It was only after his death, when Ills sonand daughter-in-law, John and Ann Soper,opened the Rosemont home in March to asmall group, that I realized how little I actu-ally knew about his roots, his personal andfamily history, his relationship to the com-munity that surrounded him when hewasn't being "Professor Soper." I have triedin these remarks to fill some of the gaps thatyou may share.Alexander Coburn Soper I [I was born in

Chicago 1Il 1904, the eldest of two sons bornto Alexander Coburn Soper, Jr., and BerthaDunlop Soper. His brother, Arthur, was afew years his junior. The roots of the Soperfamily in America were already generationsdeep. Professor Soper's grandfather, thefirst Alexander Coburn Soper, was born inRome, New York, and was a member of theSons of the American Revolution. Heattended Hamilton College in Clinton, NewYork, and later became a generous benefac-tor. He spent most of his successful businesscareer in Chicago as the head of a lumbercompany, !"etiring to Lakeville, NewJersey,and keeping a summer house in YorkHarbor, Maine.Professor Soper's father, Alexander, J I

grew up in Chicago. He prepared for col-lege <ItHolbrook Military Academy, and likehis father, was sent to Hamilton. He stayedtor two years, and then finished his B.A. atCornell. From there he went to Europe andstudied at the universities of Vienna andBerlin, returning to Chicago to earn a med-ical degl'ee from the Rush Medical School in1901. The young doctor's practice inChicago was interrupted by World War I,and his service in the Medical Corps as asurgeon took him to the American West.Not keen on returning to private practice,he seized upon the idea of moving the farni-I}'to California and growing oranges-orsome similar promise the land held out atthe lime. He found some groves inMontecito, near Sarna Barbara, and relocat-ed the family while the boys were ),oung. Heremained m the pracuce of medicine, how-ever, and never did take up the farmer!rancher life he had envisionedYoung Soper rode LOthe Thacher School

near Highway One on horseback each day,and there gained both a dislike of horsesand a training ill Latin that never left him.He repeatedly expressed dismay that hisstudents could misspell "deity" with the "i''before the "e' when tile root was so clearly"deus." Perhaps even more fundamentally,the order imposed on language through themethods by which Latin was taught seems tohave stood as a model for his later study ofChinese and Japanese.We have only to look at notebooks of his

translations from the Chinese-c-columns ofneatly and very beautifully rranscrihed char-acters (the deficure flourish seems to reflect apleasure he wok In writing characters), theirempirical attempt to systematize, their rigor,their impulse to find structure in contexts ofusage-to tee! his beliefthat the languagehad rules (they've always remained obscureand untrustworthy to me), rules that could betransferrable in the service of meaning. This

legacy permeates his translations, with theircareful, illuminating footnotes. These transla-tions will remain, I suggest, among the mosteloquent ever produced in our field.Aocording to his children, Professor

Soper adored his mother, whose gentlehumor, love of the beauty oflandscape, andencouraging nature stood in some contrastto the expectations of a father who positivelyenjoyed military life.Young Soper followed his grandfather

and father to Hamilton College. The winterswere shockingly cold to the youngCalifornian. He was admonished, however,by his father to refrain from the inappropri-ate extravagance of buying a fur coat, andwas encouraged 10 layer, a sartorial habit hekept. I remember observing on many occa-

"Rowley argued 'Style' as thestandard of truth in art,against which Soper wouldmount his standard of'Penetration by Texi'"sions in his office on the north side of theOriental Room at the Institute of Fine Arts,where the winds whistled in off the park,that he was wearing more than one sweater-vest at a time. Similar letters from his fatherinstruct the young man to avoid distrac-tions, including the theater.Professor Soper remained spare in his

taste for external appointments. [ wasalways amazed how little he-needed. Hisoffice was modest in the extreme. His studyat home was similarly bare except for bookson long shelves, and a view onto the sur-rounding trees. His favorite haunt at thefamily summer house in Greensboro,Vermont, was the building apart that wasjust a room looking out onto the lake.

It was impossible to think that a man sophysically and mentally graceful was notprey to vanity. And I think he was; but anyvanity was so tempered by a rejection ofexcess that it showed hardly at all.According to his children, he and his broth-er were raised to respect healthy, strongbodies; he enjoyed exercise, particular-lyswimming and rowing, ate consciously withan eye to health, and drank "only withmeals." He had a strong clear voice and wasknown as an excellent dancer. Long beforeit was popular cant, he generally viewed anaturallife as tonic.III I92!'J,Alexander Soper enrolled at

Princeton with the ann of becoming an archi-teet. While at Princeton, through a friend, hemet Suzanne Smyth, born at Han's Hill inWhitestown, near Utica. ln the sumrncr of1929, he earned his M.F.A. in architectureand they were married. I was always movedby how clearly Professor Soper cherished hiswife and admired her virtues-her ciVICminded ness, her connectedness to people,her work in school administration in BrynMawr. I also remember his saying how herattled around in the Rosemont house, howlarge it seemed to him, after she died. Ann

Soper remembers "Fogg" having told herthat his chief interest in religion was that bytaking his wife to church he could observeher profile uninterruptedly.The Depression in the earl)' thirties pre-

vented the young graduate from finding ajob as an architect, and he "dabbled" III

Chinese philosophy, literature, and historyat Columbia and Harvard Summer School.The Soper way of dabbling included transla-tions of Chinese texts with C.C. wang. 11was always amazing to those of us who need-ed all the help we could get in Chinese, thathe was essentially self-taught.The reason he did not become an archi-

tect was that, according to him, he wasn'tgood at it. He found the drafting agonizing;and in the end "one hadn't even used one'simagination." A close friend and colleaguefrom the program at Princeton, who inSoper's eyes was a naturally gifted architect,suggested to him that he try something else.It was apparently a shocking revelation andit brought him up sharply. The remark isthe kind of thing that I might have expectedfrom Soper himself, to one of us. He couldbe witheringly candid. Perhaps havinglooked himself in the eye, he expected therest of us to be equal to it.He returned to Princeton to study classi-

cal art history and began to teach, which heenjoyed. A consistent style of mind is evi-dent in his notebooks, as is a legacYbf histraining in architectural drafiing, whetFlerthe subject is Greek and Roman art., Chinesearchitectural ornament, or Buddhist sculp-ture. Neatly penned notes accompany draw-ings, keenly observed-and rendened.in __detail.At Princeton, he came into the orbit of

George Rowley, a romantic Southernertrained in early Italian painting, who wasdeveloping philosophical superstructures inChinese art on which to pin his sensitiveresponses to style. Rowley was a powerfulauructant, and at the same time someoneagainst whom the young Soper would react,defining himself in the process. Rowleyargued "Style" as the standard of truth inart, against which Soper would mount hisstandard of ''Penetration by Text." Rowleywas a Generalist; and Soper by comparisonindeed a Particularist. Rowley advanceddevelopmental models of style borrowedtrom Heinrich WOlfflinworking III Westernart, that invoked to Soper the specter oftheanhistorical-the "universals," of which heremained suspicious his whole life. InSoper's article of 1948 in The Art Bulletin,"Life Motion and the Sense of Space inEarly Chinese Represemational Art," hereached the "classically happy conclusion" ofRowley's model: looking at Han mural art,he found that Chinese art, like Greek art,developed from the linear-planar, to plasticvolumes, to pictorial surfaces. But he intro-duced the notion of regional styles, <I newnavigational axis in the world of universals.The seeds of the professional debate Soperengaged in over the years with LudwigBachofer, Max Loehr, Wen Fang, and oth-ers over matters of stylistic modeling, wereplanted with Rowley.

8lFA Alumni Newsletter

I continue to wonder why ProfessorSoper, whose interest in Asia seems to havebegun with China, applied to theRockefeller Foundation in 1935 to studyJapanese Buddhist architecture m Japan.can only observe that he expressed a life-long admiration for the humanism ofChinese culture, but that he seemed person-ally drawn to the spiritual aesthetics ofBuddhism, expressed in the ritual beauty oftemple art and architecture, of which somuch more remained in Japan than China.

There is a record in a notebook contain-ing his handwritten translation of theDiamond Surra that records an aspect of hisinvolvement with Japanese Buddhism. Theentry, dated "Los Angeles, December 7,1940," ,ays he decided against taking initia-tions from a high priest of the Shingon sectof Esoteric Buddhism during the Roshi'sunusual visit to Los Angeles, but later bystrange chance found himself present at theRoslu's performance of the Fire Ceremony,,I ritual connected with the Diamond Surra,a text that he, Soper, was In the midst oftranslating. The Roshi's picture, cut fromthe photo in The Los Angeles Times, is placedin the from of the notebook recording thetranslation.

The Soper-in-Japan I imagined was theabstemious Soper of woolen caps and sub-dued plaid sportshirts buttoned to the collarin winter, and white shirt-sleeves in sum-mer-the Soper that I knew. I was not pre-pared for a photograph in the family'spossession: the Soper family about 1937,young .John in his arms, and his daughterand wife in kirnonu.d ohn recalls that he wasspoken to only ill japanese by his nanny.

Professor Soper described the house helived in, in Japan, a., frightfully cold in thewinter and unbearably hot in the summer,but nor was I prepared for the grand beautysurrounded by the hills of Kyoto shown in afamily photo. The characteristically ironicinscription on the back of the photo is"Soper home in Kyoto-- The PracticalChoice."

