Entries tagged with "Netherlandish"

Vienna-School art historian, Netherlandish specialist and Director of the Kunsthistorisches Museum, Vienna. Baldass studied in Graz, Halle (under Adolph Goldschmidt) and Munich before gaining his degree at the University in Vienna. His thesis, written under Max Dvořák and accepted in 1911, was on portraiture of the Emperor Maximilian. Baldass joined the Kunsthistorisches Museum in Vienna the same year, eventually being appointed curator in 1918. He married Paula Wagner, granddaughter of the architect Otto Wagner (1841-1918).

Bruegel specialist; Curator Cabinet des Estampes, Bibliothèque royale de Belgique. René van Bastelaer was the son of Désiré Alexandre Henri van Bastelaer (1823-1907), a distinguished pharmacist, chemist, and archaeologist. His mother was Elisa van der Spiecke. Van Bastelaer obtained his BA degree from the Faculty of Arts of the Catholic University of Louvain. Rather than continuing his studies he trained in the studio of the history painter Antoine Van Hammée (1836-1903). Van Bastelaer was particularly attracted to engraving.

Collector and collaborator on catalogs of German and Netherlandish paintings with his brother Sulpiz. Melchior came from an old wealthy family who hoped he would become a scientist and his older brother, Sulpiz Boisserée, run the family business. The two were raised during the Napoleonic occupation of Cologne. Through his friend Johann B. Bertram he and Sulpiz became interested in art and especially that of the medieval era, a period well represented by the so-called Cologne school of painting, though much under appreciated.

Historian of Netherlandish art, art collector; mountaineer and adventurer; first chair of art history in Britain. Conway's father was William Conway, a vicar in Rochester, Kent, and later rector of St. Margaret's Church, Westminster, and his mother Elizabeth Martin (Conway). After attending Repton School he entered Trinity College, Cambridge, in 1875 studying history. He was already an avid mountaineer, climbing the Alps during college recesses; he was elected to the Alpine Club in 1877.

Netherlandish scholar, National Gallery, London, Director 1968-1973. Davies was the son of Ernest Davies (1873-1946), a sometime novelist. He received no specialized training in art, other than extended family trips to the continent, especially France, where he developed a love for French Gothic architecture. Davies attended Rugby and King's College, Cambridge where he concentrated in Modern Languages. He joined the National Gallery as an attaché in 1932, rising to assistant Keeper in charge of Netherlandish and German paintings.

Contributor to the prestigious Handbuch der Kunstwissenschaft series on Netherlandish art.

historian of Netherlandish art

Cranach and northern Renaissance scholar. He published the facsimile book of the fifteenth-century engraver Adam von Fulda, Ein ser andechtig cristenlich buchlein, in 1914.

historian of Dutch art

Netherlandish art scholar. Brand was born in Altona, Germany, which is present-day greater Hamburg, Germany. Brand was the daughter of Friedrich Wilhelm Brand (1875-1913), a ship owner, and Anna Majud (Brand) (1876-1943). She studied art history, archaeology and history between 1930-34 at the Technische Hochschule in Munich, at Heidelberg (where she attended the lectures of Martin Heidegger) and finally Hamburg. Brand one of a group of a Ph. D.

Netherlandish art scholar and director Kaiser Friedrich Museum. Friedländer was the son of Leopold Friedländer (1832-ca.1880), a Berlin banker, and Helene Noether (Friedländer) (1843-after 1901). He began studying art history in 1891 in Munich, continuing in Florence (under August Schmarsow, and ultimately Leipzig, writing a dissertation on Albrecht Altdorfer under Anton Springer.

Scholar of Netherlandish prints. The professor of Art History at Utrecht University, J. G. van Gelder, described Geisberg's work as one of the praiseworthy graphic studies of Netherlandish of the nineteenth and early twentieth centuries.

Dürer scholar. Giehlow was born to Theodor Giehlow (d. before 1899), a senior civil servant, and Ludovica Saltzmann (Giehlow) (d. after 1897). Giehlow attended a gymnasium in Kiel, receiving an abitur in 1892. He studied law in Munich and Berlin from 1893 working in the civil service in the latter city. In 1895 he left his position as a government assessor.

