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Vermeule, Emily

Full Name: Vermeule, Emily

Other Names:

  • Emily Dickinson Townsend

Gender: female

Date Born: 11 August 1928

Date Died: 06 February 2001

Place Born: New York, NY, USA

Place Died: Cambridge, Middlesex, MA, USA

Home Country/ies: United States

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

Institution(s): Harvard University


Overview

Classical Greek and Aegean art Professor and scholar at Harvard University, distinguished archaeologist. Vermuele was born on August 11, 1928 in New York City to Clint Blake Townsend and Eleanor Mary (Menelly) Townsend. From 1934 to 1946, she attended the all-girls private preparatory school, Brearley School, for her primary and secondary education. In 1950, Vermuele graduated summa cum laude from Bryn Mawr with a B.A. in Greek and philosophy. As a Fullbright scholar, Vermuele attended the American School of Classical Studies in Athens, Greece. During this time, she discovered a Mycanean family tomb in Athenian Agora and deepened her fascination in Bronze Age archaeology.

As a Catherwood Fellow, in 1953, she went on to spend a year at Oxford University. In 1954, she received a M.A. from Radcliffe College and two years later, her Ph.D. in Classics from Bryn Mawr. Directed by poet and translator, Richmond Lattimore, her dissertation focused on the Greek poet Bacchylides and Lyric Style.

From 1956 to 1958, Vermeule worked as an instructor of Greek at both Bryn Mawr and Wellesley. For the following six years, she worked as an assistant professor at Boston University in the Classics Department. Vermeule became a full professor at Wellesley College the following year, teaching art and Greek. During her time at Wellesley College, Vermuele led an expedition with students to find Greek stolen earrings from the Museum.

In 1957, Vermeule married archaeologist and Curator of Classical Art at the Museum of Fine Art in Boston, Cornelius C. Vermeule III. He would often accompany her to excavation sites throughout her career.

Vermuele received the Guggenheim Fellowship in 1964-5. In 1969, she was appointed the James Loeb Visiting Professor of Classical Philology at Harvard University. By the following year, she was named the Samuel E. Zemurray, Jr. and Doris Zemurray Stone-Radcliffe Professor at Harvard, most known for her Fine Arts 13 class. She went on to teach for twenty-four years in the Department of the Classics and of the History of Art and Architecture. Beyond teaching, Vermuele worked on the Faculty Council and as a member of numerous university committees, like the Committee on Non-Departmental Instruction and the Committee of Educational Policy. She was also actively involved with the Harvard Alumni College at Sea Program, introducing alumni to the classics in the Aegean and Black Seas with her husband.

In 1970, Vermuele was appointed Semple Lecturer at the University of Cincinnati and as Sather Lecturer at Berkeley in 1975. During this time, Vermuele published several works, including The Mycenaean Origin of Greek Mythology (1972), The Art of the Shaft Graves of Mycenae (1975), and Aspects of Death in Early Greek Art and Poetry (1979). She also served as the Vice President of the American Philosophical Society, a group dedicated to research in the Humanities. Additionally, Vermuele acted on the Governing Board of the National Geographic Society and was president of the American Philological Association. Outside of teaching, Vermuele had published poetry in both the New York Times and Poetry Magazine.

Throughout her career, Vermuele traveled the world, excavating numerous sites, namely King Midas’s Tomb, Kephallenia, Messenia, Tobruk, and Muskebi. When working at Thera-Santorini, Vermuele cataloged Greek Aegean frescoes for the Archaeological Museum of Thera.

Vermuele’s most significant dig occurred in 1971. Serving as the Director for a joint excavation project, Vermuele went to the late Bronze Age town of Toumba tou Skourou outside Morphou, Cyprus. She noted three cultures converging in this town: Palestinian, Egyptian, and Minoan. A Turkish invasion forced Vermuele to leave earlier than expected. Some materials were lost, but many had already been fully documented by Vermuele prior to the invasion. From this excavation, she was able to produce two books: Toumba tou Skourou: The Mound of Darkness (1974) and Toumba tou Skourou, a Bronze Age Potter’s Quarter on Morphou Bay in Cyprus (1990).

