Julian Richard Gardner (born 6 May 1940) is a British art historian and Professor Emeritus at the University of Warwick. [1] A scholar of late medieval and renaissance Italian art, particularly patronage, and a Giotto di Bondone specialist whose expertise has led to a number of scholarships and appointments as visiting professor at various institutions both in Europe and America. [2]
Born in Dumfries, Scotland to John Vincent and Jessie Lamb (Walker) Gardner and raised in Ebbw Vale, Wales, [3] Julian Gardner read for his undergraduate degree (BA) in history at Balliol College, Oxford, [4] graduating in 1961. He went on to study for a diploma in art history at the Courtauld Institute of Art under the tutelage of many of the great art historians of the time as he described in an interview with Margaret Mullett when he was visiting scholar in Byzantine studies at Dumbarton Oaks in 2014;
The Courtauld under its charismatic director Anthony Blunt was an exciting place, and there were many eminent emigré scholars who taught there and at the University of London: George Zarnecki, Nikolaus Pevsner, and, at the Warburg, Hugo Buchthal, Ernst Gombrich, and others. Younger English scholars, such as John Shearman and Michael Baxandall, were also making names for themselves. [4]
A Rivoira fellowship in medieval archaeology at the British School at Rome followed in the academic year 1965-6 earning him an MA from the University of Oxford in 1966. [2] He returned to the Courtauld and undertook a PhD; The Influence of Popes’ and Cardinals’ Patronage on the Introduction of the Gothic Style into Rome and the Surrounding Areas, 1254-1305 which Richard Krautheimer has described as ‘the best work in existence on the patronage of Italian art in the Duecento.’ [5]
Concurrently with working on his doctoral thesis at the University of London, Julian Gardner taught at the Courtauld and lectured there for 8 years [6] until his appointment as Foundation Professor of the History of Art at Warwick University in 1974; a post he remained in until his retirement in 2008. In 2014 he was appointed an Honorary Professor in the Centre for the Study of the Renaissance. [1]
Julian Gardner met and came to know the art historian Ernst Kitzinger when the latter retired to Oxford. He was partly responsible for the granting of an honorary degree (D. Litt) to Kitzinger by Warwick University in 1989 to which institute he donated papers on his death. [4] Professor Gardner penned the obituary for Ernst Kitzinger that was published in The Independent in 2003. [7]
He was also the author of the obituary for Professor John Shearman in 2013. [8]
In a review of his most recent book The Roman Crucible, the author concludes that "Gardner's book fills an important gap in late medieval patronage studies, and with its historical rigor and measured argumentation it is likely to remain the standard work on the topic for decades to come". [9]
Julian Gardner joined the editorial consultative committee of the Burlington Magazine in 1975 [2] and serves, or has served, as a National Committee Member of the Comité Internationale d'Histoire de l'Art, the Institut National d'Histoire de l'Art in Paris, [1] the Association of Art Historians (AAH) [15] and was a member of the Curatorium of the Kunsthistorisches Institut, Florence from 1993 to 2003. [6]
Gardner has delivered paper(s) to the Giotto Circle at the Courtauld Institute of Arts which promotes the study of the art and architecture of Italy in the thirteenth and fourteenth centuries [16] and, while he worked at the Courtauld, he contributed photographs to the Conway Library whose archive of primarily architectural images is currently being digitised as part of the Courtauld Connects project. [17]
Julian Gardner was married to Ann Margaret Stoves who died in 1968. His second wife, they married in 1973, and fellow art historian, Dr Christa Gardner von Teuffe [2] is based at Warwick University and is a specialist in Italian religious art. [18]
The Courtauld Gallery is an art museum in Somerset House, on the Strand in central London. It houses the collection of The Samuel Courtauld Trust and operates as an integral part of The Courtauld Institute of Art.
Cyril Alexander Mango was a British scholar of the history, art, and architecture of the Byzantine Empire. He is celebrated as one of the leading Byzantinists of the 20th century.
Ernst KitzingerFBA was a German-American historian of late antique, early medieval, and Byzantine art.
David Talbot Rice was an English archaeologist and art historian. He has been described variously as a "gentleman academic" and an "amateur" art historian, though such remarks are not borne out by his many achievements and a lasting legacy of scholarship in his field of study.
Pittura infamante is a genre of defamatory painting and relief, common in Renaissance Italy in city-states in the north and center of the Italian Peninsula during the Trecento, Quattrocento, and Cinquecento. Popular subjects of pittura infamante include traitors, thieves, and those guilty of bankruptcy or public fraud, often in cases where no legal remedy was available. Commissioned by governments of city-states and displayed in public centers, pittura infamante were both a form of "municipal justice" and a medium for internal political struggles.
According to Samuel Edgerton, the genre began to decline precisely when it came to be regarded as a form of art rather than effigy; the power of the genre derived from a feudal-based code of honor, where shame was one of the most significant social punishments. As such, pittura infamante has its roots in the doctrines of fama and infamia in ancient Roman law.
