Skip to content

United Kingdom

Penrose, Roland, Sir

Full Name: Penrose, Roland, Sir

Other Names:

  • Sir Roland Algernon Penrose

Gender: male

Date Born: 1900

Date Died: 1984

Place Born: St. John's Wood, London, England, UK

Place Died: Farley Farm, Chiddingly, East Sussex, UK

Home Country/ies: United Kingdom

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

Career(s): art collectors and painters (artists)


Overview

Painter, collector and modernist art historian. Penrose was born to James Doyle Penrose, and Irish portrait painter, and Elizabeth Josephine Peckover (Penrose). His mother was the daughter Lord Peckover, a wealthy Quaker banker. The younger Penrose was raised in the Quaker faith at the family’s home, Oxhey Grange, near Watford, and attended Leighton Park School, Reading. He graduated from Queen’s College, Cambridge in 1922. The Bloomsbury art historian and critic Roger Fry persuaded Penrose to study studio art in Paris. Penrose lived and painted there until 1934. While in Paris he married the Surrealist poet Valentine Boué in 1925. At the same time, Penrose began collecting Cubist and Surrealist works of art, largely through contact with Max Ernst. Through the poet Paul Eluard (1895-1952), he met Picasso in 1934. This was the beginning of a long association with the painter, which would culminate in both exhibitions and books. In 1936 Penrose organized the first International Surrealist Exhibition in London. The show, which contained many works from Penrose’s collection, helped establish understanding of this movement in England. During World War II, he was a lecturer to the Home Guard (1940-42) and a camouflage painter in the army (1943-45). Together with Herbert Read, he founded the Institute of Contemporary Arts in 1947. The same year he married his second wife, the photographer and surrealist model Lee Miller (1907-77). He remained the ICA chair until 1969. The Institute launched many early exhibitions of modern art in the United Kingdom, shows containing works drawn form Penrose’s own collections. “Forty Years of Modern Art” and its companion exhibition, “Forty Thousand Years of Modern Art,” the latter which emphasized the relationship between ancient art and modern, created positive acceptance among the public for modernist art works in Britain. Penrose published Picasso: His Life and Work in 1958, one of the most comprehensive accounts of the artist in English. In 1959 he was named a trustee of the Tate Museum (served until 1966). In this capacity, he organized innovative exhibitions using ICA artwork for the Tate. His 1960 Picasso exhibition at that museum broke all previous records. Penrose followed this with monographs on Max Ernst (1962), Joan Miro (1964) and Picasso Sculpture (1967). In 1966 he was given a knighthood. Paintings by Penrose are held by the Tate.


Selected Bibliography

Picasso. London: The Arts Council of Great Britain, 1960; Picasso: His Life and Work. New York: Harper 1959; Portrait of Picasso. New York: Museum of Modern Art, 1957; The Sculpture of Picasso. New York: Museum of Modern Art, 1967; and Kahnweiler, Daniel Henry, and Golding, John. Picasso in Retrospect. New York: Harper & Row, 1973; and Read, Herbert. Wonder and Horror of the Human Head: an Anthology. London: Lund, Humphries, 1953.


Sources

Penrose, Antony. The Home of the Surrealists: Lee Miller, Roland Penrose, and Their Circle at Farley Farm. London: Frances Lincoln, 2001; Penrose, Antony. Roland Penrose: the Friendly Surrealist. New York: Prestel, 2001; Penrose, Roland. Scrap Book: 1900-1981. New York: Rizzoli, 1981; The Catalogue of an Exhibition of Cubist and Surrealist Paintings, 1903-1938: from the Collection of Mr. and Mrs. Roland Penrose. London: The Arts Council of Great Britain, 1954; Buck, Louisa. Dictionary of Art 24: 368-69; [obituary:] The Times [London], April 25, 1984, p. 18.




Citation

"Penrose, Roland, Sir." Dictionary of Art Historians (website). https://arthistorians.info/penroser/.


More Resources

Search for materials by & about this art historian:

Painter, collector and modernist art historian. Penrose was born to James Doyle Penrose, and Irish portrait painter, and Elizabeth Josephine Peckover (Penrose). His mother was the daughter Lord Peckover, a wealthy Quaker banker. The younger Penros

Pater, Walter

Full Name: Pater, Walter

Other Names:

  • Walter Pater

Gender: male

Date Born: 04 August 1839

Date Died: 30 July 1894

Place Born: London, Greater London, England, UK

Place Died: Oxford, Oxfordshire, England, UK

Home Country/ies: United Kingdom

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


Overview

Literary scholar and author of influential essays on Italian Renaissance art. Pater was the son of Richard Glode Pater (1797?-1842) a surgeon, and Maria Hill (Pater) (1803?-1854). His father died when Pater was two. Pater was tutored privately, later attending Enfield grammar school before his mother died in 1854. He met an important friend, John Rainier McQueen, in 1855. During these years, Pater was deeply influenced by the book Modern Painters by John Ruskin. He entered Queen’s College, Oxford, in 1858 studying classics. At Oxford Pater became associated with the larger ‘Oxford Movement,’ Matthew Arnold’s renouncement of religion for cultural studies. Pater fell out with McQueen in 1860, likely because McQueen discovered Pater’s gay relationship fellow student Ingram Bywater (1840-1914). Pater graduated in 1862; by 1864, his religious conviction gone, he was elected to a fellowship at Brasenose College, remaining a tutor there the rest of his life and lecturing from 1867. At Brasenose he came into contact with the Gerard Baldwin Brown, later to become the first chair of fine arts in the British Isles. Pater traveled to Italy in 1865 were he became immersed in Italian art. He returned to live in Oxford, tutoring among others the poet Gerard Manley Hopkins (1844-1889) and establishing friendships with Mark and Emilia Pattison (later Emilia Francis Strong Dilke), Charles Lancelot Shadwell (1840-1919), Thomas Humphry Ward (1845-1926), and Thomas Herbert Warren (1853-1930). Pater published an essay on Winckelmann in 1867, examining Winckelmann’s Hellenism and the homoeroticism. These and other essays of Pater advocating “aesthetic poetry” would attracted religious backlash throughout Pater’s career. Denounced from pulpits, but lauded by esthetes (George Augustus Moore, called him the “Protestant Verlaine”) Pater expanded his writing on archaeology and art history. In 1869 Pater moved in with his sisters at Oxford where his sister, Clara (1841?-1910), learned Latin and established the Association for Promoting the Education of Women, ultimately leading to the creation of Somerville College. Beginning in 1869, too, Pater wrote a series of articles for the Fortnightly Review on Italian renaissance art. Among these, his first “Leonardo da Vinci” (1869), contained his famous analysis of the Mona Lisa (“She is as old as the rocks upon which she sits”). Articles on Botticelli, Pico della Mirandola, and the poetry of Michelangelo appeared in succession. He collected these, along with the Winckelmann piece and new essays into his Studies in the History of the Renaissance (1873). However, Pater was forced to withdraw the work in 1877 because the anti-religious aspects still raised ire. Oscar Wilde termed Studies his “golden book,” promoting Pater’s works and reputation with his own career. Pater became associated in the public’s mind with the aesthetic school and the lives of other “decadents,” including the poet Algernon Swinburne (1837-1909) and Dante Gabrielle Rossetti. Pater was, in fact, in a relationship with the painter Simeon Solomon (1840-1905) and Swinburne between the end of the 1860s and1873. Solomon was jailed for “gross indecency” (the term which included homosexual violations). Pater himself faced expulsion when indiscrete letters came to the attention of the Oxford authorities, a fate meted out to another art-historical Oxfordite, John Addington Symonds in 1862. Pater was forced to withdraw his application for the professorship of poetry vacated by Matthew Arnold in 1877. His reprinting of the Studies (now retitled as The Renaissance: Studies in Art and Poetry) in 1877 omitted the shocking “Conclusion” essay. Pater continued to publish in the Fortnightly Review and Macmillan’s Magazine, including an essay on Giorgione. He issued studies in the 1880s on Greek and English poetry. Pater also began reworking the biographical writings contained in the Studies combining fiction and history into what he termed “imaginary portraits.” The first appeared in 1878 titled, “The Child in the House,” an autobiographical piece in Macmillan’s Magazine. Pater moved to Rome in 1882 resigning his tutorship the following year. He had hoped to occupy John Ruskin‘s Slade professorship of fine art in 1885, but was advised that his homosexual reputation would again prevent promotion at Oxford. Pater’s only novel, Marius the Epicurean, was published 1885. A third edition of The Renaissance appeared in 1888, this time including the formerly excised “Conclusion.” Pater returned to England in 1885, dividing his residences between Oxford and London. More “imaginary portraits” ensued with “A Prince of Court Painters” set in the studio of Jean Baptiste Pater (whom Pater claimed as an ancestor), and “Gaston de Latour”, appearing serially between 1888 and 1889. In 1893 the Pater’s gout increased in severity and he and his sisters left London to return to Oxford. Thereafter Pater focused on things French, including articles on the gothic churches at Amiens and Vézelay. Pater received an honorary LL. D. from the University of Glasgow in 1894, his only academic honor. Shortly thereafter, he suffered a heart attack and died at the age of fifty-four. Two collections of his essays appeared posthumously, edited by Charles Shadwell. He is buried at Holywell cemetery, Oxford. Pater was not a conventional art historian. The Warburg scholar Fritz Saxl noted that Pater made no attempt to question the reliability of sources, either Vasari or the attributions of the National Gallery. His Renaissance Studies, for example, examined art from as wide an area as provincial fourteenth-century France to eighteenth-century Germany. Pater could make wild assertions, as he did in “The School of Giorgione,” (Studies, 3rd edition) that the representation of sound and synaesthesia was central to early 16th-century Venetian painting. His subjective art history was influential because it espoused an art for art’s sake appreciation. Pater’s art histories take their strength from what Laurel Brake calls their “transhistorical” nature. Wollheim characterized Pater as one of the first to apply psychology to art interpretation. Pater chose largely unfamiliar artists (he was one of the first to write in English on Botticelli, 1870), Moretto and Romanino, identifying qualities not yet appreciated in artists, as in the case of Watteau. Among the many who found him inspirational were Herbert P. Horne, who dedicated his book on Botticelli to Pater, and Roger Fry who wrote in 1898 that despite his many mistakes, Pater’s “net result is so very just.” William Butler Yeats considered their era the “Tragic Generation” of whom Pater and Oscar Wild were the chief exponents. Bernard Berenson changed from the study of literature to art history because of Pater’s book and called Pater’s Marius the Epicurean his vademecum to the esthetic life. Yates selected Pater’s passage from the opening of the Mona Lisa as the first poem in Yate’s Oxford Book of English Verse (1939). Henry James referred to Pater’s writing as “the mask without the face.” More recently, the work of the art philosopher Richard Wollheim (1923-2003) has been linked to Pater’s by by Michael Podro. A caricature of Pater appeared as the form of the aesthete “Mr Rose” in W. H. Mallock’s satire New Republic of 1876.


Selected Bibliography

[complete bibliography:] Wright, Samuel, ed. A Bibliography of the Writings of Walter H. Pater. New York: Garland Pub., 1975; Studies in the History of the Renaissance. London: Macmillan, 1873, [significantly changed and reissued by Pater, without the “Conclusion” as] The Renaissance: Studies in Art and Poetry. London: Macmillan, 1877. [subsequent revisions through 1893]; Imaginary Portraits. London: Macmillan and Co., 1887; and Shadwell, Charles Lancelot, ed. Greek Sstudies: a Series of Essays. New York/London: Macmillan, 1894; and Shadwell, Charles Lancelot, ed. Miscellaneous Studies: A Series of Essays New York/London: Macmillan, 1895.


Sources

Moore, George. “Avowals. VI: Walter Pater.” Pall Mall Magazine 33 (1904): 527-33; Wright, Thomas. The Life of Walter Pater. 2 vols. New York: G.P. Putnam’s Sons, 1907; Saxl, Fritz. “‘Three “Florentines:’ Herbert Horne, Aby Warburg, Jacques Mesnil.” Lectures, vol. 1. 1957, pp. 333; Fletcher, Ian. Walter Pater. London: Longmans, Green 1959; Kleinbauer, W. Eugene. Modern Perspectives in Western Art History: An Anthology of 20th-Century Writings on the Visual Arts. New York: Holt, Rinehart and Winston, 1971, pp. 5, 91; Wollheim, Richard. “Walter Pater.” Dictionary of Art; Bloom, Harold. ed. Selected Writings of Walter Pater. New York: New American Library, 1974; Bazin, Germain. Histoire de l’histoire de l’art: de Vasari à nos jours. Paris: Albin Michel, 1986, p. 147; Seiler, Robert Morris. Walter Pater: a Life Remembered. Calgary, AB, Canada: University of Calgary Press, 1987; Buckler, William Earl. Walter Pater: the Critic as Artist of Ideas. New York : New York University Press, 1987; Levey, Michael. The Case of Walter Pater. London: Thames and Hudson, 1978 ; Brake, Laurel. Walter Pater. Plymouth, UK: Northcote House/British Council, 1994; Gosse, Edmund. Dictionary of National Biography, [and new entry] Brake, Laurel. Oxford Dictionary of National Biography, 2004; Podro, Michael. “On Richard Wollheim.” British Journal of Aesthetics 44 no. 3 (2004): 213-225.




