Leonardo: the scientist and artist -- Cooper Union for the Advancement of Science and Art --, 1952 August
(Quality of recording is poor, with echoes and noises. Reels 415 through 417 are copies of reels 413 through 414. Reels 415 through 417 are in very poor condition. Sound quality is fair. There is an echo in the introductory sections, but it clears up for the lecture. Professor is off microphone sometimes.)
Three poems, Sarah Jackson to Meyer Schapiro, 1956
(Reel begins with introduction on abstract art, but abruptly is replaced by poems by Sarah Jackson.)
Abstract art -- Houston, Texas -- Unidentified art convention --, 1957 April
(Good sound quality throughout.)
Theory of expression -- Warburg Institute, 1957 June
(The lecture is incomplete; the sound disappears at the end. Some sections at the beginning are recorded in fast forward, but this clears up as the tape continues.)
Monet and Impressionism -- Minneapolis School of Art, 1957 November 14
(Sound quality is good, although professor occasionally off microphone.)
From pagan to Early Christian art -- Metropolitan Museum of Art (New York, N.Y.),, 1958 January 9-30
(Lecture I is incomplete, sound fades out. Sound quality of lectures II through IV is good)
Lecture I: symbols
Lecture II: figure/image of man
Lecture III: light and color
Lecture IV: word
Abstract art : abstraction -- Southern Illinois University Carbondale,, 1958 February 3
(Some distortion occurs throughout the lecture, there is a lot of audience and static noise. The end of the lecture is cut off.)
Philosophy in painting -- Baltimore, Maryland, 1958 April
(At the beginning, Schapiro's voice seems extremely high pitched. It then becomes more natural, but still higher pitched than normal.)
Philosophy in painting -- University of Texas --, 1960
(These reels contain programs number 2 and 3 of the lecture, program number 1 is missing. Beginning is cut off, and the professor is often off microphone. There is a slight high-pitched whine present throughout the tape.)
Abstract art -- Cornell University --, 1960 April 21-28
(Sound quality overall for series is good, however small parts of the lectures are missing when reels were being changed. Lectures where given April 21-28, 1960. Lecture IV was not recorded. There is a small part of lecture V between parts b and c that is not recorded)
Lecture I: Concept of abstraction in art
Lecture II: Post-World War II abstraction
Lecture III: Cubist painting and its development (Picasso, Braque, Gris)
Lecture V: Art and contemporary science
Lecture VI: Social roots of abstract art
Romanesque sculpture (Fine Arts 154a) -- Columbia University -- 1960 February - March, 1960 February
(Lectures are complete, but overall sound quality is mixed. Professor is often off microphone, and there is audience noise)
Impressionism -- Patten lectures -- Indiana University --, 1961 March 1-27
(All lectures are complete and overall sound quality is good. There is some noise at beginning of lecture I, but it clears up fairly quickly. There is some difficulty with lecture V which has a hum sound throughout the lecture, the voice is audible but the sound is poor)
Lecture I: the Impressionist eye
Lecture II: the concept of Impressionism
Lecture III: the Impressionist aesthetic and method
Lecture IV: Impressionism and science
Lecture V: Monet's development
Lecture VI: Impressionism in history
Theories and methods of investigation of art (Art History G6001x) -- Lecture on "Style" -- Columbia University,, 1961 November 14
(The beginning and end of the lecture are cut off. There is a lot of audience noise with an echo effect throughout the tape.)
The mark and image of the individual in modern art -- Rutgers University --, 1962 March 13
(The lecture is complete. There is some distortion, with varied sound levels, the voice is often off microphone, and there is a slight echo effect. Questions from the audience are hard to hear)
Russian art in the twentieth century -- Columbia University --, 1962 May 2
Early Medieval painting (Art History G4330x) -- Columbia University -- 1963 October - 1963 January, 1963 October, 1963 January
(Only reel found in Box 477 is recorded at normal speed, the others were recorded at a slow speed and are in very poor condition. Reformatted duplicates of reels found in Boxes 478 through 483 were produced at normal speed, and are now housed in Boxes 484 through 493. The sound quality of this series is very poor.)
Impressionism (Art History G4630) -- Columbia University, 1964 May 18-25
(The beginning of all three lectures are complete, but the endings of lectures II and III are cut off. Sound quality is decent, but the professor is sometimes off microphone, and there is some audience noise. Questions from the audience are not audible.)
