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Jean Michel Massing is a French art historian. He has taught at the University of Cambridge since 1977.
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Jean Michel Massing is a French art historian. He has taught at the University of Cambridge since 1977.
Massing was born in 1948, the son of Adrienne and Joseph Massing, mayor of Sarreguemines (1953–67). After receiving a baccalauréat in philosophy in 1967, he continued his studies at University of Strasbourg, where he graduated in Archaeology and History of Art in 1971. He then completed a master's degree with a thesis on the Temptations of St Anthony (1974). His Doctorat dès lettres (1985) focused on the iconography of the Calumny of Apelles. From 1974 to 1977 Massing had a scholarship at the Warburg Institute of London. [1] In 1975, he married Ann, a painting restorer and painting conservation historian, who taught at the Hamilton Kerr Institute from 1978 to 2006. [2]
Since 1977, Massing has taught in the Department of History of Art at the University of Cambridge, first as Assistant Lecturer (1977–82), Lecturer (1982-1997), Reader (1997–2004) and Professor in History of Art from 2004. He was Head of Department from 1996 to 1998 and from 2012 to 2014. He was elected a Fellow of King's College, Cambridge in 1982 [3] and a Fellow of the Society of Antiquaries in 1991. He has been a Syndic of the Fitzwilliam Museum since 1998, [4] a Trustee of the Stained Glass Museum, Ely since 2003 [5] and was a Committee Member of Kettle’s Yard from 2012-2014. [6] He was made Chevalier (1995) then Officer (2005) in the Ordre des Arts et des Lettres, French Order of Arts and Letters.
He published widely on topics including Classical art and its influence from Antiquity to the Renaissance, astrological imagery, religious imagery (especially the Temptations of St. Anthony, from Schongauer to Bosch) and various iconographies, for example the Ars memorativa, the emergence of the emblem and emblematic symbolism. More recently he has been working on African art from the sixteenth to the nineteenth century, on the relationships between European and non-European cultures from the Middle Ages to the nineteenth century, and on Micronesian art, with articles on the history of cartography and the representations of foreign lands and peoples. Central to his current research is the image of people of African origin in western art. He has been a major contributor to large exhibitions, such as Circa 1492: Art in the Age of Exploration [7] and Encompassing the Globe: Portugal and the World in the 16th and 17th centuries. [8]
He published and edited multiple books: Du texte à l'image. La Calomnie d'Apelle et son iconographie, [9] Splendours of Flanders, Late Medieval Art from Cambridge Collections, [10] Etudes offertes à Jean Schaub. Festschrift Jean Schaub, [11] Erasmian Wit and Proverbial Wisdom. An Illustrated Moral Compendium for François 1er, [12] Studies in Imagery: Text and Images, [13] Studies in Imagery: The World Discovered, [14] Triumph, Protection & Dreams: East African Headrests in Context, [15] The Slave in European Art: From Renaissance Trophy to Abolitionist Emblem, [16] Marfins no Impéro Português/Ivories of the Portuguese Empire, [17] and King's College Chapel, 1515-2015: Art, Music and Religion in Cambridge. [18]
Pop art is an art movement that emerged in the United Kingdom and the United States during the mid- to late-1950s. The movement presented a challenge to traditions of fine art by including imagery from popular and mass culture, such as advertising, comic books and mundane mass-produced objects. One of its aims is to use images of popular culture in art, emphasizing the banal or kitschy elements of any culture, most often through the use of irony. It is also associated with the artists' use of mechanical means of reproduction or rendering techniques. In pop art, material is sometimes visually removed from its known context, isolated, or combined with unrelated material.
Jean-Baptiste Carpeaux was a French sculptor and painter during the Second Empire under Napoleon III.
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Jean-Léon Gérôme was a French painter and sculptor in the style now known as academicism. His paintings were so widely reproduced that he was "arguably the world's most famous living artist by 1880." The range of his oeuvre included historical painting, Greek mythology, Orientalism, portraits, and other subjects, bringing the academic painting tradition to an artistic climax. He is considered one of the most important painters from this academic period. He was also a teacher with a long list of students.