Citation

"Pater, Walter." Dictionary of Art Historians (website). https://arthistorians.info/paterw/.


More Resources

Search for materials by & about this art historian:

Literary scholar and author of influential essays on Italian Renaissance art. Pater was the son of Richard Glode Pater (1797?-1842) a surgeon, and Maria Hill (Pater) (1803?-1854). His father died when Pater was two. Pater was tutored privately, la

Payne, Humfry

Full Name: Payne, Humfry

Other Names:

  • Humfry Gilbert Garth Payne

Gender: male

Date Born: 1902

Date Died: 1936

Place Born: Wendover, Buckinghamshire, England, UK

Place Died: Athens, Region of Attica, Greece

Home Country/ies: United Kingdom

Subject Area(s): ancient, Ancient Greek (culture or style), Archaic (Greek culture or period), ceramic ware (visual works), pottery (visual works), and sculpture (visual works)


Overview

Scholar of Greek archaic period pottery and sculpture. Payne’s father was John Edward Payne (1844-1900), a Fellow at Oxford. Humfry Payne was educated at the Westminster School, London, and then Christ Church, Oxford University where he graduated in 1924. A pupil of J. D. Beazley and fellow classicist Alan Blakeway (1898-1936) he joined the Ashmolean Museum as assistant keeper in 1926 and was named a senior scholar at Christ Church (the latter position held until 1931). That same year he married fellow student (and later film critic) E. Dilys Powell (1901-1995). In 1928 he left the Ashmolean to be director of the British School at Athens. Still only in his late twenties, he participated in the Eleutherna excavations (Crete) in 1929 and directed the Perachora dig (1930-33). It was there that he discovered a major Corinthian archaic site, which, unlike so many others, had not been covered with subsequent Roman remains. Payne’s 1931 book, Necrocorinthia provided, in Beazley’s words, a new foundation for the study of Archaic art. Payne possessed an encyclopedic memory astounding colleagues on several occasions by matching fragments of ancient art from disparate museums on photographic evidence alone. For example, in 1935 he made the connection between the head of the Rampin horseman in Paris with an equestrian torso exhibited at the Akropolis Museum for more than fifty years. In 1936 Payne gathered his findings in Archaic Marble Sculpture from the Acropolis. Bernard Ashmole considered this one of the most sensitive works on archaic Greek sculpture ever published in English. Tragically, while at the Perachora excavation, Payne contracted a staphylococcus during an operation and died at age 34. He was buried at Mycenae. Payne’s work led in the movement in the 1930s of regional Greek pottery styles. E. A. Lane’s on Laconian ware and Robert Manuel Cook on Fikellura vases directly followed Payne’s writings.


Selected Bibliography

Neocorinthia: A Study of Corinthian Art in the Archaic Period. Oxford: Oxford University Press, 1931; Perachora: the Sanctuaries of Hera Akraia and Limenia. Excavations of the British School of Archaeology at Athens: 1930-1933. 2 vols. Oxford: The Clarendon Press, 1940-62; and Young, Gerard Mackworth. Archaic Marble Sculpture from the Acropolis. London: The Cresset Press, 1936; Protokorinthische Vasenmalerei. Bilder griechischer Vasen 7. Berlin: H. Keller, 1933;


Sources

Kleinbauer, W. Eugene. Modern Perspectives in Western Art History: An Anthology of 20th-Century Writings on the Visual Arts. New York: Holt, Rinehart and Winston, 1971, p. 46 mentioned; Medwid, Linda M. The Makers of Classical Archaeology: A Reference Work. New York: Humanity Books, 2000 pp. 218-221; Dictionary of National Biography, 1931-40; Williams, Shellie. “Payne, Humfry Gilbert Garth.” Encyclopedia of the History of Classical Archaeology. Nancy Thomson de Grummond, ed. Westport, CT: Greenwood Press, 1996, vol. 2, pp. 866; Powell, Dilys. The Traveller’s Journey is Done. London: Hodder and Stoughton,1943; [obituaries:] “Mr. H. G. G. Payne Archaic Greek Art.” The Times (London). May 11, 1936, p. 17.




Citation

"Payne, Humfry." Dictionary of Art Historians (website). https://arthistorians.info/payneh/.


More Resources

Search for materials by & about this art historian:

Scholar of Greek archaic period pottery and sculpture. Payne’s father was John Edward Payne (1844-1900), a Fellow at Oxford. Humfry Payne was educated at the Westminster School, London, and then Christ Church, Oxford Universi

Parker, John Henry

Full Name: Parker, John Henry

Gender: male

Date Born: 1806

Date Died: 1884

Place Born: London, Greater London, England, UK

Place Died: Oxford, Oxfordshire, England, UK

Home Country/ies: United Kingdom

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


Overview

Architectural historian and Keeper of the Ashmolean Museum. Parker was the son of a London businessman. He attended Manor House School, Chiswick. In 1821 he began business as a bookseller along with his uncle, Joseph Parker. The following year he assumed his uncle’s firm. The business grew under his guidance, issuing many books for the University, including the series Oxford Pocket Classics. His first architectural publication, Glossary of Architecture, appeared in 1836. Capitalizing on the enthusiasm of Gothic revival in England, Glossary of Architecture was highly influential for both architectural historians and practicing architects of the movement. In 1848 Parker assumed the editorship of the fifth edition of An attempt to discriminate the styles of architecture in England by Thomas Rickman, known as Rickman’s Gothic Architecture. The following year he published his Introduction to the Study of Gothic Architecture, a handbook based on Rickman’s work. Parker next completed the Domestic Architecture of the Middle Ages by Thomas Hudson Turner completing the set in three volumes between 1853-1860. In 1858 his Medieval Architecture of Chester appeared. Architectural Antiquities of the City of Wells (1866) was a landmark in the advocacy of architectural restoration. His two-volume Archaeology of Rome (1874 and 1876) change much legendary information into documented fact. The King of Italy knighted him for his efforts, and Pope Pius IX awarded him a medal of merit. In 1869 he endowed the Ashmolean Museum’s Keeper position, securing his appointment as its first keeper. As Keeper, Parker was not able to turn the interest of the collector and art historian C. Drury Fortum into a bequest, largely because of the lack of interest of Oxford’s vice chancellor. It was left to his successor, Arthur J. Evans, to consolidate the Ashmolean and Fortnum’s bequest into the museum it is today. Parker advocated the restoration of architectural landmarks, especially of church buildings.


