DOCSLIB.ORG

Historical Dictionary of Husserl's Philosophy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Historical Dictionary of Husserl's Philosophy Historical Dictionary of Husserl’s Philosophy John J. Drummond Historical Dictionaries of Religions, Philosophies, and Movements Contents Editor’s Foreword Jon Woronoff i x Chronology: Life xi Chronology: Courses xix Introduction 1 THE DICTIONARY 29 Selected Bibliography 215 I. Primary Materials 219 A. Husserliana 219 1. Husserliana: Edmund Husserl Gesammelte Werke 219 2. Husserliana: Edmund Husserl Dokumente 222 3. Husserliana Materialen 223 4. Edmund Husserl Collected Works 224 B. Other Works by Husserl 225 C. Other English Translations of Husserl’s Works 229 II. Secondary Materials 233 A. General—Phenomenology 233 B. General—Husserl 238 C. Logic, Mathematics, and Science 244 D. Phenomenological Method 248 E. Intentionality 248 F. The Transcendental Ego, Subjectivity, and Intersubjectivity 251 G. Temporality and History 254 H. Space and the Body 255 I. Social, Moral, and Political Philosophy 256 III. Bibliographies and Indices 258 About the Author 259 vii Editor’s Foreword Few philosophers have had as broad and deep an impact on coming generations of philosophers as Edmund Husserl. Most notably, he was the founder and a major practitioner of phenomenology, which has left an indelible mark on European, American and world philosophy over the past century. He was also among those thinkers who turned inherited philosophy upside down as he rethought many ideas that were generally accepted and replaced them with others which have since become generally accepted by many, and fiercely rejected by others, both healthy things in the world of philosophy. Coming from mathematics, which is not that common among philosophers, he added a bit of rigor, which was sometimes lacking, and his ideas gradually impacted other fields, including psychology, ethics and aesthetics. Alas, while his significance can hardly be denied, Husserl is not the easiest philosopher for laymen and even scholars to understand, and his vocabulary and concepts can do with some explanation. This—along with his significance—is a good reason for a handy guide like this Historical Dictionary of Husserl’s Philosophy. It does not “package” Husserl for the reader, who can then attempt to master its contents; rather, it helps readers to sort out what they have seen in Husserl’s own works or books on him by others. The brief chronology already offers insight into an often difficult trajectory, with many ups and down, the most serious of these being driven out of Germany by the Nazis. His career is traced again in the introduction, this time focusing on his major activities, writings, and thoughts, a summary which should be referred to periodically. But the most important section is the dictionary, with hundreds of entries on his major publications, other philosophers he interacted with, and above all the key concepts – many of them new to Husserl—which are necessary to gain more from reading him. Perhaps the second most important section is the bibliography, which leads those interested to a broad range of related works, his own and commentaries on his philosophy. Few have dealt with Husserl and his philosophy as long or as extensively as the author of this volume, John J. Drummond. Already in 1975, his dissertation dealt with Husserl’s phenomenology of perception. Since then he has taught at several colleges and universities and is presently professor of philosophy at Fordham University. Alongside courses and lectures, he has written a large number of articles and a book of his own, Husserlian i x x•EDITOR’S FOREWORD Intentionality and Non-Foundational Realism: Noema and Object. He has also co-edited five collections on phenomenology, and he has served as the general editor of the book series Contributions to Phenomenology and serves on the editorial board of Husserl Studies and as a referee for other notable philosophical journals. This has all provided an exceptional foundation for writing a guide to Husserl which many students, and even professors, will want to keep handy and consult as necessary. Jon Woronoff Series Editor Chronology: Life1 1858 8 April: Edmund Husserl is born in Prossnitz in Mähren (Prostìjow, Moravia). 