Wendy E. Cullings History of -Theory and Methodology Professor Diana Gisolfi December 17, 2008.

Meyer Schapiro (1904-1996): His Life in Brief

Born as Meir Schapiro in Lithuania in 1904, he immigrated to the United States at the age of 3 to avoid the harassment that Jewish people were often subjected in his home country. Changing his name mane to Meyer at Ellis Island, Schapiro considered City to be his home from this point forward. From a very early age he expressed a desire to be an artist and as child in Brooklyn he was able to take sculpture classes at the Hebrew Settlement House. However, Meyer was convinced that he was not talented enough to pursue a career as an artist and soon turned to academia. He enrolled in Columbia College at the age of 16, and by 20 had graduated with honors in both and philosophy.

It was at Columbia that Schapiro would help to mold the form of art history as we know it today. He began lecturing there at the age of 28, before he had even finished his dissertation, and continued until his retirement in 1973. As a preeminent teacher, Schapiro introduced art history to the core curriculum before it had been added by the administration. He became assistant professor there in 1936, associate professor in 1946, full professor in 1952 and university professor in 1965. In 1973, he was named university professor emeritus and went to Columbia once a week to teach the graduate course “Theory and Methods of Investigation in Art.”

During his career he also taught at NYU and the New School for Social Research, where his lectures were often attended by young artists living and working in . In reading about Schapiro, it becomes obvious that his presence in the New York City art world was monumental. Artist after artist recount stories of how he helped to shape their young career or to push past blocks they were experiencing. One such anecdote of this type involves Schapiro convincing the young Willem de

Kooning that his recently completed “Woman 1” was not a failure.

Besides his immense and caring role with students and artists, it is the unparalleled intellect of Meyer Schapiro that is his primary legacy. Friends and colleagues describe in detail his precise memory and ability to recall and link facts and data about numerous subjects together with ease. Perhaps this is why the writing of Schapiro is so engaging and educational, without being didactic. He effortlessly

11 weaves together histories of art objects and paintings with their cultural, societal, and historical context. Never satisfied to specialize in one area of fine art, Schapiro wrote profusely about not only about Romanesque art in Spain and France or about Illuminated manuscripts in the British Isles, but also about the merits of and the Avant-Garde. Working through a period in art history when the formalism of Clement Greenberg ruled, the often dissenting voice of Meyer Schapiro was always there to provide the societal and cultural significance of a work of art.

The many merits and awards that Schapiro has received only confirm his already great legacy. In 1973 he was given an Award by the Art Dealers Association of America. In 1975 he was given Columbia Colleges highest award, the Alexander Hamilton Medal for distinguished service and accomplishment, and in 1978 the Meyer Schapiro Professorship of Art History was established. ToTo commemorate his 90thth birthday, his brother donated $1 million to establish the Meyer Schapiro Professorship of Modern Art and Theory.

Even with the achievements of a genius, Schapiro always seemed humble. In interviews he always appeared more interested in research and facts than his own ego. At the beginning of each of his volumes he profusely thanks his wife, Dr. Lilliam Milgram, who was his librarian, amanuensis, assistant, and partner. Meyer Schapiro stands today as one of the greatest contributors to the history of art.

Bibliography for Biography of Meyer Schapiro

“Meyer Schapiro.” C250 Celebrates Columbians Ahead of their Times. http://c250.columbia.edu/c250_celebrates/remarkable_columbians/meyer_schapiro.html (accessed December 16, 2008).

Russell, J. “Meyer Schapiro, Art Historian and Critic, Dies at 90,”” New York Times, March 4, 1996, Obituaries.

“Schapiro, Meyer.” Oxford Art Online. http://www.oxfordartonline.com.ezproxy.pratt.edu:2048/subscriber/article/grove/art/T076403 ?q=schapiro%2C+meyer&hbutton_search.x=0&hbutton_search.y=0&hbutton_search=search&s ource=oao_gao&source=oao_t118&source=oao_t234&source=oao_t4&search=quick&pos=1&_

start=1#firsthit.. (accessed December 16, 2008).

22 Key to Books Viewed

PRATT-Pratt Institute Main Library, Brooklyn Campus

NYPL-New York Public Library Humanities Library, 42nd Street, Manhattan

NYPLMM-New York Public Library Mid-Manhattan Branch, 40th Street, Manhattan

JSTOR-Online Database of journal articles accessed through Pratt Library’s E-Reference site.

-Unless noted with one of these designations, works were not seen.

A Note on the Critical Bibliography

Creating a biography to do justice to the immense career of Meyer Schapiro was daunting to say the least. I began my quest using the online database, Worldcat. While this was an extremely helpful resource, I found many of the citations to be incomplete or inaccurate. I then attempted to locate original journal articles within databases such as JSTOR of Art Full-Text, and this did help to answer many questions that I had. At the very end of the project I discovered the printed version of Schapiro’s bibliography, published by his wife Dr. Lillian Milgram in 1995. This proved invaluable in filling in gaps of information that would otherwise be inaccessible. I decided to include some of her notes about works that Schapiro had decided to remove his name from and also works that he published under pseudonyms. Her book was also extremely helpful when determining the reprinting and editioning of many of Schapiro’s more prominent texts (such as those on Van Gogh and Gauguin). I have noted with an asterisk* in my bibliography where I have used text from her bibliography that was otherwise inaccessible to me. I thought it appropriate to include her text to give a richer and fuller picture of the works of this superior art historian.

Sources Referenced While Compiling Bibliography

Art-Full Text Database. Offered through H.W. Wilson Co. (Accessed numerous times through Pratt

Library’s E-Reference Page).

JSTOR. Offered by the Mellon Foundation. (Accessed numerous times through Pratt Library’s E- Reference Page).

Schapiro, Lillian Milgram, compiler. Meyer Schapiro: The Bibliography . New York: George Braziller, 1995.

Worldcat Database. (Accessed numerous times through Pratt Library’s E-Reference Page).

3 Meyer Schapiro: A Critical Bibliography

1925

“On Emanuel Lowry’s Rendering of Nature in Early Greek Art” (Die Naturwiedergabe in der alteren Griechischen Kunst; Rome, 1900; London, 1907). The 8 (September 1925): 170-72.

