Scribd Logo
Upload

Welcome to Scribd!

  • The Books That Shaped Art History - Introduction

    Uploaded by

    Lívia Sudare
    12 views13 pages
    d

    Original Title

    the books that shaped art history - introduction

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document
    d

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    12 views13 pages

    The Books That Shaped Art History - Introduction

    Uploaded by

    Lívia Sudare
    d

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 13
    Introduction JOHN-PAUL STONARD Til BOOK 1S A COLLECTION of essays on sixteen ofthe mos influential books of art history published during the twentieth century. Written by a range of leading scholars and curators, the essays reconsider these major texts and, taken together, offer a pathway through the often daunting bibliographic maze of itera ture on art; roadmap of sorts fr reading at history. "The books were chosen for thee trailblaring quaits, forthe way in which they forged entirely new ways of seeing the history of art. Thee subjects range from medieval architecture to the work of Matisse, from Byzantine icon painting to postmodernism. Whereas many books inttoducing att history do s from the perspective of theories and methods, this volume alight rather onthe landmark publications that have shaped the subject, as well asthe personalities and stores behind those texts Great books have lives oftheir own that grow over time, through transla tions, new revisions and editions, and above all through reading and re-reading by generations of scholars and art lovers. Re-reading isthe crucial step towards grasping the character ofa book, what it stands for, and what we think of it, be that a matter of admiration or antagonism. Re-reading can also being to light the disputes and debates between books, intellectual conflicts that can consol date positions as well as create completely new ways of seeing and describing Re-reading may also remind us of when we first became fascinated by art, not just asa matter of visual pleasure but also of intellectual nourishment, and may in addition help us to recall our developing awareness ofthe strange and elusive concept of artitslf The earliest book considered in this volume is Emile Males magisterial study ‘of thirteenth-century French art, Lart rligiewe du Xie sidle en France: Etude sur Ficonographie du Moyen Age et sur ses sources d'nspraton, fist published Jn 1898. "The great innovation of this text, as Alexanclra Gajewski varies, was to ‘elucidate the meaning of the French Gothic cathedral by relating itt the ltr sical texts ofthe time. Male pioneered an ‘iconographic’ approach to this task, sll involved finding the textual sources for images and using these to unlock their nareative or their spstual meaning. Although lurking in the background ‘was the importance of asserting the French-ness of medieval art thus is focus ‘on the ‘plrious thirteenth century ~ the Gest of Males book Is not overtly rationalist, but eather Catholic, and the trae works of art iturgical~ the Stabat ‘Mater the liturgy of Holy Week, the Gospels, authentic and apocryphal - which find themselves naturally mirrored in the Gothic cathedral, that ‘encyclopae: iain stone. At the end of hs book, Male proposes the cathedral as a refuge, fv indestructible ark, against whose walls ‘the storm of life breaks no place in the word fills men with « deper feeling of security: Males book, as it went through multiple editions into the twentieth century, was tobe atime capsule ‘set for his iconographic, literary metho fom which he was unable to depart in fvour of the broader cultual-historical approach of those such as Aby ‘Warburg, or indeed any ofthe other scholarly-slentiic methods that evolved in the new century. 'No greater contrast could be found to Males book than Bernard Berensor's ‘the Drawings of the Florentine Painters Clasified, Crised and Studied as Dacwonents in the History and Appreciation of Tuscan Art, with « Copious Catalogue Raison, first published in two volumes in 1963. It had in Fact been ‘written at around the same tie as Mile’ volume, but was delayed by six years for publication. It remains a primary work of reference for Renaissance draw: ings to this day ~ a temarkable achievement considering the amount of books published inthe area, This iin part because twas the fst book on the subject, ts wells beng the frst scholay catalogue that had been written abou a school fof drawing twas, as Carmen Bambach’ essay calms, ‘groundbreaking forthe ‘sheer novelty ofits subject’ ~ simply put, nobody else had thought of compiling such a authoritative catalogue. is very likly that atthe ime nobody else could Compete so daunting a task, Berenson provides text and catalogue entries om a Corpus of artists working in Florence, beginning with the achievements of the carlest Florentine painters such as Fra Angelic and