German Institute for Art History in FlorenceSource: Art Journal, Vol. 24, No. 2 (Winter, 1964-1965), pp. 156+158Published by: College Art AssociationStable URL: http://www.jstor.org/stable/774789 .

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An Editorial

Shortage of Art History Teachers

The shortage of trained faculty for teach-

ing college courses in the history of art has been felt for a number of years, but this year it has grown to alarming proportions. The familiar sources of supply, the eastern grad- uate schools, all report a sharp increase in the number of job demands. One depart- mental chairman has made a rough guess that the vacancies referred to him in letters and telephone calls are 10 times greater in number than those of a year ago. It is diffi- cult to compile accurate statistics-the num- ber of staff additions will fluctuate for a

variety of reasons-budget, fellowships and

grants, inter-university "raiding," health-and the number of available personnel among graduate students is also likely to vary. There is the difficult problem of interrupting one's

progress toward the doctoral dissertation, and the uncertainty of fellowships or other awards

usually not announced until spring. Also, the amount of time required to finish one's grad- uate work seems to grow longer. Thus, al-

though the graduate schools at Harvard, New York University and Columbia have enrolled

many more graduate students than a few

years ago, it is certain that the supply has been far from meeting the demand. And now we read in the Annual Report of the Carnegie Foundation for the Advancement of Teaching (cf. The Flight from Teaching, a reprint from the Annual Report of 1963-64) that the gen- eral tendency in many "eminent" universities is to reduce teaching load in favor of in- creased time for research. When one glances at the accompanying projections of college enrollments in 1980-almost double those of 1965-one wonders how the teaching of his-

tory of art can possibly be maintained at

scholarly levels. Can the graduate schools of-

fering the Ph.D. in the history of art possibly turn out the number of teachers that will be needed? All the current signs indicate that

they can not-at least not without some ma-

jor changes. Some of these fortunately are al-

ready in the making. Perhaps the most sig- nificant is in the Federal government's educa- tional program. The National Defense Edu- cation Act in Title 4 did not allow (with one or two exceptions) fellowship aid to the his-

tory of art or to other disciplines in the hu- manities (the teaching of foreign languages, which was vigorously encouraged under this act, was not interpreted as belonging under the heading of Humanities). There are vastly enlarged funds now available for fellowships -and although there is as yet no definite

ruling regarding fellowships in the history of art, the question has been referred to Dean

Keppel in the Office of Education, and, if we are not misinformed, there is some ground for optimism. Another encouraging develop- ment is to be found in the recommendation of the Committee on the Humanities (cf. Report of The Commission on the Humanities, ACLS, 1964) that Congress provide for a Na- tional Humanities Foundation similar to the National Science Foundation. This has been introduced as a bill in the House of Repre- sentatives by Congressman Moorhead of Penn-

sylvania and will possibly receive considera- tion in the next session. Such a Foundation should not be confused with the National Fine Arts Advisory Committee, whose con- cern and interests will be primarily with the

performing and practicing arts.

What other steps may be taken to alleviate the shortage of art history teachers? Are pres- ent requirements for the doctorate realistic? Can the time between A.B. and Ph.D. be shortened? Should there be an intermediate

degree, a master's degree for teachers of the

history of art? Would it be accepted, if of- fered, by college administrations, by the grad- uate student and by the faculty of the art

department? These are questions that need further study.

In the meantime, there is one thing that the college art teacher can do, perhaps more

effectively than at present. This is the recruit- ment of promising students among under- graduates. How many of the latter know of the needs and opportunities in this field?

Many applicants to the graduate schools must be turned .down because of utterly inade- quate preparation in their undergraduate courses, not only in the standard history of art courses, but in history, in the humanities, and in foreign language. It seems certain that

improved undergraduate counselling could

provide many more acceptable candidates. Since the eastern graduate schools are over- crowded and are likely to continue to be, where else might one apply? Fortunately there is now an answer to that question. At least a dozen universities beyond the Atlantic seaboard now have strong graduate programs in the history of art, and the current aid, not the least of which is coming from the Kress Foundation grants, will help in many ways. Let us recognize the seriousness of the situa- tion and prepare to take whatever measures are feasible.

CAA PLACEMENT BUREAU The Placement Bureau of the College Art

Association which is operated at the New York office appears to be one of CAA's most attractive services to its members. The list-

ing for Fall, 1964 carries 41 candidates for

posts in teaching the history of art or in museum work and 69 listings of artist-teach- ers. Although only twelve positions available are listed it is evident from correspondence and other information that there will be a very large number of openings this year.

Mr. Lessard has received a number of let- ters both from candidates and from institu- tions expressing gratitute for these services.

Typical are: "It is with pleasure that I inform you that

we have finally settled on a candidate, X, for a position for the academic year at X. He was, as you recall recommended by the College Art Association Placement Bureau [actually the Bureau serves only as a central exchange for

information-Ed.]. It is with gratitude that we recognize the help given us by The Col-

lege Art Association." From a candidate "The location will work out nicely for me, but es-

pecially important is that this will give me an opportunity to teach. I am very grateful to you for this."

The Placement Bureau Service will be con- tinued.

GERMAN INSTITUTE FOR ART HISTORY IN FLORENCE

Last May the German Institute for Art His-

tory in Florence dedicated its new building. The following letter was sent to its director Dr. Ulrich Middledorf by the board of direc- tors of the College Art Association and was read publicly by the American Consul Gen- eral in Florence during the course of the fes- tivities:

"On the occasion of the formal opening of the new home of the German Institute of the

History of Art in Florence, we recall with affection and pride your distinguished aca- demic career in this country as Chairman of the Department of Art at the University of

Chicago, as well as the valuable service you rendered to the 'College Art Association of America as a member of its Board of Di- rectors and as President. Under your guid- ance, the German Institute has achieved new

importance as an international center of art historical scholarship. Many of us have bene- fited from its hospitality, and from the gen- erous help provided by you and your staff. Now that the Institute is established in new and larger quarters, we join our European colleagues in proffering our hopes and good wishes for the future."