1876 30 June: Receives diploma from the K. K. Deutsche Gymnasium in Olmütz (Olomouc). 1876–1878 Studies astronomy at the University of Leipzig, although also takes courses in mathematics, physics, and philosophy. 1878–1881 Studies mathematics (and some philosophy) at the University of Berlin. 1881–1882 Continues studies in mathematics for two semesters at the University of Vienna. 1882 8 October: Dissertation Beiträge zur Theorie der Variationsrech- nung (Contributions to the Theory of the Calculus of Variations) approved. 1883 23 January: Awarded the Doctorate in Philosophy (in mathemat- ics), after which he returned to Berlin for a short time to study mathematics further. 1883–1884 Completes a year of military service as a volunteer in the 2nd Regiment of the field artillery in Olmütz and later in a mess for soldiers stationed in Vienna. 1884 24 April: Father Adolf dies. 1884–1886 Studies philosophy with Franz Brentano at the University of Vienna. 1886 26 April: Baptized in the Evangelical Church of Vienna with the name Edmund Gustav Albrecht Husserl. x i xii • CHRONOLOGY: LIFE 1886–1887 Studies for his Habilitation with Carl Stump at the University of Halle. 1887 Publication of “Über den Begriff der Zahl.” 1 July: Defends his Habilitationsschrift “Über den Begriff der Zahl” (“On the Concept of Number”). 6 August: Marries Malvine Steinschneider in the Evangelical Church in Vienna. October: Begins service as Privatdozent at the University of Halle (until 1901). 24 October: Delivers his inaugural lecture “The Aims and Tasks of Metaphysics.” 1891 Review of Ernst Schröder’s “Vorlesungen über die Algebra der Logik” appears in the Göttingische gelehrte Anzeigen. Publication of Philo- sophie der Arithmetik (Philosophy of Arithmetic). 1892 Nominated by the Philosophy Faculty for the position of ausserordentlich Professor, but to no effect. 29 April: Daughter Elisabeth is born. 1893 Review of “A. Voigt’s ‘elementare Logik’ und meine Darlegungen zur Logik des logischen Kalküls” (“A Voigt’s Elementary Logic and my Statements on the Logic of the Logical Calculus”) as well as a response to Mr. Voigt’s reply (“Concerning the Calculus of the Logic of Contents: Rejoinder to Mr. Husserl’s Article”) in Vierteljahrsschrift für wissenschaft- liche Philosophie. 22 December: Son Gerhart is born. 1894 Publication of “Psychologischen Studien zur elementaren Logik. I: Über die Unterscheidung von abstrakt und konkret; II: Anschauungen und Repräsentationen” (“Psychological Studies on Elementary Logic. I: On the Distinction between Abstract and Concrete; II: Intuitions and Representa- tions”) in Philosophische Monatshefte. 1895 18 October: Son Wolfgang is born. 1896 Important, but unpublished, reviews of Kasimir Twardowski’s Zur Lehre von Inhalt und Gegenstand der Vorstellungen (On the Theory of the Content and Object of Presentations) and Hans Cornelius’s Versuch einer Theorie der Existentialurteile (Essay on a Theory of Existential Judgments). 