published her dissertation under Wickhoff in 1905 on Austrian baroque sculptor Georg Raphael Donner (1693-1741), only the second woman to be graduated in art history during Wickhoff’s tenure. Conrat married Tietze in December of 1905, the same year as her first published article. As Europe lacked any significant teaching positions for women then, Tietze-Conrat assisted her husband in his first position as an investigator for the commission on preservation of Austrian monuments (Zentralkommision für Denkmalpflege). The Tietzes had four children between 1908 and 1918. Her husband served in the Austrian army from 1914, his duties still connected with the preservation of monuments, only now in north Italy. The Tietzes were first and foremost a research team. The Tietzes left the raising of thier children to a trusted nanny (who lived with the family until age 90). Both from well-to-do families, the art historian husband/wife team saw as part of their mission the support of contemporary art in Vienna as well as its historical research. Oskar Kokoschka was commissioned to paint a portrait of the two in 1909 (today, Museum of Modern Art, Abby Aldrich Rockefeller Fund, 651.39). Together they helped organize the Vienna Society for the Advancement of Contemporary Art (Gesellschaft zur Förderung der modernen Kunst in Wien) in 1920. As art historians, the Tietzes worked closely together, their desks pushed facing each other in order to facilitate discussion. Each, however, continued to publish separately as well as together. Hans Tietze made guest lectures to the United States in 1932 and 1935, Erica joining him on the second journey. The discovery of a large amount of material in the Uffizi on Venetian drawings by Erica Tietze-Conrat gave her the idea to publish a catalog of drawings from the Republic. From 1935 onward they traveled with that thought in mind. When the Anschluss came in 1938, Tietze-Conrat was in Italy, unaware of the situation. Her husband escaped Austria (both were from Jewish-extraction families) and met her in Italy. After word that their grown children were safe, the couple continued their research, visiting museums in the Netherlands and Paris. In 1939 they emigrated to the United States, leaving their housekeeper to watch over their Austrian home throughout the war. Hans Tietze taught for a single year as a Carnegie Professor at the Toledo Museum of Art before the couple moved to New York. During these financially difficult times, they sold their Kokoschka and joined the large cultural expatriate community there. They became American citizens in 1944. Hans never found an academic appointment in America, his only income coming from occasional assignments from the Metropolitan Museum of Art and the National Gallery of Art, Washington. When Columbia University offered him a course on Venetian art in the spring semester of 1954, Tietze, who was dying of cancer, was too ill to finish the class. Erica completed the lectures and was subsequently asked to lecture at Columbia again in 1955 and 1956. This was her only academic position as well. Her strong convictions to art remained. As a young Ph.D. candidate from Princeton, Thomas Hoving recalled Tietze Conrat’s intimidating shouts of “You–Are–Wrong!” at graduate student symposia at the Frick Collection (McPhee). In 1955 she published a monograph on Mantegna and two years later, Dwarfs and Jesters in Art. In 1970 a room in the Österreichisches Barockmuseum, Lower Belvedere, was named in her honor for having revived the study of neglected Austrian masters such as Donner. Both Tietze-Conrat and her husband are noted for their compilation of fastidious catalogs. The three-volume critical catalog of Albrecht Dürer (1928-38) contains all the categories of a modern evaluative catalogue raisonné. Many of the articles both published were the result of their research in catalog compilation. Their second combined achievement, a critical catalog of Venetian drawings (1944), required that they examine a relatively untouched area of Italian works on paper. Unlike Roman or Florentine, Venetian drawings were relatively unstudied. Savvy enough to understand that students often copied master drawings, they used carefully developed standards to authenticate autograph pieces. Some of their findings and attributions have not borne the test of time, particularly their assertion that the “Sketchbooks of Jacopo Bellini” represent many artists work over a range of years.
