| Years | Lecturer | Title | Published |
|---|
| 1926–1927 | Gilbert Murray | The Classical Tradition in Poetry | 1927 |
| 1927–1928 | Eric Maclagan | Italian Sculpture of the Renaissance | 1935 |
| 1929–1930 | H. W. Garrod | Poetry and the Criticism of Life | 1931 |
| 1930–1931 | Arthur Mayger Hind | Rembrandt | 1932 |
| 1931–1932 | Sigurður Nordal | The Spirit of Icelandic Literature (8 lectures: ???—The Old Poetry—The Sagas of Iceland—...—The World of Reality—The World of Dreams...) [1] [2] [3] [4] | |
| 1932–1933 | T. S. Eliot | The Use of Poetry and the Use of Criticism: Studies in the Relation of Criticism to Poetry in England(The Relation of Criticism and Poetry—Poetry and Criticism in the Time of Elizabeth—The Classical Tradition: Dryden and Johnson—The Theories of Coleridge and Wordsworth—The Practice of Shelley and Keats—Arnold and the Academic Mind—The Modern Mind: I—The Modern Mind: II) [1] [5] | 1933 |
| 1933–1934 | Laurence Binyon | The Spirit of Man in Asian Art | 1935 |
| 1935–1936 | Robert Frost | The Renewal of Words (The Old Way to Be New—Vocal Imagination, the Merger of Form and Content—Does Wisdom Signify—Poetry as Prowess (Feat of Words)—Before the Beginning of a Poem—After the End of a Poem) [6] | |
| 1936–1937 | Johnny Roosval | The Poetry of Chiaroscuro | |
| 1937–1938 | Chauncey Brewster Tinker | Painter and Poet: Studies in the Literary Relations of English Painting | 1938 |
| 1938–1939 | Sigfried Giedion | Space, Time and Architecture: The Growth of a New Tradition | 1941 |
| 1939–1940 | Igor Stravinsky | Poetics of Music in the Form of Six Lessons | 1942 |
| 1940–1941 | Pedro Henríquez Ureña | Literary Currents in Hispanic America | 1945 |
| 1947–1948 | Erwin Panofsky | Early Netherlandish Painting: Its Origins and Character | 1953 |
| 1948–1949 | C. M. Bowra | The Romantic Imagination | 1949 |
| 1949–1950 | Paul Hindemith | A Composer's World: Horizons and Limitations | 1952 |
| 1950–1951 | Thornton Wilder | The American Characteristics in Classic American Literature (Adapting an Island Language to a Continental Thought—Thoreau, or the Bean-Row in the Wilderness—Emily Dickinson, or the Articulate Inarticulate—Walt Whitman and the American Loneliness) [7] [8] [9] | |
| 1951–1952 | Aaron Copland | Music and Imagination | 1952 |
| 1952–1953 | E. E. Cummings | i: six nonlectures | 1953 |
| 1953–1954 | Herbert Read | Icon and Idea: The Function of Art in the Development of Human Consciousness | 1955 |
| 1955–1956 | Edwin Muir | The Estate of Poetry | 1962 |
| 1956–1957 | Ben Shahn | The Shape of Content | 1957 |
| 1957–1958 | Jorge Guillén | Language and Poetry: Some Poets of Spain | 1961 |
| 1958–1959 | Carlos Chávez | Musical Thought | 1961 |
| 1960–1961 | Eric Bentley | The Springs of Pathos [10] | |
| 1961–1962 | Félix Candela | The Paradox of Structuralism, Comments on the Collaboration Between Architects and Engineers, The Creative Process and the Expressiveness of Inner Space [11] | |
| Buckminster Fuller | | |
| Pier Luigi Nervi | Aesthetics and Technology in Building [12] | 1965 |
| 1962–1963 | Leo Schrade | Tragedy in the Art of Music | 1964 |
| 1964–1965 | Cecil Day-Lewis | The Lyric Impulse | 1965 |
| 1966–1967 | Meyer Schapiro | Romanesque Architectural Sculpture | 2006 |
| 1967–1968 | Jorge Luis Borges | This Craft of Verse | 2000 |
| 1968–1969 | Roger Sessions | Questions about Music | 1970 |
| 1969–1970 | Lionel Trilling | Sincerity and Authenticity | 1972 |
| 1970–1971 | Charles Eames | Problems Relating to Visual Communication and the Visual Environment | |
| 1971–1972 | Octavio Paz | Children of the Mire: Modern Poetry from Romanticism to the Avant-Garde | 1974 |