From the family archives is a brief essayabout this period entitled "The Lure of Oldjapan" which also bears the stamp ofhish~mor and wit. I will read you the begin-fling:

"Recent world events have bought backvividly to my mind the period in which Iwas temporarily a neighbor of the Emperorof Japan. Our relationship, as I rememberit, never ripened into anything like real inti-macy; it was perhaps no more than coinci-dence that made my family and theHir-ohito family choose the same spot forSummer relaxation back in the peaceful1930s; but the association, abortive thoughIt was doomed to be, at least gained for me anumber ol beauufulmemories ..

"Hayama, the seaside village nearYokohama which in pre-war days was thesummer residence of the SOil of Heaven, is apleasant beach resort, backed by pine-cov-ered hills and facing across the water towardthe familiar silhouette of ML Fuji. Japanesecrowded there in July and August to bask in

the double radiance of the Sun Goddess andher Imperial descendant."

(This mock-heroic beginning prefaces adescription of the arrival around the point ofthe Emperor, returning from a fish-viewingexpedition at sea that forces the sun-bathingJapanese to jump offthe diving raft andtread water. Dislocated from his air of supe-rior detachment, as he watches the scenefrom the diving raft, by the wild eye of anapproaching policeman, Soper realizes thatit is a streamlined, 1937 application of theancient usage which forbids a subject tooccupy a higher level than the Emperor, andhe dives in too, "to survey the further pas-sage of the Imperial party from sea level."]

The sojourn of the Soper family in Asiawas brought to an end by the Japaneseaggression at the Marco Polo Bridge in julyof 1937, later viewed as the beginning ofWorld War 1I in Asia. Professor Soperintended the next phase of his Asian odysseyfor the mainland, but his time there was lim-ited to brief visits. On one such visit theintrepidly curious Soper bicycled OUL with afriend to the Manchu section of Peking tosee for himself the notorious recluse andcharlatan, Sir Edmund Backhouse, aroundwhom much speculation SWIrled for his sus-pected forgeries of diaries from the ChineseCourt. Professor Soper told me thatBackhouse himself answered the doordressed in the middle of the day in ,I tuxe-do. In 1938, the Soper family returned tothe United States.

The notes Professor Soper brought backwith him from Japan were the basis for hisdissertation on early Buddhist architectureIn Japan----charaetcristically original obser-vations built from texts and meticulousobservation. He once told his children thathe didn't like studying what other peoplewrote; and was happy when he got them outof the way in his reading, so he could followhis own line of thought.

This capacity for independent thought isalso consistent with the relative isolation inwhich he conducted his professional life,developing relationships primarily throughteaching, letters, and as editor of ArubusAsiae. During the period 1 knew him, thisman who tackled the most esoteric vocabu-laries of Chinese, who had served in theMarines as ,I document translator at PearlHarbor and as the head of a group of lan-guage personnel in occupied Japan, PO~I-tivelv avoided spoken Chinese or japanese,and, I would go so far as to say, those whospoke them. He had little interest in travelto contemporary China or Japan and sur-rounded himself with neither Asian friendsnor things-the badges both natural to thesituation, and explicitly cultivated by mygeneration as a measure of cultural immer-sion and acceptance. But whether motivat-ed by aHogance or insecurity, this man,largely self-taught in both language andculture, seemed disinclined to dilute hisbrilliant vision with the cultural inheritanceafforded in varying degrees of interest byrace alone.

Out of this concentration came the vividconstructs of his subtle and far-reaching

mind, continuously fed as it was by recordsfrom times and places it described. He hadan extraordinary capacity to see thingswhole in his mind. He would often describea painting from memory, even when a pho-tograph lay on the table, clasping his handsand turning his head to the side, holdingthe image in thought, turning it this wayand that with language.

Parenthetically, Soper also served for twoyears on the South Pacific Islands of Wallisand Samoa. He told me he understoodOauguin's attraction, and had consideredliving there himself.

His career from Bryn Mawr to theInsuuue of Fine Arts, as author, teacher,and editor of ajournal that reflected hisbroad interests, his care for language, hispainstaking attention to text, will beaddressed by others here.

But before turning you over to the rest ofthe program, I would like to convey whatgood company he was. What he said wasalways original. His choice of words wasoften stunning. His generous expenditureof time was flattering. And, to top it off, hissense of humor was wonderfully indulgent,decidedly wicked, and highly personal.Among his papel"'; I found a note that said:"One of my own irradicable weaknesses hasbeen my tendency to find the comic aspects[of things] and to [express them] in someunforgettable way. Every degree of expres-siveness is at the ready; from gentle satire toraucous parody; and in some cases at least, Iwish I'd been able to refrain."

As for his "camp" within the spectrum ofart historians, he built his theories fromclose examination of particulars, boundtightly with textual support, and he extract-ed meaning from individual lives. To thisextent, he was indeed a "historical particu-larist." But he never left one stranded inthe particular. He never succumbed to whatRiegl called the "cult of individual facts."Particulars for Soper were bricks for thearchitecture of his insight and imagination.I think he enjoyed mightily this architec-ture of mind where he could exercise thepower of imagination that he felt denied inthe craft of building buildings. He raisedobservations to their place in pauern, andcomposed broad arcs of history. The indi-vidual for whom the tomb was built, or thegeneral assigned to such and such a post,played a role in the drama of history.Soper's translations of texts were vehicles tothe splendor of palaces, to the radiance ofhouses of worship, to spirals of philosophi-cal inquiry, to the moods of nature and thepossibilities of the brush: and to a deeplyhumanistic interpretation of the value ofart.

If he left some of us outside sometimes;and if be left all Increasing body of newevidence aside, it was, I assume, because heremained so busy with what he carriedwithin.

Delivered by Caron Smith, ExecutiveAdministratorfor the President, The MetropolitanMU-\elUn of Art, at the memorial service at theInstitute oj Fine Arls on StfJtf-mber 10, 1993.

Continued on page 12

IFA Alumni Newsletter 9

ostalgia

Ctockioise from above:

Proper dress forpuHing lanternslides-stockings andheels, coats and ties.

Teatime at the "first"IFA-the vVarburghouse on East 80thStreet.

Seminar study withProfessor WalterFriedlander.

Can you identify anyof these students?We'll publish names innext Newsletter.

fromthephotofiles

IFAAJumni Newsletter 11

In Memoriam Continued

Charles Sterling(1901-1990)

Professor of Fine A rts

I first came to know Charles Sterling wellin 1962, when I started to teach here as ajunior professor. Charles had joined theInstitute faculty a year earlier. l t seems tome that the first thing he must have donewhen he arrived at the Institute was to sur-vey the slide collection. Looking at the iden-tifying labels on the slides, he discovered, ashe told me, that "everything was rnisaurib-uted." Well, maybe not everything, bureverything it seemed to me then, in thefields I taught. He set to work at onceputting things right-reattrihuting and get-ting countless slides relabeled and refiled. Asa result I could never find the slides I need-ed, and [ was alwavs 1I\ his office when I hadto prepare my c1as~es. "Charles, I'm lookingfor that Manfredi in Dresden" "Oh, no, notManfredi;' he would say with a show of sur-prise. "Fournier. You might imagineValentin, but not Manfredi. Look .... " Andout would tome a score of photographs toillustrate an impromptu mini-lecture onFrench Caravaggisrn. His eye and intellectwere almost always on target, and I learnedenormously from him in those days.

Like all great teachers, Charles was pos-sessed of a need to share his bounty ofknowl-edge with others. And it wasn't only studentsand young colleagues who benefited. I recallthat when he was here he liked to dine atJapanese steak houses, where one sits next toother customers around the central hibachi.Charles was very handy with chopsticks(which not so many Americans were in thosedays), and ifhe saw his neighbor trying tospear a piece ofsteak, he would invariablyoffer to give a lesson in chopstick manipula-rion. He explained that one meets peoplethat way, and "raises the cultural level."Charles Sterling was born in Warsaw in

September in 190 I He went to school thereand studied law. but I don't believe he everintended to practice it. Apparently his inter-est in art history was awakened by familymembers and friends, and in 1925, at theage of twenty-four, he went to Paris, wherefor the next three ycars he attended classesat the Ecole du Louvre and the Sorbonne.His teacher at the Sorbonne, and probablythe greatest scholarly influence on him, wasHenri Focillon. In 1930 he joined the cura-torial stall" of the Louvre. Ten years later,after the German invasion, he and his familywere forced to flee France. He was, inciden-tally, by then a naturalized French citizenand an officer in the French army. He was,of course, abo aIew. Fortunately he was ableto come to New York, where he becameSenior Research Fellow at the MetropolitanMuseum. Even after he returned to theLouvre as Curator in the department ofpaintings, he maintained his connection withthe Metropolitan. spending some monthsworking there almost every year until 1955.He liked New York, and that contributed tohIS decision in 196 I to embark on a new

career, teaching, by accepting a professor-ship at the Institute. He taught here until heretired in 1973. Then, back in France, camenearly twenty years of continuing researchand publication. The final volume of hisPeiruure midiiva1e IiParis appeared only a fewdays before he died.

