Renaissance and Baroque Art & Architecture : The - Ars Libri

187 Pages·2014·3.02 MB·English

Renaissance and Baroque
Art & Architecture

The Libraries of

Professor Craig Hugh Smyth
Late Director of the Institute of Fine Arts, New York University;
Director, I Tatti, Florence;
Ph.D., Princeton University

Professor Robert Munman
Associate Professor Emeritus of the University of Illinois;
Ph.D., Harvard University

2578 titles in circa 3000 physical volumes
Craig Hugh Smyth

Craig Hugh Smyth, 91, Dies; Renaissance
Art Historian
By ROJA HEYDARPOUR
Published: January 1, 2007
Craig Hugh Smyth, an art historian who drew attention to the importance of conservation
and the recovery of purloined art and cultural objects, died on Dec. 22 in Englewood, N.J.
He was 91 and lived in Cresskill, N.J.

The New York Times, 1964
Craig Hugh Smyth
The cause was a heart attack, his daughter, Alexandra, said.
Mr. Smyth led the first academic program in conservation in the United States in 1960 as
the director of the Institute of Fine Arts at New York University.
Long before he began his academic career, he worked in the recovery of stolen art. After
the defeat of Germany in World War II, Mr. Smyth was made director of the Munich
Central Collecting Point, set up by the Allies for works that they retrieved. There, he
received art and cultural relics confiscated by the Nazis, cared for them and tried to return
them to their owners or their countries of origin. He served as a lieutenant in the United
States Naval Reserve during the war, and the art job was part of his military service.
Upon returning from Germany in 1946, he lectured at the Frick Collection and, in 1949,
was awarded a Fulbright research fellowship, which took him to Florence, Italy.
It was in Florence, a city full of art-loving tourists whose presence could be hard on the
works they loved, that his interest in conservation was piqued, said Mariët Westermann,
the director of the Institute of Fine Arts. He concentrated on the late-Renaissance
drawings of Bronzino, best known as a Mannerist painter. While working on his own
research, he took photographs of many other drawings of the 16th century.
“He put Mannerist art back on the map,” Ms. Westermann said.
Mr. Smyth received his Ph.D. in art history from Princeton in 1956, six years after he
became a professor at the Institute of Fine Arts. He wrote many scholarly articles and
books, including, “Mannerism and Maniera” and “Repatriation of Art From the
Collecting Point in Munich After World War II.”
Mr. Smyth was an honorary trustee of the Metropolitan Museum of Art and was the
director of the Harvard University Center for Italian Renaissance Studies at Villa I Tatti
in Florence. He was also chairman of the advisory committee of the J. Paul Getty
Research Institute for the History of Art and the Humanities.
Mr. Smyth is survived by his wife, Barbara Linforth Smyth of Cresskill; two children,
Alexandra, of New York City, and Ned, of Sag Harbor, N.Y.; and two grandchildren.
DICTIONARY OF ART HISTORIANS
Smyth, Craig Hugh [pronounced Sm-ī-th]
Date born: 1915
Place Born: New York, NY
Date died: 2006
Place died: Englewood, NJ
Renaissance and Mannerism scholar and NYU professor; Director, I Tatti, Florence. Smyth was
the son of George Hugh Smyth and Lucy Salome Humeston (Smyth). He received all his degrees
from Princeton University, beginning with his A. B., in 1938 in classics. At Princeton, Charles
Rufus Morey (q.v.) persuaded him to switch to art history for his master's degree (M.F.A.),
granted in 1941. He married Barbara Linforth the same year and joined the National Gallery of
Art as a senior research assistant with fellow classmate Charles Parkhurst (q.v.). There he
participated in the evacuation of works of art from the Gallery to the Biltmore Estate in Asheville,
North Carolina, and Randolph-Macon Women's College, Lynchburg, VA, for safekeeping due to
the war. He left the NGA when he was called for active service in World War II in the U.S. Naval
Reserve, rising to Lieutenant. With the surrender of Germany, Smyth was named director of the
U.S. army's Central Art Collecting Point in Munich and placed in charge of cultural relics. He
assisted in converting the former NSDP (Nazi) party headquarters into what is now the
Zentralinstitut für Kunstgeschichte, receiving a U.S. Army Commendation medal for his service.
Smyth was discharged in 1946 and accepted a lecturer position at the Frick Collection, New
York. He was awarded a senior Fulbright Research fellowship in 1949-1950 traveling to
Florence. There he focused on the drawings of Bronzino, developing an appreciation for the
conservation of art as well. Smyth was appointed assistant professor at New York University in
1950. In 1951 he became the Institute of Fine Art’s acting director and the permanent, second