1928

“ Art in the Contemporary World .” In An Introduction to Contemporary Civilization in the West, edited by John J. Coss, John Fennelly, Joseph B. McGoldrick, and Irving W. Raymond, 271-317. New York: Press, 1928.

1929

“The Romanesque Sculpture of Moissac,” Parts 1, 2, and 3. Ph.D. dissertation, Columbia University May 1929. Printed in Selected Papers 1 (1977), 131-264. Reprinted as The Sculpture of Moissac (New York: George Braziller, 1985).

“The South Transept Portal of Saint-Sernin in Toulouse.” Parnassus 1, no. 3 (1929): 22-23.

1931

“Mr. Rosenfeld and Matisse.” Letter to The Nation, December 30, 1931, 725.

1932

“Matisse and Impressionism.” Androcles (Columbia College, New York) 1, no. 1 (February 1932): 21-36.

*“The New Architecture” Review of exhibition of modern architecture at the , New York, published under the pseudonym John Kwait (M.S.’s meternal grandmother’s name). , May 1932, 23.

* “Engels on Goethe.” Excerpts from the translation of an 1847 article, with introduction and comment by M.S. (anonymous). New Masses, September 1932, 13-14.

*“Architecture under Capitalism.” A critique of the architectural magazine Shelter published under the pseudonym John Kwait. New Masses, December 1932, 10-13.

“Architects and the Crisis. An Open Letter to the Architects, Draughtsmen, and Technicians of America.” Architects’ Committee of League of Professional Groups for Foster and Ford. Pamphlet, unsigned, 1932.

4 1933

*“John Reed Club Art Exhibition.” Reviewed under the pseudonym John Kwait. New Masses, February 1933, 23-24.

1934

“On : Technics and Civilization” (New York, 1934). New Masses, July 4, 1934, 25.

“Pottery.” In Encyclopedia of the Social Sciences, 12:280-83. New York: Maxmillan: 1934.

“Taste.” In Encyclopedia of the Social Sciences, 14:523-25. New York: Macmillan, 1934.

1935

“ Seurat and La Grande Jatte.” Columbia Review 17 (November 1935): 9-17.

“New Documents in St.-Gilles.” Art Bulletin 17, no. 4 (December 1935): 414-31. Reprinted in Selected Papers I (1977), 328-46. JSTOR

In this article Schapiro sets out to offer evidence of the date of the façade of St.-Gilles. He says that the date of the monument is important to students of Mediaeval art because it is a central monument of a proto-renaissance. He discusses some of the previous problems with assigning the date. Schapiro concludes that the majority of work was done at St.-Gilles between 1135 and 1142, with the earliest styles having been completed in 1129.

“Art Education.” Art Education Today I (1935): 77-78.

, R. Meyer Riefstahl, and M. Crane. Islamic Art (Selective Bibliography), 1935.

1936

“Race, Nationality and Art.” Art Front 2 (March 1936): 10-12.

“The New Viennese School.” Review of Kunstwissenschaftliche Foschungen, vol. 2, edited by Otto Pacht (Berlin and Frankfurt, 1922), Art Bulletin 18, no. 2 (June 1936):258-66.

“Social Bases of Art.” American Artists Congress, New York, Proceedings, no. 1 (1936): 31-37.

“The Public Use of Art.” Art Front 2 (November 1936): 4-6.

5 1937

“ Nature of Abstract Art.” Marxist Quarterly 1, no. 1 (January-March 1937): 77-98. Reprinted in Selected Papers II (1978), 185-211.

“Further Documents on St.-Gilles.” Art Bulletin 19, no. 1 (March 1937): 111-12. Reprinted in Selected Papers I (1977), 328-46.

1939

“From Mozarabic to Romanesque in Silos.” Art Bulletin 21, no. 4 (December 1939): 313-74. Reprinted in Selected Papers I (1977), 28-101. JSTOR

Schapiro describes the emergence of Romanesque art in Spain during the second third of the eleventh century. He argues that previous explanations have included only forces outside, mostly the French political influence over Spain at the time. He says that this argument excludes Spain almost entirely and seeks to reintroduce Spain and contemporary Spanish culture into the discussion. Using the example of miniature painting in Silos, Schapiro presents a well developed argument rightfully placing the emergence of Romanesque art there with Spain itself.

“ The Sculptures of Souillac.” In Mediaeval Studies in Memory of A. Kingsley Porter, ed. W.R.W. Koehler, 359-87. Cambridge: Press, 1939. Reprinted in Selected Papers I (1977), 102- 30.

1940

“Jean Helion.” Foreward to Helion-Recent Paintings. Exh. Cat., Gallery Georgette Passedoit, New York, March 25-April 6, 1940.

“The Carolingian Copy of the Calendar of 354.” Art Bulletin 22, no. 4 (December 1940): 270-72. Reprinted in Selected Papers III (1979), 143-49. JSTOR

In this short article, Schapiro discusses the argument of Dr. Carl Nordenfalk questioning that the Calendar belongs to the Eastern Empire, or even to the Orient, as had been defended by Strzygowski. He does this by questioning the dating of the Calendar by the antiquarian Peiresc. Schapiro discusses both the copy made from the 354 document that Nordenfalk had for his research, as well as the Barberini copy that Peiresc used for his original assignment and dating.

“Courbet and Popular Imagery: An Essay on Realism and Naivet.” Journal of the Warburg and Courtauld Institute 4, no. 3-4 (1940-41): 164-91. Reprinted in Selected Papers II (1978), 47-85. JSTOR

Schapiro discusses the criticisms often brought against the imagery of Courbet: that it is naïve, stiff, and simple. He debates the idea the Courbet was using naivete to return imagery to the primitive. In this argument he discusses Courbet’s simplicity of form, use of colors and rich pigments, and simplified arrangements. He traces the career of Courbet using his relationship with Champfleury, discussing their political attitudes and ideas side by side.

6 1941

“On Style and Expressiveness.” Answer to a letter from Ananda K. Coomaraswamy. Art Bulletin 23, no. 2 (June 1941): 143.

1942

“A Note on an Inscription of the Cathedral of Santiago de Compostela.” Speculum 17, no. 2 (April 1942): 261-64. JSTOR

Schapiro discusses the debate between Spanish, French, and American Historians about the date inscribed on a jamb on the Puerta de las Platerias. He believes that the door is dated from the beginning of the twelfth century but says that the definitive answer of the date could only be achieved with further contemporary evidence of dating.

