Family Card - Person Sheet
NamePhilipp P. Fehl 
Birth9 May 1920
Death11 Sep 2000
FatherHugo Fehl (1879-)
MotherFriederike Singer Bäck
Spouses
Birth23 Aug 1920
Death3 May 2009
FatherDr. Erich Friedrich Schweinburg (1890-1959)
MotherRosa Gussmann (1893-1939)
Childrenkatharine
Notes for Philipp P. Fehl
{geni:about_me} http://en.wikipedia.org/wiki/Philipp_Fehl
Philipp Fehl (9 May 1920, Vienna, Austria-11 September 2000) was an Austrian artist and art historian. He emigrated to the United States in 1941, and became an artist and lecturer at several universities. He moved back to Europe in 1990, living mainly in Rome, where he initiated the Cicognara Project at the Vatican Library. He is buried at Prima Porta in Rome. He was married for 54 years.
Contents [hide]
1 Early life
2 Early work
3 Teaching
3.1 Education
3.2 Teaching
3.3 Honors
3.4 Offices
3.5 Membership in Learned Societies
3.6 Listed in
4 Artist
5 Publications of Works of Art
6 Critiques and reproduction of drawings in newspapers
7 Exhibits of Philipp Fehl's Works of Art
7.1 One Man Shows
7.2 Group Shows
7.3 Annual Exhibitions
7.4 Works in Public Collections
8 Bibliography
9 See also
10 References
11 External links
[edit]Early life
From childhood on he drew and painted whenever possible. He was the oldest child of Hugo and Frieda Fehl and the brother of Arnold Fehl. He was the cousin of the renowned ballet photographer Fred Fehl. His older cousin, Paul Eisler, attended Gymnasium, and Fehl determined that he also wanted this classical higher education for gifted students.
He was accepted and attended Gymnasium and continued to attend school after the Anschluß. After Matura, (graduation), he emigrated to England . He worked for a time in Birmingham as an apprentice commercial artist with the firm Stagg Displays before immigrating to the United States of America in 1940, becoming a citizen in 1943.
[edit]Early work
Till 1942 he attended the School of the Art Institute of Chicago for painting after which he continued his art studies at Stanford University, taking up also humanistic studies. In 1943 he enrolled in the US Army, serving as an interrogator at the Nuremberg War Crimes Tribunal (1946–1947). In 1945 he married Raina Fehl daughter of the writer Erich Fritz Schweinburg, also born in Vienna, and the couple had two daughters, Katharine, "Kathy Fehl", and Caroline Coulston. He returned to Stanford University, taking a B.A. in romance languages and a M.A. in history of art. In 1948 he moved back to Chicago, where he continued his studies at the University of Chicago in painting and graphicarts as well as history of art; in 1963 he obtained his Ph.D. from the Committee on Social Thought of the University of Chicago (his thesis was partly published in 1972 as “The Classical Monument”, see bibliography).
[edit]Teaching
"His legacy resides in a long and distinguished list of art historical publications, in thousands of witty and melancholy drawings, in the microfiches of the Fondo Cicognara, and in the enjoyment of art he inspired in his studentsand friends. He also entrusted to us an indelible testimony of the inhumanity of Nazi Europe. In person, he was distinguished by a quick, nervous, ironic intelligence, an engaging warmth, a sense of humor. He spoke English with avast vocabulary and the accent of his native Vienna, absorbing ideas and parsing them with broad learning and brilliant asides. As an artist he thought in images and metaphors that enlivened his conversation and sharpened his memory. He wrote as he spoke, with wit and passion. He was never dull."
Marilyn Perry[1]
While studying he also began to teach, 1949–1950 photography with the Youth Program of Temple Sinai, Chicago, 1951–1952 as director of The Bateman School, Chicago, 1951–1954 as a lecturer in art at University College, University of Chicago (“Experimental figure drawing according to 18th century methods”) and 1951–1963 as an instructor in Home Studies, University of Chicago (“Elementary Figure Drawing in the Academic Tradition”). He started academic teaching in 1951 as a lecturer at the University of Chicago and, after holding a number of other academic appointments and receiving numerous honours (see list), retired in 1990 as Professor Emeritus from the University of Illinois.
He began to make pen and ink drawings of bird like characters (who closely resembled him physically) dressed in the peruke and trousers of the 18th century. He called these drawings "capricci". The bulk of these capricci are now preserved in the Exile's archives at the German National Library, das Deutsche National Bibliothek.
