Notice De Anne Develey) François Ier Et L'art Des Pays-Bas, Cat

Total Page:16

File Type:pdf, Size:1020Kb

Notice De Anne Develey) François Ier Et L'art Des Pays-Bas, Cat Musée des Beaux Arts de Lyon B 441 Guillaume de Montmorency Désignation Guillaume de Montmorency Fonction / Rôle de l'auteur Peintre Auteur Anonyme ; Nom : Anonyme Époque / Date de création 1520 : Vers Lieu de création France Domaine Peinture XVIe siècle ; École française Département Peinture Numéro d'inventaire B 441 Matière et technique Huile sur bois de noyer Dimensions Hauteur en cm : 37,5 ; Largeur en cm : 23 Hauteur avec cadre en cm : 50,3 ; Largeur avec cadre en cm : 40,4 Collection antérieure Collection particulière ; Gayet Mme ; 1890 : Date de donation Statut administratif Don ; Gayet Mme : Particulier © 2021 Collections en ligne du musée des Beaux-Arts de Lyon page 1 / 2 Musée des Beaux Arts de Lyon Date d'entrée / prise en charge du bien 1890 Situation Exposé Exposition "L'Art du Val de Loire de Jean Fouquet à Jean Clouet : 1450-1540", Tours, Musée des Beaux-Arts, 8 juillet - 30 septembre 1952 "Les Primitifs français", Paris, Musée du Louvre et Bibliothèque nationale, 12 avril - 14 juillet 1904 Bibliographie Paul Dissard, Jean-Baptiste Giraud, Catalogue sommaire des musées de la ville de Lyon, Lyon, Mougin-Rusand, Waltener, 1897, avec suppl. 1899 ; p. 72, n° 399 Louis Dimier, Le Portrait du XVIe siècle aux primitifs français, notes et corrections au catalogue officiel sur cette partie de l'exposition d'Avril-Juillet 1904, Paris, Schmitt, 1904 ; p. 10, n° 148 George Lafenestre, "Exposition des primitifs français", Gazette des Beaux-Arts, 1904, Paris, 1904, p. 61-81 ; p. 113-139 ; p. 132, ill. Exposition des Primitifs français exposés au palais du Louvre (Pavillon de Marsan) et à la Bibliothèque nationale, sous la dir. de Henri Bouchot, Georges Lafenestre, 12 avril - 14 juillet 1904, Paris, 1904 ; p. 65, n° 148 Fernand Dusaussay de Mély, "Jean Clouet ou Godefroy le Batave?", Gazette des Beaux Arts, 1907, p. 403-417 ; p. 405, ill. Etienne Moreau-Nélaton, Les Clouet, peintres officiels des rois de France, à propos d’une peinture signée de François Clouet, Paris, 1908 Paul Dissard, Musées et collections de France : Le Musée de Lyon, les peintures, Paris, H. Laurens, 1912 ; p. 15, pl. 94 Henri Focillon, Le Musée de Lyon : Peintures, Lyon, 1918 ; p. 24, ill. Etienne Moreau-Nélaton, Les Clouet et leurs émules, 1 : Les peintres, Paris, 1924 ; p. 150-151 Louis Dimier, Histoire de la peinture de portrait en France au XVIe siècle, deuxième partie, Paris/Bruxelles, 1925 ; vol. 2, p. 337, cat. 1370 Alphonse Germain, Les Clouet : biographie critique, Paris, 1907 ; p. 28 ; p. 31 Léon Rosenthal (dir.), Florilège des musées du Palais des Arts de Lyon, Paris, Albert Morancé, 1928 ; p. 81-83, ill. Léon Rosenthal, Musée du Palais des Arts, Guide du visiteur, Paris, Albert Morancé, 1928 ; p. 46 Camille Mauclair, Les Musées d'Europe : Lyon, le palais Saint-Pierre, Paris, Nilsson, 1929 ; p. 57 ; p. 60, ill. Maurice Roy, Artistes et monuments de la renaissance en France : recherches nouvelles et documents inédits, Paris, 1929 ; p. 563 Henri Focillon, Le Musée de Lyon, Paris, Henri Laurens, 1936 ; p. 14 ; p. 24, ill. Charles Sterling, La Peinture française : les primitifs, Paris, Floury, 1938 ; p. 140, fig. 194 Charles Sterling, La peinture française : Les peintures du Moyen-Age, Paris, 1942 ; p. 53, n° 148, ill. ; p. 67 Henri Focillon, Le Musée de Lyon : Peintures, Paris, 1945 ; p. 14 ; p. 24, ill. L'art du Val de Loire de Jean Fouquet à Jean Clouet 1450-1540, Tours, Musée des Beaux-Arts, 9 juillet - 30 septembre 1952, Tours, 1952 ; p. 31, cat. 8 René Jullian, Le musée de Lyon : peintures, coll. "Collections publiques de France", Paris, H. Laurens, 1960 ; p. 7 ; p. 23, ill. René Jullian, Lyon, coll. "Les Villes d'art célèbres", Paris, Henri Laurens, 1960 ; p. 111 