During the 1980’s, at Harvard, Vermuele approached the university administration about declining archaeology enrollment. They then created the Standing Committee on Archaeology in an effort to promote this course of study. In 1982, Vermuele wrote a book entitled Mycenaean Pictorial Vase Painting, examining late Bronze Age vessels. Two years later, Vermuele was given the Jefferson Lectureship in the Humanities award, the highest achievement by the federal government for intellectual achievement in the humanities. Her lecture was entitled “Greeks and Barbarians: The Classical Experience in the Larger World.”

In her last decade of teaching, Vermuele became fascinated by the prehistoric Anatolia’s contribution to the Trojan War and learned the language, Hitittie, from fellow Harvard professor Calvert Watkins.

Vermuele also received 13 honorary degrees from Harvard, the University of Pittsburgh, Smith College, Rutgers University, Tufts University, and Wheaton College, among others. She was a Fellow of the British Academy and a Fellow of the Society of Antiquaries in London.

Vermuele retired from Harvard University in 1994. She died in 2001 from heart disease complications at the age of 72.


Selected Bibliography

  • Greek in the Bronze Age. Chicago: University of Chicago Press, 1964;
  • The Mycenaean Origin of Greek Mythology. Berkeley: University of California Press, 1972;
  • Toumba Tou Skourou: The Mound of Darkness. A Bronze Age Town on Morphou Bay in Cyprus. Cambridge: The Harvard University Cyprus Archaeological Expedition and The Museum of Fine Arts, 1974;
  • The Art of the Shaft Graves of Mycenae. Cincinnati: University of Cincinnati, 1975;
  • Aspects of Death in Early Greek Art and Poetry. Berkeley: University of California Press, 1979;
  • Mycenaean Pictorial Vase Painting. Cambridge: Harvard University Press, 1982;
  • Toumba tou Skourou, a Bronze Age Potter’s Quarter on Morphou Bay in Cyprus. Cambridge: Harvard University, 1990.

Sources



Contributors: Kerry Rork


Citation

Kerry Rork. "Vermeule, Emily." Dictionary of Art Historians (website). https://arthistorians.info/vermeulee/.


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Classical Greek and Aegean art Professor and scholar at Harvard University, distinguished archaeologist. Vermuele was born on August 11, 1928 in New York City to Clint Blake Townsend and Eleanor Mary (Menelly) Townsend. From 1934 to 1946, she atte

Valland, Rose

Full Name: Valland, Rose Antonia Maria

Gender: female

Date Born: 01 November 1898

Date Died: 18 September 1980

Place Born: Saint-Étienne-de-Saint-Geoirs, Auvergne-Rhône-Alpes, France

Place Died: Ris-Orangis, Île-de-France, France

Home Country/ies: France

Subject Area(s): French (culture or style), German (culture, style, period), National Socialism, painting (visual works), and twentieth century (dates CE)

Institution(s): Jeu de Paume Museum


Overview

Art representative for the Commission de Récupération Artistique after World War Two; French art curator at the Louvre. Valland was born to Francisque Valland, a mechanic, and Rose Maria Viardin in a small province in southeastern France. Encouraged to study by her mother, Valland received a scholarship from the École Normale d’Institutrices de Grenoble and graduated in 1918 with a teaching degree. She then earned diplomas from the École Nationale des Beaux-Arts de Lyon in 1922 and the École Nationale Supérieure des Beaux-Arts in Paris in 1925. While taking classes at the École Pratique des Hautes Études and studying under Byzantium historian Gabriel Millet, Valland penned Aquilée et les origines byzantines de la Renaissance and secured her École Pratique des Hautes Études diploma. In 1931, Valland wrote on the evolution of Italian art until Giotto, earning a special diploma from the École du Louvre. Valland finished her studies at the Institut d’art et d’archéologie de l’Université de Paris and Art and accumulated certificates in history of modern art, medieval archeology, and greek architecture. Due to her extensive education, Valland was honored with a special license in the history of art and archeology.