Merchant, writer and biographer Netherlandish artists. Guicciardini was the son of Jacopo Guicciardini (d. 1552) and Camilla d'Agnolo des Bardi (d. 1557). His uncle was the historian Francesco Guicciardini (1483-1540). He was well educated according to the affluent means of his family including learning Latin and some Greek. He moved to Antwerp by 1542 where he remainded his whole life. In 1567, after publishing some minor works, collections of anecdotes and maximes, etc., he published Descrittione di m.

Cranach scholar and early 19th-century writing on German renaissance art. Heller was the first to publish, albeit in excerpt, the biographical writing of Johannes Neudörfer on Nuremberg artists, Nachrichten von Künstlern und Werkleuten of 1547. He was a later contributor to the Le Peintre-graveur of Adam von Bartsch.

painter; student of Rembrandt; wrote an early account of painters in the Netherlands

Northern Renaissance and prints scholar; Princeton University Art Museum curator and professor 1955-1990. Koch was the son of Frederick Henry Koch (1877-1944), a Harvard-educated folklorist and professor of dramatic literature at the University of North Carolina, Chapel Hill, and Loretta Jean Hanigan (Koch) [spellings as "Hannigan" are incorrect]. After graduating from the University of North Carolina, Chapel Hill with a B. A.in 1940, Koch continued there for his MA in art history, graduating in 1942. He was then drafted into the Army during World War II, rising to first lieutenant.

Nineteenth-century Rembrandt "rediscoverer;" curator of the print room, Bibliothèque Nationale (1853-77). The early events of Kolloff's life are unknown. He left Germany in 1834 to live in Paris among the Jungen Deutschland expatriate community of the 1830 German Revolution, led by Heinrich Heine (1797-1856) and Ludwig Börne (1786-1837). Beginning in 1834, he wrote architectural and art criticism based on Parisian exhibitions, for the magazine Die Kunstblatt, signing his pieces "Ed.

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.

Historian of Netherlandish art and gallery dealer. Lilienfeld studied at the universities of Leipzig and Halle and Berlin where he studied under Adolph Goldschmidt. He moved to the Hague where he worked as the assistant the eminent private art historian, Cornelis Hofstede de Groot in Amsterdam.

Art collector, cataloger and connoisseur of Netherlandish drawings and prints. Lugt began his career at age twelve in 1899 when he constructed a catalog of the print collection in Rijksprentenkabinet in Amsterdam. By age fifteen, he had written a biography of Rembrandt, illustrated with photographic reproductions and with his own copies of etchings and drawings by Rembrandt (published 1997, Fondation Custodia). Lugt cut short his formal education to become an employee at the auction house Frederik Muller in Amsterdam in 1901.

Painter and Dutch and Flemish art scholar. Michel's mother was from Bavaria and the young man grew up with an appreciation of German as well as French culture. He studied drawing with Auguste Karl Migette (1802-1884) in Metz until 1845. After graduating from the l'École polytechnique in Paris he returned to Metz to work as an artist. The so-called School of Metz artists revolved around the artist Charles-Laurent Maréchal (1801-1887). Michel learned much about art criticism and art history from this magnetic personality.

Lector and first woman professor of art history in the Netherlands. In 1902, Neurdenburg began studying Dutch Language and Literature at the University of Utrecht. She also attended courses at the Institute of Art History, given by Johanna de Jongh (1877-1946) and later by Willem Vogelsang. She also did art historical research. In 1910, she obtained a doctorate in Dutch Language and Literature with a dissertation on an incunabulum, a theatre play, entitled Van Nyeuvont, Loosheit ende Practicke; hoe sij vrou Lortse verheffen.

First director of the department of Conservation of Monuments, Netherlands.

Netherlandish art scholar, compiler of an important subject index of Baroque art; director of the Museum of Fine Arts in Budapest, 1956-1964. Pigler was a strong exponent of iconographical interpretation. Influenced by the medievalist Émile Mâle, Pigler wrote a 1939 article for the Art Bulletin on the history and importance of iconography in the interpreation of art. He succeeded Ferenc Redő in 1956 as the director of the Szépművészeti Múzeum (Museum of Fine Arts), Budapest.