Ernst Kitzinger - Revision history

JJMC89 bot III: Moving :Category:Corresponding Fellows of the British Academy to :Category:Corresponding fellows of the British Academy per Wikipedia:Categories for discussion/Speedy

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Moving Category:Corresponding Fellows of the British Academy to Category:Corresponding fellows of the British Academy per Wikipedia:Categories for discussion/Speedy

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	[[Category:Corresponding ~~Fellows~~ of the British Academy]]		[[Category:Corresponding fellows of the British Academy]]
	[[Category:Members of the Bavarian Academy of Sciences]]		[[Category:Members of the Bavarian Academy of Sciences]]
	[[Category:Fellows of the Society of Antiquaries of London]]		[[Category:Fellows of the Society of Antiquaries of London]]

Bunnyhop11: /* Academic career */ ias not part of princeton u as implied

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Academic career: ias not part of princeton u as implied

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	Kitzinger quickly advanced through the ranks at Dumbarton Oaks, becoming an Assistant Professor in 1946, Associate Professor in 1951, Director of Studies in 1955, and Professor of Byzantine Art and Archaeology in 1956. As Director of Studies he firmly established Dumbarton Oaks as an academic institution of international renown and the world's leading institution for Byzantine studies.		Kitzinger quickly advanced through the ranks at Dumbarton Oaks, becoming an Assistant Professor in 1946, Associate Professor in 1951, Director of Studies in 1955, and Professor of Byzantine Art and Archaeology in 1956. As Director of Studies he firmly established Dumbarton Oaks as an academic institution of international renown and the world's leading institution for Byzantine studies.

	Kitzinger resigned as director of studies at Dumbarton Oaks in 1966, in part to rebalance his work as a scholar after eleven years of heavy administrative duties. During those years, he had occasionally taught courses at Harvard's Cambridge campus, and in 1967, after an interlude at ~~Princeton's~~ Institute for Advanced Study, he moved to Harvard permanently, accepting a position as the Arthur Kingsley Porter University Professor, which he held until his retirement in 1979. At Harvard Kitzinger supervised eighteen doctoral dissertations. Among his distinguished students over his years of teaching and mentoring are [[Hans Belting]], [[Madeline Caviness]], Joseph Connors, Anna Gonosova, Christine Kondoleon, Irving Lavin, Henry Maguire, John Mitchell, Lawrence Nees, Nancy Netzer, Natasha Staller, James Trilling, Rebecca Corrie, and William Tronzo.		Kitzinger resigned as director of studies at Dumbarton Oaks in 1966, in part to rebalance his work as a scholar after eleven years of heavy administrative duties. During those years, he had occasionally taught courses at Harvard's Cambridge campus, and in 1967, after an interlude at the [[Institute for Advanced Study]] at [[Princeton, New Jersey\|Princeton]], he moved to Harvard permanently, accepting a position as the Arthur Kingsley Porter University Professor, which he held until his retirement in 1979. At Harvard Kitzinger supervised eighteen doctoral dissertations. Among his distinguished students over his years of teaching and mentoring are [[Hans Belting]], [[Madeline Caviness]], Joseph Connors, Anna Gonosova, Christine Kondoleon, Irving Lavin, Henry Maguire, John Mitchell, Lawrence Nees, Nancy Netzer, Natasha Staller, James Trilling, Rebecca Corrie, and William Tronzo.