[bibliography to 1957:] Kurz, Otto, and Kurz, Hilde. “A Bibliography of the Writings of Hans Tietze and Erica Tietze-Conrat,” in Gombrich, E. H., and Weinberger, Martin, and Held, Julius, eds. Essays in honor of Hans Tietze, 1880-1954. New York: Gazette des Beaux-Arts, 1958, [Erica Tietze:] pp. 453-459; [dissertation:] Beiträge zur Geschichte Georg Raphael Donners. Vienna, 1905, published under the title: “Unbekannte Werke von G. R. Donner.” Jahrbuch des Kunsthistorischen Institutes der k. k. Zentralkommission für Denkmalpflege Wien (neue folge) 3 no. 2 (1905): 195-268; edited, Ertinger, Franz Ferdinand. Des Bildhauergesellen Franz Ertinger Reisebeschreibung durch Österreich und Deutschland. Nach der Handschrift Cgm. 3312 der Kgl. Hof-und Staatsbibliothek. Vienna: K. Graesser, 1907; Österreichische barockplastik. Vienna: A. Schroll, 1920; and Tietze, Hans. The Drawings of the Venetian Painters in the 15th and 16th Centuries. New York: J. J. Augustin, 1944; and Tietze, Hans. Kritisches Verzeichnis der Werke Albrecht Dürers. 3 vols. Augsburg: B. Filser, 1928-38; Mantegna: Paintings, Drawings and Engravings. London: Paidon, 1955; Dwarfs and Jesters in Art. New York: Phaidon, 1957.
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. 19 mentioned; 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. 699-703; Kahr, Madlyn Millner. “Erica Tietze-Conrat (1883-1958): Productive Scholar in Renaissance and Baroque Art.” in Women as Interpreters of the Visual Arts, 1820-1979. Claire R. Sherman, ed. Westport, CT: Greenwood Press, 1981, pp. 301-26; [Hoving comment:] McPhee, John. “A Roomful of Hovings.” in A Roomful of Hovings and Other Proiles. New York: Farrar, Straus and Giroux, 1968, p. 10; Soussloff, Catherine M. “Portraiture and assimilation in Vienna: the case of Hans Tietze and Erica Tietze-Conrat.” in Diasporas and Exiles: Varieties of Jewish Identity. Howard Wettstein, ed. Berkeley: University of California Press, 2002; [obituaries:] Gombrich, Ernst. “Erica Tietze-Conrat.” Burlington Magazine 101 (1959): 149; Gombrich, Ernst. “Erica Tietze-Conrat 1883-1958).” College Art Journal 18 (1959): 248.
Contributors: Lee Sorensen
Historian of Renaissance and Baroque art; wife of art historian Hans Tietze. Conrat was the daughter of Hugo Conrat, a wealthy Viennese businessman with an enormous passion for music. Brahms was a dinner guest during Conrat’
Full Name: Tidworth, Simon
Gender: male
Date Born: unknown
Date Died: unknown
Home Country/ies: United Kingdom
Subject Area(s): architecture (object genre) and sculpture (visual works)
Architectural historian.
Theatres: An Illustrated History. London: Pall Mall Press, 1973.
KRG, 73 mentioned
Architectural historian.
Full Name: Ticozzi, Stefano
Gender: male
Date Born: 1762
Date Died: 1836
Place Born: Parturo, Italy
Place Died: Milan, Lombardy, Italy
Home Country/ies: Italy
Subject Area(s): architecture (object genre) and sculpture (visual works)
Wrote Dizionario degli architetti, scultori, pittori, intagliatori (1830-33). Born in Parturo, Italy near Como.
Dizionario degli architetti, scultori, pittori, intagliatori in rame ed in pietra, coniatori di medaglie, musaicisti, niellatori, intarsiatori d’ogni età e d’ogni nazione. Milan: G. Schiepatti, 1830-33.
Wrote Dizionario degli architetti, scultori, pittori, intagliatori (1830-33). Born in Parturo, Italy near Como.
