PrincetonUniversity DEPARTMENT OF ArtArt ArAr cchaehae ooll o gygy & Newsletter Dear Friends and Colleagues: SPRING As you will read elsewhere in this one could name. We are often called upon to Inside newsletter, we are fi nally back in a delve into, and even master, many of these fi elds—not to mention a number of foreign wonderfully expanded and refur- languages—in order to understand and interpret FACULTY NEWS bished Marquand Library. I’ve images and objects. Even if our students do not worked in libraries all over the continue on in the fi eld as academics or museum professionals, their training in art history will MARQUAND LIBRARY world, and when I walked in the have prepared them for successful careers in a door of the new Marquand Library range of fi elds that knows no boundaries—as EXCAVATIONS this fall, it took my breath away. perhaps no other discipline could. Furthermore, our faculty members are not just We are especially grateful to Louisa Sarofi m, a holed up in our wonderful new library but are member of our advisory council, who—along with involved in a wide range of projects outside the UNDERGRADUATE NEWS the Brown Foundation of which she is a trustee— University. As curators or organizers of major sponsored the Rare Books Room. At her request, museum exhibitions, they enrich their teaching and the room is named for Charles Rufus Morey, chair often give students invaluable hands-on experience GRADUATE STUDENT NEWS of the department from 1924 to 1945, one of the in projects that offer insights into new cultures, foremost medievalists of his time, and founder of media, and institutions. As you can read in Faculty the original Marquand Library. This is a particu- News, during the past year they lectured around the NEW DISSERTATION TOPICS larly appropriate name for a facility that will help world, maintaining Princeton’s high profi le in the us preserve a veritable treasury of precious books fi ne arts, in locales ranging from Rome, Pisa, and manuscripts for generations yet to come. Florence, and Venice to Prague, Bonn, London, FELLOWSHIPS In reading the submissions to the newsletter I Belgrade, and Stockholm, to give a partial list. was struck by the range of Finally, I take great plea- projects carried out by our sure in announcing the pro- faculty and the diverse posi- motion to tenure of Esther da TANG CENTER tions fi lled by our former Costa Meyer. Of our tenured undergraduate and graduate faculty of sixteen professors, students. All this was a vivid four are now women. Ten years VISUAL RESOURCES COLLECTION reminder that art history is ago there was only one. By con- one of the most interdisciplin- trast, our undergraduate ranks ary fi elds in the humanities, are heavily female, with a typi- INDEX OF CHRISTIAN ART encompassing all the disci- cal graduating class of twenty- plines in addition to the visual fi ve including only two or arts per se: history, religion, three men. So it looks like a lit- NEWS FROM ALUMNI politics, anthropology, music, tle more effort in that area is in economics, literature, science, order as well. classics, and almost any fi eld Patricia Fortini Brown, ART MUSEUM NEWS chair Faculty News Patricia Fortini Brown, department chair, pub- curator of research photographs, Ćurčić organizedorganized lished a book this spring entitled Private Lives in a small exhibition, “The House in Late Antique Renaissance Venice: Art, Architecture, and the Family Syria,” drawn from the department’s archives (Yale University Press, 2004). Last fall she collabo- of drawings and photographs made by Howard rated with John Pinto in organizing an interdisci- Crosby Butler on his expeditions to Syria. The plinary symposium entitled “The Italian exhibition in McCormick Hall was conceived Renaissance City: Art, Architecture, and Civic in conjunction with the graduate seminar enti- Identity” at Princeton and in curating a related tled “The Byzantine House” that he taught in the exhibition in the Princeton University Art Museum, spring semester. Ćurčić lecturedlectured thisthis yearyear inin Bel-Bel- with the assistance of graduate student Anna grade at the School of Architecture of the Univer- Swartwood. She also gave a lecture entitled “The sity of Belgrade and at the Byzantine Institute, on Mirror of Ancient Ladies: Gendered Spaces in the the subject “Monastic Cell and Church: Symbolic Venetian Renaissance Palace,” sponsored by the Perception of the Holy Land and the Heavenly Committee for Renaissance Studies at Princeton. Jerusalem in the Late Byzantine World.” He cur- This spring she co-chaired a session with Rona rently has six articles in press. Goffen (Rutgers University) entitled “Italy in Esther da Costa Meyer co-curated the exhibi- Memory of Patricia H. Labalme” at the annual tion “Schoenberg, Kandinsky, and the Blue Rider,” meeting of the Renaissance Society of America. which was on view at the Jewish Museum in New She also gave a paper at a symposium at the Victo- York from October 2003 through February 2004. ria and Albert Museum, London, in connection This was the