T

Terwen, Jacobus Johannes

November 8, 2023March 29, 2024

Full Name: Terwen, Jacobus Johannes

Other Names:

Jacobus Johannes Terwen

Gender: male

Date Born: 27 June 1916

Date Died: 19 October 1998

Place Born: Amsterdam, North Holland, Netherlands

Place Died: Leiden, South Holland, Netherlands

Home Country/ies: Netherlands

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

Career(s): engineers

Overview

Engineer; architectural historian. Terwen studied architecture at Delft University of Technology. In 1950 he married the art historian Jeanne de Loos (1910-1973), the daughter of the art historian Jeanne de Loos-Haaxman. In 1952 he was an adviser for the exhibition on the Leiden architect Willem van der Helm (ca 1628-1675), held in the Municipal Museum De Lakenhal in Leiden, at the occasion of the fiftieth anniversary of the foundation of the “Oud Leiden” Society. Terwen provided drawings for models of three city gates designed by Van der Helm. In 1953 Terwen began teaching the history of architecture at Leiden University. In addition he joined the new department of the history of photography of the Leiden Prentenkabinet, founded by Henri Van de Waal. In 1965 he obtained a professorship of the history of architecture at Delft University of Technology. His inaugural lecture dealt with the function of the history of architecture in the training of architects. He was particularly interested in the impact of the treatises of Andrea Palladio and Vincenzo Scamozzi on Dutch Classicism. In 1971 Terwen returned to Leiden University, where he was appointed professor of the history of architecture. His inaugural lecture in Leiden dealt with the buildings of Prince Johan Maurits van Nassau-Siegen (1604-1679). Between 1973 and 1981 he headed the editorial board of the Leids Jaarboekje, the annual publication of the Vereniging Oud Leiden. In 1980, at the Palladio exhibition in Vicenza, he delivered a lecture on the influence of Palladio on Dutch architecture. In Leiden, as a member of the Committee of Monuments, he made an inventory of the nineteenth- and twentieth- century buildings of the city. It was published in 1982 in Stadswerk. He retired from Leiden University in 1983 and honored with a Festschrift Bouwen en in Nederland in 1985. With Koen Ottenheym he co-authored, in 1993, a monograph on the Dutch architect Pieter Post, Pieter Post (1608-1669): architect. In his farewell lecture from Leiden University Terwen returned to the topic of the connection between the Italian architects Palladio and Scamozzi and Dutch Classicism, which had occupied him for many years. He came to the conclusion that Scamozzi’s influence on Dutch architecture was of greater importance than Palladio’s.

Selected Bibliography

[bibliography] “Lijst van publicaties van J. J. Terwen” in Bouwen in Nederland. Vijfentwintig opstellen over Nederlandse architectuur opgedragen aan Prof. Ir. J. J. Terwen. Delft: Delftsche Uitgevers Maatschappij, 1985, pp.. 555-556; “De fotocollectie van het Prentenkabinet der Rijksuniversiteit te Leiden” Focus 5 (1957); Over de functie van de architectuurgeschiedenis bij de bouwkundige opleiding: rede uitgesproken bij het aanvaarden van het ambt van gewoon hoogleraar in de geschiedenis der bouwkunst aan de Technische Hogeschool te Delft op Woensdag 15 December 1965. Delft: Waltman, 1965; “Vincenzo Scamozzi’s invloed op de Hollandse architectuur van de zeventiende eeuw” Bulletin Koninklijke Nederlandse Oudheidkundige Bond 65 (1966): 129-130; “The buildings of Johan Maurits van Nassau” in Van den Boogaart, E., Hoetink, H. R., and Whitehead, P. J. P. (eds.) Johan Maurits van Nassau-Siegen 1604-1679: a Humanist Prince in Holland and Brazil. The Hague: Johan Maurits van Nassau Stichting, 1979; “Il Palladianesimo in Olanda” in Della Valle, Anna. Palladio, la sua eredità nel mondo: Vicenza, Basilica Palladiana, maggio-novembre, 1980. Venice: Electa Editrice, 1980; “De tuinen van het Mauritshuis” in Nederlands Kunsthistorisch Jaarboek 1980, 31, Bussum: Fibula-Van Dishoeck, 1981, pp. 104-121; “Mag de bouwkunst van het Hollands classicisme ‘palladiaans’ genoemd worden?” Nederlands Kunsthistorisch Jaarboek 1982, 33, Bussum: Fibula-Van Dishoeck, 1983, pp. 169-189; “Monumentenlijst van 19de- en 20ste- eeuwse gebouwen in Leiden” Stadswerk 2 (1982); [Farewell lecture Leiden University:] Het Hollands klassicisme: Palladio en Scamozzi. Leiden: Prentenkabinet/Kunsthistorisch Instituut der Rijksunversiteit Leiden, 1983; “Het mathematisch systeem van de gevel” in Meischke, R. and Reeser, H. E. (eds) Het Trippenhuis te Amsterdam. Amsterdam – Oxford/New York: Noord-Hollandse Uitgevers Maatschappij, 1983, pp. 171-181; and Ottenheym, Koen. Pieter Post (1608-1669): architect. Zutphen: Walburg Pers, 1993.