Jacqueline Marette, Connaissance des primitifs par l'étude du bois : du XIIe au XVIe siècles, Paris, 1961 ; p. 216, n° 401 Charles Sterling, Hélène Adhémar et Musée National du Louvre, Peintures : Ecole française XIVe, XVe et XVIe siècles, Paris, 1965 ; p. 35 Charles Sterling, "Un portrait inconnu par Jean Clouet", Studies in Renaissance and Baroque Art presented to Anthony Blunt, Londres, 1967, p. 86-90 ; p. 89 Peter Mellen, Jean Clouet : Catalogue raisonné des dessins, miniatures et peintures, Paris, Flammarion, 1971 ; p. 49-50, cat. 148 ; p. 234 Madeleine Rocher-Jauneau, Musée des Beaux-Arts de Lyon : Peintures, Lyon, 1972 ; p. 6-7, ill. Die Zeichnungen der französischen Schule von Clouet bis Le Brun, cat. exp. (Vienne, Graphisch Sammlung Albertina, 26 novembre 1993 - 23 janvier 1994), sous la dir. d'Eckhart Knab, Heinz Widauer, Vienne, Graphische Sammlung Albertina, 1993 ; p. 34 Etienne Jollet, Jean et François Clouet, Paris, 1997 ; p. 196-197, ill. Frédéric Elsig (dir.), Catalogue raisonné des peintures françaises du XVe au XVIIIe siècle, musée des Beaux-Arts de Lyon : Musée des Beaux-Arts de Lyon, Lyon/Paris, Somogy, 2014 ; p. 84, cat. 16, repr. (notice de Anne Develey) François Ier et l'art des Pays-Bas, cat. exp. (Paris, musée du Louvre, 18 octobre 2017 - 5 janvier 2018), sous la dir. de Cécile Scailliérez, Paris, Somogy/Musée du Louvre, 2017 ; p. 20, fig. 5, repr. ; p. 21, fig. 5 Mot clé Portrait ; Homme ; Personnage politique ; En buste ; De trois-quarts ; Chapeau ; Manteau ; Fourrure ; Gant ; Collier ; Ordre de Saint-Michel ; Montmorency Guillaume de : Personne(s) représentées Crédit photographique Image © Lyon MBA – Photo Alain Basset © 2021 Collections en ligne du musée des Beaux-Arts de Lyon page 2 / 2.
Recommended publications
  • THE CLOISTERS ARCHIVES Collection No. 43 the Harry Bober
    THE CLOISTERS ARCHIVES Collection No. 43 The Harry Bober Papers Processed 1995, 2013 The Cloisters Library The Metropolitan Museum of Art Ft. Tryon Park 99 Margaret Corbin Dr. New York, NY 10040 (212) 396-5365 [email protected] 0 TABLE OF CONTENTS PREFACE…….…………………………………………..……………….….…………………2 ADMINISTRATIVE INFORMATION…….……………….………….………………….……3 HARRY BOBER TIME LINE…….…………………………………………………….………4 HARRY BOBER BIBLIOGRAPHY…….…………………………………..…………….……5 SCOPE AND CONTENT NOTE…….………………………………………….………..……..8 SERIES DESCRIPTIONS…….………………………………………………………….…….10 CONTAINER LISTS Series I. Card Files…………….……………………………………………..……..13-30 Series II. Research Files………….……………………………………...…………31- 72 Series III. Publications ………….…………………………………………….…..73 Series IV. Slides………….……………………………………………..….………..74-77 Series V. Glass Plate Negatives………….…………………………………….………..78 Series VI. Negative Films………….………………………………………..………79-81 Series VII. Oversize Material………….……………………………….....……....…82-83 Series VIII. 1974 Messenger Lectures, Recordings (tapes and CDs) …………....…..…84 1 PREFACE In 1991, the papers of Harry Bober were donated to the Metropolitan Museum of Art by his sons, David and Jonathan Bober. The collection was delivered to the Medieval Department of the museum, where it was housed until its transfer to The Cloisters Archives during the summer of 1993. Funding for the first year of a two-year processing project was provided through the generosity of Shelby White and Leon Levy. The first year of the project to process the Harry Bober Papers began in August of 1994 and ended in August of 1995, conducted by Associate Archivist Elaine M. Stomber. Tasks completed within the first year included: rehousing the collection within appropriate archival folders and boxing systems; transferring original folder titles to new folders; conservation repair work to the deteriorating card file system; creating a container list to Bober's original filing system; transferring published material from research files; and preparing a preliminary finding aid to the collection.