“Athanasius Kircher.” VVV 1 (June 1942): 36-38.

“Cain’s Jaw-Bone That Did the First Murder.” Art Bulletin 24, no. 3 (September 1942): 205-12. Reprinted in Selected Papers III (1979), 249-65. JSTOR

In this paper Schapiro discusses Cain’s use of an ass’s jaw-bone to slew Abel. He first site’s instances where the jaw-bone is mentioned in Anglo literature and then foes through the image of the jaw-bone in art. He mentions examples of Master Bertram in Hamburg as well as a painting by Jan Van Eyck and then elaborates that these examples must have been derived from English examples. He concludes that the idea of Cain’s weapon as a jaw-bone existed because of common vernacular particular to England.

“Answer to Three Questions on Dialectical Materialism.” Dyn (Mexico City), no. 2 (1942):49-53.

1943

*“Socialism and the Failure of Nerve: An Exchange with .” Published under the pseudonym David Merian. Partisan Review 10, no. 1 (January 1943): 248-62, and no. 2 (February 1943): 473- 81.

“The Image of the Disappearing Christ, the Ascension in Eng lish Art around the Year 1000.” Gazette des Beaux-Arts 23 (March 1943): 135-52. Reprinted in Selected Papers III (1979), 266-87.

“Film Chronicle: Mission to Moscow.” Partisan Review 10, no. 3 (May-June 1943): 275-78.

“The Angel with the Ram in Abraham’s Sacrifice: A Parallel in Western and Islamic Art.” Ars Islamica 10, no 1-2 (1943); 134-47. Reprinted in Selected Papers III (1979), 288-306, 311-17.

7 1944

“The Religious Meaning of the Ruthwell Cross.” Art Bulletin 24, no. 4 (December 1944): 232-45. Reprinted in Selected Papers III (1979), 150-76, 186-92. JSTOR

Schapiro questions the dominant theory, set forth by Baldwin Brown, that the Ruthwell Cross was made to symbolize the triumph of the cross. While the text inscribed on the cross supports this notion, Schapiro argues that the imagery on the cross itself is in opposition. He concludes that the cross is based on eremitic conceptions of the churches of the British Isles in the sixth and seventh centuries, containing mainly Celtic religious content.

“The Myth of Oedipus.” In The Myth of Oedipus with Six Original Etchings by Kurt Seligmann, 9-18.New York: Durlacher Bros.-R. Kirk Askew, Jr., 1944.

1945

“A Note on ’s Politics.” Politics 2, no. 2 (February 1945): 44-48. Reprinted in Essays for Students of Socialism (Melbourne: Workers’ Literature Bureau, 1945), 29-32.

“’Muscipula Diaboli,’ the Symbolism of the Merode Altarpiece.” Art Bulletin 27, no. 3 (September 1945): 182-87. Reprinted in Selected Papers III (1979), 1-11, 16-18. JSTOR

Schapiro discusses the placement, by the Master of Flemalle, of Joseph in an image dealing with the Annunciation and also the strange depiction of him crafting a mousetrap. Previously, this depiction has been attributed to the desire of artist to show an intimate portrait of bourgeois society. Schapiro argues that the inclusion of the mousetrap is more than this, and in fact represents theological ideas present in the Christian Middle Ages. This idea being that the body of Christ is bait for the devil.

1946

“’Intolerance’ Thirty Years After. What Has Happened to Motion Pictures?” The Call , November 18, 1946, 5.

“On a Painting of Van Gogh: Crows in the Wheatfield .” View, Fall 1946, 8-14.Reprinted in Selected Papers II (1978), 87-99.

“A Note on ‘The Open City’: Some Comments on Farrell’s Review.” New International 12, no. 10 (December 1946): 311-13.

1947

“On the Aesthetic Attitude in Romanesque Art.” In Art and Thought. Essays in Honour of A.K. Coomaraswamy, 130-150. London: Luzac and Co., 1947. Reprinted in Selected Papers I (1977), 1-27.

8 1948

“The Value of Modern Art” (talk given in the series “The Arts and the Artist in Our Society Today,” (March 24, 1948). Columbia University Libraries, Browsing Room, 1947-48.

“A Life Round Table on Modern Art.” Life, October 11, 1948, 58-59.

1949

“Fromentin as a Critic.” Partisan Review 16, no. 1 (January 1949): 25-51. Reprinted in Selected Papers IV (1994), 103-34.

“The Place of the Joshua Roll in Byzantine History” (paper presented at the Premier Congres International Byzantino-Slave et Oriental, New York, April 28, 1946). Gazette des Beaux-Arts 35 (March 1949): 161-76. Reprinted in Selected Papers III (1979), 48-66.

“Essay in Symposium, Religion and the Intellectuals.” Partisan Review 17, no. 4 (April 1950): 331-39.

Foreward to Nahum Hazaz Zuzik, 1928-1948. Letters and Painting. New York: American Fund for Israel Institutions, 1950.

*. New York: Harry N. Abrams, 1950 and reprints. Reprint, Garden City, NY: Doubleday, 1980. Special concise ed., Garden City, NY: Doubleday, 1980, and New York: Harry N. Abrams, 1981. Rev. ed., New York: Harry N. Abrams, 1982, 1984. Concise ed., New York: Harry N. Abrams, 1983. Collector’s ed., New York: Harry N. Abrams for the Easton Press, Norwalk, CT, 1983. Selections from 1sr ed., New York: Harry N. Abrams, n.d. Portfolio ed., New York: Harry N. Abrams, n.d.

Viewed Concise ed., New York: Harry N. Abrams, 1983. Pratt

This edition is a concise version of Meyer Schapiro’s previously published (1969) Van Gogh. It is a monograph of the artists life and work containing 46 full-page color prints. The prints are displayed opposite of Schapiro’s critical text about the image. In the introductory essay, Schapiro shows the reader how the biography of Van Gogh is inherently linked to his artwork. This theme continues throughout the critical text about the images contained within. This book continues to be the seminal text about the work of Van Gogh.

