DOCSLIB.ORG

The Pilgrims' Experience at S. Maria Rotonda

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Pilgrims' Experience at S. Maria Rotonda And They Were Always in the Temple: The Pilgrims’ Experience at S. Maria Rotonda Hanneke VAN ASPEREN Although not one of Rome’s earliest Christian The Pantheon as a Church churches, the Pantheon is one of Rome’s oldest and most prominent buildings. Built by Hadrian In 609, 610, or perhaps 613, Pope Boniface IV as a templum,1 it stood abandoned for some time (608-15) consecrated the classical building that is 3 in the Early Middle Ages. It started to function as still known today as the Pantheon. According a church only in the early decades of the seventh to the Liber pontificalis, the Pantheon became ‘the century when it was dedicated to the Virgin and Church of the Blessed Mary, always a Virgin, 4 all martyrs, and it has been a place of Christian and All Martyrs’. Circular churches were not at worship ever since. The building underwent all unusual at the time as S. Stefano Rotondo, many interventions during the Middle Ages and built for Pope Simplicius (468-83), clearly dem- it has been considered something of a miracle onstrates. The dedication to all martyrs seems that the Roman building has survived at all. Its to have followed on from the tradition of the transformation into a church in the seventh cen- Pantheon being a temple to all the gods, but the tury was surely crucial, but much remains un- Virgin became its most important titular. The clear about how the pagan, and therefore taint- pope might have been inspired by a tradition, ed, history of the edifice was accommodated already firmly established in the east, of associ- 5 once the function of Christian church was im- ating round churches with the Virgin. Retro- posed upon it. The Pantheon’s enormous round spectively, a story emerged that the Pantheon open space with its grand cupola was not well had previously been a temple to the mother- 6 suited to its new function. The roof has a large goddess Cybele. She anticipated the dedication hole in the middle to let the light in, but also of the building to the Virgin just as all gods had allows in any precipitation and, in winter, the prefigured all martyrs. The inclusion of Cybele cold. Still, the building attracted much attention in the proto-history of the church, especially from the devout, during the High and Late Mid- her privileged position among the other gods, dle Ages. The city of Rome where the Pantheon was supposedly invented to underscore the posi- is situ ated was well endowed with antique and tion of the Virgin at the top of the hierarchy of believed-to-be antique buildings and statues that saints. Since the Virgin was the most important embodied the medieval ideal of romanitas. For figure, the roots of the Pantheon’s dedication to pilgrims however, the building must have had her had to be present from the start too. an attraction that exceeded its connection with The building’s most prominent features, the the Roman past. The subject of this contribution circular floor plan, the cupola and the round is not the physical appearance or liturgical use hole, became its identifying marks. Although of the Pantheon, which have been the primary the church was officially known as Mary among focus of Sible de Blaauw’s careful attention.2 In- the Martyrs from the seventh century onwards, stead, I will turn my attention to the Christian its popular name became S. Maria Rotonda, or interpretations of its classical architecture dur- ‘the Round Church of St Mary’. Serving as a ing the heyday of medieval pilgrimage to Rome. conduit between east and west, S. Maria Roton- Although ideas and associations are intangible, da became a model in the West for circular, and it is possible to catch a glimpse of the medieval centralized, churches dedicated to Mary, such perspectives on the Pantheon from surviving as the chapels at Centula, Würzburg, Altötting, 7 images, such as pilgrimage souvenirs. and Ludwigstadt. Significantly, the additional title of S. Maria Rotonda already appears in 85 Hanneke van Asperen Fig. 1. Rome, S. Maria Rotonda (Pantheon), interior, looking towards the main apse and upwards. Photo in the public domain. eighth-century pilgrims’ itineraries,8 and from tion and was most likely intended to reinforce the twelfth century, the name of S. Maria Ro- the special relationship of the new church with tonda also appears in official documents.9 S. Ma- the Virgin. The icon of the Virgin bore witness ria Rotonda, and not S. Maria ad Martyres, is to the established hierarchy, not the other way the name written on twelfth- and thirteenth- around. Nor did the icon become the main fo- century pilgrims’ souvenirs (Figs 2 and 