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Article

Sheila S. Blair and Jonathan M. Bloom

(b. Oakland, CA, 1893; d. Shiraz, Iran, 25 Jan. 1977).

American historian of Iranian art. While studying mathematics at the University of California, Berkeley, Ackerman met and eventually married Arthur Upham Pope, with whom she had taken courses in philosophy and aesthetics. In 1926 she and Pope organized the first ever exhibition of Persian art at the Pennsylvania Museum and helped create the First International Congress of Oriental Art. In 1930 Ackerman was stricken with polio but taught herself to walk again. They were instrumental in preparing the 1931 Persian Art Exhibition at Burlington House, London, and the Second International Congress of Iranian Art and Archaeology, as well as the Third Congress in Leningrad (now St. Petersburg) in 1935 and the exhibition of Iranian art at the Iranian Institute in New York in 1940. She visited Iran for the first time in 1964, when the shah of Iran invited Pope to revive the Asia Institute; it was associated with Pahlavi University in Shiraz until ...

Article

Pat Gilmour

(b Glendale, CA, Dec 11, 1918; d Albuquerque, NM, May 13, 2002).

American painter, printmaker, art historian, writer and teacher. His appointment to the art faculty of the University of California, Los Angeles, in 1942 was interrupted by military service, and it was not until 1946 that he resumed his career as a teacher of the practice and theory of art. This took him to the universities of Kentucky (Lexington), Florida (Gainesville) and finally New Mexico (Albuquerque), where he served as Dean (1961–76). Despite academic demands, Adams always found time to paint and showed his work in over 50 solo exhibitions. Equally at home in oil, acrylic, watercolour and egg tempera, he was initially inspired by the abstracted cityscapes of Stuart Davis. Later he absorbed the lessons of Matisse, achieving particularly radiant paintings during the 1980s. In 1993 he was elected an Academician by the National Academy of Design.

In 1948, at Stanton Macdonald-Wright’s suggestion, Adams began to make lithographs with the Los Angeles printer, ...

Article

Walter Smith

(b Buenos Aires, 1945).

American architect and theorist of Argentine birth. She received her Diploma of Architecture at the University of Buenos Aires in 1967 and studied further in Paris at the Ecole Pratique des Hautes Etudes and the Centre du Recherche d’Urbanisme (1967–9). She moved to New York in 1971. From 1976 Agrest taught at Cooper Union, New York, and at Columbia, Princeton and Yale universities. In 1980 she went into partnership with her husband, Mario Gandelsonas (b 1938), in the firm A & G Development Consultants Inc., in New York. She also formed her own firm, Diana Agrest, Architect, in New York. Agrest was deeply involved in theoretical research, and was a Fellow at the Institute for Architecture and Urban Studies, New York, from 1972 to 1984. She was strongly influenced by semiotics and developed the idea that architecture can refer beyond itself, discussed particularly in her essay on architecture and film (...

Article

Roy R. Behrens

[ Ames, Adelbert, II ]

(b Lowell, MA, Aug 19, 1880; d Hanover, NH, July 3, 1955).

American artist, optical physiologist and perceptual psychologist . Born to an affluent upper-class family, both his father, Adelbert Ames sr, and his maternal grandfather, Benjamin F. Butler, were distinguished Union generals during the American Civil War, while the latter was also a presidential candidate in 1884. Ames himself was trained as a lawyer at Harvard University (1899–1906), where his most influential professor was the philosopher William James (1842–1910). At 30, disillusioned with law and disappointed in love, he radically re-shaped his life. He abandoned his law career and withdrew from his engagement to Margaret (Peggy) James, the daughter of William James. Determined to become an artist, he transformed a police wagon into a makeshift mobile home in which to travel, paint and sleep. At the same time, he was hired by the Shawmut Bank of Boston to create a bust of an heroic Native American leader for use as the company’s trademark. While engaged in this, he shared a studio with his sister, Blanche Ames Ames (...

Article

Christophe Spaenjers

Set of financial methods, instruments, and business models that are used in the Art market. Important developments since the 1960s include the spreading availability and use of art price information and price indexes (see Art index), the emergence of loans collateralized by artworks, repeated efforts to create art investment structures, and a strong growth in art market advisory services provided by wealth managers and new entrepreneurs (see also Investment).