Selected Bibliography

Rickman, Thomas. An Attempt to Discriminate the Styles of Architecture in England: from the Conquest to the Reformation. 5th edtion. London: J. H. Parker, 1848; and Grosvenor, Francis. The Medieval Architecture of Chester. Chester: H. Roberts, 1858; The archaeology of Rome. 11 vols. Oxford: J. Parker and Co./London: J. Murray, 1874ff.; The Architectural Antiquities of the City of Wells. Oxford/London: J. Parker and Co., 1866; An Introduction to the Study of Gothic Architecture. Oxford: John Henry Parker, 1849; A Glossary of Terms Used in Grecian, Roman, Italian, and Gothic Architecture. London: C. Tilt 1836.


Sources

“Parker, John Henry.” Encyclopedia Britannica 11th ed.




Citation

"Parker, John Henry." Dictionary of Art Historians (website). https://arthistorians.info/parkerj/.


More Resources

Search for materials by & about this art historian:

Architectural historian and Keeper of the Ashmolean Museum. Parker was the son of a London businessman. He attended Manor House School, Chiswick. In 1821 he began business as a bookseller along with his uncle, Joseph Parker. The following year he

Parker, Karl Theodore, Sir

Full Name: Parker, Karl Theodore, Sir

Other Names:

  • K. T. P.

Gender: male

Date Born: 1895

Date Died: 1992

Place Born: Bedford, Bedfordshire, England, UK

Place Died: Eastbourne, East Sussex, England, UK

Home Country/ies: United Kingdom

Subject Area(s): drawings (visual works)


Overview

Drawings authority and Keeper of the Ashmolean Museum 1945-1962; edited a series on master drawings for the British Museum with Hugh Popham. Parker’s father, R. W. Parker, was a surgeon decorated by the King of Bavaria for his part in medical mission (later named the International Red Cross) of Franco-Prussian war of 1870-1871. His mother, Marie Luling, came of a distinguished American family. Parker studied at Bedford until 1912 when the family moved to Germany. He studied chemistry at the University of Freiburg before switching to the university in Zürich–and fields–to write his dissertation on John Milton. Articles Parker published in a French antiquarian journal caught the notice of Campbell Dodgson, Keeper of the Department of Prints and Drawings in the British Museum, who invited Parker, then back in Britain, to work in the print room as a volunteer. At the end of 1925 Parker was appointed an assistant keeper. He married Audrey James (d. 1976) in 1928. Parker edited the quarterly Old Master Drawings from its inception in 1926 until its demise in 1940. In 1934 Parker succeeded Kenneth Clark as Keeper of the Department of Fine Art at the Ashmolean Museum, Oxford University. His catalog of the drawings in the Ashmolean, The Northern Schools, was published in 1938. During World War II, he moved the collections to Chastleton House, a Jacobean house in the Cotswolds, continuing to develop exhibitions. He was promoted to Keeper of the museum in 1945. Parker’s skill as an administrator brought the Farrer brothers (William and Gaspard) collection of silver in 1945, the collection of A. T. Carter in 1947, and J. Francis Mallett’s collection of clocks, watches, and objets de vertu; and French gold and enameled snuff-boxes from the Hanbury and van den Berg families. After the war, Parker sought to reinstall the collection in period frames. Claus Grimm praised the Ashmolean’s collection of frames during his research for Alte Bilderrahmen (Old Picture Frames), describing it as “the best in a public gallery.” Volume two of the Ashmolean catalog, on the Italian Schools, appeared in 1956. He retired from the Ashmolean in 1962, retiring to Eastbourne, ignoring offers for other positions, except for seven years as a trustee of the National Gallery. Parker was succeeded at the Ashmolean by Ian Robertson. He was made an Honory D. Litt. by Oxford University in 1972. His collecting techniques were often controversial. His detractors, including John Pope-Hennessy accused him of neglecting paintings acquisitions for works on paper. His acceptance of the Hill Collection of musical instruments was decried by some as making instruments into art objects. Parker also raised controversy in 1950 when he accepted the archive of the Pissarro family, including drawings by Camille, etchings, letters, and the woodblocks of Lucien, which had been turned down by the Tate; the 1956 donation by H. R. Marshall of Worcester Porcelain was criticized by the classicist C. M. Bowra (1898-1971) as not appropriate for a university collection. Parker created in the Print Room of the Ashmolean, one of the finest collections of drawings in the world. He added over 400 Italian 16th-century drawings, as well as 17th-century Guercino, Canaletto, Guardi and Piranesi. In 1957 he and Jacques Mathey published the Catalogue Complet de son oeuvre dessinee for Antoine Watteau. He contributed the volumes on Holbein (1945) and Canaletto (1948) of the catalogue of drawings in the Royal Collection at Windsor Castle. Among his legendary discoveries were a landscape by Francesco Guardi which he purchased in the Map Shop in Oxford Street in 1938 for 30 shillings, and a large drawing by Francois Boucher on blue paper.


