“Kunstiajalugu on ju siinses ülikoolis uus distsipliin.” Tartu ülikooli kunstiajaloo kabineti rajamine

Tartu Ülikooli kunstiajalooõpetuse moderniseerimisest ja kollektsioonide rollist kunstiajaloo professori valimistel aastatel 1919–1921

About the Authors

The article is the first attempt to present the beginnings of Estonian professional art history in the 1920s in a regional and global context. The author strives to situate the University of Tartu (Dorpat) in the pan-European network of universities, where art history had gradually become regarded as a new discipline during and after the long 19th century. Art history is rooted in the Age of Enlightenment, with Johann Joachim Winckelmann retrospectively named the father of art history. But it was about a half century after his death that art history was incorporated into a general subject of aesthetics taught at universities. It took another fifty years for art history to become a separate discipline in the modern universities of Germany and Austria-Hungary, and another half century to receive a separate chair at the Estonian national university in Tartu. The development of art history as a discipline at the University of Tartu is analysed on a very granular level, based on primary sources from Estonian and Swedish archives. During the 19th century art and its history were used to the ends of national politics and in search of national identities. In Estonia, this was hindered by the activities of another ethnic group, the Baltic-Germans, who had been the ruling class in the Baltic provinces of the Russian Empire. The first professor of art history at the Estonian University of Tartu, Helge Kjellin, wanted to bridge the gap between Estonian and Baltic art history. He attempted to merge these two concepts and define the territorial concept of Estonian art from the Middle Ages to the beginning of the 20th century. He also defined this as a proper field of study for Estonian art historians. However, after his departure from Estonia, art history was neglected and irrelevant for the Estonian University and the Estonian Republic. Science and academic professions were regarded as a masculine field of activity until after the Second World War. Only the lack of men, who had died in the war, enabled women to start seeking a more equal place in the academic world worthy of their intellectual ability. Despite there being many capable female students among those who studied art history with Kjellin, the first female professor of art history in Estonia, Krista Kodres, was elected to the Estonian Academy of Arts only in 2003.

Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsGeorg BaselitzGeorg Baselitz was born January 23, 1938, in Deutschbaselitz in Saxony, Germany, and given the name Hans-Georg Bruno Kern. He lives and works at the Lake Ammersee (Bavaria) and in Imperia (the Italian Riviera).Kirk AmbroseKirk Ambrose is associate professor of medieval art history at the University of Colorado. His publications include the book The Nave Sculpture of Vézelay: The Art of Monastic Viewing and a co-edited volume that surveys approaches to Romanesque sculpture [Department of Art and Art History, 318 UCB, University of Colorado, Boulder, Colo. 80309, kirk.ambrose@colorado.edu].Elizabeth EdwardsElizabeth Edwards is professor of photographic history and director of the Photographic History Research Centre, De Montfort University. A visual and historical anthropologist, she previously held academic and curatorial posts in Oxford and London. She has written extensively on cross-cultural relations between photography, anthropology, and history [Photographic History Research Centre, De Montfort University, The Gateway, Leicester LE1 9BH, U.K., eedwards@dmu.ac.uk].Ursula Anna FrohneUrsula Anna Frohne is professor of art history for twentieth- and twenty-first-century art at the Kunsthistorisches Institut, University of Cologne. Her research focuses on contemporary art practices, visual theory, video, film, photography, cinematographic aesthetics (http://kinoaesthetik.uni-koeln.de/), the political implications of art, and the economies of the art system [Kunsthistorisches Institut, University of Cologne Albertus-Magnus-Platz, 50923 Cologne, Germany, ursula.frohne@uni-koeln.de].Cordula GreweCordula Grewe, author of Painting the Sacred in the Age of Romanticism (2009), recently completed The Nazarenes: Romantic Avant-Garde and the Art of the Concept; her new projects explore the arabesque from eighteenth-century aesthetics to twentieth-century modernism and the tableau vivant from 1800 to 2000 [Department of Art History and Archaeology, Columbia University, MC 5517, New York, N.Y. 10027, cg2101@columbia.edu or cordula@grewe.us].Daniel Heller-RoazenDaniel Heller-Roazen is the Arthur W. Marks ‘19 Professor of Comparative Literature and the Council of the Humanities at Princeton University. He is the author of five books, among which, most recently, The Fifth Hammer: Pythagoras and the Disharmony of the World (Zone Books, 2011) [Department of Comparative Literature, 133 East Pyne, Princeton University, Princeton, N.J. 08544, dheller@princeton.edu].Ian McLeanResearch professor of Indigenous contemporary art at the University of Wollongong, Ian McLean has published How Aborigines Invented the Idea of Contemporary Art, The Art of Gordon Bennett, and White Aborigines: Identity Politics in Australian Art. He serves on the advisory boards of Third Text, World Art, and National Identities [Faculty of Creative Arts, University of Wollongong, NSW 2522 Australia, imclean@uow.edu.au].Saloni MathurSaloni Mathur, associate professor of art history at the University of California, is author of India by Design: Colonial History and Cultural Display (2007), editor of The Migrant's Time: Rethinking Art History and Diaspora (2011), and co-editor of No Touching, Spitting, Praying: Modalities of the Museum in South Asia (forthcoming) [Department of Art History, University of California at Los Angeles, 100 Dodd Hall, Los Angeles, Calif. 90095, mathur@ucla.edu].Lisa PonLisa Pon is associate professor at Southern Methodist University. Author of Raphael, Dürer, and Marcantonio Raimondi: Copying and the Italian Renaissance Print (Yale University Press, 2004), she is completing two books, Art, Icon, Print: Forlì's Madonna of the Fire and Raphael and the Italian Renaissance: Theorizing Artistic Collaboration [Department of Art History, Southern Methodist University, PO Box 750356, Dallas, Tex. 75275, lpon@smu.edu].Iain Boyd WhyteIain Boyd Whyte is professor of architectural history at the University of Edinburgh and has written extensively on architectural modernism and twentieth-century German art. Recent publications include Beyond the Finite: The Sublime in Art and Science (2011). He is also editor of the electronic journal Art in Translation [Edinburgh School of Architecture and Landscape Architecture, 20 Chambers Street, Edinburgh EH1 1JZ, Scotland, U.K., i.b.whyte@ed.ac.uk].