1952

“ The Joseph Scenes on the Maximianus Throne in Ravenna.” Gazette de Beaux-Arts 40 (July 1952): 27- 38. Reprinted in Selected Papers III (1979), 34-47.

“Rebellion in Art.” In America in Crisis, ed. Daniel Aaron, 202-42. New York: Alfred A. Knopf, 1952. Reprinted as “The Introduction of ModernArt in America: The Armory Show” in Selected Papers II (1978), 135-78.

9 *Illuminated Manuscripts (11 th Century through the 16th Century) from the Bibliotheque of Their Highnesses the Dukes d’Arenber. New York: Jaques Seligmann nd Co., 1952. M.S. does not appear as the author; the following statement is made: “We are indebted to Professor Meyer Schapiro of Columbia University for the identification of the MSS in this catalogue and information concerning their contents, origins, and dates.” M.S.’s copy indicates in brackets the phrases introduced into his text by J. Seligmann on pp. 6, 10, 14, 16, 20, 38, 54, 64, 72, 76, 80, and 90, for which reason M.S. withdrew his name from the title page.

*Paul Cezanne. New York: Harry N. Abrams, 1952 and reprints. 3rd (corrected) ed., New York: Harry N. Abrams, 1965 and reprints. Concise ed., New York: Harry N. Abrams, 1988. Selections from 1st ed., New York: Harry N. Abrams, n.d. Portfolio ed., New York: Harry N. Abrams.

Second Edition, 1962, with corrections. Pratt

This monograph of the artist’s work contains 48 full-page color images. In this particular edition, the pictures have been physically glued onto the page in the book giving the viewer the real sense that they are looking at a work of art. Similar in style to the Van Gogh monograph that Schapiro writes later in his career, this book offers full pages of critical text accompanying each of the images. The introductory essay about the life and work of Cezanne (also written by Schapiro), discusses at length the artist’s predominant use of color and the novelty of his work at the time of its creation. This book remains the primary resource for an overview of the works of Cezanne.

1953

“On Ben-Zion.” International Graphic Arts Society Bulletin, June 1953.

“Style” (paper presented at the Wenner-Gren Foundation, International Symposium in Anthropology, New York, June 9-20, 1952). In Anthropology Today , ed. Alfred Kroeber, 287-312. Chicago: University of Chicago Press, 1953. Reprinted with some additions in Selected Papers IV (1994), 51-102.

1954

“In Memoriam Emil Kaufmann.” College Art Journal 13, no. 2 (Winter 1954): 144.

“Two Romanesque Drawings in Auxerre and Some Iconographic Problems.” In Studies in Art and Literature for Belle da Costa Greene, ed. Dorothy Miner, 331-49. Princeton, NJ: Press, 1954. Reprinted in Selected Papers I (1977), 306-27.

1955

“On Criteria of Periodization in European History” (talk given at American Historical Association meeting, December 28, 1954). Brief notice in American Historical Review 60, no. 3 (April 1955): 720, 724. Summary printed as “Criteria of Periodization in the History of European Art” in New Literary History 1, no. 2 (1970): 113-14.

10 “Two Slips of Leonardo and a Slip of Freud.” Psychoanalysis 4, no. 2 (Winter 1955-56): 3-8.

“The Younger American Painters of Today” (talk broadcast on the BBC, D ecember 1955, in connection with an exhibition of American painting at the Tate Gallery, London). The Listener, January 26, 1956, 146-47.

1956

“Leonardo and Freud: an Art-Historical Study.” Journal of the History of Ideas 17, no. 2 (April 1956): 147- 178. JSTOR

This article addresses the psychoanalytic insights that Freud contributed to the work of Leonardo da Vinci. Schapiro describes Freud’s insights as some of the most probing work into the personality of the artist and derides other historians for largely ignoring his work. The author summarizes the arguments of Freud and examines their validity in a critical light, usually finding that Freud theories about the genius hold true.

Introduction to Illustrations for the Bible by Marc Chagall. New York: Harcourt, Brace and Co. 1956. Reprinted in Selected Papers II (1978), 121-34.

“On an Italian Painting of the Flagellation of Christ in the Frick Collection.” In Scritti di Storiadell’Arte in Onore di Lionello Venturi , ed. M. Salmi, 1: 29-53. Rome: De Luca, 1956. Reprinted (with revisions) in Selected Papers III (1979), 355-79.

1957

“The Liberating Quality of Avant-Garde Art” (talk given at the American Federation of Arts Convention, Houston, April 1957). Art News 56, no. 4 (Summer 1957): 36-42 (also printed as a pamphlet for the American Federation of Arts). Reprinted as “Recent Abstract Painting” in Selected Papers II (1978), 213-26.

“Notes on Castelseprio.” Art Bulletin 39, no. 4 (December 1957): 292-299. Reprinted in Selected Papers III (1979), 115-130, 137-142. JSTOR

This article is a defense of Schapiro’s opinion on Castelprio against the claims made by Oleg Grabar. Schapiro goes through his argument and systematically refutes the idea (presented by Grabar) that Carolingian and Ottonian examples are not relevant when discussing Castelseprio.

Introduction to Arshile Gorky, by Ethel Schwabacher. New York: Published for the Whitney Museum of American Art by Macmillan, 1957. Reprinted as “Arshile Gorky” in Selected Papers II (1978), 179- 83. Pratt

Schapiro writes the introduction to this text about the artist Arshile Gorky. In it, Schapiro offers his personal account of the strengths of Gorky not just as an artist, but as a person. He compliments Schwabacher on her understanding and sensitivity to this artist in exile.

11 “Simultaneous Contrast in Painting.” Discussion of a paper presented by Guy Habasque at the Colloquium of the Centre de Recherches de Psychologie Comparative, Paris, March 18-20, 1954. In Problemas de la Couleur, ed. Ignace Meyerson, 248-53. Paris: Sevpen, 1957.

1958

“New Light on Seurat.” Art News 57, no. 2 (April 1958): 22-24, 44-45, 52.

“The Significance to Medical History of the Newly Discovered Fourth Century Roman Catacomb Fresco.” Abstract of talk at the New York academy of Medicine. Bulletin of the New York Academy of Medicine 34, no. 10 (October 1958): 685-86.