While pursuing her academic career, Valland simultaneously worked as an art teacher to support herself. Unlike most art volunteers and academics at the time, Valland did not come from wealth. In 1932, Valland began her career as an unpaid volunteer at the Jeu de Paume Museum in Paris. When the museum curator André Dézzarrois fell ill in late September 1938, Valland assumed charge of the museum and was officially promoted to assistant curator (a position which she had held for two years). When French defeat by the German seemed imminent, the Director of French National Museums, Jacque Jaujard, asked Valland to stay at the Jeu de Paume to spy on the Nazis during their occupation of France. Valland was quiet, intelligent, and modest— all key traits that quickly dismissed her as a threat and would serve her well during the Nazi Occupation of France. From October 1940 until the American liberation of Paris in late August 1944, Rose Valland was the only French citizen at the Jeu de Paume. During these four years, Valland took copious notes and used her demure presence and appearance to record German conversations— a language that the Nazis did not know she spoke. Drawing portraits, speaking with German-contracted truck drivers, and noting where famous artworks were sent, Valland was dismissed four times and caught understanding German twice. Yet, Valland was able to regain her job each time. Valland used her position to get insight into Nazi movements including recording Hermann Goring’s frequent visits to the Jeu de Paume to choose art for Hitler’s Fuhremuseum and home and himself.

In late August 1944, American soldiers liberated Paris and began to search for its missing artworks. As Valland only trusted Jaujard, she did not initially confide in Captain James Rorimer (later to be Director of the Metropolitan Museum of Art, New York), who spearheaded the recovery efforts of French art. Being wary himself, Captain Rorimer and Valland began trusting one another after Valland led him to 148 crates of impressionist paintings leaving Europe. When Captain Rorimer succeeded in recovering these artworks, Valland revealed the Nazi hiding places for tens of thousands of artifacts and artworks, including thousands hidden in the Neuschwanstein Castle in Bavaria and Austria’s Altaussee salt mine. Without Valland’s help, many of these artworks might never have been found— especially since the Altaussee salt mine was booby-trapped with explosives.

On May 4, 1945, Valland joined the French First Army as an artistic representative for the Commission de Récupération Artistique, traveling across Europe to find stolen artworks. After Valland’s time in the French Army, she returned to France where she became the conservator of Musées Nationaux, a collection of French-owned museums. In 1954, she was named Chair of Chef du Service de protection des oeuvres d’art and published her biography The Front de L’Art in 1961. Including almost no personal information, Valland’s biography highlights her efforts during the Nazi occupation of Germany while ignoring her personal life. While never directly confirmed by Valland, it is believed that Joyce Heer, (1917-1977), a British Ph.D, working in the American Embassy, and her were long-time partners. In 1968, Valland retired from the Louvre but continued to be active in the art community. When Heer died in 1977, Valland lost her “joie de vivre” (Schwartz). She died on September 18th, 1980 in Ris-Orangis, France and was buried with partner Heer in her family crypt.

Valland is honored by countless books and movies, notably the book Art of the defeat: France 190-1944 and the movies The Train (1964) and The Monuments Men (2014), where she was played by Cate Blanchett. In 1948, the United States awarded her the US Presidential Medal of Freedom, followed by Germany’s honor of “Officer Cross of the Order of Merit” in 1951. After working for over twenty years, in 1953 Valland was finally awarded the esteemed title of curator by France. As of now, Valland’s detailed notes and portraits have led to over 60,000 distinctive pieces of art being found.


Selected Bibliography

  • L’art suisse contemporain, depuis Hodler (peinture et sculpture): exposition … Musée des Écoles Étrangères Contemporaines, Jeu de Paume des Tuileries 1er février – 1er mars 1934. Paris: Musée des Écoles Étrangères Contemporaines, 1934;
  • La mostra d’arte italiana dell’ 800 e 900 al “Jeu de Paume” nella stampa francese. [s.l.]: Comitato Italia-Francia, 1935;
  • Le front de l’art; défense des collections françaises, 1939-1945. Paris: Plon, 1961;
  • Aquilée et les origines byzantines de la Renaissance. Paris: De Boccard, 1963.

