DOCSLIB.ORG

Bernard Berenson

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bernard Berenson BERNARD BERENSON Formation and Heritage VILLA I TATTI SERIES, 31 BERNARD BERENSON Formation and Heritage JOSEPH CONNORS AND LOUIS A. WALDMAN VILLA I TATTI VILLA I TATTI SERIES, 31 THE HARVARD UNIVERSITY CENTER FOR ITALIAN RENAISSANCE STUDIES © Villa I Tai, e Harvard University Center for Italian Renaissance Studies | itai.harvard.edu All rights reserved. Printed in the United States of America by Sheridan Books, Inc. -- Bernard Berenson: formation and heritage.First [edition]. pages cm.(Villa I Tai ; ) “e core of the present volume consists of the papers presented at the conference ‘Bernard Berenson at Fiy,’ held at I Tai from to October .” Includes bibliographical references and index. ---- (rst) . Berenson, Bernard, –. Art criticsUnited States. I. Connors, Joseph. .dc [B] Book and cover design: Melissa Tandysh Book production: Dumbarton Oaks Publications Cover illustration: William Rothenstein, Bernard Berenson, . Frontispiece: James Kerr-Lawson, Bernard Berenson, ca. Both images are from the Berenson Collection, Villa I Tai e Harvard University Center for Italian Renaissance Studies. (Photo: Paolo De Rocco, Centrica srl, Firenze, © President and Fellows of Harvard College.) Contents One Introduction Two Bernard Berenson and Jean Paul Richter e Giambono’s Provenance Three Art, Commerce, and Scholarship e Friendship between Oo Gutekunst of Colnaghi and Bernard Berenson ­ Four Palaces Eternal and Serene e Vision of Altamura and Isabella Stewart Gardner’s Fenway Court Five Bernard Berenson and “Tactile Values” in Florence Six Bernard Berenson’s Florence, Seven Bernard Berenson and Aby Warburg Absolute Opposites Eight Bernard Berenson and Islamic Culture “ought and Temperament” Nine Bernard Berenson and Asian Art Ten Bernard Berenson and Kenneth Clark A Personal View - Eleven Bernard Berenson and Arthur Kingsley Porter Pilgrimage Roads to I Tai Twelve Bernard Berenson and Paul Sachs Teaching Connoisseurship Thirteen “e Cookery of Art” Bernard Berenson and Daniel Varney ompson Jr. vi Contents Fourteen e Antiquarian Carlo Alberto Foresti of Carpi, a Correspondent of Bernard Berenson Unknown Documents for the History of a Dispersed Collection Fifteen Bernard Berenson and Archer Huntington ­ Sixteen Bernard Berenson and Count Umberto Morra “Do Not Forget Me” Seventeen Bernard Berenson and Katherine Dunham Black American Dance Bibliography Contributors Index vii Contents seventeen Bernard Berenson and Katherine Dunham Black American Dance Joseph Connors , an obituary appeared in the New York Times for Katherine Dun- Oham, who had died at the age of . It had high praise for her achievement in the world of dance: “By creating popular and glamorous revues based on African and Caribbean folklore, Miss Dunham acquainted audiences, both on Broadway and around the world, with the historical roots of black dance.” e article went on to speak of her achievement in founding, in the s, America’s rst self-supporting black modern-dance troupe, At the Morris Library Special Collections, I oer sincere thanks to Pam Hackbart-Dean, Lea (Broaddus) Agne, and Aaron Lisec, as well as to I Tai Fellow Holly Hurlburt, for facilitating my long-distance research in every way. At the Biblioteca Berenson, where seventy-three of Katherine Dunham’s leers are deposited, I oer my warm thanks to Giovanni Pagliarulo, Sanne Wellen, and Ilaria Della Monica. For the outline of Dunham’s life and career, I am indebted to the ne biography by Joyce Aschenbrenner, Katherine Dunham: Dancing a Life (), and the comprehensive collection of materials in Vèvè A. Clark and Sara E. Johnson’s Kaiso! Writings by and about Katherine Dunham (), which is a much-enlarged second edition of Kaiso! Katherine Dunham: An Anthology of Writings (Clark and Wilkerson ). e web page “Selections from the Katherine Dunham Collection at the Library of Congress” (hp://lcweb.loc.gov/diglib/ihas/html/dunham/dunham -home.html) contains photographs and a selection of videos of Haitian dance lmed by her as well as her own performances. e timeline on the site does not always agree with Aschenbrenner’s authoritative biography. Like all contributors to this book, I am greatly indebted to Ernest Samuels’s Bernard Berenson: e Making of a Connoisseur () and Bernard Berenson: e Making of a Legend (). See Anderson and Dunning ; for another obituary, see Sommer . 