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Roof Life
A celebrated art historian who has spent a lifetime looking at art writes about looking as a way of being in the world
This is not a memoir. It does not take the form of a story. It is instead a kind of self-portrait, or perhaps several self-portraits. Svetlana Alpers had been keeping records of what she saw out the windows of her loft in New York; records of art sold, bought, or seen on her walls; records of foods found in markets and prepared in places where she lived; and records of herself seen in photographs, drawings, and paintings made by others. In solving the question of her father’s place and date of birth, she reconstructs the life of her Russian grandfather in a distant and tumultuous Europe of a century ago. It was Roof Life that made it all come together. The title refers to what one discovers looking out from high windows with distant and distinctive views. In addition, it refers to the way one's attention is heightened and sharpened by confronting things that are unfamiliar, or that are made to appear unfamiliar by circumstances. It describes the immediacy of distance. Renowned art historian Svetlana Alpers assembles in these pages descriptions of things that mattered in a life that began in Cambridge, Massachusetts, continued in Berkeley, California, and is now lived in New York City. The experience of Europe informs it all.
This is not a memoir. It does not take the form of a story. It is instead a kind of self-portrait, or perhaps several self-portraits. Svetlana Alpers had been keeping records of what she saw out the windows of her loft in New York; records of art sold, bought, or seen on her walls; records of foods found in markets and prepared in places where she lived; and records of herself seen in photographs, drawings, and paintings made by others. In solving the question of her father’s place and date of birth, she reconstructs the life of her Russian grandfather in a distant and tumultuous Europe of a century ago. It was Roof Life that made it all come together. The title refers to what one discovers looking out from high windows with distant and distinctive views. In addition, it refers to the way one's attention is heightened and sharpened by confronting things that are unfamiliar, or that are made to appear unfamiliar by circumstances. It describes the immediacy of distance. Renowned art historian Svetlana Alpers assembles in these pages descriptions of things that mattered in a life that began in Cambridge, Massachusetts, continued in Berkeley, California, and is now lived in New York City. The experience of Europe informs it all.
264 pages, Hardcover
First published June 1, 2013
2 people are currently reading
58 people want to read
About the author
Svetlana Alpers
24 books24 followersScholar of Dutch baroque art; professor of History of Art, UC Berkeley,1962-1994; exponent of the "new art history."
Born Sventlana Leontief, she graduated from Radcliffe College with a B.A. in 1957. She married the following year, assuming her husband's surname of Alpers. She continued graduate work in art history at Harvard University publishin an article on Vasari's verbal descriptions of art (ekphraseis) in 1960 in the Journal of the Warburg and Coutauld Institutes, which announced her innovative approach to art history. Alpers accepted a teaching position as an associate professor at the University of California, Berkeley, in 1962 while working on her dissertation. She graduated from Harvard in 1965, writing her thesis under Seymour Slive on the Peter Paul Rubens cycle Torre de la Parada. Her work in Rubens' archives brought her to the attention of Roger d'Hulst, who suggested she turn her dissertation into a volume for the catalogue raissoné on Rubens. She rose to the rank of Professor at Berkeley. In 1971 she was appointed to the Board of Directors of the College Art Associate (remained until 1976). That same year here volume for the Rubens catalogue raissoné, The Corpus Rubenianum Ludwig Burchard, number nine, was published.
In 1977 an important methodological article by Alpers appeared in Daedalus examining progressive scholarship in art history in contrast with earlier scholarship. During the academic year 1979-80 she was a member at the Institute for Advanced Study in Princeton. In 1983, Alpers co-founded the progressive interdisciplinary journal Representations, publishing the article, "Interpretation without Representation, or, The Viewing of Las Meninas," in the first issue. That year, too, she published the first of her ground-breaking works in art history, The Art of Describing: Dutch Art in the Seventeenth Century. The book's central thesis focused on the the immediacy and simplicity of Dutch painting and the Dutch preoccupation with the description of interiors and domestic scenes, contrasting it with narrative Italian painting. Iconographical approaches to baroque art, she wrote, such as those practiced by Erwin Panofsky and others, were insufficient to understand Dutch imagery. Her book likewise criticized mainstream Dutch scholarship and its reliance on emblems and emblemata books explain Netherlandish still life paining. The Art of Describing was well received, reviewers hailing Alper's mastery of topics as diverse as optics and perspective theory. Critics, however, accused her of selective use of evidence, drawing only from paintings and texts which supported her theories.
In 1988, during the era of shocking reattributions of many works of Rembrandt by the Rembrandt Research Project, Alpers published a monograph on the artist, Rembrandt's Enterprise: The Studio and the Market The book examined Rembrandt's market strategies and his modeling his art to appeal to a Dutch consumer base. Her use of economic theory and a concerted avoidance of visual criteria again upset traditionalists in the art world.
