Mentors, Web Designer, Self-Portraits Mentors, Web Designer, Self-Portraits Eugene Dwyer my professor at Kenyon College where it all started. No Gene, no Art History. Wise, humane, modest, a typical classicist in his range and depth. I still love classical art thanks to Gene Dwyer. / photo: Kenyon Alumni Magazine 68170661 Erwin Panofsky, Panofsky taught Gene Dwyer at NYU 's Institute of Fine Arts who in turn taught me at Kenyon. That makes me one of Pan's many grandchildren. Gene graciously helped me transfer to NYU in 1970 after 2 years at Kenyon. 67859276 Carol Krinsky, 2009 She taught architecture of all periods and also 15th Century Northern Painting at NYU - Washinton Square. She introduced me to Northern Renaissance art and took me under her wing. I have no intention of leaving. Photo: web 67859272 Kathleen Brandt I knew her as Professor Weil-Garris at NYU in 1974-6. She was a thrilling lecturer and got me excited about Italian Renaissance art. And her support was crucial for the next step of graduate school. / photo: web 67859277 Lotte Drew-Bear dealer of Surrealist art in New York and Chicago, wise friend and advisor in my NYU years (1974-76) / photo: Annette Drew-Bear 68170660 Harold Joachim my boss for two summers in Prints and Drawings at the Chicago Art Institute; a close friend of Lotte Drew-Bear; old school connoisseur with a deep love of art objects and of music; my father was his physician and he became my mentor. He took in many young people and guided them. Photo: woodcut portrait dating to the time of his death in 1983. 68170662 Jan Bialostocki, Sydney Freedberg, James Ackerman, Konrad Oberhuber, RB taken on the steps of the Fogg Museum in 1977 or 1978 / Freedberg (tan raincoat) was an old-school connoisseur and formalist - at a time when I was an old school iconographer with an interest in formal analysis as a writing and looking exercise. My first undergraduate paper in Art History was written at Kenyon in 1972 on Pontormo's frescoes at the Certosa di Galluzzo, The only thing I could find on Pontormo then was Freedberg's "Painting of the High Renaissance in Rome and Florence." I was captivated by his artificial writing style and spent three years imitating it when writing formal analysis papers. These efforts culminated in a NYU paper on Bronzino - written in pure Freedbergian - which I submitted as a writing sample in my application to Harvard. As I told Sydney in a letter two weeks before he died, I was his student long before I met him and I retained much of value from his writing and teaching long after my path diverged into social art history. By the time of this photo, Konrad was my adviser - note his left hand - and Jim Ackerman a second mentor (behind Freedberg). When Jan Bialostocki (left) came to give a lecture, I volunteered to pick him up at the airport. / Photo: RB 102135007 Konrad Oberhuber, May 1979 graduate advisor, mentor, friend: Photo: RB See my tribute to KO under the folder MISC INFO 67191773 Konrad Oberhuber and his son, ca. 1980 on a Sunday trip to the Mass shore 102135006 the father welcomes back the prodigal, 1983 "his father saw him, and had compassion, and ran, and fell on his neck, and kissed him. . . . the father said to his servants, bring forth the best robe, and put it on him . . . " Thanks, Konrad, for the robe, and for everything else. 67191772 James Ackerman James Ackerman was a pioneer of social art history long before it existed as an important methodology. Architectural historian, critic, wide-ranging scholar of Renaissance and modern art, James Ackerman believed in letting students find their own path as he told me 20 years ago. He served as my second thesis adviser even though my topic had nothing to do with architecture. Photo taken at the Golden Lion award at the Venice Biennale in 2008. / Photo: web 67859271 James Ackerman Although this photo records a somewhat different persona from the one seen in Jim Ackerman's classroom, much of what appears here was also present, more quietly, in his teaching and mentoring. This photo was taken at his 90th birthday party at the American Academy in Rome in 2009. He is holding the daughter of the photographer. Source: web 67859270 Mark Haxthausen, Konrad Oberhuber, RB, James Ackerman Graduation day, June 4, 1983 68231072 Mark Haxthausen in 2008 and an admiring acolyte I loved German Expressionism even before I took Mark's course in 1976 during my first semester in graduate school. He was surprised to find his 22 year old specialist in Renaissance had already hitched-hiked to the Nolde Museum in Seebull. Mark is a dedicated teacher, prolific scholar, serious thinker, fellow Wagnerian, and very funny. Photo: RB 198563734 Henri Zerner and RB, 2008 Henri Zerner was one of the smartest professors in my grad program with a wide range covering Italian Renaissance, French Renaissance, and 19th Century art from Romanticism to Symbolism. He did social art history decades before it emerged and he taught the methodology seminar we all took in our first semester as grad students. Yet this thinker was also a dedicated connoisseur who understood that style and subject matter were interrelated elements in a much larger whole. Photo taken at the Harvard memorial for Konrad Oberhuber. Photo: RB 198563655 Tim Clark with Pollock's Lavendar Mist (Washington) By the time T. J. Clark arrived at Harvard, I had finished my coursework. I could only work as one of his many teaching fellows and an auditor of three courses. Like many great teachers, Clark influenced a wide range of students outside his immediate orbit. In a program with other brilliant minds and accomplished lecturers, Clark was the best at drawing students into high level discussion. His presence transformed a somewhat traditional department into a more current and intellectually exciting program. photo: RB 190864213 Keith Moxey / photo @ Francis Lhotelin Keith was the first specialist in Northern Renaissance to take up social history of art and critical theory at a time when tedious, recondite iconography was dominant as a method (and the approach which I used). Generous, unflappable, civil - a Castiglionian gentleman of the new school / photo: courtesy of Francis Lhotelin 67861770 The Ecstasy of Vertumnus, 1978 (Kroller-Muller Museum) 190864945 Dancing to the Segal (-Schwall) Blues Band in Kalrsruhe, 1978 190864948 Jeanne-Claude, Amy Bogert, Robert and Christo In 1981, I brought Jeanne-Claude and Christo to Connecticut College where they spoke on the Wrapped Reichstag and received an honorary degree. 113413454 The Miracle of the Sleeping Beauty, 2006 In this miracle, Stan wakes up and grants three wishes / Church of San Andrea, Rome photo: RB 67076775 2 AM at the Tempio Prosecciano, 2006 photo: RB 67076777 on the scaffolding at San Vitale, 2010 photo: RB 67076773 St. Francis in Ecstasy, 2011 photo: RB 66846097 The Conversion of Saul Rothko, National Gallery, Washington DC / photo: RB 66846098 Pollock, Autumn Rhythm, Met not quite as exciting, in my view, as MOMA's more ethereal mural (No 1, 1950) but a required pilgrimage stop on annual visits to Washington. 91607146 Pollock, Male-Female, Philadelphia Museum 176610965 Attack of the Wellesley Zombie, 2014 190864946 My new office at the University of Nome The faculty offices at Nome are spartan but quite cozy. 190863368 In the beach gazebo at the University of Nome The campus is just two minutes from the beach, even better than Santa Barbara. 190863369 The Inter-Faith Chapel at the University of Nome 190863370 my web designer at 4 years, learning how to wink in the Room of Mysteries in Pompeii, 1992 97777586 my web designer learning that Hell is a fun theme park suited for the whole family There's no place like Hell. All the best and most interesting people are there. The lighting is always kept low, the bonfire never goes out, the dance band never takes a break, and they have a river of Gruner Veltliner. 67072507 web designer, Sept 2007 3 and a half years before he did this web site 98082729