Mitchell B. Frank – författare

Through a series of cross-disciplinary and interdisciplinary interventions, leading international scholars of history and art history explore ways in which the study of images enhances knowledge of the past and informs our understanding of the present.Spanning a diverse range of time periods and places, the contributions cumulatively showcase ways in which ongoing dialogue between history and art history raises important aesthetic, ethical and political questions for the disciplines. The volume fosters a methodological awareness that enriches exchanges across these distinct fields of knowledge.This innovative book will be of interest to scholars in art history, cultural studies, history, visual culture and historiography.

Through a series of cross-disciplinary and interdisciplinary interventions, leading international scholars of history and art history explore ways in which the study of images enhances knowledge of the past and informs our understanding of the present.Spanning a diverse range of time periods and places, the contributions cumulatively showcase ways in which ongoing dialogue between history and art history raises important aesthetic, ethical and political questions for the disciplines. The volume fosters a methodological awareness that enriches exchanges across these distinct fields of knowledge.This innovative book will be of interest to scholars in art history, cultural studies, history, visual culture and historiography.

A fresh contribution to the ongoing debate between Kunstwissenschaft (scientific study of art) and Kunstgeschichte (art history), this essay collection explores how German-speaking art historians of the late nineteenth and early twentieth century self-consciously generated a field of study. Prominent North American and European scholars provide new insights into how a mixing of diverse methodologies took place, in order to gain a more subtle and comprehensive understanding of how art history became institutionalized and legitimized in Germany. One common assumption about early art-historical writing in Germany is that it depended upon a simplistic and narrowly-defined formalism. This book helps to correct this stereotype by demonstrating the complexity of discussion surrounding formalist concerns, and by examining how German-speaking art historians borrowed, incorporated, stole, and made analogies with concepts from the sciences in formulating their methods. In focusing on the work of some of the well-known 'fathers' of the discipline - such as Alois Riegl and Heinrich Wölfflin - as well as on lesser-known figures, the essays in this volume provide illuminating, and sometimes surprising, treatments of art history's prior and understudied interactions with a wide range of scientific orientations, from psychology, sociology, and physiognomics to evolutionism and comparative anatomy.

This book explores the collaborations, during the mid-20th century, between the Metropolitan Museum of Art and the Book-of-the-Month Club. Between 1948 and 1962 the two institutions collaborated on three book projects—The Metropolitan Museum of Art Miniatures (1948-1957), The Metropolitan Seminars in Art (1958-60), and a print reproduction of Rembrandt’s Aristotle Contemplating the Bust of Homer (1962)—bringing art from the Met’s collections right into the homes of subscribers.The Met and the Masses places these commercial enterprises in a variety of contemporary and historical contexts, including the relation of cultural education to democracy in America, the history of the Met as an educational institution, the rise of art education in postwar America, and the concurrent transformation of the home into a space that mediated familial privacy and the public sphere.Using never before published archival material, the book demonstrates how the Met sought to bring art to the masses in postwar America, whilst upholding its reputation as an institution of high culture. It is essential reading for scholars, researchers and curators interested in the history of modern art, museum and curatorial studies, arts and cultural management, heritage studies, as well as the history of art publications.

This book tells the story of the unifying of two major institutions during a turning point in American public art education. Traditionally separated in the hierarchy of 'highbrow' and 'middlebrow' culture, the Metropolitan Museum of Art and the Book-of-the-Month Club joined forces between 1948 and 1962 to bring art from the Met’s collections right into the homes of subscribers. This democratic approach transformed the way art was consumed and gave the public newfound agency as collectors and museum visitors.Using never before published archival material, the book demonstrates how the Met sought to bring art to the masses in postwar America, whilst upholding its reputation as an institution of high culture. By describing this egalitarian programme in depth, the book offers new insights into the history of museum outreach and provides fascinating examples of successful audience engagement for contemporary practitioners. The Met and the Masses in Postwar America places these commercial enterprises in a variety of contemporary and historical contexts, including the relation of cultural education to democracy in America, the history of the Met as an educational institution, the rise of art education in postwar America, and the concurrent transformation of the home into a space that mediated familial privacy and the public sphere. It is essential reading for scholars, researchers and curators interested in the history of modern art, museum and curatorial studies, arts and cultural management, heritage studies, as well as the history of art publications.