Notes on Contributors

Previous articleNext article FreeAbout the AuthorsFull TextPDF Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreJenny Anger is professor and chair of art history at Grinnell College. She is the author of Paul Klee and the Decorative in Modern Art (2004) and Four Metaphors of Modernism: From Der Sturm to the Société Anonyme (2018). Anger’s long-standing interest in gender and art extends here to an exploration of mental illness.Paisid Aramphongphan earned a Ph.D. in the history of art and architecture from Harvard University, and previously held a Terra Foundation Postdoctoral Fellowship at the Smithsonian American Art Museum. His book Horizontal Together: Art, Dance, and Queer Embodiment in 1960s New York is forthcoming (May 2021).David Brody is a professor of design studies at Parsons School of Design at the New School. He is the author of Housekeeping by Design: Hotels and Labor (2016) and Visualizing American Empire: Orientalism and Imperialism in the Philippines (2010), and co-editor of Design Studies: A Reader (2009). He is on the editorial board of American Art.Rhoda Eitel-Porter is the editor of Print Quarterly, based in London. Her master’s thesis was on portraits of women by Otto Dix; her Ph.D. dissertation on Cesare Nebbia was published in 2009. Much of her research focuses on Italian art of the sixteenth century, and American and German art of the twentieth century.Elizabeth S. Hawley is a visiting assistant professor in art history and visual studies at Northeastern University. She received her PhD from the CUNY Graduate Center, and her research on Native and non-Native art in the American Southwest has been supported by the Lunder Institute, Wolfsonian-FIU, and the Pittsburgh Foundation.Jennifer Quick holds a Ph.D. from Harvard University. She was previously Research Curator for the Polaroid Consultant Photographers Collection at the Harvard Business School. Her book manuscript, “Back to the Drawing Board: Ed Ruscha, Art, and Design in the 1960s” is under contract with Yale University Press.Jennifer Van Horn is an associate professor of art history and history at the University of Delaware. She is the author of The Power of Objects in Eighteenth-Century British America (2017) and her second book, Portraits of Resistance: Activating Art During Slavery, is due for publication next year.Kristina Wilson is a professor of art history at Clark University and the author of numerous books, articles, and essays on modernist design and modernist fine art practice in the United States. Her book Mid-Century Modernism and the American Body: Race, Gender, and the Politics of Power in Design is due for publication in April 2021. Previous articleNext article DetailsFiguresReferencesCited by American Art Volume 35, Number 1Spring 2021 Sponsored by the Smithsonian American Art Museum Article DOIhttps://doi.org/10.1086/714334 Views: 198 © 2021 by The Smithsonian Institution. All rights reserved. Crossref reports no articles citing this article.

