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The image is a newspaper article titled "Clashing Views Reshape Art History" by Grace Glueck, published in the New York Times on December 20, 1987. The article discusses the impact of revisionist thinking in the field of art history.

Key points from the article include:

1. Revisionist Art Historians: These scholars, often labeled as "radicals," "revisionists," or "troublemakers," are challenging traditional views of art history. They are influenced by theories such as structuralism, feminism, and Marxism, which relate art to class structure and social context.

2. Influences and Methods: These historians incorporate disciplines like psychoanalysis, anthropology, and linguistics. They are concerned with issues such as ownership, authenticity, and the socio-political context of artworks.

3. Examples and Impact: The article mentions specific examples, such as the interpretation of Édouard Manet's "Bar at the Folies Bergère," where revisionists focus on social and political aspects rather than purely aesthetic ones. This approach has led to conflicts and changes in academic institutions like Harvard and Princeton.

4. Criticism and Support: Traditional historians criticize this approach for emphasizing social issues over artistic qualities. However, revisionist thinking has gained traction, influencing museum training programs and public perception.

5. Quotes and Perspectives: The article includes quotes from various scholars and critics, highlighting the diversity of opinions within the field. For instance, Anne Coffin Hanson praises Manet's ability to preserve sensuous textures, while Timothy J. Clark describes the detached nature of the subject in "Bar at the Folies Bergère."

6. Broader Implications: The revisionist approach is part of a broader trend in the humanities, reflecting a shift towards more inclusive and socially conscious interpretations of art and history.

The article is accompanied by a photograph of a woman, which appears to be a detail from a painting, possibly Manet's "Bar at the Folies Bergère."

The image displays a yellowed newspaper article titled "Clashing Views Reshape Art History" by Grace Glueck, dated December 20, 1987. The article discusses a shift in art history driven by scholars who use methods from various disciplines like structuralism, feminism, and Marxism, challenging the traditional focus on style and connoisseurship. These 'revisionists' examine art in the context of social, political, and economic issues, causing significant debate and reshaping how art history is taught and perceived. The article references specific examples like the analysis of Manet's "Bar at the Folies Bergère" and mentions the influential role of figures such as T.J. Clark. The piece also highlights the expansion of art history programs at universities like Harvard and the influence of these new approaches on museums and public understanding of art.

The image shows a newspaper article titled "Clashing Views Reshape Art History," published in the New York Times on December 20, 1987. The article explores the debates within the field of art history concerning the influence of revisionist methodologies.

Key Points:

1. Introduction to Revisionists:

   • The article introduces a group of scholars referred to as "radicals" or "revisionists," who challenge traditional art history. These individuals use diverse methodologies, including Marxism, feminism, psychoanalysis, and other social sciences, to study art from broader societal perspectives.

2. Focus on Art History:

   • Traditional art historians often focus on formal elements like style and composition. Revisionists, however, emphasize the socio-political context and historical context of art, aiming to relate art to class structure and other social issues.

3. Examples of Works:

   • The article discusses a work by Édouard Manet, "Bar at the Folies Bergère," through the lenses of two different views.
     • Anne Coffin Hanson emphasizes Manet's skill in capturing the sensory textures of the scene, preserving the visual reality.
     • Timothy J. Clark focuses on the historical context of prostitution, highlighting Manet’s portrayal of a woman who is detached from the scene, viewed as a commodity.

4. Revolution in Art History:

   • Revisionist approaches have led to a reevaluation of mainstream art history, bringing in fresh perspectives and influencing both academic and public discussions.
   • The article mentions the influence of these revisionist methods on the teaching and writing of art history, particularly at prestigious institutions like Harvard.

5. Controversy and Public Impact:

   • There is a noted conflict between traditional and revisionist views, with the latter gaining traction in academic circles.
   • The article suggests that the clash of these methodologies is reshaping the way art is understood, influencing curators, collectors, critics, and the broader public.

The article effectively captures the intellectual and cultural shift occurring within art history during the late 1980s.

The image is a page from the New York Times dated December 20, 1987. The headline of the article is "Clashing Views Reshape Art History," written by Grace Glueck.

The article discusses the impact of revisionist historians, often referred to as "radicals," on the traditional study of art history. These revisionists are challenging the established views and methodologies by incorporating various theoretical perspectives, such as structuralism, feminism, and Marxism. They are also integrating insights from disciplines like psychoanalysis, anthropology, and linguistics.

The article mentions that revisionists often emphasize the socio-political context of art rather than focusing solely on aesthetic elements like shape, color, and composition. For instance, it cites the book "The Painting of Modern Life" by Timothy J. Clark, which examines Manet’s painting "Olympia" through a Marxist-oriented lens, stressing its relation to prostitution and social issues rather than purely aesthetic attributes.

