Richard Shone - The Books that Shaped Art History

COLIN AMERY is a writer and historian with a longstanding history of involvement in conservation. He is an Honorary Fellow of the Royal Institute of British Architects and for twelve years was Director of the World Monuments Fund in Britain. He chairs the Fabric Advisory Committee of St Georges Chapel, Windsor Castle.

CARMEN C. BAMBACH is Curator of Drawings and Prints at the Metropolitan Museum of Art, New York, and was Andrew W. Mellon Professor from 2010 to 2012 at the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC. She is the author of Drawing and Painting in the Italian Renaissance Workshop: Theory and Practice, 13001600 (1999) and Un eredit difficile: I disegni ed i manoscritti di Leonardo tra mito e documento (2009).

JOHN ELDERFIELD curated Matisse: Radical Invention, 191317 (2010) and De Kooning: A Retrospective (2011) at the Museum of Modern Art, New York, where he is Chief Curator Emeritus of Painting and Sculpture. He is also a consultant for exhibitions at the Gagosian Gallery, senior adviser to the website Art.sy, and is preparing an exhibition of Czannes portraits to be shown in London, Paris and Washington, DC.

ALEXANDRA GAJEWSKI is a Senior Researcher at the Centro de Ciencias Humanas y Sociales, CSIC, Madrid. She has taught at various London universities, at the Victoria and Albert Museum, London, and as Visiting Assistant Professor at the University of Michigan. She is a Fellow of the Society of Antiquaries. Her research concentrates on art and architecture in medieval Europe between the twelfth and fourteenth centuries, especially on questions of monasticism, cult, patronage and the role of women.

BORIS GROYS is the Global Distinguished Professor of Russian and Slavic Studies at New York University and Senior Research Fellow at the Karlsruhe University of Arts and Design. His publications include History Becomes Form and Going Public (both 2010). He curated the Russian Pavilion at the 54th Venice Biennale (2011).

JEFFREY HAMBURGER is the Kuno Francke Professor of German Art and Culture at Harvard University. A fellow of the Medieval Academy of America, the American Academy of Arts and Sciences and the American Philosophical Society, he has published widely on the history of medieval manuscript illumination, mysticism and image theory, as well as the art and architecture of female monasticism.

PAUL HILLS lectured at Warwick University from 1976 to 1998 and was appointed Visiting Professor at the Courtauld Institute of Art, London, in 2003. He has lectured on Renaissance art at international venues including Harvard University, the Prado, the Louvre and the National Gallery in London. His books include Venetian Colour: Marble, Mosaic, Painting and Glass, 12501550 (1999) and The Light of Early Italian Painting (1987).

ANNA LOVATT is Lecturer in Modern and Contemporary Art History at the University of Manchester. Her research focuses on drawing in the context of post-Minimal and Conceptual art and she is completing a book on the subject. She has published in Artforum, Art History, October, Oxford Art Journal and Tate Papers.

SUSIE NASH is the Deborah Loeb Brice Professor of Renaissance Art at the Courtauld Institute of Art, London, where she has taught since 1993. She has published on panel painting, manuscript illumination, sculpture and other media from across northern Europe in the fourteenth and fifteenth centuries.

LOUISE RICE, Associate Professor of Art History at New York University, is a specialist in the art and architecture of Baroque Italy. She is the author of The Altars and Altarpieces of New St. Peters (1997) and in her current research focuses on aspects of seventeenth-century Roman print culture.

RICHARD SHONE is the author of a number of books on French and British art, including Bloomsbury Portraits (1976), The Post-Impressionists (1979), Walter Sickert (1988) and Sisley (1993). He contributed to the exhibition catalogue Sensation (1997) and organised The Art of Bloomsbury for the Tate Gallery (1999). He was appointed Editor of The Burlington Magazine in 2003.

JOHN-PAUL STONARD is an art historian and former Contributing Editor of The Burlington Magazine. His book Fault Lines: Art in Germany 194555 was published by Ridinghouse in 2007. He has worked as a Visiting Lecturer at the Courtauld Institute of Art, London, and from 2010 to 2011 was a Senior Fellow at the National Gallery of Art, Washington, DC. He has published widely on modern and contemporary German and British art, and is a regular contributor to The Burlington Magazine, TheTimes Literary Supplement and Artforum.

DAVID SUMMERS has been the William R. Kenan, Jr. Professor of Art Theory and Italian Renaissance Art at the University of Virginia since 1984. He taught at Bryn Mawr College and the University of Pittsburgh in Pennsylvania before accepting an appointment to the Center for Advanced Studies at the University of Virginia in 1981. His publications include Vision, Reflection, and Desire in Western Painting (2007) and Real Spaces: World Art History and the Rise of Western Modernism (2003).

RICHARD VERDI OBE was the Director of the Barber Institute of Fine Arts at the University of Birmingham from 1990 to 2007. He has curated many exhibitions, including Saved!: 100 Years of the National Art Collections Fund, which featured around four hundred masterpieces that spanned four thousand years of art history. His publications include The Barber Institute of Fine Arts (2006) and Czanne (1992).

MARIT WESTERMANN became Vice President of the Andrew W. Mellon Foundation in 2010, after serving as Associate Director of Research at the Clark Art Institute in Williamstown, Director of New York Universitys Institute of Fine Arts, and Provost of New York University Abu Dhabi. She has published widely on Netherlandish art, particularly the history of painting.

CHRISTOPHER S. WOOD is Professor of the History of Art at Yale University. He has taught as a visiting professor at the University of California, Berkeley, Vassar College in New York and the Hebrew University, Jerusalem. He is the author of Albrecht Altdorfer and the Origins of Landscape (1993), Forgery, Replica, Fiction: Temporalities of German Renaissance Art (2008) and (with Alexander Nagel) Anachronic Renaissance (2010).

ALASTAIR WRIGHT is Fellow in Art History at St Johns College, Oxford. Previously he taught at Princeton, and has been the recipient of a number of awards including a fellowship at the Getty Research Institute. His publications include Matisse and the Subject of Modernism (2004) and GauguinsParadise Remembered: The Noa Noa Prints (2010). His research interests include Neo-Impressionism and the work of Ford Madox Brown.

In this section, the term edition refers to the first publication and any subsequent version of the book that incorporates substantial modifications or additions to the original. In most cases these are signalled by the publisher, although there is no agreed definition between publishers as to what constitutes a new edition. Reprinted or reissued volumes are not considered new editions here.

EMILE MLE (18621954)

BIOGRAPHY

Emile Mle was a medievalist specialising in French Gothic art and architecture. He was a pioneering figure in the iconographic approach to art history the study of the sources and meaning of pictorial elements, as opposed to pictorial form. From 1886 he taught literature at secondary schools, where he began lecturing on art-historical subjects in 1892. His doctoral thesis was finished in 1898 and published as Lart religieux du XIIIe sicle en France