Art History

The Lincoln Square Synagogue, the largest Orthodox synagogue built in Manhattan during the last half century, was established in 1964 but moved in 2013 to a new building nearby, designed after the firm of CetraRuddy Architects, won a design competition. The present article is based on interviews with building committee members, the rabbi, and the architects as well as on press accounts and a book about the congregation’s history. The article recounts the process of designing the building, assesses the successful results, and provides future building committee members with ideas, caveats, and evaluations of design procedures.

The call for papers at the conference 'Baroque for a Wide Public', held at the Institute for Art and Visual History at Humboldt-Universitat zu Berlin, in June 2015 noted that histories of art and artists had found a mass public thanks to publications, broadcasts, films, and photography exhibitions.1 These media reveal attitudes about the arts within the competing political systems in Western and Eastern Europe during the second half of the twentieth century. The wide public, however, was not just European. It included American viewers of television programs and films, increasing numbers of museum visitors, and millions of undergraduates who were introduced to art history through survey texts embracing arts from prehistory through the year prior to publication. The present essay attempts to explain why the American approach to art history of the baroque era excluded the art history of Eastern Europe.2It may be assumed that the American ignorance of Eastern European baroque is...

The call for papers at the conference 'Baroque for a Wide Public', held at the Institute for Art and Visual History at Humboldt-Universität zu Berlin, in June 2015 noted that histories of art and artists had found a mass public thanks to publications, broadcasts, films, and photography exhibitions. 1 These media reveal attitudes about the arts within the competing political systems in Western and Eastern Europe during the second half of the twentieth century. The wide public, however, was not just European. It included American viewers of television programs and films, increasing numbers of museum visitors, and millions of undergraduates who were introduced to art history through survey texts embracing arts from prehistory through the year prior to publication. The present essay attempts to explain why the American approach to art history of the baroque era excluded the art history of Eastern Europe. 2 1 Outline and program of the conference are available online: 'Barock für ein breites Publikum. Konstruktionen der Epoche in populären Medien diesseits und jenseits des Eisernen Vorhangs. Baroque for a wide Public. Popular Media and their Constructions of the Epoch on both Sides of the Iron Curtain', Humboldt-Universität zu Berlin, accessed 23

Urban VIII, the Archangel Michael, and a forgotten project for the apse altar ofSt Peter's 17. The Archangel Michael appearing bifore Urban VIII, by Gaspare Mola possibly after a design by the Cavaliered'Arpino. 1626. Bronze, 3.7 em. diam.; reverse. (British Museum, London). 18. The Archangel M ichael bringing the tiara to Urban VI II. 1640. Bronze, 4.3 em. di am.; reverse. (British M usc urn , London ).