Sources

Van der Goes, Bernadette, De Heer, Ed, Van Moorsel, Paul, and De Nooij, Anja (eds) “Voorwoord” Bouwen in Nederland. Vijfentwintig opstellen over Nederlandse architectuur opgedragen aan Prof. Ir. J. J. Terwen. Delft: Delftsche Uitgevers Maatschappij, 1985, p. vii; Marcus – de Groot, Yvette. Kunsthistorische vrouwen van weleer. De eerste generatie in Nederland vóór 1921.Hilversum: verloren, 2003, p. 379; Ekkart, Rudi. “Henri van de Waal: Meester van weleer” in Henri van de Waal. Bundel ter gelegnheid van zijn honderdste geboortedag. 3 maart 1910 / 3 maart 2010. Leiden: Coördesign, 2010, p. 11; [obituary:] Ottenheym, Koen. “Jacobus Johannes Terwen” Leids Jaarboekje (1999), pp 46-47.

Contributors: Monique Daniels

Thausing, Moriz

November 8, 2023March 29, 2024

Full Name: Thausing, Moriz

Other Names:

Moriz Thausing

Gender: male

Date Born: c. 1835-1838

Date Died: 1884

Place Born: Schloss Tschischkowitz (Čížkovice) bei Leitmeritz, Czechoslovakia

Place Died: Ústí nad Labem, Ústecký Kraj, Czech Republic

Home Country/ies: Austria

Overview

Second chair in art history at the University of Vienna 1873; director of the Albertina museum. Thausing was born in Aussig am Elbe, Austria which is present-day Ústi nad Labem, Czech Republic. He initially studied at Prague before changing his studies to German literature and philology at the University in Vienna. The work of Gustav A. Heider and Rudolf Eitelberger von Edelberg changed his mind to study art history. Thausing studied at the Institut für österreichische Geschichtsforschung under Eitelberger and received his degree in Tübingen. He accepted the librarian position at Vienna’s Imperial museum of works on paper, the Graphiksammlung des Erzherzogs Albrecht (the Albertina), in 1864. In 1871 he was among the team of art historians (the others including Alfred Woltmann, Carl von Lützlow, Adolf Bayersdorfer, Friedrich Lippmann, Wilhelm Lübke, Bruno Meyer, Karl Woermann, G. Malsz and Wilhelm Bode) who convened in Dresden to determine which of two versions of Hans Holbein the younger’s “Meyer Madonna” was the autograph work. The so-called “Holbein convention,” one of the important events in nineteenth-century art history when many methodical approaches were employed to determined authenticity, concluded that the Darmstadt version was the original. He published a compilation of letters of the artist Albrecht Dürer in 1873. The following year he was appointed professor at the Institut für Geschichtsforschung at the University of Vienna. In 1875 Thausing published his pioneering monograph on Dürer which met with critical success, particularly in the French and English translations. Shortly thereafter, Thausing was appointed director of the Albertina. His collecting and administration turned the museum into the premiere works-on-paper museums in the world. One day, Thausing encountered Giovanni Morelli, the founder of modern connoisseurship. The meeting was one of the major events development of the Vienna school. Thausing’s students and later assistants, first Franz Wickhoff and then Aloïs Riegl, learned much from both men. They joined Thausing in the formation of the (first) Vienna School of art history at the University of Vienna. Thausing’s subsequent articles in the Zeitschrift für bildende Kunst reflected Morelli’s methodology in practice. In 1882 his book on Dürer was published in English, translated by the (British) Royal Academy secretary Frederick Alexis Eaton. Thausing battled with neurosis his whole life and was committed to a sanatorium in Rome, where Morelli visited him shortly before his death. On an excursion from the hospital the same year, Thausing committed suicide in town of Aussig am Elbe. His students included art historians as disparate as Wickhoff, Henry Thode and Riegl. Thausing’s monograph on Dürer is one of the great positivist art histories. Thausing’s view of the artist was as the (Carlyle-style) man-of-action hero. To Thausing, Dürer was representative of the Volksgeist of the age of the Reformation. His view of art history was largely free of esthetic evaluation; in his 1873 work on methodology, he wrote, “I can truly imagine a better art history in which the word ‘beautiful’ does not ever appear.” The animadversion he lodged against his art history colleagues, especially those in Berlin, tarnished his overall reputation (Feist/Metzler).

Selected Bibliography

Dürers Briefe: Tagebücher und Reime, nebst einem Anhange von Zuschriften an und für Dürer, ubers. und mit Einleitung, Anmerkungen, Personenverzeichniss und einer Reisekarte versehen. Vienna: W. Braumüller, 1873; Dürer: Geschichte seines Lebens und seiner Kunst. Leipzig: E. A. Seemann, 1876, English, Albert Dürer, his Life and Works. 2 vols. London: J. Murray, 1882; Wiener Kunstbriefe. Leipzig: E. A. Seemann, 1884 [particularly “Die Stellung der Kunstgeschichte als Wissenschaft” pp. 19ff.].

Sources

Schlosser, Julius von. “Die Wiener Schule der Kunstgeschichte.” Mitteilungen des Österreichischen Instituts für Geschforschungen 13 no. 2 (1934): 145ff.; Rosenauer, Artur. “Moritz Thausing und die Wiener Schule der Kunstgeschichte.” Wiener Jahrbuch für Kunstgeschichte 36 (1983): 135-139; Bazin, Germain. Histoire de l’histoire de l’art; de Vasari à nos jours. Paris: Albin Michel, 1986, p. 155; German Essays on Art History. Gert Schiff, ed. New York: Continuum, 1988, p. xlii mentioned; Kultermann, Udo. The History of Art History. New York: Abaris, 1993, pp. 145, 159-60; Feist, Peter. “Thausing, Moriz.” Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 155, 410-11.