The first major development has been the spread of art price information and art price indexes over the last half-century. After a few difficult decades, art price levels and public interest in the art market were going up again in the 1950s and 1960s. A number of books on the history of the art market and on art investment that were published around that time—Le Vie Etrange des Objets (1959) by Maurice Rheims, Art as an Investment...

Article

Sheila S. Blair and Jonathan M. Bloom

(b. Istanbul, June 11, 1938).

American historian of Islamic art. Atıl earned her PhD at the University of Michigan, with a dissertation on an illustrated Ottoman Book of Festivals. In 1970 she was appointed Curator of Islamic Art at the Freer Gallery of Art, Washington, DC, a post that she held for 15 years. An extraordinarily energetic and prolific curator, she organized many notable exhibitions based on the Freer collection as well as traveling exhibitions of Mamluk art, the age of Süleyman the Magnificent, and of the Kuwait collection of Islamic art. Between 1985 and 1987, Dr. Atıl was Guest Curator at the National Gallery of Art, Washington, DC. With the opening of the Sackler Gallery at the Smithsonian Institute in 1987, she was appointed Historian of Islamic Art at the Freer and Sackler Galleries, a position she held until her retirement in 1993.

E. Atıl: 2500 Years of Persian Art (Washington, DC, 1971)E. Atıl...

Article

Leland M. Roth

(b Detroit, MI, July 7, 1869; d Southampton, NY, Oct 18, 1956).

American architect, urban planner and writer. Atterbury studied at Yale University, New Haven, CT, and travelled in Europe. He studied architecture at Columbia University, New York and worked in the office of McKim, Mead & White before completing his architecture studies at the Ecole des Beaux-Arts in Paris. Atterbury’s early work consisted of suburban and weekend houses for wealthy industrialists, such as the Henry W. de Forest House (1898) in Cold Springs Harbor on Long Island, NY. De Forest was a leader in the philanthropic movement to improve workers’ housing, an interest that Atterbury shared; through him Atterbury was given the commission for the model housing community of Forest Hills Gardens, NY, begun in 1909 under the sponsorship of the Russell Sage Foundation; the co-planners and landscape designers were the brothers John Charles Olmsted (1852–1920) and Frederick Law Olmsted Jr (1870–1957), the sons of Frederick Law Olmsted. Atterbury developed a system of precast concrete panels to build a varied group of multiple units and town houses suggesting an English country hamlet. He continued his research into prefabrication largely at his own expense throughout his life....

Article

(b Elgin, 1838; d New York, 1925).

Scottish architect, designer and writer. Trained as an architect, he moved to Liverpool, Lancs, in 1856 and set up an architectural practice with his brother William James Audsley (b 1833) in 1863. With him he wrote Handbook of Christian Symbolism (1865), and together they designed a number of buildings in and around Liverpool, among them the Welsh Presbyterian Church, Prince’s Road, Toxteth (1865–7), Christ Church, Kensington (1870), and the church of St Margaret, Belmont Road, Anfield (1873). For the merchant William Preston they designed the church of St Mary (1873) in the grounds of his house, Ellel Grange, Lancs. Other commissions were for a synagogue and a tennis club. He was among the earliest publishers to exploit the graphic potential of chromolithography, and, contrary to other major books on ornament, he made a case for classifying designs by their basic motif rather than by nationality. He was an expert on Japanese art, lecturing on the subject and between ...

Article

Roger J. Crum

(b Detroit, MI, Jan 28, 1902; d Salisbury, CT, Aug 15, 1981).

American art historian and museum director. Bar’s career is linked to the history of the Museum of Modern Art (MOMA) in New York and its often controversial role in the promotion of modern art and culture.

Barr graduated in art and archaeology from Princeton University in 1922. The following year he received his MA with a thesis on Piero di Cosimo. At Princeton he studied modern art with Frank Jewitt Mather Jr. (1868–1953), but the synthetic methodology that he learnt from the medievalist Charles Rufus Morey proved more influential in his development as a scholar and as the future director of MOMA. Morey presented students with a cross-section of the principal medieval visual arts: architecture, sculpture, wall painting and manuscript illumination, as well as minor arts and crafts. After graduate school, Barr travelled in Europe (1923). He returned to the USA and taught art history, first at Vassar College (...