Alpers co-wrote a book with fellow Berkeley art historian Michael Baxandall in 1994, Tiepolo and the Pictorial Intelligence. She was named Professor Emerita from Berkeley in 1994. The following year she returned to the art of the low countries with her Making of Rubens. The book looked at Rubens' politics, his later critical reception in France, and theorized specific meaning in the recurring Silenus figures of his later work.
Reaction to Alpers was summed up by Walter Liedtke. In an article on American historians of Dutch art, he characterized her work as containing "whole exclusions" of art that did not fit her thesis--such as the Utrecht school--a "typical exercise in American taste dressed up (with some French motifs) as a new analysis of Dutch Art." However, her work Rembrandt's Enterprise was included among the 169 major writings of art history in the 2010 Hauptwerke der Kunstgeschicht
Born Sventlana Leontief, she graduated from Radcliffe College with a B.A. in 1957. She married the following year, assuming her husband's surname of Alpers. She continued graduate work in art history at Harvard University publishin an article on Vasari's verbal descriptions of art (ekphraseis) in 1960 in the Journal of the Warburg and Coutauld Institutes, which announced her innovative approach to art history. Alpers accepted a teaching position as an associate professor at the University of California, Berkeley, in 1962 while working on her dissertation. She graduated from Harvard in 1965, writing her thesis under Seymour Slive on the Peter Paul Rubens cycle Torre de la Parada. Her work in Rubens' archives brought her to the attention of Roger d'Hulst, who suggested she turn her dissertation into a volume for the catalogue raissoné on Rubens. She rose to the rank of Professor at Berkeley. In 1971 she was appointed to the Board of Directors of the College Art Associate (remained until 1976). That same year here volume for the Rubens catalogue raissoné, The Corpus Rubenianum Ludwig Burchard, number nine, was published.
In 1977 an important methodological article by Alpers appeared in Daedalus examining progressive scholarship in art history in contrast with earlier scholarship. During the academic year 1979-80 she was a member at the Institute for Advanced Study in Princeton. In 1983, Alpers co-founded the progressive interdisciplinary journal Representations, publishing the article, "Interpretation without Representation, or, The Viewing of Las Meninas," in the first issue. That year, too, she published the first of her ground-breaking works in art history, The Art of Describing: Dutch Art in the Seventeenth Century. The book's central thesis focused on the the immediacy and simplicity of Dutch painting and the Dutch preoccupation with the description of interiors and domestic scenes, contrasting it with narrative Italian painting. Iconographical approaches to baroque art, she wrote, such as those practiced by Erwin Panofsky and others, were insufficient to understand Dutch imagery. Her book likewise criticized mainstream Dutch scholarship and its reliance on emblems and emblemata books explain Netherlandish still life paining. The Art of Describing was well received, reviewers hailing Alper's mastery of topics as diverse as optics and perspective theory. Critics, however, accused her of selective use of evidence, drawing only from paintings and texts which supported her theories.
In 1988, during the era of shocking reattributions of many works of Rembrandt by the Rembrandt Research Project, Alpers published a monograph on the artist, Rembrandt's Enterprise: The Studio and the Market The book examined Rembrandt's market strategies and his modeling his art to appeal to a Dutch consumer base. Her use of economic theory and a concerted avoidance of visual criteria again upset traditionalists in the art world.
Alpers co-wrote a book with fellow Berkeley art historian Michael Baxandall in 1994, Tiepolo and the Pictorial Intelligence. She was named Professor Emerita from Berkeley in 1994. The following year she returned to the art of the low countries with her Making of Rubens. The book looked at Rubens' politics, his later critical reception in France, and theorized specific meaning in the recurring Silenus figures of his later work.
Reaction to Alpers was summed up by Walter Liedtke. In an article on American historians of Dutch art, he characterized her work as containing "whole exclusions" of art that did not fit her thesis--such as the Utrecht school--a "typical exercise in American taste dressed up (with some French motifs) as a new analysis of Dutch Art." However, her work Rembrandt's Enterprise was included among the 169 major writings of art history in the 2010 Hauptwerke der Kunstgeschicht
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Displaying 1 - 2 of 2 reviews
March 24, 2017
The author is one of the most sought-after art historians of our time, so I was interested in what she had to say. Unfortunately, I didn't entirely connect with her experiences and found the writing to be clumsy at times, which came as a bit of a shock.
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January 26, 2016Svetlana Alpers writes:
That is a circuitous way to lead up to saying that, sitting here, I have no need for words. Many words have been written and spoken about pictures. That is fine. I have done it myself. What is not fine is to think, as some do, that pictures are in need of words. If pictures need anything, it is eyes. I do not have a gallery I take people through. The problem is not matching words to pictures, but rather how to keep the interest of looking alive and well.
That is a circuitous way to lead up to saying that, sitting here, I have no need for words. Many words have been written and spoken about pictures. That is fine. I have done it myself. What is not fine is to think, as some do, that pictures are in need of words. If pictures need anything, it is eyes. I do not have a gallery I take people through. The problem is not matching words to pictures, but rather how to keep the interest of looking alive and well.
Displaying 1 - 2 of 2 reviews