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| David A. Freedberg received his B.A. from ] in 1969 and his D.Phil. at ] in 1973. He was a lecturer at ] at the ] and at the ] before moving to Columbia in 1984. He is a Fellow of the ] and of the ]. | David A. Freedberg received his B.A. from ] in 1969 and his D.Phil. at ] in 1973. He was a lecturer at ] at the ] and at the ] before moving to Columbia in 1984. He is a Fellow of the ] and of the ]. | ||
| Freedberg is best known for his work on psychological responses to art, and particularly for his studies on iconoclasm and censorship (see, inter alia, Iconoclasts and their Motives, 1984, and The Power of Images: Studies in the History and Theory of Response, 1989). His more traditional art historical writing originally centered on the fields of Dutch and Flemish art. Within these fields he specialized in the history of Dutch printmaking (see Dutch Landscape Prints of the Seventeenth Century (1980)), and in the paintings and drawings of Bruegel and Rubens (see, for example, The Prints of Pieter Bruegel the Elder (1989) and Rubens: The Life of Christ after the Passion (1984)). He then turned his attention to seventeenth century Roman art and to the paintings of Nicolas Poussin, before moving on to his recent work in the history of science and on the importance of the new cognitive neurosciences for the study of art and its history. He has also been involved in several exhibitions of contemporary art (eg. Joseph Kosuth: The Play of the Unmentionable (1992)). Following a series of important discoveries in Windsor Castle, the Institut de France and the archives of the Accademia dei Lincei in Rome, he has for some time been concerned with the intersection of art and science in the age of Galileo. While much of his work in this area has been published in articles and catalogues, his chief publication in this area is The Eye of the Lynx: Galileo, his Friends, and the Beginnings of Modern Natural History (2002). He is now devoting a substantial portion of his attention to collaborations with neuroscientists working in fields of vision, movement and emotion. | |||
| He is a specialist in art and the neurosciences; Dutch, Flemish, French and Italian painting of the 16th and 17th centuries; 16th and 17th century history of science; and in art theory and criticism. | |||
| ==Publications== | ==Publications== | ||
Revision as of 17:33, 17 September 2007
David Freedberg is Pierre Matisse Professor of the History of Art and Director of the Italian Academy for Advanced Studies in America at Columbia University.
Career
David A. Freedberg received his B.A. from Yale University in 1969 and his D.Phil. at Oxford University in 1973. He was a lecturer at Westfield College at the University of London and at the Courtauld Institute of Art before moving to Columbia in 1984. He is a Fellow of the American Academy of Arts and Sciences and of the American Philosophical Society.
Freedberg is best known for his work on psychological responses to art, and particularly for his studies on iconoclasm and censorship (see, inter alia, Iconoclasts and their Motives, 1984, and The Power of Images: Studies in the History and Theory of Response, 1989). His more traditional art historical writing originally centered on the fields of Dutch and Flemish art. Within these fields he specialized in the history of Dutch printmaking (see Dutch Landscape Prints of the Seventeenth Century (1980)), and in the paintings and drawings of Bruegel and Rubens (see, for example, The Prints of Pieter Bruegel the Elder (1989) and Rubens: The Life of Christ after the Passion (1984)). He then turned his attention to seventeenth century Roman art and to the paintings of Nicolas Poussin, before moving on to his recent work in the history of science and on the importance of the new cognitive neurosciences for the study of art and its history. He has also been involved in several exhibitions of contemporary art (eg. Joseph Kosuth: The Play of the Unmentionable (1992)). Following a series of important discoveries in Windsor Castle, the Institut de France and the archives of the Accademia dei Lincei in Rome, he has for some time been concerned with the intersection of art and science in the age of Galileo. While much of his work in this area has been published in articles and catalogues, his chief publication in this area is The Eye of the Lynx: Galileo, his Friends, and the Beginnings of Modern Natural History (2002). He is now devoting a substantial portion of his attention to collaborations with neuroscientists working in fields of vision, movement and emotion.
Publications
His books include, among others, The Power of Images: Studies in the History and Theory of Response (1989) and The Eye of the Lynx: Art, Science and Nature in the Age of Galileo (2002).
External links
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