3). In cus of the pilgrimage cult later, or at least this agreement with its popular name, these souve- does not emerge from the sources. The icon is nir badges depict the Virgin and Child in the hardly mentioned in the Indulgentiae ecclesiarum round church, without additional figures, with- urbis Romae [‘The Indulgences of the churches out martyrs or saints. of the city of Rome’].11 In his description of Besides being a church and a model for sanc- Rome, Nikolaus Muffel c. ( 1410-69) mentions tuaries elsewhere, the former Pantheon became an apparition of the Virgin to a large group of a site of pilgrimage which attracted pilgrims martyrs who were inside the church.12 They had from far and wide. Much importance has been refused to honour the pagan gods and turned to attributed to a Byzantine icon of the Virgin and Mary who came to console them. Muffel does Child in the pilgrimage cult of S. Maria Ro- not mention the icon, only the apparition of tonda, but its significance must not be overes- the Virgin, on a site where an altar was erect- timated.10 First of all, the dedication of the for- ed afterwards to commemorate the miraculous mer pagan temple to the Virgin was probably event. In another story in the Liber pontificalis, not instigated by the icon. On the contrary, the from the time of Pope Stephanus III (768-72), a icon’s being placed inside the S. Maria Rotonda Lombard priest called Waldipert turned to the seems to have followed shortly after the dedica- church for asylum ‘while Waldipert carried his 86 And They Were Always in the Temple image [imaginem ipsius] of the mother of God Likewise, the miraculous story of the trans- to this place’.13 The narrative seems to indicate formation of the pagan building into a church that the priest brought the image with him, al- focuses on the architecture. When the pope though it is impossible to be sure on the basis of consecrated the former mausoleum and temple, this short passage. Pilgrims hardly mention the the devil had supposedly appeared and tried to image in their accounts. In comparison, icons of demolish the building to stop its transformation. the Virgin in other churches of Rome are de- He failed, and in total frustration he took the scribed elaborately, even if they play a subsidiary metal knob from the top of the building and role among the relics, for example in St Peter’s threw it into the river Tiber. With the removal or in S. Maria Maggiore.14 of the knob and the subsequent creation of the No saint had been martyred on the site of the oculus, light could enter the building, symboli- rotunda, no divine vision had preceded its con- cally creating a direct link with heaven. The struction and pilgrims’ accounts and the Indul- miracle marked the moment when God entered gentiae evoke an image of a church with few rel- the building. To further underscore God’s be- ics. Muffel does mention a large number of relics nevolence towards, or direct interference in, at the Pantheon at the time of the consecration, the consecration, the knob was miraculously but this is a later construction without historic retrieved and brought to St Peter’s for visitors to basis.15 Sources dating back to the fifteenth cen- marvel upon. Books with the Indulgentiae men- tury mention the relics of Sts Rasius and An- tion the object in the atrium of St Peter’s.20 As astasius, but these are not mentioned in older a tangible remnant of the pagan proto-history descriptions.16 They might have been installed of S. Maria Rotonda, it showed that the con- later to emphasize the dedication to Mary and secration had met with divine approval and the the martyrs and they were presumably not the building, although pagan at first, had always focus of the pilgrimage cult. Although the link been destined to become a place of Christian of the former pagan temple with the Virgin was worship.21 strong from the beginning and remained firm, In line with the pilgrims’ accounts, the no concrete evidence emerges of a cult focusing badges that pilgrims took home also depicted on relics or on the icon. a circular and domed church with an oculus. A chronology of badges is hard to define be- Fascination with Architecture cause they remained the same over a long period of time and it is often not possible to date them Different sources indicate that pilgrims were on the basis of archaeological evidence. Never- drawn primarily to the building and, after that, theless, those few badges that might be dated to the icon or the relics. Pilgrims’ accounts fo- indicate that the souvenir production for the cus on the architectural elements, primarily S. Maria Rotonda had been established in the the round shape, the spacious interior and the early fourteenth century and might go back to oculus.