Benozz0 Gozzoli, through toa powerful description of Leonards drawings and those of Michelangelo (one ‘ofthe most problematic chapter, in Harnbach view), and ending witha descent from Olympus, a8 Berenson pas i to the Mannerism of Pontormo and Rosso [As Bambach writes, Berensons method of connoisseuship, which privileged the intelligent eye over the intligible document, has by no means been eclipsed by more recent, more overly “intellectual approaches to the description of ‘old-master drawings. Berenson heroic cataloguing efforts, appled to the relatively untouched sand undervalued field of old-master drawings, may be set against the excite- ment of Miles book and hi strong bel Inthe importance and innovation of, his comprehensive accurte method, Both happy dispense with vas swathes of previous literature The Swiss at historian Heinrich Woliin,in his 1915 book Kunsgeschictiche Grundbgrife (Principles of Art History) also gives the sense of «door opening onto a whole new epoch of study and thought ~ although his target is mach wider and his rie more philosophical. In his analysis of the tran sition ofthe formal language fat fom the Renaissance tothe Baroque, Wellin calle fora ‘escrptve art history scrutlnsing and comparing works of art onthe base of tle, expressed in terms of fundamental concepts. Wellin may be the ‘ost challenging text in this volume for readers over one century later even for ‘the specials, his abstract argument frequently dificult to grasp. Yt in some senses Wallin was ahead of his time, particulaly in terms of the technical tools tis disposal, He often ames the inadequacy of reproductions to ilustrate his Point -fonly the photographer of SansovindSt James ad stood five feet tothe righ, his point about the classic sihouetteefet would be perfectly clear. Yet as David Summers shows, Wallin identification of five incredibly simple paired ‘concepts to demonstrate the transition to Baroque art had a universal relevance and powerful legacy, particularly for a type of art history based on hard sober Tooking and formal analysis, He sone ofthe great illators of discourse inthe field ~ prophetic evens much subsequent art-histoical writing is in efect a selec tive reading of Wolflins 1915 casi Roger Fry once wrote tht Wallin “begins where most art historians leave ‘examining the formal stuctares of worksf arti lation othe ‘mental con ins in the mind ofthe artist who produce them. Is precsl this abiity to see deeply into the creative proces that makes Frys on study f the work of (Cézanne “arguably ail the most sensitive and penetrating of all explorations of Céranne’ pictures as Richard Verdi writes. Carne: A Study of His Development ‘was published in English bythe Hogarth Pres in 1027, ale fist appearing in French in the magazine Amour de ir. ry was pioneering nt only ins cham- Poning of Cézanne asa master ona pr wth Rembrandt, but ao in hissustained ‘scrutiny of his paltings and the refined nature of his formulations in describing them, Aside from its pring intellectual qualities, it ta eautifally writen book, a testament to the pleasure of looking and thinking about works of at. Although his erie collection of esay, Vision and Design (1920), might als be consid- red a stong contender for classic stats for is continuing impact, particularly to Sw jonw-raut. srowano on tists, the volume on Cézanne remains the most succinct statement of Fry's formalist approach, and isthe text that shows him most thrillingly absorbed by, and in tune with, his subject. “The German-born architectural historian Nikolaus Pevsner was more directly influenced by Wolflin, having studied under the Swiss art historian in Munich before completing a doctorate in Leiprg, Pevsner emigrated to England in 1935 asa result of Naz anti-Jewish employment laws, and it was there that he wrote Pioncers ofthe Modern Movement from Willam Morris to Walter Gropis (1936), Which, as Colin Amery describes inthis volume, has been received a gospel’ of modernism. Pevsner’s genealogy of modern architecture and design, showinghov ‘the wtopianism of William Morris became the utilitarianism of Walter Gropius, ‘ould not in truth be further from Wolflins deeply fel philosophical relativism, and bears more the imprint, as Amery demonstrates of Pevsners doctoral super: visor Wilhelm Pinder, whose notion of Ziies, a piit-of-he-times expla ofatistc style, dominates Pevsner’s volume, Pioneers is itself pioneering book, the result of an extraordinary tak of information-gathering that looks forward to Pevsner’ later architectural guides, The Buildings of England. Like many teil blazing books (and as such it may be compared with Alfred Barr's monograph fon Matisse) its value is due les to its definitive nature than tothe freshness of its approach. Pevsner comments on Impressionism and Art Nouveau are now curiosities; the tru valu of his book isin its discussion of nineteenth-century engineering an