363 which had visited more than y countries on six continents. e author dwelled on Dunham’s aection for Haiti and mentioned that she eventually became a priestess of the vodun religion. It cited her choreography for Aïda at the Metropolitan Opera, her work with Georges Balanchine in , her inuence on Alvin Ailey, and her career in lm in the early s. It quoted Dunham on the diversity of response that her work inspired: “Judging from reactions the dancing of my group is called anthropology in New Haven, sex in Boston, and in Romeart!” Her many accolades culminated in an honorary doc- torate from Harvard University in , which she received along with eleven other dis- tinguished personalities of the worlds of science, economics, humanities, and politics. She counted two black presidents among her friends: Dumarsais Estimé of Haiti, who made her a Chevalier of the Légion d’Honneur et Mérite of that country in , and Léopold Senghor of Senegal, who invited her as an unocial American ambassador to the Festival of Black Arts in Dakar, Senegal, in . She is reported as saying that the three great inuences on her life were Robert Maynard Hutchins, the president of the University of Chicago at the time of her study there; Erich Fromm, the psychologist and social theorist; and Bernard Berenson. e rst two made sense, but the relationship with Berenson seemed out of charac- ter. He was forty-four years older than Dunham, and they lived continents apart. Race was still a barrier in polite European society, and it was hard to imagine common inter- ests. Indeed, in the extensive literature on Berenson there is lile mention of Katherine Dunham. For details of his private life, one usually turns to Nicky Mariano’s intimate biography. Mariano was curious about the loves of Berenson’s early life and got to know some of them: Gladys Deacon, Lady Sassoon, Belle da Costa Greene, Gabrielle Lacase, Natalie Barney, Countess Hortense Serristori. When new stars rose in the sky she could be consumed with jealousy, but eventually she became comfortable with them and ended up by enjoying his new half-amorous friendships “as a mother enjoys a new toy for her baby.” Nicky compared them to the instruments in an orchestra, though some, she said, were comparable to solo performers: Pellegrina Del Turco, who was shot by the Germans near the end of the Second World War; Clotilde Marghieri, “la Ninfa del Vesuvio,” with whom Berenson corresponded for decades; Addie (Mrs. Oo H.) Kahn; Katie Lewis; Paola Drigo of Venice; Frances Francis, wife of Henry Francis of the Cleveland Museum of Art; Freya Stark, the travel writer; Rosamond Lehmann, the novelist; Katherine Biddle, the poet. Yet Mariano remained silent on Katherine Dunham. Even the scrupulous and highly detailed biography by Ernest Samuels only accords brief mentions of Dunham’s visit to I Tai in the “social season” of and Berenson’s visit to a performance of her dances in Rome. Harvard Magazine, July–August . Other honorands included economist Albert Hirschman, Senator Daniel Moynihan, philosopher Bernard Williams, historian Peter Brown, and former Harvard president Neil Rudenstine. Clark and Johnson , –. For example, in Hagan . Mariano . Samuels , , , . 364 Joseph Connors e published literature thus did not help to dispel the mystery enveloping Dun- ham’s claim that Berenson was a major inuence in her life. In the cloudy sky of my research, however, a rainbow nally appeared, one end resting in Florence, where Dunham’s leers are kept in the Biblioteca Berenson at Villa I Tai, and the other in Car- bondale, Illinois, where Berenson’s leers are kept amid the material Dunham donated to Southern Illinois University. I have been able to read about leers wrien in the decade between and . ey shed light on an epistolary friendship which, in spite of a near rupture at a crucial point, was deeply meaningful to both and continued until the end of Berenson’s life. Katherine Dunham was born in Chicago in to a black father, Albert Dunham, and a mother of white French-Canadian ancestry, Fanny June Dunham. She was raised in the Chicago suburb of Glen Ellyn and, aer dance lessons at school, began to study ballet seriously in . In , she entered the University of Chicago, where her older brother, Albert, was studying philosophy. Chicago was the right university for a young woman with a vibrant personality and interests equally scholarly and artistic. Founded in as a coeducational institution, there was no more open and liberal university in America. Both brother and sister lived in Bronzeville, the black theater and jazz district of Chicago. It was Albert who encouraged Katherine’s ambition to be in the theater. e poet and dancer Mark Turbyll sensed her talent in dance and wanted Dunham to become the rst black American ballerina. Although the dance establishment did not believe that classi- cal ballet was appropriate to the physique and temperament of black dancers, Dunham aended performances by Isadora Duncan and the Ballets Russes, and was taught dance by Ludmilla Speranzeva. She created the short-lived Ballet Nègre in , one of the rst black ballet companies in America, which performed in the Beaux Arts Ball in Chicago, but then was disbanded in . Dunham was highly intelligent and responded well to academic stimulus. e Uni- versity of Chicago exuded intellectual energyRobert Maynard Hutchins, the icono- clastic young president from to , saw the mission of the university as the breaking down of barriers between academic disciplines. He started the department of anthropol- ogy in and aracted to it brilliant, idiosyncratic scholars from Europe and America.
