ON ART AND CONNOISSEURSHIP tr MAX J. FRIEDLANDER With 40 Illustrations Beacon Press Beacon Hill Boston Translated from the authors manuscript by TANCRED BORENIUS First published in 1942 by Bruno Cassirer, Ltd. First published as a Beacon Paperback in 1960 by permission of Bruno Cassirer, Ltd. - J l Printed in the United States of America CONTENTS PACE INTRODUCTION. By TANCRED BORENIUS 9 PREFACE 1 3 I. SEEING, PERCEIVING, PLEASURABLE CONTEMPLA TION 19 II. EXISTENCE, APPEARANCE, OBJECTIVE INTEREST IN THINGS 32 III. ART AND SYMBOL 39 IV, FORM, COLOUR, TONALITY, LIGHT, GOLD 43 V. THE CONCEPT OF PICTORIAL 3 VI. SIZE AND SCALE, DISTANT VIEW AND NEAR VIEW 8 VH. ON LINEAR PERSPECTIVE 64 Vffl. MOVEMENT 69 DC. TRUTH TO NATURE, ARTISTIC VALUE AND STYLE 75-X. INDIVIDUALITY AND TYPE 84 XI. ON BEAUTY 87 XII. ON COMPOSITION 91 XIII. ON THE PICTURE CATEGORIES 97 XTV. RELIGIOUS AND SECULAR HISTORY IN PAINTING 100 XV. THE NUDE 104 XVI. GENRE PAINTING 108 XVII. LANDSCAPE 113 XVffl. PORTRAITURE 124 XK. STILL LIFE W v-V. t I3, S CONTENTS PAGE XX. THE ARTIST GENIUS AND TALENT 1 34 XXI, ART AND ERUDITION 143 XXn. THE STANDPOINT OF THE SPECTATOR 1 55 XXffl. ON THE VALUE OF THE DETERMINATION OF AUTHORSHIP 160 XXIV. ON THE OBJECTIVE CRITERIA OF AUTHORSHIP 163 XXV. ON INTUITION AND THE FIRST IMPRESSION 172 XXVI. PROBLEMS OF CONNOISSEURSHIP 179 XXVIt. THE ANALYTICAL EXAMINATION OF PICTURES 1 84 XXVUI. ON THE USE OF PHOTOGRAPHY 197 XXIX. ON PERSONALITY AND ITS DEVELOPMENT 200 XXX. ON THE ANONYMOUS MASTERS, THE MEDIUM MASTERS AND THE LESSER MASTERS 213 XXXI. THE STUDY OF DRAWINGS 218 XXXII. INFLUENCE 222 XXXHI. ARTISTIC QUALITY ORIGINAL AND COPY 230 XXXIV. DEDUCTIONS A POSTERIORI FROM COPIES REGARDING LOST ORIGINALS246 XXXV. WORKSHOP PRODUCTION 2 0 XXXVI. ON FORGERIES 2 8 XXXVH. ON RESTORATIONS 267 XXXVni. ON ART LITERATURE 273 INDEX 281 LIST OF ILLUSTRATIONS HATE FACING PAGI i . HANS MEMIING. PORTRAIT OF A MAN IN AN ATTITUDE OF PRAYER. Lugano, Castle Rohoncz Collection frontispiece 2. MATTHIAS GRUNEWALD. THE CRUCIFIXION. Colmar Museum 24 3. PAUL CEZANNE. AUVERS-SUR-OISE 24-4. MASTER OF ALKMAAR. PANEL FROM THE SERIES OF THE WORKS OF MERCY. Amsterdam, Rijksmuseum 48 . DIRK BOUTS. THE LAST JUDGMENT Detail. Lille, Museum 9 2 6. ADOLPH VON MENZEL. SCENE FROM THE LIFE OF FREDERICK THE GREAT Woodcut 93 7. ALBRECHT DURER. A NUDE WOMAN Drawing. Bay onne, Museum 104 8. ALBRECHT DURER. ADAM AND EVE Drawing. New York, Morgan Library 105-9. JAN VAN EYCK. THE ROLLIN MADONNA Detail. Paris, Louvre 1 1 2 10. JOACHIM PATINIR. LANDSCAPE WITH THE RIVER OF DEATH. Madrid, Prado r 1 3 11. LUCAS CRANACH. REST ON THE FLIGHT INTO EGYPT. Berlin Picture Gallery 1 1 6 ii. WOLF HUBER. THE MONDSEE WITH THE SCHAFBERG Drawing. Nuremberg, Germanisches Museum 1 1 7 13. RUELAND FRUEAUF THE YOUNGER. PANEL FROM THE ALTARPIECE OF ST. LEOPOLD. Monastery of Kloster neuburg 120 14. LUCAS CRANACH. PORTRAIT OF JOHANN CUSPINIAN. Winterthur, Collection of Dr. O . Reinhart 1 2 1 i j. LUCAS CRANACH. PORTRAIT OF THE WIFE OF JOHANN CUSPINIAN. Winterthur, Collection of Dr. O. Rein hart 1 24 1 6. LUCAS VAN LEYDEN. PORTRAIT OF THE ARTIST Detail. Brunswick Museum 1 2 17. HANS MEMLING. STILL LIFE, Lugano, Castle Rohoncz Collection 13 1 8. MARINUS VAN REYMERSWAELE. ST. JEROME IN HIS STUDY. Madrid, Prado 1 3 i ILLUSTRATIONS PLATE FACING PAG i9. HUGO VAN DER GOES. ADORATION OF THE MAGI THE MONFORTE ALTARPIECE. Berlin Picture Gallery 148 20. HUGO VAN DERGOES. ADORATION OF THE SHEPHERDS THE PORTINARI ALTARPIECE. Florence, Uffizi 192 2i. HANS HOLBEIN. MADONNA OF THE BURGO-J MASTER MEYER. Darmstadt, Grand Ducal Castle BETWEEN 22. AFTER HANS HOLBEIN. MADONNA OF THE PAGES 232-3 BURGOMASTER MEYER. Dresden Gallery J 23. JAN VAN EYCK. CANON VAN DE PAELE Detail of the Altarpiece in the Bruges Museum 233 24. AFTER JAN VAN EYCK. CANON VAN DE PAELE. Hampton Court Palace. Copyright of H. M. The King 232 25-. BRUGES MASTER OF 1499. MADONNA WITH DONORS. Paris, Louvre 244 26. LUCAS CRANACH...

