An intellectual biography on Felix Horb, a Viennese émigré and art historian in Stockholm

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Notes

1 Though the book under review is in Swedish, the review is in English because Horb, his life, and his writings are of interest to an international readership. See also Peter Gillgren, ‘Felix Horb: Notes in the margins of Max Dvořák, Hans Sedlmayr and Erwin Panofsky’, Journal of Art Historiography 21 (2019).

2 For Horb's portrait, see Gillgren, ‘Felix Horb’, 1 (the article).

3 Christopher S. Wood (ed.), The Vienna School Reader: Politics and Art Historical Method in the 1930s, New York: Zone Books, 2000.

4 Max Dvořák, Kunstgeschichte als Geistesgeschichte: Studien zur abendländischen Kunstentwicklung, Munich: R. Piper, 1924.

5 Nationalmuseum Archives, Stockholm, Meyer Shapiro to Carl Nordenfalk, 21 June 1950, quoted in Gillgren, Felix Horb, pp. 56, 182, n. 102.

6 For example, Karen Michels, Transplantierte Kunstwissenschaft: Deutschsprachige Kunstgeschichte im amerikanischen Exil, Berlin: Akademie, 1999, p. 197, who lists Horb among the emigrated German-language art historians; see also Karin Michels, “Art History, German Jewish Identity, and the Emigration of Iconology”, in Catherine M. Soussloff (ed.), Jewish Identity in Modern Art History, Berkeley: University of California Press, 1999.

7 See Erwin Panofsky, “Three Decades of Art History in the United States: Impressions of a Transplanted European”, College Art Journal, 14/1, 1954.

8 Felix Horb, Das Innenraumbild des späten Mittelalters: Seine Entstehungsgeschichte, Zürich: Max Niehans, 1938.

9 Axel Romdahl (1880–1951) was the first art historian to hold a position at Gothenburg University. He was also an influential director of the Gothenburg Museum of Art; see Kristoffer Arvidsson, “The Lively and Authentic: Axel. R. Romdahl as Art Historian”, in Kristoffer Arvidsson & Martin Sundberg (eds.), The Canon: Perspectives on Swedish Art Historiography, Gothenburg: Göteborgs konstmuseum, 2021.

10 Felix Horb, Cavallinis Haus der Madonna, Gothenburg, 1945.

11 Felix Horb, Zu Vincent Sellaers Eklektizismus: Die Heilige Familie mit vier Knaben und andere Darstellungen, Stockholm: Almqvist & Wiksell, 1956. Horb also wrote a review of his old colleague Ernst von Garger’s Kunstdenkmäler series, see Felix Horb, “Kunstdenkmäler herausgeben von Ernst Garger”, Konsthistorisk Tidskrift, 21, 1952.

12 Horb, Cavallinis, 8.

13 Alois Riegl, Die Spätrömische Kunst-Industrie, Vienna: Kaiserlich-Königlichen Hof- und Staatsdruckerei, 1901.

14 Erwin Panofsky, “Die Perspektive als “symbolische Form” (1927)”, in Aufsätze zur Grundfragen der Kunstwissenschaft, Berlin: Volker Spiess, 1980.

15 For Erwin Panofsky’s visit to Sweden in 1952, see also Hedvig Brander Jonsson, “The 1970s: The Transformation of a Discipline: An Uppsala Perspective”, in Britt-Inger Johansson & Ludwig Qvarnström (eds.), Swedish Art Historiography: Institutionalization, Identity, and Practice, Lund: Nordic Academic Press, 2022, pp. 65–66.

16 Erwin Panofsky, Renaissance and Renascences in Western Art, Stockholm: Almqvist & Wiksell, 1960.

17 Erwin Panofsky, Korrespondenz 1910 bis 1968, ed. Dieter Wuttke, 5 vols, Wiesbaden: Harrassowitz, 2001–2011.