In advance of the Research Forum’s panel discussion and book launch this Thursday (details below) celebrating the publication of The Books That Shaped Art History, we thought we’d mention that all of the books discussed are available to consult or borrow from the Book Library.
In chronological order they are;
- Emile Mâle’s L’art religieux du XIIe siècle en France: étude sur les origines de l’iconographie du moyen age can be found at Z7475 MAL as well as personal copies in the Johannes Wilde and John Sherman bequests.
- Bernhard Berenson’s The drawings of the Florentine painters: classified, criticised and studied as documents in the history and appreciation of Tuscan art, with a copious catalogue raisonné is located at C256.FLO BER.
- Heinrich Wölfflin’s Kunstgeschichtliche Grundbegriffe: das Problem der Stilentwickelung in der neueren Kunst can be found at Z7430 WOE as well as personal copies in the Johannes Wilde and Count Antoine Seilern bequests.
- Roger Fry’s Cézanne: a study of his development is available at D553.CEZ FRY.
- Nikolaus Pevsner’s Pioneers of modern design: from William Morris to Walter Gropius can be found at Z6450 PEV.
- Alfred H. Barr’s Matisse, his art and his public is located at D553.MAT BAR.
- Erwin Panofsky’s Early Netherlandish painting: its origins and character is available at D665 PAN as well as a copy in the Johannes Wilde bequest.
- Kenneth Clark’s The nude: a study in ideal form is available at Z7434 CLA as well as a copy in the Johannes Wilde bequest.
- E.H. Gombrich’s Art and illusion: a study in the psychology of pictorial representation can be found at Z7430 GOM.
- Clement Greenberg’s Art and culture: critical essays is located at Z7430 GRE.
- Francis Haskell’s Patrons and painters: a study in the relations between Italian art and society in the age of the Baroque can be found at Z8380 HAS as well as two personal copies in the Anthony Blunt bequest.
- Michael Baxandall’s Painting and experience in fifteenth century Italy: a primer in the social history of pictorial style is available at D615 BAX.
- T.J. Clark’s Image of the people: Gustave Courbet and the 1848 Revolution is located at D553.COU CLA.
- Svetlana Alpers’ The art of describing: Dutch art in the seventeenth century can be found at D646 ALP.
- Rosalind E. Krauss’ The originality of the avant-garde and other modernist myths is located at Z6490 KRA.
- Hans Belting’s Bild und Kult: eine Geschichte des Bildes vor dem Zeitalter der Kunst is available at Z7475 BEL.
And of course, The books that shaped art history: from Gombrich and Greenberg to Alpers and Krauss edited by Richard Shone and John-Paul Stonard is available at Z5305 BOO.
Panel Discussion and Book Launch
18.00, Thursday 31 October 2013
Kenneth Clark Lecture Theatre, The Courtauld Institute of Art, Somerset House, Strand, WC2R 0RN London
Which were the key books to have shaped art history over the twentieth century? Why were they so important and what have their legacies been? This panel discussion will focus on three of the most influential art historians of the past 100 years – Erwin Panofksy, Kenneth Clark and Michael Baxandall – before broadening into a wider discussion about the state of art history today.
Celebrating the recent publication of The Books that Shaped Art History by Thames & Hudson, the event will include short papers by Professor Susie Nash on Panofksy’s Early Netherlandish Painting: Its Origin and Character (1953), John-Paul Stonard on Clark’s The Nude: A Study of Ideal Art (1956) and Professor Paul Hills on Baxandall’s Painting and Experience in Fifteenth Century Italy (1972).
Former Courtauld Director Eric Fernie will then lead a panel discussion on art historiography to consider the questions and controversies raised both by these books and the other seminal texts that have helped to define the discipline.
Speakers: Eric Fernie; Paul Hills,Susie Nash and John-Paul Stonard (The Courtauld Institute of Art)
The event will be followed by a reception and book signing.
Organised by Susie Nash (The Courtauld Institute of Art)
Open to all, free admission
Susie Nash is Deborah Loeb Brice Professor of Renaissance Art at The Courtauld Institute of Art, where she has taught for the last 20 years. She has published several books on late medieval and Renaissance art including Between France and Flanders. Manuscript Illumination in Amiens in the Fifteenth Century (British Library and Toronto University Press, 1999); Northern Renaissance Art (Oxford University Press, 2008), Late Medieval Panel Painting. Materials, Making and Meaning (Paul Holberton 2011) and a series of major articles on Claus Sluter’s ‘Well of Moses’ in The Burlington Magazine (2005,2006,2008).