Selected Bibliography

[Ashmolean Museum.] Catalogue of Paintings. 2 vols. 2nd ed. Oxford: s.n., 1961; [Ashmolean Museum.] Catalogue of the Collection of Drawings in the Ashmolean Museum. 7 vols. Oxford: The Clarendon Press, 1938ff.; Selected Drawings from Windsor Castle: Holbein. London: Phaidon Press, 1954; The Drawings of Antonio Canaletto in the Collection of His Majesty the King at Windsor Castle. Oxford: Phaidon Press,1948; The Drawings of Hans Holbein in the Collection of His Majesty the King at Windsor Castle. Oxford/London: Phaidon Press, 1945; Drawings of the Early German School. London: Ernest Benn Ltd., 1926; Elsässische Handzeichnungen des XV. und XVI. Jahrhunderts. Freiburg im Breisgau: s.n., 1928; North Italian Drawings of the Quattrocento. London: E. Benn, limited, 1927; The Drawings of Antoine Watteau. London: B. T. Batsford, ltd.,1931.


Sources

Lowe, Ian. “Sir Karl Parker.” The Independent (London), July 27, 1992, p. 23; Gere, John A. “Old Master of the Museum: Sir Karl Parker.” The Guardian (London), August 6, 1992, p. 33; “Sir Karl Parker.” The Times (London), July 28, 1992.




Citation

"Parker, Karl Theodore, Sir." Dictionary of Art Historians (website). https://arthistorians.info/parkerk/.


More Resources

Search for materials by & about this art historian:

Drawings authority and Keeper of the Ashmolean Museum 1945-1962; edited a series on master drawings for the British Museum with Hugh Popham. Parker’s father, R. W. Parker, was a surgeon decorated by the King of Bavaria for h

Paget, Violet

Full Name: Paget, Violet

Other Names:

  • Violet Paget

Gender: female

Date Born: 1856

Date Died: 1935

Place Born: Château St. Léonard, near Boulogne, France

Place Died: Villa Il Palmerino, Florence, Italy

Home Country/ies: United Kingdom

Subject Area(s): aesthetics, eighteenth century (dates CE), gardens (open spaces), Italian (culture or style), and Renaissance

Career(s): art critics, art historians, authors, and novelists


Overview

Writer on art and literature. Paget’s mother, Matilda Paget (1815-1896), came from a West-Indies fortune. Paget’s father, Henry Ferguson Paget (1820-1894), was reputedly the son of a French émigré noble, who met Matilda (then Matilda Adams), a widow, when he was a tutor for her son Eugene in Paris. Violet was their only child together. Because of her family’s frequent moves in Europe, Violet learned continental languages fluently. Her half-brother, now Oxford educated and in the Foreign Office in Paris, continued to tutor her French and writing skills. It was because of this that she adopted his surname (Lee) as her pseudonym. She met the future painter John Singer Sargent (1856-1925) in Nice when they were both children. Sargent and Paget determined to be painter and writer in their later lives. Sargent’s mother, Mary Newbold Sargent, gave Paget an interest in Roman antiquities during the time that the two families spent in Rome. In 1880, Paget published her first cultural writing, Studies of the Eighteenth Century in Italy, the culmination of ten years of manuscript research. The work, credited with reviving interest in eighteenth-century Italian drama and music, met with scholarly approval and remained cited in scholarly literature well into the twentieth century. With her family permanently settled in Florence, Paget made her first visit to England in 1881. This brought an invitation and exchange from her fellow writer/art historian Walter Pater. The same year, Belcaro her first art-historical work, appeared. Paget, now known as Violet Paget, published a variety of non-fiction (travel literature, memoirs, religious essays, aesthetics, and literary criticism) as well as supernatural and historical short fiction in the 1880s. In 1884 she published Euphorion: being Studies of the Antique and the Mediaeval in the Renaissance which confirmed her reputation as an art writer. The same year, however, she also produced the novel Miss Brown, an overwritten satire on the Pre-Raphaelites, which even the dedicatee, Henry James (1843-1916), could not stomach. Lee’s reputation never fully recovered from this failure. In London she met and perhaps had an affair with a fellow female classicist, Eugénie Sellers Strong. Beginning in the 1890s, Lee formed a permanent lesbian relationship with the painter and theorist Clementina Anstruther-Thomson, living with her six months of every year in Florence experimenting with the psychological aspects of color and art. She began writing travel literature, perhaps her best writing, with Limbo and Other Essays in 1897, an early history of Italian gardens. Edith Wharton dedicated her 1904 Italian Villas and their Gardens to Lee, “who, better than any one else, has understood and interpreted the garden-magic of Italy.” A study of Perugino appeared as In Umbria: a Study of Artistic Personality in 1906. In 1912 Anstruther-Thomson and Lee published Beauty and Ugliness and Other Studies in Psychological Aesthetics, which had first appeared in journal Contemporary Review of 1897. It introduced a new esthetic to a British tradition still controlled by Pater’s work. The following year, The Beautiful: an Introduction to Psychological Aesthetics appeared, written solely by Lee as part of the Cambridge Manuals of Science and Literature series. In it, Lee summarizes the Germanic-British theories of empathy (cf. Wilhelm Worringer and Theodor Lipps), which Bernard Berenson considered outright plagiarism. Other psychological works by her included The Handling of Words and other Studies in Literary Psychology in 1923. Another travel collection, The Golden Keys and other Essays on the Genius Loci appeared in 1925. Lee joined the pacifist Union of Democratic Control during World War I, combining it with support for feminist issues at the International Congress of Women at The Hague. Her most famous anti-war statement was the1915 play The Ballet of the Nations. The final twenty years of her life were spent in relative isolation continuing her role as an ex-patriot. She died in 1935 at her home, Villa Il Palmerino, in Florence. Her cremated ashes are interred in the grave of her half-brother, Eugene, in the Allori cemetery, Florence. Her work was praised by Aldous Huxley. Sargent painted a portrait of Lee in 1881 (now in the Tate collection) and another portrait was made by Mary Cassatt in 1895.

Belcaro argued for the combining intellectual and physical embodiment of beauty. Lee countered the assertion made by John Ruskin that fine art needed to represent morality. Art’s value, she argued, was higher than morality, it was the creation of happiness. The enthusiastically received Euphorion,1884, however partisan, includes perceptive essays on Renaissance art. Lee’s book on art esthetics, The Beautiful, 1913, argues that shape (or form) is key to art appreciation, combined with the other intellectual and emotional reactions, especially, again empathy.


