CAA News Today

Petra ten-Doesschate Chu works in the Department of Art, Music, and Design at Seton Hall University in South Orange, New Jersey, and June Hargrove teaches nineteenth-century European painting and sculpture at the University of Maryland, College Park.

Hans A. Lüthy

With the death of Hans A. Lüthy, on March 8, 2009, art history has lost a scholar and a leader, a catalyst whose vision and philanthropy contributed to the growth of the discipline in Europe and America.

Born in 1932, Lüthy studied art history in Zurich, where he wrote a dissertation on the nineteenth-century Swiss landscape painter Johann Jakob Ulrich II (1965). In 1963, he was appointed director of the Schweizerisches Institut für Kunstwissenschaft (SIK), or Swiss Institute for Art Research in Zürich, a position that he would hold for more than thirty years. Founded in 1951, the SIK became a major research institute under his directorship, the influence of which was felt both at home and abroad. Lüthy, indeed, pursued a two-pronged agenda: one, to research Switzerland’s artistic patrimony and to disseminate that research through exhibitions and publications; and, two, to promote Swiss art abroad, particularly in the United States. He was responsible for the organization of several exhibitions of Swiss art in the US, including From Liotard to Le Corbusier: 200 Years of Swiss Painting, 1730–1930 in the High Museum of Art in Atlanta and monographic exhibitions of the works of Ferdinand Hodler. His energy and commitment brought a new dimension to the awareness of Swiss art here.

Lüthy’s scholarly pursuits were focused on nineteenth-century French art, and he maintained an active publishing career, which included numerous articles for the press, notably the Neue Zürcher Zeitung.

Since his retirement in 1994, Lüthy remained actively involved in art history. Through a private foundation, he and his wife, Marianne (Mascha), funded several research and writing projects. One of these was Nineteenth-Century Art Worldwide, which would not have come into being if not for his generous start-up grant. For this, the Association of Historians of Nineteenth-Century Art owes him a debt of gratitude. The couple also contributed a scholarship to the Centre allemande d’histoire de l’art (Deutsche Forum für Kunstgeschichte) in Paris.

At the same time, he began to collect art. As a collector his taste tended to French neoclassical and Romantic drawings, a predilection that was no doubt related to his life-long interest in the work of Théodore Géricault. He also assembled a small but significant collection of sculpture of the same period. A selection of drawings and sculpture from his collection was exhibited in 2002 in the Kunstmuseum in Bern, on the occasion of his seventieth birthday.

During the past few years, Lüthy’s ill health prevented him from staying in touch with many former friends and acquaintances. Those who knew him, and I am sure there are many of us in the US, remember him fondly for his genuine kindness, his enthusiasm, and his generosity of spirit. He was a raconteur and bon vivant whose presence enlivened many an occasion, scholarly and otherwise. He will be much missed.

Linda Downs is CAA executive director.

Until her death on December 10, 2008, at age 95, Mildred “Connie” Cohen Constantine Bettelheim was the oldest College Art Association member and the oldest CAA employee. At the age of sixteen, she was hired by Audrey McMahon, corresponding secretary at CAA, in 1929 as a stenographer when the CAA offices were located at 220 West Fifty-eighth Street. She kept up the list of New York exhibitions for Parnassus (the precursor of Art Journal), eventually editing articles, assisting at Annual Conferences, and attending to correspondence.

I interviewed Connie last May in her art-filled home in Nyack, New York. She talked about the seminal experience that CAA’s employment and subsequent membership meant to her in her professional life. It opened up the creative and intellectual world to her at a time when CAA was in its formative years, and she was able to contribute to its development. Through her position at CAA she came in contact with artists like David Smith (when he applied for Works Progress Administration status through CAA; they immediately became life-long friends) and with art historians and future museum directors such as Francis Henry Taylor.

CAA also taught her the realities of the art world, from organizing demonstrations in support of artists’ rights to being requested to change her name. A prominent CAA member lobbied the Board of Directors to protest the appearance of a Jewish name on CAA correspondence. So Connie, as she was known by her friends, found a new name that she liked and permanently changed her last name from Cohen to Constantine.

She worked at CAA until 1937, when she returned to college to earn her BA and MA at New York University and attend graduate school at the National Autonomous University of Mexico. In 1940 Constantine worked at the Office of Inter-American Affairs at the Library of Congress, and in 1948 was hired by the Museum of Modern Art’s Architecture and Design Department. She became an associate curator and curatorial consultant at MoMA through 1970, where she pioneered an interest in art outside the mainstream, from posters to graphic design. Constantine wrote over a dozen books and exhibition catalogues, including Tina Modotti: A Fragile Life (1975), Revolutionary Soviet Film Posters (1974) with Alan Fern, and Whole Cloth (1997) with Laurel Reuter. She also became an expert on fiber arts, coauthoring Beyond Craft: The Art Fabric (1973) with the fiber artist Jack Lenor Larson. At her death, she was researching for a major international study of thread.

Constantine was both a great supporter and a great critic of CAA. She was a lifetime member and enjoyed the articles in The Art Bulletin, but believed that Art Journal was too limited in scope and did not fully address contemporary international art, as it once did. She also wanted to see a greater focus on international artists at Annual Conferences.

I first met Connie in 1980 when we were organizing a Diego Rivera retrospective at the Detroit Institute of Arts. Because of her familiarity with Mexican collections and because of her research and book on Tina Modotti, she was recommended to me by Alan Fern, who was then director of the National Portrait Gallery, for the photography section of the larger exhibition. Over several years we worked together as she curated one of the most important collections of photographs that captured the life of Diego Rivera and Frida Kahlo by artists such as Manuel Álvarez Bravo, Edward Weston, and Tina Modotti. She was an intrepid curator with a wonderful eye for quality and for the quirky.

