It was the Summer of Love. The carnival capers of the flower children could not have seemed more distant from the neo-Classical world of late-18th-century European art. Yet that same year — 1967 — saw the publication of a book that collapsed the distance of two centuries into the twinkling of an educated eye.
The art historian Robert Rosenblum, posing as Ingres’s 1826 portrait of the Comte de Pastoret in a painting by Kathleen Gilje, part of a 2006 exhibition at Francis M. Naumann Fine Art. More Sara Krulwich/The New York Times
Robert Rosenblum, in 2000, standing in front of Franz von Lenbach's "Portrait of Peggy Guggenheim" (1903). More Photos >
The book was “Transformations in Late 18th Century Art.” Its author was Robert Rosenblum, a young professor of art history. The book, Mr. Rosenblum’s first, has been a staple ever since. And Mr. Rosenblum, who died in December at 79, went on to become the most consistently edifying art historian of his generation. With a combination of iconoclasm, faultless lucidity and wit, he smashed aesthetic prejudices the way physicists smash atoms. There ought to be a Nobel Prize for that sort of achievement.
Mr. Rosenblum’s life and work are to be honored today at a memorial program at the Guggenheim Museum, where he had been a curator since 1996. But I suspect I’m not the only critic who remembers Mr. Rosenblum almost every time he or she sits down to write. Sometimes I go back to the books. Sometimes their insights fly into my head unbidden, accompanied by images of the work they illuminated.
The art historian Robert Rosenblum, posing as Ingres’s 1826 portrait of the Comte de Pastoret in a painting by Kathleen Gilje, part of a 2006 exhibition at Francis M. Naumann Fine Art. More Sara Krulwich/The New York Times
Robert Rosenblum, in 2000, standing in front of Franz von Lenbach's "Portrait of Peggy Guggenheim" (1903). More Photos >
The book was “Transformations in Late 18th Century Art.” Its author was Robert Rosenblum, a young professor of art history. The book, Mr. Rosenblum’s first, has been a staple ever since. And Mr. Rosenblum, who died in December at 79, went on to become the most consistently edifying art historian of his generation. With a combination of iconoclasm, faultless lucidity and wit, he smashed aesthetic prejudices the way physicists smash atoms. There ought to be a Nobel Prize for that sort of achievement.
Mr. Rosenblum’s life and work are to be honored today at a memorial program at the Guggenheim Museum, where he had been a curator since 1996. But I suspect I’m not the only critic who remembers Mr. Rosenblum almost every time he or she sits down to write. Sometimes I go back to the books. Sometimes their insights fly into my head unbidden, accompanied by images of the work they illuminated.
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