1897 Publication of “Bericht über deutsche Schriften zur Logik aus den Jahre 1894” (“Report on German Writings in Logic from the Year 1894”) in Archiv für systematische Philosophie. CHRONOLOGY: LIFE • xiii 1900 Publication of Logische Untersuchungen. Erster Teil: Prolegomena zur reinen Logik (Logical Investigations. Prolegomena to Pure Logic). Delivers lecture titled “On a Psychological Grounding of Logic” to the Philo- sophical Society at Halle. Nominated a second time by the Philosophy Faculty at the University of Halle for a position as Professor Extraordinarius. 1901 Publication of Logische Untersuchungen. Zweiter Teil: Untersu- chungen zur Phänomenologie und Theorie der Erkenntnis (Logical Investiga- tions: Second Part: Investigations Concerning the Phenomenology and Theory of Knowledge). First meeting with Max Scheler. Appointment as Professor Extraordinarius at the University of Göttingen. 1902 First meeting with Johannes Daubert; this meeting resulted in contacts between Husserl and the students of Theodor Lipps in Munich and, eventually, the establishment of the Munich Circle. 1903–1904 Publication of “Bericht über deutsche Schriften zur Logik in den Jahren 1895–1899” (“Report on German Writings in Logic from the Years 1895–1899”) in five parts in Archiv für systematische Philosophie. 1904 Visits Lipps and his students in Munich. 1905 Visits Wilhelm Dilthey in Berlin. Nomination for position of Professor Ordinarius (tenured full professor) is opposed by the Philosophy Faculty of the University of Göttingen. Receives word that he has been listed by the Philosophy Faculty at the University of Breslau as a possible successor to Hermann von Ebbinghaus. 28 July: Nominated by the Philosophy Faculty at the University of Halle to be the successor to Aloys Riehl. 1906 28 June: Named Professor Ordinarius at the University of Göttingen by King Wilhelm of Prussia. 1907 Visits Brentano in Florence. Foundation of the Göttinger Philosophische Gesellschaft by Theodor Conrad. March–April: Delivers a series of five lectures titled Die Idee der Phänomenologie (The Idea of Phe- nomenology). 1909 Visited by Paul Natorp. 1910 25 January: Agrees to collaborate with Heinrich Rickert as editor of the new journal Logos. Publication of Husserl’s review of Anton Marty’s xiv • CHRONOLOGY: LIFE Untersuchungen zur Grundlegung der allgemeine Grammatik und Sprach- philosophie in Deutsche Literaturzeitung. 1911 Publication of “Philosophy als strenge Wissenschaft”
Load more

Recommended publications
  • Studienraum Study A
    B i o - B i BL i o g R a F i s c H e s L e x i Ko n B i o g R a PH i c a L a n d B i BL i o g R a PH i c a L L e x i c o n Kurt Badt concentration camp in Dachau in 1933. Dismissed Paul Frankl Nach künstlerischem Studium an den Kunstge- des Zweiten Weltkrieges 15-monatige Internierung Ruth Kraemer, geb. schweisheimer in 1971 and worked at the Bibliotheca Hertziana Studied art history in Berlin, Heidelberg, Munich, at the Staatliche Museen zu Berlin until 1935. Dis- VERÖFFENTLICHUNGEN \ PUBLICATIONS: Museen, 1932 Habilitation bei Pinder. 1933 Ent- Studied art history from 1918–1921 in Munich after geb. 03.03.1890 in Berlin, from the Bayerisches Nationalmuseum in 1935 by b. 01/02/1878 in Prague; werbeschulen in München und Halle 1928–1933 unter dem Vichy-Regime. 1964 verstarb Heinemann geb. 27.08.1908 in München, in Rome. Received the honorary citizenship of the and Leipzig. Gained doctorate in 1924 under Pinder. missed in 1935 by the National Socialist authorities. Augustin Hirschvogel. Ein Meister der Deutschen lassung als Privatdozent durch die nationalsozia- active service in World War I. Gained doctorate in gest. 22.11.1973 in Überlingen am Bodensee the National Socialist authorities. Emigrated to the d. 04/22/1962 in Princeton, NJ (USA) Studium der Kunstgeschichte in München. 1933 über den sich seit 1957 hinziehenden Entschädi- gest. 27.09.2005 in New York, NY (USA) city of Rome shortly before his death.