Dr. Middeldorf's reply transmitted to Rich- and F. Brown, President of CAA, reads as fol- lows: (Continued on page 158)

ART JOURNAL XXIV 2 156

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letters to the editor

SIR: I am compiling a catalogue of the work of

Max Ernst for a forthcoming monograph and would like to hear from anyone who owns paintings, sculpture or collages by him. Please give the following information as fully as possible: title, date, medium, di- mensions (height first), and, if known, former collections, where reproduced or exhibited. A snapshot or photograph would be particu- larly appreciated.

LucY R. LIPPARD

163 Bowery, New York 2, N.Y.

SIR: For a thesis in art history I am compiling

biographies on artists represented in the Fine Arts Department's print collection. Could you please ask our readers if anyone knows the present whereabouts of:

Clara Skinner Charles Ulmith T. Joeb

Any information will be appreciated. Ad- dress replys to:

LINDA OSBORN Fine Arts Department La. State University Baton Rouge, La.

SIR: Your reviewer for Lautrec by Lautrec by

Philippe Huisman and Mme. M. G. Dortu

may be interested in knowing that Miss Corinne Bellow translated only the text proper. The co-publishers are responsible for the captions and the other supporting text, as well as the choice and arrangement of the illustrations.

Sincerely, MARY SUTTER The Viking Press, Inc. New York, N.Y.

SIR: I am writing a doctoral dissertation on the

early 20th Century American painter, Oscar Bluemner, at the University of Iowa.

MAYNARD B. STONE

Iowa City, Iowa

U

(Continued from page 156)

DEAR PROFESSOR BROWN:

I was touched and almost overwhelmed when during the ceremonies of the inaugura- tion of the new home for our Institute the message of the College Art Association was read. It was very kind of the Board of Di- rectors to remember me at this occasion so

warmly and in such a flattering way. I am

deeply grateful. I can only reply that I re- member with great warmth my friends and associates, my colleagues and pupils in the United States, the College Art Association, the many Art Departments, Museums and other institutions, with whom I was con- nected, and always shall be, by the ties of common work and interests. If in my present position I can be useful to them in return for all the kindness which I have received and still do receive, I shall be happy.

Since I cannot address myself to each board member individually, as much as I would have liked to do so, I beg you to express my gratitude to all of them at the next board

meeting. With many thanks for conveying to me this

heart warming message, I am, with kindest

personal regards. ULRICH MIDDELDORF

STEFAN HIRSCH 1899-1964 Stefan Hirsch, painter, educator and lec-

turer on art died in September after a linger- ing illness. Hirsch was head of the art de-

partment at Bennington College and later at Bard College. He was born in Nuremberg, Germany, of American parents. He studied at the University of Zurich and in this coun-

try with Hamilton Easter Field, with Robert Laurent and Wood Gaylor. He was a director of the Field Foundation. His first work ex- hibited in New York was in 1919 at the So-

ciety of Independent Artists. He was a founder and active member of the Salons of America-the avant garde group of the pe- riod. He is now represented in many mu- seums including the Metropolitan, the Mod- ern Museum of Art, the Whitney Museum of American Art and the Corcoran Gallery in Washington. Upon his retirement in 1961, Bard College awarded him an honorary doc- torate of humane letters.

His wife, who paints under the name of Elsa Rogo, is also a well known teacher and writer.

ATTINGHAM The 1965 Attingham summer school course

on the Historic Houses of England, conducted under the auspices of the (British) National Trust, will include visits to Scottish as well as English great houses and castles, according to Phelps Warren, president of the American Friends of Attingham, Inc., American alumni

organization of the British school which re- leased plans for the fourteenth annual study tour.

The course, directed by Miss Helen Lowen- thal, lecturer of the Victoria and Albert Museum, London, and Sir George Trevelyan, Bart., Warden of the Shropshire Adult Col-

lege, will start on July 2nd, when students will assemble at Attingham Park, the "stately

home" of the late Lord Berwick near Shrews-

bury, where they will live for the first eleven

days. It will conclude on the morning of July 24.

The Attingham practice of combining lec- tures on English domestic architecture, in- terior decoration and the decorative arts, with visitations to country homes ranging in size from cottages to palaces, will be followed

again next year. Lecturers will include Dr. Nikolaus Pevsner, University of London, au- thor of the county-by-county architecture

survey BUILDINGS OF BRITAIN, and Sir

John Summerson, director of Sir John Soane's Museum, London. When the summer school is on tour it will be accompanied by experts in fields especially related to the area or to the contents of the houses being visited.

The course is open to graduate students, teachers and professionals in the fields of

museology, architecture, decoration, landscape architecture, historic preservation and related

subjects. Each year's class is limited to ap- proximately 35 students. American alumni now number approximately 350.

The American Friends of Attingham is a

non-profit, educational institution which dis- seminates information about the summer course, handles American enrollment, and of- fers tuition scholarships through the Scholar-

ship Fund donations of its alumni members and special members.

Brochures and enrollment applications may be obtained from the Secretary of the Amer- ican Friends of Attingham, Inc., 1 East 70th Street, New York, New York 10021. N

ART JOURNAL XXIV 2 158

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