Contributors: Lee Sorensen

Thienen, Frithjof W. S. van

November 8, 2023March 29, 2024

Full Name: Thienen, Frithjof W. S. van

Other Names:

Frithjof Willem Sophi van Thienen

Gender: male

Date Born: 15 May 1901

Place Born: Delft, South Holland, Netherlands

Home Country/ies: Netherlands

Subject Area(s): Baroque, costumes (character dress), Dutch (culture or style), Dutch Golden Age, Netherlandish Renaissance-Baroque styles, and painting (visual works)

Overview

Scholar of the Dutch Baroque painting and costume; editor of the Algemeene kunst geschiedenis. Van Thienen attended high school (Gymnasium) in Delft. He studied art history at Utrecht University, where he obtained his doctor’s degree in 1929, under Willem Vogelsang. His dissertation dealt with the history of the costume in Holland between 1600 and 1670, Studien zur Kostümgeschichte der Blütezeit Hollands. After its publication, a broader edition followed in 1930, Das Kostüm der Blütezeit Hollands. Between 1933 and 1938 he held the position of teacher and keeper at the Academy of Fine Arts in The Hague. In 1935 he was appointed as research assistant of applied arts at the Hague Gemeentemuseum, where he subsequently became curator in 1938, (until 1943). In that period he published two monographs, one on Vermeer (1939) and one on Pieter de Hoogh (1941), both in the Palet series. In the late 1930s he was among the Dutch art historians who accepted the painting Christ at Emmaus, actually painted by forger Han van Meegeren, as a Vermeer, following the authentication by Abraham Bredius. Assisted by Karel G. Boon he became, in 1941, the editor of Algemeene kunstgeschiedenis, a Dutch-language art-history survey (1941-1951). In 1943 he was appointed professor of iconography at the Amsterdam Rijksacademie voor Beeldende Kunsten, succeeding Pieter Hendrik van Moerkerken (1877-1951), and subsequently, in 1944, professor of art history. In 1945 he in addition obtained a teaching position at the Amsterdam Theatre School. From 1945 to 1949 he was an editorial board member of the Dutch monthly Apollo, Maandschrift voor literatuur en beeldende kunst. In 1951 he published Het Noord-Nederlands costuum van de Gouden Eeuw. This study was translated in English as The Great Age of Holland, 1600-1660. In 1952 Thienen was elected vice president of the international conference of the history of costume in Venice. In the academic year 1952-1953 he was visiting professor of art history at Groningen University. In 1960 he published an overview of the development of costume in Europe, from the 1100s up to the present (the second edition up to 1967), Acht eeuwen kostuum (The costume during eight centuries). He retired from the Amsterdam Rijksacademie in 1967, succeeded by Jan Nicolas van Wessem. In 1969 he published a two volume study on the history of the European theatre from antiquity to the present day, Het doek gaat op: vijfentwintig eeuwen in en om het Europese theater (25 centuries European theatre).

Selected Bibliography

[dissertation:] Studien zur Kostümgeschichte der Blütezeit Hollands. Utrecht University, published, Berlin: Deutscher Kunstverlag, 1929; Das Kostüm der Blütezeit Hollands. Berlin: Deutscher Kunstverlag, 1930; Vermeer. Amsterdam: Becht, 1939, English, Jan Vermeer of Delft. New York: Harper, 1949; Pieter de Hoogh. Amsterdam: Becht, 1941; ed. Algemeene kunstgeschiedenis, de kunst der menschheid van de oudste tijden tot heden. Utrecht: W. De Haan, 1941-51; Het Noord-Nederlands costuum van de Gouden Eeuw, English: The Great Age of Holland, 1600-60 (Laver, James, ed., Costume of the Western World, v. 3, no 5) London: G. G. Harrap, 1951; and Duyvetter. Klederdrachten. Amsterdam: Contact: 1962; Acht eeuwen kostuum. Hilversum: De Haan, 1967; Het doek gaat op: vijfentwintig eeuwen in en om het Europese theater. Bussum: De Haan, 1969.

Sources

“Abraham Bredius, A Biography.” Museum Bredius (website) http://www.museumbredius.nl/biography.htm. Wie is dat? Biografische gegevens van Nederlanders die een vooraanstaande plaats in het maatschappelijk leven innemen, met vermelding van adressen. The Hague: Martinus Nijhoff, 1956; Meij, Ietse. “Frithjof van Thienen: grondlegger van de kostuumcollectie” Jaarboek Haags Gemeentemuseum Jubileumnummer 1995/1996 (1997): 148-173.

Contributors: Monique Daniels

Scholar of the Dutch Baroque painting and costume; editor of the Algemeene kunst geschiedenis. Van Thienen attended high school (Gymnasium) in Delft. He studied art history at Utrecht University, where he obtained his doctor’s degree in 1

Thiersch, Hermann

November 8, 2023March 29, 2024

Full Name: Thiersch, Hermann

Gender: male

Date Born: 1874

Date Died: 1939

Place Born: Munich, Bavaria, Germany

Place Died: Göttingen, Lower Saxony, Germany

Home Country/ies: Germany

Overview

Professor at the University of Freiburg i.B. 1905-1918, Göttingen University 1918-1939.

