Hartt, Frederick

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Hartt, Frederick

(1914–91) art historian; born in Boston, Mass. He studied at Columbia University (B.A. 1935), and New York University (M.A. 1937; Ph.D. 1950). He specialized in Italian Renaissance art, and taught at many institutions, notably at the University of Virginia beginning in 1967.
References in periodicals archive ?
Among the American volunteers were Deane Keller, a professor at Yale, and Frederick Hartt, on the staff of Yale's art gallery.
That work, like Saville's paintings and drawings, is at unfinished, its parts in various states of completion, some of its strokes "coarse" but nonetheless conveying what Frederick Hartt called "the breathings pulsating surface"--a lively surface worthy of what he described as the "passionate grouping."
I, 2nd Edition (Prentice-Hall Abrams; 1985), noted art historian Frederick Hartt accurately compared these dots of color to tesserae, the component pieces used in Classical and medieval mosaics: "Each patch of light, each area of shadow, is composed of countless such particles, of almost identical size and shape.
Karl Frey in 1909-11 was one of the earliest scholars to express justifiable disagreement with the Michelangelo attribution of the Ashmolean sheet, (8) but he was nearly alone in this for much of the century, with four exceptions--Henry Thode in 1913, Karl Parker in 1956, Luitpold Dussler in 1959, and Frederick Hartt in 1971.
602, catalogued it among 'die apokryphen Blatter'; Frederick Hartt, The Drawings of Michelangelo, London and New York, 1971, p.
The four latest releases are Paul Cezanne by Meyer Schapiro, Michelangelo Buonarroti by Frederick Hartt, Paul Gauguin by Robert Goldwater and Edouard Manet by Pierre Courthion.
Frederick Hartt, the late scholar, theorized that David had been modeled on "one of the mountaineer quarrymen from Carrara.
(23) Frederick Hartt claimed to discern in the burnished surface of the golden ball or palla on the back of the pope's chair the reflection of a wooden ceiling, a detail Raphael failed to alter when he changed the original de sign.
As absorbing to read as it is authoritative in its content, A History of Italian Renaissance Art by Frederick Hartt and David S G Wilkins (Thames & Hudson: pounds 48) remains the classic volume dealing with over four centuries of Italian art sculpture and architecture.
According to art historian Frederick Hartt, "Philip not only considered him irreplaceable as a painter, but also sent him on diplomatic missions, including short trips and 'long secret journeys' in 1426, as well as a trip to Portugal in 1428-29 to bring back Philip's bride, Princess Isabella.
As expected, such prominent scholars as Erwin Panofsky, Charles de Tolnay, Johannes Wilde, Rudolf Wittkower, Frederick Hartt, Edgar Wind, and James Ackerman are well represented.