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The image shows an open book or magazine with an article titled "Revising Art History." The article discusses how contemporary scholars and educators are reshaping the field of art history by challenging traditional methods and perspectives.

Key points from the article include:

1. Critique of Traditional Connoisseurship:

   • Bernard Berenson is mentioned for his emphasis on an object's aesthetic merits and its relation to other works, a method known as connoisseurship.
   • The article questions the relevance of this traditional approach in modern art education.

2. Influence of Marxism:

   • The article notes that Marxist ideas have influenced the questioning of traditional connoisseurship.
   • It highlights that the focus has shifted towards understanding the social and political contexts of art.

3. Revisionist Approaches:

   • The article discusses how revisionists are shaping the tastes of a new generation through their teaching and writing.
   • Examples include Timothy J. Clark, Thomas Crow, and Serge Guilbaut, who have introduced new methods and interpretations in art history.

4. Specific Works and Authors:

   • The article mentions specific books and authors that have contributed to this revisionist movement, such as "Image of the People" by Timothy J. Clark and "Absolutism and the Scientific Revolution" by Thomas Crow.
   • It also discusses the impact of these works on the field of art history.

5. Debate and Controversy:

   • The article highlights debates and controversies within the field, including disagreements among scholars like Timothy J. Clark and Thomas Crow.
   • It mentions the role of conferences and academic discussions in shaping new perspectives.

6. Impact on Education:

   • The article discusses how these new approaches are being integrated into art history courses at universities, influencing the way future generations understand and interpret art.

Overall, the article provides an in-depth look at the evolving landscape of art history, emphasizing the shift from traditional connoisseurship to more contextual and socially aware interpretations.

The image shows a page from a newspaper article titled "Revising Art History," which appears to be discussing the impact of revisionist art historians on the field of art history.

Key points from the article include:

1. Revising Art History:

   • The article addresses the changes in how art is taught and evaluated, highlighting the influence of the "revisionist" movement.
   • It mentions that traditional connoisseurship, which emphasizes the aesthetic merits of artworks, is being challenged by a new approach that integrates social and political contexts.

2. Critique of Connoisseurship:

   • Hilton Kramer, a critic and editor, argues that traditional connoisseurship is losing its relevance and that art history should be more inclusive of socio-political influences.
   • He criticizes the shift from a purely aesthetic appreciation of art to a more contextual and interpretive approach.

3. Teaching Methods and Influence:

   • The article discusses how these changes are being taught, particularly through the influence of revisionist historians such as Thomas Crow, who teach that art is inextricably linked to social and historical contexts.
   • It cites Professor Olg Grabar and his approach to teaching "Methods of Art History."

4. Revisionists and Their Influence:

   • It highlights that these revisionists, such as Thomas Crow, are reshaping the perspectives of art history students and influencing their understanding of art.
   • It mentions specific works and authors that are being emphasized, such as the works of Thomas Crow and the influence of artists' socio-economic contexts.

5. Controversy and Debate:

   • There is a noted debate within the academic community about the merits and implications of these new teaching methods.
   • Mr. Clark and other art historians are mentioned in a discussion on the perceived strengths and weaknesses of the revisionist approach, particularly in the context of the art market and collector influence.

6. Other Influential Figures:

   • The article also mentions other influential figures like Serge Guilbaut and others who have contributed to changing the discourse in art history, particularly in relation to the impact of modernism and its critiques.

Overall, the article delves into the broader academic and cultural shifts in art history, emphasizing how contemporary art historians are challenging traditional connoisseurship and integrating social and political contexts into their analysis.

The image depicts an open magazine spread with the title "Revising Art History" at the top of the left page. The article seems to be a critical discussion on how art history is being re-evaluated and taught, with sections written by various contributors.

The left page features a section that begins, "As they teach and write, the revisionists are shaping the tastes of a new generation." This section discusses how current professors, such as Oleg Grabar, are addressing issues of connoisseurship and canon formation in art history. It mentions that the traditional criteria for evaluating art are being questioned, and that the social and political contexts of art are receiving more focus. The text also references specific scholars and their works, such as T.J. Clark, whose book "The Absolute Bourgeois" critiques the relationship between art and class.