Full Name: Thuillier, Jacques
Other Names:
Gender: male
Date Born: 18 March 1928
Date Died: 18 October 2011
Place Born: Vaucouleurs, Grand Est, France
Place Died: Paris, Île-de-France, France
Home Country/ies: France
Subject Area(s): French (culture or style) and seventeenth century (dates CE)
Scholar of Poussin and 17th-century French art; professor and art collector. Thuillier’s parents were André Thuillier, professor at the Lycée technique de Nevers, and Berthe Caritey (Thuillier). After having attended the Lycée de Nevers Thuillier studied from 1951 to 1955 at the École Normale Supérieure, in Paris. He obtained his degree of Agrégé des Lettres classiques in 1954, receiving fellowships at the Fondation Primoli, Rome, (1955-1956) and at the Fondation Thiers, Paris (1956-1959). Between 1956 and 1959 he also held a teaching position at the Institut d’Art et d’Archéologie, Université de Paris, Sorbonne. In 1958 he was among the participants in the international Poussin Colloquium, directed by André Chastel. In 1959 Thuillier was appointed assistant professor of art history at the Sorbonne. Thuillier’s research on Poussin, including a collection of seventeenth-century literary sources on Poussin, the so-called “Corpus Pussinianum”, appeared in the Actes du Colloque International Nicolas Poussin (1960). In that year the Poussin exhibition at the Louvre, organized by Germain Bazin, Anthony Blunt, and Charles Sterling, instituted the long-running debate about the chronology and authenticity of the artist’s early works, challenged principally by Denis Mahon, Thuillier would ultimately be drawn in on. Thuillier was a founding member of the journals Art de France (1960) and Revue de l’Art (1968). In 1962 he was appointed chair of medieval and modern art and of musicology at the Faculté des Lettres et Sciences humaines de Dijon. Together with the Baroque scholar Jennifer Montagu, he wrote the catalog of the 1963 Charles Le Brun exhibition at the Musée national de Versailles. He co-authored with Albert Châtelet two monographs on French painting, one covering the period of art betwen [Jean] Fouquet to Poussin (1963) and the second from Le Nain to Fragonard (1964). His book on the Marie de Medici cycle painted by Rubens appeared in 1967 both in Italian and in English, as Rubens’ Life of Marie de’ Medici. The French edition followed in 1969. Thuillier obtained the degree of Docteur ès lettres in 1970. In that year he succeeded Chastel as professor of the history of modern and contemporary art, and subsequently professor of the history of modern art, at the Institut d’Art et d’Archéologie at the Sorbonne. His successor in his position in Dijon was Antoine Schnapper. Thuillier organized the retrospective Georges de La Tour exhibition in the Orangerie des Tuileries in 1972 with Pierre Rosenberg and Michel Laclotte. In 1974 he published his critical catalog of the works of Poussin, Tout l’ouvre peint de Nicolas Poussin; documentation et catalogue raisonné. In 1977 Thuillier was elected to the “chaire d’histoire de la création artistique en France” at the Collège de France. Continuing his pioneering research on seventeenth-century French painting, he organized a show on the Le Nains brothers at the Grand Palais in 1978. In 1982 and 1992 he was involved in exhibitions on seventeenth-century Lorraine artists, held in Nancy, Musée des Beaux-Arts. In 1994 he issued a second monograph on Poussin, followed in 1995 by the catalog of the Feigen Gallery, New York, exhibition of early work of the artist, considered “essential to all concerned with Poussin studies” (Sewell). Thuillier retired in 1998. As honorary professor he continued to publish on different topics. He was selected to write the updated volume on European decorative arts, from the Renaissance to the Baroque, for the Spanish-language scholarly encyclopedia, Summa artis, historia general del arte, which appeared in 2000. His monograph, Jacques de Bellange, was published at the occasion of the exhibition of the artist in Rennes, in 2001. A 2002 Flammarion Histoire de l’art was not well received. Among his last publications was his Galerie des Glaces (2007), following the restoration of the Hall of Mirrors at Versailles Palace. Thuillier figured among the important Poussin scholars of the second half of the twentieth century, along with Mahon and Blunt. He played a major role in national and international committees, such as the Comité national de la recherche scientifique (CoNRS) and the Comité international d’histoire de l’art (CIHA). In 1991 he became a member of the Conseil artistique des Musées nationaux. He was a generous benefactor to French museums. His large donations of art to the Musée départemental George de la Tour in Vic-sur-Seille were instrumental in creating this museum, which opened in 2003. He donated an important collection of drawings and prints to the Musée des Beaux-Arts of Nancy.