	The major theoretical contributions of Kitzinger's later career are embodied in his book ''Byzantine art in the making'' (1977), which is based on the Slade Lectures he delivered at the University of Cambridge in 1974–1975, and in two collections of essays: a single volume published by Indiana U. Press in 1976 as ''The Art of Byzantium and the Medieval West'', and a two-volume set edited by John Mitchell and published by Pindar Press in 2002 and 2004: ''Studies in Late Antique, Byzantine and Medieval Western Art''. Kitzinger maintained his lifelong preoccupation with the analysis of style change in late antique and early medieval art, and his conviction that stylistic analysis could speak with an authority equal to that of [[iconography]] or textual history. To this end he developed a theory of "modes," according to which certain styles were appropriate to the depiction of certain subjects. In ''Byzantine art in the making'', furthermore, he essayed a bold attempt to trace the stylistic "[[dialectic]]" of the period in question:		The major theoretical contributions of Kitzinger's later career are embodied in his book ''Byzantine art in the making'' (1977), which is based on the Slade Lectures he delivered at the University of Cambridge in 1974–1975, and in two collections of essays: a single volume published by Indiana U. Press in 1976 as ''The Art of Byzantium and the Medieval West'', and a two-volume set edited by John Mitchell and published by Pindar Press in 2002 and 2004: ''Studies in Late Antique, Byzantine and Medieval Western Art''. Kitzinger maintained his lifelong preoccupation with the analysis of style change in late antique and early medieval art, and his conviction that stylistic analysis could speak with an authority equal to that of [[iconography]] or textual history. To this end he developed a theory of "modes," according to which certain styles were appropriate to the depiction of certain subjects. In ''Byzantine art in the making'', furthermore, he essayed a bold attempt to trace the stylistic "[[dialectic]]" of the period in question:

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Link

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	:"Anglo-Saxon Vinescroll Ornament." ''Antiquity'' 10 (1936): 67–71.		:"Anglo-Saxon Vinescroll Ornament." ''Antiquity'' 10 (1936): 67–71.
	:"Notes on Early Coptic Sculpture." ''Archaeologia'' 87 (1938): 181–215.		:"Notes on Early Coptic Sculpture." ''Archaeologia'' 87 (1938): 181–215.
	:"The Sutton Hoo Finds: The Silver," ''British Museum Quarterly'' 13 (1939): 118–126.		:"The Sutton Hoo Finds: The Silver," ''[[British Museum Quarterly]]'' 13 (1939): 118–126.
	:"The Sutton Hoo Ship Burial: The Silver." ''Antiquity'' 14 (1940): 40–63.		:"The Sutton Hoo Ship Burial: The Silver." ''Antiquity'' 14 (1940): 40–63.
	:''Early Medieval Art in the British Museum''. London: British Museum, 1940; second edition 1955; Bloomington Indiana: Midland Books, Indiana University Press, 1964; third edition 1983; German edition: ''Kleine Geschichte der frühmiltelalterlichen Kunst'', Cologne, 1987.		:''Early Medieval Art in the British Museum''. London: British Museum, 1940; second edition 1955; Bloomington Indiana: Midland Books, Indiana University Press, 1964; third edition 1983; German edition: ''Kleine Geschichte der frühmiltelalterlichen Kunst'', Cologne, 1987.

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Publications: Corrected a link