Lecture I
Lecture II
Lecture III
Early Christian art -- Hebrew Union College --, 1965 January
(Beginning and ending of all lectures are complete. All cassettes have slight hum sound, and sound level varies. lecture III has a slight echo effect in some places. Extra lecture given at end of series on The Synagogue. Only the first four lectures were recorded)
Lecture I: symbol, the meanings of early Christian imagery
Lecture II: figure, the image of the sacred person
Lecture III: order, structure of the image
Lecture IV: light, light and color in late classic and early Christian art
Modern painting since 1900 (Art History G4640y) -- Columbia University -- 1965 February - April, 1900, 1965 February
(Annotations on reel Boxes identify these lectures as "Twentieth Century Painting." The course title used here was identified from Columbia Univeristy course material found in Series III, Subseries: III.2, Sub-Subseries: III.2.1. According to the Metropolitan Museum of Art's inventory, several lectures are recorded on the same reel. As a result, reels are organized according to lecture. Beginnings of all lectures are intact except lecture V and IV. The ending of lecture IV is also cut off. Sound quality is poor on lectures II, III, V, VIII, andXIII. The sound quality is mixed on lectures IV and XIV. Sound disappears midway through side b of lectures IX and XIV. Some of the lectures in this series were on the following topics: The art of the 1880s and 1890s ; The art of the 1890s ; Themes of self-color-portraiture ; Marquet-Matisse ; Matisse continued ; Picasso and Cubism.)
Lecture I and XIII
Lecture II and XII
Lecture III and XI
Lecture IV and X
Lecture V
Lecture VI and VII
Lecture VIII
Lecture IX
Lecture XIV
Carolingian manuscripts -- Columbia University, 1966 January 3
(There is a hum on the tape, making it difficult to hear the lecture. Sound quality is poor)
Guernica -- Harvard University, Carpenter Design Center --, 1966 December 15
(Reels in Boxes 512 through 514 are duplicates of of the reel in Box 511. The lecture is complete. The voice is audible and clear but the sound level varies.)
The unity of Picasso's art -- Brandeis University --, 1967 April 11
(Columbia University's Rare Book & Manuscript Library is not in the possession of original sound tape reels. Sound quality is good. Film of the lecture was made by The Metroplican Museum of Art in association with Gittelman Film Associates in 1985)
Box 402
2 sound cassettes, 98 minutes, analogue, mono
Romanesque architectural sculpture -- Charles Eliot Norton lectures -- Harvard University -- 1967 February 8 - March 28, 1967 February 8
(For consistency, lecture titles correspond to those in the posthumous publicationRomanesque architectural sculpture: The Charles Eliot Norton lectures.Chicago: University of Chicago Press, 2006. Lecture titles as they appeared in the Metropolitan Museum of Art's inventory: Lecture I: Rebirth of monumental sculpture in the West-disappearance and return ; Lecture II: Field, figure and frame (1) ; Lecture III: Field, figure and frame (2) ; Lecture IV: Programs of imagery-theemes of action and themes of state ; Lecture V: Programs of imagery-tradition, new reality and nature ; Lecture VI: The human figure ; Lecture VII: Romanesque animal imagery.)
Lecture I: the rebirth of monumental sculpture in the west: disappearance and rebirth,, 1967 February 8
Lecture II: field, figure, and frame, 1967 February 15
Lecture III: field, figure, and frame, 1967 March 8
Lecture IV: programs of imagery (i), 1967 March 11
Lecture V: programs of imagery (ii), 1967 March 15
Lecture VI: the human figure, 1967 March 22
Lecture VII: animal imagery in Romanesque sculpture, 1967 March
On drawing from the figure -- New York Studio School of Drawing, Painting and Sculpture --, 1967 May 26
Abstract painting (Art History G4641x) -- Columbia University -- 1967 October - December, 1968 January, 1967 October, 1968 January
(All the lectures are complete except for lecture II where the second half of the lecture was not recorded, and lecture XII where the sound disappears. Sound quality of these lectures is mixed)
Lecture I: introduction, 1967 October 4
Lecture II: meaning of "abstract" preconditions for Abstract painting,, 1967 October 11
Lecture III: Preconditions for Abstract painting continued and art preceding abstraction -- Annotated typescript and outlines,, 1967 October 18
Lecture IV: themes in art preceding abstraction (1870-1910), 1967 October 25
Lecture V: role of photography and introduction to Cubism, 1967 November 1
Lecture VI: Picasso before Cubism, the Fauves, 1967 November 8
Lecture VII: Cubism, Picasso and Braque, 1967 November 15
Lecture VIII: Cubism, 1967 November 22
Lecture IX: developments from Cubism, simultaneity, and the concept of time in painting,, 1967 November 29
Lecture X: development of Cubism: France and Italy, 1967 December 6
Lecture XI: Futurism, Russia, and Suprematism, 1967 December 13
Lecture XII: Suprematism and German Expressionism, 1967 December 20
Lecture XIII: Kandinsky and Mondrian, 1968 January 10
Lecture XIV: developments from Cubism in America, 1968 January 17
Lecture XV: American Abstract art -- Annotated typescript, 1968 January 24
Abstract art -- Slade Lectures in the Fine Arts -- Oxford University -- 1968 Spring, 1968
(Sound quality for this entire series is poor. Only lectures III, VI, and VII are complete. The beginnings and endings are cut off on lectures I and II. The endings are cut off on lectures VI through VI.)