Article

(b Argos, Greece, Feb 13, 1837; d Burlington, VT, July 19, 1914).

American writer and artist. Private lessons in painting led Benjamin to illustrate many of his writings on art and travel. After graduating from Williams College, Williamstown, MA, in 1859 he served as assistant librarian in the New York State Library. He wrote his first book on art, What Is Art or Art Theories and Methods Concisely Stated, in 1877, followed by three articles published in Harper’s Monthly Magazine concerning art in Europe. These articles, addressing English, French, and German contemporary art, formed the basis of Contemporary Art in Europe, also published in 1877. Thereafter he wrote Our American Artists (1879) and Art in America: A Critical and Historical Sketch (1880), as well as several articles for Harper’s New Monthly Magazine. Benjamin’s writings tended to champion recent art. The second series of Our American Artists, written for young people, provided a helpful critical approach to, as well as much information on, contemporary artists. Besides illustrating many of his articles he enjoyed some success as a marine painter....

Article

Margaret Moore Booker

(b Butrimonys, Alytus County, Lithuania, June 26, 1865; d Settignano, Italy, Oct 6, 1959).

American art historian, critic, and connoisseur. Berenson was perhaps the single most influential art historian in the USA for much of the 20th century. As the leading scholar and authority on Italian Renaissance art, his opinion greatly influenced American art museums and collectors, whom he guided in the purchase of many important works of art. His pupils and disciples became the curators of many of the world’s great museums. His dealings with art galleries also made him a highly controversial figure.

Born to Albert and Julia Valvrojenski in Lithuania, Berenson immigrated to Boston, MA, with his family in 1875, at which time his surname was changed to Berenson. Later called ‘BB’ by friends and family, he dropped the ‘h’ from his first name around 1915. Jewish by birth, he converted to Christianity and was baptized in 1885. He attended Boston Latin School, Boston University, and finally Harvard University, where he studied under Charles Eliot Norton and received a BA in ...

Article

Roy R. Behrens

(Karel Joseph)

(b Cleveland, OH, Aug 23, 1906; d Red Wing, MN, Dec 26, 2004).

American painter and theorist. Biederman worked as a graphic designer for several years before studying art at the School of the Art Institute of Chicago from 1926 to 1929. A week after his arrival he saw a painting by Cézanne that greatly influenced his subsequent thought. He lived in New York from 1934 to 1940, except for a nine-month period in 1936–7 when he lived in Paris. He began to make reliefs in 1934. His visits in Paris to the studios of Mondrian, Georges Vantongerloo, César Domela and Antoine Pevsner made him aware of De Stijl, Neo-Plasticism, Abstraction-Création and Constructivism. He also met Léger, Miró, Arp, Kandinsky, Robert Delaunay, Alberto Giacometti, Picasso and Brancusi.

Shortly before returning to New York in 1938, Biederman made his first abstract reliefs, which he termed ‘non-mimetic’ (e.g. New York, Number 18, 1938; New York, Met.). In the same year, while visiting Chicago, he attended a seminar given by the Polish-born writer Alfred Korzybski, founder of the General Semantics Institute, which strongly influenced his later theories about history as an evolutionary process. He moved to Red Wing, near Minneapolis, MN, in ...

Article

Bio Art  

Suzanne Anker

From Anatomical studies to landscape painting to the Biomorphism of Surrealism, the biological realm historically provided a significant resource for numerous artists. More recently, Bio Art became a term referring to intersecting domains that comprise advances in the biological sciences and their incorporation into the plastic arts. Of particular importance in works of Bio Art is to summon awareness of the ways in which the accelerating biomedical sciences alter social, ethical and cultural values in society.

Coming to the fore in the early 1990s Bio Art is neither media specific nor locally bounded. It is an international movement with practitioners in such regions as Europe, the US, Russia, Australia and the Americas. Several subgenres of Bio Art exist within this overarching term:

(i) Artists who employ the iconography of the 20th and 21st century sciences, including molecular and cellular genetics, transgenically altered living matter and reproductive technologies as well as the diverse fields of neuroscience. All traditional media such as painting, sculpture, photography, printmaking and drawing are employed to convey novel ways of representing life forms. Images of chromosomes, the double helix, magnetic resonance imaging body scans and neuroanatomy comprise this iconography. The molecular underpinnings of the living world have also become visible through high technological instrumentation when artists incorporate such pictorialisations as part of their practice. Representations span both genotypic variations and phenotypic ones. Artists include Suzanne Anker (...