Philipp and Raina Fehl in London in the early 1960's
[edit]Education
School of the Art Institute of Chicago, 1940-1942 (Painting).
Stanford University, 1943, 1947-1948. B.A. (Romance Languages) M.A. (History of Art).
University of Chicago 1948-1952, 1963. Ph.D. (History of Art in the Committee on Social Thought).
[edit]Teaching
University College, University of Chicago. Lecturer, 1951-1954.
Department of Home Study, University of Chicago. Instructor (part time), 1951-1963.
University of Kansas City, Kansas City, Missouri. Instructor, 1952-1954.
University of Nebraska, Lincoln. Assistant Professor, later Associate Professor, 1954-1963.
University of North Carolina, Chapel Hill. Associate Professor, later Professor, 1963-1969.
University of Illinois, Urbana-Champaign. Professor 1969 - 1990. Professor Emeritus, 1990-. Director, Summer Seminar for College Teachers, National Endowment for the Humanities, University of Illinois, 1978 and 198l.
Visiting appointments at
University of California, Berkeley, 1960, 1963;
Brown University, 1967; Trinity College at Rome, Summer 197l;
Tel Aviv University, Winter, 1982; The Hebrew University, Jerusalem, Spring l992.
Central European University, Prague, Spring 1993.
[edit]Honors
Fellow, Brussels Art Seminar, Belgian-American Educational Foundation, 1952.
Research Fellow, Warburg Institute of the University of London, 1952-53.
Associate, Committee on Social Thought, University of Chicago, 1963-2000.
Art Historian in Residence, American Academy in Rome, 1967-1968.
Fellow, National Endowment for the Humanities, 1977-1978.
Associate, Center for Advanced Study, University of Illinois, 1970–1971, 1981–82, 1989-90. Resident Associate, l990-2000.
[edit]Offices
Committee for Awards in the Humanities, American Council of Learned Societies, 1965-1969.
Committee for the Administration of the Medieval and Renaissance Institute of Duke University and the University of North Carolina, 1966-1969.
Editor for Book Reviews, The Art Bulletin, 1965-1968.
Board of Directors, College Art Association of America, 1967-1971.
Central Illinois Archaeological Society (American Institute of Archaeology), President, 1973–1975; Board of Directors, 1975-1977.
Advisory Council, The Dunlap Society, Washington, D.C., 1975-1977.
Selection Committee for Kress Fellows, Institute of International Education, New York, 1976-1978.
Publication Committee, Midwest Art History Society, 1976-1978.
Advisory Council, Gazette des Beaux Arts, 1975- .
Board of Reviewers for grant proposals, NEH Division of Public Programs, 1977- .
International Survey of Jewish Monuments, President, 1977–97, Advisory Council, 1997-2000.
Board of Directors, Midwest Medieval Society of America, 1980-83.
Consultant editor, Dictionary of the History of Classical Archaeology, ed. Nancy de Grummond, 1983-1996.
Art Bulletin Committee, College Art Association of America, 1968-91.
Advisory Council, American Academy in Rome, l982-1990.
Advisory Council, Committee for the Advancement of Early Studies, Ball State University, 1986-2000.
Director, The Leopoldo Cicognara Program at the University of Illinois Library, dedicated to the study and promulgation of literary sources in the history of art, 1987-2000.
[edit]Membership in Learned Societies
College Art Association of America, Renaissance Society of America, South Eastern Renaissance Society, Central Renaissance Society, American Society for Aesthetics and Art Criticism, Midwest Art History Society, Midwest Medieval Society of America, International Survey of Jewish Monuments.
Honorary Associate, Centro Studi Monopolis: Arte e Cultura, Monopoli, Puglia, 1984-2000.
Corresponding Member, Ateneo Veneto, Venice, 1988-2000.
Corresponding Member, Braunschweigische Wissenschafliche Gesellschaft, Klasse für Geisteswissenschaften, 1992-.