    [Show full text]
  • November 2012 Newsletter
    historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 29, No. 2 November 2012 Jan and/or Hubert van Eyck, The Three Marys at the Tomb, c. 1425-1435. Oil on panel. Museum Boijmans Van Beuningen, Rotterdam. In the exhibition “De weg naar Van Eyck,” Museum Boijmans Van Beuningen, October 13, 2012 – February 10, 2013. HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President - Stephanie Dickey (2009–2013) Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Vice-President - Amy Golahny (2009–2013) Lycoming College Williamsport, PA 17701 Treasurer - Rebecca Brienen University of Miami Art & Art History Department PO Box 248106 Coral Gables FL 33124-2618 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Contents Board Members President's Message .............................................................. 1 Paul Crenshaw (2012-2016) HNA News ............................................................................1 Wayne Franits (2009-2013) Personalia ............................................................................... 2 Martha Hollander (2012-2016) Exhibitions ............................................................................ 3 Henry Luttikhuizen (2009 and 2010-2014)
    [Show full text]
  • Robert Lehman Papers
    Robert Lehman papers Finding aid prepared by Larry Weimer The Robert Lehman Collection Archival Project was generously funded by the Robert Lehman Foundation, Inc. This finding aid was generated using Archivists' Toolkit on September 24, 2014 Robert Lehman Collection The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY, 10028 [email protected] Robert Lehman papers Table of Contents Summary Information .......................................................................................................3 Biographical/Historical note................................................................................................4 Scope and Contents note...................................................................................................34 Arrangement note.............................................................................................................. 36 Administrative Information ............................................................................................ 37 Related Materials ............................................................................................................ 39 Controlled Access Headings............................................................................................. 41 Bibliography...................................................................................................................... 40 Collection Inventory..........................................................................................................43 Series I. General
    [Show full text]
  • The William Suhr Papers at the Getty Research Institute
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications and Creative Activity, School of Art, Art History and Design Art, Art History and Design, School of Fall 2010 The William Suhr Papers at the Getty Research Institute Alison G. Stewart University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/artfacpub Part of the History of Art, Architecture, and Archaeology Commons Stewart, Alison G., "The William Suhr Papers at the Getty Research Institute" (2010). Faculty Publications and Creative Activity, School of Art, Art History and Design. 14. https://digitalcommons.unl.edu/artfacpub/14 This Article is brought to you for free and open access by the Art, Art History and Design, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications and Creative Activity, School of Art, Art History and Design by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Fall Volume 35 Number 3 VRA Bulletin 2008 Feature Articles Rembrandt Harmensz van Rijn, Dutch, 1606-1669. Portrait of a Young Man, 1666. Oil on canvas. Purchase: Nelson Trust, 31-75. Courtesy of The Nelson-Atkins Museum of Art. The William Suhr Papers at the Getty Northern European paintings and prints. It was then that I was Research Institute∗ introduced to Suhr’s before- and after-treatment photographs documenting the paintings he cleaned in the United States. Interfiled within the boxes of the Photo Archive at the Getty Alison G. Stewart, University of Nebraska-Lincoln Center, the Suhr photographs offered interesting images that began my interest in the Suhr archive and piqued my curiosity for more information.
    [Show full text]
  • Contributions to Phenomenology in Cooperation with the Center For
    Contributions To Phenomenology In Cooperation with The Center for Advanced Research in Phenomenology Volume 100 Series Editors Nicolas de Warren, Pennsylvania State University, PA, USA Ted Toadvine, Pennsylvania State University, PA, USA Editorial Board Lilian Alweiss, Trinity College Dublin, Ireland Elizabeth Behnke, Ferndale, WA, USA Rudolf Bernet, Husserl Archive, KU Leuven, Belgium David Carr, Emory University, GA, USA Chan-Fai Cheung, Chinese University Hong Kong, China James Dodd, New School University, NY, USA Lester Embree, Florida Atlantic University, FL, USA Alfredo Ferrarin, Università di Pisa, Italy Burt Hopkins, University of Lille, France José Huertas-Jourda, Wilfrid Laurier University, Canada Kwok-Ying Lau, Chinese University Hong Kong, China Nam-In Lee, Seoul National University, Korea Rosemary R.P. Lerner, Pontificia Universidad Católica del Perú, Peru Dieter Lohmar, University of Cologne, Germany William R. McKenna, Miami University, OH, USA Algis Mickunas, Ohio University, OH, USA J.N. Mohanty, Temple University, PA, USA Junichi Murata, University of Tokyo, Japan Thomas Nenon, The University of Memphis, TN, USA Thomas M. Seebohm, Johannes Gutenberg-Universität, Germany Gail Soffer, Rome, Italy Anthony Steinbock, Southern Illinois University at Carbondale, IL, USA Shigeru Taguchi, Hokkaido University, Japan Dan Zahavi, University of Copenhagen, Denmark Richard M. Zaner, Vanderbilt University, TN, USA Scope The purpose of the series is to serve as a vehicle for the pursuit of phenomenological research across a broad spectrum, including cross-over developments with other fields of inquiry such as the social sciences and cognitive science. Since its establishment in 1987, Contributions to Phenomenology has published more than 80 titles on diverse themes of phenomenological philosophy.
