Sir Nikolaus Bernhard Leon PevsnerCBEFBA (30^[a] January 1902 – 18 August 1983) was a German-Britishart historian andarchitectural historian best known for his monumental 46-volume series of county-by-county guides,The Buildings of England (1951–74).

Sir Nikolaus Pevsner CBEFBA
Born	Nikolaus Bernhard Leon Pevsner (1902-01-30)30 January 1902 Leipzig, Kingdom of Saxony, German Empire
Died	18 August 1983(1983-08-18) (aged 81) London, England
Resting place	Church of St Peter, Clyffe Pypard, Wiltshire, England
Nationality	British
Alma mater	Leipzig University (PhD) Ludwig Maximilian University of Munich Humboldt University of Berlin Goethe University Frankfurt
Occupation(s)	Art andarchitectural historian
Notable work	The Buildings of England
Spouse	Lola Kurlbaum ​ ​ (m. 1923; died 1963)​
Children	3, includingTom Pevsner
Awards	Albert Medal (1975)

Nikolaus Pevsner was born inLeipzig,Saxony, the son of Anna and her husband Hugo Pevsner, a Russian-Jewish fur merchant. He attendedSt. Thomas School, Leipzig, and went on to study at several universities,Munich,Berlin, andFrankfurt am Main, before being awarded adoctorate byLeipzig in 1924 for a thesis on theBaroque architecture of Leipzig.^[2] In 1923, he married Carola ("Lola") Kurlbaum, the daughter of distinguished Leipzig lawyer Alfred Kurlbaum.^[3] He worked as an assistant keeper at theDresden Gallery between 1924 and 1928. He converted fromJudaism toLutheranism early in his life.

During this period he became interested in establishing the supremacy of German modernist architecture after becoming aware ofLe Corbusier's Pavillon de l'Esprit Nouveau at theParis Exhibition of 1925. In 1928, he contributed the volume onItalian baroque painting to theHandbuch der Kunstwissenschaft, a multi-volume series providing an overview of the history of European art. He taught at theUniversity of Göttingen between 1929 and 1933, offering a specialist course onEnglish art andarchitecture. According to biographers Stephen Games and Susie Harries, Pevsner welcomed many of the economic and cultural policies of the earlyHitler regime. However, due toNazi race laws he was forced to resign his lectureship at Göttingen in 1933.

His first intention was to move to Italy, but after failing to find an academic post there, Pevsner moved to England in 1933, settling inHampstead at2, Wildwood Terrace, where poetGeoffrey Grigson was his next-door neighbour at No. 3.^[4][5][6] Pevsner's first post was an 18-month research fellowship at theUniversity of Birmingham, found for him by friends in Birmingham and partly funded by theAcademic Assistance Council.^[7] A study of the role of the designer in the industrial process, the research produced a generally critical account of design standards in Britain which he published asAn Enquiry into Industrial Art in England (Cambridge University Press, 1937). He was subsequently employed as a buyer of modern textiles, glass and ceramics for theGordon Russell furniture showrooms in London.

By this time Pevsner had also completedPioneers of the Modern Movement: from William Morris to Walter Gropius, his influential pre-history of what he saw asWalter Gropius' dominance of contemporary design.Pioneers ardently championed Gropius's first two buildings (both pre–First World War) on the grounds that they summed up all the essential goals of 20th-century architecture; in England, however, it was widely taken to be the history of England's contribution to international modernism, and a manifesto forBauhaus (i.e.Weimar) modernism, which it was not.^{[citation needed]} In spite of that, the book remains an important point of reference in the teaching of the history of modern design, and helped lay the foundation of Pevsner's career in England as an architectural historian. Since its first publication byFaber & Faber in 1936, it has gone through several editions and been translated into many languages.^{[citation needed]} The English-language edition has also been renamedPioneers of Modern Design.

Pevsner was "more German than the Germans" to the extent that he supported "Goebbels in his drive for 'pure' non-decadent German art".^[8] He was reported as saying of theNazis (in 1933): "I want this movement to succeed. There is no alternative but chaos... There are things worse thanHitlerism."^[3] Pevsner's political leanings following Hitler's appointment as Chancellor in January 1933 are clearly revealed in several extracts from his diaries and letters that Suzie Harries includes in her 2011 bookNikolaus Pevsner: The Life. For example, the following observation is made by Pevsner on the boat toDover in October 1933: "The second-class is almost entirely occupied by non-Aryans. Dreadful, dreadful – to think that's where I belong."^[9] Nonetheless, he was included in the NaziBlack Book as someone hostile to the Hitler regime.