Sources

  • Heit, Judi. “Rose Valland (1898-1980).” Heroines of the Resistance, September 3, 2015,  http://resistanceheroines.blogspot.com/2015/08/rose-valland-and-monuments-men.html;
  • “Rose Valland, 30 Ans En 1928.” Histoires d’universités. Le blog de Pierre Dubois, March 9, 2019;
  • Schwartz, Claire. “Saving a Bit of Beauty for the World: Retelling the Story of Rose Valland.” Confluence. Association of Graduate Liberal Studies Programs, 2016;
  • Dagen, Philippe. “Rose Valland, Une Femme Discrète Témoin Des Spoliations Nazies.” Le Monde., December 17, 2009;
  • “ROSE VALLAND ET LA SAUVEGARDE DES ŒUVRES JUIVES.” Concours National de la Résistance et de la Déportation (website)(CNRD), 2016 https://resister-art-litterature.jimdofree.com/resister-en-france-occupee/rose-valland-et-la-sauvegarde-des-oeuvres-juives/;
  • Deprez, Guillaume. “Rose Valland: Art Historian Turned Spy To Save Art From Nazis.” The Collector, August 4, 2020;
  • “Valland, Capt. Rose: Monuments Men Foundation.” Monuments Men Foundation. Monuments Men Foundation For the Preservation of Art. Accessed November 10, 2020.

Archives

Musées Nationaux Récupération (MNR), ministère de la Culture et de la Communication.


Contributors: Eleanor Ross


Citation

Eleanor Ross. "Valland, Rose." Dictionary of Art Historians (website). https://arthistorians.info/vallandr/.


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Art representative for the Commission de Récupération Artistique after World War Two; French art curator at the Louvre. Valland was born to Francisque Valland, a mechanic, and Rose Maria Viardin in a small province in southeastern France. Encourag

Vries, Adrianus Daniël, de

Full Name: Vries, Adrianus Daniël, de

Other Names:

  • "Adriaan"

Gender: male

Date Born: 1851

Date Died: 1884

Place Born: Amsterdam, North Holland, Netherlands

Place Died: Amsterdam, North Holland, Netherlands

Home Country/ies: Netherlands

Subject Area(s): Dutch (culture or style) and Northern Renaissance


Overview

Co-founder with Nicolaas de Roever of the art periodical Oud-Holland, 1883. When De Vries was seventeen he enrolled at the Athenaeum Illustre, the predecessor of the University of Amsterdam, where he was expected to become a lawyer like his father. He befriended Nicolaas de Roever, a fellow law student, with whom he shared a passion for the cultural past of Amsterdam and for Dutch art. A self-made specialist in this field of interest, De Vries was appointed deputy director under Johan Philip van der Kellen at the Amsterdam Rijksprentenkabinet (National Print room) in 1876, then housed at the Trippenhuis. He began describing the prints of two seventeenth-century artists, Hendrik Bary and Reinier van Persijn. In addition, from 1877 onward, he was a member of the Koninklijk Oudheidkundig Genootschap (Royal Antiquarian Society), first as secretary, and, between 1882 and 1884 as curator, building up the first collection of drawings and prints of the Atlas van Amsterdam. He was involved in the organization of exhibitions, including the gold- and silverware show held in 1880 in “Arti et Amicitiae”, the Amsterdam artists’ society. With de Roever he described the art works and co-authored the catalog. In 1883 de Vries and de Roever founded the periodical Oud-Holland with the intention to publish new contributions on the history of Dutch art, literature, industry, etc., based on archival research. In that first year, De Vries contributed a number of articles on painters and engravers as well as on the Dutch poet Joost van den Vondel, “Vondeliana” (with J. H. W. Unger). The following year died suddenly at age 33 after a brief illness. Abraham Bredius succeeded him as co-editor of Oud-Holland in 1886. De Vries left a huge collection of biographical notes mainly on Amsterdam painters and engravers, part of which were posthumously published in Oud-Holland 3 and 4, in eight installments, “Biografische aanteekeningen betreffende voornamelijk Amsterdamsche schilders, plaatsnijders, enz. en hunne verwanten, verzameld door A. D. de Vries Azn.” His goal to write a history of the Dutch school of engravers never materialized because of his early death. De Vries supplanted much of the art-historical writing of the time, which filled in gaps in knowledge with imagination, with genuine historical research. It became the basis of Oud Holland and reputation, particularly under Bredius.


