We are all historians of the present. At least we should be. Many fellow historians of knowledge are currently using a wide variety of media to share their experience and research in an effort to put the global response to the COVID-19 pandemic into context. Twitter is one medium where this conversation is especially lively, as Eileen Sperry has noted on Nursing Clio, a wonderful group blog that is also active on Twitter. One can find these parts of Twitter by searching for the relevant hashtags, for example, #histmed (history of medicine) and the much more generic #twitterstorians (historians on twitter).
Continue reading “Viral Hive Knowledge: Twitter, Historians, and Coronavirus/COVID-19” →
This is the second of three pieces related to provenance research that we are publishing in conjunction with the 6th German/American Provenance Exchange Program (PREP) in Washington, DC.
In 1908, The Metropolitan Museum of Art purchased from the French art dealer Kleinberger Galleries a sixteenth-century portrait believed to be that of Johann, Duke of Saxony, painted by Lucas Cranach the Elder. The Museum’s paintings curator, Roger Fry, had learned of the availability of this little-known work by the German Renaissance master late in 1907, and through correspondence with Kleinberger confirmed its provenance and attribution, which were attested by the eminent art historians Max Friedländer and Wilhelm von Bode. The picture crossed the Atlantic on the Courraine, arrived at the Met on February 3, and was installed in its galleries soon after. It was the first work by Cranach the Elder in the Metropolitan’s collection.
Continue reading “Cranach’s ‘Johann’ and Art Historical Knowledge at the Met” →