Selected Bibliography

Islam und Occident: Ein Beitrag zur Architekturgeschichte, 1909.

Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 183-184.

Professor at the University of Freiburg i.B. 1905-1918, Göttingen University 1918-1939.

Thode, Henry

November 8, 2023March 29, 2024

Full Name: Thode, Henry

Other Names:

Henry Thode

Gender: male

Date Born: 13 January 1857

Date Died: 09 November 1920

Place Born: Dresden, Saxony, Germany

Place Died: Copenhagen, Hovedstaden, Denmark

Home Country/ies: Germany

Subject Area(s): Renaissance

Overview

Scholar of the Italian Renaissance, Michelangelo scholar; professor at Heidelberg. Thode was the son of Robert Thode (1825-1898), a banker in Dresden and Adolfine Dzondi (Thode) (1822-1900). He attended the Gymnasium in Goerlitz, entering the university in Leipzig initially to study law. Thode changed to art history, studying in Vienna, Berlin and Munich, writing his dissertation under Moriz Thausing in Vienna in 1880. He spent several years in study in Italy, France and England. In 1884 he and Hugo von Tschudi began editing the presigeous art-history journal Repertorium für Kunstwissenschaft. He wrote his habilitation in 1886 at the University of Bonn. In the same year he married the oldest daughter Cosima [Liszt] Wagner and Hans von Bülow, Daniela von Buelow (1860-1940). In 1889, at the recommendation of Berliner Museum director Wilhelm Bode, Thode was offered the position of director at Städelschen Kunstinstitut in Frankfurt. However disagreements with the administration led to his resignation in 1891. It was in Frankfurt where Thode met the painter Hans Thoma; the two became lifelong friends. While researching in Venice in 1892, he bought a gold ring found by some peasants who had been digging a ditch. The ring bore the medieval inscription ‘Willingly thine own’. Thode recognized the style as around 1500. Within six days he was able to identify the original owner and the circumstances behind the ring and how it came to be lost where it was. The story was written as Frangipani’s Ring: an Event in the Life of Henry Thode (1900). In 1893 Thode became extraordinarius professor at the University of Heidelberg and in 1896 full professor. He declined a call to Berlin in 1901. Thode carried on a high-profile social life and his students frequently complained that he was not easily accessible. The Thodes moved to a Villa Cargnacco at the Gardasee in 1910 where they maintained a lavish lifestyle. That year, he met the Danish Violinist Hertha Tegner (1884-1946) and the two fell madly in love. In 1911, Thode retired as an emeritus professor and was succeeded, against his personal wishes, by Carl Neumann. Thode divorced Daniela in 1914 and married Tegner. When the first World War concluded in 1918, the Italian government forced them to abandon their villa in Tuscany and the house was adopted by poet/adventurer Gabriele d’Annunzio (1863-1938), who also appropriated their art book collection for his own. The loss of the house, the extensive library, its art collection as well as some of Thode’s unpublished manuscripts weakened his health. He drifted about in various German cities until 1919 when the couple emigrated to Copenhagen, where postwar hardships were not as bad. Thode died of complications of a gastric operation. His students included Wilhelm Rheinhold Otto Valentiner, Rosa Schapire, Hermann Voss and Eberhard Freiherr von Bodenhausen. The dancer Isadora Duncan, who attended lectures of Thode, called him her “spiritual husband.” Thode countered the dominant late-nineteenth-century view advanced by Jacob Burckhardt and others that the Renaissance was as a period of emancipation from medieval values and the emergence of the modern individual. A romantic and ultra Wagnerian (he had met Richard Wagner in his youth) who believed that art had reached its acme under the German masters of Friedrich Schiller and Wagner, Thode emphasized the important role Christian influences played. Thode’s Franz von Assisi sided with Paul Sabatier (1858-1928) in the assertation that the monk’s emphasis on God’s creation was the impetus for the Renaissance. The debates drew lines among the contemporary Renaissance scholarly community, with some, such as Aby M. Warburg, siding with Burckhardt. Thode’s principal following, according to Valentiner, was in large part because of his delivery style. Florid descriptions of Italian cities and mysterious early Christian monuments were typical. His attack on French Impressionism’s impact on Germany as the “commercial interest of a small clique in Berlin,” a swipe at the artist Max Liebermann and the art-historical work of Julius Meier-Graefe, was soundly refuted by the painter in print. Perhaps the bitterest attack came from Vienna school historian Franz Wickhoff, who in a review approving of Thode’s attribution of the crucifix at San Spirito, Florence, charged that Thode filled the world with false Mantegnas and Correggios and that Thode’s book on Dürer contained more by others than the Dürer himself. Thode’s research on Michelangelo found a legacy in the later work of James S. Ackerman (Lein).