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	:"The Cleveland Marbles." Atti dell IX Congresso internazionale di archeologia cristiana; Roma 21–27 Settembre 1975. Rome, 1978, Vol. I, 653–675; reprinted in ''Studies in Early Christianity'', 18 (P. C. Finney, ed.), New York and London 1993.		:"The Cleveland Marbles." Atti dell IX Congresso internazionale di archeologia cristiana; Roma 21–27 Settembre 1975. Rome, 1978, Vol. I, 653–675; reprinted in ''Studies in Early Christianity'', 18 (P. C. Finney, ed.), New York and London 1993.
	:"A Virgin's Face: Antiquarianism in Twelfth-Century Art." ''Art Bulletin'' 62 (1980) 6–19.		:"A Virgin's Face: Antiquarianism in Twelfth-Century Art." ''Art Bulletin'' 62 (1980) 6–19.
	:"Christian Imagery: Growth and Impact." ''[~~http~~://libmma.contentdm.oclc.org/~~cdm/ref~~/collection/p15324coll10/id/~~156533~~ Age of Spirituality]—A Symposium'', ed. K. Weitzmann, The Metropolitan Museum of Art and Princeton University Press, 1980, 141–163.		:"Christian Imagery: Growth and Impact." ''[https://libmma.contentdm.oclc.org/digital/collection/p15324coll10/id/33115/ Age of Spirituality]—A Symposium'', ed. K. Weitzmann, The Metropolitan Museum of Art and Princeton University Press, 1980, 141–163.
	:"The Hellenistic Heritage in Byzantine Art Reconsidered." ''Jahrbuch der Oesterreichischen Byzantiniatik'' 31 (1981): 657–675.		:"The Hellenistic Heritage in Byzantine Art Reconsidered." ''Jahrbuch der Oesterreichischen Byzantiniatik'' 31 (1981): 657–675.
	:"The Arts as Aspects of a Renaissance: Rome and Italy." In ''Renaissance and Renewal in the Twelfth Century'', ed. R. L. Benson and G. Constable, Cambridge, Mass., 1982, 637–670.		:"The Arts as Aspects of a Renaissance: Rome and Italy." In ''Renaissance and Renewal in the Twelfth Century'', ed. R. L. Benson and G. Constable, Cambridge, Mass., 1982, 637–670.

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	** [[Dumbarton Oaks]]		** [[Dumbarton Oaks]]
	* [[Institute for Advanced Study]]		* [[Institute for Advanced Study]]
			{{tree list/end}}
	\| notable_students = {{hlist\|[[Hans Belting]]\|[[Madeline Caviness]]}}		\| notable_students = {{hlist\|[[Hans Belting]]\|[[Madeline Caviness]]}}
	\| relatives = [[Richard Krautheimer]]		\| relatives = [[Richard Krautheimer]]

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Academic career

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	== Academic career ==		== Academic career ==
	In 1941 Kitzinger managed, with some difficulty, to travel to [[Washington, D.C.]], where he became a Junior Fellow at [[Dumbarton Oaks]], which had in 1940 been donated as a research library to [[Harvard University]]. Once there, Kitzinger was assigned by [[Wilhelm Koehler]] to a systematic study of the Byzantine monuments of the Balkans (leading to an important article on the monuments of [[Stobi]] (1946)). Several years later, after a wartime stint with the [[Office of Strategic Services\|OSS]] in Washington, London, and eventually Paris, Kitzinger began work on a complete survey of the mosaics of [[Norman Sicily]]. This project would occupy him for the rest of his life, resulting first in ''The Mosaics of the Capella Palatina in Palermo: An Essay on the Choice and Arrangement of Subjects'' [''Art Bulletin'' 31 (1949): 269–292] and ''The Mosaics of Monreale'' [Palermo: S. F. Flaccovio Editore (1960) (republished, 1991, with a new preface, Italian only)] and later in ''The Mosaics of St. Mary's of the Admiral in Palermo'' [Washington, D.C.: Dumbarton Oaks Studies (1990)] and the publication of a six-volume corpus of photographs of the mosaics, ''I mosaici del periodo normanno in Sicilia'' (1992–1995).		In 1941 Kitzinger managed, with some difficulty, to travel to [[Washington, D.C.]], where he became a Junior Fellow at [[Dumbarton Oaks]], which had in 1940 been donated as a research library to [[Harvard University]]. Once there, Kitzinger was assigned by [[Wilhelm Koehler]] to a systematic study of the Byzantine monuments of the Balkans (leading to an important article on the monuments of [[Stobi]] in 1946). Several years later, after a wartime stint with the [[Office of Strategic Services\|OSS]] in Washington, London, and eventually Paris, Kitzinger began work on a complete survey of the mosaics of [[Norman Sicily]]. This project would occupy him for the rest of his life, resulting first in ''The Mosaics of the Capella Palatina in Palermo: An Essay on the Choice and Arrangement of Subjects'' [''Art Bulletin'' 31 (1949): 269–292] and ''The Mosaics of Monreale'' [Palermo: S. F. Flaccovio Editore (1960) (republished, 1991, with a new preface, Italian only)] and later in ''The Mosaics of St. Mary's of the Admiral in Palermo'' [Washington, D.C.: Dumbarton Oaks Studies (1990)] and the publication of a six-volume corpus of photographs of the mosaics, ''I mosaici del periodo normanno in Sicilia'' (1992–1995).