Selected Bibliography

and De Roever, N. Catalogus van de tentoonstelling van kunstvoorwerpen in vroegere eeuwen uit edele metalen vervaardigd. Amsterdam: Van Munster, 1880.


Sources

De Roever, N. “In memoriam Mr. A. D. De Vries Az. Overleden 8 Februari 1884” Oud-Holland 2 (1884): 1-12; Van Thiel, P. J. J. “Oud Holland over the past hundred years” Oud Holland 100 (1986). Index to Oud Holland. The First 100 Years, 1883-1982. 2-13.



Contributors: Monique Daniels


Citation

Monique Daniels. "Vries, Adrianus Daniël, de." Dictionary of Art Historians (website). https://arthistorians.info/vriesad/.


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Co-founder with Nicolaas de Roever of the art periodical Oud-Holland, 1883. When De Vries was seventeen he enrolled at the Athenaeum Illustre, the predecessor of the University of Amsterdam, where he was expected to become a

Volkmann, Ludwig

Full Name: Volkmann, Ludwig

Gender: male

Date Born: 1870

Date Died: 1947

Home Country/ies: Germany

Subject Area(s): art theory and education


Overview

Leipzig amateur art historian and education theorist. Volkmann studied at Bonn and Leipzig before receiving his Ph.D. in Munich under Heinrich Wölfflin in 1892. His dissertation, on the iconography of Dante’s Divine Comedy was published to enthusiastic reviews, among them Bernard Berenson. Volkmann never held a formal teaching position, choosing instead to manage the family’s prestigeous publishing house, Breitkopf & Härtel. Chief among his interests (other than renaissance symbolism) was art education and the arts and crafts. In 1891 he published “Methodology for School Instruction” (Methodik des Schulunterrichts) setting a theme for many of his later books. Volkmann, politically and artistically conservative, championed painting over photographic representation. The artist, according to him, employed Körpergefühl or appreciation of the body, whereas machines such as the camera could only mimic what they saw. Voltmann’s exaltation of art over machines was a contrast ‘inner truth’ over simple appearance. Art education was essential in this regard because otherwise society became the victim of appearances rather than mastering them. In the non-representative arts, such as architecture, Volkmann was slightly more progressive. Volkmann’s reputation today rests upon two works of the 1920s, his Bilderschriften der Renaissance (1923) a commentary on visual symbolism of Dante and Renaissance, and like Wölfflin, his own book called Grundfragen (Fundamental Questions) on aesthetic education (1925).


Selected Bibliography

[dissertation] Bildliche darstellungen zu Dante’s Divina commedia bis zum ausgang der renaissance. Leipzig: Breitkopf, 1892; Bilderschriften der Renaissance: Hieroglyphik und Emblematik in ihren Beziehungen und Fortwirkungen. Leipzig: K. W. Hiersemann,1923; Grundfragen der kunstbetrachtung: Die erziehung zum sehen; Naturprodukt und kunstwerk; Grenzen der künste. Leipzig: K. W. Hiersemann, 1925; Iconografia dantesca; le rappresentazioni figurative della Divina commedia. Florence: L.S. Olschki, 1898; Padua. Leipzig: E. A. Seemann, 1904; Der überlinger Rathaussaal des Jacob Russ und die Darstellung der deutschen Reichsstände. Berlin: Deutscher Verein für Kunstwissenchaft, 1934; Die Methodik des Schulunterrichts in den modernen fremden Sprachen gegründet auf die Methodik des deutschen Unterrichts dargelegt am Deutschen und am Französischen. Berlin: G.S. Mittler, 1891; Naturprodukt und Kunstwerk: Vergleichende Bilder zum Verständnis des künstlerischen Schaffens. Dresden: G. Kühtmann, 1902; Von der Weltkultur zum Weltkrieg: Vortrag, gehalten am “Vaterländischen Abend” in der Alberthalle zu Leipzig den 17. September 1914. Leipzig: Verlag des Deutschen Buchgewerbevereins, 1914; Grenzen der Künste: auch eine Stillehre. Dresden: Gerhard Kühtmann, 1903.


Sources

Jarzombek, Mark. The Psychologizing of Modernity: Art, Architecture and History. Cambridge, UK: Cambridge University Press, 2000, pp. 111-113 and note 29, p.268; Berenson, Bernard. “Dante’s Visual Images and His Early Illustrators.” The Nation. December 24, 1893 (review of Volkmann’s book).