Selected Bibliography

Franz von Assisi und die Anfänge der Kunst der Renaissance in Italien. Berlin: G. Grote, 1885; and Meyer, Hans, and Kirchhoff, Alfred. Das deutsche Volkstum. Leipzig/Vienna: Bibliographisches Institut, 1898; Michelangelo und das Ende der Renaissance. Berlin: G. Grote, 1902; Böcklin und Thoma: acht Vorträge über neudeutsche Malerei gehalten für ein Gesamtpublikum an der Universität zu Heidelberg im Sommer 1905. Heidelberg: Carl Winter’s Universitätsbuchhandlung, 1905; Michelangelo: kritische Untersuchungen über seine Werke. 3 vols. Berlin: G. Grote, 1908-13; Thoma: des Meisters Gemälde. Stuttgart/Leipzig: Deutsche Verlags-anstalt, 1909; Luther und die deutsche Kultur. Munich: G. Müller, 1914; Paul Thiem und seine Kunst: ein Beitrag zur Deutung des Problems: deutsche Phantastik und deutscher Naturalismus. Berlin: G. Grote, 1921; Thoma, Hans. Briefwechsel mit Henry Thode. Leipzig: Koehler & Amelang, 1928.

Sources

and Thoma, Hans, illustrator. Frangipani’s Ring: an Event in the Life of Henry Thode. London: J. Macqueen, 1900; Szylin, Anna Maria. Henry Thode (1857-1920): Leben und Werk. Frankfurt am Main/New York: P. Lang, 1993; Kultermann, Udo. The History of Art History. New York: Abaris, 1993, pp. 133-135; Weigand, Wolf. “Thode, Henry.” Biographisch-Bibliographisches Kirchenlexikon XI (1996): 1237-1240, http://www.bautz.de/bbkl/t/thode_h.shtml; Metzler Kunsthistoriker Lexikon: zweihundert Porträts deutschsprachiger Autoren aus vier Jahrhunderten. Stuttgart: Metzler, 1999, pp. 413-415; Lein, Edgar. “James S[loss] Ackerman: The Architecture of Michelangelo.” Naredi-Rainer, Paul von. Hauptwerke der Kunstgeschichtsschreibung. Stuttgart: Alfred Kröner, 2010, p.1.

Thompson, Dorothy Burr

November 8, 2023March 29, 2024

Full Name: Thompson, Dorothy Burr

Other Names:

Dorothy Burr Thompson

Gender: female

Date Born: 1900

Date Died: 2001

Place Born: Philadelphia, Philadelphia, PA, USA

Place Died: Hightstown, Mercer, NJ, USA

Home Country/ies: United States

Subject Area(s): ancient, Ancient Greek (culture or style), archaeology, Classical, Hellenic, and sculpture (visual works)

Career(s): educators

Overview

Archaeologist and classical-art historian at Bryn Mawr; authority on Hellenistic terracotta figurines. Burr’s father, Charles Henry Burr, Jr. (d. 1925) was a prominent constitutional lawyer in Philadelphia. Her mother was the biographer and novelist. Burr attended Miss Hill’s School in Center City, PA, and The Latin School in Philadelphia. She began her study of Latin at age 9 and Greek at 12. At age 13, she took a Grand Tour of Europe, visiting museums and monuments of Europe. In Switzerland, they were caught in the early fighting of the first World War. The family moved to London in 1917 where her father consulted for the British government. They returned in 1919 and Dorothy entered Bryn Mawr where she was exposed to the lectures of Rhys Carpenter and Mary Hamilton Swindler. Carpenter instilled in her a love of Hellenistic sculpture. She graduated summa cum laude in 1923, the first graduate with a major in Greek and archaeology, and was awared the college’s European Fellowship. She studied at the American School of Classical Studies in Athens (ASCSA) for two years, excavating under the direction of Carl Blegen (1887-1971) at Phlius and under Hetty Goldman (1881-1972) at Eutresis. Among her archaeological accomplishments, she discovered in 1925 a tholos (a beehive shaped vault of a late Greek Bronze Age tomb) which proved to be the burial place of the king and queen of Midea. She received her Ph.D. in 1931, the subject of which was a catalog of the 117 Hellenistic terracotta figures from Myrina (southwestern coast of Turkey) owned by Boston Museum of Fine Arts. When the MFA’s curator of Classical Antiquities, Lacey D. Caskey, declined publication by the Museum, Burr had the dissetation published privately in Austria. The following year she was appointed the first woman Fellow of the Athenian Agora excavations. The dig’s assistant director of field work was the Canadian archaeologist Homer Thompson (1906-2000). The two met and were married in 1934. The coupled returned to Canada where her husband accepted positions as curator of the classical collection at the Royal Ontario Museum of Archaeology and assistant professor in fine arts at the University of Toronto. Every summer they returned to the Agora digs. In 1936, Burr Thompson was responsible for the discovery of the garden of the Temple of Hepaistos. She researched garden history and tradition in this context and became an expert on garden lore not only of early Greece but of Babylon, Egypt and Italy as well. When World War II halted Agora excavations and her husband volunteered for the navy in 1942, Thompson took over his teaching responsibilities at at the University of Toronto. In addition to her teaching responsibilities, she was a contributing editor to the Canadian Classical Associations’ journal, Phoenix. In 1946 her husband accepted the chair vacated by Goldman at the Institute of Advanced Study in Princeton, and Burr Thompson fulfilled a position offer him as acting director of the Royal Ontario Museum until she moved to Princeton with him the following year. At Princeton she continued to publish articles and books, maintaining an office at the Institute, in addition to raising her three daughters. Her translation of 6th and 7th century B.C. Greek lyrics, Swans and Amber, was published in 1948. The couple spent every summer at the Agora excavation in Athens, hosting scholars at the American School. Beginning in 1952 a series of important articles by Burr Thompson on Agorean terracottas appeared in Hesperia. Beginning in 1953, she taught as a visiting professor at universities in the United States and Australia. A major work on her area of specialty, Greek terracotta, appeared in 1963 as Troy: the Terra-Cotta Figurines of the Hellenistic Period, the objects of which had been unearthed by the University of Cincinnati, 1932-38. In 1987 she was awarded the Gold Medal for distinguished achievement by the American Institute of Archaeology.