[edit]Listed in
Directory of American Scholars
Who's Who in American Art
Who's Who in Austria
Dictionary of International Biography
The Writers Directory
Who's Who in the Midwest
International Authors and Writers Who's Who
Who's Who in Europe
Who's Who in Society
[edit]Artist
Capricci Pen and Ink:
Artists Have No Illusions. That Is Why We Create Them. Pen and Ink Wash by Philipp Fehl
http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5211898 http://www.dictionaryofarthistorians.org/fehlp.htm
Saying Good bye to a mediocre drawing, Pen and Ink Wash by Philipp Fehl
Oils
Self Portrait in Oil by Philipp Fehl circa 1950
[edit]Publications of Works of Art
Carolina Quarterly, Winter 1966, 21–27. Sample Copy, University of North Carolina, Chapel Hill, North Carolina, 1968: “Series”, 5 pages. Lillabulero, Chapel Hill, North Carolina, VII, 1969, 86, 96, 100. The Bird (serigraph and original pen and ink drawings), Finial Press, Urbana, Illinois, 1970. Capricci, selection and introduction by Wilfried Skreiner, Neue Galerie am Landesmuseum Joanneum, Graz, 1971. Also Published in German, same title. Voyages, ChapelHill, North Carolina, IV, 1971, nos. 1–2, 39, 63, 67; nos. 3–4, 64, 65, 85, 89, 163; V, 1973–1974, nos. 1–4, 109. Au Verso (St. John’s College, Sante Fe, New Mexico), 1972, “Aging”, 10 pages. North Carolina Museum of Art Bulletin, XII, 1975, no. 4; 11. Archaeological News, IV, 1975, no. 1; 7, 11. Polity, Summer 1977, title page. Birds of a Feather (with an introduction by Maurice Cope), University of Illinois Press, Champaign, Illinois, 1991.
[edit]Critiques and reproduction of drawings in newspapers
Daily Tar Heel, The Courier, The News-Gazette, Kleine Zeitung, Kultur, William and Mary News, The Cavalier Daily, Illini Week.
[edit]Exhibits of Philipp Fehl's Works of Art
[edit]One Man Shows
Art Gallery of Chapel Hill, Chapel Hill, North Carolina, 1968, 1970.
Neue Galerie am Joanneum, Graz, "Capricci," 1971.
Roberts Gallery, London, 1971.
Galerie im Stock, Vienna, Austria, 1973.
Folger Shakespeare Library (Ann Hathaway Gallery), Washington D.C. "Birds on Crutches," 1973.
Peoria Art Guild, Peoria, Illinois, "Birds of a Feather," 1975.
University of Illinois (Department of Art and Design), 1969, 1974.
College of William and Mary, Williamsburg, Virginia, 1977.
Kenyon College, Gambier, Ohio, "New Capricci," 1979.
Mt. Holyoke College, South Hadley, Mass., "New Capricci," 1979.
Società Dante Alighieri, Venice, Italy, 1980-81.
Department of Art, Tel Aviv University, 1982.
Herzog August Bibliothek, Wolfenbüttel, 1982.
Kunsthistorisches Institut, Universität Kiel, 1983.
Gallery ?Nature's Table?, Urbana, Illinois, 1984.
University of Virginia Art Museum, Charlottesville, Virginia, April-June 1986 (a retrospective exhibition of Capricci: "A Poet's Progress"). Catalogue essay by Paul Barolsky.
University of Delaware Perkins Student Center Gallery, A Poet's Progress," April l987.
Hallside Gallery at the University of Utah, Department of Medical Illustration, Salt Lake City, "Capricci," October-November, 1987.
Gallery ?Nature's Table?, Urbana, Illinois, "New Capricci," November-December 1987.
Gallery 107 Mercer Street, New York, New York, "Capricci," April-May, 1989.
Krannert Museum of Art and Kinkaid Pavilion, "Birds of a Feather," September, l991.
Miracles Cafe", Cardiff By The Sea, California, "Capricci" June-July 1992.
Central European University, Prague, "Birds of a Feather," Spring, 1993.
Exil Archiv, Die Deutsche Bibliotek, Adickesallee 1, D-60322 Frankfurt am Main, November 2001 through early January 2002.
[edit]Group Shows
Exline, Fehl, and Lancaster, Krannert Art Museum, University of Illinois, 1971.
Figures, The Anderson Gallery, Champaign, Illinois: April-May, 1986.
Rethinking the Avant-Garde, Kotonah Gallery, Kotonah, New York, April-May, 1986: catalogue by Jonathan Fineberg.
[edit]Annual Exhibitions
Renaissance Society of the University of Chicago, 1948-1963. (drawings, prints, glass-etchings).
University of Illinois Faculty Show, Krannert Art Museum, 1969-1986.
[edit]Works in Public Collections
Neue Galerie am Joanneum, Graz, Austria.
North Carolina Museum of Art, Raleigh, N.C.
Krannert Art Museum and Kinkaid Pavilion (University of Illinois), Champaign, Illinois.