Citation

"Volkmann, Ludwig." Dictionary of Art Historians (website). https://arthistorians.info/volkmannl/.


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Leipzig amateur art historian and education theorist. Volkmann studied at Bonn and Leipzig before receiving his Ph.D. in Munich under Heinrich Wölfflin in 1892. His dissertation, on the iconography of Dante’s Divine Comedy

Voll, Karl

Full Name: Voll, Karl

Other Names:

  • Karl Voll

Gender: male

Date Born: 1867

Date Died: 1917

Home Country/ies: Germany

Subject Area(s): Baroque, Dutch (culture or style), Dutch Golden Age, and Netherlandish Renaissance-Baroque styles


Overview

Scholar of the Dutch renaissance and baroque. His students included Julius Baum and Wilhelm Hausenstein (undergraduate).


Selected Bibliography

and Valentiner, W. R. Frans Hals: des Meisters Gemälde in 318 Abbildungen. Stuttgart: Deutsche Verlags-Anstalt, 1921; Die Meisterwerke der königl. Gemälde-galerie zu Cassel. Munich: F. Hanfstaengl, 1904; Memling: des Meisters Gemälde in 197 Abbildungen. Stuttgart: Deutsche Verlags-Anstalt, 1909; Vergleichende Gemäldestudien. Munich: G. Müller, 1908.


Sources

Biographisches Jahrbuch und Deutscher Nekrolog, 1914. Berlin: Georg Reimer, 1914; Dictionary of German Biography 10. Munich: K. G. Saur, 2006.




Citation

"Voll, Karl." Dictionary of Art Historians (website). https://arthistorians.info/vollk/.


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Scholar of the Dutch renaissance and baroque. His students included Julius Baum and Wilhelm Hausenstein (undergraduate).

Vollmer, Hans

Full Name: Vollmer, Hans

Gender: male

Date Born: 1878

Date Died: unknown

Home Country/ies: Germany

Subject Area(s): twentieth century (dates CE)


Overview

Edited dictionary of 20th-century artists, Allgemeines Lexikon der bildenden Künstler des XX. Jahrhunderts and co-editor later volumes of the initial dictionary, Allgemeines Lexikon der bildenden Künstler.


Selected Bibliography

Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart: unter Mitwirkung von 300 Fachgelehrten des In- und Auslandes. 37 vols. Leipzig : E. A. Seemann, 1907-1950. Allgemeines Lexikon der bildenden Künstler des XX. Jahrhunderts: Unter Mitwirkung von Fachgelehrten des Inund Auslandes. 6 vols. Leipzig, E.A. Seemann, 1953-62. ____0 – Metzler





Citation

"Vollmer, Hans." Dictionary of Art Historians (website). https://arthistorians.info/vollmerh/.


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Edited dictionary of 20th-century artists, Allgemeines Lexikon der bildenden Künstler des XX. Jahrhunderts and co-editor later volumes of the initial dictionary, Allgemeines Lexikon der bildenden Künstler.

von Schneider, Robert

Full Name: von Schneider, Robert

Gender: male

Date Born: 1854

Date Died: 1909

Place Born: Vienna, Vienna state, Austria

Place Died: Vienna, Vienna state, Austria

Home Country/ies: Austria

Subject Area(s): Antique, the and antiquities (object genre)

Career(s): art collectors


Overview

Director of the antiquity collection at the Hofmuseum, Vienna, 1899-1909.


Selected Bibliography

Album auserlesener Gegenstände der Antiken-Sammlung des Ah. Kaiserhauses, 1895. Die Erzstatue vom Helenenberge, 1893/94.


Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 114-115




Citation

"von Schneider, Robert." Dictionary of Art Historians (website). https://arthistorians.info/schneiderr/.