| 1973–1974 | Leonard Bernstein | The Unanswered Question | 1976 |
| 1974–1975 | Northrop Frye | The Secular Scripture: A Study of the Structure of Romance | 1976 |
| 1977–1978 | Frank Kermode | The Genesis of Secrecy: On the Interpretation of Narrative | 1979 |
| 1978–1979 | James Cahill | The Compelling Image: Nature and Style in Seventeenth-Century Chinese Painting | 1982 |
| 1979–1980 | Helen Gardner | In Defence of the Imagination | 1982 |
| 1980–1981 | Charles Rosen | The Romantic Generation | 1995 |
| 1981–1982 | Czesław Miłosz | The Witness of Poetry | 1983 |
| 1983–1984 | Frank Stella | Working Space | 1986 |
| 1985–1986 | Italo Calvino | Six Memos for the Next Millennium | 1988 |
| 1987–1988 | Harold Bloom | Ruin the Sacred Truths: Poetry and Belief from the Bible to the Present | 1989 |
| 1988–1989 | John Cage | I-VI | 1990 |
| 1989–1990 | John Ashbery | Other Traditions | 2000 |
| 1992–1993 | Umberto Eco | Six Walks in the Fictional Woods | 1994 |
| 1993–1994 | Luciano Berio | Remembering the Future | 2006 |
| 1994–1995 | Nadine Gordimer | Writing and Being | 1995 |
| 1995–1996 | Leo Steinberg | "The Mute Image and the Meddling Text" | |
| 1997–1998 | Joseph Kerman | Concerto Conversations | 1999 |
| 2001–2002 | George Steiner | Lessons of the Masters(published as: Lasting Origins—Rain of Fire—Magnificus—Maîtres à Penser—On Native Ground—Unaging Intellect) [13] | 2003 |
| 2003–2004 | Linda Nochlin | Bathers, Bodies, Beauty: The Visceral Eye(published as: Renoir's Great Bathers: Bathing as Practice, Bathing as Representation—Manet's Le Bain: The Déjuner and the Death of the Heroic Landscape—The Man in the Bathtub: Picasso's Le Meutre and the Gender of Bathing—Monet's Hôtel des Roches Noires: Anxiety and Perspective at the Seashore—Real Beauty: The Body in Realism—More Beautiful than a Beautiful Thing: The Body, Old Age, Ruin, and Death) [14] | 2006 |
| 2006–2007 | Daniel Barenboim | Sound and Thought (published in Music Quickens Time as: Sound and Thought—Listening and Hearing—Freedom of Thought and Interpretation—The Orchestra—A Tale of Two Palestinians—Finale) [15] [16] | 2008 |
| 2009–2010 | Orhan Pamuk | The Naive and the Sentimental Novelist(What Happens to Us as We Read Novels—Mr. Pamuk, Did You Really Live All of This?—Character, Time, Plot—Pictures and Things—Museums and Novels—The Center) [17] | 2010 |
| 2011–2012 | William Kentridge | Six Drawing Lessons(In Praise of Shadows—A Brief History of Colonial Revolts—Vertical Thinking: A Johannesburg Biography—Practical Epistemology: Life in the Studio—In Praise of Mistranslation—Anti-Entropy) [18] | 2012 |
| 2013–2014 | Herbie Hancock | The Ethics of Jazz(The Wisdom of Miles Davis—Breaking the Rules—Cultural Diplomacy and the Voice of Freedom—Innovation and New Technologies—Buddhism and Creativity—Once upon a Time...) [19] | |
| 2015–2016 | Toni Morrison | The Origin of Others - The Literature of Belonging(Romancing Slavery—Being and Becoming the Stranger—The Color Fetish—Configurations of Blackness—Narrating the Other—The Foreigner's Home) [20] | 2017 |
| 2017–2018 |
Frederick Wiseman | Wide Angle: The Norton Lectures on Cinema
(The Search for Story, Structure, and Meaning in Documentary Film: Part I—The Search for Story, Structure, and Meaning in Documentary Film: Part II) [21] [22] | |
| Agnès Varda | (The 7th Art and Me—Crossing the Borders) [23] [24] | |
| Wim Wenders | (Poetry in Motion—The Visible and the Invisible) [25] [26] | |
| 2021–2022 | Laurie Anderson | Spending the War Without You: Virtual Backgrounds [27] | |
| 2023–2024 | Viet Thanh Nguyen | To Save and To Destroy: On Writing as an Other [28] | |