In 1940, Pevsner was taken to theinternment camp atHuyton,Liverpool as anenemy alien. Geoffrey Grigson later wrote in hisRecollections (1984): "When at last two hard-facedBow Street runners arrived in the early hours of the morning to take [him] ... I managed, clutching my pyjama trousers, to catch them up with the best parting present I could quickly think of, which was an elegant little edition, a new edition, ofShakespeare's Sonnets."^[10] Pevsner was released after three months on the intervention of, among others,Frank Pick, then Director-General of theMinistry of Information. He spent some time in the months afterthe Blitz clearing bomb debris, and wrote reviews and art criticism for the Ministry of Information'sDie Zeitung, an anti-Nazi publication for Germans living in England. He also completed forPenguin Books thePelican paperbackAn Outline of European Architecture, which he had begun to develop while in internment.Outline would eventually go into seven editions, be translated into 16 languages, and sell more than half a million copies.^{[citation needed]}

In 1942 Pevsner finally secured two regular positions. From 1936 onwards he had been a frequent contributor to theArchitectural Review and from 1943 to 1945 he stood in as its acting editor while the regular editorJ. M. Richards was on active service. Under theAR's influence, Pevsner's approach to modern architecture became more complex and more moderate.^[11] Early signs of a lifelong interest in Victorian architecture, also influenced by theArchitectural Review, appeared in a series written under the pseudonym of "Peter F. R. Donner": Pevsner's "Treasure Hunts" guided readers down selected London streets, pointing out architectural treasures of the 19th century. He was also closely involved with theReview's proprietor,H. de C. Hastings, in evolving the magazine's theories onpicturesque planning.^[12] In the same year Pevsner was appointed a part-time lecturer atBirkbeck College, London; he would eventually retire from the college in 1969 as its first Professor of Art History. He lectured atCambridge University for almost 30 years, having beenSlade Professor of Fine Art there for a record six years from 1949 to 1955, and was also theSlade Professor atOxford in 1968.^[13]

Framing all this was his career as a writer and editor. After moving to England, Pevsner had found that the study of architectural history had little status in academic circles, and the amount of information available, especially to travellers wanting to inform themselves about the architecture of a particular district, was limited. Invited byAllen Lane, founder ofPenguin Books, for whom he had written hisOutline and also edited theKing Penguin series,^[14] to suggest ideas for future publications, he proposed a series of comprehensive county guides to rectify this shortcoming.^[15]

Work on theBuildings of England series began in 1945, and the first volume was published in 1951. Pevsner wrote 32 of the books himself and 10 with collaborators, with a further four of the original series written by others. Since his death, work has continued on the series, which has been extended to cover the rest of the United Kingdom, under the titlePevsner Architectural Guides, now published byYale University Press.^[17]

After updating and correctingLondon 1: The Cities of London and Westminster for its reissue in 1962, Pevsner delegated the revision and expansion of further volumes to others, beginning with Enid Radcliffe forEssex (1965).^[18] The gazetteer descriptions of revised volumes do not routinely distinguish between Pevsner's original text and any new writing, but more recent books sometimes supply his words in quotation when the revising author's judgement differs, where a building has since been altered, or where the old text is no longer topical.

Although Pevsner oversaw the publication of the initial volumes of the Scottish, Welsh and Irish counterparts ofThe Buildings of England (and in each was credited as "Editor-in-Chief", "Founding Editor" and "Editorial Adviser" respectively) he did not write any of them. As with the revisions of his earlier works, many of these volumes were the work of several contributors. Coverage of the whole of Great Britain was completed in 2023, with the Irish series still in progress.

As well asThe Buildings of England, Pevsner proposed thePelican History of Art series (which began in 1953), a multi-volume survey on the model of the GermanHandbuch der Kunstwissenschaft (English: "Handbook of the Science of Art"), which he would himself edit. Many individual volumes are regarded as classics.

In 1946, Pevsner made the first of several broadcasts on theBBC Third Programme, presenting nine talks in all up to 1950, examining painters and European art eras. By 1977 he had presented 78 talks for the BBC, including theReith Lectures in 1955 – a series of six broadcasts, entitledThe Englishness of English Art,^[19] for which he explored the qualities of art which he regarded as particularly English, and what they said about the English national character.^[20] HisA. W. Mellon lectures in Fine Art at theNational Gallery of Art, Washington, D.C., were published in 1976 asA History of Building Types.^[21]

Pevsner was a founding member in 1957 of theVictorian Society, the national charity for the study and protection ofVictorian andEdwardian architecture and other arts.^[22] In 1964 he was invited to become its chairman, and steered it through its formative years, fighting alongsideJohn Betjeman,Hugh Casson and others to save houses, churches, railway stations and other monuments of the Victorian age. He served for ten years (1960–70) as a member of the National Advisory Council on Art Education (or Coldstream Committee), campaigning for art history to be a compulsory element in the curriculum of art schools. He was elected a Fellow of theBritish Academy in 1965 and awarded the Gold Medal of theRoyal Institute of British Architects in 1967.^[23]

Having assumed British citizenship in 1946, Pevsner was appointed aCBE in 1953 and wasknighted in 1969 "for services to art and architecture". Pevsner also received anHonorary Doctorate fromHeriot-Watt University in 1975.^[24]

Pevsner died at his home2, Wildwood Terrace, in August 1983.^[25][26] His wife, Lola, predeceased him by 20 years.