    [Show full text]
  • Dutch and Flemish Art in Russia
    Dutch & Flemish art in Russia Dutch and Flemish art in Russia CODART & Foundation for Cultural Inventory (Stichting Cultuur Inventarisatie) Amsterdam Editors: LIA GORTER, Foundation for Cultural Inventory GARY SCHWARTZ, CODART BERNARD VERMET, Foundation for Cultural Inventory Editorial organization: MARIJCKE VAN DONGEN-MATHLENER, Foundation for Cultural Inventory WIETSKE DONKERSLOOT, CODART English-language editing: JENNIFER KILIAN KATHY KIST This publication proceeds from the CODART TWEE congress in Amsterdam, 14-16 March 1999, organized by CODART, the international council for curators of Dutch and Flemish art, in cooperation with the Foundation for Cultural Inventory (Stichting Cultuur Inventarisatie). The contents of this volume are available for quotation for appropriate purposes, with acknowledgment of author and source. © 2005 CODART & Foundation for Cultural Inventory Contents 7 Introduction EGBERT HAVERKAMP-BEGEMANN 10 Late 19th-century private collections in Moscow and their fate between 1918 and 1924 MARINA SENENKO 42 Prince Paul Viazemsky and his Gothic Hall XENIA EGOROVA 56 Dutch and Flemish old master drawings in the Hermitage: a brief history of the collection ALEXEI LARIONOV 82 The perception of Rembrandt and his work in Russia IRINA SOKOLOVA 112 Dutch and Flemish paintings in Russian provincial museums: history and highlights VADIM SADKOV 120 Russian collections of Dutch and Flemish art in art history in the west RUDI EKKART 128 Epilogue 129 Bibliography of Russian collection catalogues of Dutch and Flemish art MARIJCKE VAN DONGEN-MATHLENER & BERNARD VERMET Introduction EGBERT HAVERKAMP-BEGEMANN CODART brings together museum curators from different institutions with different experiences and different interests. The organisation aims to foster discussions and an exchange of information and ideas, so that professional colleagues have an opportunity to learn from each other, an opportunity they often lack.
    [Show full text]
  • 1994 Newsletter
    It was only after his death, when Ills son legacy permeates his translations, with their Soper remembers "Fogg" having told her and daughter-in-law, John and Ann Soper, careful, illuminating footnotes. These transla- that his chief interest in religion was that by opened the Rosemont home in March to a tions willremain, I suggest, among the most taking his wife to church he could observe small group, that I realized how little I actu- eloquent ever produced in our field. her profile uninterruptedly. ally knew about his roots, his personal and Aocording to his children, Professor The Depression in the earl)' thirties pre- family history, his relationship to the com- Soper adored his mother, whose gentle vented the young graduate from finding a munity that surrounded him when he humor, love of the beauty oflandscape, and job as an architect, and he "dabbled" III wasn't being "Professor Soper." I have tried encouraging nature stood in some contrast Chinese philosophy, literature, and history in these remarks to fill some of the gaps that to the expectations of a father who positively at Columbia and Harvard Summer School. you may share. enjoyed military life. The Soper way of dabbling included transla- Alexander Coburn Soper I[I was born in Young Soper followed his grandfather tions of Chinese texts with C.C. wang. 11 Chicago 1Il 1904, the eldest of two sons born and father to Hamilton College. The winters was always amazing to those of us who need- to Alexander Coburn Soper, Jr., and Bertha were shockingly cold to the young ed all the help we could get in Chinese, that Dunlop Soper.