	Kitzinger quickly advanced through the ranks at Dumbarton Oaks, becoming an Assistant Professor in 1946, Associate Professor in 1951, Director of Studies in 1955, and Professor of Byzantine Art and Archaeology in 1956. As Director of Studies he firmly established Dumbarton Oaks as an academic institution of international renown and the world's leading institution for Byzantine studies.		Kitzinger quickly advanced through the ranks at Dumbarton Oaks, becoming an Assistant Professor in 1946, Associate Professor in 1951, Director of Studies in 1955, and Professor of Byzantine Art and Archaeology in 1956. As Director of Studies he firmly established Dumbarton Oaks as an academic institution of international renown and the world's leading institution for Byzantine studies.

GuardianH at 17:29, 18 January 2023

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	* [[Harvard University]]		* [[Harvard University]]
	** [[Dumbarton Oaks]]		** [[Dumbarton Oaks]]
			* [[Institute for Advanced Study]]
	\| notable_students = {{hlist\|[[Hans Belting]]\|[[Madeline Caviness]]}}		\| notable_students = {{hlist\|[[Hans Belting]]\|[[Madeline Caviness]]}}
	\| relatives = [[Richard Krautheimer]]		\| relatives = [[Richard Krautheimer]]

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	== Personal life ==		== Personal life ==
	In 1944, Kitzinger married Margaret Susan Theobald, an English artist, whom he met through [[Otto Demus]] in 1939. They had a daughter and two sons. Kitzinger died in [[Poughkeepsie]], New York in 2003, at age 90.<ref>{{Cite news \|last=Johnson \|first=Ken \|date=2003-02-09 \|title=Ernst Kitzinger, 90, Professor And Writer on Byzantine Art \|language=en-US \|work=The New York Times \|url=https://www.nytimes.com/2003/02/09/arts/ernst-kitzinger-90-professor-and-writer-on-byzantine-art.html \|access-date=2023-01-18 \|issn=0362-4331}}</ref>		In 1944, Kitzinger married Margaret Susan Theobald, an English artist, whom he met through [[Otto Demus]] in 1939. They had a daughter and two sons. Kitzinger died in [[Poughkeepsie]], New York in 2003, at age 90.<ref>{{Cite news \|last=Johnson \|first=Ken \|date=2003-02-09 \|title=Ernst Kitzinger, 90, Professor And Writer on Byzantine Art \|language=en-US \|work=The New York Times \|url=https://www.nytimes.com/2003/02/09/arts/ernst-kitzinger-90-professor-and-writer-on-byzantine-art.html \|access-date=2023-01-18 \|issn=0362-4331}}</ref>

⚫	(Other obituaries, besides the one cited above, include: ''[[The Guardian]]'', January 29, 2003; ''[[The Times]]'', February 7, 2003; ''[[The Independent]]'', February 8, 2003 (all London); ''[[The New York Times]]'', February 9, 2003; ''Art in America'', April 2003; ''[[Speculum (journal)\|Speculum]]'', July 2004; ''American Philosophical Society Proceedings'', September 2007.)