Five Windows into Africa is an interdisciplinary tool that offers users a multilayered perspective on the riches and challenges of life in Africa. Through spoken narration and text, music and interviews, and films and photographs, the authors attempt to provide users with a sense of being there, of visiting different locations in Africa, of witnessing particular events, and of meeting the individuals involved. The content and presentation of the work is based on the authors' own varied research interests and experiences in Africa. Patrick McNaughton, professor of African art history at Indiana University, Bloomington, guides us through a bird dance held near Bamako, Mali. John H. Hanson, associate professor of history and director of the African Studies Program at Indiana University, introduces us to Muslim practices in Wa, Ghana. dele jegede, professor of art history at Indiana State University, engages us in life in Lagos, Nigeria. Ruth M. Stone, professor of folklore, ethnomusicology, and African studies at Indiana University, leads us through a funeral in Liberia. Finally, N. Brian Winchester, director of the Center for the Study of Global Change at Indiana University, highlights tensions in Zimbabwe's transition from colonialism to independence. Each author moves far beyond these particular topics, furthermore, to explore diverse related issues and themes. Reflection upon artistic expression leads to political and religious discussion. Contemplation of modernity and urbanity leads to commentary on traditional practices and rural life. Indeed, by opening five "windows"—five core topic areas—the authors invite users to explore many, many more. By raising common themes in each of their five presentations, they provide viewers with an opportunity to examine differences and similarities across Africa, and to consider relationships between places, issues, and experiences.

Today’s culture presents new important challenges for the education system. The transformation of cultural norms and standards and the movement of social consciousness towards tolerance require the formation of a new ideal of "cultural human". The value of professional knowledge implies a strong connection with the moral upbringing of future professionals and their orientation towards general cultural values. For its part, actual educational paradigm focuses on the principle of complexity and interdisciplinarity, integration of different scientific methods. This is appropriate for the studying and teaching the art disciplines. Of course, art has always been considered in close connection with the cultural and historical context, because art cannot exist outside it. Today, however, the search for new perspectives in interdisciplinary research is relevant in the field of culture and the arts, as in humanities and social sciences in general. This is also due to the transformation of the concept of art in today’s world, which requires the search for new vectors of analysis, addition and expansion of traditional tools of art’sanalysis. The objectives of this study are to analyze the educational and work programs and textbooks of the History of Fine Arts (the History of Arts) of the last five years; to determine what scientific culturological methods are most commonly used in the development of today’s educational and methodicalliterature (textbooks, manuals, educational programs) of “The History of Fine Arts ("The History of Arts"); to identify what other methods should be appropriate to include in the toolkit of studying and teaching the art history; to present the interaction between the teacher and students as a "cultural dialogue"; to reveal the role of cultural approach in the spiritual and aesthetic education of future artists.The researchers’ interest in the cultural aspects of the pedagogical process in today’s Ukrainian studies is increasing. O. Malanchuk-Rybak, I. Pyatnitska-Pozdnyakova, O.Shevnyuk, N. Kovaleva, Yu. Solovyova and others consider the cultural aspects of studying art history and teaching art disciplines. The cultural approach to analyzing the evolution of the world's art systems is demonstrated by the textbooks of the last decade, including “The History of the Arts” by O. Shevnyuk (2015), “The History of Arts” by K. Tregubov (2015), “Ukrainian Art in the Historical Dimension” (Yu. Solovyova, O. Mkrtichyan, 2017), etc. As well asthe research has determined the culturological orientation of educational and work programs in last five years: “The History of Arts” (Trofimchuk-Kirilova T., 2017), “The History of Fine Arts”(O. Kirichen-ko, 2019), “The History of Fine Arts and Architecture” (Panasyuk V. 2015), “The History of Fine Arts” (Panyok TV, 2016), etc. The article deals with the cultural aspects of the study and teaching of the art on the basis of these educational and methodological publications. For this purpose the following methods are used in the article: descriptive method, method of system analysis, axiological approach and socio-cultural analysis.The analysis of these textbooks and work programs made it possible to formulate the subject, purpose and main objectives of the course “The History of Fine Arts”. The aim of the course is to form students' systematic knowledge of the development of fine arts from archaic times to the present.In this context the culturological orientation of teaching "The History of Fine Arts" makes it possible to solve the following educational problems: forming a complex of knowledge about the essence of art, its functions in culture and society; moral and aesthetic education and involvement in cultural values; revealing the general patterns of evolution of the world art systems; forming an artistic picture of the world through mastering the system of artistic knowledge; understanding of the historical and cultural conditionality of aesthetic canons in art; mastering the basic principles and forms of communicative experience of art as a means of transmitting socially meaningful cultural meanings; development of critical perception and interpretation of works of art, ability to navigate in artistic styles and movements; involvement of artistic and creative artifacts in the fulfillment of various socio-cultural tasks. Thus, future artists not only learn to solve immediate professional tasks, but also accumulate the ideological and artistic experience of the past, acquire the ability to interpret it and make certain predictions, in particular in thetoday’s art market. Domestic researchers believe that the synthesis of methods of art studies and cultural studies is relevant in teaching the course "The History of Fine Arts". It was found out that systematic analysis, diachronic and synchronic methods, socio-cultural approach, biographical method allow revealing the content of the course most completely. Semiotic analysis and gender approach can also open up the new perspectives of the studying and teaching of art history in today’s humanitarian discourse.