Connie’s pioneering work and gregarious personality touched the lives of so many artists, art historians, curators, and collectors. She helped to shape the College Art Association in its first few decades and forged a path that has been followed by many subsequent students of art and art history.

Stuart Cary Welch Jr., curator emeritus of Islamic and later Indian art at the Harvard Art Museum and former special consultant in charge in the Department of Islamic Art at the Metropolitan Museum of Art, died on August 13, 2008, while traveling in Hokkaido, Japan. He was 80 and a resident of New Hampshire.

Welch, a legendary scholar, collector, and connoisseur, studied and taught at Harvard University, where he was instrumental in transforming the Department of Islamic Art, establishing a curriculum of study of the arts of the Middle East and South Asia, and developing one of the finest collections of Islamic and later Indian art in this country. His lifelong association with Harvard culminated in his role over the past two decades as one of the most generous donors to the Harvard Art Museum.

Welch developed an appreciation of art early in his childhood. Aside from being a collector of drawings at a very young age, Welch himself was an accomplished draftsman, a skill that carried through to his enrollment at Harvard and beyond. He was a graduate of the St. Paul’s School in Concord, New Hampshire, in 1946. That same year he began his undergraduate studies in fine arts at Harvard, where he continued his graduate work in Classical art from 1952 to 1954. During that time, Welch intensified his study and collecting of Islamic and Indian art. He also published some of his more entertaining and lighthearted drawings in Harvard’s literary and humor magazines, including his series of Popular Professions Illustrated that appeared in the Harvard Lampoon and the Harvard Advocate.

While Welch concentrated in the study of fine arts at Harvard, at the time there were no classes or formal instruction available in the subject of Islamic or Indian art. Ever resourceful, Welch took the initiative to devise his own “course of study” by traveling extensively throughout the Middle East and South Asia to absorb regional traditions and culture and to witness firsthand the lands that captivated him, his interest driven by the drawings that he had already begun to acquire. At the same time, Eric Schroeder, then honorary keeper of Islamic Art at the Fogg Museum, became his mentor at Harvard.

In 1956, Schroeder invited Welch to become honorary assistant keeper of Islamic Art at the Fogg, and thus began an era that saw Welch use his infinite enthusiasm to transform the fledgling Department of Islamic Art. At the same time, as part of the vanguard of Islamic art scholars at Harvard, he spearheaded the effort to establish one of the first American university curriculums in the study of the arts of the Islamic world. In 1960, he taught the first class at Harvard in Near Eastern Art. An instructor for twenty-five years at Harvard, Welch arranged for works of art to be made available for study by students and scholars. Welch was a teacher and mentor to many distinguished museum leaders and scholars, including Lentz; Glenn Lowry, director of the Museum of Modern Art; and Michael Brand, director of the J. Paul Getty Museum. Over four decades at Harvard, Welch served as honorary keeper, curator (retiring in 1995), and finally curator emeritus. He worked brilliantly with such esteemed donors as John Goelet, Edwin Binney III, and John Kenneth Galbraith, and during his tenure he vastly enriched Harvard’s holdings of Islamic and Indian art.

Concurrent with his work at Harvard, Welch served as special consultant in charge in the Department of Islamic Art at the Metropolitan Museum of Art from 1979 to 1987. He was instrumental in making many important acquisitions that greatly enhanced the Metropolitan Museum’s collection and, in 1985, organized the groundbreaking exhibition India: Art and Culture, 1300–1900, a comprehensive presentation of over three hundred works including masterpieces of the sacred and court traditions that ranks among his greatest achievements as a curator.

Welch’s scholarship, particularly in the fields of Persian and Indian painting and drawing, served as the foundation for many important exhibitions and accompanying publications, including The Art of Mughal India, Paintings and Precious Objects (1964), the first important American exhibition devoted to Mughal art; Gods, Thrones, and Peacocks: Northern Indian Painting from Two Traditions, Fifteenth to Nineteenth Centuries (1965); Room for Wonder: Indian Painting during the British Period, 1760–1880 (1978); Wonders of the Age: Masterpieces of Early Safavid Painting, 1501–1576 (1979); Gods, Kings, and Tigers: The Art of Kotah (1997); and From Mind, Heart, and Hand: Persian, Turkish, and Indian Drawings from the Stuart Cary Welch Collection (2004), an exhibition of drawings from Welch’s landmark gift to Harvard in 1999 of over three hundred works.

Welch produced countless exhibitions over the forty years that he spent at Harvard, many of which may have been small in size, but which always tended toward the visual and poetic. His last exhibition is the first in a series entitled Perspectives that is part of the long-term exhibition Re-View at the Harvard Art Museum/Arthur M. Sackler Museum. The small installation, titled Tree of Life: Five Indian Variations on a Theme, includes just five works of art but is characteristic of Welch’s vision and approach. It opened in April 2008, just a few days after Welch’s eightieth birthday.

Considered his greatest scholarly achievement was the immense, two-volume study of The Houghton Shahnameh, coauthored with Martin B. Dickson of Princeton University, which focused on the great early Safavid dynasty copy of the Persian national epic executed for the Safavid ruler and patron of the arts Shah Tahmasp (r. 1524–1576). Welch’s insights fundamentally changed the way scholars thought about the development of early Safavid painting, demonstrating that it was, in fact, a brilliant synthesis of the earlier Timurid and Turkman styles of painting.

Welch’s numerous exhibitions, publications, public lectures, and years of teaching propelled the study and appreciation of Islamic and Indian art to new heights, educating and enlightening generations of students, scholars, and museum visitors.