Richard Woodfield
He was the founder/editor of the Journal of Art Historiography, based in Birmingham, and Routledge’s Studies in Art Historiography, which is the companion book series to the journal.
Prior to retirement in January 2005 he was School Research Professor for the Nottingham Trent School of Art and Design, where he is now Emeritus Professor. He was Honorary Senior Research Fellow in the Department of Art History in the University of Glasgow from November 2007 to October 2013 and has had the same role in the Art History Department of the University of Birmingham since January 2011.
His interests include the work of E. H. Gombrich and Viennese art historiography.
He has edited Gombrich on Art and Psychology (1986), Gombrich's Reflections on the History of Art (1987), The Essential Gombrich (1996), Ernst Gombrich, Dal mio tempo: Città, maestri, incontri (1999) and constructed the Gombrich Archive www.gombrich.co.uk. He has also published books on Riegl and Warburg and many articles and reviews. A selection of his papers and his bibliography are available on this site.
Prior to retirement in January 2005 he was School Research Professor for the Nottingham Trent School of Art and Design, where he is now Emeritus Professor. He was Honorary Senior Research Fellow in the Department of Art History in the University of Glasgow from November 2007 to October 2013 and has had the same role in the Art History Department of the University of Birmingham since January 2011.
His interests include the work of E. H. Gombrich and Viennese art historiography.
He has edited Gombrich on Art and Psychology (1986), Gombrich's Reflections on the History of Art (1987), The Essential Gombrich (1996), Ernst Gombrich, Dal mio tempo: Città, maestri, incontri (1999) and constructed the Gombrich Archive www.gombrich.co.uk. He has also published books on Riegl and Warburg and many articles and reviews. A selection of his papers and his bibliography are available on this site.
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Journal of Art Historiography by Richard Woodfield
A Manual for Source Work in the History
of Early Modern European Art Theory
By Julius Schlosser
Translated by Karl Johns
Edited by Karl Johns and Barbara Gable
FIRST ENGLISH EDITION © 2023 Ariadne Press
(Studies in Austrian literature, culture and thought. Translation series.)
Burcu Dogramaci (Ludwig Maximilian University of Munich), ‘Trading Modernity. Female gallerists at work for the art of their time in the first half of the 20th Century’ 29S1/BD1
Ursula Drahoss (Albertina Museum in Vienna), ‘Anna Spitzmüller (1903–2001), the first female custodian at the Albertina Museum in Vienna’ 29S1/UD1
Patricia García-Montón González (University of Warsaw), ‘Beyond the historiographical pantheon. Women and the Comité International d’Histoire de l’Art after 1945’ 29S1/PG1
Susanne Hehenberger (Kunsthistorisches Museum Wien), ‘Friderike Klauner (1916–1993). Director of the Picture Gallery and First Director of the Kunsthistorisches Museum Wien. A biographical sketch’ 29S1/SH1
Gloria Köpnick (Gerda Henkel Stiftung) and Rainer Stamm (Oldenburg State Museum of Art and Cultural History), ‘Johanna Hofmann-Stirnemann. The first female museum director in Germany’ 29S1/KS
Anna Kopócsy (Pázmány Péter Catholic University in Hungary), ‘Edith Hoffmann (1888-1945): the first successful female art historian in Hungary’ 29S1/AK1
Andrea Meyer (Technische Universität Berlin), ‘Towards a modern museum. Women in the German museum association’ 29S1/AM1
Julia Modes (Karlsruhe University of Arts and Design), ‘Rosalind Krauss. The streak of defiance’ 29S1/JM1
Marta Smolińska (University of the Arts in Poznań), ‘Helena Blum (1904-1984) — a Polish art historian in the gender gap’ 29S1/MS1
Jo Ziebritzki (Heidelberg University), ‘The international spread of Asian and Islamic art histories: an intersectional approach to trajectories of the Vienna School (c. 1920 – 1970)’ 29S1/JZ1
decades having been a fundamental component of many research institutes’ activities and at the same time acquiring a predominant role in the vast world of protection, enhancement and dissemination of cultural patrimony. Yet, a fundamental primary consideration regarded an obvious direction for the future of the DH in the context of striving for carbon neutrality: the necessity for institutions to push forward with mass digitisation so that scholars do not need to fly around the world to study unique objects such as manuscripts, and the move to exclusively digital publishing in order to avoid generating carbon footprints for books and journals.
Hans Christian Hönes (University of Aberdeen) ‘Painting Art History’. Review of: Léa Kuhn, Gemalte Kunstgeschichte. Bildgenealogien in der Malerei um 1800, Paderborn: Fink 2020, ISBN-13: 978-3-7705-6453-8, 333pp., EUR 69,00. 25/HCH2
Hans Christian Hönes (University of Aberdeen), ‘Out of the shadows? Discovering Mary Warburg’. Review of: Hedinger, Bärbel; Diers, Michael (Eds.): Mary Warburg. Porträt einer Künstlerin. Leben, Werk, München: Hirmer Verlag 2020, ISBN-13: 978-3-7774-3614-2, 535 S., EUR 68.00. 25/HCH1
Link correction for Eckart Marchand (Warburg Institute), 'Apostles of Good Taste? The use and perception of plaster casts in the Enlightenment' 25/EM1: https://arthistoriography.files.wordpress.com/2021/11/marchand.pdf
The Art Market in Rome in the Eighteenth Century: A Study in the Social History of Art, edited by Paolo Coen, Leiden and Boston: Brill, 2018 [Studies in the History of Collecting and Art Markets, vol. 5], xii + 234 pp., 80 colour illus., €116/$134 hdbk, ISBN 978-90-04-33699-5.