In its Summer 1996 issue (no. 77) the editors of October, led by Rosalind Krauss and Hal Foster, published responses to aQuestionnaire on Culture that was sent to an unspecified range of scholars, critics and artists during the previous winter. This issue occasioned two articles by reporter Scott Heller: Visual Images Replace Text as Focal Point for Many Scholars in The Chronicle of Higher Education (July 19, 1996) and What Are They Doing To Art History? in ARTnews (January 1997). Heller's articles, among other things, emphasized the apprehensions of the October editors, surveyed the diverse opinions of the survey's respondents and displayed the reactions of many disciplinarians of art history. The October editors and many of the respondents to the questionnaire appear threatened by a loose grouping of presumably misguided scholars, whom they never explicitly name, that has rejected the tried and true rigors of academic art history for the so-called trendy and gullible field of visual and cultural studies. This disciplinary policing is at times analogous to U.S. conservatives' fixation on the national borders, imagined to be under siege by various outsiders, and the Christian Coalition's cultural offensive to buttress the malignant traditions that have historically regulated boundaries between cultures, genders and sexualities. October's characterization of the relationship between art history and visual studies resonates with the sound-bytes of cultural and political conservatives - this is quite evident in the severe language that detractors use to discount visual studies' critical commitments. Consider the example of Bruce Cole, Professor of Art History at Indiana University and founding member of the Association for Art History, an organization that was founded in protest of the broadening purview of the national College Art Association (CAA) and as a supposed ideology-free alternative to what some consider to be the increasing politicization of CAA. As Heller quotes Cole: We don't see art solely as social illustration or ideological fodder. . . There has to be a basis on which one builds, a factual basis that uses evidence and standards. Art historians can do things sociologists can't. Equally akin to the discourse of cultural reactionaries is the following complaint from Krauss, now Professor of Art History at Columbia University. She told Heller that: Students in art history graduate programs don't know how to read a work of art. . . They're getting visual studies instead - a lot of paranoid scenarios about what happens under patriarchy or under imperialism. In all fairness, the academic media attention paid to the October questionnaire also uncovered opposing voices that were equally reactionary in their dismissal of art history as a legitimate and vital Heller quotes Anne Higgonet from Wellesley College as saying: I see a defunct and useless field collapsing, and a much stronger, much more important field emerging. Within the media frame that the October questionnaire generated, nevertheless, the supposed shortcomings of scholarship in visual studies were emphasized, while the institutionally privileged activities of the discipline of art history were posited as irreproachable. Foster, another longtime editor of October, who now teaches in the art history department at Princeton University, is quoted as saying: Cultural studies doesn't have much philosophically to offer. It in a loose, anthropological notion of culture, and a loose, psychoanalytic notion of the image . . . culture is a passport that can lead to fairly touristic travel from discipline to discipline. Foster's attacks on visual and cultural studies do not even make gestures toward acknowledging the problematic philosophical, cultural and theoretical frameworks that the discipline of art history sneaks into analyses of visual objects. The result of such partisanship is the construction of an unnecessary competition: visual studies vs. …