in the incisive nature of Pevsner’ architectural writing, capable sit sof characterising and animating the structures and facades ofthe buildings of Charles Voysey, Charles Rennie Mackintosh and Peter Behrens. It is alo repre= sentative ofthe study of modern architecture ad design in the crucial decade of the 19308, David Watkin attack on Pevsners moralising approach inthe former's 1977 book Morality and Architectures wellknown, but from a ster perspective it has become important to see Pevsner writing in context, particulaly as the work ‘of « German émigré with an ambiguous relation to his native country, For its authoritative and opinionated analysis, Pioneers remains one ofthe most readable and provocative guides to modern architecture, written by someone in addition, ‘who could draw on personal correspondence with some of is key protagonists, notably Gropius and Henry van de Velde. For his now legendary monograph Matisse: His Art and his Public (1951), Alfred H. Barr, J. was also abe to make ute of correspondence, in his case inthe form of endless questonnaites to the artist and his family. By contrast with Fry's (Cézanne, Bares book isa fctual-historical account of Matise’s work, drawing on a range of documents and aspiring to scientific exactitude, for example by pro- viding a chronology of paintings rather than a deep understanding ofthe artist's creative process. The enduring excitement of this book arises from the manner Jn which Barr wove together tis fresh research, in many cases writing the frst account of certain periods of Matisse life or of groups of paintings or reproduc: ng major works forthe ist ime, for example Las, came et volupté (1904-05). which for forty years had hung in Paul Signacs dining room until it was pho- tographed in 1950 at the Paris retrospective of Matisse’ work. Barr recognised that such information gathering was a crucial new impulse in art history of the ‘modern period; in 1941 he reminded graduate students that while they could not contact the old masters, ‘they can air-mail Maillol or Siqueitos and w phone for an appointment with Wright, André Breton Steg, giving urgency to this statement by adding that it was already too late to try Paul Klee or Edouard Vuillard in this manner: Barr's account of Matisse was haled on publication as ‘one ofthe greatest monographs of any modern arts, and ia this volume John Elderfeld describes how Ba’ pioneering documentary approach ‘moved the lit erature on Matisse from criticism to art history: It was certainly the lst moment to get the facts straight with Matisse himself, who died three years after Bar’ ‘volume appeared, With the exception of the late collages and cut-outs, Matisse: “His Arcand His Publicisa complete account of Matisse’ life and work (and was for this reason selected for inclusion here over Bars 1946 monograph on Picasso). any book of art history deserves to be considered monumental, its Erwin Panofsky’s Early Netherlandish Painting: ts Origins and Character. Fest pub- lished in America in 1953, more than a decade after the author emigeated from. Germany, it was Panofiky’ last major book, and the culmination ofa life engaged with Renaissance culture, particulary that of the northern Renaissance. It was also a lasting statement of Panofskys iconographic method, As Susie Nash points fut, where Mile’ iconography dealt largely with questions of iturgcal sources, anofiky considers a much broader historical perspective, tracing the evolution of individual styles as much as the development of a whole tradition of paint- ing. He locates the origins of Easly Netherlandish painting in fourteenth-century French and Flemish illuminated manuscripts and in ‘pre-Eyckian’ regional school of painting in the Netherlands around 1409, before moving on to what he Aescribesas the main subjects ofis book, ‘Hubert and Jan van Eyck the Master of Flémalle and Rogier van der Weydent Panofsky’s descriptions are often mesmer- ising: gazing at Van Eyck’ paintings is likened to being ‘hypnotized by precious stones; or ‘looking into deep water: But its his demonstration ofthe integration 12 $0 jonn-raut srowann ‘of Christian symbolism and painterly relism, and his seemingly endless exp son of ideas in footnotes, tat give the book its majestic gravity Dense, biliant and controversial, arly Netherlandish Painting is also a monument to the ples ‘res of reading and humanistic scholarship and is posesed ofa narrative dive, a8 Nash pus it, derived from Panofsky$ ability to arrange the facts and some. ‘mes bend them slighty to tel an engaging sory. Kenneth Clatkkewise considered writing about at asthe opportunity ttl, ‘very good story In hisown work he freely confesed, the ruth was occasionally sacrificed forthe sake of wel turned sentence, justified by his observation tht in theend the history of artis largely ‘an agreed fable Perhaps this isthe case for all writers, but for Car it