Paul Hills studied the History of Art at the University of Cambridge and The Courtauld Institute of Art, London. After teaching for many years at Warwick University, he returned in 2003 to The Courtauld Institute as Professor of Renaissance Art. He has also been Visiting Professor at the Institute of Fine Arts in New York, at Villa I Tatti, the Harvard Center for Renaissance Studies in Florence, as well as the Royal College of Art in London. On his retirement in 2012 he was made Emeritus Professor at The Courtauld Institute of Art. His publications include The Light of Early Italian Painting, 1987, and Venetian Colour: Marble, Mosaic, Painting and Glass, 1999, (both Yale University Press). He is currently completing a book on Curtains, Veils and Drapery in the Renaissance.
John-Paul Stonard is a critic and historian of art. He studied at The Courtauld Institute of Art, London, where he has subsequently worked as a Visiting Lecturer, specialising in modern German art. From 2010-11 he was a Senior Fellow at the National Gallery of Art, Washington DC. He has published widely in the field of twentieth-century art, and is a regular contributor to The Burlington Magazine, Artforum and the Times Literary Supplement.
Eric Fernie is a historian of the architecture of the Middle Ages, whose books include Art History and its Methods (1995) and The Architecture of Norman England (2000). Before retiring he was Director of The Courtauld Institute of Art.
Categories: Courtauld Book Library | Tags: Events, Research Forum | Comments Off
Hello, I’m Bobbie Winter-Burke and I am one of the new Graduate Trainees in the Book Library. Before joining The Courtauld in September, I was a Library Assistant at Middlesex University in Hendon. As I knew I wanted to work in art libraries, during the four months I spent at Middlesex I also volunteered one day a week at The Whitechapel Gallery organising and cataloguing their curatorial library. Prior to working in libraries, I set up and ran a small bookshop for an independent art publishing house, which is where I began to be interested in the collection development aspects of library work.
I studied English Literature at the University of Sussex and since graduating have worked in quite a variety of organisations including theatres, galleries and museums, as well as medical publishing, archives, and a public health organisation. I am excited to be part of such a small and specialised team and I look forward to getting to know the library collection and its users better over the year.
Hello, my name is Cait Peterson, and I’m one of the new Graduate Trainees in the Courtauld Book Library. Before starting this post, I spent a year working as an Information Assistant at Kingston University. I finished my masters in Library Science at City University at the end of September, and I wrote my dissertation on the library’s potential role in artistic ‘inspiration’. My interest is in art librarianship specifically, and this position at the Courtauld is a wonderful opportunity for me to gain experience in a specialist art library. My background is in illustration, and I did my first degree at Camberwell College of Art, University of the Arts London. I look forward to spending an interesting and exciting year at the Courtauld!Courtauld Book Library | Comments Off
Back in 2011, I wrote a post about one of my favourite books in the Special Collections – a copy of Alciato’s emblem book from 1608. I talked about the binding having some interesting features, including the initials RW incorporated into the blind roll decoration. John Chalmers, a retired librarian who was once based in Oxford, now in Chicago, contacted me about the posting. And here is what he said:
“The attribution to the Oxford binder Robert Way (active in Oxford 1602-1626) by Basil Oldham has been accepted and unchallenged, although there is evidence that Way’s tools were shared with other binders in Oxford.
A characteristic of Oxford binding in this period, in addition to the dark blind-tooled calf, is manuscript endleaves, which have been studied by the late Neil Kerr, and leather or alum-tawed sewing supports.”
What I had thought were parchment sewing supports, upon closer inspection and armed with greater knowledge acquired on my book conservation course than I had at the time of writing, I could now see that the supports were, in fact, alum-tawed skins.
I am thankful to Mr. Chalmers for both his information and encouragement. I have now amended the bibliographic record binding description.
Special Collections LibrarianCategories: Uncategorized | Comments Off
For the new academic year, we have substantially increased our e-resource provision. We have subscribed to two databases which aggregate e-journal content, allowing you to cross-search across a large number of journal titles online.