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Jean Seznec was a historian and mythographer whose most influential book, for English-speaking readers, is La Survivance des dieux antiques (1940), translated as The Survival of the Pagan Gods: Mythological Tradition in Renaissance Humanism and Art (1953). Expanding the scope of work by Warburg Institute scholars Fritz Saxl and Erwin Panofsky, Seznec presented a broad view of the transmission of classical representation in Western art.
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Giovanni Battista (Giambattista) Foggini was an Italian sculptor active in Florence, renowned mainly for small bronze statuary.
Michael Hewson Crawford, is a British ancient historian and numismatist.
The Ancient of Days is a design by William Blake, originally published as the frontispiece to the 1794 work Europe a Prophecy. It draws its name from one of God's titles in the Book of Daniel and shows Urizen crouching in a circular design with a cloud-like background. His outstretched hand holds a compass over the darker void below. Related imagery appears in Blake's Newton, completed the next year. As noted in Alexander Gilchrist's 1863 book, Life of William Blake, the design of The Ancient of Days was "a singular favourite with Blake and as one it was always a happiness to him to copy." As such there are many versions of the work extant, including one completed for Frederick Tatham only weeks before Blake's death.
Alexander of Abingdon, also known as Alexander Imaginator or Alexander le Imagineur, was one of the leading sculptors of England around 1300.
David Remfry is a contemporary British painter and curator. He has also been the Eranda Professor of Drawing at the Royal Academy Schools since 2016.
Pyrgoteles was one of the most celebrated gem-engravers of ancient Greece, living in the latter half of the 4th century BC. The esteem in which he was held may be inferred from an edict of Alexander the Great, which placed him on a level with Apelles and Lysippos, by naming him as the only artist who was permitted to engrave signet rings for the king.
Barbara Maria Stafford is an art historian whose research focuses on the developments in imaging arts, optical sciences, and performance technologies since the Enlightenment.
The Pictures Generation, 1974–1984 was an exhibition at The Metropolitan Museum of Art in New York City that ran from April 29 – August 2, 2009. The exhibition took its name from Pictures, a 1977 group show organized by art historian and critic Douglas Crimp (1944–2019) at New York City's Artists Space gallery.
Robin Sinclair Cormack, FSA is a British classicist and art historian, specialising in Byzantine art. He was Professor in the History of Art, Courtauld Institute of Art, University of London, 1991–2004.
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Rupert Williamson has been a Designer and creator of one-off furniture for over 40 years with work in many museums and public collections, together with his work written about and illustrated in many books and articles.In 1999 he received a PhD for his thesis “New Forms of Imagery in Furniture". The Reflections of a Designer working in the Craft Revival of the 1970s and beyond” together with a major collection of his designs.
Mezzetino is an oil on canvas painting in the Metropolitan Museum of Art, New York, by the French Rococo painter Jean-Antoine Watteau. Dated within 1717–1720, Mezzetino forms a full-length single-figure composition, depicting the eponymous character in commedia dell'arte. In the 18th century, Mezzetino was owned by Jean de Jullienne, the friend and patron of Watteau who supervised the four-volume edition of prints after the artist's works, for which the picture was engraved by Benoit Audran the Elder; after Jullienne's death in 1766, it was acquired for the Hermitage in Saint Petersburg, then recently established by Empress Catherine II of Russia. During the Soviet sales in the 1920s and 1930s, Mezzetino was sold to British-American businessman Calouste Gulbenkian; it was later sold to the Wildenstein art firm in Paris and New York, from which it was bought in 1934 by the Metropolitan Museum of Art, where it remains; the institution also owns a preparatory study—a drawing of the man's head.
Richard Marks, is a British art historian. He has held a number of curating and academic posts in art history in the United Kingdom and researched and written extensively on medieval religious images in a variety of media, including stained glass and illuminated manuscripts.
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