This volume of the Golden Age of Illustration Series contains Hans Christian Andersen's 'The Princess and the Pea', first published in May of 1835. This classic fairy tale has been continuously in print in different editions since its first publication, with many, many, different artists illustrating the story over the years. This edition features a beautiful collection of the best of that art, taken from the likes of Arthur Rackham, W. Heath Robinson, Kay Nielsen, Honor Appleton, Anne Anderson, Edmund Dulac, among others. This series of books celebrates the Golden Age of Illustration. During this period, the popularity, abundance and - most importantly - the unprecedented upsurge in the quality of illustrated works marked an astounding change in the way that publishers, artists and the general public came to view this hitherto insufficiently esteemed art form. The Golden Age of Illustration Series, has sourced the rare original editions of these books and reproduced the beautiful art work in order to build a unique collection of illustrated fairy tales.

In this book, an international line-up of scholars examines the role of the intellectual in the twenty-first century, looking at the gap between contemporary cultural theory and cultural practice, and asking whether knowledge and methodologies in the humanities can intervene in everyday politics and vice-versa.

Here is the book that converted C. S. Lewis from atheism to Christianity. This history of mankind, Christ, and Christianity is to some extent a conscious rebuttal of H. G. Wells' Outline of History, which embraced both the evolutionary origins of humanity and the mortal humanity of Jesus. Whereas Orthodoxy detailed Chesterton's own spiritual journey, this book illustrates the spiritual journey of humanity, or at least of Western civilization. A book for both mind and spirit.