The first of the new databases is Art Source, which is currently the largest art specific resource of its kind. It provides access to full text articles of over 630 selected periodicals covering art and related subjects. It also provides bibliographic citations and abstracts for a wide range of titles over a longer date range. Among the journals to which Art Source gives us online access for the first time are Apollo, Art in America and The British Art Journal as well as significantly increasing our online coverage of Art History, Studies in Conservation and Woman’s Art Journal. A full list of titles and coverage dates can be found here.
The second database is Art & Humanities Full Text, which provides broader subject coverage. While it gives online access to such core journals as Artforum International and Art Monthly, it also includes titles with a wider focus such as The New Criterion and The Journal of the History of Ideas. A full list of titles and coverage dates can be found here.
There are also a range of advanced search and filter options in both databases and the ability to setup email alerts for the table of contents of journals as they are published or for new results which meet your search criteria.
As well as the above full text resources, we also have a new subscription to the International Bibliography of Art, which is the successor product to the Getty’s Bibliography of the History of Art. This provides an indexing an abstracting service by subject experts and covers over 500 scholarly journals.
All these databases can be found on our online resources page and selected individual journal titles with details of date coverage are listed on the online journals page. To access these resources while offsite you will need your Athens login. If you need any help with any of our e-resources please contact email@example.com.Categories: Online resources | Tags: bibliographies, E-journals, E-resources | Comments Off
Please be aware that the Book Library will be closed from the 1st of August through to the 1st of September, inclusive. The library staff can still be contacted via the Booklib email address. Courtauld Institute of Art staff and students are reminded that they are entitled to membership of Senate House Library, which remains open during this period.Categories: Courtauld Book Library, Summer closure | Tags: Closure period | Comments Off
The latest addition to Copac (the National, Academic and Specialist Library Catalogue) is the Henry Moore Institute Research Library. This means that you can now cross-search their holdings of over 20,000 volumes specialising in British sculpture post-1850 at the same time as searching almost all the university libraries and many of the specialist libraries in the UK.
Copac’s homepage currently lists a number of specialist art libraries available through their catalogue, including but not limited to; The National Art library, The Tate Library, The National Portrait Gallery Library and, perhaps most importantly, The Book Library at The Courtauld Institute of Art. Among the very few exceptions of which we are aware are the libraries of the University of the Arts London are not yet searchable via Copac.
Courtauld staff and students are reminded that if they require a book of which no copies are available in London they may be able to request it as an inter-library loan.
An FAQ about Copac can be found here. Other similar services that may be of use to Courtauld staff and students are Worldcat.org which searches libraries internationally and Suncat.ac.uk which searches journal holdings across research libraries in the UK. If you would like any help using any of these resources please contact a member of library staff.Categories: External libraries, Online resources | Tags: Catalogues, Copac, Inter-library loans, Other libraries, The Henry Moore Institute | Comments Off
Having this week completed a reorganization of fifteen boxes of offprints from the Johannes Wilde bequest; I thought I would write a few words on the material preserved within these boxes. This fragment of Wilde’s legacy collection, significant in size and content, is yet to be catalogued on the library’s OPAC, but can be searched by card index (see below). The main bequest of books and manuscripts, as well as his archive of teaching materials, is fully catalogued and kept in the library’s special collections – both can be consulted on filling in a CABS request form.
What began as a vast swathe of offprints has now been streamlined into a shipshape assemblage of just over 600 texts, most of which have personal inscriptions to Wilde. There is a broad scope of material chiefly published in the 1930s, ‘40s and ‘50s, but going as far back as a volume Jahrbuch der Königlich preussischen Kunstsammlungen from 1893. Written in several languages (chiefly German but also English, French, Italian and Hungarian), it contains a lot of Wilde’s own writings, as well as a good amount on Michelangelo – as you might expect – Renaissance art, and architecture.
As well as official offprints from periodicals such as Oud Holland, The Burlington Magazine, the Mitteilungen des Kunsthistorischen Institutes in Florenz, and Athenaeum, the collection also contains some full issues of journals; festschrifts for scholars such as Julius Schlosser, Paul Clemen and Max Friedländer; and ephemeral items including business cards, compliment slips, newspaper and magazine clippings, and proofs.
