Curriculum Vitae WHITNEY DAVIS George C. and Helen N. Pardee Professor History and Theory of Ancient and Modern Art Department
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Annual Report 2013-2014
ANNUAL REPORT 2013-2014 1 The Warburg Institute exists principally to further the study of the classical tradition, that is of those elements of European thought, literature, art and institutions which derive from the ancient world. It houses an Archive, a Library and a Photographic Collection. It is one of the ten member Institutes of the School of Advanced Study of the University of London. The classical tradition is conceived as the theme which unifies the history of Western civilization. The bias is not towards ‘classical’ values in art and literature: students and scholars will find represented all the strands that link medieval and modern civilization with its origins in the ancient cultures of the Near East and the Mediterranean. It is this element of continuity that is stressed in the arrangement of the Library: the tenacity of symbols and images in European art and architecture, the persistence of motifs and forms in Western languages and literatures, the gradual transition, in Western thought, from magical beliefs to religion, science and philosophy, and the survival and transformation of ancient patterns in social customs and political institutions. The Warburg Institute is concerned mainly with cultural history, art history and history of ideas, especially in the Renaissance. It aims to promote and conduct research on the interaction of cultures, using verbal and visual materials. It specializes in the influence of ancient Mediterranean traditions on European culture from the Middle Ages to the modern period. Its open access library has outstanding strengths in Byzantine, Medieval and Renaissance art, Arabic, Medieval and Renaissance philosophy, the history of religion, science and magic, Italian history, the history of the classical tradition, and humanism. -
Annual Report 2012–2013
ANNUAL REPORT 2012–2013 1 INTRODUCTION FROM THE DIRECTOR OF THE INSTITUTE 2012-13 has been another busy and eventful year for the Institute. We have successfully launched our new MA in Art History, Curatorship and Renaissance Culture offered in collaboration with the National Gallery and have recruited our first cohort of thirteen students. We had more applications than usual for the Intellectual and Cultural History MA and the PhD with the result that we shall welcome around 30 new students in autumn 2013. Work continued on the digitization of images from the Photographic Collection and the major deities from the Gods and Myths section were digitized together with associated volumes held in the Library. These have brought many new virtual visitors to the Institute and greatly increased the proportion of our collections available online. We have continued to expand our programme of lectures, seminars and conferences attracting significant numbers of scholars and students to the Institute and we welcomed Professor Hans Belting (Hochschule für Gestaltung, Karlsruhe), Professor Horst Bredekamp (Humboldt University Berlin) and Professor Anthony Grafton (Princeton University) as senior visiting research Fellows. Our Centre for the History of Arabic Studies in Europe was successful in securing a €1m grant over three years from the HERA Joint Research Programme ‘Cultural Encounters’ for a research project on ‘Encounters with the Orient in Early Modern European Scholarship’ which will involve nine partners in the UK, Germany, the Netherlands -
Dvořák's Pupil Johannes Wilde
Dvořák’s Pupil Johannes Wilde (1891–1970) Ingrid Ciulisová — institute of art history, slovak academy of sciences IN 1903 THE YOUNG Bohemian art historian Max were equal to Italian art between the fourteenth and the Dvořák (1874–1921) wrote to his first teacher, a respect- sixteenth centuries. Yet perhaps precisely because this ed professor of history at the Czech-language universi- dogmatic attachment to the Italian Renaissance belongs ty in Prague, Jaroslav Goll: ‘… My work on the Van Eyck to the past, it is the object of a new kind of interest, not Brothers and the beginning of Netherlandish painting only as a particularly striking historical phenomenon, but will be published during this summer. I am curious about also as the source of artistic opinions and innovations the final product since I am raising my voice sharply that continued to exercise influence on the entire succeed- against prevailing views on questions already long the ing period, even into the present… This concentration of subject of discusssion…’1 The final text, entitled ‘Das spiritual force, this cultural competition … transformed Rätsel der Kunst der Brüder van Eyck’ (The Enigma of the country, as it was already said by Dante, into the the Art of the Van Eyck Brothers), is the first complex Garden of Europe, in which many centuries continued to attempt to resolve art-historical questions related to the find enjoyment and experience.’6 Ghent Altarpiece and the prehistory of Netherlandish Dvořák delivered his lectures on the Italian Ren- painting.2 In this extensive article Dvořák applied the aissance in the turbulent era at the end of the First methods developed by two early protagonists of the World War, which left Europe and the Austro-Hungar- so-called Vienna school of art history: the evolutionist paradigm developed by Alois Riegl, and the connois- seurship method of Giovanni Morelli, as adapted and advanced in Vienna by Franz Wickhoff, to whom Max Dvořák was an assistant. -
BULLETIN of the ASSOCIATION of ART HISTORIANS No. 4. February 1977