The article also highlights the influence of revisionist thinking on the training of art historians and the broader cultural impact, such as the changes at Harvard's Fogg Art Museum, where there is now an increased focus on intellectual issues. The article notes that these changes have led to a more diverse and inclusive approach to art history, affecting curators, collectors, critics, dealers, and the public.

The article includes two contrasting views on Manet's painting "Bar at the Folies Bergère":

1. Anne Coffin Hanson's view, which focuses on the sensory textures and tangible reality of the painting.
2. Timothy J. Clark's view, which emphasizes the detachment of the woman in the painting, suggesting she is an object for sale.

The article concludes by mentioning that these new approaches are influencing the tastes of a new generation and broadening the scope of art history, moving away from traditional decorative arts and into more diverse and interdisciplinary fields.

The image is a newspaper clipping from The New York Times, dated December 20, 1987. The article is titled "Clashing Views Reshape Art History" and is written by Grace Glueck.

The article discusses a group of scholars, often referred to as "revisionists," who are challenging traditional views of art history. These scholars come from various academic disciplines, including Marxism, feminism, structuralism, and psychoanalysis, and they approach art with a focus on its socio-political context and historical background.

Key points from the article include:

1. Challenging Traditional Views: Revisionists argue that art should be analyzed within its broader social, political, and historical context rather than purely aesthetically.
2. Influence of Other Disciplines: They incorporate theories and methodologies from fields such as anthropology, linguistics, and social history, which are not traditionally part of art history.
3. Focus on Issues: Revisionists are more concerned with issues like class, gender, and ownership than with formal aspects like style and composition.
4. Political and Social Context: They emphasize the socio-political climate of the time an artwork was created, such as Edouard Manet's "Bar at the Folies Bergère," where the painting's subject matter and composition are analyzed in relation to the socio-political context of its time.
5. Public and Academic Impact: This new approach has influenced public perception and academic curricula, leading to changes in university art history programs and museum exhibitions.

The article also includes two contrasting views on Manet’s painting "Bar at the Folies Bergère":

• Anne Coffin Hanson suggests that Manet rearranged a momentary view to preserve textures, giving the painting tangible reality.
• Timothy J. Clark describes Manet's approach as detached, with the customer seen as a mere object to be bought.

The revisionist movement has led to a more inclusive and diverse field of art history, influencing the tastes of curators, collectors, critics, and the public. The article highlights that these changes are shaping the future of art historical thinking and museum practices.

The image is a newspaper article from The New York Times dated February 20, 1987, titled "Clashing Views Reshape Art History" by Grace Glueck. The article discusses the emergence of revisionist art historians who challenge traditional interpretations of art history.

Key Points of the Article:

1. Revisionist Art Historians:

   • Some scholars, labeled as "radicals" or "revisionists," are transforming the study of art history. They are seen as both controversial and contentious.
   • These scholars often come from outside the field and bring methodologies from disciplines like Marxism, structuralism, anthropology, and psychoanalysis.

2. New Approaches:

   • Traditional views of art history, which focus on aesthetics, are being expanded to include socio-political contexts, economic conditions, gender, and race.
   • The revisionists aim to debunk myths about art and artists, focusing on issues such as class structure and power dynamics.

3. Examples of Revisionist Thinking:

   • The article provides an example of a new interpretation of Édouard Manet's "A Bar at the Folies-Bergère."
     • Traditional View: Anne Coffin Hanson's analysis emphasizes the formal and aesthetic qualities, suggesting the painting captures a momentary view with tangible reality.
     • Revisionist View: Timothy J. Clark argues that the painting reflects social history and the dynamics of prostitution, highlighting the detachment and transactional nature of the scene.

4. Impact on Institutions:

   • Museums and educational institutions are starting to incorporate these new perspectives. The Fogg Art Museum, for instance, has shifted its focus to include social history in art.
   • Academic programs at prestigious universities like Harvard and Princeton have been revamped to include these new methodologies.

5. Criticism and Support:

   • Critics argue that this shift might lead to the "death of connoisseurship" and an overemphasis on issues rather than aesthetic appreciation.
   • Supporters believe that these changes enrich the understanding of art by placing it within broader historical and cultural contexts.

6. Broader Academic Influence:

   • This revisionist thinking is not confined to art history but is part of a broader trend in humanities and literary criticism.
   • The article mentions that the public's interest in these new interpretations is growing, indicating a shift in how art history is perceived and taught.

The article highlights the dynamic and evolving nature of art history as scholars introduce new frameworks for understanding and interpreting art.

The image shows a clipped newspaper article titled "Clashing Views Reshape Art History," written by Grace Glueck. At the top, there is a handwritten note indicating it is from the "N.Y. Times" dated "12-20-87." The article discusses how certain groups challenge traditional art history by integrating various perspectives such as feminism, Marxism, psychoanalysis, anthropology, and more. It mentions revisionists who relate art to socioeconomic and political issues rather than just aesthetics.