Charles Sterling's publications numbernearly two hundred items. And what arange they cover! French art from the 14ththrough the early 20th century-fromFouquer to Clouet to Poussin to Boucher toDaumier to Cezanne. And if French art was

"Perhaps he saw so wellbecause he never forgot thatthe human eye has a tenden-cy to see what it wants to"

But no text at all. The argument would becarried by the choice and arrangement ofthe illustrations alone. Then, he would add,"Of course, such an article would take a longtime 10 read,"

Delivered by Donald Posner, Institute of FineArts, al Charles Sterling's memorial ceremony althe Instil ute of Fine Arts, April 24, J 991.

Frederick Hartt(1914-1991)

For more than a half-century FrederickHartt and 1 were fellow workers in the samevineyard-the art ofthe Renaissance Italy.\Ve were friends as well <IS colleagues, andwhen our views were similar we werepleased; when they differed we were respect-ful, and always, we were affectionately con-siderate of one another. I could speak ofFred in his role of friend as much as in hisrole of colleague, but you who have comehere today hardly need to be reminded ofbow admirable a person Fred was: about thegentleness that was so nice a complemeot tohis elegance of mien and manner, or thepatience he displayed in dealing with peopleof less quick and subtle mind than he-which, indeed, was almost everybody. Onlyrank injustice, of which he sometimes expe-rienced his share, could disturb his temper.There was in Fred a remarkable conjunc-

tion of gentleness and brilliance; it was thisthat made him so engaging a companionand, as well, equipped him to be so superla-tive a teacher. He was in his lectures, as inhis private conversation, totally incapable ofpedantry. He was always stimulating and athis best he could be electric. His abundant-warmth of human feeling translated in hislecturing into passion for his subject, and itwas infectious. To hear Fred lecture was tobecome, for the hour, his prisoner.

"... there tends to be a cor-relation between art histori-ans and the subjects onwhich they choose to write"

his first love, that didn't prevent him fromexploring the world of art beyond Frenchborders-into the Netherlands, Spain andPortugal. Germany, Bohemia. He wrote onthe possible influence of Chinese landscapepainting on Italian Renaissance art. Andthere is the magisterial Slill-Life Painting, abook that brought us a new understandingof the origins, development, and meaning ofthat genre, which ranges from antiquity 10the pr~sent day, and through all Europeancountnes.

Many of Charles Sterling's most importantwritings are, I think, not especially wellknown to the younger generation. This is, Ibelieve, because they are so tightly riveted tothe specific historical questions they engage,because they are generally so incontrovertiblein their results, and because they are present-ed with such directness, I might almost say,with such self-effacement, that we have tend-ed simply to absorb them into the body ofcommunal knowledge. Yet, many of us knowfull well how much is owed to his work. Tomention only some examples in my ownfields of research: no one contributed more,if indeed as much, to the rediscovery ofGeorges de la Tour and the Le Nain broth-ers. He made a major cunu-ibution to Poussinstudies, and he is the author ofan exception-ally illuminating study of Fragonard.We tend 10 think of Charles primarily as a

connoisseur. He was much more than Justthat of course, but it is true that he loved to"look"; and he really saw better and sawmore than almost anyone I have known.Perhaps he saw so well because he never for-got that the human eye has ,I tendency to seewhat it wants to. I remember that once hesaid to ,1 collector Wl10tried to convince himthat a painting of rather dubious quality wasan early Ponssin, "Yes, yes, I see what youmean. YOIl know, I'll believe you ... butwho's going to believe lIS?"

It is also true that much of Charles's workwas founded 00 a belief in the distinctive,and untranslatable, communicative power ofthe visual image. He used to say that theideal an-historical article would consist ofsome two or three dozen illustrations, per-haps with brief captions to identify them.

Art historians do not always write the waythey speak. For the most part, the conven-tions of art history make a constraint on ourwriting, inhibiting and sometimes desiccat-ing our communication. Fred W,IS one of therare ones among us who \'I,'<lS not thusbound. His writing was spirited and strong,an accurate projection ofhis energy of mindand his power of spirit-a power thatinspired the production of thirteen booksand a host of articles, some of them with theimport and impact of a book. At the time hedied he had four more books underway, asif his creative span was thongln to be with-out a limit. Fred's physical strength hadmuch declined in recent years, but not hisunceasing, restless energy of mind.The range of his writ.ing was as remarkable

as its amount-from the account, as lively as anovel, of his mission as a fine arts officer forthe Army in Tuscany in the Second War, pub-lished in 1949, to his all-embracing, two-vel-

12 IFAAIumni Newsletter

ume Hi.:,IOIJ of Painting, Sculpture andArchitecture of 1976. Through his maturecareer, however, his chief concern was withthe art of Michelangelo.

I have observed that there tends to be acorrelation between art historians and thesubjects on which they choose to write.There is a kind of consonance of characterbetween them, as well as something we maycall a relative relationship of scale. It was notaccidental, then, that Fred should have cho-sen to attach himself to Michelangelo's star.The result more than justified the choice:Fred's contribution to Michelangelo studieshas been of prime importance. And whileFred's writing was dedicated selflessly to thememory ofthat supreme artist, it must beacknowledged also as an enduring monu-ment to Fred himself.

The world did Fred much deservedhonor during his lifetime. In 1946 hereceived a knighthood of the Order of theCrown of Italy from a government that wasstill royal; in 1967 he was given the ItalianRepublic's Order of Merit in the rank ofKnight Officer. The dignity of which he wasmost proud, however, was the honorary citi-zenship of the city of Florence-an exceed-ingly rare distinction for a foreigner-conferred on him for his role in savingTuscan art in World War II. But we shouldremember of Fred not only that he pre-served this art: his teaching and his writinghave given it, for all of us who have heardor read him, a renewed life-c-like that towhich he has ascended now.

Delivered Iry Sydney I Freedberg

Jabo F, Haskins(l919-1991)

John Haskins had a Bachelor of FineArts from the University of Colorado andworked as a cartographer and draftsman;he came to the Institute in 1948 as a veteranof World War [I (1941-46) in which heserved as a U.S. Army intelligence officer inthe China-Burma-India theater. He alsoserved in the Korean War (1950-53). A stu-dent of Professor Salmon)', he completedhis dissertation, "The Fifth Pazyryk Kurganand the 'Animal Style," III 1960. Afterteaching at Finch College and then atColumbia University, he was a professor atthe University of Pius burgh from 1964 untilhis retirement in 1988.

He was internationally known for hisresearch in the ancient art of central andeastern Asia, and his numerous publicationsand lectures ranged from China to thesteppes of Siberia, to the Black Sea, theBalkans, and England. Widely traveled andconversant in thirteen languages, he was awitty raconteur who carried his eruditionlightly. His passion for racing cars wasexceeded only by his love of his students,who will remember him for his extraordinarygenerosity and concern for their well-being.

WriUen by Ellen Callmann

Burr Wallen(1941-1991)

The loss of so distinguished a "dissertationson" is a bitter one. Long on the faculty of the

University of California at Santa Barbara,Burr died of AIDS at fifty, at the peak of hiscareer, in October. That he was deprived ofthe pleasure of seeing the long-awaited publi-cation of his major work, the brilliant studyBosch and Vainglory--- The Forgotten Deadly Sin(Princeton University Pressj-cadds to thecruel disappointment. Jan Sanders vanHemessen was the subject of his doctorate in1976 and a monograph that provided a mostimportant study of a neglected 16th-centurymaster of the Netherlands. Burr's scope wentfar beyond Northern art. Deeply interested in20th-century graphics, he organized the exhi-bition "The Cubist Print," which was shown atthe National Gallery of Art, the Santa BarbaraMuseum, and the Toledo Museum of Art in1981-82. He also prepared a show of Picasso'saquatints lor Florida, Wisconsin, and KansasCity in 1984. Wallen was the author of amajor study of Pillipario ware, A MajolicaSeroice for Isabella d'Este, which was hisMaster's thesis of 1966. The ground-breakingconclusions of this investigation have just nov,'been confirmed by special studies at. theVictoria & Albert Museum.

In youth wallen's was a beautiful pres-ence-strikingly like the serene, goldenstatute of Saint Louis by Donatello. Yet hisbeing was far from that tranquil image: Burrwas destructively ironic, bitterly self-depre-cating, an eternal outsider, beyond the safeharbor of illusion, without the crutches ofconvention. Burr deserved and required adifferent world, especially in early years, thatsad fact almost as much our loss as it was his.Teaching so gifted a person was ever a privi-lege, an opportunity, and an occasion I shallnever cease bemg grateful to Burr Wallenfor sharing his learning with me.

Written by Colin Eisler

Also CommunicatedMargery Barber(March 16, 1992)Jacob Bean(1924-1992)Curator of Drawings, The MetropolitanMuseum of A.rt.Balcomb Greene(1904-1990)Diana Hirsh(November 14, 1992)Sheldon Keck(1910-1993)Former director of the ConservationCenter, Institute of Fine Arts, New YorkUniversity.Bernard S. Myers(l909-1993)Ann M. Potter(May 6, 1992)Eleanor Tufts(December 2, 1991)Professor, Southern Methodist University,Dallas, TexasDaniel W. Woods(1905-1992)Former head of the Department of Classicsand Archaeology, Manhattanville College.

Faculty NewsThe following reports from faculty arui alumniwere compiled with afew exceptions in 1990-91.The next issue of the newsletter will publish theirnews of 1992 to the present.

JONATHAN J.G. ALEXANDERPmji}.lsor of Fine ArtsVISITING PROFESSORSHIPUniversity College, London, 1991-92.