Load more

Recommended publications
  • Framing the Painting: the Victorian “Picture Sonnet” Author[S]: Leonée Ormond Source: Moveabletype, Vol
    Framing the Painting: The Victorian “Picture Sonnet” Author[s]: Leonée Ormond Source: MoveableType, Vol. 2, ‘The Mind’s Eye’ (2006) DOI: 10.14324/111.1755-4527.012 MoveableType is a Graduate, Peer-Reviewed Journal based in the Department of English at UCL. © 2006 Leonée Ormond. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (CC-BY) 4.0https://creativecommons.org/licenses/by/4.0/, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. Framing the Painting: The Victorian “Picture Sonnet” Leonée Ormond During the Victorian period, the short poem which celebrates a single work of art became increasingly popular. Many, but not all, were sonnets, poems whose rectangular shape bears a satisfying similarity to that of a picture frame. The Italian or Petrarchan (rather than the Shakespearean) sonnet was the chosen form and many of the poems make dramatic use of the turn between the octet and sestet. I have chosen to restrict myself to sonnets or short poems which treat old master paintings, although there are numerous examples referring to contemporary art works. Some of these short “painter poems” are largely descriptive, evoking colour, design and structure through language. Others attempt to capture a more emotional or philosophical effect, concentrating on the response of the looker-on, usually the poet him or herself, or describing the emotion or inspiration of the painter or sculptor. Some of the most famous nineteenth century poems on the world of art, like Browning’s “Fra Lippo Lippi” or “Andrea del Sarto,” run to greater length.
    [Show full text]
  • A Mechanism of American Museum-Building Philanthropy
    A MECHANISM OF AMERICAN MUSEUM-BUILDING PHILANTHROPY, 1925-1970 Brittany L. Miller Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Departments of History and Philanthropic Studies, Indiana University August 2010 Accepted by the Faculty of Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. ____________________________________ Elizabeth Brand Monroe, Ph.D., J.D., Chair ____________________________________ Dwight F. Burlingame, Ph.D. Master’s Thesis Committee ____________________________________ Philip V. Scarpino, Ph.D. ii ACKNOWLEDGEMENTS In the same way that the philanthropists discussed in my paper depended upon a community of experienced agents to help them create their museums, I would not have been able to produce this work without the assistance of many individuals and institutions. First, I would like to express my thanks to my thesis committee: Dr. Elizabeth Monroe (chair), Dr. Dwight Burlingame, and Dr. Philip Scarpino. After writing and editing for months, I no longer have the necessary words to describe my appreciation for their support and flexibility, which has been vital to the success of this project. To Historic Deerfield, Inc. of Deerfield, Massachusetts, and its Summer Fellowship Program in Early American History and Material Culture, under the direction of Joshua Lane. My Summer Fellowship during 2007 encapsulated many of my early encounters with the institutional histories and sources necessary to produce this thesis. I am grateful to the staff of Historic Deerfield and the thirty other museums included during the fellowship trips for their willingness to discuss their institutional histories and philanthropic challenges.