director, succeeding its founder, Walter W. S. Cook (q.v.). He was promoted to associate
professor in 1953. His Ph.D., however, was not granted until 1956 (again, from Princeton), with a
dissertation on Bronzino. He was promoted to professor at NYU in 1957. The following year he
renovated the James B. Duke House, a gift to the University, by the architect Robert Venturi,
moving the Institute into these quarters, only blocks from the Metropolitan Museum of Art. There
he developed the first university-based program in conservation in the country, administrated by
the Institute. He was art historian in residence American Academy in Rome, 1959-60. In 1961
Smyth formed part of an important session at the Twentieth International Congress of the History
of Art re-evaluating Mannerism. The result was his 1963 book Mannerism and Maniera, one of
the first major revisions of Mannerist theory since the work of Walter Friedländer (q.v.). Together
with his friend Henry Millon (q.v.) the two published a series of articles on Michelangelo’s
architecture between 1969 and 1983, fundamentally changing the thinking on Michelangelo’s
contributions to the design of St. Peter’s. Smyth was a visiting scholar at the Institute for
Advanced Study in Princeton, NJ, for 1971, publishing his Bronzino as Draughtsman the same
year. In 1973 he accepted the directorship of Harvard University's Villa I Tatti Center for Italian
Renaissance Studies in Florence and the rank of professor of fine arts at Harvard. In 1982 Smyth
was appointed chair of the advising committee to the J. Paul Getty Research Institute for the
History of Art and Humanities. He retired as emeritus from Harvard and I Tatti in 1985 after
launching the periodical I Tatti Studies: Essays in the Renaissance. Smyth was appointed Samuel
Kress professor at the Center for Advanced Study in Visual Arts (CASVA), National Gallery Art
in Washington, DC for the 1987-1988 year, culminating in the symposium "Michelangelo
Drawings." He delivered the Gerson lectures on his experiences in art reparation, published in
1988. In 1999 he retired from the Getty Center; the same year the Institute of Fine Arts created
the Craig Hugh Smyth professorship. He final years were spent at his Cresskill, NJ, home. A
Craig Hugh Smyth grant for research at I Tatti was named in his honor during his lifetime. He
died at age 91 after suffering a heart attack.
Smyth's Mannerisma and Maniera was the seminal work in his career, published in a second
edition in 1992. In it, he argues that the second manifestation of Mannerism, 1530s, stemmed
from an aesthetic separate and antithetical Tuscan Maniera of the 1530s.
Home Country: United States
Sources: Bazin, Germain. Histoire de l'histoire de l'art: de Vasari à nos jours. Paris: Albin
Michel, 1986, p. 190; Posner, Donald. "Introduction." Friedlaender, Walter. Mannerism and Anti-
Mannerism in Italian Painting. 2nd ed. New York: Columbia University Press, 1965, pp. xv;
[transcript] Art Historian: Craig Hugh Smyth. Getty Center for the History of Art and the
Humanities, 1994; Art Historian: Craig Hugh Smyth. Los Angeles: Oral History Program,
University of California, Los Angeles, and the Getty Center for the History of Art and the
Humanities, 1994; Lauterbach, Iris, ed. Das Zentralinstitut für Kunstgeschichte. Munich: Das
Zentralinstitut, 1997; [obituaries:] Westermann, Mariët. "Craig Hugh Smyth, In Memoriam."
Institute of Fine Arts (website)
http://www.nyu.edu/gsas/dept/fineart/ifa/news/smyth_inmemoriam.htm; Heydarpour, Roja.
"Craig Hugh Smyth, 91, Dies, Renaissance Art Historian." New York Times, January 1, 2007, p.
7; Cropper, Elizabeth. "Introduction." Mannerism and Maniera. 2nd ed. Vienna: ISRA, 1992, pp.
12-21.
Bibliography: [complete bibliography:] Renaissance Studies in Honor of Craig Hugh Smyth.
Florence: Giunti Barbèra, 1985, vol. 1, pp. vii-viii; [dissertation:] Bronzino Studies (with a Book
of) Illustrations. Princeton University, 1956; Mannerism and Maniera. Locust Valley, NY: J. J.
Augustin,1963; edited, and Lukehart, Peter M. The Early Years of Art History in the United
States: Notes and Essays on Departments, Teaching, and Scholars. Princeton, NJ: Dept. of Art
and Archaeology, Princeton University, 1993; Bronzino as Draughtsman; an Introduction.
Locust Valley, NY: J. J. Augustin 1971; and Garfagnini, Gian Carlo. Florence and Milan:
Comparisons and Relations: Acts of Two Conferences at Villa I Tatti in 1982-1984. 2 vols.
Florence: La Nuova Italia editrice, 1989; Repatriation of Art from the Collecting Point in Munich
after World War II. The Hague: Gary Schwartz/SDU, 1988; and Millon, Henry A. Michelangelo
architetto: la facciata di San Lorenzo e la cupola di San Pietro. Milan: Olivetti, 1988, English,
Michelangelo Architect: the Facade of San Lorenzo and the Drum and Dome of St. Peter's.
Milan: Olivetti, 1988.
Professor Robert Munman
CURRICULUM VITAE: ROBERT MUNMAN