    [Show full text]
  • A Farm in the Sunlight
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Meindert Hobbema Dutch, 1638 - 1709 A Farm in the Sunlight 1668 oil on canvas overall: 81.9 x 66.4 cm (32 1/4 x 26 1/8 in.) Inscription: lower right, remnants of a signature and date: ..bbema .668 Andrew W. Mellon Collection 1937.1.60 ENTRY This rural landscape scene has long been esteemed as one of Hobbema’s finest paintings. In 1890 Michel described it as one of the artist’s most remarkable works and Bode, in the translation of his 1910 catalog, termed it “a masterpiece with which few can compare.”[1] Its distinguished provenance dates back to the end of the eighteenth century. From its earliest appearance in the literature, it formed a pendant to Hobbema’s famous painting of a watermill, now in the Louvre [fig. 1].[2] The two works were separated at the Nieuwenhuys sale in 1833. As in other instances where pendant relationships in Hobbema’s work seems to exist, no irrefutable proof exists that these works were originally intended to be hung together, although compositional and stylistic similarities reinforce the historical evidence. In both paintings the focus of the composition is the sunlit farm buildings in the middle ground. The shaded large trees that occupy the foreground have long, flowing trunks surmounted by an open structure of branches and foliage. Their dark brownish green tones act as a foil to the yellow glow of the sunlit distance. Above all, the vertical formats of the paintings, rare among Hobbema’s works, argue for the hypothesis that they were pendants.
    [Show full text]
  • Rembrandt: Britain's Discovery of the Master
    Rembrandt: Britain's Discovery of the Master 2018-07-07 2018-10-14 Objects proposed for protection under Part Six of the Tribunals, Courts and Enforcement Act 2007 (Protections of cultural objects on loan from outside the UK). Albertina Museum, Albertinaplatz 1, Vienna A-1010 Austria Type of work: Drawing Title: View of Windsor Castle Date Created: About 1640 Maker: Rembrandt (Rembrandt Harmensz van Rijn) Maker dates: 1606 - 1669 Nationality: Dutch Dimensions: 18.30 x 29.70 cm Materials: Pen and brown ink, brown wash and traces of black chalk on paper Identifying None marks: Place of Amsterdam manufacture: Ownership This object has a complete ownership history from the beginning of the year 1933 to the end of the year 1933 - 1945: 1945. Provenance: A.-J. Dezallier d’Argenville [L.2951], by 1765; Moritz von Fries, Vienna and Paris [Lugt 2903]; Duke Albert of Saxe-Teschen, by 1822. Exhibition Not recorded history: Publications Otto Benesch, The Drawings of Rembrandt, 6 vols, London, 1954-1957, 2nd edn, enlarged and edited by history: Eva Benesch, London and New York, 1973, no.786; Holm Bevers, ‘Review of: Peter Schatborn, Rembrandt and His Pupils: Drawings in the Frits Lugt Collection’, Master Drawings, 2012, vol.50, no.3, pp. 402-04; Peter Schatborn and Leonore van Sloten, Old Drawings, New Names: Rembrandt and his Contemporaries, exh. cat., Amsterdam (Museum het Rembrandthuis), 2014, pp.106-09 Page 1 of 16 Type of work: Drawing Title: View of London with Old St Paul's Date Created: About 1640 Maker: Rembrandt (Rembrandt Harmensz van Rijn) Maker dates: 1606 - 1669 Nationality: Dutch Dimensions: 17.70 x 32.10 cm Materials: Pen and brown ink, brown wash and some black chalk on paper Identifying None marks: Place of Amsterdam manufacture: Ownership This object has a complete ownership history from the beginning of the year 1933 to the end of the year 1933 - 1945: 1945.