The right page includes another section titled "A Tenure Debate," which discusses an academic controversy involving Thomas Crow, a professor whose tenure was denied at Princeton. The text provides background on Crow's work, including his book "Painters and Public Life: The Emergence of Modern French Art," which explores the social context of art. The debate highlights differing views on the importance of social analysis in art history. The page also includes a brief mention of Serge Guilbaut's book "How New York Stole the Idea of Modern Art," which argues that the rise of American art was closely tied to Cold War politics.

The overall tone suggests a lively and contentious reassessment of art historical methods and values, with various scholars advocating for different approaches and interpretations.

The image is a page from a publication discussing the revision of art history as an academic discipline. Here's a detailed summary:

Title:

Revising Art History

Section 1: Judging Art and Curriculum Changes

• Bernard Berenson's Criteria: The text discusses Bernard Berenson’s approach to judging art objects based on their aesthetic merits rather than their historical context. This perspective is critiqued by Hilton Kramer, editor of The New Criterion, who argues that the de-emphasis on connoisseurship in art history programs leads to a loss of quality in education.
• Fire at the Museum: The Fogg Art Museum experienced a fire, leading to the revision of its introductory program. The new curriculum focuses on a broader range of issues beyond connoisseurship.

Section 2: Teaching and Writing by Revisionists

• The text introduces the concept of "revisionists" who are reshaping the teaching and writing of art history. These scholars focus on critical issues and contextual analysis rather than just aesthetic evaluation.
• Professor Oleg Grabar: An example is given of Professor Oleg Grabar, who encourages students to address critical issues in art history, emphasizing the importance of context and interpretation over mere connoisseurship.

Section 3: Controversies and Debates

• Harvard and the Core Curriculum: Harvard professor Mr. Clark discusses the shift in art history education, mentioning how the discipline is moving towards broader social and political contexts. He notes that the traditional connoisseurship approach is less valued today.
• Debate in France: There is a mention of a debate in France about the curriculum changes in the 1980s, where traditionalists resisted changes proposed by revisionist scholars like Ségolène Le Men.

Section 4: Cultural Symbolism and Artistic Movements

• Modern Art Controversy: The text touches on a controversy sparked by Serge Guilbaut's book "How New York Stole the Idea of Modern Art," which explores the socio-political context behind the rise of Abstract Expressionism.
• Art and Politics: The discussion extends to the influence of political movements on art, mentioning the impact of Marxism, structuralism, and post-structuralism on the interpretation of art history.

Section 5: Tenure Debate

• Thomas Crow's Tenure Case: The page also describes a debate around Thomas Crow's tenure at the University of Sussex, highlighting the tensions between traditional and revisionist approaches in art history.

Overall, the text explores how art history as a discipline is evolving, with a shift towards a more contextual and critical approach, and the debates and controversies this shift has generated.

The image is a page from a newspaper or magazine discussing the revision of art history and the influence of art historians on the field. The main article is titled "Revising Art History."

Key points include:

1. Bernard Berenson and Connoisseurship:

   • The article discusses Bernard Berenson's approach to judging art based on aesthetic merits and the influence of connoisseurship on art history. It mentions Berenson's belief that the quality of art should be judged by those who understand it, rather than relying solely on market value.

2. Art History and Connoisseurship:

   • The text highlights the shift in art history from connoisseurship to a broader, more interpretive discipline. It mentions that connoisseurship, which involves judging art based on close observation and interpretation, is now less dominant.

3. Oleg Grabar and Methods of Art History:

   • The article references Oleg Grabar, who teaches a course called "Methods of Art History." This course emphasizes the intellectual evaluation of art objects and the historical context in which they were created.

4. Revising Art History Tastes:

   • The article explores how revisionists are influencing the tastes of a new generation of art historians. It discusses the shift from traditional connoisseurship to more contextual and interpretive approaches.