PUBLICATIONS"The Livy (Ms. I) Illuminations for GianGiacomo Trivulzio by the Milanese Artist'B. F.','· Yale University Libral} Caseue, supp.66 (1991), Pp 219-39.-"Illuminations byMatteo da Milano in the FitzwilliamMuseum," Burlington Magarinc, no. 133(1991), pp. 686-90.

PAPERS"Written Programs for MedievalIlluminators," St. Hilda's College, Oxford,November 1991 and Paleography Room,London University Library, December1991.~ "The Bible of the Poor, SocialMeaning in Western Medieval Art," ArtHistory Graduate Symposium, Florida StateUniversity, March 1991.

COLIN EISLERRubert Lehman Professor of Fine Ar(\PUBLICATIONSDurer's Animals, Smithsonian Press, 1991.

GUNTER H. KOPCKEAvalon Foundation Professor in the HumanniesPUBLICATIONS"Handel," Archacologia Homerica. Chapter.'\1,Couingen, 1990.

PAPERS"Three Lectures in Early Greek History,"Tel Aviv University, May 1991

ROBERT S. LUBARAssistant Professor of Fine ArtsPUBLICATIONS"Salvador DaH and Modernism: Vision andRepresentation," in The Salvador DaHMuse/WI Collection, Boston, 1991, pp. 9-18.-"Joaquin Torres-Garda y la FormacionSocial de la Vanguardia en Barcelona," inBarmdas/Torres-Garcia, Galeria Guillermo deOsma, Madr-id, 1991, pp_ 19-32.- JoanPone, Barcelona, 1992 (in pressj.c-rMiro en1918: Vanguardia y Clasicismo," inL'Avantguarda Catalana, Barcelona, 1992 (inpressj.c-r'Miro i Dali al Museu d'ArtModern en 1941," Actes dcllV}ornadesCotalnno-Americanes, Barcelona, 1992 (inpress).-"Millares y la pintura espanola devan guardia en America," La Balsa de laMedusa, Madrid, May 1992 (in press).

PAPERS"The State of Research in Modern SpanishArt History," American Society for HispanicArt Historical Studies annual meeting, CAA

IFAAlumni Newsletter 13

annual confer-ence, washington, D.C.,February 1991 .-"T radition and Modernity:Avant-Dar-de Painting in Spain and theProcess of Culrur-e," The Meadows Museum,Dallas, Texas, March 5, 1991.-"Fonlles ell

ellwd6 i evoluti6--11ibracionisml! de idees:Joaquin Tot-rex-Car-cia, Rafael Barradas, andthe Catalan Avant-Cat-de,' in "I nvertedMap: The School of the South-(Post)Modernist Issues," Symposium, The ArcherM. Huntington Art Gallery, University ofTexas at Austin, November 22-23, 1991.

PROJECTS"Spanish Painting from the Generation of1898 to the Civil War," all anthologicalexhibition tentatively planned for TheSpanish lnstitute, New York, 1993/94,-joint research project with ProfessorEstrella de Diego, Universidad compultensede Madrid, on Rafael Barradas, Uhraismo.and the historic avant-garde III Madrid,1920-1925.

DONALD POSNERAitsa jl,fpflrm Bruce Professor of Firll'Arts,Depu/y Direclor, Institute oj Fine ArL,APPOINT.~'IENTSChan-man, Art Bulletin Editorial Board,199/-94

VISITING PROFESSORSHIPUniversity of Wasllington, Seallle, springquarter 199/.

PuHLlCATIONS"Pierro da Cortonil, Piuolli and the Plight ofI'olyxena," Art Bulletin, September 1991, pp_399-414.-"Boucher's Beauties," in exh. cat.Loves of the Gods: I\'lythotogical Painting fromWalleUl/,to David, Paris, Philadelphia, andFort Worth, 1991-92.

PAI'ERSOn Boucher, North Carolina Museum ofArt dnd UnIversity of Washington, Bothdl,on Pietro da Cortolla, University 01Washillgton, Seattle; on Ihe "aesthetics ofhandling," Univenlly of Wisconsin,Milwaukee, University ofNonh Carolina,Greensboro, and The J Paul GenyMuseum.

PROJECTSA study of the Parisian art world In Ihe 171hcentury.

ROBERT ROSENBLUMH;>III)I fltlesol!, Jr., Professor or Mlldfr7l'.mo/Jean ArtVISITING PROFESSORSHIPfrelc Unil'crsitjt, Berlin, Sunllner 1990

I'UBLICATIONS"Cubisln as Pop An," in K. Varnedoe and A.Gopnik, eds., Modern Art aml PopularCulture: Headings ill High & Uiw, New York,1990, pp. 116-32.-"Friedrichs from Russia:An lntroduClion," in S. Rewald, ed., TheRomantic Vision of Caspar David Fnerlrich;Painting.1 arJd Dmwingsfrom the u.s. SR., Thei\lelropolitan Museum of Art, New York,1990, pp. 3-17.-"Roy Lichtenstein: Past,

Present, Future," Artstudio, no. 20 (spring1991), pp. 34-43.- SeQ/I Burton. The LastTnhleau, whitney Museum of American Art,New York, 1991.-"The Fall and Rise ofjacques-Louis David in Dublin," in Brian P.Kennedy, ed., Art is My Life; A Tribute to[nmes wtute, The National Gallery ofIreland, 1991, pp. 167-71.-'The WitheringGreen Bell: Aspect'; of Landscape inTwentieth-Century Painting," in S. Wredeand W.H. Adams, eds., Denatured Visions;Landsr;a/!e and Culuae in the Tsoemieui elmlury,Museum of Modern Art, New York, 199/,pp. 33-41.-"Resurretling Bouguereau," inWillil1m-Adolphe Boufjl1o'CIW, 'L'Art Pomjlier',Borghi & Co.. New York, 1991, pp. 7-11.

PAPERS"Abstract Expressionism and Tradition,"Fundacio Tapies, Barcelona, and [VAAl,Valencia, October 1990.-"Reconstructing20th Century German Art," Busch-Reisinger Museum, Harvard, September1991.-" DcGhirico's Long Shadow: FromSurrealism to Post-Modernism,"Symposium, "The Italian Presence inAmerican An, 1920-/990," FordhamUniversity, November 1991.-"LaCrepuscule du Siec!e des Lurnier-cs;' in theseries "Le Romantisme Nnir,' Musee duLouvre, Paris,./anuary 1992.-"TheSpanishlless of Picasso's Slill Lifes," PicassoSymposIum, Cleveland Museum of Art,February 1992.

Alumni News

ROBERT L. ALEXANDERProfessor Emeritus, School of Ar/ & Art History,Univenit}' of Iowa, Iowa Cil)'PUBLICATIONS"Wealth Well Bestowed in Worship': St.Paul's in Baltimore from Robert C,ll"y Long,Sr., to Richard Upjohn,' MarylandHistorical Magazine, no. 86 (1991), pp. 122-49.-"Sausga and the Illite Ivory fromMegiddo," Joumal of Near Eastern Studies,no. 50 (1991), pp. 161-82.

MARVIN TRACHTENBERGEdith Kitzmiller Professor in the History of FineArL~APPOINTMENTSEdith Kitzmiller Professor in the History ofFine Arts, InstitlJte of Fine Arts, New YorkUniversity, 1990

PUBLICATIONS"Archaeology, Merriment, and Murder:The First Corule oflhe Palazzo Vecchio andIts Transformations in the Renaissance," ATtBulletill, December 1989, pp. 565-609.-"Gothic/ltalian Gothic: Towards aRedellililion,"./ournal oflhe Society ojArchi/ecillmi His/oriaIlS, March la91, pp. 22-37

PAPERS"The Old Sacristy as Model in EarlyRemussan<.:e Church Archite(!llre," Centred'elude~ sllperietlres de la Ren;jissance,TOUIS, lI'lay 1990.-HUrbanisti<.:Scenography as Civic IdentiIY," CAA, annualconkrence, New York, February 1990.-"Towards a Redefinition ofltalian 'Gothic'Arthiteourc," SAH annUil1 meeting, tloston,1990; "Rules of Planning in TrecellloFlorence," Princeton, Harvard, Oberlin,and University of Virginia, 1989-92.

PROJECTSArticles on the Pozzi Chapel and Floreminetrecemo urbanism, and a book on thePalazzo Vecchio.

THEODORA ASHMEADDirector, Corporate and Foundation Relatians,International House of Philadelphia

MILTON W. BROWNPUBLICATIONS"Introduction," Jack Levine, New York,1990.-"An Explosion of Creativity: jewsand American Art in the 20th Century,"Painting a Place in America: .lewish Artists inNew Vork, 1900-/945, New York, 1991.-"Die Armory Show: Ein Medienereignis,New York,/Chicago 1913," Die Kunst del'Au:;tel!llng, ed. Herrid Kluser and KatherinaHegewisch, Frankfurt am Main and Leipzig,1991.-"The Arnlory Show Aftermalh,"1915, 1he Cultumt MOIlwnl, ed, Adele Hellerand Lois Rudnick, New BrunSWICk, 1991.-"The Three Roads," Paul Simnd: Essa)':;onHi~Lifeand Work, New York, 1991.