resulted in a unique combination of great weitng snd serious scholarship. Of all his publication, The Nude: A Study of Wea Ari the book that most memorably draws together his innovative approach to scholarship and ability to crytalise his response to works of atin unforgetable forrul ions. was not by chance that Fr, as an early mentor, was clear influence on (Clank iterary syle. The Nude was fest given asa series of Mellon lectures at the National Galery of Art, Washington, DC in 1953, and published three years ee. ‘That Clark could cover the entice history of art in seven short chapters was due ot only to his economy with word, but also to the raining in connolsseurship that he had received asa assistant to Berenson, an experience that helped him build up a vast mental ioraryof works of aet tht could be summoned inthe proces of writing Yet The Nude was not written ina Herensonian mould: Claes ‘quality of style marks a deep intelletulim, strongly infenced by the type of history being pursued a the Warburg Insitute, «resource Clark had drawn ‘on heavily for his earlier monograph on Leonard da Vin’ He was long-term correspondent of Fitz Sas, Gertrude Bing, F. Gombrich and others, and real ‘sed the advance thee scientific methods had made over the intuitive approach of Berenson. It was his ability to transform the often abstruse enthusiasms ofthe ‘Warburg scholars into hooks with general appel that gives Clarks writing, snd ‘The Nude in particular its enduring power EH, Gombrichis Aré and Musion: A Study in the Psychology of Petri Representation (1960) also began ie a a series of ectres given at the National Gallery of Artin Washington, DC n 496, under the le "The Visible World and the Language of Art Like Clark, Gombrich understood the importance of epto !misng his argument with simple slogan, but where Clarks distinction between ‘naked and nude’ was infact a mere atenton-grabber, Gombrich’ formula “making precedes matching’ distilled the essence of his series of lectures into reduction ‘a? 13 4 compeling philosophical statement, As Christopher Wood writes, Gombich constructs ‘powerful cae against the concept ofthe innocent ey’ by showing hhow all representation is inflected by mental concepts and cultural circum: ances. Simply put, Art and Hsion is an exploration of the question as to Wy artists rely on conventions of representation to depict the word, rather than simply copying what they see The resulting paradox is that, as Gombrich rites atthe end of his book, the world can never quite look like a pictre, but «picture can look like the world In his essay, Wood shows how influential and also how controversial Gombric’s argument was to ecome, and how his reat ‘ment of broad questions of culture, nature, psychology and representation were te have an impact beyond at history, not least inthe ied of Bldisenscaf, or ‘visual studies, and on the more general theories of images that have arin in the ‘ered conditions of moderit: Despite these wider ambitions, Gombrichs book remains vivid, enlivened by numerous poetic examples ~ in contrast to ‘portrait by Fantin- Latour he waits, Manets Madame Michel Lévy must have appeared tits ist viewers as harsh and glaring as sunlight looks tothe deep sea diver, In the introduction to Art and Ilion Gombrich expresses the hope that his book could be considered asa ‘much-needed bridge between the field of at history and the domain of the practising artiste same might be said of Clement Greenberg Art and Culture: Critical Essay (1961, the ist collected volume of his reviews and articles, which had aseismic impact, initially onthe Nev York art world but ako mach farther ail, frat least a decade following publication. Iwas read avidly by artists who, if they did not use ta a vade mecum, fund that their work was being judged negatively in terms of Greenbergan critica. He may not have been the only critic to have evolved « solid philosophical landerpinning forthe evolution of modern art, based on Helin notions of sl fulfilment and truth to the medium, but he was the only one to express it in a prose syle that can be ranked among the finest ar writing, Like Kenneth Clark he was able to draw his deep observations up to clara in limp formulations that seem to define once and forall the matter in question. As Boris Groys argues, GGreenbergs description inthe famous essay ‘Avant-Garde and Kitsch of mod- crmist at as an “imitation of imitating” rather than a an imitation of nature also ‘makes fascinating point of comparison with Gombrictis nation of making and ‘matching in Art and Iason. Both identify technique a erucial question, with ‘ts on logic of development dtnct from the need to transcribe natural appear ances. Unlike Clark and Gombrich however, Greenberg argues from a strongly partisan viewpoint, and proposes a connection between the philosophical analy- ‘sof artistic form anda political viewpoint as the bass for art