5. Harvard Art History Department:

   • Harvard's art history department is noted for its controversial approach, including the works of scholars like Timothy J. Clark and Thomas Crow. Clark's book "Rembrandt's Enterprise" and Crow's "Painters and Public Life in 18th-Century Paris" are highlighted as examples of revisionist approaches.

6. Art History and Politics:

   • The article touches on the political aspects of art history, with scholars like Thomas Crow emphasizing the socio-political context of art.

7. Debates and Controversies:

   • The piece mentions debates and controversies within the art history community, including tenure debates and the influence of different methodologies and perspectives.

8. Modern Art and Market Influence:

   • The article discusses the impact of the art market and collectors on the perception and valuation of art, and how these influences are being reconsidered in modern art history.

9. Influence of Serge Guibault:

   • Serge Guibault's work "How New York Stole the Idea of Modern Art" is mentioned, which critiques the influence of the New York art market and collectors on the perception of modern art.

10. Critiques and Challenges:

    • The text includes critiques from scholars like Kurt Forster, who challenge the traditional narratives of art history and advocate for a more inclusive and contextual approach.

Overall, the article provides a comprehensive look at the evolving field of art history, highlighting shifts in methodology, debates, and the influence of socio-political contexts on the study and interpretation of art.

The image is a clipping from a newspaper or magazine article titled "Revising Art History." The article discusses the influence and impact of revisionist approaches in the field of art history, particularly focusing on the work of Bernard Berenson, who is noted for his contributions to the discipline.

The article begins by mentioning Bernard Berenson's method of judging art by aesthetic merit and its relation to other works through connoisseurship. It highlights the shift from traditional connoisseurship to Marxist and feminist critiques of art, which have influenced the revisionist movement.

The text then discusses the teaching and writing of revisionists, who are shaping the tastes of a new generation. It mentions a class called "Methods of Art History" taught by Oleg Grabar, which emphasizes the evaluation of objects rather than connoisseurship. The article also references a debate sparked by Thomas Crow's book "Painters and Public Life," which critiques the Young Turks, a group including Timothy J. Clark and others, for their revisionist views.

The article notes that Clark's work, such as "Rembrandt's Enterprise," has been controversial, with some accusing him of losing the work's context. It also touches on the tenure debate at Princeton University, where Crow's book led to discussions about the teaching methods and scholarship in the art history department.

The article includes various quotes from Clark and others, reflecting on the impact of these revisionist approaches on the understanding and interpretation of art history. The overall theme is the shift in the field from traditional connoisseurship to more socially and politically informed critiques.

The image shows an open book or magazine with the main headline "Revising Art History" prominently displayed at the top of the left page. The article seems to be a continuation from a preceding page because there's a note that says, "Continued from Preceding Page" right above the subheading. The subheading itself states, "As they teach and write, the revisionists are shaping the tastes of a new generation."

The text is organized into three columns on each page and the article discusses various topics related to art history, including debates about teaching methods, tenure, and the changing interpretations of art history as an academic discipline. The text refers to notable figures, institutions, and concepts within the art world, indicating that the content is likely tailored towards an audience with an interest in art history or academia.

The right edge of the image is obstructed by what appears to be another page partially turned over, obscuring a portion of the article's text on the right side. The background indicates that the book or magazine is resting on a beige surface, possibly a table or desk. It's not possible to read the full text of the articles but from the visible sections, it's clear that this is an academic or intellectual discussion on the evolution of art history as a field of study.

The image shows a newspaper or magazine article titled "Revising Art History." The article is divided into several sections with subheadings such as "As they teach and write, the revisionists are shaping the tastes of a new generation," and "A Tenure Debate." The text discusses different perspectives on art history, mentioning various individuals like Bernard Berenson, Hilton Kramer, Svetlana Alpers, Timothy J. Clark, Thomas Crow, Serge Guilbaut, and others. There is mention of debates within the field, controversies about art history's approach, the influence of socio-economic conditions, and conflicts in interpretations, particularly regarding Abstract Expressionism and American art. The article contains detailed critical analysis and scholarly viewpoints on how art history is taught and reevaluated. The right edge of the article is slightly curled up. The article is mounted on a larger beige folder or background with a red border visible at the bottom.