Selected Bibliography

[dissertation:] Terra-cottas from Myrina in the Museum of Fine Arts, Boston. Bryn Mawr College, 1931; [issued as book of same title] Vienna: A. Holzhausens Nachfolger, 1934; and Davidson, Gladys R., and Talcott, Lucy. Small Objects from the Pnyx. 2 vols. Baltimore: American School of Classical Studies at Athens, 1943-56; An Ancient Shopping Center: the Athenian Agora. Princeton, NJ: American School of Classical Studies at Athens, 1971; and Frantz, Allison. Miniature Sculpture from the Athenian Agora. Princeton, NJ: American School of Classical Studies at Athens, 1959; Ptolemaic Oinochoai and Portraits in Faience: Aspects of the Ruler-Cult. Oxford: Clarendon Press, 1973; and Thompson, Homer A., and Rotroff, Susan I. Hellenistic Pottery and Terracottas. Princeton, NJ: American School of Classical Studies at Athens, 1987; “Three Centuries of Hellenistic Terracottas.” Hesperia 31 (1962): 244-262.

Sources

Havelock, Christine Mitchell. “Dorothy Burr Thompson (b. 1900): Classical Archaeologist.” in Women as Interpreters of the Visual Arts, 1820-1979. Claire R. Sherman, ed. Westport, CT: Greenwood Press, 1981, pp. 357-375; “Keen Eye: Archaeologist Dorothy Burr Thompson.” Bryn Mawr Alumni Bulletin Online. (Winter 2001) http://www.brynmawr.edu/Alumnae/bulletin/wi01new3.htm;

Thompson, John D.

November 8, 2023March 29, 2024

Full Name: Thompson, John D.

Other Names:

John Devereaux Thompson

Gender: male

Date Born: 1917

Date Died: 1992

Home Country/ies: United States

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

Institution(s): Yale University

Overview

Architectural historian.

Selected Bibliography

and Goldin, Grace. The Hospital: A Social and Architectural History. New Haven: Yale University Press, 1975.

Sources

KRG, 73 mentioned

Contributors: Lee Sorensen

Architectural historian.

Thompson, Robert Farris

November 8, 2023March 29, 2024

Full Name: Thompson, Robert Farris

Other Names:

Bob Thompson
Bob Farris Thompson
Robert F. Thompson
Bob F. Thompson

Gender: male

Date Born: 30 December 1932

Date Died: 29 November 2021

Place Born: El Paso, TX, USA

Place Died: New Haven, New Haven, CT, USA

Home Country/ies: United States

Subject Area(s): African (general, continental cultures), African American, African diaspora, African sculpture styles, American (North American), dance (performing arts genre), Nigerian, sculpture (visual works), West African (general), and Yoruba (culture or style)

Career(s): art historians and curators

Institution(s): Yale University

Overview

Curator and early historian of African and African-American art. Thompson was born and raised in El Paso, Texas, by his father, a surgeon, and his mother, a local arts patron. He grew to appreciate the cultures on either side of the border with Mexico. On a trip to Mexico City during his last year of high school, Thompson first heard mambo, a genre of Cuban dance music. This experience sparked what would become a lifelong passion for Afro-Atlantic music, dance, visual arts, and culture. After graduating from Phillips Academy Andover, in Massachusetts, Thompson enrolled at Yale University, where he lived in Branford College and completed his B.A. in 1955. He then served for two years in the U.S. Army in Germany and toured as a drummer with the All Army Talent Show. He released an Afro-Cuban percussion album, Safari of One, in 1959 before returning to Yale to pursue doctoral work. Thompson received an M.A. in 1961 from Yale, and subsequently a Ph.D. in 1965 under George Kubler, becoming the second person to receive a degree in the field of African art in the United States. His dissertation, Yoruba Dance Sculpture: Its Contexts and Critics, introduced the study of Yoruba religion and dance practices to art history, and served as the methodological foundation for the study of African art. He accepted a teaching position at Yale after receiving his Ph.D., and is currently the Colonel John Trumbull Professor in the Department of the History of African and African American Art. He also served as Master of Timothy Dwight College from 1978 until 2010, making him the longest serving master of a residential college at Yale.

Thompson’s research encompasses art from the entire African diaspora, ranging from Afro-Brazilian art to African-American art. In 1974, he curated an exhibit at the National Gallery of Art, entitled, African Art in Motion: Icon and Act, which emphasized the importance of movement and dance in the African artistic tradition. Thompson’s 1983 book, Flash of the Spirit: African and African-American Art and Philosophy was the first comprehensive study of the African religious traditions, such as altar building and divination ceremonies, that influenced Caribbean and African-American cultures. His field research in Africa, the Caribbean, and South America emphasizes the strength of African religious, philosophical, and artistic traditions despite the social obstacles presented by the international slave trade. The more recent field of African diaspora studies developed from Thompson’s publications and his research on Africa art from a global perspective. Methodologically, Thompson introduced the contextual foundation for the study of African art. Instead of simply seeing African sculpture in exclusively aesthetic terms, he underscored how the art functioned in dance and spiritual beliefs of those who created it.