[bibliography:] http://www.college-de-france.fr/site/professeurs; “Tableaux attribués à Poussin dans les archives révolutionnaires” in Nicolas Poussin, Actes du Colloque International Nicolas Poussin, Paris, 1958. Paris: CNRS, 1960, vol. 2, pp. 27-44; “Pour un Corpus Pussinianum” in Nicolas Poussin, Actes du Colloque International Nicolas Poussin, Paris, 1958. Paris: CNRS, 1960, vol. 2, pp. 49-238; and Montagu, Jennifer. Catalogue de l’Exposition Charles Le Brun. Château de Versailles, 1963; and Châtelet, Albert. La peinture française de Fouquet à Poussin. Geneva: Skira, 1963; La peinture française de Le Nain à Fragonard. Geneva: Skira, 1964; Rubens’ Life of Marie de’ Medici, New York: Abrams, 1967; and Rosenberg, Pierre, and Landry, Pierre. Catalogue de l’Exposition Georges de La Tour, Orangerie des Tuileries, Paris: Éditions des Musées Nationaux, 1972; Tout l’ouvre peint de George de la Tour. Rizzoli-Flammarion, 1973; Catalogue de l’Exposition Les Frères Le Nain, Grand Palais, Paris, 1978; Tout l’ouvre peint de Nicolas Poussin; documentation et catalogue raisonné. Paris: Flammarion, 1974; Nicolas Poussin (Biographie) Paris: Fayard, 1988; Préface au ‘Cours de peinture par principes’ par Roger de Piles. Paris: Gallimard, 1989, pp. III-XXIX; Nicolas Poussin. Paris: Flammarion, 1994; Poussin Before Rome, 1594-1624. London: Richard L. Feigen & Co, 1995; and others. Summa artis, historia general del arte 46, 1. Las artes decorativas en Europa. Del renacimiento al barroco. Madrid: Espasa Calpe, 2000; Sébastien Bourdon, 1616-1671: catalogue critique et chronologique de l’oeuvre complet. Paris: Réunion des musées nationaux, 2000; Jacques de Bellange. Musée des Beaux-Arts de Rennes, 2001; Histoire de l’art. Flammarion, 2002; Jacques Stella, 1596-1657. Metz: Serge Domini, 2006; La Galerie des Glaces, chef d’Åuvre retrouvé. Paris: Gallimard, 2007.
Blunt, Anthony. [Review “The Literature of Art”] “Colloque Nicolas Poussin. Publié sous la Direction de André Chastel” in The Burlington Magazine 102, nr. 688 (1960): 330-332; Sewell, Brian. “The Blunt Truth about Poussin? ” Evening Standard (London) February 2, 1995, p. 30; [obituaries:] Rykner, Didier. “Disparition de Jacques Thuillier” La Tribune de l’art. October 20, 2011; Montagu, Jennifer. “Jacques Thuillier (1928-2011)” Burlington Magazine 154, nr. 1308 (March, 2012): 202; Jobert, Barthélémy, and Mérot, Alain. Revue de l’Art nr. 176 (2012): 85-87; Lemoine, Serge. “Jacques Thuillier (1927-2011), un grand maître de l’histoire de l’art” Le Monde.fr, Novembre 2, 2011; “Décès de Jacques Thuillier, Carnet Né dans la Meuse, cet historien de l’art français fut aussi un grand donateur” L’Est Républicain, Octobre 21, 2011, p. 19; http://www.college-de-france.fr/site/professeurs.
Contributors: Lee Sorensen and Monique Daniels
Scholar of Poussin and 17th-century French art; professor and art collector. Thuillier’s parents were André Thuillier, professor at the Lycée technique de Nevers, and Berthe Caritey (Thuillier). After having attended the Lycée de Nevers Thuillier
Full Name: Thoré, Etienne-Joseph-Théophile
Other Names:
Gender: male
Date Born: 1807
Date Died: 1869
Place Born: La Flèche, Pays de la Loire, France
Place Died: Paris, Île-de-France, France
Home Country/ies: France
Subject Area(s): Dutch (culture or style) and Impressionist (style)
Career(s): art collectors
Vermeer scholar and “rediscoverer;” and collector and French Salon critic important for Impressionism; co-founder of L’Alliance des arts. Thoré wrote criticism beginning in the 1830s, during the regime of the July Monarchy (1830-48). By the 1840s his art criticism was wide ranging encompassing aesthetic and political views. He extolled the work of Eugène Delacroix, Théodore Rousseau and other Barbizon school painters, chiding the conservative painters such as Jean-Auguste-Dominique Ingres as well as the more popular artists such as Paul Delaroche and Horace Vernet. In 1842 he and Paul Lacroix (1806-1884) founded a private agency