criticism, Prom a diferent perspective, the relationship between art and society also underpins Francis Hasells Patrons and Painters: A Study nthe Relations Between Ualian Art ad Society inthe Age ofthe Baroque (1963). Haskell study of the patronage of Baroque painting, sculpture and architecture spanning two centuries and moving fom Rome to Venice ia ploneering work that consolidated anew type of documentary art history, based on meticulous interrogation of archival sources, As Louise Rice describes, Haskell presents an alternative to the ideo- logically driven Marxist approach of Frederick Antal and Arnold Hauser, shying away from any theoretial underpinning of his findings, animating them rather through the personalities and historical eircumstances within which Baroque art ‘evolved. A Tong book (it could have been two, on Rome and Venice, Rice sug- ‘ss, Patrons an Painters looks forward to Haskell equally important volumes Taste andthe Antique (co-authored with Nicholas Penny, 981) and History and ts Images: Art and the Interpretation of the Past (1993), oth of which ae based ‘ona similar archival impulse. Enlivened by Haskels own extremely vivid prose and his ability to bring to lifea character ora setting, this an inspiring lre to the antiquarian, archival approach to ar-historcal writing ~ ‘one quit foreiga to those such as Panofaky and Cla, who depended instead on the existing literature and the works of art themselves. As Rice outlines, Haskell research has since been updated and revised, and his method questioned by those who prefera litle mare complexity a Teast forthe sake of argument None ofthis, however, detracts from the towering importance of Patrons and Painters, which remains, as Rice pts, prolegomenon toa branch of at history that was stil in its infancy: This sapling was soon to grow into one the most profoundly orginal approaches to art history: the social history of art. By the late 19708 the question of what makes art history was being asked with renewed vigour by many at historians, The rise ofthe socal history of art entailed rethinking of the relationship between art and history, and forwarded the claim that a work of art could be apiece of history like any other histor cal event, and could be analysed as such Two major publications inthe field of social art history appeared early inthe decade: Michael Baxandalls Painting and Experience in Fjteenth Century lly: A Primer i the Social History of Pictorial Siyle (1972) and. Clarks Image of the People: Gustave Courbet and the 1848 Revolution (1973). The opening sentence of Baxandalls book ~'afieenth century Palntng sa deposit of social relationships’ ~ was ax good as a slogan for the new io of works remains Inoraduction S85, approach. Yetas Paul His argues it ha tended to mask the book’ teuly innovative nature its close attention to the way in which the style ofa paating can be read inreaton to its historical context. Baxandall focuses on the connection between fifteenth-century Halian painting andthe economic and religious circumstances of its time, taking close readings of certain works in retion to contemporary mentalities, He achieved what all rt historians wish for the coining ofa phrase thats use actos fields in this case the notion of the period eye which suggests that we must understand how things were seen at a certain moment in history to ‘begin to comprehend how they were designed. Wolflin’ edict chat ‘vision itself hasa history’ finds in Baxandall one ofits most engaging elaborations. Baxandalls book seems to draw the psychological arguments of Gombrich together with askells meticulous research on patronage, resulting in a pity, readable book. that embodies the new art history at its most sophisticated. Baxandall was reluctant to be termed a ‘socal art historian, and once won- dered iFhe was not simply ‘ing Roger Fry, you know, ina diferent way: He ‘was indeed held to account by those for whom it was imperative to see at as an insteument of political will, and for whom the ‘aestheticism of Fy’ argu- ments about artistic form were no longer valid. In the scintillating fst chapter ‘otis Image ofthe People, which was drawn (ike Males sty of thiteenth-cen- tury French at) from his doctoral dissertation, TJ. Clark sets out his ambitious goals fora social history of art on such a basis. He stresses the importance of moving beyond! simple scenario of ‘influence’ ~ history as ‘background; biog- raphy as ‘context’ ~ to evolve instead a language that is able to say more about the complex political interaction of art and history. As Alastair Wright notes, Clarks neo-Marxist postion wasaertcism not onl of Hauser’ Social History of Art (1951); but aso of Gombriehs concept of the ‘pictorial schemata in Art and ‘usin, which implied that our notion of art necessarily blinded us to nate; for Clark, the blinkers we wear are always ideological. Clark takes as his subject