MARCUS B. BURKEIndependent ScholarAPPOINTMENTSVisiting Professor of Religion and the Arts,Institute of Sacred Music, Worship and theArts, Yale UniversilY, 1990.-DistinguishedVisiting Lecturer- III Hispanic Studies,WiJliam Paterson College, New Jersey,1990.-Adjunct Professor of Religion andthe Arts al Yale University, 1991 ,-AdJllllctProle~sor, Soutllern Connecticut StaleUniversity, New Haven, 1991.-AdjunctProfessor, Rutgen, New Brunswick, Newjersey.EXHIBITIONSCo-curator, "Mexico: Splendors of ThirtyCenturies," The Metropolitan Museulll ofArt.

PAPERS"Hispanidad, lheridad," keynote address,International Conference on Spain andPortugal of the Discoveries, Washington,D.C., October 1990,-Chair, HisPilllicBibliography session, CM annual confer-ence, 1991.

PUBLICATIONSEssays and entries in Me.\1co: Splendors ofThirty Centuries, The Metropolitan Museumof Art.-Catalogue of the Mexican Colonialcollection of the Davenport Art Museum (inpress).

14 IFAAlurnni Newsletter

PROJECTSBook on Mexican Colonial art of theRenaissance and Counter-Reforrnation.c-.Book on Spanish collectors of the 17th cen-tury (with the Ceny An History InformationProject).STANTON LOOMIS CATLINProfessor Emeritus, Museum Studies and ArtHistory, Swocvse UniversityAPPOlNTI\,IENTSPan-time Professor, Department of FineAr-ts, Syracuse University, spring semester,1991-92, seminar "Mexican MuralPainting-cLos Tres Crandes," initial semi-nar ofa teaching-research program to gath-er and organize data for a catalogueraisonne of the mural oeuvre ofOrozco,Rivera, Siqueiros.c-Visiting Professor,Institute de Investigaciones Esteticas,Univcrsidad Nacional Aut6noma de Mexico,t;\ll 1992, to continue above-mentioned pro-gram.PAPERS"Plurality vis-a-vis Priority in LatinAmerican Art," Latin American An session,CM annual conference, Chicago, February1992.

CAROLYN LOESSEL CONNORLecturer in Art Hist01y, Department of Art, TheUnivenit] of North Caroline at Chapel HillGRANTSPublication Grant, University ResearchCouncil, University of North Carolina atChapel Hill, 1991-92.PAPERS"The Question of Color on Late Antiqueand Byzantine Ivories," Byzantine StudiesConference, walters An Gallery, Baltimore,MD, October 1990.-"The Monastery ofSaint Catherine at Mount Sinai: Mosaicsand Topography," North Carolina Societyof the Ardlaeulogical Institute of America,April 1991.-"Byzilntine Art andHagiography: The Cretan Prophecy andHosios Loukas," International Congress ofByzantine Studies, Moscow, August 1991.-"Female Saints 111 Byz,lOtine MonumentalDecoration," Byzantine Studies Conference,Brookline, MA, November 1991.PUBLICATIONSArt Ilnd Miracles in Medieval B)'umtium: TheClylll at Ho.lio.\ Lnukas and Its Freuoes,Princeton University Press, 199/.-The Lifeand Miracles of Saint Luke of Steiris. ATranslation aNd COI/ilnental>',with W.R.Connor, Brookline, MA, j991.-"NewPerspective on Byzantine Ivories," Gesta,1991.

ZIMERI A. COXRetired Associate Professor of Art and ArtHistory, Carthage College, Kenosha, WIAPPOINTMENTSBoard of Directors, Lincoln NeighborhoodCenter, Kenosha (l979-81).-Board ofDirectors, Gateway Technical Institute, NowGateway Technical College (1981-83).-Board of Directors, Urban League of Racineand Kenosha (I 980-present).-Advisory

Council for Minority Affairs, University ofWisconsin, Parksicle (ongoing).-KenoshaRedevelopment Authority, a CityCommission (1981-86).- The Commission,Keep Kenosha Beautiful (1989-92).-Workswith public school systems in Kenosha andRacine, Wisconsin.

PROJECTSSetting up a studio-gallery in Kenosha, WI,with a retrospective of his work as theprospective first exhibition. It will include asmall painting he did while attending theInstitute of Fine Arts, 17 E. 80th sr., calledThe Blue Room, featuring Dr. Cook lecturingon ancient Spanish art.-Book on AncientBlack An and History.

CHARLES D. CUTTLERProfessor Emeritus, University of Iowa, Iowa CityPAPERS"Bouts, Bosch, Schon gauer," SchongauerSymposium, Strasbourg, Colmar,September 28-0ctober 2, 1991.PUBLICATIONSRevision of Northern Pointing (in press).-"Exotics in Post-Medieval Art: ChieflyGiraffes and Centaurs," Artibus et Historiac(in press).-"Holbein's Inscriptions," TheSixteenth Century Journal (in press).

PROJECTSEssays on Bosch.MELISSA FELDMANAS50ciate Curator, Institute of Contemporary Art,University of PennsylvaniaEXHIBITIONS"Signs of Life: Process and Materials, 1960-1990,"' june-july 1990.-'·Helen Chadwick:De- light," March-April 1991

TOM L. FREUDENHEIMAssistant Secrelaryfor Museums, SmithsonianInstitulionPAPERS"Inhumanity in Art," Indiana University,October 19S9.-"Museurns and Power,"Cooper Union, February 1990.-Symposium Oil "Museums and the NationalSpirit," Israel Museum, jerus<llem,September 1990.CREIGHTON GILBERTYale UniversityPUBLICATIONSPoets Seeing Artist5' Work: Instancesfrolll theitalian Renaissance, Florence, 1991.ALISON DE LIMA GREENEAs.\odate Curator, Twelltieth Century, TheMuseum of Fine Arts, HoustonEXHIBITIONSCoordinating curator with Dr. DorothyKosinski, "Pic;l.';so, Braque, Cris, Leger:Douglas Cooper Collecting Cul,ism," TheMuseum of Fine Arts, Houston and the Lo~Angeles County Museum of Art, 1990-91.

GRANTS2 NEA organizational grants for exhibitionsupport,

PAPERS"Cubism Exposed: An Overview of EarlyCubist Exhibitions," delivered at '·Cubism:

The Heroic Years," The Museum of FineArts, Houston, October 1990,

PROJECTSAn Arman retrospective exhibition,Houston, from November 1991.

JOSEPH GUTMANNRetired, Wa)'ne State UniversityPUBLICATIONS[udische Zeremmuolkunst, Frankfurt am Main,1963.-Jewish Ceremonial Art, New York,1964, I968.-lmages of the Jewish Past,Cincinnati, 1965.-Beauty in Hounes: StudiesinJewi5h Customs and Ceremonial Art, NewYork, 1970.-No Graven Images: Studies inArt and the Hebrew Bible, New York, 1971.-Die Dormuadter Pessach Haggadah, Berlin,I972.-The Dnra-Europos Synagogue: A Re-Evaluation, Missoula, 1973.- The S)'Iwgogue:Studies in Origill5, Archaeology and Architecture,New York, 1975.-Mo5e5jacob Ezekiel:Memoirs [rom the Baths of Dindetiau, with S.F.Chyet, Detroit, 1975.-The Temple ofSolomon. Avcboeotogicoi Fact and MedievalTradition in Christian, Islamic and Jewish A 11,Missoula, I976.-Ephmim Moses Lslien's[erusalem, New York, 1976.-The Image andthe Word: Cordrontanons in judaism,Christianity and Islam, Missoula, 1977.-Hebrew Ma.nuscript Painting, New York,I 978.-Danzig 1939: Treasures of a DestroyedCommunity, with V. Mann, Detroit, 1980.-Ancient Synagogues: The State of the Research,Ann Arbor, I981.-TlteJewish Sawtuary,Leiden, 1983.-The.lewish Life C)'f:le, Leiden,I987.-Sacred Images: Studies injewishArtfrom Antiquit)' to the Middle Ages, London,1989.-The Dnm-Emopos Syl!ligogue, /932-1992, Atlarua, 1992,

LUCY WATERMAN HAMILTONPUBLICATIONSco-author, book on the stained glass inDetroit.JUNE HARGROVEProjossor, Depllrtlllerlt ofArt Histor}' nndArchaeolog}', Universit)' oIMal)'lond, CollegeParkGRANTAllingham Stud}' Program in EnglishCountry Houses, 1990.PAPERSGave talks in New York, Plliladelphia,Richmond, VA, and Baltill1ore.PUBLICATIONSThe French Academy: Classici5m and ItsAl1lugonists, collection of pilpers that shetranslated and edited for the symposiumsponsored by the Center for Renaissanceand Baroque Studies, University ofMaryland.-"I'roduction industrielle etcreation artisli(]ue: Les monumentshllleraJres comlllcmoratifs de Bretagne,"Arcltiologies indus/rieUe en Bretaglle.

LESLIE GRIFFIN HENNESSEYindependent scholarPAPERSLectured on Canaletto at The MetropolitanMuseum of Art, December 1989.-Lectured on Amigoni at the University of

IFA Alumni Newsletter 15

,

London, Institute of Historical Research,June 1990.PUBLICATIONS"Notes on the Formation ofCiuseppeWagner's 'Bella Maniera,' and His VenetianPrintshop," Aleneo Veneto, CLXXVII (spring199 I).-Contributed to the catalogue forthe exh "Venetian Baroque and RococoPaintings," Walpole Gallery, London,June-July 1990.-Contribuled Lathe permanentcollection catalogue of the Taft Museum,Cincinnati, Ohio, 1992.