U.S. Embassy to the Czech Republic, Prague
[edit]Bibliography
Philipp Fehl at Work 1996
Nicolas Cochin the Younger and Denis Diderot, A Course in Drawing, being the plates and notes on figure drawing in the Encyclopédie ou Dictionnaire Raisonné des Arts et des Métiers of 1751, edited and translated by Philipp Fehl. University of Chicago, 1954.
World War I Propaganda Posters: Selections from the Bowman-Gray Collection of Materials Related to World War I and World War II, texts by Philipp Fehl and Patricia Fenix, Ackland Art Center, Chapel Hill, North Carolina, 1969.
The Classical Monument: Reflections on the Connection between Morality and Art in Greek and Roman Sculpture. New York University Press, New York, 1972.
Raphael and the Ruins of Rome: The Poetic Dimension. Exhibition Catalogue, Krannert Art Museum, Champaign, IL, 1983 (with Stephen Prokopoff).
The Jest and Earnestness of Art: A History of the Capriccio in Prints. Exhibition Catalogue, Krannert Art Museum, Champaign, IL, 1987 (with Judith Dundas and Stephen Prokopoff).
Franciscus Junius the Younger, The Literature of Classical Art: I. The Painting of the Ancients. London 1638. II. Catalogus Architectorum, Mechanicorum sed praecipue Pictorum, Statuariorum …. Rotterdam, 1694. A critical edition and translation by Keith Aldrich, Philipp Fehl and Raina Fehl. University of California Press, Berkeley, California, 1992.
Decorum and Wit: The Poetry of Venetian Painting. Essays in the History of the Classical Tradition. Bibliotheca Artibus et Historiae, Vienna, 1992.
Albrecht Dürer’s “Small Passion” of 1511 with its Latin Text by Benedictus Chelidonius, edited by Philipp Fehl with a translation by J. K. Newman and an essay on meter and music in Chelidonius’ poems by Thomas F. Kelly (forthcoming).
'Sprezzatura' and the Art of Painting Finely. Open-ended Narration in Paintings by Apelles, Raphael, Michelangelo, Titian, Rembrandt and Ter Borch. The Ninth Gerson Lecture. Groningen, 1997.
Monuments and the Art of Mourning: The Tombs of Popes and Princes in St. Peter’s. Unione Internazionale degli Istituti di Archeologia, Storia e Storia dell’Arte in Roma. 2007.
The Art and Architecture Library of Count Leopoldo Cicognara (1767–1834). A reprint on microfiche of all the works contained in the Fondo Cicognara of the Vatican Library (circa 5000 books and pamphlets). The publication program,known as the Cicognara Project, is a joint venture of the Vatican Library and the University of Illinois Library. (work in progress). Philipp Fehl was the editor-in-chief until his death in September, 2000. See http://www.cicognara.com website.
B. Articles
“Test of Taste”, College Art Journal, XII, 1953, 233–248.
“Coordination of Art History. Studio Work and Museum Study”, Midwestern College Art Conference 1953, Report of the Meetings at Kansas City and Lawrence. Kansas City, Missouri, 1954, 39–41, 46.
“Arts vs. Birds and Beasts” (Letter to the editor), College Art Journal, XIV, 1954, 55–56.
“The Hidden Genre: A Study of the in the Louvre”, Journal of Aesthetics and Art Criticism, XVI, 1957, 153–168.
“Questions of Identity in Veronese’s ”, Art Bulletin, XXXIX, 1957, 301–302.
“A Statuette of the Pugilist Creugas by Antonio Canova”, Register of the Museum of Art of the University of Kansas, no. 10, June 1958, 13–24.
“The Rocks on the Parthenon Frieze”, Journal of the Warburg and Courtauld Institutes, XXXIV, 1961, 1–44.
“Manfred L. Keiler” (obituary), College Art Journal, XXI, 1961, 30–31.
“Veronese and the Inquisition: a study of the subject matter of the so-called ”, Gazette des Beaux-Arts 103, LVIII, 1961, 325–354.
“Practical Observations on the Development of a Taste for the Beautiful”, Four Quarters, XI, no. 3 (March 1962), 8–11.
“The Fineness of the Visual Arts: Notes on the Survival of a Humanistic Tradition”, Speculum Humanitatis (Bulletin 11 of the Southern Humanities Conference). Lexington, Kentucky, 1964, 53–60.
“Bernini’s Triumph of Truth over England”, Art Bulletin, XLVIII, 1966, 404–405.