Institutions Attended and Degrees:

University of California, Los Angeles, 1958-1962: B.A.

Harvard University, 1962-1968: Ph.D.

Dissertation: Venetian Renaissance Tomb Monuments (1968)

Primary Fields of Study: Fifteenth- and Sixteenth-century Italy

Secondary Fields of Study: European Baroque; Northern Renaissance

Academic Positions:

Lecturer, Department of Art History, University of California
Riverside, 1968-70

Assistant Professor, Department of Art History and Archaeology, University of
Missouri, Columbia, 1970-74

Curator, Post-Classical Art, University of Missouri Museum of Art, 1970-71

Assistant Professor, Department of Art History, University of Illinois at Chicago, 1974-
80

Associate Professor, History of Architecture and Art Department (now Department of
Art History), University of Illinois at Chicago, 1980-2009

Department Chairperson, 1984-1990

Director of Graduate Studies, 1996-2000

Director of Undergraduate Studies, 2002- 2009
Associate Professor Emeritus, Department of Art History, University of Illinois at
Chicago, 2009-present
Fellowships and Grants:

Teaching Fellowship, Harvard University, 1965-6
Bernard Berenson Travel Grant, Harvard University, 1967
Italian Institute of Culture Study Grant, 1967
Fulbright-Hays Travel Grant (not used due to other awards), 1967
Summer Research Fellowship, University of Missouri, 1971
Summer Research Fellowship, University of Missouri, 1972
Summer Research Fellowship, University of Illinois, 1976
Summer Research Fellowship, University of Illinois, 1978
Grant-in-Aid, American Philosophical Society, 1983
National Endowment for the Humanities Travel-to-Collections Grant, 1987
Grant-in-Aid, American Philosophical Society, 1989

Teaching Awards:

Silver Circle Award for Excellence in Teaching, University of Illinois at Chicago,
1979

Council for Excellence in Teaching and Learning (CETL) Award, University of
Illinois at Chicago, 1998

University of Illinois Alumni Association Flame Award for Excellence in Teaching,
University of Illinois at Chicago, 2001

Publications:

Articles:

"Two Lost Venetian Statues," Burlington Magazine, June, 1970, 386f.