Lecture I: modern Abstract art: its continuity with preceding realistic art,, 1968 May 3
Lecture II: Cubism (i), 1968 May 8
(Annotations indicate that Lecture I is included in this reel even though the Metropolitan Museum of Art inventory does not)
Lecture III: Cubism (ii), 1968 May 15
Lecture IV: Cubism and science, 1968 May 22
Lecture V: Cubism and technology, 1968 May 22
Lecture VI: Abstract painting: Malevich and Mondrian, 1968 May 24
Lecture VII: Abstract painting: Kandinsky, 1968 May
Lecture VIII: Abstract painting in America: Pollock, Rothko, and others,, 1968 May 29
Philosophy and worldview in painting -- Oxford University --, 1968 June 4
Insular manuscript art -- Franklin Jasper Walls lectures -- Pierpont Morgan library --, 1968 March
(Schapiro referred to these lectures as "Hiberno-Saxon manuscripts," the title reflects that used in Series III, Subseries: III.3: Lectures, Sub-Subseries: III.3.4: 1960s)
Lecture I: frame, field, and figure, 1968 March 4
Lecture II: the carpet page and the giant initial, 1968 March 11
Lecture III: image and ornament, 1968 March 18
Lecture IV: the models and their transformation (i), 1968 March 20
Lecture V: the models and their transformation (ii), 1968 March 25
Lecture VI: the religious and secular grounds of Hiberno-Saxon art,, 1968 March 27
Baudelaire between the imaginary and the real -- Queens College (New York, N.Y.) --, 1969 April 22
Beatus manuscripts of the apocalypse -- New York Studio School of Drawing, Painting and Sculpture,, 1969 May 2
The present state of art history -- Queens College (New York, N.Y.) -- Annotated outlines, transcript, and notes,, 1969 June 5
E.A. (Elias Avery) Lowe memorial -- Institute for Advanced Study (Princeton, N.J.) --, 1969 October 15
Theory and methods of art history (Art History G6001x) -- Columbia University -- 1969 October - 1970 January, 1969 October, 1970 January
(All lectures are complete except for the beginning of lecture I, and the endings of lectures V and VII. The sound quality of the series is poor. There is a hiss on all the recordings, with the voice audible but not good. Questions from the audience are difficult to hear, and sometimes inaudible.)
Lecture I, 1969 October 1
Lecture II, 1969 October 8
Lecture III, 1969 October 22
Lecture IV, 1969 October 29
Lecture V, 1969 November 5
Lecture VI, 1969 November 12
Lecture VII, 1969 November 19
Lecture VIII, 1969 November 26
Lecture IX, 1969 December 3
Lecture X, 1969 December 10
Lecture XI, 1969 December 17
Lecture XII, 1970 January 7
Lecture XIII, 1970 January 14
Three texts by Lichtenberg, Diderot and Galiani -- New York Studio School of Drawing, Painting and Sculpture --, 1970 April 10
Early Christian painting (Art History G4320x) -- Columbia University -- 1970 Fall, 1970
(The sound quality of these lectures is mixed. The beginnings of lectures I-IV, VI, VIII, and XII are cut off. The sound is good on lectures IV-VIII, XI, and XIII. On other lectures the recordings have static and hum sounds, audience noise, and the professor is sometimes off microphone. Annotations indicate the title as "Early Christian art," but Columbia University class bulletins list the course as Early Christian painting)
Lecture I, 1970 September 30
Lecture II, 1970 October 7
Lecture III, 1970 October 14
Lecture IV, 1970 October 21
Lecture V, 1970 October 28
Lecture VI, 1970 November 4
Lecture VII, 1970 November 11
Lecture VIII, 1970 November 18
Lecture IX, 1970 November 25
Lecture X, 1970 December 2
Lecture XI, 1970 December 9
Lecture XII, 1970 December 16
Lecture XIII, 1971 January 6
Men with ideas: Alexander, Daedalus, Icarus: legends of the invention of flying -- Carnegie Institute of Technology --, 1971 January 27
(The original audiotape was torn and needed to be repaired before the cassette copy was recorded. The lecture is complete with good sound. The voice is clear and audible.)
Ornament and painting -- New York Studio School of Drawing, Painting and Sculpture --, 1971 April 23
(The sound quality is poor, with echoes and muffling of the voice.)
Mondrian's forms and their relation to preceding styles of representation -- Solomon R. Guggenheim Museum --, 1971 October 9
(The lecture is complete, but the sound quality is mixed. The voice is clear and audible, but the sound level varies. There is audience noise and the professor taps on the podium and is occasionally off microphone.)