“Rodolphe Toepffer’s Course in Figure Drawing for Men of Humorous Curiosity and Good Will”, Carolina Quarterly, Winter 1966, 16–28.
“Canova’s : notes regarding a small bronze in the North Carolina Museum of Art”, North Carolina Museum of Art Bulletin, VIII, 1968, no. 1, 2–25.
“Thomas Appleton of Livorno and Canova’s Statue of George Washington”, Festschrift Ulrich Middeldorf, ed. Antje Kosegarten and Peter Tigler. Berlin, 1968, 523–552.
“Realism and Classicism in the Representation of a Painful Scene: Titian’s in the Archiepiscopal Palace at Kromeriz”, Czechoslovakia Past and Present, ed. Miloslav Rechcigl Jr. The Hague, 1969, II, 1387–1415.
“The Final Version of Michelangelo’s Tomb of Julius II”, Renaissance Papers, 1968 (South Eastern Renaissance Conference), Duke University, Durham, North Carolina, 1969, 85–87.
“On the dark Side of the Love of Art”, Theology Today, XXVII, 1970, 207–211.
“Peculiarities in the Relation of Text and Image in two Prints by Peter Bruegel: and ”, North Carolina Museum of Art Bulletin, IX, 1970, no. 3–4, 24–35.
“A Literary Keynote for Pompeo Batoni’s ”, North Carolina Museum of Art Bulletin, X, 1971, no. 3, 2–15.
“Mass Murder or Humanity in Death (Reflections on Dürer’s and Bruegel’s )”, Theology Today, XXVIII, 1971, no. 1, 52–71.
“Michelangelo’s : Notes on the identification of the locale of the action”, Art Bulletin, LIII, 1971, 326–343.
“John Trumbull and Robert Ball Hughe’s Restoration of the Statue of Pitt the Elder”, New York Historical Society Quarterly, LVI, 1972, 6–28.
“Rubens’ ”, Burlington Magazine, LXIV, 1972, no. 828, 159–162.
“Sehnsucht in Arkadien: Bemerkungen zu Pastoralgemälden von Giorgione und Tizian”, Mitteilungen der Gesellschaft für vergleichende Kunstforschung in Wien, XXIV, 1972, no. 3, 16–17.
“The Ghosts of Nuremberg”, The Atlantic Monthly, vol. 229, no. 3, March 1972, 70–80.
“On the Representation of Character in Renaissance Sculpture”, Journal of Aesthetics and Art Criticism, XXXI, 1973, 291–307.
“The Placement of Canova’s in the Palazzo Torlonia”, North Carolina Museum of Art Bulletin, XI, 1973, no. 3, 14–27.
“Pictorial Precedents for the Representation of Doge Lionardo Loredano in Batoni’s ”, North Carolina Museum of Art Bulletin, XI, 1973, no. 4, 20–31.
“Hasidism and Elie Wiesel”, Theology Today, XXX, no. 2, July 1973, 148–153.
“Raphael’s Reconstruction of the Throne of Gregory the Great”, Art Bulletin, LV, 1973, 373–379.
“Thomas Sully’s : The History of a Commission”, Art Bulletin, LV, 1973, 584–599.
“The Account Book of Thomas Appleton of Livorno: A Document in the History of American Art, 1802–1825”, Winterthur Portfolio, IX, 1974, 123–151.
“Gods and Men on the Parthenon Frieze” (excerpts from “The Rocks on the Parthenon Frieze”, 1961, reprinted with a foreword), The Parthenon, ed. Vincent J. Bruno (Norton Critical Studies in Art History). New York, 1974, 311–321.
“Vasari’s : The Challenge of Pity and Fear”, Gazette des Beaux-Arts, LXXXI, 1974, 257–283.
“The Placement of the Equestrian Statue of Marcus Aurelius in the Middle Ages”, Journal of the Warburg and Courtauld Institutes, XXXVII, 1974, 362–367.
“ von Giorgio Vasari: Gedanken über das Schreckliche in der Kunst”, Mitteilungen der Technischen Universität Carola-Wilhelmina zu Braunschweig, IX, 1974, 71–87.
“Saints, Donors and Columns in Titian’s ”, Renaissance Papers 1974 (Proceedings of the South Eastern Renaissance Conference, University of North Carolina). Chapel Hill, North Carolina, 1975, 61–85.
“Science and Art”, The Nature of Scientific Discovery, ed. Owen Gingerich. Washington, D.C., 1975, 485.
