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Meyer Schapiro (1904-96), renowned for his critical essays on nineteenth- and twentieth-century painting, also played a decisive role as a young scholar in defining the style of art and architecture known as Romanesque. And, appropriately, when he was invited to deliver the prestigious Charles Eliot Norton Lectures at Harvard, he chose Romanesque architectural sculpture as his topic. These lectures, acclaimed for the verve and freshness with which Schapiro delivered them, languished unpublished for decades. But Linda Seidel, who knew Schapiro well and attended the 1967 lectures, has now expertly transcribed and edited them, presenting them for the first time to an audience beyond the halls of Harvard.
In editing the lectures, Seidel closely followed the recordings of the originals. Sentences are rendered as Schapiro spoke them, affording readers a unique opportunity to experience the legendary teacher as he rarely appears in print: forming his thoughts spontaneously, interrupting himself to develop related ideas, and responding to the audience’s interests by introducing humorous asides. Nonetheless, these lectures are carefully constructed, demonstrating Schapiro’s commitment to the originality and value of artistic production and affirming his lifelong belief in artists’ engagement with their cultures. Amply illustrated with many key works and augmented with Seidel’s indispensable introduction, this long-awaited volume will delight students and scholars of art history, as well as anyone interested in seeing a new side of a profoundly influential mind.
- Sales Rank: #1885818 in Books
- Published on: 2006-11-15
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .90" w x 6.00" l, 1.13 pounds
- Binding: Hardcover
- 256 pages
Review
“Schapiro was a figure of seigneurial cosmopolitanism who felt absolutely rooted in his time and place, a man with a serene self-assurance who was insatiably curious about other people and times and places. . . . There may be no American thinker of the mid-century years who was at once so deeply attracted to the grandeur of European ideas and so skeptical about those enormous visions as Meyer Schapiro." —Jed Perl, New Republic
(Jed Perl New Republic)
"[A] profound, delightful book." (New Statesman 2007-01-05)
"In reading these pages it seems possible to hear Schapiro's own voice, even his laughter or the applause of the audience. It is almost like listening to a recording. . . .[Schapiro] saw the sculptures of Moissac and Vézelay in the light of modern art. That may have been an illusion of a particular moment in the past century. . . . But I know of no more moving, more sympathetic reading of medieval art." (Willibald Sauerlaender New York Review of Books)
"The Schapiro lectures engage the reasder in an intimate and straightforward manner. . . . A rare glimpse into Schapiro's complex thought process. . . . Schapiro was unique, ahead of his time, and this book which showcases Schapiro's remarkable critical and analytical abilities, is a welcomed addition to his body of work, and without a doubt a significant contribution to the discipline itself." (Vibeke Olsen Sehepunkt)
"The quality of the text is that of close looking and careful analysis. It is a revelation to read Schapiro on the Eve of Autun." (Svetlana Alpers Key Reporter)
About the Author
Meyer Schapiro was University Professor at Columbia University. His papers and articles have been collected in numerous books, including Modern Art, Romanesque Art, and Theory and Philosophy of Art.
Linda Seidel is the Hanna Holborn Gray Professor Emerita at the University of Chicago. She has written many books, including Songs of Glory, Legends in Limestone, and Jan van Eyck’s Arnolfini Portrait.
Most helpful customer reviews
2 of 2 people found the following review helpful.
Meyer Schapiro at his best
By Harrington B Laufman
Schapiro, Meyer. Romanesque Architectural Sculpture: The Charles Eliot Norton Lectures. Ed. and intro. Linda Seidel. Chicago: University of Chicago Press, 2006.
In late winter of 1967 Meyer Schapiro (1904 - 1996) delivered a series of seven weekly lectures at Harvard University's Fogg Museum. The yearly Charles Eliot Norton Lectures were established in 1925 as a lectureship on "poetry in the broadest sense" and named for the university's former professor of fine arts. Schapiro's notes and recordings of these legendary lectures were preserved but never published until this volume, edited with an introduction by Linda Seidel in 2006. The lectures are a summation of Schapiro's half century of thinking and research on Romanesque architectural sculpture.
Scholarship, of course, has moved forward since 1967 but Schapiro's lectures are monumental and remain foundational to any discourse on Romanesque sculpture. The book is one of the texts selected by my professor for her Art History Romanesque and Gothic Sculpture course. The first question Schapiro addresses is how the rebirth of monumental sculpture beginning about 1100 AD occurred after the centuries of dormancy dating from the late classical period of about 300 AD. From that springboard Schapiro refines his approach by chapters through the categories of field, figure, frame, and imagery. He finishes with one chapter each on human and animal sculpture.
These public lectures are an astounding exercise of scholarship yet Schapiro avoids highly technical art and architecture vocabulary and keeps the lecture accessible to the non-specialist art lover. The seven lectures were crafted for a one hour delivery which translates to easily readable bites of about 30 pages each. Seventy photo reproductions adequately illustrate the talks, but there are pieces discussed but not illustrated. The text is lightly glossed for clarity, Schapiro's other publications on Romanesque sculpture appear in a bibliography, and Linda Siedel provides an informative introduction.
Much of Schapiro's approach and thinking is transferable to other eras of art history. For anyone visiting France or simply visiting a museum with a Romanesque collection (the Metropolitan's Cloisters or the Toledo Cloister Gallery, for example), the book will open a new understanding of Romanesque sculpture. The reader will see Romanesque sculpture through Schapiro's scholarly eyes.
Harrington B. Laufman, 2012
1 of 3 people found the following review helpful.
Okay
By ismay barwell
Romanesque Architectual Sculpture It is very descriptive and shows its age. New set of lectures on the topic would be good. Also the pictures are not as goos as those in contemporary books.
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