John Kinder Gowran Shearman was an English art historian who also taught in America. He was a specialist in Italian Renaissance painting, described by his colleague James S. Ackerman as "the leading scholar of Italian Renaissance painting", who published several influential works, but whose expected major book on Quattrocento painting, for the Penguin/Yale History of Art series, never appeared. However, what is widely acknowledged as his most influential book, on the concept of Mannerism, published in 1967, is still in print.
The Stefaneschi Altarpiece is a triptych by the Italian painter Giotto, from c. 1320. It was commissioned by Cardinal Giacomo Gaetani Stefaneschi to serve as an altarpiece for one of the altars of Old St. Peter's Basilica in Rome. It is now at the Pinacoteca Vaticana, in Rome.
Giotto di Bondone, known mononymously as Giotto and Latinised as Giottus, was an Italian painter and architect from Florence during the Late Middle Ages. He worked during the Gothic and Proto-Renaissance period. Giotto's contemporary, the banker and chronicler Giovanni Villani, wrote that Giotto was "the most sovereign master of painting in his time, who drew all his figures and their postures according to nature" and of his publicly recognized "talent and excellence". Giorgio Vasari described Giotto as making a decisive break from the prevalent Byzantine style and as initiating "the great art of painting as we know it today, introducing the technique of drawing accurately from life, which had been neglected for more than two hundred years".
Robin Sinclair Cormack, FSA is a British classicist and art historian, specialising in Byzantine art. He was Professor in the History of Art, Courtauld Institute of Art, University of London, 1991–2004.
The Artistic Patronage of the Neapolitan Angevin dynasty includes the creation of sculpture, architecture and paintings during the reigns of Charles I, Charles II and Robert of Anjou in the south of Italy.
Peter John Murray was a British art historian and the Professor of History of Art at Birkbeck College, London from 1967 to 1980. Together with his wife, Linda Murray, he wrote primers on Italian Renaissance art which have been used by generations of students. In 1959 they published the highly successful Penguin Dictionary of Art and Artists, which was frequently updated and reissued. In 1963, they published two substantial introductory texts The Art of the Renaissance, and a book that became a classic primer The Architecture of the Renaissance.
Michael J. Rosenthal is emeritus professor of the history of art at the University of Warwick. He is a specialist both in British art and culture of the eighteenth and early nineteenth centuries, and the arts of early colonial Australia.
Anthony Applemore Mornington Bryer was a British historian of the Byzantine Empire who founded the journal Byzantine and Modern Greek Studies and the Centre for Byzantine, Ottoman and Modern Greek Studies at the University of Birmingham.
Howard Burns is a British architectural historian who is professor emeritus of architectural history at the Scuola Normale Superiore, Pisa. He has also lectured at the Courtauld Institute of Art and was Slade Professor of Fine Art at the University of Cambridge 1977-78. He is a specialist in the architecture of Andrea Palladio and is a member of the Accademia Olimpica and the Accademia di San Luca.
Sussan Babaie is an Iranian-born art historian and curator. She is best known for her work on Persian art and Islamic art of the early modern period. She has written extensively on the art and architecture of the Safavid dynasty. Her research takes a multidisciplinary approach and explores topics such as urbanism, empire studies, transcultural visuality and notions of exoticism. In her work as a curator, Babaie has worked on exhibitions at the Sackler Museum of Harvard University (2010), the University of Michigan Museum of Art, and the Smith College Museum of Art (1998).
Henry P. Maguire was born in Bath, England in 1943. He is an art historian, specialising in Byzantine art, and Professor Emeritus at Johns Hopkins Krieger School of Arts and Sciences in the History of Art Department. Between 1991-1996, he was Director of Byzantine Studies at Dumbarton Oaks, a research institute of Harvard University.
Annabel Jane Wharton is an American art historian with wide-ranging interests from Late Ancient & Byzantine art and culture through to modern architecture and its effect on ancient landscapes. She is currently William B. Hamilton Distinguished Professor of Art History at Duke University, North Carolina and has been working on a project regarding the use of new technologies for visualising historical materials.
David Crampton Winfield MBE was a British conservator and Byzantinist who specialised in wall paintings. The first part of his career was spent abroad, mainly in Turkey and Cyprus, and he was awarded an MBE in 1974 for his conservation work in Cyprus. In his obituary in The Times, David Winfield was described as “an investigative archaeological explorer cast in the mould of the great 19th-century scholar-travellers”.
Anne Elizabeth Dunlop is a Canadian-born art historian. As of 2022 she is Herald Chair of Fine Art at the University of Melbourne.
Alessandro Ferruccio Nova is an Italian art historian who specialises in the Renaissance. He is Director Emeritus of the Art History Institute of Florence (KHI) – the Max-Plank-Institute and Honorary Professor of Goethe University Frankfurt.