Load more

Recommended publications
  • The Rebuilding and Redecoration of the Holy Apostles in Constantinople: a Reconsideration , Greek, Roman and Byzantine Studies, 23:1 (1982:Spring) P.79
    WHARTON EPSTEIN, ANN, The Rebuilding and Redecoration of the Holy Apostles in Constantinople: A Reconsideration , Greek, Roman and Byzantine Studies, 23:1 (1982:Spring) p.79 The Rebuilding and Redecoration of the Holy Apostles in Constantinople: A Reconsideration Ann Wharton Epstein NY MATERIAL REMAINS of the Church of the Holy Apostles in A Constantinople are now inaccessibly buried under the eigh­ teenth-century Fetih Mosque. l Despite the fact that this great church no longer exists, it continues to concern art and architectural historians for a number of good reasons. After Saint Sophia, the Holy Apostles was the most important church in the capital of the Byzantine Empire, not only because of its size and dedication, but also because of its function as the burial place of the emperors from the fourth to the eleventh century. Furthermore, along with monu­ ments like the Holy Sepulchre in Jerusalem, the Holy Apostles was one of the most influential buildings of the Middle Ages, providing the model for numerous foundations with Apostolic dedications. Finally, associated with the Holy Apostles is a relatively rich cache of literary sources, including several mediaeval ekphrases or descrip­ tions. These texts have not merely aroused academic interest~ be­ cause of their impressionistic form they have also stimulated schol­ arly imagination. It is not the object of this note to review the various reconstructions of the Holy Apostles that have been put forward. Rather it is simply a reconsideration of the post-ninth­ century phases of rebuilding and of redecoration that have been postulated by Professor Richard Krautheimer and Professor Ernst Kitzinger respectively.2 These hypotheses deserve close attention as they have considerably influenced the contemporary historiography of Byzantine art.
    [Show full text]
  • 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]
  • Erfurter Stadtgeschichte: Das Leben Der Juden in Der Zeit Vom 11. Bis 15
    Christoph Wirth Erfurter Stadtgeschichte: Das Leben der Juden in Erfurt in der Zeit vom 11. bis 15. Jahrhundert Eine Spurensuche Erfurter Synagoge (1357 bis 1458) Inhaltsverzeichnis 1. Der mittelalterliche jüdische Friedhof S. 1 2. Das jüdische Viertel in Erfurt S. 10 2. 1. Lage des jüdischen Viertels S. 10 2. 2. Alte Synagoge und Synagoge von 1357 S. 13 2. 3. Rituelles Bad (Mikwe) S. 18 2. 4. Jüdisches Gemeindehaus S. 20 3. Zeugnisse über Juden in Erfurt vor 1349 S. 21 4. Rechtsstellung der Erfurter Juden vor 1349 S. 24 5. Berufliche Tätigkeiten der Erfurter Juden S. 27 6. Pogrome an Erfurter Juden vor 1349 S. 30 7. Das Pogrom von 1349 S. 34 8. Wiederansiedlung von Juden in Erfurt nach S. 39 dem Pogrom von 1349 9. Vertreibung der Erfurter Juden S. 44 Literaturverzeichnis S. 47 Abbildungen S. 55 Abbildungsverzeichnis S. 61 1 Das Leben der Juden in Erfurt in der Zeit vom 11. bis 15. Jahrhundert – Eine Spurensuche 1. Der mittelalterliche jüdische Friedhof Erstmals wurde der mittelalterliche jüdische Friedhof in Erfurt 1287 in einer Einigung zwischen dem Mainzer Erzbischof und der Stadt Erfurt erwähnt, worin der Erzbischof bezeugte, „keine Forderungen mehr wegen der Juden zu Erfurt, insbesondere wegen deren Kirchhof (Friedhof, A. d. V.) oder ihrer Synagoge stellen“ zu wollen. „Wie die Synagoge, so bestand auch der Kirchhof zu dieser Zeit schon länger. Aufgefundene Grabsteine können bis in die 1250-er Jahre zurückdatiert werden.“ 1 Die Bezeichnung der jüdischen Gemeinschaft in Erfurt als Kehila – Gemeinde – in den 1270-er Jahren verweist nach Angaben von Maike Lämmerhirt in ihrem 2010 veröffentlichten Aufsatz „Zur Geschichte der Juden in Erfurt“ darauf, dass zu dieser Zeit in Erfurt „eine vollausgebildete Gemeinde mit Friedhof bestand.