    [Show full text]
  • Jacob Van Ruisdael's Trees
    Jacob van Ruisdael’s Trees by PETER ASHTON, ALICE 1. DAVIES, and SEYMOUR SLIVE This article appears in conjunction with the exhibition Jacob van Ruisdael (1628-1682) on view in the Fogg Art Museum, Harvard University, 18 January-I1 April 1982, and represents a collabora- tive venture between the Arnold Arboretum and the Fogg. Every one uJ naisduei~5 worizs, Jrurrt wYtie,it iite cietaiia iiiaairui,eci itere ituue been taken, may be examined at the exhibition by the interested reader. The catalogue numbers cited refer to the exhibition cata- logue prepared by Seymour Slive. Modern botanical illustration, in which plants are drawn from life with careful attention to those characteristics which distinguish their species, dates from 1530 when Otto Brunfels, physician to the city of Bern, published Herbarium Vivae Eicones. The art of illustrating plants almost certainly existed in classical times, though none of these illustrations survive. On Pliny the Elder’s authority, the father of botanical illustration is considered to be Cratevas, physician to Mithridates VI, a king of Pontus in the last century before Christ, though illustrated herbals seem to have been common in the Greek world by that time. From the sixth Christian century onwards, Byzan- tine manuscripts exist in which plants are depicted in a naturalistic manner uncharacteristic of that artistic tradition, strongly suggesting Peter Ashton zs Arnold Professor of Botany, Professor of Dendrology and Director of the Arnold Arboretum, Harvard Umversity. Dr. Alice I. Davies zs a Research Asslstant at the Fogg Art Museum, Harvard University. Seymour Slive zs Gleason Professor of Fzzze Arts and Dzrector of the Fogg Art ~ Museum, Harvard University.
    [Show full text]
  • Dutch and Flemish Art at the Utah Museum of Fine Arts A
    DUTCH AND FLEMISH ART AT THE UTAH MUSEUM OF FINE ARTS A Guide to the Collection by Ursula M. Brinkmann Pimentel Copyright © Ursula Marie Brinkmann Pimentel 1993 All Rights Reserved Published by the Utah Museum of Fine Arts, University of Utah, Salt Lake City, UT 84112. This publication is made possible, in part, by a grant from the Salt Lake County Commission. Accredited by the CONTENTS Page Acknowledgments…………………………………………………………………………………………………..……...7 History of the Utah Museum of Fine Arts and its Dutch and Flemish Collection…………………………….…..……….8 Art of the Netherlands: Visual Images as Cultural Reflections…………………………………………………….....…17 Catalogue……………………………………………………………………………………………………………….…31 Explanation of Cataloguing Practices………………………………………………………………………………….…32 1 Unknown Artist (Flemish?), Bust Portrait of a Bearded Man…………………………………………………..34 2 Ambrosius Benson, Elegant Couples Dancing in a Landscape…………………………………………………38 3 Unknown Artist (Dutch?), Visiones Apocalypticae……………………………………………………………...42 4 Pieter Bruegel the Elder, Charity (Charitas) (1559), after a drawing; Plate no. 3 of The Seven Virtues, published by Hieronymous Cock……………………………………………………………45 5 Jan (or Johan) Wierix, Pieter Coecke van Aelst holding a Palette and Brushes, no. 16 from the Cock-Lampsonius Set, first edition (1572)…………………………………………………..…48 6 Jan (or Johan) Wierix, Jan van Amstel (Jan de Hollander), no. 11 from the Cock-Lampsonius Set, first edition (1572)………………………………………………………….……….51 7 Jan van der Straet, called Stradanus, Title Page from Equile. Ioannis Austriaci
    [Show full text]
  • The Mill 1645/1648 Oil on Canvas Overall: 87.6 X 105.6 Cm (34 1/2 X 41 9/16 In.) Framed: 125.1 × 142.24 Cm (49 1/4 × 56 In.) Widener Collection 1942.9.62