Selected Bibliography

; Studies of the Eighteenth Century in Italy. London: W. Satchell, 1880; Belcaro: being Essays on Sundry Aesthetical Questions. London: W. Satchell, 1881; Euphorion: being Studies of the Antique and the Mediaeval in the Renaissance. London: T. F. Unwin, 1884; and Anstruther-Thomson, Clementina. “Beauty and Ugliness.” Contemporary Review 72 1897; reprinted, Beauty & Ugliness and Other Studies in Psychological Aesthetics. London: John Lane, 1912; Limbo and Other Essays. London: G. Richards, 1897; In Umbria: a Study of Artistic Personality. Portland, ME: Thomas B. Mosher, 1906;  Genius Loci: Notes on Places. London: G. Richards, 1899; The Beautiful: an Introduction to Psychological Aesthetics. Cambridge: Cambridge Universiy Press/New York: G. P. Putnam’s Sons, 1913; “John Singer Sargent in Memoriam.” in, Charteris, Evan Edward. John Sargent. London: William Heinemann 1927, pp. 233-55.


Sources

Mannocchi, Phyllis F. “Paget, Violet [Vernon Lee] (1856-1935).” Oxford Dictionary of National Biography; Gunn, P. Vernon Lee: Violet Paget, 1856-1935 1964; Colby, V. “The Puritan Aesthete: Vernon Lee’, The Singular Anomaly: Women Novelists of the Nineteenth Century (1970), 235-304; Wellek, René. “Vernon Lee, Bernard Berenson and Aesthetics.” Discriminations: Further Concepts of Criticism (1970), 164-86.



Contributors: Lee Sorensen


Citation

Lee Sorensen. "Paget, Violet." Dictionary of Art Historians (website). https://arthistorians.info/pagetv/.


More Resources

Search for materials by & about this art historian:

Writer on art and literature. Paget’s mother, Matilda Paget (1815-1896), came from a West-Indies fortune. Paget’s father, Henry Ferguson Paget (1820-1894), was reputedly the son of a French émigré noble, who met Matilda (then Matilda Adams), a wid

Palgrave, Francis T.

Full Name: Palgrave, Francis T.

Other Names:

  • Francis Turner Palgrave

Gender: male

Date Born: 1824

Date Died: 1897

Home Country/ies: United Kingdom

Career(s): art critics


Overview

Critic for the Saturday Review and art author. A converted Jew, he was zealously Protestant. Palgrave formed a circle of British esthetes, led by Prince Albert (1819-1861), with Henry Drummond (1786-1860) and Charles Lock Eastlake rejecting the esthetics of Joshua Reynold’s Academy and the perceived Roman Catholic influence of the high renaissance in favor of the ‘early masters.’ Palgrave, the theorist of this circled, admired the art of antiquity and the early renaissance and viewed the late renaissance artists as neo-pagans. With Ruskin, he disparaged the industrial revolution and the art that seemed to support it.


Selected Bibliography

Essays on Art. New York: Hurd and Houghton, 1867; “Essay on the First Century of Italian Engraving,” in Kugler, Franz. Handbook of Painting: The Italian Schools. London: J. Murray, 1855, pp. 517-556.


Sources

Palgrave, Francis Turner, and Palgrave, Gwenllian Florence. Francis Turner Palgrave: his Journals and Memories of his Life. New York: Longmans, Green, 1899; Steegman, John. “Lord Lindsay’s History of Christian Art.” Journal of the Warburg and Courtauld Institutes 10 (1947): 123-24;




Citation

"Palgrave, Francis T.." Dictionary of Art Historians (website). https://arthistorians.info/palgravef/.


More Resources

Search for materials by & about this art historian:

Critic for the Saturday Review and art author. A converted Jew, he was zealously Protestant. Palgrave formed a circle of British esthetes, led by Prince Albert (1819-1861), with Henry Drummond (1786-1860) and Charles

Palm, Erwin Walter

Full Name: Palm, Erwin Walter

Gender: male

Date Born: 27 August 1910

Date Died: 07 July 1988

Place Born: Frankfurt, Brandeburg, Germany

Place Died: Heidelberg, Saxony, Germany

Home Country/ies: Dominican Republic, Germany, Italy, United Kingdom, and United States

Institution(s): Universidad Autónoma de Santo Domingo and Universität Heidelberg


Overview

Scholar of South American archaeology and art, pre-Columbian art, and professor. Erwin Palm, son of merchant Arthur Palm and Else Hesse (Palm), was born in Frankfurt in 1910. In 1929, Palm received his Abitur from Goethe-Gymnasium. Afterwards, he studied archaeology, classical philology, philosophy, and art history in Göttingen, Heidelberg, Rome, and Florence. He graduated from Universität Heidelberg in 1932. Upon graduation, he decided to study in Rome under Giorgio Pasquali (1885-1952). There, he completed his dissertation, Una interpretazione romana del mito, in 1935. His choice to study in Rome ultimately turned into his exile, as he was forbidden to study at German universities after the ascension of the Nazis for his Jewish ethnicity, even though he was not a practicing Jew himself. When he received his promotion, he conducted his own research from Italy. Under duress again in 1939 when Italy officially finalized a diplomatic alliance with Nazi Germany, he fled to London with his wife, Hilde Domin (1909-2006). Only staying six months, he then moved to the Dominican Republic in August of 1940. He became a lecturer and professor of art history and archaeology at the Universidad Autónoma de Santo Domingo.

Starting in 1946, he served as a member of the National Committee for the Preservation of Monuments. His work in this role informed his new interest in the protection of historical monuments, and he spearheaded several important initiatives for better monument protection in South American countries. He also helped form new monument protection laws that were critical. Following his monument protection work, he led various research projects on Central and South American art history and archaeology. From 1953-1954, he was on a research stay in New York as a fellow of the Guggenheim Foundation. In 1955, he returned to Germany.

His research trips continued upon his return to Europe, when he traveled to Spain 1955-1957 and 1958-1960. There, he studied architecture and published quite possibly his most prominent work, Los monumentos arquitectónicos de La Española, which incorporated much of the prior knowledge he had accumulated from his work with the monuments of Hispaniola. He became an associate professor at Universität Heidelberg in 1960 and was promoted to full professor in 1974. During his tenure, he established the Department for Iberian, Ibero-American, and Pre-Columbian Art at the Institute of Art History. In 1977, he was promoted to an emeritus professor. Beginning in 1964, he was a member of the German-Mexican Puebla-Tlaxcala Project funded by the Deutsche Forschungs community, which was a major foundation for German researchers. He started coordinating this project in 1970. To couple with his extensive research, he became a co-editor of Ibero-Amerikanischen Archivs, an Ibero-American archive in 1975.