PROJECTSWorking full-time to complete a monographon the lfith-cemury Venetian artist,JacopoAmigoni.

MARY TAVENER HOLMESA(lj"lIl1clAssisumc Professor of Fine Arts, Ba1llchCollege, CUNYEXHIBITIONS"Nicolas Lancrer 1695-1743," The FrickCollection, New York, and the Kimbell ArtMuseum, Fort Worth, Texas, 1991-92.LUC D'IBERVILLE·MOREAUDirector, Ml~}(!edes f1rts dicorolifs de stontrsotEXHIBITIONS"Design 1935-1965. What Modern Was,"traveling exhibition sponsored by IBM.DALE KINNEYProfessor, neponme-u of Histol)' of Ar/, BrynMawr CotfegePAPERS"Carolingian Art 11l Rome?", 26thI II rernational Congress on Medieval Studies,Kalamazoo, MI, 1991.PUBLICATIONS"Mirabilia Ur-bis Rornae," in The Classics inthe Middle Ages, I 990.-"The Apocalypse inEarly Christian Monumental Decoration," inThe Apocalypse in the Middle Ages (in press).NORMAN L. KLEEBLATTCurator of Collections, Tire jewish Museum, NewVorkEXl-IlBrrrONSCurator and author of 'The Dreyfus Affair:An, Truth, &Justice," University ofCalifornia Press.

GRANTSHenry Allenmoe Prize, Honorable Mention,for museum catalogue.PAYERS"Zola & the Dreyfus Affair: Art, Politics &Iconography," Centre National deRecherche Scienti!i(jue, ParisVICTOR KOSHKIN-YOURITZINAssociate Projessor of Art History, UnitiCTsityofOklahomaAPPO[NTMENTSElected to Board of Directors oftheKoussevitzky Recordings Society.EXHIBITIONSHelped select pieces for n;Jtional travelingexhibit, "American Watercolors from theMetropolitan Museum of An," 1991. \Vrotethe catalogue's introduction.

PAPERS"American Watercolors from TheMetropolitan Museum of Art," OklahomaCity An Museum, Gilcrease Museum, Tulsa,and New York Studio School, 1991.JAY A. LEVENSONAPPOINTMENTSManaging Curator for exh. "Circa 1492,"National Gallery of An, washington, D.C.,1991.CECELIA LEVINFestival of Indonesia Fmtr1dolionAPPOINTMENTSOrganized festival of Indonesian culturalevents, which took place nationwide, [990-91.

ALISA LUXENBERGAPPOINTMENTSGould Post-Doctoral Fellowship, PrincetonUniversity, 1991-92.PUBLICATIONSCatalogue essay on foreign artists who trav-eled to Spain in the 19th century, for cxh. atthe Equitable Gallery, NYC, curated bySuzanne Stratton.

CARL F. RITERProfessor of Art, Emeritus, Lawrence UniversityPROJECTSResearch in Islamic An based on thousandsof my own color transparencies, mostrecently in Iraq, Turkey, and Greece.LINDA JONES ROCCOSAssistant Director, Lexicon !conogmphiculllMythologiae Classiwe, Rutgers University, NewBrunswickGRANTSNational Endowment for the Humanities,Travel-to-Collections Grant, 1991, forresearch at the Beazley Archive, Oxford,England.-American Philosophical SocietyFellowship, 1992, for research on GreekMaidens in the fourth century B.C. at theAmerican School of Classical Studies,Athens.

PUBLICATIONS"Athena from a House of Areopagus,"Hesperia, vol. 60, no. 3 (1991), pp. 397-410.-"Lynkeus I and Idas" and"Marpessa," in Lemon !conogmphicwnMythologial! Classicae, vol. 6, 1992.-"Perseus," "Pegasis," and "Polydektes," inLexicon ]conogrophicum Mythologiae Classicae,vol. 7, 1994 (forthcoming).PROJECTSResearch on the Apollo Kitharoidos, a 4th-century R.C. Greek sculpture.IDA ELY RUBINPresident, The Americas FoundationPUBLICATIONSArticle on the art.and gardens of RobertoBurle Mar-x, distinguished Brazilian land-scape architect and botanist, in Remeui: LatinAmerican Literature and Art, March [992.HONORSThe Premio Colombia, in a ceremony in1993 at the Colombia Consulate, NYC, rec-ognizing her years of work as President ofthe University of the Andes Foundation andas President of the Americas Foundations, inwhich she provided educational opportuni-ties to students and assistance to artists fromColombia. A former fellow of the BelgianAmerican Educational Foundation, she waselected to its board of directors in 1993.PROJECTSActive with the Council for the Arts atM.[ T., of which she was a founder.

WARREN SANDERSONProji!ssor, His/ory of Art awl Architecture,C01Jcordia University, iV/ontreal, Quebec, CanadaAPPOINTMENTSPresident Emeritus (since 1988), CanadianNatioJla[ Committee of the InternationalCommittee of the History of An.-VisitingResearch Professor, Institute ofArchitectural History, University ofCologne, Germany, [989. Team taughtseminar "Carolingian Architecture."-Visiting Scholars, Department of History ofAn, Harvard University, I 990.-EditorialBoard (since 1988), RACAR (Revue d'artcanadienne/Canadw.n Art His/ory Review).

CAROL CARUSO MANCUSI· UNGAROChief Conservator, The Menil Cotieaian,Houston, TexasPAPERS"The Rothko Chapel: Treatment of theBlack-form Triptychs," InternationalInstitute of Conservation 13th InternationalCongress, Brussels, Belgium, September 3-t, 1990.PROJECTSOngoing documentation ofliving artists andtheir attitudes toward the aging of their art,funded by the Mellon Foundation.CHARLES S. MOFFETTSenior Curator of Pain/ing,l, National Gallery ofArtCAROL LAYTON PARSONSOwner, Layton Castle, ,'I'/onroe, L4 (NationalRegL\ter of Historic Houses), ] 9tfH;entwyRmnonesoue Revival castlePROJECTSArchival research on Layton-Brv papers,restoration of interior and exterior, and gar-dens of castle: tours. Gives tours at thePhiladelphia Museum of Art.PAUL N. PERROTDirector, Santa Barham MI/seum of ArtAPPOINTMENTSInternational Advisory Corurninee,Intercultura.

PROJECTSInternationa[ Advisory Committee, WorldMonuments Fund; Treasurer, MuseumComputer Network: Board Member,AA.!\I/ICOM: rrustee, Winterthur Museum;Museum Management Program, Boulder,CO.PERSONALRetired from Directorship of the VirginiaMuseum ofFineAns,July 28, 1991.

16 IFA Alumni Newsletter

GRANTSSocial Sciences and Humanities ResearchCouncil of Canada, 3-year grant for thestudy of Carolingian art in Trier concluded,1988.-Sabbatical year research grant,Concordia University, 1989-90.

PAPERSLecture on Carolingian mural techniques,University of Basel, November 1989.-"Medieval Art and Architecture, 4th-14thCenturies," session chair, University ArtsAssociation of Canada, 1991.

PUBLICATiONS"Considerations on the Ononian MonasticChurch ofSt. Maximin at Trier," in Saukunstdes Mitlelaller,1 in Europa, thefeslschnft forHans Erich Kubach's 75th birthday, 1989.-"Review: H. Hoffman, Buchkunst undKtinigtum im otunasdi und friihsalischen Reich,Stuttgart, 1986," RACAR, 1989, pp. 76-77.-"Review: A. Zettler, Die [riihen KlO.lterbautender Reichenau, 1988," Speculum. ,1 journal ofMedieval Studies, january 199I.-"Review:H.E. Kubach and A. Verbeek,Architekturgeschichte und Lrmdsc!w{t:Romanische Boukumst an Rhein und Maus,Berlin, 1987," Journal. Society of ArchitecturalHistorians, vol. 49, no. 4 (December 1990),pp. 441-43.-"Medieval Architecture and theLiturgy 750-1400," and "Gone, Art andArchitecture of," for the Macmillan Dictionaryof Art, London (1993).

PROJECTSArt and Patronage in Trier at the Thresholdof' rhc Middle Ages. 7fiO-9fiO:-Book,Architecture between Antiquity and theMiddle Ages.

ANNE·LOUISE SCHAFFERAssistant Curator, Art ofAfrim, Uceauia, & theAmenws, Museum of Fine Arts, HoustonEXHIBITIONSExpansion, renovation, and re-instalJationof permanent galleries for SubsaharanMrica, Oceania, Pre-Columbian America,and Southwest Native America, almost 400works of art.

PAPERSThree lectUl-es on t.hree different topics inlWOdifferent. citiesPUBLICATIONS'The Maya 'Posture of Royal Ease,'" in SixthPalenqlll! Ronnd Table, 1986, University ofOklahoma Press, Norman and London,1991.

PROJECTSTravel, research, and lalalogue writing forthe exhibition "On the Edge or the MayaWorld. Slone Vases from the UI(la Valley,Honduras."

ANNIE SHAVER·CRANDELLProfessor, Ali Department, City College of NewYork, CUNYAPPOINTMENTSRecently promoted to Full Professor atCUNY, she is former Chair of the ArtDepartment (1989-92) and a past presidentofthe Women's CaulUs for Art (1986-88).

