The slide lecture, or the work of art history in the age of mechanical reproduction

Critical Inquiry

Volumn 26, Issue 3, 2000, Pages 414-434

  Nelson, Robert S ^a  

^a UNIVERSITY OF CHICAGO   (United States)

Author keywords

[No Author keywords available]

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EID: 62449269988     PISSN: 00931896     EISSN: None     Source Type: Journal    
DOI: 10.1086/448973     Document Type: Review

References (62)

1. Bruno Latour, We Have Never Been Modern, trans. Catherine Porter (Cambridge, Mass., 1993), pp. 88, 89
2. Wendy Wasserstein, The Heidi Chronicles, in "The Heidi Chronicles" and Other Plays (New York, 1991), pp. 160, 205-6
3. See H. W. Janson and Dora Jane Janson, History of Art: A Survey of the Major Visual Aris from the Dawn of History to the Present Day (New York, 1962)
4. Also see my essay, "The Map of Art History," Art Bulletin 79 (Mar. 1997): 33
5. See Wasserstein, The Heidi Chronicles, p. 249
6. Aristotle, The "Art" of Rhetoric, trans. John Henry Freese (Cambridge, Mass., 1994), pp. 32-35 (1.3.1-4)
7. Roland Barthes, "The Rhetoric of the Image," The Responsibility of Forms (New York, 1985), p. 33
8. See also Christian Metz, "On the Impression of Reality in the Cinema," Film Language: A Semiotics of the Cinema, trans. Michael Taylor (New York, 1974), pp. 3-15
9. See W.J.T. Mitchell, "What Do Pictures Really Want?" October, no. 77 (Summer 1996): 71-82
10. Franz Landsberger, Heinrich Wolfflin (Berlin, 1924), pp. 93-94
11. See Clifford Geertz, Works and Lives: The Anthropologist as Author (Stanford, Calif., 1988), pp. 4-5. Travel photographers have long commented on their journeys and the difficult working conditions they encountered
12. See Carol Armstrong, Scenes in a Library: Reading the Photograph in the Book, 1843-1875 (Cambridge, Mass., 1998), p. 287, for the work of Francis Frith in the mid nineteenth century. Then as now, such comments also legitimated image and text
13. Adolph Goldschmidt, "Kunstgeschichte," in Aus Fünfzig Jahren Deutscher Wissenschaft: Die Entwicklung ihrer Fachgebiele in Einzeldarstellungen, ed. Gustav Abb (Berlin, 1930), p. 195. I thank Margaret Olin for directing me to this useful essay
14. See Marilyn Aronberg Lavin, The Eye of the Tiger: The Founding and Development of the Department of Art and Archaeology, 1883-1923, Princeton University (Princeton, N.J., 1983), p. 27 n. 21
15. See Herman Grimm, "Die Umgestaltung der Universitatsvorlesungen über Neuere Kunstgeschichte durch die Anwendung des Skioptikons," Beitrage zur Deulschen Cult-urgeschichle (Berlin, 1897), p. 281; first published in Nationalzeitung in 1892
16. See Aristotle, The "Art" of Rhetoric, pp. 24-29 (1.2.14-19)
17. See Trevor Fawcett, "Visual Facts and the Nineteenth-Century Art Lecture," Art History 6 (Dec. 1983): 457. As to the reception and importance of this lecture, E. H. Gom-brich describes it "as a climax of that meeting and of Warburg's public career" (E. H. Gom-
18. brich, Aby Warburg: An Intellectual Biography [Chicago, 1986], p. 192). Warburg's involvement with photographic media is explored in Philippe-Alain Michaud, Aby Warburg et l'intage en mouvement (Paris, 1998)
19. Aby Warburg, "Italienische Kunst und internazionale Astrologie im Palazzo Schifa-noja zu Ferrara," L'Italia e Varte straniera, Atti del X congresso internazionale di storia dell'arte in Roma (Rome, 1922), pp. 182, 185, 186
20. trans. Peter Wortsman, under the title "Italian Art and International Astrology in the Palazzo Schifanoia in Ferrara," in German Essays on Art History, ed. Gerl Schiff (New York, 1988), pp. 240, 242, 244