"Art in the Service of Colonialism" throws new light on how nothing in the Moroccan French Protectorate (1912-1956) escaped the imprints of metropolitan ideology and how the French transformed and dominated Moroccan society by looking at how the arts and crafts were transformed in the colonial period. Hamid Irbouh argues that during the Moroccan Protectorate (1912-1956), the French imposed their domination through a systematic modernisation and regulation of local arts and crafts. They also stewarded Moroccans into industrial life by establishing vocational and fine arts schools. The French archives, Arabic sources, and oral testimonies, which Irbouh used, demonstrate complex relationships between colonial administrators of both genders and their interactions with Moroccan officials, notables, and the poor. The French co-opted some locals into joining these educational institutions, which respected and reinforced familiar pre-Protectorate social structures. The artisans become The Best Workers in the French Empire, and artists exhibited abroad and cultivated a European and American clientele. The contradictions between reformist goals and the old order, nevertheless, added to social dislocations and led to rebellion against French hegemony. Irbouh focuses on how French women infiltrated the feminine Moroccan milieu to buttress colonial ideology, and how, at critical moments, Moroccan women and their daughters rejected traditional passive roles and sabotaged colonial plans. France's legacy in Moroccan arts and crafts provoked a backlash in the postcolonial period. After independence local artists, searching for their own identities, sought to reclaim their authenticity. The struggle to define a pristine visual heritage still rages, and the author, by underlining French contributions to Moroccan artistic and craft production, challenges the conclusions of the artists and critics who have argued for the establishment of an unadulterated art devoid of most or even all foreign influences. As in so many areas of Moroccan society, this book reveals that the weight of colonial history remains heavily present. In this well-conceived book based on original archival sources Hamid Irbouh investigates how French colonial administrators employed French women to inculcate colonial ideology by establishing new craft schools for notable and poor families in Moroccan cities. The French intended not only to teach modernized versions of old Moroccan crafts, but also wanted to instill new work habits and modern concepts of time into the girls and young women who attended their schools. Dr. Irbouh demonstrates how French women administrators took the lead in this effort and also shows how Moroccan women absorbed their lessons, but also resisted the colonial enterprise. His is a novel approach to colonial art history, situating Moroccan art production in large social, political and ideological contexts.

This volume of the Golden Age of Illustration Series contains Hans Christian Andersen's 'The Steadfast Tin Soldier', first published in May of 1838. This classic fairy tale has been continuously in print in different editions since its first publication, with many, many, different artists illustrating the story over the years. This edition features a beautiful collection of the best of that art, taken from the likes of Arthur Rackham, W. Heath Robinson, Kay Nielsen, Mabel Lucie Attwell, Anne Anderson, Milo Winter, among others. This series of books celebrates the Golden Age of Illustration. During this period, the popularity, abundance and - most importantly - the unprecedented upsurge in the quality of illustrated works marked an astounding change in the way that publishers, artists and the general public came to view this hitherto insufficiently esteemed art form. The Golden Age of Illustration Series, has sourced the rare original editions of these books and reproduced the beautiful art work in order to build a unique collection of illustrated fairy tales.

This interdisciplinary collection ofessays probes the impact of the market economy on art and science in the post-Berlin Wall era.

"Part One: Science for Sale," A Dollar Green Science Scene, focuses on new alliances of contemporary science and education with commercial funding, and the commodification of knowledge. Among the questions addressed here are: Does proximity to economic power eclipse freedom of knowledge? When science and education become businesses, what are the risks for a sell-out of patented knowledge, an abuse of research for business purposes or a commercialization of symbolic power?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

Part Two: Art for Sale, Buy Buy Art, elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

Part Two: Art for Sale, Buy Buy Art, elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but art costs money and artists cannot survive on their love for art alone. How do artists respond to the rise of economic strictures in modern culture in general and the art market in particular? When works of art become investments, can art still be critical of economic injustice? What role remains for the artist in a global, late-capitalist society?

"Part Two: Art for Sale, Buy Buy Art," elaborates on the multifaceted and ambiguous relationship between art and capital. Contemporary art claims to be autonomous, but

The New York Times Bestseller "I wish I had read these rules forty years ago and carried them around like a bible. By chance or design I've followed most of them at some point but it took me a lifetime as an artist to find what worked. They are the generous, loving, enthusiastic, bullshit-free advice of a master communicator, just reading them makes me want to charge back into the studio" - Grayson Perry "Being an artist is a lonely pursuit - twenty-four hours a day, seven days a week, for the rest of your life. Most of the time it hurts. This book will help the pain" - Tracey Emin One of Elizabeth Gilbert's 2020 Quarantine Book Recommendations "Joy is palpable in these pages. We need such thinking right now" - Apollo Magazine As the witty and passionate chief art critic for New York magazine, Jerry Saltz is often approached by artists, both amateur and professional, asking him for advice: How do I get started? How do I get better? Is what I'm doing even art at all? They want to know, in short, how to be an artist. Now, expanding on his viral cover story for New York magazine - and drawing on his decades of immersion in the art world - Saltz has the answers. How to Be An Artist is an indispensable book of practical inspiration for creative people of all kinds. Brimming with dozens of brand new rules, prompts, exercises, and tips designed to break through creative blocks, ignite motivation, and conquer bad habits, this book is designed to help artists of all kinds - painters, photographers, writers, performers - realize their dreams. Includes such advice as: - Make art for now, not the future - No, you don't need graduate school - Recognize convention, and resist constraint - Get lost - Listen to the wildest voices in your head - Know what you hate (it's probably you) - Finish the damn thing! - How to recover from critical injuries