A Professor during the Change of the Language of Instruction: J. F. Shmurlo at the University of Tartu in 1891–1903 Ljudmila Dubjeva University of Tartu Library In the context of the late 19th century university reform and the transition from German-medium instruction to Russian-medium instruction (officially in 1893) the lecturing staff at the University of Tartu was gradually replaced. The lecturers at the faculty of history and linguistics chair of history were gradually replaced within ten years, and the chair adopted Russian-medium instruction; as of 1891 Aleksander Bruckner, Professor of Russian history, was replaced with Professor Yevgeni Shmurlo (1853–1934, in Tartu 1891–1903); Richard Hausmann, Professor of general history (Middle Ages), with Professor Anton Jassinski (1864–1933, in Tartu 1896–1911) in 1896; and Professor of general history (Modern age) Otto Waltz with Professor Pavel Ardashev (1865–1924, in Tartu 1901–1903) as late as in 1901. Before coming to Tartu, Shmurlo had been a private associate professor at the University of St Petersburg, focusing mainly on the age of Peter I in his lectures, while he also taught at the women’s courses at St Petersburg. In the years 1891–1895 he was a Professor Extraordinarius and in 1895–1903 the replacement of a Professor in Ordinary at the University of Tartu. As a historian, he discovered Italian archives for Russian history, and received the title doctor honoris causa from the University of Padua in 1892 for this. Shmurlo began his activities when the University still used German as the medium of instruction. Shmurlo’s predecessor, Professor of Russian history Aleksander Bruckner (worked at the University of Tartu in 1872–1891) held lectures on Russian history in Russian but provided explanations and held seminars in German. In case of Russian history, the language of instruction in lectures was not changed at all but when Shmurlo started work, seminars were also held in Russian. While his lectures were attended by 14 people in 1891, autumn semester, 9 of those had been attending A. Bruckner’s lectures in the spring semester of the same year. As of 1897, when the authorities allowed accepting the alumni of I rank theological seminaries into the University, the student body increased, it started to include students of various nationalities, while Russian students became the majority group. In 1895–1900 Shmurlo was the head of the University of Tartu Library. Proceeding from the practical needs of the reformed University, a student library (sources and reference books, a sufficient number of copies) was created upon his initiative; this served Humaniora students until 2005 in only a slightly different format. Around the turn of the century, the professors at the University of Tartu were divided into camps: Germans and Russians, liberals and conservatives, whereas the Russian liberals could more easily find common grounds with the Germans than the conservatives of their nationality. Shmurlo was one of the liberals. Owing to his delicate wording, which emphasised only literary achievements and left religious and philosophical questions aside, Leo Tolstoy was successfully elected an Honorary Doctor of the University of Tartu in 1902. Shmurlo’s example proves that Russian was used, when necessary, at the University of Tartu even before the transition to Russian- medium instruction, whereas a delicate and intelligent professor could smooth the contradictions between German and Russian professors and their differing world views, so that the relations would stay on strictly academic grounds.