    [Show full text]
  • Moral Stance in Italian Renaissance Art: Image, Text, and Meaning Author(S): Joseph Manca Source: Artibus Et Historiae , 2001, Vol
    Moral Stance in Italian Renaissance Art: Image, Text, and Meaning Author(s): Joseph Manca Source: Artibus et Historiae , 2001, Vol. 22, No. 44 (2001), pp. 51-76 Published by: IRSA s.c. Stable URL: https://www.jstor.org/stable/1483713 REFERENCES Linked references are available on JSTOR for this article: https://www.jstor.org/stable/1483713?seq=1&cid=pdf- reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms IRSA s.c. is collaborating with JSTOR to digitize, preserve and extend access to Artibus et Historiae This content downloaded from 130.56.64.101 on Mon, 15 Feb 2021 10:47:03 UTC All use subject to https://about.jstor.org/terms JOSEPH MANCA Moral Stance in Italian Renaissance Art: Image, Text, and Meaning "Thus the actions, manners, and poses of everything ness. In Renaissance art, gravity affects all figures to some match [the figures'] natures, ages, and types. Much extent,differ- but certain artists took pains to indicate that the solidity ence and watchfulness is called for when you have and a fig- gravitas of stance echoed the firm character or grave per- ure of a saint to do, or one of another habit, either sonhood as to of the figure represented, and lack of gravitas revealed costume or as to essence.
    [Show full text]
  • On the Problem of Describing and Interpreting Works of the Visual Arts
    On the Problem of Describing and Interpreting Works of the Visual Arts Author(s): Erwin Panofsky, Jaś Elsner, and Katharina Lorenz Reviewed work(s): Source: Critical Inquiry, Vol. 38, No. 3 (Spring 2012), pp. 467-482 Published by: The University of Chicago Press Stable URL: http://www.jstor.org/stable/10.1086/664547 . Accessed: 24/05/2012 14:10 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. The University of Chicago Press is collaborating with JSTOR to digitize, preserve and extend access to Critical Inquiry. http://www.jstor.org On the Problem of Describing and Interpreting Works of the Visual Arts Erwin Panofsky Translated by Jas´ Elsner and Katharina Lorenz In the eleventh of his Antiquarian Letters, Gotthold Ephraim Lessing discusses a phrase from Lucian’s description of the painting by Zeuxis called A Family of Centaurs: ‘at the top of the painting a centaur is leaning down as if from an observation point, smiling’ (ano de tes eikonos hoion apo tinos skopes Hippokentauros tis ...). ‘This as if from an observation point, Except for a few changes, that partly emerged from the discussion, this article presents the thread of a talk, that was given on 20 May 1931, to the Kiel section of the Kant Society.
    [Show full text]
  • The German-Jewish Experience Revisited Perspectives on Jewish Texts and Contexts
    The German-Jewish Experience Revisited Perspectives on Jewish Texts and Contexts Edited by Vivian Liska Editorial Board Robert Alter, Steven E. Aschheim, Richard I. Cohen, Mark H. Gelber, Moshe Halbertal, Geoffrey Hartman, Moshe Idel, Samuel Moyn, Ada Rapoport-Albert, Alvin Rosenfeld, David Ruderman, Bernd Witte Volume 3 The German-Jewish Experience Revisited Edited by Steven E. Aschheim Vivian Liska In cooperation with the Leo Baeck Institute Jerusalem In cooperation with the Leo Baeck Institute Jerusalem. An electronic version of this book is freely available, thanks to the support of libra- ries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access. More information about the initiative can be found at www.knowledgeunlatched.org This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 4.0 License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. ISBN 978-3-11-037293-9 e-ISBN (PDF) 978-3-11-036719-5 e-ISBN (EPUB) 978-3-11-039332-3 ISSN 2199-6962 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2015 Walter de Gruyter GmbH, Berlin/Boston Cover image: bpk / Staatsbibliothek zu Berlin Typesetting: PTP-Berlin, Protago-TEX-Production GmbH, Berlin Printing and binding: CPI books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com Preface The essays in this volume derive partially from the Robert Liberles International Summer Research Workshop of the Leo Baeck Institute Jerusalem, 11–25 July 2013.
    [Show full text]
  • 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.