A section on the right side focuses on Manet's painting "Bar at the Folies Bergère," presenting two different views on the artwork. One view, by Anne Coffin Hanson, praises Manet's rearrangement that preserves the sensuous textures of the painting, while the other, by Timothy J. Clark, describes the subject of the painting as "detached" and suggests the customer sees her as an object for purchase.

In the middle left of the page, there is a blurred rectangular area where an image might have been, partially obscuring some text.

The article discusses the impact and reception of revisionist thinking in art history, how it challenges conventional views, and the interaction between different academic disciplines in this field. The article is continued on page 22.

This is an image of a yellowed newspaper page titled "N.Y. Times," with a headline that says "Clashing Views Reshape Art History." The article discusses the impact of revisionist thinking on art history and mentions the reevaluation of traditional art history and the introduction of socio-political contexts into art scrutiny.

On the right-hand side, there are two quotes referring to Manet's "Bar at the Folies Bergère" from different perspectives. The first quote praises Manet's ability to preserve the sensuous textures of the picture, providing it with tangible reality, while the second quote provides a more critical view, referring to the subject of the painting as detached and treated like an object for sale.

The text appears to belong to art historical discourse, reflecting on new ways of considering and interpreting art, with references to academic institutions and practices. The physical state of the newspaper, with its yellowing pages, suggests it is quite old and has been handled multiple times.

The bottom part of the text is obscured by another piece of paper laid on top of the newspaper, making it impossible to read the continuation of the article.

The image depicts a page from a newspaper or magazine article titled "Clashing Views Reshape Art History", authored by Grace Glueck. The article discusses the emergence of "revisionist" approaches in art history, which challenge traditional methodologies and perspectives. The content highlights how these revisionist views are influenced by various social and political theories, such as structuralism, feminism, Marxism, and psychoanalysis, and how they reinterpret art through the lens of socio-political contexts.

Key Elements of the Image:

1. Headline and Title:

   • The headline, "Clashing Views Reshape Art History", sets the tone for the article, indicating a discussion about evolving perspectives in art history.

2. Author:

   • The byline identifies the author as Grace Glueck.

3. Main Text:

   • The article begins with a bold opening statement:

     "SOME CALL THEM 'RADICALS,' REVISIONISTS, or simply troublemakers. But to others — traditionalists and often conservatives — they are a loose-knit community of scholars derived from outside the field to study the use of art as more than a purely aesthetic phenomenon."

   • It elaborates on how revisionist approaches draw from disciplines such as structuralism, feminism, Marxism, and psychoanalysis to analyze art within broader socio-political contexts.
   • The text mentions how these approaches are being taught at prestigious universities like Harvard and Princeton, and how they are influencing institutions such as the Art Institute of Chicago and the Orsay Museum in Paris.

4. Visual Element:

   • On the right side of the page, there is a photograph of a person, presumably Édouard Manet, the famous 19th-century French painter. The image is accompanied by a quote from Anne Coffin Hanson discussing Manet’s painting "Bar at the Folies Bergère". The quote reads:

     "What Manet has done is to rearrange a momentary view … preserving the sensuous textures which give the picture its tangible reality."

   • Below this, another quote from Timothy J. Clark appears:

     "She is detached: that is the best description… The customer evidently thinks she is one more such object which money can buy."

5. Additional Context:

   • The article references the Fogg Art Museum and its shift in focus from "aesthetic" to "intellectual" issues.
   • It also mentions the College Art Association, where revisionist approaches are gaining traction, and how these ideas are being integrated into mainstream art history curricula.

6. Layout and Design:

   • The page has a classic newspaper or magazine layout, with a mix of text and an embedded photograph.
   • The text is dense and formatted in a traditional serif font, typical of print media from the late 20th century.
   • The page number "22" is visible at the bottom right, indicating this is part of a larger article or feature.

Summary:

The image shows a page from an article discussing the impact of revisionist approaches on art history. It combines textual analysis with a visual reference to Édouard Manet, illustrating how these new perspectives are reshaping the field by integrating socio-political theories and challenging traditional interpretations of art. The layout and design suggest it is from a reputable publication, likely from the late 20th century.

The image is of a newspaper article with the title "Clashing Views Reshape Art History" written in bold, capital letters. The article is written by Grace Glueck and dated December 20, 1987. The article discusses the changing perspectives of art history and the impact of revisionist views on the field. It mentions the influence of scholars who study art outside the traditional framework of aesthetics and how their ideas have led to a reexamination of art history. The article also touches on the role of institutions like the Fogg Art Museum in shaping the field of art history. The article includes a black-and-white photograph of a woman's face, which may be related to the content of the article or serve as a visual element to break up the text.