    [Show full text]
  • Trude Krautheimer-Hess
    487766 Trude Krautheimer-Hess Duits, Amerikaans kunsthistoricus, tekeningenverzamelaar Naamvarianten In dit veld worden niet-voorkeursnamen zoals die in bronnen zijn aangetroffen, vastgelegd en toegankelijk gemaakt. Dit zijn bijvoorbeeld andere schrijfwijzen, bijnamen of namen van getrouwde vrouwen met of juist zonder de achternaam van een echtgenoot. Hess, Trude Kwalificaties kunsthistoricus, tekeningenverzamelaar Together with her husband she collected mainly drawings, especially of Italy and Rome. The collection was auctioned in 1996. Nationaliteit/school Duits, Amerikaans Geboren Erfurt 1902-02-11 Overleden Rome 1987-09-12 Familierelaties in dit veld wordt een familierelatie met één of meer andere kunstenaars vermeld. In 1924 she married the art historian Richard Krautheimer. Zie ook in dit veld vindt u verwijzingen naar een groepsnaam of naar de kunstenaars die deel uitma(a)k(t)en van de groep. Ook kunt u verwijzingen naar andere kunstenaars aantreffen als het gaat om samenwerking zonder dat er sprake is van een groep(snaam). Dit is bijvoorbeeld het geval bij kunstenaars die gedeelten in werken van een andere kunstenaar voor hun rekening hebben genomen (zoals bij P.P. Rubens en J. Brueghel I). Krautheimer, Richard Krautheimer, Richard & Trude Deze persoon/entiteit in andere databases 1 treffer in RKDlibrary als auteur Verder zoeken in RKDartists& Geboren 1902-02-11 Sterfplaats Rome Plaats van werkzaamheid Marburg an der Lahn Plaats van werkzaamheid Rome Plaats van werkzaamheid Louisville (Kentucky) Plaats van werkzaamheid Poughkeepsie (New York) Plaats van werkzaamheid New York City Kwalificaties kunsthistoricus Kwalificaties tekeningenverzamelaar Auteur Krautheimer-Hess, Trude Biografische gegevens Werkzaam in Hier wordt vermeld waar de kunstenaar (langere tijd) heeft gewerkt en in welke periode.
    [Show full text]
  • Joseph Connors
    Joseph Connors, “L’ ‘architettura aperta’ di Richard Pommer e la geografia culturale della storia dell’arte a New York nell’immediato dopoguerra”, in Architettura del Settecento in Piemonte. Le strutture aperte di Juvarra, Alfieri e Vittone, BY RICHARD POMMER, ed. GIUSEPPE DARDANELLO, Turin, Allemandi, 2003, pp. XV–XIX. Introduction to the Italian translation of Richard Pommer, Eighteenth-Century Architecture in Piedmont: The Open Structures of Juvarra, Alfieri and Vittone, New York, 1967 Eighteenth-century Architecture in Piedmont is a work of stunning originality that first began to take shape in the mind of a young American in his late twenties who visited Piedmont for the first time in the summer of 1958. Richard Pommer (1930-92) had come to Turin to write a monograph on Vittone, but he discovered an interpretative key of great power that shed light on a century of architecture and tied together the three giants of the period, Guarini, Juvarra and Vittone. This key is the idea of open structures. It refers to an architecture that is not solid and Roman, but perforated, bored through, skeletal, full of air and light, mildly reminiscent, in the minds of early theorists, of the gothic. The buildings are covered by domes and vaults that are tents of webbing, flooded with light, floating as if weightless over aereal cages. As different as Guarini is from Juvarra the central theme of both architects was the exploration of open structures. But it was Vittone who best expressed their common ideal: “The eye has full liberty to range down the church at its pleasure”; “that satisfaction which [vision] receives when extending through a great space to enjoy the variety of the objects, with fewer obstructions to impede it.” This is the guiding theme of the book, “the pleasure of unhindered vision.” Pommer conducted two years of research in Turin between 1958 and 1960, but since he began his work in New York and finished it there, it is interesting to reflect for a moment on the cultural geography of art history in New York in the immediate postwar period.