The image depicts an open book, specifically showing two facing pages from a publication titled "Revising Art History." The text is formatted in a standard newspaper or magazine style, with dense paragraphs and a clear heading at the top of the left page. The content appears to be an article or essay discussing the teaching of art history, focusing on the role of revisionist perspectives and the challenges they pose to traditional methodologies.

Left Page:

• Headline: "Revising Art History" is prominently displayed at the top, indicating the central theme of the article.
• Subheading: "As they teach and write, the revisionists are shaping the tastes of a new generation."
• Content Overview: The text discusses the impact of revisionist approaches in art history education. It mentions scholars like Bernard Berenson, Carter Brown, and others who have influenced the discipline. The article critiques the traditional emphasis on connoisseurship and highlights the growing importance of revisionist perspectives, which challenge established narratives and methodologies.
• Key Points:
  • The role of institutions like the Fogg Art Museum in shaping art history education.
  • The tension between traditional connoisseurship and revisionist approaches.
  • The influence of revisionist scholars on students and the broader art history community.
  • The debate over the relevance of traditional methods versus new, more inclusive approaches.

Right Page:

• Continued Discussion: The right page continues the article, delving deeper into the controversies surrounding revisionist approaches in art history.
• Key Themes:
  • Debate on Methodologies: The text discusses the debate between traditional art historians and revisionists, particularly focusing on the work of scholars like William A. P. Childs and Sidney Freedberg.
  • Critique of Traditional Practices: The article critiques the reliance on connoisseurship and the limitations of traditional methods, such as the focus on masterpieces and the exclusion of certain artists or movements.
  • Impact on Students: It highlights how revisionist approaches are influencing the next generation of art historians, encouraging a broader, more inclusive understanding of art history.
  • Examples and References: The text references specific scholars, institutions, and historical debates, such as the controversy surrounding the work of Serge Guilbaut and the role of abstract expressionism in shaping modern art history.

Visual Details:

• Layout: The text is presented in a clean, readable format with justified alignment and standard typography. There are no illustrations, graphs, or images accompanying the text.
• Condition: The book appears to be old or well-used, with visible signs of wear, such as discoloration and slight wear along the edges. The spine is not visible, but the pages are slightly curved, suggesting the book is open and being read.
• Context: The article seems to be from an academic or intellectual publication, given the depth of the discussion and the references to scholarly debates and methodologies.

Overall Impression:

The image captures a scholarly discussion on the evolution of art history education, emphasizing the tension between traditional and revisionist approaches. The text is dense and analytical, aimed at readers with an interest in art history, education, or intellectual discourse. The visual presentation is straightforward, focusing entirely on the written content without any additional visual elements.

The image depicts a page from a magazine or journal, specifically from an article titled "Revising Art History." The article is printed on a beige-colored paper and is bound within a red cover, suggesting it is part of a larger publication. The text is organized into several columns, with the main article on the left and additional text or advertisements on the right.

The article discusses the evolving perspectives and methodologies in the field of art history. It highlights the contributions of several scholars and educators, such as Serge Guilbaut, Thomas Crow, and others, who have challenged traditional narratives and introduced new frameworks for understanding art history. The text mentions the impact of these scholars on art education, particularly at institutions like Harvard and the Fogg Art Museum.

The article also touches on the socio-political dimensions of art history, referencing the influence of Abstract Expressionism and the debates surrounding its interpretation. It discusses how these scholars have contributed to a more nuanced and critical understanding of art, moving beyond mere aesthetic appreciation to consider the broader cultural, political, and economic contexts in which art is produced and consumed.

The right side of the page contains additional text, possibly an advertisement or another article, but it is not the primary focus of the image. The overall layout is clean and professional, with a clear hierarchy of information that guides the reader through the content.