BULLETIN OF THE ASSOCIATION OF ART HISTORIANS No. 4. February 1977. THE 1977 CONFERENCE IN LONDON (25 - 28 MARCH). As at the Glasgow Conference, a wide variety of activities have been planned. Not only will there be sessions in the academic programme to cater for many interests, but there will also be an opportunity to see behind the scenes in some of London's many museums and galleries. There have been a most impressive number of contributions and ideas volunteered which have greatly helped the task of organization. We would like to thank all those who have offered these. We are also most grateful to the Trustees, Director and staff of the British Museum for making it possible for us to hold a reception on their premises on the evening of Friday, 25 March, and to the Director and staff of the Courtauld Institute for providing similar facilities for a reception on the evening of Saturday, 26 March. We have been fortunate in obtaining the use of the spacious new buildings of the Institute of Education, University of London (20 Bedford Way, London WC1) for the first three days of the conference. This will make it possible for the whole of the academic programme as well as the Annual General Meeting and the Meetings of Professional Groups to take place under one roof. Such magnificent facilities have, however, not been cheap; and this is one of the reasons why it has been found necessary to charge a conference fee of £5 for this year's meeting The Academic Programme will take place on Friday, 25 March and Saturday, 26 March. -
Art History 40 Image and Memory: 40 Years of Art-Historical Writing
Art History 40 Image and Memory: 40 Years of Art-Historical Writing 09.30 – 18.30, Saturday 12 December 2015 (registration from 09.00) Kenneth Clark Lecture Theatre, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN Abstracts Samuel Bibby (Art History, Association of Art Historians UK) The Pursuit of Understanding’: Art History and the Periodical Landscape of Late-1970s Britain This paper proposes a two-fold approach to the historiography of our subject. On one hand, art history can be traditionally conceived as a set of ideas, the evolution of which might be charted through textual analysis of its archives. But on the other, it might be thought of too as a set of material objects lending themselves to an all-too- often-overlooked additional process of visual analysis. This latter avenue of historiographic enquiry, I will argue, is all the more important precisely because of the discipline’s concern with questions of materiality and visuality in relation to the objects of its enquiry. Art History and its genesis is my case in point. I begin by proposing a general framework whereby new journals can be considered – the periodical landscape; when a new title comes into being it is usually because those involved feel that their intellectual concerns and endeavours are failing to be adequately represented within the existing field of serial publications. Thus is born the desire to create a new space – a journal – in order to redress this perceived imbalance. The contours of the periodical landscape remain ever present during this process of coming into being – journals define themselves, and are judged, precisely in relation to pre-existing titles in their field. -
THE BULLETIN of the ASSOCIATION of ART HISTORIANS No.2. February 1976
THE BULLETIN OF THE ASSOCIATION OF ART HISTORIANS No.2. February 1976. THE ANNUAL CONFERENCE The Association's annual conference will be at Glasgow University from the afternoon of Friday 26 March to lunchtime on Monday 29 March. The main programme of papers will be divided into four sections which will run concurrently: a general section, a section on art-historical reconstructions, a group of papers on the subject of'British nineteenth-century Art, Design and Social history', and a series on Scottish art. Friday, 26 March, 2.30 - 5.30 General section 1. John Fletcher, Dendrochronology and some early English panel paintings. John Maddison, A 14th-century master mason in the County Palatine of Chester. Mary Alexander, Sculptural sources of Fra Angelico's Linaiuoli Tabernacle. Brian Blench, Spanish glass in Glasgow Museums and Art Galleries. Reconstructions 1. John Steer, Giovanni Bellini's St Francis in the Frick collection. Andrew Martindale, The original site of Mantegna's Triumph of Caesar. Robin Simon, Marvell's 'Horatian Ode' and Mantegna's Triumph of Caesar. John Onians, San Sebastiano, Mantua, and the reconstruction of a reconstruction. British nineteenth-century Art, Design and Social History 1. 'The Artist's Profession' Michael Kitson, How did the artist earn his living? Gordon Fyfe, Painting and reproductions in the early Victorian period. Alan Bowness, Who exhibited at the Royal Academy in 1850? Griselda Pollock, Women in Victorian Art. 8.00-10.00 Reception at Glasgow Art Gallery. Saturday, 27 March. 9.15 Annual General Meeting 10.00-12.30 General section 2. Martin Kemp, Botticelli's Annunciation in Kelvingrove: patterns of instability. -
Gombrich's Cosmos of Thought: Past and Future
Gombrich’s cosmos of thought: past and future Review of: Art and the Mind – Ernst H. Gombrich: Mit dem Steckenpferd unterwegs, edited by Sybille Moser-Ernst with editorial assistance by Ursula Marinelli, Göttingen, Germany: V& R unipress, 2018, 442 pp., 59 figures, $69.00 hdbk, ISBN 9783847107941 Aaron Kozbelt Ernst H. Gombrich (1909–2001) is widely and justly regarded as the most famous and influential art historian of the twentieth century. Over the course of a long and productive career, he garnered both popular acclaim and scholarly recognition. Uniquely among major art historians, Gombrich’s influence may be greater outside his home domain than within it. The scope of these influences is the subject of the book under review here. It is the result of an academic conference held in Greifswald, Germany in 2009, in commemoration of Gombrich’s one-hundredth birthday, which was organised by the book’s editor, Sybille Moser-Ernst. By design it is non-hagiographical, and the contributions span a wide range of critical approaches and foci, commensurate with the range and depth of Gombrich’s thinking. Moser-Ernst, a former postdoctoral student of Gombrich at the Warburg Institute and now Professor of Art History at the University of Innsbruck, characterises the book’s raison d’être thus: The ambitious aim of this book is to explore Gombrich’s intellectual legacy by analysing some of his concepts and insights in the context of Image Science. Its purpose is to assess Gombrich as an engine of change and innovation across disciplines. He introduced students in many fields to the complexities of the artist’s mind and helped them realise the power of their own eyes and intellects.