“Raphael as Archaeologist”, Archeological News, IV, 1975, nos. 2–3, 29–48.
“Masks, False Gods and the Truth of Art: A Phantasy Biased in Favor of Reason”, Creative Communicator, VI, no. 12, 1975, 8–10.
“The Worship of Bacchus and Venus in Bellini’s and Titian’s for Alfonso d’Este”, Studies in the History of Art, National Gallery of Art, Washington, D.C., VI, 1974, 37–87.
“Bernini’s STEMME for Urban VIII on the baldacchino in St. Peter’s: a forgotten compliment”, Burlington Magazine, LXVIII, 1976, 484–491.
“Vasari e Stradano come panegiristi dei Medici: Osservazioni sul rapporto tra verità storica e verità poetica nella pittura di fatti storici”, Il Vasari storiografo e artista: congresso internazionale nel IV centenario della morte, 1974, Istituto Nazionale di Studi sul Rinascimento, Florence. 1976, 207–224.
“Turner’s Classicism and the Problem of Periodization in History of Art”, Critical Inquiry, III, no. 1, 1976, 93–129.
“Ovidian Delight and Problems in Iconography” (with Paul Watson), Storia dell’Arte, XXVI, 1976, 23–30.
“Patronage through the Ages”, The Great Ideas Today, ed. Robert M. Hutchins and Mortimer Adler. Chicago, 1977, 74–90.
Contribution to John W. Dixon, “A Hermeneutic of Narrative”, a Colloquium, 1976, Colloquy 24, Center for Hermeneutical Studies, Berkeley, California, 1977, 27–30.
“Ekphrasis or Iconology? The Case of the Neglected Cows in Titian’s ”, Actas del XXIII Congreso Internacional de Historia del Arte, Granada, 1977, II, 258–277.
“Enlightenment: E. H. Gombrich’s The Heritage of Apelles”. Burlington Magazine, XXI, 1979, 178–181 (review article).
“Farewell to Jokes: The last of Giovanni Domenico Tiepolo and the Tradition of Irony in Venetian Painting”, Critical Inquiry, VI, 1979, 761–791.
“Titian and the Olympian Gods: The Camerino of Philip II”, Convegno di Studi: Tiziano e Venezia, Università degli Studi di Venezia, 1976. Venice, 1980, 139–147.
“Life Beyond the Reach of Hope: Recollections of a Refugee, 1938–39”, The College, St. John’s College, Md., XXXI, no. 2, 1980, 32–39.
“ and Related Ovidian Pictures by Titian (Part I)”, Fenway Court, 1979, Isabella Stewart Gardner Museum, Boston, 1980, 3–24.
“Poetry and the Entry of the Fine Arts into England: UT PICTURA POESIS”, The Age of Milton, ed. C. A. Patrides and Raymond B. Waddington. Manchester, England, 1980, 273–306.
“The Decorum of Paolo Veronese: Notes on the ”, Art the Ape of Nature: Studies in Honor of H. W. Janson. New York, 1981, 341–365.
“A Tomb in Rome by Harriet Hosmer: Notes on the Rejection of Gesture in the Rhetoric of Funerary Art”, Essays in Honor of Jan Bialostocki: Ars Auro Prior”. Warsaw, 1981, 639–649.
“ and Related Ovidian Pictures by Titian (Part II)”, Fenway Court, 1980, Isabella Stewart Gardner Museum, Boston, 1981, 2–19.
“Franciscus Junius and the Defense of Art”, Artibus et Historiae, no. 3, II, 1981, 9–55.
“Canova’s Tomb and the Cult of Genius”, Il Labirinto, I, no. 2, 1982, 46–67.
“Beauty and the Historian of Art: Reflections on Titian’s ”, Problemi di metodo: condizioni di esistenza di una storia dell’arte, ed. Layos Vayer (Comité International d’Histoire de l’Art, X). Bologna, 1982, 185–195.
“The Naked Christ in Santa Maria Novella in Florence: Reflections on an Exhibition and the Consequences”, Storia dell’Arte, XLV, 1982, 161–169.
“Bernini’s DECORO: some preliminary observations on the baldachin and his tombs in St. Peter’s”, Studies in Iconography, VII–VIII, 1981–82, 323–369 (with Chandler Kirwin).
“Sculpture in St. Peter’s, Rome: Function and the Exigencies of Display”, Abstracts, XXV. Internationaler Kongress für Kunstgeschichte, