Background
Ackerman, James Sloss was born on November 8, 1919 in San Francisco, California, United States. Son of Lloyd S. and Louise (Sloss) Ackerman.
( This collection contains studies written by art histori...)
This collection contains studies written by art historian James Ackerman over the past decade. Whereas Ackerman's earlier work assumed a development of the arts as they responded to social, economic, political, and cultural change, his recent work reflects the poststructural critique of the presumption of progress that characterized Renaissance and modernist history and criticism. In this book he explores the tension between the authority of the past--which may act not only as a restraint but as a challenge and stimulus--and the potentially liberating gift of invention. He examines the ways in which artists and writers on art have related to ancestors and to established modes of representation, as well as to contemporary experiences.The "origins" studied here include the earliest art history and criticism; the beginnings of architectural drawing in the Middle Ages and Renaissance; Leonardo Da Vinci's sketches for churches, the first in the Renaissance to propose supporting domes on sculpted walls and piers; and the first architectural photographs. "Imitation" refers to artistic achievements that in part depended on the imitation of forms established in practices outside the fine arts, such as ancient Roman rhetoric and print media. "Conventions," like language, facilitate communication between the artist and viewer, but are both more universal (understood across cultures) and more fixed (resisting variation that might diminish their clarity). The three categories are closely linked throughout the book, as most acts of representation partake to some degree of all three.
http://www.amazon.com/gp/product/0262011867/?tag=2022091-20
( In this widely acclaimed work, James Ackerman considers...)
In this widely acclaimed work, James Ackerman considers in detail the buildings designed by Michelangelo in Florence and Rome—including the Medici Chapel, the Farnese Palace, the Basilica of St. Peter, and the Capitoline Hill. He then turns to an examination of the artist's architectural drawings, theory, and practice. As Ackerman points out, Michelangelo worked on many projects started or completed by other architects. Consequently this study provides insights into the achievements of the whole profession during the sixteenth century. The text is supplemented with 140 black-and-white illustrations and is followed by a scholarly catalog of Michelangelo's buildings that discusses chronology, authorship, and condition. For this second edition, Ackerman has made extensive revisions in the catalog to encompass new material that has been published on the subject since 1970.
http://www.amazon.com/gp/product/0140211845/?tag=2022091-20
(Palladio (1508-80) combined classical restraint with cons...)
Palladio (1508-80) combined classical restraint with constant inventiveness. In this study, Professor Ackerman sets Palladio in the context of his age - the Humanist era of Michelangelo and Raphael, Titian and Veronese - and examines each of the villas, churches and palaces in turn and tries to penetrate to the heart of the Palladian miracle. Palladio's theoretical writings are important and illuminating, he suggests, yet they never do justice to the intense intuitive skills of "a magician of light and colour". Indeed, as the photographs in this book reveal, Palladio was "as sensual, as skilled in visual alchemy as any Venetian painter of his time", and his countless imitators have usually captured the details, but not the essence of his style. There are buildings all the way from Philadelphia to Leningrad which bear witness to Palladio's "permanent place in the making of architecture", yet he also deserves to be seen on his own terms.
http://www.amazon.com/gp/product/0140135006/?tag=2022091-20
("James Ackerman's essays are nuggets of pure gold in the ...)
"James Ackerman's essays are nuggets of pure gold in the mainstream of American cultural history. They exemplify the very best art history has achieved in our time." -- Irving Lavin, The Institute for Advanced Study, Princeton University These essays by one of America's foremost historians of art and architecture range over theory and criticism, the search for connections between art and science in the Renaissance, and specific works of Renaissance architecture. The largest group of essays, dealing with the character of Renaissance architecture, are models of art historical scholarship in their direct approach to identifying the essentials of a building and the social and intellectual context in which they should be viewed. Another group of essays explores encounters between the traditions of artistic practice and early optics and color theory. The three essays that begin this collection bring to light the intellectual and moral concerns that underlie all of Ackerman's art historical work.
http://www.amazon.com/gp/product/0262011220/?tag=2022091-20
( The eminent architectural historian James Ackerman, aut...)
The eminent architectural historian James Ackerman, author of classic studies on Palladio and Michelangelo, discusses villa building in Western countries at various times and places from ancient Rome to twentieth-century France and America. Ackerman uses the phenomenon of the "country place" as a focus for examining not only the relationship between urban and rural life but also that between building and natural environment and between social, cultural, economic, and political forces and architectural design.
http://www.amazon.com/gp/product/0691002959/?tag=2022091-20
Ackerman, James Sloss was born on November 8, 1919 in San Francisco, California, United States. Son of Lloyd S. and Louise (Sloss) Ackerman.
AB, Yale University, 1941. Master of Arts, New York University, 1947. Doctor of Philosophy, New York University, 1952.
Doctor of Humane Letters, Kenyon College, 1961. Doctor of Fine Arts, Maryland Institute, 1972. Doctor of Fine Arts, Massachusetts College Art, 1984.
Doctor of Humane Letters, University Maryland, 1976. DArch, University Venice, 1985.
Part-time instructor Yale University, 1946-1948. Research fellow American Academy in Rome, 1949-1952. From assistant professor to professor University California, 1952-1960.
Editor in chief Art Bulletin, 1956-1960. Professor fine arts Harvard University, since 1960, chairman department fine arts, 1963-1968, 82-84, Arthur Kingsley Porter professor fine arts, 1984-1990, professor emeritus, 1990. Slade professor fine art, fellow King's College, Cambridge University, 1969-1970.
Visiting fellow Council Humanities, Princeton, 1960-1961. Fellow American Council Learned Societies, 1964-1965, New York Humanities Institute, spring 1992. Mellon senior scholar Canada Center for Architecture, 2001.
Visiting professor fine arts New York University, 1992. Senior fellow National Endowment of the Humanities, 1974-1975. Mellon lecturer National Gallery Art, 1985.
Schapiro professor art history Columbia University, 1989-1990, 91. Visiting professor architecture Massachusetts Institute of Technology, 1996, Harvard, 1996-1997.
( The eminent architectural historian James Ackerman, aut...)
( In this widely acclaimed work, James Ackerman considers...)
( In this widely acclaimed work, James Ackerman considers...)
("James Ackerman's essays are nuggets of pure gold in the ...)
( This collection contains studies written by art histori...)
(Palladio (1508-80) combined classical restraint with cons...)
(The University Of Chicago Press)
(Will be shipped from US. Used books may not include compa...)
(Will be shipped from US. Used books may not include compa...)
(James S. Ackerman,John Newman - The Architecture of Miche...)
(maps)
Trustee The Artists Foundation, president, 1977-1979. Member council of scholars Library of Congress, 1980-1982. Fellow American Academy Arts and Sciences, American Philosophical Society, British Academy, Accademia Olimpica (correspondent), Royal Academy Arts and Sciences, Accademia of St. Luca (Rome, honorary), Ateneo Veneto, Royal Academy Uppsala (correspondent), Bavarian Academy of Sciences (correspondent).
Married Mildred Rosenbaum, April 11, 1947 (deceased January 10, 1986). Children: Anne, Anthony, Sarah. Married Jill Slosburg, August 1987.
1 child, Jesse August.