Graphic analysis of structure -- University of Virginia --, 1972 April 11
(The lecture is complete, but the sound quality is poor. The voice is high-pitched, and there is audience noise and varied sound levels.)
An experiment with forms in art -- Columbia University --, 1973 April 2
(The lecture is complete, but the sound quality is poor. There is a hiss on the recording, and an echo effect.)
The south tower of the cathedral of Chartres -- Columbia University. School of Architecture --, 1973 October 3
(The lecture is complete with voice audible. The quality of the sound is mixed, with audience noise, echo sound, and the professor is occasionally off microphone)
The use of the Old Testament in the art of the middle ages -- Jewish Museum (New York, N.Y.) --, 1973 October 22
(All three sound tape reels are incomplete and do not have the end of the lecture recorded. The sound quality is poor with a great deal of audience noise, although the voice itself is clear.)
The unity of Picasso's art -- Albright-Knox Art Gallery --, 1973 December 5
(The lecture is complete with good sound quality, the voice is clear and audible. Film of this lecture was made in 1985 by The Metropolitan Museum and Gittelman Film Associates)
Box 409
2 sound cassettes, 94 minutes, analogue, mono
Theories and methods of investigation of art (Art History G6001x) -- Columbia University, 1974 Fall, 1974
(Lectures I and II were not recorded. All the recorded lectures are complete. The sound quality of this series is mixed. In most recordings the voice is clear and audible, but there is a lot of audience noise and some sounds from a construction site nearby are noticeable on lectures III through VI. The sound is very poor for lectures IV and XI.)
Lecture III, 1974 October 2
Lecture IV, 1974 October 9
Lecture V, 1974 October 16
Lecture VI, 1974 October 23
Lecture VII, 1974 October 30
Lecture VIII, 1974 November 6
Lecture IX, 1974 November 13
Lecture X, 1974 November 20
Lecture XI, 1974 November 27
Lecture XII, 1974 December 4
Lecture XIII, 1974 December 11
Lecture XIV, 1974 December 12
The south tower of the cathedral of Chartres -- University of California, Los Angeles --, 1974 January 10
(Cassettes were not made of this lecture because the quality of the recording was too poor)
Theory and methods of investigation of art (Art History G6021x) -- Columbia University, 1975 Fall, 1975
(All recorded lectures are complete. Lectures I, XI, and XII were not recorded. The sound quality of this series is mixed. The recording of lecture VI has audience noise and a hiss sound on the tape, and the sound of lecture VII is very poor, with audience noise and a buzz sound at the beginning, echo noise throughout, and occasional ringing sound. The voice is best for recordings of lectures IV, V, IX, XIII and XIV. The question periods for all the lectures are hard to hear.)
Lecture II, 1975 September 17
Lecture III, 1975 September 24
Lecture IV, 1975 October 1
Lecture V, 1975 October 8
Lecture VI, 1975 October 15
Lecture VII, 1975 Oct6ober 22, 1975
Lecture VIII, 1975 October 29
Lecture IX, 1975 November 5
Lecture X, 1975 November 12
Lecture XIII, 1975 December 3
Box 411
2 sound cassettes, 113 minutes, analogue,
Lecture XIV, 1975 December 10
Perspective and script: the reader and the viewer in medieval representations -- University of Pittsburgh --, 1976 November
Cézanne and the philosophers -- Museum of Modern Art (New York, N.Y.) --, 1977 October 11
(The lecture is complete. The sound quality is good, but has a little audience noise and noise from professor moving around.)
On logic and method in art history: from classification to explanation -- New School for Social Research (New York, N.Y.) --, 1979 November 17
(Reel in Box 623 is a duplicate of the reel in Box 622. The lecture is complete but the sound quality is not good. The sound level varies, there is a hiss noise on the tape and the voice is muffled.)
The unity of Picasso's art -- Columbia University --, 1980 April
Lecture I
Box 412
2 sound cassettes, 93 minutes, analogue, mono
Lecture II
Box 412
2 sound cassettes, 100 minutes, analogue, mono
Lecture III
Lecture IV
Box 412
2 sound cassettes, 30 minutes, analogue, mono
On the life and work of Arthur Kingsley Porter -- Harvard University --, 1983 April 10
Box 412
3 sound cassettes, 55 minutes, analogue, mono
Meyer Schapiro interview with Ann Newsmith -- Vermont Council on the Arts --, 1982 August
Meyer Schapiro: Art News [Interview ?] --, 1982 October 28
Meyer Schapiro: film track, reel one and two
Unidentified sound recordings
Box 396
Oral History with Miriam Schapiro Grosof (Schapiro's daughter)