    [Show full text]
  • A Bittersweet NYU Institute of Fine Arts Interlude 1963-1965
    Where’s Willibald? A bittersweet NYU Institute of Fine Arts interlude 1963-1965 Colin Eisler Remembering the brilliant medievalist Aenne Liebreich (1899-1939/40?) – Henri Focillon’s research assistant. She committed suicide in Paris upon Germany’s French conquest. As a Yale undergraduate (’52), my excellent art history teachers conveyed European visual culture with rare depth, their mastery largely due to study under the twentieth century’s major art historian, Henri Focillon (1881-1943). With Nazism’s rise, he came to teach at Yale in 1939, dying in New Haven four years later. Despite his inspired Continental tutelage – ever delivered in French – a trans-Atlantic divide often distanced an alien Catholic world from Mother Eli’s still surviving, relentlessly Puritanical founding ethos. When in my sophomore and junior years, I could take graduate seminars with such visiting German- born luminaries as Erwin Panofsky (1872-1969) and Richard Krautheimer (1897-1994), their relaxed, almost proprietorial air toward European arts was a welcome surprise, though I too was a German refugee, having fled Hamburg as a Jewish babe-in-arms in 1933. At that time, Yale, as with all fashionable American private universities, hired few Jewish (let alone refugee) professors, these seldom if ever in the humanities. Protestant refugees did better, notably Werner Jaeger at Chicago and Harvard (1888-1961) and Wolfgang Stechow (1896-1974) (of Jewish ancestry) at Oberlin. Superstar Erich Auerbach (1892-1957) languished at Penn State following wartime Turkish asylum until Erwin Panofsky came to his rescue, inviting him to Princeton’s Institute, after which he went on to Yale.
    [Show full text]
  • Leo Steinberg Research Papers, 1945-1996, Bulk 1950-1993
    http://oac.cdlib.org/findaid/ark:/13030/tf8z09n9w6 Online items available Finding aid for the Leo Steinberg research papers, 1945-1996, bulk 1950-1993 Rose Lachman. Finding aid for the Leo Steinberg 930046 1 research papers, 1945-1996, bulk 1950-1993 Descriptive Summary Title: Leo Steinberg research papers Date (inclusive): 1945-1996 (bulk 1950-1993) Number: 930046 Creator/Collector: Steinberg, Leo, 1920-2011 Physical Description: 12 Linear Feet(54 boxes, 63 unprocessed boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Art historian, critic, lecturer, and professor. The papers consist of research notes, correspondence relating to Steinberg's lectures and essays, papers written by his students, several versions of some of his essays, an abandoned dissertation project, and many of his notebooks from courses he took at the Institute of Fine Arts, New York. The archive reflects Steinberg's career as an art critic, lecturer, and teacher, ca. 1945-ca.1996. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Leo Steinberg, art historian, critic, lecturer and professor, was born in Russia in 1920 and lived in Berlin and London before emigrating to the United States in 1938. After studying at the Slade School of Art in London, he entered the Institute of Fine Arts at New York University in the mid-1950s (Ph.D., 1960), where he studied art and architecture with historians Harry Bober, Richard Krautheimer, Karl Lehmann, Wolfgang Lotz, Erwin Panofsky, Alfred Salmony and Charles Sterling.