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Rembrandt van Rijn Dutch, 1606 - 1669 The Mill 1645/1648 oil on canvas overall: 87.6 x 105.6 cm (34 1/2 x 41 9/16 in.) framed: 125.1 × 142.24 cm (49 1/4 × 56 in.) Widener Collection 1942.9.62 ENTRY Of all the paintings by Rembrandt in the National Gallery of Art, none has provoked stronger feelings over the years than has The Mill. The enormous fame accorded it in the nineteenth century, when it was admired by artists and critics alike, culminated when it was sold in London in 1911 for the extraordinary sum of £ 100,000. [1] The purchaser was Peter A. B. Widener, the millionaire collector from Philadelphia. Before The Mill left England, it was brought to the National Gallery in London to be put on public exhibition for two brief days. Newspaper reports indicate that some eleven thousand people visited the painting each day [fig. 1]. Somewhat later, Wilhelm von Bode, director of the Kaiser Friedrich Museum, Berlin, and the greatest Rembrandt scholar of his day, visited Widener’s son at his residence in Philadelphia, Lynnewood Hall, and pronounced the painting “the greatest picture in the world. The greatest picture by any artist.” [2] The prominent status of the painting at Lynnewood Hall was upheld at the National Gallery of Art after the Widener bequest of 1942. It has always been viewed as the most important Rembrandt painting in the collection. When John Walker retired as director of the Gallery in 1969, he posed for photographers in front of The Mill.
    [Show full text]
  • Emanuel De Witte's Sermon Paintings
    EMANUEL DE WITTE’S SERMON PAINTINGS: SIGHT, SOUND AND SPIRITUALITY by Sara Rachel Bordeaux A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History Spring 2014 © 2014 Sara Rachel Bordeaux All Rights Reserved ProQuest Number:10185113 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent on the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. ProQuest 10185113 Published by ProQuest LLC (2020). Copyright of the Dissertation is held by the Author. All Rights Reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 EMANUEL DE WITTE’S SERMON PAINTINGS: SIGHT, SOUND AND SPIRITUALITY by Sara Rachel Bordeaux Approved: __________________________________________________________ Lawrence Nees, Ph.D. Chair of the Department of Art History Approved: __________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ James G. Richards, Ph.D. Vice Provost for Graduate and Professional Education I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ H. Perry Chapman, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy.
    [Show full text]
  • Do Mistakes Always Matter? Jakob Rosenberg's Rembrandt Life and Work
    Do mistakes always matter? Jakob Rosenberg’s Rembrandt Life and Work Catherine B. Scallen When the Harvard art historian and curator Jakob Rosenberg died in April 1980, his New York Times obituary described his book Rembrandt as ‘definitive’.1 His younger colleague and co- author, Seymour Slive, was quoted as saying it was ‘the most profound book that has ever been written on this topic’. In his thematically-organized monograph Rosenberg offered an eloquent interpretation of the artist as one simultaneously attentive to both surface and depth, exterior and interior worlds, whose work conveyed a kind of spiritual depth unseen in other Dutch artists of the time in Rosenberg’s view. The publication history of Rosenberg’s Rembrandt book indicates its positive reception over time. First published by Harvard University Press in 1948, a slightly revised edition with an additional preface appeared in 1964 through the Phaidon Press.2 This revised edition was re- published in 1980 (with a second new preface) by Cornell University Press in collaboration with Phaidon in a series called ‘Landmarks in Art History’.3 While it was later superseded in currency by monographs by Christopher White (1984) and Mariët Westermann (2000), it was the text that most Anglophone Rembrandt scholars first turned to for two generations.4 Indeed, when it first appeared, Wolfgang Stechow wrote that Overlooking the development of research on Rembrandt's art which has taken place between, say, Adolf Rosenberg (1904) and Jakob Rosenberg (1948), one becomes somewhat optimistic about the chances of an eventual ‘complete’ understanding of the master so far as that can be reached independent of the idiosyncrasies of a given generation (and there is still hope, I think, for that kind of objective progress).
    [Show full text]