    [Show full text]
  • Twelve African American Members of the Society for Classical Studies: the First Five Decades (1875-1925)
    Twelve African American Members of the Society for Classical Studies: The First Five Decades (1875-1925) by Michele Valerie Ronnick Copyright © 2018 by the Society for Classical Studies All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher. Published October 2018 For Ward W. Briggs, Jr., Henry Louis Gates, Jr., Meyer Reinhold and Cornel West, my friends and teachers. Introduction Many of us remain unaware that among the members of the American Philological Association (Society for Classical Studies since 2014) during the latter half of the nine- teenth century were people of African and African American descent, for little or noth- ing had been written about them before the American Philological Association published my pamphlet, The First Three African American Members of the American Philological Association in 2001. We have, however, understood for some time that Americans from the late eighteenth century through the nineteenth century were engaged in heated argu- ments about the appropriate type of education needed by Americans in general, and particularly over the needs of the newly-freed slaves after the Civil War. What we had not yet realized was that these were also concerns among members of the black diasporic community itself, which understood that the study of ancient Greek and Latin had long been the intellectual standard
    [Show full text]
  • Contents More Information
    Cambridge University Press 978-1-107-00526-6 - The Italian Renaissance and Cultural Memory Patricia Emison Table of Contents More information CONTENTS List of Illustrations page viii Acknowledgments xi Note to the Reader xiii 1 INTRODUCTION 1 2 A HISTORIOGRAPHICAL OVERVIEW 9 3 NOT ONLY REBIRTH 27 4 TRUTH AND LIKENESS 62 5 VISUALIZING IDEAS 85 6 WHY DID THE HIGH RENAISSANCE HAPPEN? 133 7 REVOLUTIONARY NORMS OF BEAUTY 158 8 “GENIUS” 186 9 EPILOGUE 212 Bibliography 221 Index 225 vii © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-00526-6 - The Italian Renaissance and Cultural Memory Patricia Emison Table of Contents More information LIST OF ILLUSTRATIONS plates Color plates follow page xvi. I. Raphael, Entombment II. Giotto, Lamentation III. Raphael and Shop, Stufetta of Cardinal Bibbiena, Vatican Palace, Rome IV. Leonardo da Vinci, Mona Lisa V. Raphael, Baldassare Castiglione VI. Federico Barocci, Portrait of a Woman VII. Masaccio, left wall of the Brancacci Chapel, Santa Maria del Carmine, Florence, with Tribute Money above VIII. Raphael, Parnassus IX. Andrea Mantegna, ceiling of Camera degli Sposi, Ducal Palace, Mantua X. Pontormo, Deposition XI. Cima da Conegliano, St. John the Baptist with Sts. Peter, Mark, Jerome, and Paul XII. Michelangelo, Libyan Sibyl figures 1. Amico Aspertini, Meleager Being Carried page 12 2. Donatello, St. George (detail) 16 3. Ghiberti, St. Matthew 32 4. Nicola Pisano, Nativity 41 5. Giovanni Pisano, Hercules 42 6. Tempio Malatestiano, Rimini 48 7. Michelangelo, Tityus 53 8. Donatello, St. Mark 54 9. Donatello, Mary Magdalene 60 10. Donatello, David 60 11.
    [Show full text]
  • GRADUATE PROGRAM in the HISTORY of ART Williams College/Clark Art Institute
    GRADUATE PROGRAM IN THE HISTORY OF ART Williams College/Clark Art Institute Summer 2003 NEWSLETTER The Class of 2003 at its Hooding Ceremony. Front row, from left to right: Pan Wendt, Elizabeth Winborne, Jane Simon, Esther Bell, Jordan Kim, Christa Carroll, Katie Hanson; back row: Mark Haxthausen, Ben Tilghman, Patricia Hickson, Don Meyer, Ellery Foutch, Kim Conary, Catherine Malone, Marc Simpson LETTER FROM THE DIRECTOR CHARLES w.: (MARK) HAxTHAUSEN Faison-Pierson-Stoddard Professor of Art History, Director of the Graduate Program With the 2002-2003 academic year the Graduate Program began its fourth decade of operation. Its success during its first thirty years outstripped the modest mission that shaped the early planning for the program: to train for regional colleges art historians who were drawn to teaching careers yet not inclined to scholarship and hence having no need to acquire the Ph.D. (It was a different world then!) Initially, those who conceived of the program - members of the Clark's board of trustees and Williams College President Jack Sawyer - seem never to have imagined that it would attain the preeminence that it quickly achieved under the stewardship of its first directors, George Heard Hamilton, Frank Robinson, and Sam Edgerton. Today the Williams/Clark program enjoys an excellent reputation for preparing students for museum careers, yet this was never its declared mission; unlike some institutions, we have never offered a degree or even a specialization in "museum studies" or "museology." Since the time of George Hamilton, the program has endeavored simply to train art historians, and in doing so it has assumed that intimacy with objects is a sine qua non for the practice of art history.