    [Show full text]
  • Peregrinations: Journal of Medieval Art and Architecture
    Peregrinations: Journal of Medieval Art and Architecture Volume 1 Issue 4 2004 The Vanquished Synagogue, the Risen Host, and the Grateful Dead at the Salvatorkirche in Passau Mitchell B. Merback Follow this and additional works at: https://digital.kenyon.edu/perejournal Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Recommended Citation Merback, Mitchell B.. "The Vanquished Synagogue, the Risen Host, and the Grateful Dead at the Salvatorkirche in Passau." Peregrinations: Journal of Medieval Art and Architecture 1, 4 (2005). https://digital.kenyon.edu/perejournal/vol1/iss4/5 This Feature Article is brought to you for free and open access by the Art History at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in Peregrinations: Journal of Medieval Art and Architecture by an authorized editor of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. Merback The Vanquished Synagogue, the Risen Host, and the Grateful Dead at the Salvatorkirche in Passau1 By Mitchell B. Merback Ever since Richard Krautheimer’s pathfinding 1942 article introducing the “iconography of medieval architecture,” scholars have sharpened our understanding of the homologies linking new edifices with their models, even in cases when the two designs, new and old, seem at great variance from one another.2 Rather than explaining such formal differences by positing an interruption in transmission, Krautheimer was interested in
    [Show full text]
  • In Memoriam Richard Krautheimer
    Comune di Roma Bibliotheca Hertziana Sovraintendenza (Max-Planck-Institut) ai Beni Culrurali Rom IN MEMORIAM RICHARD KRAUTHEIMER Relazioni della giornata di srudi Roma, 20 febbraio 1995 Palazzo dei Conservatori, Sala dell'Ercole 1997 The Roma Alessandrina of Richard Krautheimer Irving Lavin I want to thank the organizers of this commemoration of Richard Krautheimer for inviting me to participate, and in particular to discuss the volume on the Rome of Alexander· VII. Unbeknownst to them, the occasion closes a circle in my vita krautheimen·ana that opened when I was a beginning graduate student in New York more than forty years ago. I longed to study with Krauthei­ mer, whom I had never met but whose reputation for intellectual stimulation and personal warmth was already legendary. There was a serious risk of my becoming an architectural historian had my dream come true, but it was fated not to be. He did not come to teach at New York University while I was studying there, and when he did come, I had left. My wish was at least partially gran­ ted some fifteen years later, when I myself became a professor at the Institute of Fine Arts. At last it was possible for me to take a course with Krautheimer, which I did, along with many of the students in my own class, in the spring of 1968. What makes the present occasion so special is that the subject of the course we fol­ lowed was none other than Baroque Architecture in Rome. The course contained the nuclei of many ideas that appear in the book he wrote twenty years later.
    [Show full text]
  • The Library of Professor Leo Steinberg
    The Library of Professor Leo Steinberg 4164 titles in ca. 4600 physical volumes INTRODUCTORY MATERIAL DICTIONARY OF ART HISTORIANS A Biographical Dictionary of Historic Scholars, Museum Professionals and Academic Historians of Art Steinberg, Leo, né Zalman Lev Date born: July 9, 1920 Place Born: Moscow, Russia Date died: March 13, 2011 Place died: New York, NY Michelangelo- and modernist art historian; Benjamin Franklin professor of art at University of Pennsylvania, 1975- 1991. Steinberg was born in Moscow of German-Jewish parents (his mother was Anyuta Esselson [Steinberg], 1890- 1954) and his father, Isaac Nachman Steinberg (1888-1957), government figure and lawyer in revolutionary Russia. Lenin appointed Steinberg's father commissar of justice. His idealism, (he wanted to abolish the prison system, for example) forced the family into exile in Berlin, where the younger Steinberg grew up. After the rise of the Nazis in Germany, the family moved to London where Steinberg studied (studio) painting and sculpture at the Slade School in London from 1936 to 1940. After World War II he immigrated to New York working initially as a freelance writer and translator (including a holocaust account, Ashes and Fire, 1947). He also taught drawing at the Parsons School of Design. He studied art history at the Institute of Fine Arts, New York University, under Richard Krautheimer and Wolfgang Lotz, receiving his Ph.D., in 1960. His dissertation, written under Lotz, was on Borromini's San Carlo alle Quattro Fontane. In 1962 he an art editor for Life magazine married Dorothy Seiberling (later divorced). Between 1962-1975 Steinberg taught art history and life drawing at Hunter College, the City University of New York.