to sell and promote art, the Alliance des Arts. They also published a Bulletin. Between 1844-8 Thoré was the art critic for Le Constitutionnel. Because of his support of some of the radicals in the 1848 revolution, (he was a Saint-Simonist and exponent of Pierre Leroux, 1797-1871) was forced into exile in 1849. After living in London, Brussels and in Switzerland, he returned in 1859, continuing to write under the government of Second Empire (1851-70). In 1855, Thoré began using the Dutch-sounding pseudonym “Willem Bürger,” focusing his writing on northern European art. An active archival researcher and connoisseur, he is credited with the rediscovery of Johannes Vermeer and significant re-evaluations of of other seventeenth-century Dutch artists, including Frans Hals. He published museum catalogues and reviews of collections and exhibitions in Europe, as well as studies of the Spanish and English schools. Among these was the Velazquez catalog for French edition of Velazquez and his Works by William Stirling Maxwell in 1865. His criticism derided French baroque painting as too heavily influenced by Italy, terming it as inauthentic of a national identity. He lauded Dutch 17th-century naturalism and what has subsequently come to be seen as the acme of Netherlandish painting, the art of the Dutch Republic. It’s direct appeal to simple human virtues, he declared made it an art for the people (“l’art pour l’homme”). He continued to deplore the dark history painting of the Academie and the Second Empire, particularly that of Jean-Léon Gérôme and Alexandre Cabanel, in favor of Realism painter such as Gustave Courbet (his favorite), Jean-François Millet, and the Impressionists Claude Monet and Auguste Renoir. As early as 1860, Thoré began purchasing Vermeer paintings. A Lady Standing at the Virginal (1672-73, National Gallery, London) was acquired sometime before 1876, Woman with a Pearl Necklace (1664, Berlin, Gemäldegalerie) was bought from Henry Grevedon in June 1866. A Lady Seated at the Virginal (1675, National Gallery, London) was purchased for a mere 2,000 francs in 1867. Thoré was one of the first to recognize the importance of Manet in the 1868 Salon featuring his work. The sale of Thoré’s collection by Hotel Drouot in 1892 brought the Vermeers and other works into more public collections. Though Thoré’s criticism may appear overly political, his early recognition of the important masters of French nineteenth-century painting and the Dutch baroque place him at a seminal point in art history. His most important contribution was in the history of taste and collecting, particularly the reevaluation of Dutch artists as well as an early supporter of Impressionism.
Le Salon de 1844: pécédé d’une lettre à Théodore Rousseau. Paris: Masgana, Alliance des arts, 1844; Le salon de 1845, pécédé d’une lettre a Béranger. Paris: Masgana, Alliance des arts, 1845; [under pseudonym W. Bürger] Tre´sors d’art en Angleterre. Brussels: F. Claassen, 1860; Tre´sors d’art: expose´s a Manchester en 1857 et provenant des collections royales, des collections publiques et des collections particulières de la Grand-Bretagne. Paris: Jules Renouard, 1857; Muse´es de la Hollande. 2 vols. Paris: J. Renouard, 1858-1860. [Velazquez catalog, in] Stirling, William Maxwell. Velazquez et ses œuvres. Paris: J. Renouard, 1865.
Blum, Andé. Vermeer et Thoré-Bürger. Genève: Les Éditions du Mont-Blanc s. a., 1945. Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, p. 237; Jowell, Francis S. Dictionary of Art; Jowell, Frances-Suzman. “Vermeer and Thoré-Bürger: Recoveries of Reputation” Studies in the History of Art 55 (1998): 35-58; Jowell, F. S. “From Thoré to Bürger: the Image of Dutch Art before and after the Musees de la Hollande.” Bulletin van het Rijksmuseum 49 no. 1 (2001): 44-60; Hecht, Peter. “Rembrandt and Raphael Back to Back: the Contribution of Thoré.” Simiolus 26 no. 3 (1998):162-78; Kultermann, Udo. The History of Art History. New York: Abaris, 1993, pp.117.