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Director of the antiquity collection at the Hofmuseum, Vienna, 1899-1909.

von Urlichs, Karl Ludwig

Full Name: von Urlichs, Karl Ludwig

Gender: male

Date Born: 1813

Date Died: 1889

Place Born: Osnabrück, Lower Saxony, Germany

Place Died: Würzburg, Bavaria, Germany

Home Country/ies: Germany

Subject Area(s): archaeology


Overview

Professor of archaeology at Würzburg University, 1855-1889. Specialist in classical pottery, and catalogued the large collection of the Martin von Wagner Museum in Würzburg. Father of Heinrich Ludwig Urlichs (1864-1935).


Selected Bibliography

Skopas Leben und Werke, 1867


Sources

Archäologenbildnisse: Porträts und Kurzbiographien von Klassichen Archäologen deutscher Sprache. Reinhard Lullies, ed. Mainz am Rhein: Verlag Philipp von Zabern, 1988: 37-38.




Citation

"von Urlichs, Karl Ludwig." Dictionary of Art Historians (website). https://arthistorians.info/urlichsk/.


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Professor of archaeology at Würzburg University, 1855-1889. Specialist in classical pottery, and catalogued the large collection of the Martin von Wagner Museum in Würzburg. Father of Heinrich Ludwig Urlichs (1864-1935).

Vorenkamp, Alphonsus Petrus Antonius

Full Name: Vorenkamp, Alphonsus Petrus Antonius

Gender: male

Date Born: 1898

Date Died: 1953

Place Born: Westerlee, Groningen, Netherlands

Place Died: Groningen, Netherlands

Home Country/ies: Netherlands


Overview

Professor of art history; museum director. After having attended the Gymnasium in Leeuwarden, Vorenkamp began studying law at Leiden University. He switched to art history under Wilhelm Martin. In 1926, after his graduation, he moved to the United States and was appointed instructor in the Department of Art at Smith College, Northampton (Mass.). His fields of interest were art of northern Europe, including the old Dutch and Flemish masters, as well as decorative and graphic arts. During his sabbatical leave, in 1933, he obtained his doctoral degree from Leiden University with a dissertation on the history of seventeenth-century Dutch still life, Bijdrage tot de geschiedenis van het Hollandsch stilleven in de zeventiende eeuw. His adviser was Wilhelm Martin. Climbing up in rank in Smith College he was appointed full professor in 1939. In 1942-43 he served in the United States Army, though he kept his Dutch nationality. After an honorable discharge he returned to Smith College. In May, 1945 the Dutch government invited him to serve as lieutenant colonel in the Royal Dutch Army, with the special assignment to identify and recover art works stolen by the Germans during the war. Between October 1945 and May 1946 the American authorities invited him to work at the Art Collecting Point in Munich, Germany, where he succeeded in identifying and retrieving many art objects for the Netherlands. As a reward for his endeavors he was knighted in the Order of the Dutch Lion. He wrote the 1946 catalog for a traveling exhibition in the USA, Paintings Looted from Holland, Returned through the Efforts of the United States Forces. After one more year at Smith College, 1946-47, he returned to the Netherlands, to become director of Museum Boymans in Rotterdam. He organized a few exhibitions, including one on French horticulture, for which he transformed one of the museum courts in a sixteenth-century garden. He held this position only for a short time, until 1949. He then moved to Groningen, where he obtained the position of director of the Museum van Oudheden voor de Provincie en Stad Groningen (Museum of Antiquities for the Province and City of Groningen). He reorganized the museum and renovated the galleries, paying special attention to the painting department. He also arranged the print room collection. In 1952 he organized a show, accompanied with an illustrated critical catalog, of a selection of hundred drawings, including a number from the Cornelis Hofstede de Groot collection. In 1953, he traveled to Puerto Rico, where he had the opportunity to teach Dutch art at the University. In the summer of the same year, after his return to Groningen, he died unexpectedly. His successor in Groningen was Josiah Willem Jos de Gruyter, who was appointed in 1955.


Selected Bibliography

[dissertation:] Bijdrage tot de geschiedenis van het Hollandsch stilleven in de zeventiende eeuw. Leiden: Hollandsche Uitgeversmij, 1933; Paintings Looted from Holland, Returned through the Efforts of the United States Forces. New York: Plantin Press, for the Albright Art Gallery, Buffalo, New York, 1946; De Franse tuin van Middeleeuwen tot op onze dagen. Rotterdam: Museum Boymans, 1948.