The College Art Association presented its inaugural Distinguished Lifetime Achievement Award for Art Writing to Thompson in 2003. In 2007, Thompson was given the “Outstanding Contribution to Dance Research” award, by the Congress on Research in Dance.Thompson was named CAA’s Distinguished Scholar in 2015. Thompson currently resides in New Haven, CT where he continues to teach his popular Yale courses, including “African art and New York mambo.”

Selected Bibliography

[essay by] Divine Inspiration: From Benin to Bahia. Albuquerque: University of New Mexico Press, 1993;
[essay by] The Art of William Edmondson. Jackson, MS: University Press of Mississippi, 1999;
Faith Ringgold Paints Crown Heights. Chappaqua, NY: L & S Video, Inc., 1995;
and Meurant, Georges. Mbuti Design: Paintings by Pygmy Women of the Ituri Forest. New York: Thames and Hudson, 1996;
African Art in Motion: Icon and Act in the Collection of Katherine Coryton White. National Gallery of Art, Washington, DC, 1974;
Black Gods and Kings, Los Angeles: UCLA Museum of Ethnic Arts, 1971;
[reprint], Black Gods and Kings: Yoruba art at UCLA. Bloomington: Indiana University Press, 1976;
The Four Moments of the Sun, New Haven: Eastern Press, Inc., 1981;
Face of the Gods: Art and Altars of Africa and the African Americas, New York: The Museum for African Art, 1993;
“An Aesthetic of the Cool,” African Arts, 1973;
“Yoruba Artistic Criticism,” The Traditional Artist in African Societies, ed. d’Azevedo, Warren L. Bloomington: Indiana University Press, 1973;
Flash of the Spirit: African and Afro-American Art and Philosophy. New York: Random House, 1983;
and Cornet, Joseph. The Four Moments of the Sun: Kongo Art in Two Worlds. Washington, DC: National Gallery of Art, 1981;
Painting from a Single Heart: Preliminary Remarks on Bark-Cloth Designs of the Mbute Women of Haut-Zaïre (Malerei aus Aufrichtigem Herzen: Vorläufige Bemerkungen zu Rindenstoff-Zeichnungen der Mbute-Frauen in Haut-Zaïre). Munich: F. und J. Jahn, 1983.

Sources

“ROBERT FARRIS THOMPSON,” Yale University Department of the History of Art: Faculty, 20 October 2015, https://web.archive.org/web/20151020060350/https://arthistory.yale.edu/faculty/faculty/faculty_thompson.html;
Iseman, Fred. “Robert Farris Thompson: Canons of the Cool,” Rolling Stone, 22 November 1984. https://www.rollingstone.com/culture/culture-news/robert-farris-thompson-canons-of-the-cool-58823/;
“Portrait of Head of College Robert Thompson,” Yale University.https://timothydwight.yalecollege.yale.edu/about/portraits/portrait-head-college-robert-thompson;
“Robert Farris Thompson, Doctor of Humanities,” Yale 2021 Honorary Degrees https://yale2021.yale.edu/honorary-degrees/robert-farris-thompson.

Contributors: Alana J. Hyman and LaNitra Michele Walker

Ternois, Daniel

November 8, 2023March 29, 2024

Full Name: Ternois, Daniel

Gender: male

Date Born: unknown

Date Died: unknown

Home Country/ies: France

Career(s): curators

Overview

curator at the Musée Ingres de Montauban; doctoral thesis on Callot; teacher at the Sorbonne.

Sources

Bazin 469-470

curator at the Musée Ingres de Montauban; doctoral thesis on Callot; teacher at the Sorbonne.

Ter Kuile, Engelbert Hendrik

November 8, 2023March 29, 2024

Full Name: Ter Kuile, Engelbert Hendrik

Gender: male

Date Born: 1900

Date Died: 1988

Place Born: Ambt-Almelo, Netherlands

Home Country/ies: Netherlands

Subject Area(s): architecture (object genre), conservation (discipline), conservation (process), Dutch (culture or style), and sculpture (visual works)