"A Greek Myth Through Renaissance Eyes," Muse, 1971, 43-47

"The Monument to Vittore Cappello of Antonio Rizzo," Burlington Magazine, 113,
1971, 138-145

"Antonio Rizzo's Sarcophagus for Nicoló Tron: A Closer Look," Art Bulletin, March,
1973, 77-85

"Giovanni Buora: the 'Missing' Sculpture," Arte Veneta, 1976, 41-61

"The Lombardo Family and the Tomb of Giovanni Zanetti," Art Bulletin, March, 1977,
28-38

"The Last Work of Antonio Rizzo," Arte Lombarda, 1977, 88-99

"The Sculpture of Giovanni Buora: A Supplement," Arte Veneta, 1979, 19-28

"The Evangelists from the Cathedral of Florence: A Renaissance Arrangement
Recovered," Art Bulletin, June, 1980, 207-17

"Urbano da Cortona: Corrections and Contributions," in Verrocchio and Late
Quattrocento Italian Sculpture (ed., Steven Bule, Alan Phipps Darr, Fiorella Superbi
Gioffredi), Brigham Young University, The Harvard University Center for Italian
Renaissance Studies at Villa I Tatti. Series: Bibliotheca), Florence, 1992, 225-41

"I monumenti funebri rinascimentali -- e gotici -- di Jacopo della Quercia," in Ilaria del
Carretto e il suo monumento: la donna nell'arte, la cultura e la società del '400, Atti del
Convegno Internazionale di Studi, 15-16-17 Settembre 1994, Palazzo Ducale, Lucca,
Lucca, 1995, 57-78

Two Entries: Drawings in Midwestern Collections. Vol. I, Early Works. A Corpus
Compiled by the Midwest Art History Society, Burton L.Dunbar and Edward J.Olszewski,
eds., University of Missouri Press, Columbia and London, 1996, pp.72-6; 95-101

"Two Drawings by Andrea Mantegna: A Simili/Modelli Problem Reconsidered," Momus
(Rivista di Studi Umanistici), V-VI, 1996, pp.5-25

"Tombs", entry in Encyclopedia of the Renaissance, Charles Scribner's Sons (in
association with the Renaissance Society of America), New York, 1999, vol.6, 149-152.

Fifty-seven Entries (and associate editor): A Corpus of Drawings in Midwestern
Collections; Sixteenth-Century Italian Drawings. Two Volumes, Edward J.Olszewski,
ed., Harvey Miller Publishers, Brepols, n.v., Turnhout, Belgium, 2008
Forty-four entries (and co-editor): A Corpus of Drawings in Midwestern Collections;
Sixteenth-Century Northern European Drawings. Burton L. Dunbar, Edward J.
Olszewski, Robert Munman, eds., Harvey Miller Publishers, Brepols, n.v., Turnhout,
Belgium, 2012

Reviews:

Debra Pincus, The Arco Foscari: The Building of a Triumphal Gateway in Fifteenth
Century Venice (Garland Press, 1976), in Art Bulletin, LXI, December, 1979, 637-42

Anne Markham Schulz, Antonio Rizzo, Sculptor and Architect (Princeton University
Press), 1983, in Renaissance Quarterly, XXXVII, 3, 1984, 466-71

Patricia Fortini Brown, Private Lives in Renaissance Venice: Art, Architecture, and the
Family (Yale University Press, 2004), in Journal of the Society of Architectural
Historians, LXIV, 3, Sep., 2005, 374f.

Editorial Work:

Editor, L'architettura veneziana del primo rinascimento, by John McAndrew, Marsilio,
Venice, 1983 (Second edition, in Italian, with extensive textural and bibliographic
corrections, of McAndrew's posthumously produced Venetian Architecture of the Early
Renaissance, Cambridge, Mass. and London, MIT Press, 1980)

Associate Editor, A Corpus of Drawings in Midwestern Collections; Sixteenth-Century
Italian Drawings. Two Volumes, Edward J.Olszewski, ed., Harvey Miller Publishers,
Brepols, n.v., Turnhout, Belgium, vol. I, 2008, vol. II, 2012

Monograph:

Optical Corrections in the Sculpture of Donatello, in Transactions of the American
Philosophical Society, vol.75, part 2, 1985

Book:

Sienese Renaissance Tomb Monuments, American Philosophical Society, Philadelphia,
Vol. 205, Memoirs Series, 1993