“The Decoration of the Leningrad Manuscript of Bede.” Scriptorium 12, no. 2 (1958): 191-207. Reprinted in Selected Papers III (1979), 199-224.

1959

Proceedings of the Congres International Extraordinaire des Critiques d’Art, Brasilia/Sao Paulo/Rio de Janeiro, Septemer 17-25, 1959. Printed for participants (in French).

Foreward to Cezanne. Exhibition catalog, Wildenstein and Co., New York, November 5-Decemer 5, 1959. Reprinted in Selected Papers II (1978), 39-41.

“A Note on the Wall Strips of Saxon Churches.” The Journal of the Society of Architectural Historians 18, no.4 (December 1959): 123-125. JSTOR

Schapiro discusses the thin strips of stone in relief on the walls of church towers from the tenth and eleventh centuries. He discusses whether the origin of these strips lies with native half- timbered work or with pilasters of Carolingian and Ottonian churches of the Rhineland. Schapiro introduces more evidence in defense of the theory of derivation from native woodwork, but in the end ends up saying that our knowledge of the history of architecture is too fragmentary to say conclusively where the work originates.

“A Note on the Merode Altarpiece.” Art Bulletin41, no. 4 (December 1959): 327-328. JSTOR

Here Schapiro adds to original symbolic interpretation of the Merode Altarpiece by discussing the wooden board in which Joseph is drilling holes. He cites a Netherlandish painting from 1440 as having a similar board, which is actually a box with ventilation holes used to store fish that is used as bait. Given that his original writing viewed the mousetrap as being symbolic of Christ as bait for the devil, seeing the wooden board in this light can be seen as the continuation and strengthening of this argument.

12 1960

“An Illuminated English Psalter of the Early Thirteenth Century.” Journal of the Warburg and Courtauld Institutes 23, no 3-4 (July-December 1960): 179-189. Reprinted in Selected Papers III (1979). JSTOR

In this essay Schapiro discusses the religious symbolism of this previously uninterpreted psalter. He says that this psalter is unlike others because it includes no calendar or hint of the original owner. Through analysis of Saints highlighted within the text, Schapiro concludes that the psalter was most likely written in a monastic center in south-east England, perhaps even London. With the additional evaluation of the calligraphy, he estimates that it was probably produced around the year 1220.

“In Memoriam, Wilhelm Koehler.” Art Bulletin 42, no. 4 (December 1960): 302.

The Horace Richter Collection: Contemporary American Painting and Sculpture. Charlotte, N.C.: The Mint Museum of Art, 1960.

“On the Humanity of Abstract Painting.” Proceedings of the American Academy of Arts and Letters, no. 10 (1960): 316-2. Reprinted in Selected Papers II (1978), 227-232.

Preface to Israel, ancient Mosaics. New York: New York Graphic Society, 1960, 5-13. Reprinted in Selected Papers III (1979), 20-33.

1961

“Mr. Berenson's Values.” Encounter 16, no. 1 (January 1961): 57-65. Reprinted (with corrections and additions) in Selected Papers IV (1994), 209-26.

1962

Foreward to The Louis E. Stern collection: [catalogue of a special exhib. held at the Brooklyn Museum from 25 Sept. 1962 through 10 March 1963]. New York: The Brooklyn Museum, 1962.

Foreward to Forrest Bess. Exhibition catalog, Betty Parsons Gallery, New York, January 8-27, 1962.

“The Judgment of Modern Art as a Social and Psychological Phenomenon.” Paper presented and distribute as the Institute for Religion and Social Studies, New York, April 9, 1962.

“Jan Muller, XXXI Biennale, Venezia, 1962.” In 2 Pittori, 2 Scultori, Stati Uniti d’America, exhibition catalog (in English and Italian) under the auspices of the International Council of the Museum of Modern Art, New York.

13 1963

“The Bowman and the Bird on the Ruthwell Cross and Other Works: The Interpretation of Secular Themes In Early Mediaeval Religious Art.” Art Bulletin 45, no. 4 (December 1963): 351-355. JSTOR

Schapiro begins this essay with the question of whether every image in mediaeval art is necessarily symbolic and religious, in particular the animals and their accompanying people. He says that while there are many scholars who believe that even these inclusions must be symbolic. There are others, most notably St. Bernard, who believe these figures have nothing to do with religion. In developing his argument he discusses the Ruthwell Cross in particular, taking the reader through the historical context of each. He concludes that in this case the representation of the Bowman and the Bird are indeed secular.

“Cezanne as a Watercolorist.” Introduction to Cezanne’s Watercolors, exhibition catalog, M. Knoedler and Co., New York, arranged by the Department of Art history, Columbia University, New York, April 1963. Reprinted in Selected Papers II (1978), 43-45.

“On David Siqueiros-A dilemma for Artists.” Dissent 10 (Spring 1963): 106, 197.

“On ” (talk delivered at MacDowell Colony, August 24, 1963, on the occasion of the award of the Edward MacDowell Medal to Alexander Calder). MacDowell Colony Report for 1963, 11-12. Peterborough, NH, and New York, 1964.

“The Reaction Against Impressionism in the 1880’s: Its Nature and causes. Problems of the 19th and 20th Centuries” (paper presented at the Twentieth International Congress of the History of Art, September 1961). In Studies in Western Art: Acts of the Twentieth International Congress of the History of Art, ed. Millard Meiss et al., 4: 91-92. Princeton, NJ: Princeton University Press, 1963.

“A Relief in Rodez and the Beginnings of Romanesque Sculpture in Southern France” (paper presented at the Twentieth International Congress of the History of Art, September 1961). In Studies in Western Art: Acts of the Twentieth International Congress of the History of Art, ed. Millard Meiss et al., 1: 40-66. Princeton, NJ:

1964

“On the Relation of Patron and Artist: Comments on a Proposed Model for the Scientist.” The American Journal of Sociology 70, no. 3 (November 1964): 363-369. Reprinted in Selected Papers IV (1994): 227-238. JSTOR

Schapiro discusses the argument put forth by Professor William M. Evan that scientists should use the model of the patron and the artist when working in industry. He does not argue whether the model would be good for science, he simply evaluates its correctness within the realm of art history. In his argument he brings up the notion that even in the Middle Ages there existed art outside of artist/patron system, art for art’s sake. He concludes that the scenario Mr. Evan describes only truly existed in the Soviet Union, where the State supported all artists. The romantic notion of the patron supported artist in reality is just that, a romantic notion.