Overview

Professor of History of Architecture at Delft University of Technology; active at the Netherlands Department for the Conservation of Historic Buildings and Sites. Ter Kuile attended the Gymnasium in Deventer. In 1920 and 1921 he studied architecture, decorative arts, and arts and crafts in Haarlem. In 1922, he became a law student at Leiden University. After one year, he switched to history of art and archaeology, in which field he graduated in 1927. In 1929, he obtained his doctorate with a dissertation on wooden spires in the Northern Netherlands: De houten torenbekroningen in de Noordelijke Nederlanden. During the preparation of his dissertation, supervised by Wilhelm Martin (q.v.), he worked as a voluntary assistant at the Amsterdam Rijksmuseum. Soon after obtaining his degree, he was appointed curator at the Rijksmuseum Twenthe in Enschede. In 1931, he began his career in the field of documentation and preservation of historic monuments, first at the Rijkscommissie voor de Monumentenzorg, and from 1933 at the Rijksbureau voor de Monumentenzorg, where he served for many years, gradually climbing to higher positions in 1937, 1942, and 1959. As an employee of this latter organization, which had been created in 1918 (from 1947 onwards known as the Rijksdienst voor de Monumentenzorg, i.e., the Netherlands Department for the Conservation of historic Buildings and Sites), he contributed five volumes to the series De Nederlandse Monumenten van Geschiedenis en Kunst. His architectural research led to numerous publications in the Bulletin of the Nederlandse Oudheidkundige Bond (Dutch Antiquarian Association), of which he was the editor for some years. Between 1949 and 1955, he was the president of this association. In 1946 he obtained a teaching position, and subsequently, in 1947, an extraordinarius professorship in the history of architecture at Delft University of Technology. He held his inaugural lecture in October 1947: Het venster in de geschiedenis van de monumentale Westerse architectuur. In addition, between 1949 until 1951, he taught art history, after the retirement of W.A.E. van der Pluym (1879-1960). Ter Kuile also served as the librarian of the department of architecture. He was the advisor of C.L. Temminck Groll and J.C. Visser. Both these students submitted, respectively in 1963 and 1964, dissertations on urban architecture in the Middle Ages. Ter Kuile did research on architecture from Antiquity until the nineteenth century. Medieval architecture was one of his favorite fields, in which he published a number of important studies, often on individual monuments. An important study on the original connection between three churches in Utrecht and the church of St. Lebuinus in Deventer, built under Bishop Bernold of Utrecht (1027-1054), may be singled out. Ter Kuile always paid much attention to the material and esthetical aspects of buildings and had a strong affinity for the space in architecture. His book on Netherlands Romanesque churches appeared in 1975: De Romaanse kerkbouwkunst in de Nederlanden. It covered both the Northern and the Southern Netherlands, including Belgium. The revised second edition of this book was presented to ter Kuile at the age of 82. While most of his work was in Dutch, he occasionally published in French and English. In 1962, he contributed a French article, on the Carolingian churches of Oosterbeek and Tienhoven, to the Festschrift M.D. Ozinga (q.v.), professor in the history of architecture at Utrecht University. Two English surveys on sculpture and architecture appeared in the Pelican series Art and Architecture in Belgium: 1600-1800 (1960) and Dutch Art and Architecture: 1600-1800 (1966) respectively. These publications led to a wider recognition of his work. When he retired from Delft University, he was offered a Liber Amicorum: Delftse studiën. His fare well lecture on June 24, 1965 was on Kleurige Architectuur (colorful architecture). Ter Kuile continued publishing after his retirement. His fifth, and last, contribution to the series De Nederlandse Monumenten van Geschiedenis en Kunst appeared in 1974. At the age of 78, he published a study on the architecture of the former residence of the counts of Holland in the Binnenhof at The Hague.

Selected Bibliography

[For a list of his publications until 1965, see:] Kamstra, T. “Publikaties van E.H. ter Kuile” in Delftse studiën, pp. 410-416; [1966-1979:] Bulletin Koninklijke Nederlandse Oudheidkundige Bond 87, 2 (1988) 77. [Dissertation:] De houten torenbekroningen in de Noordelijke Nederlanden; bijdrage tot hun ontwikkelings- en vormgeschiedenis. Leiden, 1929; “Bouwkunst der Nederlanden: 1600-1800” in Algemene kunstgeschiedenis. IV. Utrecht, 1949, pp. 215-221; “De architectuur.” in Fockema Andreae, S.J.; Ter Kuile, E.H; Hekker, R.C. Duizend jaar bouwen in Nederland. 2 vols. Amsterdam: Albert de Lange, 1948, pp. 131-386; 1957, pp. 77-194; and Gerson, H. Art and Architecture in Belgium: 1600-1800. Translated by Olive Renier (The Pelican History of Art). Baltimore, Maryland: Penguin Books, 1960; and Rosenberg, Jakob and Slive, Seymour. Dutch Art and Architecture: 1600-1800. Harmondsworth: Penguin Books, 1972; De Romaanse kerkbouwkunst in de Nederlanden. Zutphen: De Walburg Pers, 1975. “De bouwgeschiedenis van het grafelijk paleis op het Binnenhof” Holland 10 (1978): 313-328. [Book review:] Van den Berg, Herma, M. “Engelbert H. ter Kuile, De Romaanse kerkbouwkunst in de Nederlanden.” Bulletin Koninklijke Nederlandse Oudheidkundige Bond (1979): 33-35.

Sources

Ter Kuile, G.J. jr. “Engelbert Hendrik ter Kuile. Een biografische studie.” in Meischke R. and others (eds.) Delftse studiën. Een bundel historische opstellen over de stad Delft geschreven voor dr. E.H. Ter Kuile naar aanleiding van zijn afscheid als hoogleraar in de geschiedenis van de Bouwkunst. Assen: Van Gorcum, 1967; Temminck Groll, C.L. “In Memoriam Engelbert Hendrik ter Kuile.” Bulletin Koninklijke Nederlandse Oudheidkundige Bond 87, 2 (1988) 75,77; Bosman, Lex. “De geschiedenis van de Nederlandse architectuurgeschiedenis: middeleeuwse bouwkunst” in Hecht, Peter; Stolwijk Chris; Hoogenboom, Annemieke (eds.) Kunstgeschiedenis in Nederland.Amsterdam: Prometheus, 1998, pp. 63-87.

Contributors: Monique Daniels

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