Vermeer scholar and “rediscoverer;” and collector and French Salon critic important for Impressionism; co-founder of L’Alliance des arts. Thoré wrote criticism beginning in the 1830s, during the regime of the July Monarchy (1830-48). By the 1840s
Full Name: Thieme, Ulrich
Other Names:
Gender: male
Date Born: 31 January 1865
Date Died: 25 March 1922
Place Born: Leipzig, Saxony, Germany
Place Died: Leipzig, Saxony, Germany
Home Country/ies: Germany
Subject Area(s): biographies (literary works) and dictionaries
Career(s): art historians, biographers, and publishers
Editor of volumes 3-15 of the magisterial dictionary of artists, Allgemeines Lexikon der bildenden Künstler. Thieme studied art history in Leipzig, receiving his degree in 1892 under Anton Springer with a dissertation on the work of Hans Schäufelein. He entered the Berlin Gemäldegalerie under Wilhelm Bode. In 1898 he began work on a comprehensive dictionary of artists, architects and decorators enjoinging the assistance of Felix Becker. The two were inspired by the work of G. K. Nagler and his Neues Allgemeines Künstlerlexicon (1835-1852) which had appeared in 22 volumes. The publisher Wilhelm Engelmann bought the rights to Nagler’s work, assigning the new edition to the Gemäldegalerie director Julius Meyer. However, only three of the planned fifteen volumes of the new Allgemeines Künstler-Lexikon had appeared by 1885, largely because Meyer envisioned massive entries on more famous artists. Thieme and Becker reorganized the project, financing the project completely privately and frequently from their own resources. The first volume appeared in 1907. As editors, they assigned entries to over 300 writers, many of whom were young art historians who later became famous in their own right. Becker withdrew from the project in 1910 because of ill health. Beginning with volume three, Thieme edited the project alone–his sole name first appeared on volume five. Engelmann’s firm was bought by E. A. Seeman in 1911 who subsequently published the set. Beginning with volume thirteen, Frederick Charles Willis (b. 1883) became joint editor. The First World War interrupted contact with foreign sources and the ensuing inflation in Germany required new financial support. In 1921 the prestigeous Deutsche Verein für Kunstwissenschaft (German Association for the Study of Art) took over sponsorship. The Verein’s equally prestigeous board (Kuratorium), included at one time or another, in addition to Bode, Jakob Falke, Max J. Friedländer, Adolph Goldschmidt and Wilhelm Pinder. Thieme died before Becker, however, in 1922 and beginning with volume sixteen, the editorship was assumed by Hans Vollmer, a contributor since 1906, who saw the immense project to completion. A British bombing of Leipzig in 1943 destroyed the type-set for the last three volumes and had to be reset from galleys. Vollmer continued the initiative for a twentieth-century set, Allgemeines Lexikon der bildenden Künstler des XX. Jahrhunderts published between 1953 and 1962. A re-edition of the work began in 1983 in Leipzig, but the poor quality of this (published in the Communist DDR); resulted in the project’s revision and complete re-editing as the Saur Allgemeines Künstler-Lexikon, its successor. “Thieme-Becker” as the work was universally known, was a milestone for scholarly biographical art publishing. The dictionary made each entry rich in facts, shied away from value judgments and was open to artists of all specialities, religions, time periods (antique to 19th century) and nationalities (Fork). It’s roots, according to Vollmer, lay not only with Nagler and the Allgemeines Künsterlexikon, 1814 by Heinrich Fuseli, but also the Lexikon der Nürnberger Künstler of Andreas Andresen and the Lexikon der russischen Künstler by Eduard Dobbert.
[dissertation:]Hans Schäufeleins malische Tätigkeit. Leipzig, 1892; and Bode, Wilhelm. Galerie Alfred Thieme in Leipzig. Leipzig: Privately Printed/Breitkopf & Härtel, 1900; and Becker, Felix, and Vollmer, Hans. Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart: unter Mitwirkung von 300 Fachgelehrten des In- und Auslandes. 37 vols. Leipzig: W. Engelmann [vols. 1-5] E. A. Seemann, 1907-1950.
“The Fate of Thieme-Becker.” Burlington Magazine 90, no. 543 (June 1948): 174; Fork, Christiane. “Thieme, Ulrich.” Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. 2nd. Stuttgart: Metzler, 2007, pp. 434-436.
Editor of volumes 3-15 of the magisterial dictionary of artists, Allgemeines Lexikon der bildenden Künstler. Thieme studied art history in Leipzig, receiving his degree in 1892 under Anton Springer with a disserta
Full Name: Tervarent, Guy de
Gender: male
Date Born: unknown
Date Died: unknown
Subject Area(s): encyclopedias, iconography, and reference sources
Iconographic encyclopedia compiler.
Attributs et symboles dans l’art profane: 1450-1600. 3 vols. Geneva: Droz, 1958-64.
KRG, 62 cited; KMP, 57 mentioned; EWA 7: 769ff “Iconography”
Iconographic encyclopedia compiler.