21. "It is our misfortune, however, that those works of Carrache which I would recommend to the Student, are not often found out of Bologna. The St. Francis in the midst of his Friars [and other paintings by the artist] ... in the Zampieri palace, are all worthy the attention of the student. And I think those who travel would do well to allot a much greater portion of their time to that city than it has been hitherto the custom to bestow." [Sir Joshua Reynolds, Discourses on Art, ed. Robert R. Wark (New Haven, Conn., 1975), p. 33]
22. quot;I have only the opportunity of placing before you some of the subjects by prints which may in some manner point out the general lines and some of the light and shadow of the subject, but the colour must be attempted by description" (Jerrold Ziff, "'Backgrounds, Introduction of Architecture and Landscape': A Lecture by J. M. W. Turner," Journal of the Warburg and Courtauld Institutes 26 [1963]: 134)
23. Goldschmidt, "Kunstgeschichte," p. 194. A similar problem is recalled from the early days of art history at Princeton; see Lavin, The Eye of the Tiger, p. 27 n. 24
24. Ziff, "'Backgrounds, Introduction of Architecture and Landscape,'" p. 134
25. See Fawcett, "Visual Facts and the Nineteenth-Century Art Lecture," p. 448
26. Quoted in David Watkin, The Life and Work of C. R. Cockerell (London, 1974), pp. 106-7
27. See Victor H. Mair, Painting and Performance: Chinese Picture Recitation and Its Indian Genesis (Honolulu, 1988), pp. 111-31, figs. 33, 34, 36, 40-42
28. Richard D. Altick, The Shows of London (Cambridge, Mass., 1978), p. 475
29. See X. Theodore Barber, "Phantasmagorical Wonders: The Magic Lantern Ghost Show in Nineteenth-Century America," Film History 3 (1989): 73-86
30. Altick, The Shows of London, pp. 217-20
31. and Charles Musser, The Emergence of Cinema: The American Screen to 1907, vol. 1 of History of the American Cinema (New York, 1990), pp. 16-28
32. One sign of the magic lantern's importance to scientists is the technical paper by H. Morton, "The Magic Lantern as a Means of Demonstration, "Journal of the Franklin Institute 83 (1867): 55-58, 204-6, 282-84, 354-56,409-12
33. Charles Dickens, "The Uncommercial Traveller," All the Year Round, 6 June 1863, p. 349
34. André Malraux, Museum without Walls, trans. Stuart Gilbert and Francis Price (New York, 1967), p. 111
35. Cuthbert Bede, "Photographic Pleasures," in Photography in Print: Writings from 1816 to the Present, ed. Vicki Goldberg (New York, 1981), p. 84
36. William Henry Fox Talbot, commentary on pi. 3, The Pencil of Nature (1844; New York, 1969), n.p
37. See Armstrong, Scenes in a Library, p. 13, and passim. Early photography's indexi-cality is basic to her study, as it is to the first chapter, "'Stern Fidelity' and 'Penetrating Certainty,'" of Christopher Pinney, Camera Indica: The Social Life of Indian Photograph (Chicago, 1998), pp. 17-71
38. On the general notion of the photograph as index, see Mitchell, Iconology: Image, Text, Ideology (Chicago, 1986), pp. 58-63
39. Elizabeth Eastlake, "Photography," in Classic Essays on Photography, ed. Alan Trach-tenberg and Amy Weinstein Meyers (New Haven, Conn., 1980), pp. 65-66
40. See Oliver Wendell Holmes, "The Stereoscope and the Stereograph," in Photography in Print, p. 113
41. Jennifer Montagu, "The 'Ruland/Raphael Collection,'" Visual Resources 3, no. 3 (1986): 167-83. An important general study is Anthony Hamber, "The Photography of the Visual Arts, 1839-1880: Part I," Visual Resources 5, no. 4 (1989): 289-310, "The Photography of the Visual Arts, 1839-1880: Part II," Visual Resources 6, no. 1 (1989): 19-41, "The Photography of the Visual Arts, 1839-1880: Part III," Visual Resources 6, no. 2 (1989): 165-79, and "The Photography of the Visual Arts, 1839-1880: Part IV," Visual Resources 6, no. 3 (1990): 219-41
42. For Germany, see Heinrich Dilly, Kunstgeschichte ab Institution: Studien zur Geschichte einer Disziplin (Frankfurt am Main, 1979), pp. 151-54