    [Show full text]
  • Curriculum Vitae (Février 2021)
    Curriculum vitae (février 2021) Marie Tchernia-Blanchard Docteure en histoire de l’art 76, rue des Grands Champs 75020 Paris [email protected] 06.26.57.14.25 SITUATION ACTUELLE Depuis octobre 2019 : Attachée temporaire d’enseignement et de recherche, Collège de France, chaire internationale d’histoire culturelle des patrimoines artistiques en Europe (XVIIIe- XXe siècles) FORMATION 2009-2016 Doctorat en histoire de l’art, Université de Lorraine - École du Louvre : mention très honorable avec les félicitations du jury à l’unanimité Titre de la thèse : Le style comme civilisation : Charles Sterling (1901-1991) historien de l’art, sous la direction de Pierre Sesmat et François-René Martin. Soutenue le 28 juin 2016 à l’Université de Lorraine devant un jury composé de : Claire Barbillon, Professeure d’histoire de l’art contemporain, Université de Poitiers (rapportrice) ; Laurence Bertrand-Dorléac, Professeure d’histoire de l’art, Sciences Po Paris (présidente du jury) ; Frédéric Elsig, Professeur associé, histoire de l’art médiéval, Université de Genève (rapporteur) ; François-René Martin, Professeur d’histoire de l’art, École nationale supérieure des Beaux-Arts de Paris – Professeur, École du Louvre ; Michela Passini, Chargée de recherches, Centre national de la recherche scientifique ; Pierre Sesmat, Professeur émérite, histoire de l’art médiéval et moderne, Université de Lorraine 2006-2007 Master 2 recherche (DRA), École du Louvre, spécialité Histoire de l’Histoire de l’Art, mention Très Bien Titre du mémoire : Les historiens de l’art français aux États-Unis dans les années 1940 : les cas de Henri Focillon, Jean Seznec et Charles Sterling, sous la direction de Cecilia Griener-Hurley et François-René Martin, 17/20 2006 Maîtrise de Muséologie (semestre d’été), Université de Montréal 2005-2006 Master 1, Diplôme spécial de Muséologie, École du Louvre, mention Bien Titre du mémoire : Engagements et écrits politiques d’Henri Focillon, 1931- 1943, sous la direction de François-René Martin et Laurence Bertrand- Dorléac, 17/20.
    [Show full text]
  • Stirlings of Ardoch and Grahams of Airth Family
    STIRLINGS OF ARDOCH AND GRAHAMS OF AIRTH FAMILY LETTERS: A PERSONAL VIEW OF THE VALUE OF KINSHIP Transcribed and Edited by Sarah Harrison 1 Introduction This book is about the search for the man in the photograph on a carte de visite taken in Exeter, date unknown. His name was Thomas Stirling and the little I knew about him came from a biography of his son, Waite Stirling, Bishop of the Falkland Islands1. The author, Frederick Macdonald, hinted at some reticence on Waite's part to reveal very much : “The story of his life, so far as he allowed it to be known...” but that his father, “Captain Thomas Stirling, belonged to the family of Sir Henry Stirling, created a Baronet in 1666...” From his granddaughter, Minnie's, Birthday Book I found that Thomas was born 6th October 1792, but that was all. One of the great joys of living in the age of the Internet is that it has become possible to do research without having to travel to archives or to spend weeks on fruitless hunches. Using online resources, I discovered from the 1851 census that Thomas was born in Jamaica . I traced the Stirling Baronetcy to that of Ardoch but could find no mention of any Thomas born in 1792. I had found that the Stirlings of Keir and Kippendavie had estates in St James Jamaica so searched for Thomas there. Then, by chance, I found the burial of Charles Stirling Esquire 18 January 1795 in St Catherine's Cathedral, Spanish Town. Through the Jamaican almanacs I traced him to Ardoch Penn in St Ann's.