	==Memberships and Honors==		==Memberships and Honors==
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	==Bibliography==		==Bibliography==
	*{{cite journal \|last=Maguire \|first=Henry \|title=Ernst Kitzinger: 1912–2003 \|journal=Dumbarton Oaks Papers \|volume=5 \|pages=ix–xiv \|year=2003 \|issn=0070-7546}} ([https://web.archive.org/web/20070221220839/http://www.doaks.org/DOP57/DP57EK.pdf Available online.])		*{{cite journal \|last=Maguire \|first=Henry \|title=Ernst Kitzinger: 1912–2003 \|journal=Dumbarton Oaks Papers \|volume=5 \|pages=ix–xiv \|year=2003 \|issn=0070-7546}} ([https://web.archive.org/web/20070221220839/http://www.doaks.org/DOP57/DP57EK.pdf Available online.])
		⚫	(Other obituaries, besides the one cited above, include: ''[[The Guardian]]'', January 29, 2003; ''[[The Times]]'', February 7, 2003; ''[[The Independent]]'', February 8, 2003 (all London); ''[[The New York Times]]'', February 9, 2003; ''Art in America'', April 2003; ''[[Speculum (journal)\|Speculum]]'', July 2004; ''American Philosophical Society Proceedings'', September 2007.)

	==External links==		==External links==

GuardianH: /* Early life and education */ dl

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	Kitzinger<ref>The main reference for much of the revision of this article is: Interviews with art historians; The Getty Research Library, Special Collections, accn. no. 940109; containing the 339-page transcript of a tape-recorded interview of Kitzinger conducted by Richard Cándida Smith in 1994, titled ''Style and its meaning in early medieval art''; includes a curriculum vitae with a partial (5 p.) list of publications.</ref> was born into a well-educated [[Jew]]ish family in [[Munich]]; his father, Wilhelm Nathan Kitzinger, was a prominent lawyer; his mother, [[:de:Elisabeth Kitzinger\|Elisabeth Kitzinger]], née Merzbacher, was a pioneering social worker involved with child welfare among Eastern European Jewish refugee and immigrant families. Kitzinger entered the [[University of Munich]] in 1931, where he studied the history of art, principally under [[:de:Wilhelm Pinder\|Wilhelm Pinder]]. From the summer of 1931 on, Kitzinger spent significant time in Rome, enrolled in the [[Sapienza University of Rome\|University of Rome]] and intellectually centered at the [[Bibliotheca Hertziana]]. (Kitzinger's distant relation, [[Richard Krautheimer]] [1897–1994], who also became a major art historian, of late antique and Byzantine architecture, was coincidentally doing research at the Hertziana at the same time.) The beginning of the [[Nazi Germany\|Nazi]] regime in 1933 raised the immediate possibility that Jewish students might be banned from receiving degrees. Kitzinger accordingly completed his dissertation, a brief but influential study of Roman painting in the 7th and 8th centuries, with exceptional speed, and defended it in the fall of 1934. He left Germany the day after his thesis defense.		Kitzinger<ref>The main reference for much of the revision of this article is: Interviews with art historians; The Getty Research Library, Special Collections, accn. no. 940109; containing the 339-page transcript of a tape-recorded interview of Kitzinger conducted by Richard Cándida Smith in 1994, titled ''Style and its meaning in early medieval art''; includes a curriculum vitae with a partial (5 p.) list of publications.</ref> was born into a well-educated [[Jew]]ish family in [[Munich]]; his father, Wilhelm Nathan Kitzinger, was a prominent lawyer; his mother, [[:de:Elisabeth Kitzinger\|Elisabeth Kitzinger]], née Merzbacher, was a pioneering social worker involved with child welfare among Eastern European Jewish refugee and immigrant families. Kitzinger entered the [[University of Munich]] in 1931, where he studied the history of art, principally under [[:de:Wilhelm Pinder\|Wilhelm Pinder]]. From the summer of 1931 on, Kitzinger spent significant time in Rome, enrolled in the [[Sapienza University of Rome\|University of Rome]] and intellectually centered at the [[Bibliotheca Hertziana]]. (Kitzinger's distant relation, [[Richard Krautheimer]] [1897–1994], who also became a major art historian, of late antique and Byzantine architecture, was coincidentally doing research at the Hertziana at the same time.) The beginning of the [[Nazi Germany\|Nazi]] regime in 1933 raised the immediate possibility that Jewish students might be banned from receiving degrees. Kitzinger accordingly completed his dissertation, a brief but influential study of Roman painting in the 7th and 8th centuries, with exceptional speed, and defended it in the fall of 1934. He left Germany the day after his thesis defense.

