Entries tagged with "Dutch Golden Age"

Scholar of Dutch baroque art; professor of History of Art, UC Berkeley,1962-1994; exponent of the "new art history." Born Svetlana Leontief, she graduated from Radcliffe College with a B.A. in 1957. She married the following year, assuming her husband's surname of Alpers. She continued graduate work in art history at Harvard University publishing an article on Vasari's verbal descriptions of art (ekphrasis) in 1960 in the Journal of the Warburg and Courtauld Institutes, which announced her innovative approach to art history.

Frans Hals authority and historian of picture frames. Grimm wrote much of his book in the Ashmolean museum, Oxford, having studied the frames collection of Karl Theodore Parker.

Dutch baroque scholar; art museum director; student of Panofsky. Heckscher was raised in Hamburg, where he attended the University of Hamburg, studying under Erwin Panofsky. Heckscher described his student years in Hamburg as part of a group of deeply dedicated students whose ranks included Horst W. Janson, Walter W. Horn, Ursula Hoff, and Lotte Brand Foerster.

Scholar of the Dutch baroque, Rubens authority.

Dutch baroque scholars, part of a group of graduate students in art history at the University in Berlin, whose numbers included Alexander Dorner, Hans Huth, Erwin Panofsky, and Eberhard Schenk zu Schweinsberg.

Hals and Dutch Baroque painting scholar. Luns was one of the scholars who accepted the opinion of Abraham Bredius and his opinion that the Christ at Emmaus painting was a Vermeer, later proved to have been painted by forger Han van Meegeren (1889-1947).

Berlin art historian of Dutch Baroque painting. Plietzsch was trained by Wilhelm Bode, director general for all Prussian museums. During the Second World War, Plietzsch assisted the art history-turned-Nazi-art-dealer Kajetan Mühlmann in expertising works of looted art to be sent to the Fuhrermuseum and the art collection of Reichsmarschall Hermann Göring (1893-1946). Plietzsch's chronology of the works of Gerard ter Borsch were superseded by the work of Sturla Gudlaugsson.

Goltzius scholar; Professor of art history at Utrecht University. Reznicek attended high school at Nymburk and studied, between 1945 and 1948, history at the Univerzita Karlova (Charles University) in Prague. In 1948 he fled to West-Germany, from where he then moved to The Netherlands. At Utrecht University, he studied art history, from 1948 to 1953, under J. G. van Gelder, William S. Heckscher, Murk Daniël Ozinga, and G. J. Hoogewerff.

Scholar of the Dutch Baroque painting and costume; editor of the Algemeene kunst geschiedenis. Van Thienen attended high school (Gymnasium) in Delft. He studied art history at Utrecht University, where he obtained his doctor's degree in 1929, under Willem Vogelsang. His dissertation dealt with the history of the costume in Holland between 1600 and 1670, Studien zur Kostümgeschichte der Blütezeit Hollands. After its publication, a broader edition followed in 1930, Das Kostüm der Blütezeit Hollands.

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

Scholar of the Dutch baroque; Warsaw University Professor. Walicki was a curator at the National Museum in Warsaw. In 1950 Walicki was arrested by the Stalinist regime and replaced by Stanislaw Lorentz. His students included Jan Białostocki. His methodology followed a strong connoisseurship model.

Scholar of the Dutch baroque and Director of the Paul Mellon Center, 1973-85. White was the son of Gabriel Edward Ernest Francis White (1902-1988) and Elizabeth Grace Ardizzone (White) (d. 1958). He was educated at the University of London, (BA), an MA at Oxford University, and Ph.D., at the Courtauld Institute, University of London. He joined the Department of Prints and Drawings at the British Museum in 1954 as assistant Keeper. In 1957 he married Rosemary Katharine Desages. White became director of the old masters art sales gallery Colnaghi, London, in 1965, remaining there until 1971.

Scholar of Dutch baroque era and director of Staatliche Kupferstichkabinett in Dresden (1924-1941). Zoege von Manteuffel hailed from an aristocratic north-German/Danish family. He was the son of Gunther Zoege von Manteuffel (1850-1926) and Henriette "Rita" Ramm (Zoege von Manteuffel) (1857-1918). He studied jurisprudence and then art history at the universities of Munich, Berlin and Halle. He wrote a dissertation in Antonio Pisano but focused his research career on Flemish artists.