Much of Erwin Palm’s work as a monument conservator in Santo Domingo required him to develop experience in new fields, but it also allowed him to draw upon his wealth of knowledge acquired from his studies in Europe. His intense interest in artistic-cultural manifestations inspired his work with monuments and the rich diversity of Central American and South American history. His most profound work, Los monumentos arquitectónicos de La Española, was truly an ode to both his acquired knowledge on the history of architectural monuments and his deep passion for the subject (Riedl, Grabrede).


Selected Bibliography

  • [dissertation:]Una interpretazione romana del mito. University of Heidelberg, 1935;
  • La arquitectura del siglo XVIII en Santo Domingo. Santo Domingo 1942;
  • Los hospitales antiguos de La Española. Santo Domingo 1950;
  • Arte Colonial en Santo Domingo. Siglos XVI-XVII. Santo Domingo, 1950;
  • The pocket guide to Ciudad Trujillo and its historical sites. Santo Domingo, 1951;
  • Los monumentos arquitectónicos de La Española. Con una introducción a América. Santo Domingo, 1955;
  • “Bemerkungen zur modernen spanischen Dichtung”.Merkur (1955): 381-389;
  • “Introducción al arte colonial”.Cuadernos Americanos (1957): 158-167;
  • “Kunst jenseits der Kunst. Federico Garcia Lorcas Theorie vom Duende”.Akzente (1966): 255-270;
  • Themen. Griechisch und deutsch. Frankfurt 1984.

Sources

  • Wendland, Ulrike. Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. Munich: Saur, 1999, vol. 2, pp. 479-84.


Contributors: Paul Kamer


Citation

Paul Kamer. "Palm, Erwin Walter." Dictionary of Art Historians (website). https://arthistorians.info/palme/.


More Resources

Search for materials by & about this art historian:

Scholar of South American archaeology and art, pre-Columbian art, and professor. Erwin Palm, son of merchant Arthur Palm and Else Hesse (Palm), was born in Frankfurt in 1910. In 1929, Palm received his Abitur from Goethe-Gymnasium. Afterw

Ottley, William Young

Full Name: Ottley, William Young

Gender: male

Date Born: 1771

Date Died: 1836

Place Born: Thatcham, West Berkshire, UK

Place Died: London, Greater London, England, UK

Home Country/ies: United Kingdom

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

Career(s): art collectors


Overview

Collector and early British historian of Italian painting. Ottley was the son of Richard Ottley, a wealthy India plantation owner. He was born near Thatcham, Berkshire, UK. His schooling in Richmond, Northern Yorkshire, included drawing lessons from George Cuitt the elder (1743-1818). Ottley attended Winchester College, entering the Royal Academy Schools at Landon in 1787, studying under the Scottish draughtsman and printmaker John Brown (1749-1787). Ottley traveled throughout Italy for eight years beginning in 1791 in the grand tour manner, drawing and buying art, much of it made available through anxious Italians fearing they would lose in anyway with Napoleon’s invasion in 1796. His acquisitions from this period included Parmigianino drawings from the Zanetti collection, disparate ones from the Galleria degli Uffizi in Florence, and drawings by Michelangelo and Raphael amassed by (and stolen from) Jean-Baptiste Wicar (1762-1834), who had himself received them from the French occupiers. Ottley returned to London in 1799, establishing himself as an art dealer and connoisseur. His first writing on art history was the 1808 The Italian School of Design with both plates and text by Ottley. It was Ottley’s intention to write a history of the “most eminent artists of Italy.” In the interim, Ottley completed the British Gallery of Pictures catalog, a work begun by Henry Tresham, and An Inquiry into the Origin and Early History of Engraving on Copper and Wood, both in 1818. The The Italian School of Design was completed in 1823, marking the first chronological treatment of the Italian schools by a British art historian. In 1826 Ottley brought out his Series of Plates Engraved After the Paintings and Sculptures of the Most Eminent Masters of the Early Florentine School, and A Descriptive Catalogue of Pictures in the National Gallery, commissioned by the President of the Royal Academy, Sir Thomas Lawrence (1769-1830). Ottley’s personal collection included a Rembrandt, Botticelli’s Mystic Nativity (now in the National Gallery, London), Raphael’s Dream of Scipio Africanus (now National Gallery) and a Rape of Europa then ascribed to Titian (now, Wallace Collection, London). His collection, which also including Trecento and Quattrocento works, was one of the better known in England. Ottley began a dictionary of engravers, Notices of Engravers, and their Works, of which only volume one appeared in 1831. By this time Ottley’s fortune was waning, in part because of the abolition of slavery, which had made his West-Indian plantation so profitable. When the Keeper of Prints and Drawings at the British Museum John Thomas Smith died in 1833, Ottley was invited to succeed him. Another publication, An Inquiry into the Invention of Printing, was published posthumously in 1863. The Italian School of Design brought a modern, chronological approach and quality illustrations, some of the first for British art publication. Most Eminent Masters of the Early Florentine School was important for the reassessment of 14th- and 15th-century Italian painting. His book work was selected for inclusion in the Connoisseurship Criticism and Art History in the Nineteenth Century reprint series, selected by Sydney Joseph Freedberg.


Selected Bibliography

A Collection of Fac-similes of Scarce and Curious Prints, by the Early Masters of the Italian, German, and Flemish Schools. London: Longman, Roes, Orme, Brown, and Green, 1826; A Descriptive Catalogue of the Pictures in the National Gallery: with Critical Remarks on their Merits. 3 pts. London: John Murray, 1826; Engravings of the Most Noble the Marquis of Stafford’s Collection of Pictures in London: Arranged According to Schools and in Chronological Order with Remarks on Each Picture. London: Longman, Hurst, Rees, Orme, and Brown, 1818; An Inquiry Concerning the Invention of Printing: in which the Systems of Meerman, Heinecken, Santander and Koning are Reviewed [etc]. London: Joseph Lilly, 1862; The Italian School of Design: being a Series of Fac-similes of Original Drawings, by the Most Eminent Painters and Sculptors of Italy; with Biographical Notices of the Artists, and Observations on their Works. London: Taylor and Hessey, 1823; Notices of Engravers, and their Works, being the Commencement of a New Dictionary, [etc.]. London: Longman, Rees, Orme, Brown, & Green, 1831; and Tresham, Henry.The British Gallery of Pictures: Selected from the Most Admired Productions of the Old Masters in Great Britain, accompanied with Descriptions, Historical and Critical. London: Longman, Hurst, Rees, Orme, and Brown, 1818; A Series of Plates Engraved after the Paintings and Sculptures of the Most Eminent masters of the early Florentine School: Intended to Illustrate the History of the Restoration of the Arts of Ddesign in Italy. London: Colnaghi, 1826.[estate catalogs] The Ottley Collection of Prints: Catalogue of the Very Valuable and Extensive Collection of Engravings. London: Southeby Leigh, 1837; Catalogue of Some Rare and Choice Books together with a Few Manuscripts: to which are Added some Miscellaneous Books and Illumined Miniature Paintings formerly in the Collection of the Late William Young Ottley, Esq. London: S. Leigh Sotheby & Co., 1849.