Notes on Contributors

Art historical collections form a significant part of the University of Tartu’s many scientific and historical collections. This paper provides an overview of the founding of the Art History Cabinet by the Swedish art historian and the University of Tartu’s first Professor of Art History Tor Helge Kjellin in 1922 and the travels of the cabinet and its objects, which began in 1941, as well as their temporal journey through the various University buildings. It also focuses on the fate of the vast collection of photos and reproductive prints that once belonged to the owner of the Raadi Manor and art collector Karl Eduard von Liphart, purchased for the Art History Cabinet from the Pallas Art Society on 13 November 1922 at the initiative of Professor H. Kjellin. The paper seeks to find out what is left of this collection today after frequent moving and constant lack of space. The Art History Cabinet and its items have been located in 12 different places between 1922 and 1995. It has not had its own rooms since 1941. The last place the cabinet remained for a longer period (20 years) was the building of the Estonian Students’ Society, in the dissolved (at 1940) society’s former library where it stayed from 1971 to 1992. The cabinet moved out from there in March 1992 and its objects were divided between several locations, because the University’s new building, which was supposed to become the cabinet’s new home, was not finished yet. The Liphart collection was severely damaged due to moving, but probably also due to deliberate destruction and disposal, because it was not considered thematically equal to other collections in the cabinet. At the end of December 1995, parts of the Liphart collection—mostly photos, but also reproductive and art prints that were somehow left behind or forgotten there—were discovered from a wall cupboard in the library of the building returned to the Estonian Students’ Society. The Department of Art History did not want this part of the collection back and thus it was decided to store it in the Museum of Classical Antiquities. In January 1996, additional photos were brought in from the Study Library’s storage room where most of the Art History Cabinet’s assets, including a part of the Liphart collection, were kept since March 1992. The museum selected 204 photos from the received collection and decided to send the rest, which were declared unnecessary, to the Viljandi Culture College in spring 1996, stating that only prints were sent there. These were not used as study aids but remained boxed and were stored in the college’s new building. The storage place had to be cleared due to a lack of space somewhere around 2003 and Viljandi Paalalinna Gymnasium agreed to accept the collection. The renovation of the school began in 2005 and, thanks to a teacher’s and college lecturer’s quick thinking, the photo collection found its new home in a room in St. Paul’s Church in Viljandi. Upon closer inspection of the collection stored in the church it was found that it included photos bearing the University of Tartu Art Museum stamp from the times of the Russian Empire, which meant that these came from the University of Tartu. The University of Tartu Art Museum was notified of this around five years ago and people were sent over to inspect the collection, but its fate remained undecided. It was concluded that the museum was not interested in retrieving the collection. Two years ago, this part of the Liphart collection—3,380 photos, which make it one of the largest known to survive—was given to a collector interested in the history of photography. According to an inventory book from 1933, the Liphart photo collection included 12,951 photos. Preliminary data suggests that the University owns 2,284 photos today. This means that 44% (including the pieces in private collections) of the Liphart photo collection has survived and is known to researchers. The photos and reproductive prints in the Liphart collection continue to be highly valued as examples of the history of photography but also photo printing and, from the perspective of art history, original documents of their time. However, the people involved have been unable to study and assess this collection from this perspective, especially in the last few decades.

Previous article FreeAbout the AuthorsPDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreEliza Butler is a core lecturer in art history at Columbia University, where she received her Ph.D. Her research centers on the intersections of landscape, natural history, and material culture in late nineteenth- and early twentieth-century North America. Her writing has also recently appeared in Winterthur Portfolio.Maggie M. Cao is the David G. Frey Assistant Professor of art history at the University of North Carolina, Chapel Hill. She is the author of The End of Landscape in Nineteenth-Century America (2018). Her research focuses on the intersections of art with histories of technology, natural science, and economics in the eighteenth and nineteenth centuries.Sophie Cras is a maître de conferences (assistant professor) in contemporary art history at the Université Paris 1 Panthéon–Sorbonne, with a special interest in intersections between art and economics. Her first book, The Artist as Economist: Art and Capitalism in the 1960s, will appear in an English translation from Yale University Press in 2019.Michael D’Alessandro is an assistant professor of English at Duke University. His articles have appeared in The New England Quarterly, Studies in American Naturalism, Mississippi Quarterly, and J19: The Journal of Nineteenth-Century Americanists. Currently, he is working on a book project titled “Staged Readings: Contesting Class in Popular American Literature and Theatre, 1835–1875.”Chris Dingwall is a lecturer at Oakland University and author of Selling Slavery: Race and the Industry of American Culture (forthcoming). He recently co-curated African American Designers in Chicago: Art, Commerce, and the Politics of Race, an exhibition held at Chicago Cultural Center.Diana Seave Greenwald is assistant curator of the collection at the Isabella Stewart Gardner Museum. She completed her doctorate at the University of Oxford, where she also earned an M.Phil. in economic and social history. Her book Painting by Numbers: Economic Histories of Nineteenth Century Art is forthcoming from Princeton University Press.Diana L. Linden is an independent scholar. Her book Ben Shahn’s New Deal Murals: Jewish Identity in the American Scene (2015) was selected as a finalist by the National Jewish Book Awards. She was the co-editor of The Social and the Real: Political Art of the 1930s in the Western Hemisphere (2006). Her work has also appeared in Prospects and American Jewish History.David McCarthy is a professor of art history at Rhodes College. He is the author of The Nude in American Painting, 1950–1980 (1998); Pop Art (2000); H. C. Westermann at War: Art and Manhood in Cold War America (2004); American Artists against War, 1935–2010 (2015); and numerous essays about American art of the mid-twentieth century.John Ott is a professor of art history at James Madison University and author of Manufacturing the Modern Patron in Victorian California: Cultural Philanthropy, Industrial Capital, and Social Authority (2014). His current book project is “Mixed Media: The Visual Cultures of Racial Integration, 1931–1954.”Alex J. Taylor is an assistant professor and academic curator in the history of art and architecture at the University of Pittsburgh. From 2014 to 2016, he was the Terra Foundation Research Fellow in American Art at Tate. He is currently completing a history of corporate art patronage in the 1960s.Anne Verplanck is an associate professor of American studies at Penn State, Harrisburg. She is writing “The Business of Art: Transforming the Graphic Arts in an Age of Mechanical Reproduction,” which explores such areas as entrepreneurship, innovation, and marketing to more fully understand the interplay of economics, social forces, and art.Alan Wallach is the Ralph H. Wark Professor Emeritus of art and art history and professor emeritus of American studies at the College of William and Mary. His publications include studies of Thomas Cole, the Hudson River School, and art museums in the United States. Previous article DetailsFiguresReferencesCited by American Art Volume 33, Number 3Fall 2019 Sponsored by the Smithsonian American Art Museum Article DOIhttps://doi.org/10.1086/707480 © 2019 by Smithsonian Institution. All rights reserved.PDF download Crossref reports no articles citing this article.