14 “Kurt Seligmann-The Early Years.” Foreward to exhibition catalog, D'Arcy Galleries, New York, January 27-February 15, 1964.

“Diderot on the Artist and Society.” Preface to Society and the Freedom of the C reative Man in Diderot’s Thought, by Joseph L. Waldauer, 5-11. Geneva and paris: Droz, 1964. Reprinted in Selected Papers IV (1994): 201-208.

The Parma Ildefonsus: a Romanesque Illuminated Manuscript from Cluny, and Related W orks. Monographs On Archaeology and Fine Arts, 11. New York: College Art Association of America, 1964.

“The ‘Truth’ of Art” (questions addressed to Jean Wahl and his reply). In Philosophical Interrogations- Seven Philosophers and Theologians, ed. Sydney and Beatrice Rome, 183-85. New York: Holt, Rinehart and Winston, 1964.

1965

“In Memoriam Matthew Fryde.” Polish Review 10, no. 2 (Spring 1965): 106-107.

“In memoriam Kurt Goldstein.” Philosophy and Phenomenological Research 26 (December 1965): 302- 303.

“In Memoriam Alfred Rosmer (1877-1964).” Dissent 12, no. 1 (Winter 1965): 75-76.

1966

“On a Letter from Hannah Arendt on the Holocaust.” New York Review of Books, March 17, 1966, 28.

“On the Role of Art in Contemporary Society” (paper presented at the International Symposium on Fine Arts in the East and the West, Tokyo, April 4, 1966). Proceeding of the International Symposium on Fine Arts in the East and the West, 80-87. Tokyo: Compiled by the Japanese National commission for UNESCO, 1966.

“On Delmore Schwartz (1913-1966).” New York Review of Books, September 8, 1966, 15.

, and Colin Eisler. “The Merode Mousetrap.” The Burlington Magazine 108, no. 761 (August 1966): 428-430.

“Vladimir Gregorievitch Simkhovitch (1874-1959). In Memoriam.” American Philosophical Association Proceedings and Addresses 39 (October 1966): 124.

“On Perfection, Coherence, and Unity of Form and Content” (paper presented at the Philosophy of Art Symposium of the Institute of Philosophy, New York, 1964). In Art and Philosophy: A Symposium, ed. Sidney Hook, 3-15. New York: New York Universtiy Press, 1966. Reprinted in Selected Papers IV (1994), 33-50.

15 1967

“On Some Problems in the Semiotics of Visual Art: Field and Vehicle in Image-Signs” (paper presented at the Second International Colloquium on Semiotics, Kazimierz, Poland, September 1966). Printed in Semiotica 1, no. 3 (1969): 223-42.Reprinted in Selected Papers IV (1994), 1-32.

Wittkower, Rudolf, Douglas Fraser, Howard Hibbard, and Milton J. Lewine. Essays in the History of Art Presented to Rudolf Wittkower . London: Phaidon, 1967. Pratt

This book is a collection of essays which his colleagues wrote to honor Rudolf Wittkower on his sixty-fifth birthday. Schapiro’s contribution was an essay titled “An Irish-Latin Text on the Angel with the Ram in Abraham’s Sacrifice.” In this essay he addresses artworks that use the image of the angel carrying the ram, and discusses their religious origins. Other contributors to this tome are Ernst Gombrich, Phyllis Pray Bober, and Donald Posner.

“Baudelaire between the Imaginary and the Real” (talk presented at the Poetry Society of America, November 30, 1967). Abstract printed in Bulletin of the Poetry Society of America, December 1967, 4-6.

Introduction to the text vol. of The Bird’s Head Haggad a of the Bezalel National Art Museum in Jerusalem, ed. M. Spitzer, 15-19. Jerusalem: Tarshish Books, 1967. Reprinted n Selected Papers III (1979), 380-386.

1968

“The Apples of Cezanné . An Essay on the Meaning of Still Life.” Art News Annual 34 (1968): 35-53. Reprinted in Selected Papers II (1978), 1-38.

“Sima.” Preface to exhibition catalog, Musee National d’Art Moderne, paris, November 7-December 23, 1968, 9.

“The Still Life as a Personal Object-A Note on Heidegger and Van Gogh.” In The Reach of Mind: Essays in Memory of Kurt Goldstein, ed. Marianne L. Simmel, 203-9. New York: Springer, 1968. Reprinted (with further notes) in Selected Papers IV (1994), 135-42.

1969

"Religious Imagination and the Artist” (talk presented at the annual meeting of the Society for Arts, Religion and Contemporary Culture, Museum of Modern Art, New York, February 5, 1965). ARC Directions, no. 7 (Fall 1969): 1-4.

“Bob Thompson.” Preface to exhibition catalog, New School for Social Research Art Center, Wolman Hall, February 11-March 6, 1969.

“Minor White.” Postface to Mirrors, Messages, Manifestations, by Minor White. New York: An Aperture monograph, 1969.

16 1970

“Criteria of Periodization in the History of European Art.” New Literary History 1, no. 2 (Winter 1970): 113-125. JSTOR

Schapiro the first part of this three part paper. He discusses the merits of periodizing European art as form of historical classification. He states that to be most successful periodizing must be vague in boundaries and multiple classifications must be allowed. The second part is

“A Proposal for Democratizing the Board of Trustees, the Metropolitan Museum of Art.” Art News 68, no. 9 (January 1970): 29.

“A Reply to the Protest of Certain Artists against eeping Picasso’s Guernica in the Museum of Modern Art” (letter to the Art Workers Coalition, Fecruary 27, 1970). In Picasso’s Guernica, ed. Ellen C. Oppler, 242-43. New York: W.W. Norton, 1987.

“Barnett Newman.” Talk presented at the memorial meeting, Campbell Funeral Chapel, New York, July 6, 1970.

1973

“Paul Smith.” Talk presented to the Department of Mathematics, Columbia University, New York, at a dinner in honor of Paul A. Smith, March 23, 1973.

Talk accepting the Award of the Art Dealers Association of America, April 25, 1973.

