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Kurzbeschreibung
David Freedberg is Director of The Italian Academy for Advanced Studies in America.
He is best known for his work on psychological responses to art, particularly for his studies on iconoclasm and censorship. His more traditional art historical writing has centered on the fields of Dutch and Flemish art as well as seventeenth century Roman art and Nicolas Poussin. He has been involved in several exhibitions of contemporary art. In the present he plans to concentrate his research in the areas of a collaborative project in the neurosciences on the relations between pictorial composition and emotional responses and the cultural history of the architecture and dance of the Pueblo people.
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Biografie
Professor; Director, The Italian Academy for Advanced Studies in America:
Dutch, Flemish, French and Italian painting of the 16th and 17th centuries; 16th and 17th century history of science; theory and criticism
D.Phil., Oxford, 1973. David 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 has centered on the fields of Dutch and Flemish art. Within these fields he has 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)). In more recent years he has turned his attention to seventeenth century Roman art and to the paintings of Nicolas Poussin. He has 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 catalogues and articles, his chief publication in this area is The Eye of the Lynx: Galileo, his Friends, and the Beginnings of Modern Natural History (2002).
Though Freedberg continues to teach in the fields of Dutch, Flemish, French, and Italian seventeenth century art, as well as in historiographical and theoretical areas, he now plans to concentrate his research in two areas: 1) a collaborative project in the neurosciences on the relations between pictorial composition and emotional responses; 2) the cultural history of the architecture and dance of the Pueblo people.
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