Search Results

“... of painting by an accomplished artist who is also a first-rate writer.’ Anyone acquainted with Meyer Schapiro will be amused. For, whether or not this is a correct assessment of Fromentin as a critic (the essay that follows suggests some qualifications), applied to Schapiro himself, these words have the ring of ...”

“... I, on the other hand, find the woodcut utterly delightful and the Dürer a pompous bore. Meyer Schapiro is blessedly free of the prejudices of Panofsky and Gombrich. He can, of course, do the classic art-historical thing as well as anyone, but even in the most purely scholarly and erudite essays in this volume1 his warmth and catholicity shine ...”

“... as people, as individuals. But for most of the 20th century it was dogma. By the 1950s, when Meyer Schapiro wrote his great book about Cézanne, he knew that the judgment would be on readers’ minds: ‘It has been said that Cézanne painted the heads of his friends and family as if they were apples.’ And further on: Many writers have remarked on ...”

“... risk-taking and spectacle-effects. In ‘The Social Bases of Art’, an essay published in 1936, Meyer Schapiro argued that the Impressionist painter was the first artist to address the new modern world of speed and glitz. ‘For this individual,’ Schapiro wrote, ‘the world is a spectacle, a source of novel ...”

“... though its greatest champion once signed a letter of protest in New Masses with Edmund Wilson, Meyer Schapiro and the Trillings, whom it if difficult to envisage tapping their feet to Count Basie.) The contribution of the Left was not only to discover talent, though nobody else took a serious interest in obscure – and, more important, non-commercial ...”

“... in the light of this book. It reinforces the insights of such scholars as Peter Brown and Meyer Schapiro, who have tried to draw us out of our Rome-centred, Classics-centred view of the past. It truly does what Eliot said every masterpiece did: alters, if ever so slightly, every single work in the ...”

“... Worringer connected German Expressionism to the Northern Gothic tradition; between the wars, Meyer Schapiro moved easily between abstract painting and Romanesque sculpture; and after the Second World War, Leo Steinberg wrote with equal insight on 20th-century innovators like Picasso, Robert Rauschenberg and Jasper Johns, and Old Masters like ...”

“... some of the tendency to gradualism in the history of the arts which he dissects in an essay on Meyer Schapiro. What he says he would like is an innocent eye, no theoretical presuppositions to affect his vision of poem or painting. But even if his position in the academy allowed him to aspire to this theoretical virginity, he must know that it is ...”

“... the idea of Picasso to obscure their view of what was actually in front of them. Of course, as Meyer Schapiro once remarked, ‘to perceive the aims of the art of one’s own times and to judge them rightly is so unnatural as to constitute an act of genius,’* but Penrose was not writing in 1914 or even 1934, but in 1951. One might have expected ...”

“... On Vision and Modernity in the 19th Century (1990), the first book by Jonathan Crary, now Meyer Schapiro Professor of Modern Art and Theory at Columbia. The recent move to digital modes of image production and distribution had prompted Crary to reflect on revolutions in visuality in the past.Techniques of the Observer begins by confronting the ...”

“... is what this loosening and restlessness do to our understanding of the scene. I do not think, pace Meyer Schapiro, that in the end the new handling is essentially a means of insisting on the ‘individuality’ of any one painter’s apprehension. Personal freedom is a given for Pissarro; but his anarchism does not seem to have been built around the idea ...”