His memorial service was held at theChurch of Christ the King, Bloomsbury, the following December, with the memorial address being given byAlec Clifton-Taylor, a friend of 50 years. He is buried in the churchyard of theChurch of St Peter, Clyffe Pypard, inWiltshire, where he and Lola had a cottage. His elder son, Dieter, was an editor atPenguin Books and co-founder with Oliver Caldecott of the publishing companyWildwood House in the 1970s.^[27] His younger son,Tom, was a film producer and director who went on to work on severalJames Bond films. Pevsner had many notable students includingPhoebe Stanton.^[28]

In 2007, ablue plaque was erected byEnglish Heritage at Wildwood Terrace, Pevsner's home since 1936.^[29][26]

• "A bicycle shed is a building;Lincoln Cathedral is a piece of architecture. Nearly everything that encloses space on a scale sufficient for a human being to move in is a building; the term architecture applies only to buildings designed with a view to aesthetic appeal." FromAn Outline of European Architecture, 1943.
• Pevsner also described in hisAn Outline of European Architecture the three ways aesthetic appeal could manifest itself in architecture: in a building's façade, the material volumes, or the interior.

In 1984, theGetty Research Institute inLos Angeles acquired the Nikolaus Pevsner Papers,^[30] an archive that includes 143 boxes of typed and handwritten notes, clippings, photographs, books, lecture notes, and manuscripts.

Research notes by Pevsner (and other editors) for theBuildings of England series are held in theHistoric England Archive inSwindon.^[31]

• Pioneers of the Modern Movement (Faber, 1936)
• An Enquiry into Industrial Art in England (1937)
• Academies of Art, Past and Present (1940)
• An Outline of European Architecture (1943)
• The Leaves ofSouthwell (King Penguin series), Penguin, 1945
• Pioneers of Modern Design (originally published asPioneers of the Modern Movement in 1936; 2nd edition, New York:Museum of Modern Art, 1949; revised and partly rewritten,Penguin Books, 1960)
• The Buildings of England series (1951–74)
• The Englishness of English Art (1956, print edition)
• Christopher Wren, 1632–1723 (1960; issued as part of the Universe Architecture Series)
• The Sources of Modern Architecture and Design (1968)
• A History of Building Types (1976)
• Pevsner: The Complete Broadcast Talks (Ashgate, 2014; published posthumously)

• Pevsner Architectural Guides

• Cherry, Bridget, & Bradley, Simon (eds.),The Buildings of England: a Celebration (Penguin Collectors Society, 2001).
• Draper, Peter, ed. (2004).Reassessing Nikolaus Pevsner. Ashgate.ISBN 978-0-7546-3582-6.
• Prodger, Michael (9 September 2011),"Nikolaus Pevsner: The Life by Susie Harries – review",The Guardian. A definitive biography with new material, "the size of a breeze block" according to the reviewer.

• Papers relating to Pevsner's departure from Germany and efforts to obtain work in England are contained within the archives of the Society for the Protection of Science and Learning (now theCouncil for At-Risk Academics) in theBodleian Library.Index to the Catalogue of the SPSL.
• A substantial collection of his papers is held at the Pevsner archive in theGetty Research Institute, Los Angeles.Nikolaus Pevsner papers, 1919–1979. Research Library at the Getty Research Institute, Los Angeles, California.
• Documents relating to his various projects for Penguin, including the King Penguin series, thePelican History of Art and theBuildings of England, are held by thePenguin Archive at theUniversity of Bristol.
• Papers relating to the work of the Victorian Society during his years as chairman are held by the Victorian Society themselves and the London Metropolitan Archives. (Victorian Society archives)

• Pevsner Architectural Guides – official website
• Pevsner biography – Dictionary of Art HistoriansArchived 24 March 2018 at theWayback Machine
• Pevsner Art Catalogue Collection – University of East Anglia
• ‘Is it in Pevsner?’: A Short History of the ‘Buildings of …' Series, Gresham College Lecture by Charles O'Brien