    [Show full text]
  • Les Cahiers De L'école Du Louvre, 12
    Les Cahiers de l’École du Louvre Recherches en histoire de l’art, histoire des civilisations, archéologie, anthropologie et muséologie 12 | 2018 Cahiers 12 Charles Sterling (1901-1991) et la pratique de l’exposition temporaire : itinéraire d’un catalographe privilégié du musée du Louvre Charles Sterling (1901–1991) and the practice of the temporary exhibition: itinerary of a favoured cataloguer at the Musée du Louvre Marie Tchernia-Blanchard Édition électronique URL : http://journals.openedition.org/cel/888 DOI : 10.4000/cel.888 ISSN : 2262-208X Éditeur École du Louvre Référence électronique Marie Tchernia-Blanchard, « Charles Sterling (1901-1991) et la pratique de l’exposition temporaire : itinéraire d’un catalographe privilégié du musée du Louvre », Les Cahiers de l’École du Louvre [En ligne], 12 | 2018, mis en ligne le 03 mai 2018, consulté le 17 septembre 2019. URL : http:// journals.openedition.org/cel/888 ; DOI : 10.4000/cel.888 Ce document a été généré automatiquement le 17 septembre 2019. Les Cahiers de l'École du Louvre sont mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Charles Sterling (1901-1991) et la pratique de l’exposition temporaire : itin... 1 Charles Sterling (1901-1991) et la pratique de l’exposition temporaire : itinéraire d’un catalographe privilégié du musée du Louvre Charles Sterling (1901–1991) and the practice of the temporary exhibition: itinerary of a favoured cataloguer at the Musée du Louvre Marie Tchernia-Blanchard 1 Célèbre pour sa contribution à la redécouverte de la peinture médiévale autant que pour ses travaux sur la peinture française du XVIIe siècle, Charles Sterling est une figure archétypale de l’historien de l’art tenté par l’éclectisme tel qu’on le rencontrait fréquemment au siècle dernier.
    [Show full text]
  • La Vie Des Formes Henri Focillon Et Les Arts
    Dans le cadre de son Bicentenaire, le musée des Beaux-Arts de Lyon présente La Vie des formes Henri Focillon et les arts Exposition du 22 janvier au 26 avril 2004 Dossier de presse L’ exposition est co-produite avec l'Institut national d'Histoire de l'Art Musée des Beaux-Arts de Lyon 20, place des Terreaux – 69001 Lyon Tél : 33(0)4 72 10 17 40 – Fax : 33(0)4 78 28 12 45 1 La Vie des formes Henri Focillon et les arts Sommaire Le parcours de l’exposition page 3 L’héritage familial : le goût de l’estampe page 4 A la tête des musées de Lyon page 5 Le Moyen - Age : une approche renouvelée page 6 L’enseignement page 7 Vie des formes page 8 L’art moderne page 9 De nouveaux territoires de l’art : L’Asie page 10 De nouveaux territoires de l’art : L’exemple de la latinité page 11 Henri Focillon, Biographie page 12 Liste des œuvres exposées page 14 Autour de l’exposition page 19 Sommaire du catalogue de l’exposition page 20 Informations pratiques page 21 Les rendez-vous du Bicentenaire page 22 Des activités culturelles page 23 2 La Vie des formes Henri Focillon et les arts Le parcours de l’exposition L'exposition se déroule en six grandes sections qui constituent un parcours à la fois thématique et chronologique. Une première salle rappelle combien la formation de Focillon fut marquée par la prééminence des arts graphiques et tout particulièrement par la gravure à l'eau-forte. La salle suivante est consacrée aux dix années que Focillon a passé à la tête du musée des Beaux-Arts de Lyon à travers une large sélection de ses acquisitions.
    [Show full text]
  • Alnwsltr12 Layout3.Indd
    Number 48 – Summer 2012 NEWSLETTERAlumni INSTITUTE OF FINE ARTS Contents From the Director . 3 A Night at Sotheby’s . 5 The Year in Pictures . 6 Festschrifts in Honor of IFA Faculty Members . 8 Getting Started Eleni Vassilika Eleni The (Non) History of LA TOMBA LA TOMBA DI American Art at the Institute . 10 KHA Becoming a Latin ITALIANO LA TOMBA DI Americanist at the IFA . 11 A NTICHITÀ F ONDAZIONE Remembrances E GIZIE M USEO DI T ORINO DELLE ISBN 978-88-8117-127-9 SCALA Eleni Vassilika A. Richard Turner . 12 9 788881 171279 KHA SCALA € 12,00 Annette Kuhn . 13 Awards for Summer 2011 . 14 OPENING DOORS Outside Fellowships . 15 The Early Netherlandish Triptych Reinterpreted PhDs for 2011 - 2012 . 16 Alumni Updates . 17 LYNN F. JACOBS Alumni Donors . 28 Published by the Alumni Association of the Institute of Fine Arts 1 Institute of Fine Arts Alumni Association Officers: Board of Directors: Committees: President Patrick Amsellem Newsletter Phyllis Tuchman, editor Gertje Utley Patrick .amsellem@nyu .edu Schuyler Swartout gutley@rcn .com Yassana Croizat-Glazer History of the IFA Vice-President yassana .croizat-glazer@metmuseum .org Rebecca Rushfield,Chair Alicia Lubowski-Jahn William Barcham Alicia1155@aol .com Jennifer Perry Grants jperrymason@gmail .com Charles Little, Chair Treasurer Sabine Rewald Lisa Rotmil Sabine Rewald lisarotmil@aol .com sabine .rewald@metmuseum .org Walter S. Cook Lecture Anita Moskowitz, Chair Yvonne Elet Secretary Marie Tanner Susan Galassi Antonia Bartoli marietanner@aol .com Carol Krinsky Kathy Schwab Ex-Officio Alison West CAA Reunion Past Presidents awest1@nyc .rr .com Mary Tavener Holmes Mary Tavener Holmes Gerrit l .