Previous articleNext article FreeList of AuthorsPDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreList of AuthorsWILLIAM L. BARNES is Associate Professor of Art History, University of St. Thomas, St. Paul, Minnesota.PRIYANKA BASU is Assistant Professor of Art History, University of Minnesota, Morris.ELIZABETH HILL BOONE is Martha and Donald Robertson Chair of Latin American Art, Tulane University.ROBERT BRENNAN is a postdoctoral fellow at the Kunsthistorisches Institut in Florenz–Max-Planck-Institut.SHIRA BRISMAN is Assistant Professor of Art History, University of Wisconsin–Madison.ANANDA COHEN-APONTE is Assistant Professor of History of Art and Visual Studies, Cornell University.JAMES M. CÓRDOVA is Associate Professor of Art History at the University of Colorado at Boulder.FINBARR BARRY FLOOD is William R. Kenan Jr. Professor of the Humanities, Institute of Fine Arts and Department of Art History, New York University.LUCA GIULIANI is Rector of the Wissenschaftskolleg (Institute for Advanced Study), Berlin.ANNA GRASSKAMP is Research Assistant Professor at the Academy of Visual Arts, Hong Kong Baptist University, and an associate member of the Cluster of Excellence “Asia and Europe in a Global Context” at Heidelberg University.JONATHAN HAY is Ailsa Mellon Bruce Professor, Institute of Fine Arts, New York University.ADAM JASPER is a postdoctoral researcher at eikones NFS Bildkritik in Basel.JOSEPH LEO KOERNER is the Thomas Professor of History of Art and Architecture and Senior Fellow of the Society of Fellows, Harvard University.LIHONG LIU is Assistant Professor in the Department of Art and Art History, Graduate Program in Visual and Cultural Studies, University of Rochester.RUTH S. NOYES is an independent researcher based in Newbury, Massachusetts.FRANCESCO PELLIZZI is an Associate in Middle American Ethnology, Peabody Museum of Archaeology and Ethnology, Harvard University, and Co-chair, University Seminar on the Arts of Africa, Oceania, and the Americas, Columbia University.JUSTIN E. H. SMITH is Professor of History and Philosophy of Science, Université Paris Diderot–Paris 7.PUSHKAR SOHONI is Assistant Professor in the Humanities and Social Sciences, Indian Institute of Science Education and Research, Pune.JAKUB STEJSKAL is a German Research Foundation (DFG) fellow, Institut für Philosophie, Freie Universität Berlin.LIVIA STOENESCU is Assistant Professor of Art History, College of Architecture, Texas A&M University.Z. S. STROTHER is Riggio Professor of African Art, Columbia University.CHRISTOPHER S. WOOD is Professor and Chair, Department of German, New York University. Previous articleNext article DetailsFiguresReferencesCited by Res Volume 67-682016/2017 Published in association with the Peabody Museum of Archaeology and Ethnology, Harvard University Article DOIhttps://doi.org/10.1086/694459 Copyright © 2017 by the President and Fellows of Harvard College. All rights reserved. No part of this issue may be reproduced without permission of the publisher.PDF download Crossref reports no articles citing this article.

For a long time now, many have considered art history to be in a state of crisis. In the last decade, numerous publications have attempted to reimagine the discipline, addressing its future or even...