Sources

[obituary:] Wassenbergh, A. in Jaarboek van de Maatschappij der Nederlandse Letterkunde te Leiden 1951-1953, pp. 117-123.




Citation

"Vorenkamp, Alphonsus Petrus Antonius." Dictionary of Art Historians (website). https://arthistorians.info/vorenkampa/.


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Professor of art history; museum director. After having attended the Gymnasium in Leeuwarden, Vorenkamp began studying law at Leiden University. He switched to art history under Wilhelm Martin. In 1926, after his graduation,

Vosmaer, Carel

Full Name: Vosmaer, Carel

Gender: male

Date Born: 1826

Date Died: 1888

Place Born: The Hague, South Holland, Netherlands

Place Died: Territet, Vaud, Switzerland

Home Country/ies: Netherlands

Subject Area(s): biography (general genre)

Career(s): lawyers


Overview

Dutch lawyer and author; wrote biographies of artists. Vosmaer graduated from law school in Leiden in 1850 and began a law practice in 1853. Throughout his professional career, he wrote novels, cultural essays and biographies of artists. His first foray into art writing came in 1856 when he published a small aesthetics, Een studie over het schoone in de kunst. In 1858 he founded and edited the periodical De tijdstroom (“Time’s Steam”). Vosmaer left that periodical in 1860 to found a second, culturally-based journal, De Nederlandsche spectator, which he also edited until 1888. In 1863 he published the first of two popular books on Rembrandt (both in French), Rembrandt Harmens van Rijn: ses pécurseurs et ses années d’apprentissage. In 1868 his two-volume Rembrandt: sa vie et ses œuvres appeared. Upon his retirement from his law practice in 1873, he began contributing to De Nederlandsche spectator (1874-76) and editing the prestigious Kunstkronijk. During his final year, Vosmaer wrote brief biographies of contemporary Dutch and English artists in a series called Onze hedendaagsche schilders. He died in Territet, near Montreux, Switzerland. After his death, his Rembrandt life appeared in English in 1892.


Selected Bibliography

Rembrandt Harmens van Rijn: ses pécurseurs et ses années d’apprentissage. The Hague: M. Nijhoff, 1863; Rembrandt, sa vie et ses œuvres. 2 vols. The Hague: M. Nijhoff, 1868, English, Rembrandt. London: S. Low, Marston, Searle, & Rivington, 1892; Onze hedendaagsche schilders. 24 numbers. The Hague: M. Nijhoff, 1881-85; Een studie over het schoone in de kunst. Amsterdam: Kruseman, 1856; De schilderschool: levensschetsen en kunstwerken van eenige meesters uit de Hollandsche en andere scholen. Haarlem: A. C. Kruseman, 1865.


Sources

De verzameling van mr. Carel Vosmaer, 1826-1888. Amsterdam: Rijksmuseum, 1989; Borger, Riekele. Drei Klassizisten, Alma Tadema, Ebers, Vosmaer: mit einer Bibliographie der Werke Alma Tadema’s. Leiden: Ex Oriente Lux, 1978; Bastet, F. L. Mr. Carel Vosmaer: Zijn achtergronden, zijn reizen, zijn tijdgenoten, zijn invloed. The Hague: Bert Bakker/Daamen, 1967, 2nd ed., Met Carel Vosmaer op reis. Amsterdam: Em. Querido, 1989; Maas, Nop, and Bastet, F. L. and Heijbroek, Jan Frederik. De literaire wereld van Carel Vosmaer: een documentaire. ‘s-Gravenhage: SDU, 1989; “Carel Vosmaer.” http://home.wanadoo.nl/vosmaerstraat/vosmaer.htm (mirrored from) http://www.xs4all.nl/jooplaan/multatuli/Me/2789.htm [non extant]; Rappard, Willem F. “Vosmaer, Carel.” Dictionary of Art 32:713.




Citation

"Vosmaer, Carel." Dictionary of Art Historians (website). https://arthistorians.info/vosmaerc/.


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Dutch lawyer and author; wrote biographies of artists. Vosmaer graduated from law school in Leiden in 1850 and began a law practice in 1853. Throughout his professional career, he wrote novels, cultural essays and biographies of artists. His first