    [Show full text]
  • René Gimpel (1881– 1945) and Nicolas Poussin’S Self-Portrait, from Rediscovery to De-Attribution1
    Through the appraisal process: René Gimpel (1881– 1945) and Nicolas Poussin’s Self-Portrait, from rediscovery to de-attribution1 Pamella Guerdat 'A Masterpiece Recovered'? 'Hence the object can produce meaning, possess a power of representation and act upon cognitive processes. More than meeting material and technical needs, the object signifies complex values, marks the identities of individuals and groups and evokes abstract ideas intended to fuel thought'2 In the spring of 1937, a chronicler with the Revue de l’art ancien et moderne was musing over René Gimpel’s (figure 1)* latest acquisition: 'At the Gimpel Gallery on the Place Vendôme, a portrait of a seventeenth-century man [;] is it a self-portrait by Poussin?'3 A few months later, in his Parisian gallery, the art dealer opened a monograph exhibition dedicated to just this one painting, to enhance its unique character. This temporary exhibition-event soon dispelled the equivocal echoes reported in the capital’s press. Under the explicit title A masterpiece recovered. Portrait of Nicolas Poussin painted by himself in Rome in 1649 and engraved by Pesne, the * Due to the number and placing of images they may be found in a linked pdf here. 1 I especially would like to thank René Gimpel and the Gimpel Fils Gallery, who gave me the opportunity to study the Self-Portrait copy in London and the related files, as well as Dr. Roberto Contini (Gemäldegalerie) for his advice and for providing me with the archives in Berlin. I am also truly grateful to Valérie Kobi and Nicolas Galley for their valuable comments on my text.
    [Show full text]
  • Jurgis Baltrušaitis: Cross-Cultural Biography and Cross-Cultural Art History
    HISTORY OF ART HISTORY IN CENTRAL, EASTERN AND SOUTH-EASTERN EUROPE Odeta Žukauskienė Lithuanian Culture Research Institute in Vilnius Jurgis Baltrušaitis: cross-cultural biography and cross-cultural art history Jurgis Baltrušaitis is the most prominent art histo­ ography of Jurgis Baltrušaitis (1903-1988) is one rian of Lithuanian origin and one of the leading of the strong links between Eastern and Western figures of the comparative studies of art. His intel­ cultural histories, while the comparative art history lectual biography and contribution to art history created by him is a perfect example of the study of has been examined in the monographs by Jean- cross-cultural dialogues in the world of art, wor­ Francois Chcvricr1, Maddalena Mazzocut-Mis2 and thy of the re-actualization in an increasingly global by the author of this article3. This study considers world. His life experiences accumulated in different the relationship between Baltrušaitis' cross-cul­ cultural milieu have had a profound influence on tural biography and his cross-cultural approach to the very comparative nature of his approach, which the history of art. The essay focuses on a scries of significantly contributed to the development of art biographical details that played an important part history. In fact, Baltrušaitis' scientific biography in in Baltrušaitis' life: fostered trans-cultural under­ some ways resembles those of outstanding art his­ standing, cross-cultural comparisons, and the stud­ torians and Polish immigrants - Louis Grodecki ies of inter-cultural imaginarles. The article is an and Charles Sterling - who moved to France and attempt to reconstruct his biography, drawing on also incorporated the intellectual tradition of Henri 4 a wide range of sources from his own archive , in Focillon.
    [Show full text]