Michelangelo’s Design Principles, Particularly in Relation to Those of Raphael by Erwin Panofsky, edited by Gerda Panofsky, translated by Joseph Spooner, Princeton and Oxford: Princeton University Press, 2020, ISBN 978-0-691-6526-4
Trevor Stark, Total Expansion of the Letter: Avant-Garde Art and Language after Mallarmé,Cambridge: MIT Press, 2020, 440pp., 10 col. plates, 60 b. & w. illus., $£45.00 hdbk, ISBN 9780262043717.
Andrei Pop, A Forest of Symbols: Art, Science, and Truth in the Long Nineteenth Century, Cambridge: MIT Press, 15 col. plates, 101 b. & w. illus., £25.00 hdbk, ISBN 9781935408369
A Manual for Source Work in the History
of Early Modern European Art Theory
By Julius Schlosser
Translated by Karl Johns
Edited by Karl Johns and Barbara Gable
FIRST ENGLISH EDITION © 2023 Ariadne Press
(Studies in Austrian literature, culture and thought. Translation series.)
Burcu Dogramaci (Ludwig Maximilian University of Munich), ‘Trading Modernity. Female gallerists at work for the art of their time in the first half of the 20th Century’ 29S1/BD1
Ursula Drahoss (Albertina Museum in Vienna), ‘Anna Spitzmüller (1903–2001), the first female custodian at the Albertina Museum in Vienna’ 29S1/UD1
Patricia García-Montón González (University of Warsaw), ‘Beyond the historiographical pantheon. Women and the Comité International d’Histoire de l’Art after 1945’ 29S1/PG1
Susanne Hehenberger (Kunsthistorisches Museum Wien), ‘Friderike Klauner (1916–1993). Director of the Picture Gallery and First Director of the Kunsthistorisches Museum Wien. A biographical sketch’ 29S1/SH1
Gloria Köpnick (Gerda Henkel Stiftung) and Rainer Stamm (Oldenburg State Museum of Art and Cultural History), ‘Johanna Hofmann-Stirnemann. The first female museum director in Germany’ 29S1/KS
Anna Kopócsy (Pázmány Péter Catholic University in Hungary), ‘Edith Hoffmann (1888-1945): the first successful female art historian in Hungary’ 29S1/AK1
Andrea Meyer (Technische Universität Berlin), ‘Towards a modern museum. Women in the German museum association’ 29S1/AM1
Julia Modes (Karlsruhe University of Arts and Design), ‘Rosalind Krauss. The streak of defiance’ 29S1/JM1
Marta Smolińska (University of the Arts in Poznań), ‘Helena Blum (1904-1984) — a Polish art historian in the gender gap’ 29S1/MS1
Jo Ziebritzki (Heidelberg University), ‘The international spread of Asian and Islamic art histories: an intersectional approach to trajectories of the Vienna School (c. 1920 – 1970)’ 29S1/JZ1
decades having been a fundamental component of many research institutes’ activities and at the same time acquiring a predominant role in the vast world of protection, enhancement and dissemination of cultural patrimony. Yet, a fundamental primary consideration regarded an obvious direction for the future of the DH in the context of striving for carbon neutrality: the necessity for institutions to push forward with mass digitisation so that scholars do not need to fly around the world to study unique objects such as manuscripts, and the move to exclusively digital publishing in order to avoid generating carbon footprints for books and journals.
Hans Christian Hönes (University of Aberdeen) ‘Painting Art History’. Review of: Léa Kuhn, Gemalte Kunstgeschichte. Bildgenealogien in der Malerei um 1800, Paderborn: Fink 2020, ISBN-13: 978-3-7705-6453-8, 333pp., EUR 69,00. 25/HCH2
Hans Christian Hönes (University of Aberdeen), ‘Out of the shadows? Discovering Mary Warburg’. Review of: Hedinger, Bärbel; Diers, Michael (Eds.): Mary Warburg. Porträt einer Künstlerin. Leben, Werk, München: Hirmer Verlag 2020, ISBN-13: 978-3-7774-3614-2, 535 S., EUR 68.00. 25/HCH1
Link correction for Eckart Marchand (Warburg Institute), 'Apostles of Good Taste? The use and perception of plaster casts in the Enlightenment' 25/EM1: https://arthistoriography.files.wordpress.com/2021/11/marchand.pdf
The Art Market in Rome in the Eighteenth Century: A Study in the Social History of Art, edited by Paolo Coen, Leiden and Boston: Brill, 2018 [Studies in the History of Collecting and Art Markets, vol. 5], xii + 234 pp., 80 colour illus., €116/$134 hdbk, ISBN 978-90-04-33699-5.
Michelangelo’s Design Principles, Particularly in Relation to Those of Raphael by Erwin Panofsky, edited by Gerda Panofsky, translated by Joseph Spooner, Princeton and Oxford: Princeton University Press, 2020, ISBN 978-0-691-6526-4
Trevor Stark, Total Expansion of the Letter: Avant-Garde Art and Language after Mallarmé,Cambridge: MIT Press, 2020, 440pp., 10 col. plates, 60 b. & w. illus., $£45.00 hdbk, ISBN 9780262043717.
Andrei Pop, A Forest of Symbols: Art, Science, and Truth in the Long Nineteenth Century, Cambridge: MIT Press, 15 col. plates, 101 b. & w. illus., £25.00 hdbk, ISBN 9781935408369