In summer 1994 she led a two-week studytrip from Paris to Santiago de Compostelaunder the auspices ofthe SAH, following inthe bus tracks or Carol Herselle Krinsky andGuy Walton, who have previously led SAHtours in England and Sweden, respectively.

PUBLICATIONSThe Middle Ages, Cambridge Introduction tothe History of Art. series Gust published inNorwegian,joining trans. in Italian, SpanishPortuguese, and Japanese). Co-author ofEng. trans. and annotated critical ed. of anon.12th-century Latin Pilgrim's Guide toSantiago de Compostela, 3 vols., forthcoming.HONORSFrom women's Caucus for Art, one of two1994 President's Awards in Recognition ofContributions to the women's Movementand the Arts.

JOYCE HILL STONERC}U1i1~Art Conservation DejJtutment, Universityof Delaware, and Director, University ofDelaware/Winterthur Art Conservation Prcgmm.APPOINTMENTSAwarded tenure, january 1991.-Seniorconsultant, treatment of Whistler's PeacockRoom, Freer Gallery of Ar-t, SmithsonianInstitution, Washington, D.C., 1988-93.

HONORSCeuens Service Award, American Institutefor Conservation,june 1991.PAPERS"George Stout: The Early Years of ArtConservation in the U.S.," Worcester ArtMuseum, May 14, 1991.-Pane1ist forsvm-posium "Recent Lining Methods andRelated Processes," Getty ConservationInstitute, Paris.j cne 17-18, 1991.-Panelistfor symposium "Readings in Conservation"books pl~jeet, Getty Conservation Institute,july 1991.

PROJECTSOpening chapter for an Abrams book oncare or works of an, The Morlalil)' of Things:How Call YOII Pmlect the Possessions YOIt CareAboul~-Art.-histOrical and technicalresearch on rhe late nudes or Whistler. Alsolyrics for two musiGll theatre works, onebased on Whistler for summer of 1992, andanother which is an updated version of TheCanterbury Tales with actors on the Newjersey Turnpike, "Tales of the Turnpike,"january I992.-0rganizing internationalbenefit auction at Christie's New York, toraise endowed art conservation Ph.D.research fellowships named for the greatBelgian technical art expert, Or. PaulCoremans (1908-1965), scheduled forOctober 10, 1991. Honorary sponsors forthe auction include Robert MotherwelJ,Andrew \Vyeth, Steve Martin, JacquelineOnassi~, and II museum directors fromaround the U.S.YASSER TABBAAAssistant Professor, Department of the Hislory ofArt, University of Michigan, Ann ArborPAPERS"Sound Healt.h in Sound Design: Thoughts

on the Architecture of Medieval IslamicHospitals," CAA annual conference, 1991.-"Typology and Hydraulics in MedievalIslamic Gardens," in ed. J.D. Hunt,Landscape and Garden History, DumbartonOaks, Washington, D.C., 1992.

PROJECTSBook, Power and Piety in the A)yubidArchitecture of AlejJjJo, 1/80-1260.SAFWANTELLDirector General of the DtjJ(JrtrnenttifAntiquitiesof JordanRICHARD TOWNSENDHuih G. Hardman Curator oj European andAmeJicanArt, nit Philbrook Museum of ArtPROJECTSReinstallation of the Philbrook Museum'spermanent collections of European an inVilla Philhrook.L-Writing catalogue of thePhilbrook Museum's Samuel H. Kress col-lection of Italian painting and sculpture toaccompany a special exhibit opening inDecember 1991, to commemorate the 30thanniversary of tile Kress gift to thePhilbrook.WILLIAM TRAVISAdjnnct Foculty, Ma1}Ia1ld Institute, College ofA,IPAPERS"Burgundian Romanesque Sculpture andAbove-Ground Archaeology," PlymouthState College, Plymouth, NH, April 1990.-"La Sculpture t-omane de Montceaux-l'Etoile: Histoire et symbolisme,"Montceaux-I'Etoile, August !990.-"Pointsof View in Romanesque Sculpture,"Southeastern Medieval Association, Raleigh,).le, September 1990.-" UnfinishedRomanesque Sculpture," Florid" StateUniversity, Tallahassee, FL, Man;h 1991.

PUBLICATIONS"Unfinished Rom"nesque Sculpture,"AllulJIor, no. 11 (1992).ELENI VASSILIKAKer.jlerof Antiquities, The Fitzwilliam At useUJII,Cambridge, EnglandEXHIBITIONS"A Corpus Connois~elJr: The Antiquitiesand Coins ofS"muel Savage Lewis,"Fitzwilliaw Mll~eum, October 22-January 5,1992,

HONORSFellow, Lucy Cavendish College,Cambridge, England.

PROJECTSContinued research on 1990's GettyFellowship project on PtolemaicIconographyal Edfu and Thebes.-Handbook of the Egyptian Collection at theFitzwilliam,-Research on Egypti;\n bronzesof the first millennium B.C.

MARC VINCENTPh.D. candidate, Universit), of Penns)'lvaniaGRANTSFulbright to France, 1990.

IFA Alumni Newsletter 17

..VIRGINIA L. VOLTERRAAssociate and Buyer, Galiena dei Cosman(AnliqIHlrialo), Rome, ItalyPERSONALThis gallery, the largest in the 'centro stori-(0' of Rome, deals primarily in antiqueEuropean and Oriental furniture, paintings,and carpets.

IAN BRUCE WARDROPPEREloise W Marlin Curator of EuropeanDecorative A ns and Sculpture and Classical Art,The Art Institute of ChicagoEXHIBITIONSCo-curator, "Medieval A•.rt fr-om theMcrropoliran Museum of Art and The ArtInstitute of Chicago," The Hermitage,Leningrad, Pushkin, Moscow, ] 990.-Co-curator , "Private Taste in Ancient Rome:Selections [10m Chicago Collections,"1991.-Co-curator, "Austrian Architectureand Design. Beyond Tradition in the1990s," 1991

PAPERS"Currents ill French Renaissance Sculpturefrom Primaticcio to Pilon," The .I. PaulGetty i\'luseum.-"Le Style de [a sculpturede Dominique Fiorenrin, [550-1570,"CoUoque Pilon. Mu see du Louvre.PUBLICATIONSEuropean Decoratiue Arts in the AI'/ institute ~(Chicago, with Lynn Springer Roberts,Chicago, 199 I.

JACK WASSERMANPraji!.t>oJ;Temple Universnv, RetiredPAPERS"Aspects of Pomot-mo's Paintings between]525 and [530," CAAanllua\ conference,Washington, D.C., February 1991.-"Historic Sculpture and the Role ofContemporary Replication," LehighUniver~ity,Aprillg91.PUBI.ICATIONS"Observations on Tv>'OStatues 111 the Museodell'Opcl'a del Duomo and the Porta dellaMandorla in Florence," Artibus et Historiae,Spring 1988, pp. 149fT-"A Florentine 'LastSuppertSketch. A Question olCesture,"Aclw(/emia Leollardi Villci, II, 1989, pp. 110-13.-"BrunelIes<:hi's Barbadori Cllapel in S.Feli<:ita," published in November 1991 in afestschri(1 in honor of Helmut Hager on his65th birthday.-"Po11tormo's Virgin andChild wit.h St. AnTle in the Loul're," pub-lished by the KUflsthistOlisches Institut inFlorence in January 1992 In a volume ofessays deJic<lted to Sylvie Beguin.PROJECTSLeonardo da Vinci and Pontormo.CAROLYN C. WILSONAdjunct Curator for Renaissance Ar/, iHuseum of"'-ineArts, /-fOilS/OilGRANTSGetty Grant Program funding for travel andtechnical studies for the museum's catalogueof Ren<lissance holdings, 1988.

PROJECTSWriting catalogue of the Renaissance hold-ings of the Museum of Fine Arts, Houston.KAREN LWILSONCurator, The Orienlal Institute Museum, TheUniversit), of ChimgoAPPOINTJI.-1ENTSTaught a course in the Art Departmem,University of Chicago, winter 1990-91.EXHIBITIONS"Another Egypt: Coptic Christians atThebes (7th-8th Centuries AD.)," October1990-.June 1991.-"Silting the Sands ofTime: The Oriental Institute and theAncient Near East," October 1991-June[992.-"Vanished Kingdoms ofthe Nile:The Rediscovery of Ancient Nubia,"February-December 1992.PUBLICATIONS"Oriental Institute Excavations atKhorsabad, Iraq (1929-1935 l," in EleanorOuralnick, ed., The Ancienl EasternMediterranean, Chicago, 1990, pp. 27-33.-"Hulllan-headed Winged Bull fromKborsabad," Orieruat tnsinute MuseumFeatured Object no. 8, May 1990, Chicago,1990.

PROJECTSMulti-million dollar renovation and expan-sion of the present Oriental lnstiture facili-ties to introduce climate control and expandstorage facilities.ALICE S. ZIMETVice President and JHaJiager, Cultural Ajfairs,The Chase Monhauan BankAPPOfNTMENTTrustee, New York City Trust for CulturalResources.