    [Show full text]
  • Culture, Change, and Intellectual Relations
    Culture, change, and intellectual relations Review of: José Emilio Burucúa, Historia, Arte, Cultura. De Aby Warburg a Carlo Ginzburg, Buenos Aires: Fondo de Cultura Económica, 2003, ISBN 9505575580, 199 pp., £ 24.94. Historia, Arte, Cultura describes the intellectual development of a group of scholars with wide ranging interests and diverse approaches to the history of art and culture, centered around the figure of Aby Warburg (1866-1929) and his collection of books and images. Displaying singular erudition, José Emilio Burucúa discusses their theories and studies, as well as their institutional affiliations. This issue brings into consideration the history of the Warburg Institute itself, its hazardous transfer from Hamburg to England, and its incorporation to the University of London. The relevance of the book as a general introduction to the group is enhanced by a forty page appendix which includes texts written by distinguished members of the Warburgian tradition. The introduction to the book highlights the increased interest that European historiography has devoted to Warburg, his theories, and his methods in the last decades. In 1970, Ernst Gombrich published an intellectual biography of the German art historian, revised and expanded in 1986.1 That same year, Carlo Ginzburg included the article 'Da Aby Warburg a Ernst Gombrich. Note su un problema di metodo' in his book Miti, Emblemi, Spie.2 Gombrich's and Ginzburg's reflections heralded the appearance of several translations of Warburg's texts that made them accessible to the non-German speaking world. Until the 1990s only an Italian translation, La Rinascita del Paganesimo Antico, edited by Gertrud Bing,3 was available.
    [Show full text]
  • History and Genealogy of Samuel Clark, Sr., and His
    ALLEN COUNTY PUBLIC LIBRARY Gc 929.2 833 01733 8671 C556c REYNOLDS HISTORICAL 1151116 GENEALOGY COLLECTION : T H I S T O R T GENEALOGYT OF SAMUEL CLARK, Sr.. AND HIS DESCENDANTS FROM 1636-1891 — 255 YEARS. BY REV. EDGAR W. CLARK, A. M., IP^I^JL, ILL. ' My boast is not, that I deduce mj- birth From loins enthroned, and rulers of the earth; But higher far my proud pretensions rise — The son of parents passed into the skies." — Cowper. ST. LOUIS, MO. NIXO>f-JONES PRINTING CO. July, li59l. COAX OK ARIVLS." Arm's of Clarks, Buckland's Toussaint, County Devon, England. "Arms, Erm., a lion rampant Az., or. chief sa., or leopard's face arg. — between two cross-crosslets or — CREST, a demi lion gu. collard or, on the shoulder an etoille, in the paw a baton sa. — Motto : " VICTOR MORTALIS EST." 1151116 — PREFACE. The author is well aware that this little volume can con- tain but a small part of the very numerous descendants of Samuel Clark. Some of the branches of the family he has not been able to discover and trace, but he trusts the fami- lies given will lead to a further knowledge of those fully as important but not known to him. He hereby solicits anv information and corrections any one may be able to give, and if sufficient to warrant it, he will publish a new edition or an addenda. This has been a gradual gathering of more than twenty years, and a work of love. To confirm and gather the his- torical parts, he has spent some days in the Astor Library, New Yoik City, the Historical Library, Newark, N.
    [Show full text]
  • The Trouble with JP Morgan's Millions
    The Trouble with J. P. Morgan’s Millions By Jonathan Menon Published: November 19, 2012 | Last modified: September 11, 2017 Permalink: http://239days.com/2012/11/19/the-trouble-with-j-p-morgans-millions/ ‘ABDU’L-BAHÁ’S AUTOMOBILE halted in front of 33 East 36th Street after dark on Monday, November 18, 1912.1 He stepped out onto slushy pavement in the brisk evening air,2 and ascended a broad flight of steps between two sleek Assyrian lionesses named Prudence and Felicity, who kept watch in pink Tennessee marble before the recessed portico of an Italian Renaissance villa in midtown Manhattan.3 The architect of the place, Charles Follen McKim of the renowned firm McKim, Mead & White, had suffered a nervous breakdown over this building—or, more precisely, over having to accommodate the insistent demands and fastidious tastes of his client.4 On other projects McKim might have done as he pleased, but one simply did not say no to J. Pierpont Morgan. Volcanic. Imperious. Intimidating. The qualities of the man blaze from the photographic portrait Edward Steichen took of him in 1903. Morgan’s ferocious eyes burn from behind his massive nose, which had been swollen and turned purple by a chronic skin disease. His left hand grasps a dagger—or so it appears from the way the light glints off the arm of his chair.5 Morgan’s powerful physical presence symbolized his ubiquitous command over the 1 “Persian Highbrow Dubs Morgan ‘Some Philanthropist,’ ” Buffalo News, November 19, 1912 (photocopy, National Bahá’í Archives, Wilmette, IL); For a detailed discussion of the timing of the visit, see note 7 below.
    [Show full text]