fi rst American museum exhibition with her work on an exhibition on the Italian to concentrate on the friendship and intellectual domestic interior, 1400–1600, to be held at the dialogue between painter Wassily Kandinsky and museum in 2006. Her other research interests composer Arnold Schoenberg. The show included include two book projects—the visual and material sixty paintings, including major works by Kan- culture of childhood in the Renaissance, and the dinsky and members of the German Expressionist artistic and cultural geography of the Venetian Ter- Blue Rider group, as well as a number of paintings raferma. She is also working on an interactive com- by Schoenberg. With Fred Wasserman, da Costa puter project, tentatively entitled “Urban Meyer co-edited the exhibition catalogue, which Itineraries in Early Modern Venice,” in collabora- included a compact disc recording of the thirteen tion with Tracy Cooper *90 (Temple University). pieces by Schoenberg performed at the 1911 con- Slobodan Ćurčić contributedcontributed inin severalseveral capaci-capaci- cert that unexpectedly brought together the two ties to the major exhibition of later Byzantine art, modernist masters. The Daily Princetonian recentlyrecently “Byzantium: Faith and Power (1261–1557),” that selected her course “The Experience of Moder- opened at The Metropolitan Museum of Art in nity: A Survey of Modern Architecture in the March. He was involved in the selection of objects West” as one of the ten “coolest courses” offered at from Serbia and in negotiations on both sides of Princeton this semester. the Atlantic for their inclusion in the show. He Hal Foster completedcompleted twotwo newnew booksbooks tthishis yyear—ear— also wrote the text “Religious Settings of the Late a short one on pop art, due out from Phaidon in Byzantine Sphere” that appears in the exhibition early 2005, and a longer book on modernism and catalogue. In conjunction with this exhibition, psychoanalysis titled Prosthetic Gods, forthcom-forthcom- in the spring semester he offered a one-time-only ing from MIT Press in 2005. He also fi nished a undergraduate seminar titled “Faith and Power: co-authored textbook on twentieth-century art Byzantine Art between Constantinople and Mos- and criticism, which will be published by Thames cow, ca. 1250–ca. 1550.” The seminar consisted and Hudson this December. His most recent book of lectures on campus as well as weekly trips to is Design and Crime (and Other Diatribes), pub- The Metropolitan Museum on Mondays, when lished by Verso in 2002. Foster gave lectures this the museum is closed to the general public. In year at Stanford, the University of North Carolina, addition to hearing lectures by the museum staff, the Architectural League in New York City, the the students gave short presentations on objects of Museum of Fine Arts in Boston, Cranbrook Insti- their choosing and in front of the objects them- tute, and the Tate Modern and Whitechapel Art selves. These presentations served as the basis Gallery in London, among other places. for additional research that culminated in writ- During the academic year 2003–2004 Thomas ten papers. With Shari Kenfi eld, the department’s DaCosta Kaufmann waswas a NationalNational EndowmentEndowment 2 for the Humanities Postgraduate Fellow in Renais- sance and Early Modern Studies at the American Academy in Rome. Before arriving in Rome, he visited Stockholm, where he was inducted into the John Blazejewski Royal Swedish Academy of the Sciences, lectured to the tenth Class (for History, Humanities, and Service to Science), and gave an acceptance speech at a plenary session of the academy. Before going abroad, in the spring he delivered the Rand Lec- tures at the University of North Carolina, Chapel Hill, on “Painterly Enlightenment.” In Europe Kaufmann lectured on a variety of subjects at the American Academy, the British School, and the Bibliotheca Hertziana in Rome; the University of Pisa; the Fondazione Longhi in Florence; the Uni- versity of Greifswald, Germany; the Institute for History of Art, Prague; and at international confer- Department faculty (left to right): T. Leslie Shear ences in Gdańsk and Wrocław, Poland, and Arras, Jr., John Wilmerding, William Childs, Patricia Fortini France. He also chaired sessions at conferences held Brown, Hal Foster, Slobodan Ćurčić, Anne-Marie at the Bibliotheca Hertziana and at the annual Bouché, Esther da Costa Meyer, Al Acres, Hugo Mey- meeting of the College Art Association. er (not pictured: Carol Armstrong, Robert Bagley, His book Toward a Geography of Art (Univer-(Univer- Thomas DaCosta Kaufmann, Thomas Leisten, Anne sity of Chicago Press) was published in 2003. A McCauley, John Pinto, Yoshiaki Shimizu, Jerome Silbergeld, Alastair Wright) catalogue of central European drawings in the Crocker Art Museum is scheduled for publication by Harvey Miller Press this summer, as is his mental Traveler: Isabella Stewart Gardner in Ven- collected essays, titled The Eloquent Artist (Pindar(Pindar ice,” to the accompanying catalogue, which is Press).