Most of the items are marked with Wilde’s distinctive handwriting, either denoting the author’s name at the top of the page (as above on a clipping from The Listener entitled ‘How Cézanne saw and used colour’ by Gerard Frankl), or with his notes or corrections alongside the text. There are also a great number of personal inscriptions written from the various authors, such as this affectionate example from Antoine Seilern to Julia and Johannes Wilde, from his piece on ‘An ‘Entombment’ by Rubens’ (The Burlington Magazine Vol. 95, No. 609, December 1953).
What is interesting is the network of figures that emerges from these inscriptions, giving you a tangible picture of the who’s who of art historians and scholars from the first half of the twentieth century, with a particular emphasis on the ‘Vienna School’ and on émigrés such as Wilde, Seilern, Charles de Tolnay, Erwin Panofsky and many others. It is an interesting piece of Courtauld Institute history in itself, demonstrating how professors, peers and students influenced one another and continued to correspond throughout their careers. Below you can see an envelope addressed to Professor Wilde from Katherine Freemantle, containing a proof copy of some biographical particulars and a bibliography of Professor Jan van Gelder.
For more information on the Wilde Collection, see the Special Collections page of the book library website. Further archive material on Wilde is held at UCL’s School of Slavonic and East European Studies. If you want to have a look at the offprints collection, we have a holdings list behind the issue desk in the book library.
Harriet LamCategories: CABS | Tags: Ephemera, Johannes Wilde, Offprints, Special collections | Comments Off
We’ve got a very fetching new books display at the moment, with the UK exhibition catalogues cutting a particularly fine figure as the summer shows are unleashed – most recently the Courtauld’s own Collecting Gauguin: Samuel Courtauld in the ’20s, curated by Karen Serres.
Elsewhere the Tate have been busy, with solo exhibitions from both Ellen Gallagher and Lebanese artist Saloua Raouda Choucair at Tate Modern, and a retrospective of Gary Hume at Tate Britain. I’m afraid we didn’t quite have space to fit in Tate Liverpool’s catalogue of Chagall: Modern Master too, but it is in stock at Z5079 ZUR KUN; and the Patrick Caulfield catalogue will be with us soon!
The Estorick Collection are showing Giorgio Casali: photographer / domus 1951-1983, a collection of his striking and stylish photographic work of Italian architecture and design originally shown in Domus magazine. And opening soon, we have Jockum Nordström: All I Have Learned and Forgotten Again at the Camden Arts Cenre from 26th July with free entry.
Old news for some, but keeping a stalwart presence on the new books display is David Bowie Is, the V&A’s showcase summer exhibition; alongside Man Ray Portraits – formerly at the National Portrait Gallery, now up at the Scottish National Portrait Gallery, so if you missed it the first time around there’s still time to catch it a bit further north until 22nd September.
Finally, it’s last call for this year’s Deutsche Borse Photography Prize at the Photographer’s Gallery; and Souzou: Outsider Art from Japan – a free exhibition at the Wellcome Collection and well worth a visit before they close the gallery space on for redevelopment over the summer months. Both shows close on 30th June.
That’s it for now, but there will be an update soon on some more recent acquisitions in the book library, featured in our last display of this academic year.
Harriet LamCategories: New books | Tags: London Exhibitions, New Book Display | Comments Off
Courtauld staff and students are reminded that over the summer months many academic libraries will have closure periods in order to carry out development work. If you wish to access another library as part of the Society of College, National and University Libraries scheme, please remember to check their opening times with the target library.
Categories: External libraries | Tags: Library closure, SCONUL | Comments Off
From 8th June until 15th September inclusive, the Glasgow School of Art Library is planning a refurbishment of the ground floor of the main Library. That means there will be no access to borrow or use the bulk of the Library’s collections during this period. They will continue to process SCONUL applications, but applicants should be advised services will be reduced. All digital collections will continue to be fully available over the summer but only a very limited selection from the print collection, please advise your users to consult the Library website for full details before visiting. http://prism.talis.com/gsa/
For further information please read this blog post.Categories: External libraries | Tags: Glasgow School of Art, Library closure, SCONUL | Comments Off