Article

James Smalls

The Black Arts Movement spans the period from the mid-1960s to the mid-1970s. Inherently and overtly political in content, it was an artistic, cultural and literary movement in America promoted to advance African American “social engagement.” In a 1968 essay titled “The Black Arts Movement,” African American scholar Larry Neal (1937–81) proclaimed it as the “artistic and spiritual sister of the Black Power concept.” The use of the term “Black Power” originated in 1966 with Student Nonviolent Coordinating Committee (SNCC) civil rights workers Stokely Carmichael and Willie Ricks. Quickly adopted in the North, Black Power was associated with a militant advocacy of armed self-defense, separation from “racist American domination” and pride in and assertion of the goodness and beauty of “Blackness.”

In addition to “Black Power,” the slogan “Black is Beautiful” also became part of the Black Arts Movement and the Black Cultural Movement (also known as Black Aesthetics). The aim of these maxims was to counter and dispel the widespread notion throughout Western cultures that black people’s natural features, such as skin color, facial characteristics and hair, were inherently ugly. The central purpose was to subvert decades of anti-black rhetoric and “to make African Americans totally and irreversibly proud of their racial and cultural heritage.” Black Arts Movement cultural theorists and artists reasoned that promotion of a black aesthetic was mandatory to help the African American community perceive itself as not only beautiful, but also as proud of the legacy of African American achievement, self-determinacy and self-identification with all black peoples throughout the African diaspora. The tone was militant and separatist, not conciliatory and assimilationist, and resulted in a call for a revolutionary art that spoke to a definable black aesthetic. In ...

Article

Donald F. Easton

(William)

(b Minneapolis, Jan 27, 1887; d Athens, Aug 24, 1971).

American archaeologist. From 1911 to 1927 he held posts at the American School of Classical Studies, Athens; from 1927 onwards he was Professor of Classical Archaeology at the University of Cincinnati. Early surveys and soundings around Corinth led to excavations at Korakou (1915–6), which established a full Bronze Age sequence for the Greek mainland, a sequence then confirmed at Zygouries (1921–2). Excavations at Nemea (1924–6) and Acrocorinth (1926) dealt mainly with Classical periods. But at Prosymna in the Argolid (1925–8) Blegen exposed a large Middle and Late Helladic cemetery. Further study of burial customs and of the distribution of prehistoric sites convinced him that Greek-speakers entered Greece c. 1900 bc, a view long influential but now doubted. His excavations at Troy (1932–8) greatly refined previous findings by Heinrich Schliemann and Wilhelm Dörpfeld and suggested that Troy VIIa, not VI, was destroyed in the Trojan War (...

Article

Aldona Jonaitis

(b Minden, Westphalia, July 1858; d New York, Dec 21, 1942).

American anthropologist and art historian of German birth. Trained as a physical scientist at the University of Kiel, he became interested in anthropology soon after receiving his doctorate in 1881. He immigrated to the USA in 1888 and became curator of ethnology at the American Museum of Natural History in New York in 1895. The following year he also began to teach at Columbia University, where he worked full-time from 1905 until his retirement in 1936.

Boas’s first publications on art consisted largely of descriptions of artefacts made by the native population of the north-west coast of North America (see Native North American art, §XVIII), but by 1888 he had begun to reconstruct the history of this art. Between 1896 and 1900 he demonstrated the inadequacy of the then-prevalent evolutionistic theory that art degenerated from realism to abstraction and proposed that conventionalization in the art of the northwest coast resulted from attempts to represent as many characteristics of an animal as possible even if this resulted in a distortion of the image, as, for example, when an animal was split down the middle and flattened out so that both sides could be depicted in a two-dimensional medium. After ...

Article

Carol Magee

(b Johannesburg, 1972).