“Robert Branner.” Talk presented at the memorial service, St. Paul’s Chapel, Columbia University, New York, December 18, 1973.

“The Miniatures of the Florence Diatessaron (Laurentian ms Or. 81): Their Place in Late Mediaeval Art and Supposed Connection with Early Christian and Insular Art.” Art Bulletin 55, no. 4 (December 1973): 494-531. JSTOR

In this article Schapiro examines claims made by Carl Nordenfaulk that place the beginning of Christian art some fifty years before it was previously thought to have started. In doing this he takes into account not only the artwork that Nordenfaulk cites, but also the larger body of knowledge that he has consulted in order to draw his conclusions. He concludes that Nordenfaulk’s assertions were false, he refutes the evidence of Nordenfaulk, and claims that the miniatures in question do not predate the earliest Christian art previously known.

Words and Pictures. On theLliteral and the Symbolic in the Illustration of a Text . Approaches to Semiotics, 11. The Hague: Mouton, 1973. NYPL

17 1974

“In Memory of Audrey Stern Hess.” Memorial Service, September 24, 1974.

“Parker Tyler.” Talk at memorial meeting, Jefferson Market Library, New York, October 28, 1974.

Testimony given in Rothko case, October 1974. New York Bar Association Library, Surrogate File No. 1368 (1970), appendix, 4154-84.

1976

“ Picasso's Woman with a Fan: On Transformation and Self-Transformation.” In Essays in Archaeology and the Humanities: In Memoriam Otto J. Brendel, 249-254. Mainz, W. Germany: P. von Zabern, 1976. Reprinted in Selected Papers II (1978), 111-20.

1977

Selected Papers I: Romanesque Art . New York: G. Braziller, 1977. Pratt

368 pages with 8 chapters , black and white images. Part of a collected set of three volumes including Modern Art, 19th and 20th Centuries and Late Antique, Early Christian and Mediaeval Art . Schaprio selected this collection of essays specifically to be useful to students of Romanesque Art. In the introduction he points out that the several of the essays contain many errors, but it would take too much rewriting to correct them. Included in this volume are the reprinted essays (indicated in original citation) in which Schapiro discusses the aesthetic attitude in Romanesque art, the sculptures of Souillac, and the Romanesqu sculptures of Moissac.

1978

“On Tom Hess” (talk presented at the memorial service, Metropolitan Museum of Art, New York, September 25, 1978). Art In America 66, no. 6 (November-December 1978): 12-13.

Selected Papers II: Modern Art, 19th & 20th Centuries. New York: G. Braziller, 1978. Pratt

277 pages with 10 chapters, 11 color plates and numerous black and white images. Part of a collected set of three volumes including Romanesque Art and Late Antique, Early Christian, and Mediaeval Art. The essays collected within this volume were written over a period of 40 years (citations for original essays given above) and reflect the Schapiro’s changing views on the topic. He mentions specifically that the views he expressed in “The Nature of Abstract Art” no longer sufficiently reflected his views at the time of publication. Amongst the topics covered are Seurat, Cezanne, Arshile Gorky, and Mondrian.

18 1979

Selected Papers III: Late Antique, Early Christian and Mediaeval Art: Selected Papers. New York: G. Braziller, 1979. Pratt

414 pages with 23 chapters and 172 black and white illustrations. Part of a collected set of three volumes including Modern Art: 19th and 20th Centuries and Romanesque Art. The works in this volume span the breadth of about one thousand years. The book is a collection of research essays that Schapiro wrote about single works of religious art (see citations for original printings above). In these studies, as with all of his work, Schapiro focuses not only on the artwork or the religion, but also on the secular culture of the time. He views this as a necessary part of the picture when trying to recreate the meaning of art. Some of the topics covered within the volume are the Merode Altarpiece, the frescoes of Castelseprio, the Leningrad Manuscript of Bede, and the Beatus Apocalypse of Gerona.

1980

“On Barnett Newman, a Memorial” Talk presented at St. Peter’s Church, New York, February 15, 1980, on the occasion of the Creatio et Spiritus Award to Barnett Newman.

“Paul Smith, in Memoriam.” Talk presented at St. Paul’s Chapel, Columbia University, New York, November 20, 1980.

1981

“, in Memoriam” (talk presented at a memorial service, New School for Social Research, New York, November 10, 1975). Art in America 64, no. 1 (January 1981): 109.

“On Alfred Barr.” In Alfred Barr, Jr., a Memorial Tribute. New York: The Museum of Modern Art, October 31, 1981 (pamphlet).

1982

Style, Artiste et Socit, trans. Blaise Allan et. Al. Paris: Gallimard, 1982.

1983

“On the Life and Work of Arthur Kingsley Porter.” Talk presented at the Columbia University Mediaeval Art Forum, New York, April 10, 1983.

“Emily Nelligan’s Drawings.” Statement on jacket of Maine Drawings, by Emily Nelligan. Cranberry Isles, ME: The Tidal Press, 1983.

19 1985

, Mller, Jan, Martica Sawin, and Thomas M. Messer. Jan Müller: major paintings, 1956- 1957 : January 15-February 23, 1985. New York (N.Y.): Oil & Steel Gallery, 1985.

, and David Finn. The Romanesque Sculpture of Moissac. New York: G. Braziller, 1985. NYPLMM

143 pages with 77 black and white illustrations. This book concerns the abbey of Moissac in southern France. It is the site where stone carving was revived in the eleventh century after an absence of more than 500 years. It is separated into two parts, Part I is “The Sculptures of the Cloister” and Part II is “The Sculpture of the South Portal and Porch.” Through each section, Schapiro uses detailed language to guide the reader through the visual qualities of the abbey. With accompanying photography specifically taken for this volume by David Finn, the book truly provides the reader with a first hand experience of this incredible place.

1988

“On George M. Jaffin.” Statement printed in the brochure of the America-Israel Foundation Cultural Achievement Award Dinner, celebrating his eghty-third birthday, May 4, 1988.