	Kitzinger first returned to [[Rome]], before moving on to [[England]], where he found volunteer employment at the [[British Museum]] while eking out a living doing casual academic work, writing book reviews, and receiving the occasional small grant. Among a wide range of art historical interests, he quickly developed a particular focus on [[Anglo-Saxon art]] through being enlisted by [[T. D. Kendrick]] to assist in a comprehensive survey of surviving pre-Norman stone sculpture in England. Kitzinger's first published article was on Anglo-Saxon [[vinescroll]] ornament; he also contributed to the assessment of the treasures of the [[Sutton Hoo]] Ship Burial as it was unearthed over months in 1939. In 1937, on a modest grant from a patron of the British Museum, he travelled to Egypt and Istanbul, further widening his perspective on late antique and early medieval art as an "international" phenomenon. It was this perspective that he brought to his first book, ''Early Medieval Art in the British Museum'' (1940). Ostensibly a guidebook, this was in fact an attempt to trace the transformation of classical art into medieval, a subject which Kitzinger would revisit on many occasions throughout his career. The book has never gone out of print; more recent editions are just called ''Early Medieval Art''.		Kitzinger first returned to [[Rome]], before moving on to [[England]], where he found volunteer employment at the [[British Museum]] while eking out a living doing casual academic work, writing book reviews, and receiving the occasional small grant. Among a wide range of art historical interests, he quickly developed a particular focus on [[Anglo-Saxon art]] through being enlisted by [[T. D. Kendrick]] to assist in a comprehensive survey of surviving pre-Norman stone sculpture in England. Kitzinger's first published article was on Anglo-Saxon vinescroll ornament; he also contributed to the assessment of the treasures of the [[Sutton Hoo]] Ship Burial as it was unearthed over months in 1939. In 1937, on a modest grant from a patron of the British Museum, he travelled to Egypt and Istanbul, further widening his perspective on late antique and early medieval art as an "international" phenomenon. It was this perspective that he brought to his first book, ''Early Medieval Art in the British Museum'' (1940). Ostensibly a guidebook, this was in fact an attempt to trace the transformation of classical art into medieval, a subject which Kitzinger would revisit on many occasions throughout his career. The book has never gone out of print; more recent editions are just called ''Early Medieval Art''.

	=== World War II ===		=== World War II ===

GuardianH at 17:20, 18 January 2023

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	\| known_for = ''Early Medieval Art in the British Museum'' (1940)		\| known_for = ''Early Medieval Art in the British Museum'' (1940)
	\| spouse = {{Marriage\|Margaret Susan Theobald\|1944}}		\| spouse = {{Marriage\|Margaret Susan Theobald\|1944}}
	\| awards = {{longitem\|[[American Academy of Arts and Sciences]] (1961)}}<br />{{longitem\|[[American Philosophical Society]] (1967)}}<br />[[Pour le Mérite]] (1982)<br />[[Austrian Decoration for Science and Art]] (1991)		\| awards = {{longitem\|[[American Academy of Arts and Sciences]] (1961)}}<br />{{longitem\|[[American Philosophical Society]] (1967)}}<br />[[Pour le Mérite]] (1982)<br />{{longitem\|[[Austrian Decoration for Science and Art]] (1991)}}
	\| death_place = [[Poughkeepsie, New York]], U.S.		\| death_place = [[Poughkeepsie, New York]], U.S.
	\| honorific_suffix = [[Fellow of the British Academy\|FBA]]		\| honorific_suffix = [[Fellow of the British Academy\|FBA]]