South African multi-media artist, active in the USA. She received a BA in fine arts (University of Witwatersrand, 1993), an MA in art history (University of Chicago, 1995), and an MPhil in art history (Columbia University, New York, 1997). She was a fellow of the Whitney Independent Studio Program, New York (1996–7). Her work has been regularly included in biennials (including among others Johannesburg 1995, São Paulo 1998 and Venice (2005)), has been shown extensively in international solo and group exhibitions, and is owned by museums and private collectors throughout the world. In 2007 she was awarded the Prix International d’Art Contemporain by the Fondation Prince Pierre de Monaco. In photography, video, and installation, Breitz turns an insightful, playful, and critical eye towards issues of representation, identity, media, global capital, consumerism, celebrity, fandom, and language. Her work stretches from the problem of the cult of the individual to the question of how cultural and other forms of identity are established and maintained. In ...

Article

Joyce Zemans

(Richard)

(b Croydon, London, March 31, 1888; d Toronto, March 21, 1955).

Canadian painter, critic and writer of English birth. He emigrated in 1905 to Portage la Prairie, Manitoba. In 1921 he moved to Toronto to work as an editor and publisher. He is best known as a pioneer of abstract painting in Canada. His show (1927) at Toronto’s Arts & Letters Club was the first solo exhibition of abstract art by a Canadian artist. His early work is characterized by the bold non-objective imagery seen in the complex Sounds Assembling (1928; Winnipeg, A.G.). After 1930 he reassessed his artistic direction: he turned first to figurative imagery (e.g. Torso, 1937; Ottawa, N.G.) and then looking to Cubism he re-examined the nature of abstraction in his painting, without returning to the non-objectivity of his earlier work. Between 1926 and 1930 Brooker wrote ‘The Seven Arts’, a syndicated column of art criticism for the Southam Press. In addition, he edited The Yearbook of the Arts in Canada...

Article

Christine Mehring

(b Cologne, 1941).

American art historian, critic, and teacher of German birth. The significance of Buchloh’s work lies in its expansion of the modern art canon, demonstration of a critical potential of art and straddling of micro and macro levels of history. Buchloh’s scholarship on art made in postwar Europe or from unconventional media has broadened previous, particularly American, understandings of modern art. While a committed historian, Buchloh always also assumes the role of critic, insisting on the critical responsibility of art vis à vis history and the present while cautious about its limits. He maintains that one core function of art is to present the illusion, if not the realization, of a suspension of power (Neo-Avantgarde, p. xxiv). In keeping with this, Buchloh often writes on artists of his own generation whose practice and thinking he knows intimately, and on artists who share his commitment, most importantly conceptual artists of the late 1960s and 1970s. Buchloh’s combined roles as historian and critic spearheaded the merger of art history and art criticism that today defines writing on postwar art. Finally, Buchloh’s thinking interweaves macro and micro perspectives on art, anchoring broad historical arguments in formal and material details, or demonstrating, as in his writings on the “neo-avantgarde,” historical and hermeneutic differences between seemingly similar artistic practices and similarities between ones seemingly different. Buchloh, in short, demonstrates to many why art matters....

Article

Annemarie Weyl Carr

(b Berlin, Aug 11, 1909; d London, Nov 10, 1996).

German scholar of Byzantine, East Christian and European illuminated manuscripts. He took his degree in 1933 at the University of Hamburg in the heady community of the Warburg Library (later Institute) under the tutelage of Erwin Panofsky and Fritz Saxl. Immigrating with the Warburg staff and library to London in 1934, he served from 1940 to 1949 as the Institute’s Librarian and from 1944 to 1965 as Lecturer, Reader and then Professor of Byzantine art at the University of London. In 1965 he came to the Institute of Fine Arts, New York University, becoming in 1970 the first Ailsa Mellon Bruce Professor. He retired in 1975 to London, where he died in 1996.

Buchthal is best known for his Miniature Painting in the Latin Kingdom of Jerusalem (1957), which laid the foundation for the now well-established art-historical field of Crusader studies. It exemplifies both his originality and the methods that made his scholarship so durable. Fundamental among these were his holistic approach to manuscripts, giving as much attention to ornament, liturgical usage, text traditions, palaeography and apparatus as to miniatures, and his relentlessly keen visual analysis. Aided by a powerful memory, he worked from original monuments, developing exceptional acuity in dissecting the formal components of their images. Mobilized in his dissertation, published in ...