Last night the Research Forum was celebrating the release of Thames and Hudson’s The Books that Shaped Art History, a collection of sixteen essays by eminent art historians on seminal publications from within our still anxiously young discipline. Chaired by former director of the Courtauld, the infinitely amiable Eric Fernie, the session invited three of the authors to reflect on their pieces in a packed Kenneth Clark lecture theatre.
John-Paul Stonhard both authored the essay on Clark’s The Nude: A Study of Ideal Art and was co-editor of the whole publication with Richard Shone. Shone had composed a list of seminal books in 2007, which subsequently disappeared. This “lost list”, generated much fascination in the audience but as much that was revealed was that it had one book in common with the final (Fry’s Cézanne), but mostly the authors were the same. A helpful paraphrase of Gombrich: “There is no art history, only art historians” recognised how much personality dominated this evening. Clark was embodied by his own concept of the Nude; “balanced and prosperous”, and there was little escaping the ghosts of these figures this All Hallows Eve.
Looming over Susie Nash was the spirit of Erwin Panofsky, grasping his Early Netherlandish Painting. His book is an enormous achievement, a synthesis of material and ideas into a seemingly impregnable fortress of apparatus, and perhaps this almost Biblical authority it seemed to exude led to antagonism towards it when Susie herself was a student. Yet it was also Panofsky’s relationship with the object that seems remarkable within current methods of art historical interrogation. For Panofsky, the back of a painting rarely meant evidence for its provenance and manufacture, because most often it was the matte reverse of a glossy photograph. His book was written almost entirely surrounded by reproductions, often black and white, and this is evident in his text where occasionally he clearly has no idea what colour a painting was.
Paul Hills had a much more portable tome to review, with no footnotes at all. Baxandall’s Painting and Experience in Fifteenth-Century Italy: A Primer in Pictorial Style is often seen as the Rough Guide to Social Art History, yet Paul did remind us of its oft-forgotten subtitle showing that the inherent Form of paintings was still central to the investigation. Paul was the closest of all to his author, which allowed for a personal insight into its original context. Baxandall perhaps meant it as a challenge to the Courtauld, but in fact it was its sister institution the Warburg which was greater perturbed by his concept of “Period Eye”, seeing it as a redressing of the hoary old zeitgeist.
Inevitably, the thoughts at the end of this evening was if the presenters would be reviewed in “More Books that Shaped Art History”, who in the audience who would be considered for “Even More Books that Shaped Art History”, and the undergraduates in the Halloween Party downstairs who might make it into “Oh no! Not more books that Shaped Art History”.