1994

Selected Papers IV: Theory and Philosophy of Art: Style, Artist, and Society . New York: George Braziller, 1994. Pratt

253 pages with black and white images. Although published much later, Schapiro includes this as the fourth book in his series of collected papers along with Romanesque Art, Modern Art, 19th and 20th Centuries, and Late Antique, Early Christian and Mediaeval Art. The essays contained within were all previously published in journals and symposia (see original citations above). Unlike the previous volumes, this book focuses on the “questions of theory, methods, and concepts that apply to the interpretation of different aspects of style.” Some of the essays included are, “Eugene Fromentin as Critic,” “Freud and Leonardo: An Art Historical Study,” and “Diderot on the Artist and Society.” Eleven essays are collected here in total.

, James Thompson, and Susan Raines. “A Vermont Visit With Meyer Schapiro (1991).” Oxford Art Journal 17, no. 1, Meyer Schapiro (1994): 3-12. JSTOR

This is an informal interview conducted with Schapiro and his wife, Lillian Milgram at their home in Vermont. In it Schapiro discusses his relationships with artists and art collectors as well as the development of his superior career.

20 1995

Mondrian: on the humanity of abstract painting. New York: George Braziller, 1995.

1996

Words, Script, and Pictures: Semiotics of Visual Language. New York: G. Braziller, 1996. Pratt

199 pages with 50 black and white images. This text contains two previously given lectures by Schapiro. The first, “Words and Pictures: On the Literal and the Symbolic in the Illustration of a Text,” was originally given in 1969 at a symposium titled, “Language, Symbol, Reality,” at St . Mary’s College in Indiana. The second, “Script in Pictures: Semiotics of Visual Language, was first presented in 1976 at a symposium at the University of Pittsburgh and was later revised.

In “Words and Pictures,” Schapiro gives an analysis of the relationship between the images used to illustrate text. This essay has been viewed as one of the most challenging in the field of semiotics. In “Script in Pictures,” Schapiro addresses the topic of mediaeval art and how artists of that time dealt with the interweaving of text and image.

, David Craven, and . “Commentary: Aesthetics as Ethics in the Writings of Robert Motherwell and Meyer Schapiro.” Archives of the American Art Journal 36, no. 1 (1996): 25-32.

1997

Impressionism: reflections and perceptions. New York: George Braziller, 1997. NYPLMM

359 pages with color and black and white illustrations. This book is based on the six Pattin Lectures that Schapiro gave at the Indiana Universtiy, Bloomington in 1961. These lectures were taped and their transcriptions served as his first manuscript about Impressionism. Throughout his career he revised and expanded the ideas as well as the list of accompanying illustrations contained within. At age 89, he requested that James Thompson, Associate Professor at Western Carolina University, be responsible for the publishing of this volume. The result is a book that can be described as the culmination of Schapiro’s lifetime work dealing with the subject of Impressionism. With twelve complete chapter about subject such as “The Concept of Impressionism,” “Portraiture and Philosophy,” and “Impressionism and Science,” the book is a synthesis of ideas where Schapiro (as always) places the role of art within the confines of contemporary society. This book is an invaluable reference for anyone studying this period in the history of art.

Karmel, Pepe, and Rosalind E. Krauss. 1997. The crisis of the easel picture. Approaching Pollock, a symposium. Sound Recordings.

21 1999

Worldview in Painting--Art and Society . New York, N.Y.: George Braziller, 1999. NYPLMM

256 pages, black and white illustrations. This volume is in two parts. Part I deals the role of philosophy in painting. It consists of two essays, the first titled “Philosophy and Worldview in Painting,” and the second “Cezanne and the Philosophers.” Published posthumously, they are both transcriptions of lectures he gave during his lifetime, the first being supplemented with notes by Schapiro.

Part II discusses the “relationship of society, art, and the artist.” It is comprised of notes that he wrote, beginning in the early 1930s, along with several (unedited) short essays. In the preface, his wife (who was responsible for the publishing of this book) warns that Schapiro himself may have rejected and certainly would have rewritten much of what is published in this section. Amongst the topics covered are “Art and Social Change,” “The Arts Under Socialism,” “The Value of Modern Art,” “The Public Use of Art,” and “On the Art Market.”

2000

, Lillian Milgram Schapiro, and Daniel Esterman. Meyer Schapiro: His Painting, Drawing, and Sculpture. New York: H.N. Abrams, 2000. NYPLMM

256 pages with black and white and color illustrations. This book is a monograph of the artwork of Meyer Schapiro. The volume contains three of Schapiro’s essays, “On Representing and Knowing,” “Color as Expressive,” and “Art Schools: Drawing from the Figure,” all dealing with Schapiro’s relationship to his own drawing and painting. Following the texts, the book contains page after page of delicately rendered line and charcoal drawings. Schapiro draws the buildings and architectural features about which he writes. He also does intimate line drawings of his family at home, as well as studies of the city of New York. His paintings range from abstract color studies, to portraits, to Impressionistic landscapes. The collection highlights the fact that although Schapiro is primarily known for his role as an art historian, he approaches being an historian through the eyes of an artist.

The Unity of Picasso's Art . New York: George Braziller, 2000. NYPL

, Smith, Chuck, Ari Marcopoulos, Willem Dafoe, Ruth Maleczech, and Robert A. F. Thurman. 2000. Forrest Bess key to the riddle. New York, NY: Checkerboard Foundation.

2002

, Felicity D. Scott, and Sara Ogger. “Looking Forward to Looking Backward: A Dossier of Writings on Architecture from the 1930s.” Grey Room, no. 6 (Winter 2002): 66-109.

, and Terry Smith. 2002. Notes from Meyer Schapiro's Art History Theory and Methods Course.

22 2005

The Language of Forms: Lectures on Insular Manuscript Art . New York: Pierpont Morgan Library, 2005. Pratt

199 pages with both color and black and white images. This text, published posthumously, is a collection of the lectures that Schapiro gave at the Morgan Library in 1968. After years of study, the lectures represent a breadth of knowledge about Insular Manuscripts that was previously unavailable in print. In his study, Schapiro took a totally new approach to these books from Ireland, England and Scotland and therefore this volume is of the utmost importance.

2006

, and Linda Seidel. Romanesque Architectural Sculpture. The Charles Eliot Norton lectures. Chicago: University of Chicago Press, 2006.

2009

, and Daniel Esterman. Meyer Schapiro Abroad: Letters to Lillian and Travel N otebooks. Los Angeles: Getty Research Institute, 2009.

23