    [Show full text]
  • Ackerman (1919-2016)
    CONTINGUTS DE L’EXPOSICIÓ ACKERMAN (1919-2016) Biblioteca de l’ETSAV 20.02.2017 - 24.03.2017 TRIBUT A JAMES S. ACKERMAN 1919-2016 LLIBRES James S. Ackerman (copyright Jill Slosburg-Ackerman) Exposició organitzada per Josep Giner, Raúl Martínez, José Ángel Sanz (professors del Departament de Teoria i Història de l'Arquitectura i Tècniques de Comunicació) i l’equip de la Biblioteca de l’ETSAV. Agraïments: Biblioteca Oriol Bohigas de l’ETSAB, Biblioteca d’Humanitats de la UAB, Biblioteca de la UB, Biblioteca del COAC, Biblioteca del MNAC i Jill Slosburg-Ackerman. ETSAV, Sant Cugat del Vallès, febrer del 2017. Llibres: Aquesta secció s’ha organitzat en cinc apartats temàtics per tal de facilitar la seva comprensió. Renaixement 1954. The Cortile del Belvedere. Città del Vaticano: Biblioteca Apostolica Vaticana. 1961. The Architecture of Michelangelo. London: A. Zwemmer. 1966. Palladio. Baltimore: Penguin Books. 1983. “The Tuscan/Rustic Order: A Study in the Metaphorical Language of Architecture”. A : Journal of the Society of Architectural Historians, XLII, 1 (març 1983) : 15-34. La vil·la 1986. “The Villa as Paradigm”. A : Perspecta 22 (1986) : 10-31. 1990. The Villa: Form and Ideology of Country Houses. London: Thames and Hudson. Orígens del dibuix arquitectònic 1997. “Villard de Honnecourt’s Drawings of Reims Cathedral: a Study in Architectural Representation”. A : Artibus et Historiae, 35 (1997) : 41-50. 2000. “Conventions of Architectural Drawing, North and South”. A : SEIDEL, Max (ed). Europa e l’arte italiana. Venècia : Marsilio Editori, 2000, p 220-235. Art i crítica 1958. “On American Scholarship in the Arts”. A : College Art Journal, XVII, 4 (1958) : 357-362.
    [Show full text]
  • Alnwsltr14 Layout2.Indd
    Number 49 – Spring 2014 NEWSLETTERAlumni INSTITUTE OF FINE ARTS Published by the Alumni Association of the Institute of Fine Arts 1 Contents From the Director ............3 Duke House: A Case Study in Architecture, Document Public Art in Wikipedia: Decoration, and Art History .....12 The Tony Smith Project ........4 Remembrances: The Year in Pictures ..........5 Evelyn B. Harrison .........13 Walter W. S. Cook Annual Lecture . 8 Ada Louise Huxtable .......14 My Dinner With Dr. King ......10 Outside Fellowships .........16 Remembering Professors: PhDs for 2012 - 2013 ........17 Sarah Schroth ...........11 Alumni Updates ............18 Janne Gallen-Kallela-Sirén ..11 Alumni Donors .............25 Institute of Fine Arts Alumni Association Officers: Committees: President Jennifer Eskin Walter S. Cook Lecture Yvonne Elet Gertje Utley Susan Galassi Carol Krinsky [email protected] William Hood Jay Levinson Anne Hrychuk Anita Moskowitz Vice-President Jennifer Perry Kathy Schwab Alicia Lubowski-Jahn Debra Pincus Grants [email protected] Sabine Rewald Charles Little Marie Tanner Treasurer Newsletter Lisa Rotmil Phyllis Tuchman, Editor [email protected] Schuyler Swartout Oral Histories Rebecca Rushfield CAA Reunion Mary Tavener Holmes 2 From the Director Patricia Rubin considered the forms that our research, writing, and Selinunte, Institute teams have continued and pedagogy might take in order to meet the to make major discoveries, which we will report challenges in higher education today and to seize in the second edition of the IFA Archaeology the opportunities offered by new technologies. Journal. In the mean time, I urge you to look at Recognizing that our current students will be called the photographs posted on the Institute’s tumblr.
    [Show full text]