NEWS OF 1993-1994 FOR IFAFRIENDSbyJach A.Josephson, Cilainnan, Councd ofFriends

Council of Friends SupportFund

ourcontributio!ls to theCouncil of FriendsSupport Fund made itpossible to assist severaloutstanding Institute stu-dent'; in 1993. Council ofFriends Fellowships were

awarded to Lam'a Hebert., a first-year stu-dent pursuing studies In the nledieval field;Luisa Alcala, who is a Ph.D. candidate work-ing wllh Jonathan Brown on SpanishBaroque art; Molly March, a student In theConservation Center; and Lauren Nemroff,a doctoral candidate working in Far Easternan with Jonathan Hay.

Robert T Buck, Director, The BTOllklynMuseum, gave the Council of Friends lecture(or 1993

In 1994 yourcontribut.ions to theCouncil of Friends Support Fund helpedten outstanding Institute students, a largernumber than ever before. Council ofFriends assisted one first-year student,\Villiam Haluska, and nine continuing stu-dents: Isabelle von Samson is a Ph.D. candi-date working in the field of SpanishBaroque art with Jonathan Brown; _. .~-../Elizabeth Cornwell and Kather-ine Rombaare completing the requirements for theMaster's degree; and three students areworking with Jonathan Alexander mmedieval art: Domenic Leo, who jusr com-pleted his first yC<ir in the Ph.D. program,and Alan Mark and Karl Schuler, who arewrit.ing their dissertations. A recent Ph.D.candidate, veronica Kalas, is working withThomas Mathews in Byzantine art; RichardTurnbull IScompleting his dissertation inIslamic art with Priscilla Soucek; and jeanDommermuth will receive her Diploma inConservation this year. Your generosity is,as always, deeply appreciated.

Council of Friends LecturesThe annual Council of Friend~ Lect.ure

for 1993 was delivered on May 10 byBrooklyn Museum Director Robert Buck.His topic was the influence of Mondrian onA.merican artists, primarily Leon PolkSmith, who was with us that night and pro-viJed a lively focus for the talk. I hope thatif yOLiweren't able to attend, you will beable to do so another year: these lecturesare always Interesting and enjoyable andprovide a wonderful opportunity lor intro-ducing the Institute to prospective mem-bers of the Council.

Patrons and Benefactors ,,'ere able toenjoy several events during 1993-94,including visits to two exhibitions wit.h

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181FAAlumni Newsletter

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members of the Institute faculty. In Octoberthe group saw the Metropolitan Museum's"19th Century Works on Paper" with LindaNochlin, and in December, also at theMetropolitan Museurnvj onarhan Hay dis-cussed the exhibition "Tang Family Gifb ofChinese Painting." On March 14,Benefactors attended Conservation CenterChairman Peggy Ellis's informative talk,"Caring for Your Collections," and took atour of the Center's studios and laborato-ries; and as a final exceptional treat, on May25 Robert Rosenblum gave a lecture forPatrons and Benefactors and their guestson the exhibition at the MeuopolnanMuseum, "Picasso and the Weeping'Nomen." The Council's new ViceChairman Judy Steinhardt was host at ahandsome reception following the taJ k.On May 2, James Cuno, Director of the

Harvard University Art Museums, gave theannual Council of Friends Lecture, a livelytalk with the provocative title, "Jacques-Louis David and the Vicissitudes of Art dur-ing the French Revolution." Alwaysinteresting and enjoyable, these talks pro-vide an excellent opportunity to introduceprospective members of the Council T.O thework of the Institute. I hope you will join usagain next year.

Exhibitions and Events forFriendsThere were several marvelous exhibi-

tions in 1993 that Friends, Patrons, andBenefactors attended. In the fall, the groupsaw the Ribera exhibition at theMetropolitan Museum with JonathanBrown and the drawings of FraBar tulornrneo at the Morgan Library withKathleen weil-Garris Brandt. InJanuarythe group attended the Matisse show at theMuseum of Modern An and was fortunateto have as guide the curator of the exhibi-tion,.1 ohn Elderfield. In the spring term,Evelyn Harrison took a group to 'TheGreek Miracle" and Donald Hansen led atour of "Royal City of Susa,' both at theMetropolitan Museum. In addition,Benefactors were invited to see the magnifi-cent collection or Impressionist art at thehome ofMr. and Mrs. John L. Loeb.Following is the list of courses open to

auditors for the 1994-95 academic year.Please let Joan Leibovitz know what coursesyou will be attending.On behalf of tile Institute's faculty and

students, I want LO thank you for your con-tinued, generous support. A, you mayknow, the Institute is in the middle of acampaign to increase its endowment. Pleaseconsider making a girt for this purpose.

AN INVITATIONTO JOIN THECOUNCIL OFFRIENDS OF THEINSTITUTE OFFINE ARTS

he Council of Friend, ofthe lnstiurte of Fine Artswas started III 1975 withtwo main aims. The firstwas to introduce to awider community thelnsutute of Fine Arts of

New York University and its importantwork in the training of art historians,archaeologists, museum curators, and con-servators of works of art at the graduatelevel. The second aim was LO raise anannual fund from dues and donations thatcould be used to support those Instituteactivities not covered by the regular bud-get, especially student fellowships. Today,the Council awards the annual Council ofFriends Fellowship and several scholar-ships to first-year students.The Council's participation in the lite

and work of the Institute of Fine Artsextends beyond financial support.Friends (donors of at least $700 annual-

ly) are entitled to audit all lustiuue lecuu-ecourses 1Il the historv 01 art; t.hey receivean invuauon to the annual Council ofFriends Lecture, presented each fall by adistinguished art historian, and enjoyaccess during staffed hours to theInsunne's Stephen Chan Librar-y of FineArts, coritaini ng over !00,000 volu rnes cov-ering all aspects of art history, architec-ture, and archaeology, and the technologyand structure of works ofart. The Libraryis house-d at [he Institute, one of NewYork's most beautiful landmark buildings,the James B. Duke House at Fifth Avenueand 78th Street.Patrons (donors of :$2,500 and over

annually) are invited, III addition, to spe-cial evening seminars, conducted by mem-bers of the Institute faculty on a topic inthe professor's specialty and 10 visits 10 dis-tinguished private collections.

I!' you wish to join the Council, pleasemake your check pavable to NYU, Councilof Friends, Institute of Fine Arts. If youhave questions or require further informa-tion, please tdephoneJoan Leibovitz ar772-5812

IFA Courses Open toMembers of Council ofFriends

Fall 1994

Donald P. Hansen, "An andArchaeology of Early Mesopotamia,"TH, 1:00 - 3:00Evelyn B. Harrison, "Greek Sculpture,5th Century BC," W, 1:00 - 3:00Thomas F, Mathews, "MiddleByzantine Art and Architecture I," M,3:15 - 5:15

Roland R.R. Smith, "Roman Art FromTrajan to Constantine," F, 1:00 - 3:00Priscilla P. Soucek, "Figural Traditionto Islamic Art," W, 3: IS - 5: I 5Robert Rosenblum, "British Painting,I 760-1800," TU, 10:30-12:30Edward ]. Sullivan, "Painting inMexico, 1870-1950," W, 5:30 -7:30

Spring 1995

Dieter Arnold, "Ancient EgyptianArchitecture,' M, lO:30 - 12:30

Jonathan Hay, "Chinese Landscapes,IOth-12th Century: Cultural Meaningm the Structure of Visual Space," TH,3:15-5:15

Thomas F, Mathews, "MiddleByzantine Art and Architecture II,"TU, 3:15 - 5:15

Jonathan J.G. Alexander, "EarlyMedieval Art III Western Europe," TU,10:30 - 12:30

Gunter H. Kopcke, "From Caesar toCharlemagne: France, Germany, andBritain In the First Millennium," F",10:30 - 12:30

Jonathan Brown, "Spanish Painting,1598-1700," TH, 1:00 - 3:00Jean-Louis Cohen, "Architecture ca.1900," W, 10:30 - 12:30

Robert Lubar, "Spanish Painting andSculpture from the Generation of 1898to the CIVil War," \V, 1:00 - 3:00Charlotte Douglas, "Modern RussianPainting," \-\', 3: 15 - 5; 15

All Courses are Subject 10Change

IFAAlumni Newsletter 19

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'Dear fellowalumni/alumnae'by Beth L. HolmanTreasurer, Alumni Association

It's not too late for you to reach for yourcheckbook and send a donation to theInstitute's Alumni Association! Your dollarsare important in supporting the Instituteand its students. As New York City becomesincreasingly expensive, Alumni Association

scholarships make a critical difference toselected students, who use the money forspecial programs and living expenses whilethey study here or travel abroad. We alsohelp pay for small improvements to thefacilities at the Institute: if you wish, you cantarget your contribution - for example, tothe Institute Library or [or replacement ofthe now dilapidated study chairs (where wespent so much time).

Alumni funds also pay for the reunion atthe CAA convention (this past February at

the Duke Mansion), the annual Cook lec-ture, and this, the Alumni Newsletter. Yes,the newsletter, which after a long delay has-.finally moved into the 20th century andonto computer disk. With this issue weresume regular publication and promiseannual reports about your friends, col-leagues, and former teachers.

Please send us your news-and pleasewrite that check, for whatever you can give.Every tax-deductible dollar helps!

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In this issueAlumni Museum Directors 1Gopnik's Cook Lecture .4In Memoriam .4News of Library, Faculty,Alumni, Friends ..41'Mystery Pix . 101994-95 Courses Open to Friends .19