the ‘works of Courbet during the Second Republic (1848-51) and his preoccupation with republican politics, moving beyond questions of patronage and psychology to weave a complex web of references that bring to life Courbets great works fom this period, such as Burial at Ornans (1849-50). Wright shows how Clark’ dlensly argued account places the idea of destabilisation at the heat of Courbet's Jmagery, treating this as the source of his political engagement. "the polemical power of Clark’ argument arose without doubt fom the fact that he was writing 28 Marxstin the aftermath of 1968 about another filed evolution, that of 1848 Its the combination of time and place, as yell as Clarks own unrivalled sense 16 See JonN-rAu sronanD both of history and theory, that makes nag ofthe People one of the formative books inthe fl “The westlessness wit traditional methods of art-historieal analysis that char- scterises Clarks book appears in even greater measure in Sveana Alpers’ The ‘Art of Describing: Dutch Artin the Seventeenth Gentury (1983). Where Clark’ introduction lays out a manifesto, of sorts, fora social history of art, Alpers provides a similar argument for a method that takes a step futher away from tradition, an approach she describes with the phrase (borrowed from Michael Baxandall) visual culture To renew the study of seventeenth-century Duteh art, Alpers contends, It is necessary to move away both from the stylistic analysis of ‘Wallin and the iconographic method of Panofsk, for the simple reason that they are rooted in the study of Halla att, and therefore unable to address the particular nature of Northern art in general and Dutch painting in particular. AS “Marigt Westermann wete, the ‘visual culture’ of Dutch painting for Alpers was capacious matrix of seeing and pietuting that includes optical magnification, ‘camera obscura projection, educational drawing, map making, inscriptions in ‘ras images, and theoretical models of images projected onto the human retina? Her book opens out Dutch painting onto this word, ike so many windows flung, wide, creating a vivid context that was no longer dependent on theories gener sted elsewhere and at diferent times. Of the connections she makes, the most famous hinges on the ‘mapping impulse’ in Dutch at, for which she acknowl telges the important influence of Gombrich as a teacher. Maps are a golden «example of how life can flaw into art and vice versa ~it isa question of mapping, ‘8 picturing, painting as participating ina cartographic moment, as Westermann, puls it The Art of Describing remains a powerful statement of the multiplicity ‘of ways in which ‘art and ‘history’ i together, despite the impossibility o ever redcing one to the other. ‘This question ~ about the relation of art and history ~ was addressed by Rosalind Krauss ina very diferent way atthe beginning of her remarkable cl lection of essays written from 1973 101983 and republished together in 1985 28 The Originality ofthe Avant-Garde and Other Modernist Myths. As Krauss makes clear, both the model for and the target of her writing isthe critical approach of Groenbergas it appeared in his 1961 Art and Cudtur. Ina series of essays devoted firsttoparagons of modernism, including Rodin, Picasso and Giacomett,and then, ‘moving to the post-War American art of Jackson Pollock, Sol LeWitt and Richard Serra, Krauss proposes a ‘radical inversion ofthe premises of Greenbergan for- malism on the basis of structuraist and poststructuralist philosophy. As Anna Introduction $8247 Lovatt argues, Krauss’ pioneering use of French theory had an extraordinary impact on art history as an academic discipline, ferociously questioning many of its underlying assumptions, and introducing a new critical term, postmodernism, into the field. The myths that Krauss attacked ~ principally those of authorship and originality ~ were often myths that had arisen in the context of curatorial scholarship and essays in exhibition catalogues, but her target was the far wider problem in art history of unexamined appeals to biography a8 a source of aes thetic explanation, Yet it would be wrong to see Krauss as an outright opponent of academic art history, or indeed her book as one that has ‘de-shaped! the subject. ‘As Lovatt points out, the art history without proper names’ that Krauss advocates ~ ‘questions of period style, of shared formal and iconographic symbols as she puts i? ~in fact looked back to the founding texts of art history, of style (Wolilin) and interpretation (Panofsky and Alois Riegl), as models to follow, and as the basis for new theories of representation, In her rejection of biography Krauss also stands in curious comradeship with Berenson. Krauss’ enduring legacy lies in the power of thinking that she applied to this theoretical work, as well as in her polemical stance that introduced an entirely new level of critical passion and

    You might also like