43. See Musser, The Emergence of Cinema, pp. 29-30
44. See Wolfgang M. Freitag, "Early Uses of Photography in the History of Art," Art Journal 39 (Winter 1979-80): pp. 119-20
45. Yellow was a particular problem; see Montagu, "The 'Ruland/Raphael Collection,'" p. 170
46. See Dilly, "Lichtbildprojektion-Prothese der Kunstbetrachtung," Kunslwissen-schaft und Kunstvermittlung, ed. Irene Below (Gießen, 1975), pp. 158-66
47. See the report of E. Baldwin Smith, "The Study of the History of Art in the Colleges and Universities of the United States" (1912), in The Early Years of Art History in the United States: Notes and Essays on Departments, Teaching, and Schoob, ed. Craig Hugh Smyth and Peter M. Lukehart (Princeton, NJ., 1993), pp. 12-36
48. See Agnes Mongan, "Harvard and the Fogg," in The Early Years of Art History in the United States, p. 47, and Freitag, "Early Uses of Photography in the History of Art," p. 122
49. See Heinrich Wolffiim, "Über das Rechts und Links im Bilde," Gedanken zur Kunstgeschichte: Gedrucktes und ungedrucktes (Basel, 1941), pp. 82-90. I thank Reinhold Heller for this reference
50. Adolph Goldschmidt, 1863-1944: Lebenserinnerungen, ed. Marie Roosen-Runge-Molhvo (Berlin, 1989), p. 126. I thank Margaret Olin for this reference
51. Wolfflin, Italien und das deulsche Forngefühl (Munich, 1931), p. v
52. See Grimm, "Die Umgestaltung der Universitatsvorlesungen über Neuere Kunst-geschichte durch die Anwendung des Skioptikons," pp. 278-82, as discussed in Dilly, "Licht-bildprojektion," pp. 164-65
53. See Dilly, "Lichtbildprojektion," pp. 166-70
54. See Kathryn Brush, The Shaping of Art History: Wilhelm Voge, Adolph Goldschmidt, and the Study of Medieval Art (Cambridge, 1996), p. 28 n. 43
55. Giovanni Morelli, Italian Painters: Critical Studies of Their Works, trans. Constance Jocelyn Ffoulkes (London, 1900), p. 11
56. Quoted in Freitag, "Early Uses of Photography in the History of Art," p. 119
57. See Carlo Ginzburg, "Morelli, Freud, and Sherlock Holmes: Clues and Scientific Method," History Workshop 9 (Spring 1980): 5-36
58. See Lorraine Daston and Peter Galison, "The Image of Objectivity," Representations, no. 40 (Fall 1992): 81-128. These matters are further discussed in Galison, 'Judgment against Objectivity," and Joel Snyder, "Visualization and Visibility," in Picturing Science, Producing Art, ed. Caroline A. Jones and Galison (New York, 1998), pp. 327-59 and 379-97
59. See Svetlana Alpers, "Ekphrasis and Aesthetic Attitudes in Vasari's Lives," Journal of the Warburg and Courtauld Institutes 23 (1960): 190-215. A useful accounting of ancient and medieval ekphrasis is Liz James and Ruth Webb, '"To Understand Ultimate Things and Enter Secret Places': Ekphrasis and Art in Byzantium," Art History 14 (Mar. 1991): 1-17
60. Mary Poovey, A History of the Modern Fact: Problems of Knowledge in the Sciences of Wealth and Society (Chicago, 1998), p. xii
61. Engravings and photographs of art works are usefully compared in William M. Ivins, Jr., Prints and Visual Communication (New York, 1969), pp. 135-57. Trevor Fawcett provides more nuanced detail about this transition in "Graphic versus Photographic in the Nineteenth-Century Reproduction," Art Histoiy 9 (June 1986): 185-212
62. One example of the new form of scholarly discussion is the new online review for art history, CAA.revietvs: http://www.caareviews.org/contents.html. Six months after its founding in October 1998, it was receiving thousands of hits each week. Others are the various projects being undertaken to create "magic classrooms" at Princeton University. See the Piero Project/ECIT-Electronic Compendium of Images and Texts at http://mondrian. princeton.edu/art430/art430.html