Sources

Griffiths, Antony. “The Department of Prints and Drawings During the First Century of the British Museum.” Burlington Magazine 136 (August 1994): 531-44; Gere, J “William Young Ottley as a Collector of Drawings.” British Museum Quarterly 18 (1953), pp. 44-53; Waterhouse, Ellis K. “Some Notes on William Young Ottley’s Collection of Italian Primitives.” Italian Studies (1962): 272-80; Rogers, David. “Ottley, William Young.” Dictionary of Art; Scheller, R. W. “Case of the Stolen Raphael Drawings.” Master Drawings 11 no. 2 (Summer 1973):119-37; Herrmann, F. “Dr Waagen’s Works of Art and Artists in England.” Connoisseur 161 (March 1966): 173-7.




Citation

"Ottley, William Young." Dictionary of Art Historians (website). https://arthistorians.info/ottleyw/.


More Resources

Search for materials by & about this art historian:

Collector and early British historian of Italian painting. Ottley was the son of Richard Ottley, a wealthy India plantation owner. He was born near Thatcham, Berkshire, UK. His schooling in Richmond, Northern Yorkshire, included drawing lessons fr

Oppé, Adolph Paul

Full Name: Oppé, Adolph Paul

Other Names:

  • Adolphus Paul Oppé

Gender: male

Place Born: London, Greater London, England, UK

Place Died: Chelsea, Kensington and Chelsea, London, England, UK

Home Country/ies: United Kingdom

Subject Area(s): drawings (visual works)

Career(s): art collectors

Institution(s): Victoria and Albert Museum


Overview

Brithish curator and drawings collector; scholar of Raphael and Botticelli, later British artists. Oppé was the son of Siegmund Armin Oppé, a silk merchant, and Pauline Jaffé (Oppé). He attended St. Andrews University and then New College, Oxford, where he majored in classics. After graduation, he was appointed a professor’s assistant in Greek in 1902 at St. Andrews, advancing to lecturer in 1904 and Lecturer in ancient history at Edinburgh University. In 1904 he began collecting drawings, beginning with the work of John Sell Cotman sold to him by the art historian Herbert P. Horne. The collection grew after his marriage into a vast works-on-paper collection which included Fra Bartolommeo, Giovanni da Udine, Barocci, Veronese, Poussin, and Claude Lorrain. He joined the Board (Department) of Education in 1905 where he worked on teacher training standards. In 1906 he briefly joined the Victoria and Albert Museum for one year. He married Lyonetta Edith Regina Valentine Tollemache (1886/7-1951) in 1909. The same year he published his first monograph on a Renaissance artist, Raphael. Oppé returned as deputy director of the V&A in 1910. During his years as deputy director (through 1913), A second monography, on Botticelli, appeared in 1911. He returned to the Board of Education in 1913 and, except for service in World War I in the Ministry of Munitions, never left. Oppé’ grew to a great scholar of Cozens. His 1919 Burlington Magazine article disproved the long-standing legend that the artist was the son of Peter the Great. In 1923 he published two books, one on Rowlandson and another on Cotman. The following year he co-published with the great native song collector Cecil Sharp (1859-1924) a history of folk dancing. In 1925, Turner, Cox and de Wint appeared. He began advising the National Gallery of Canada, Ottawa on prints and drawings acquisitions in 1937. Oppé retired from the Board of Education in 1938. His book on Hogarth was published in 1948 and English Drawings at Windsor Castle in 1950. His magnum opus on Cozens finally appeared until 1952 as Alexander and John Robert Cozens. He died in Chelsea, London. His collection of 3000 British works on paper was acquired by Tate Gallery in 1996.

Oppé led the study of British drawings as a scholarly pursuit. He was one of a few early collectors in England of works on paper whose number during the first quarter of the twentieth century, others among whom included Laurence Binyon, Randall Davis (1866-1946) and Thomas Girtin (1874-1961).  As an art historian, Oppé ventured independent conclusions, doubting, for example, the that Raphael’s painting “La Fornarina” is a portrait of his (supposed) mistress, Margharita Luti.

 

 


Selected Bibliography

Raphael. London: Methuen and Co. 1909; Sandro Botticelli. New York: Hodder and Stoughton, 1911;  and Sharp, Cecil James. The Dance: an Historical Survey of Dancing in Europe. London: Halton & Truscott Smith, 1924; The Drawings of Paul and Thomas Sandby in the Collection of His Majesty the King at Windsor Castle. Oxford: Phaidon Press, 1947; The Drawings of William Hogarth. New York: Phaidon Press, 1948; English Drawings, Stuart and Georgian periods, in the Collection of His Majesty the King at Windsor Castle. London: Phaidon, 1950; Alexander & John Robert Cozens. Cambridge, MA: Harvard University Press, 1954;


Sources

Ford, Brinsley. “Oppé, Adolph Paul.” Oxford Dictionary of National Biography; [obituary:] “Mr. Paul Oppé A Notable Art Historian.” Times (London) April 1, 1957, p.. 14; Ford, Brinsley. “Paul Oppé.” Burlington Magazine 99, no. 651 (June 1957): 207-208.


Archives



Citation

"Oppé, Adolph Paul." Dictionary of Art Historians (website). https://arthistorians.info/oppea/.


More Resources

Search for materials by & about this art historian:

Brithish curator and drawings collector; scholar of Raphael and Botticelli, later British artists. Oppé was the son of Siegmund Armin Oppé, a silk merchant, and Pauline Jaffé (Oppé). He attended St. Andrews University and then New College, Oxford,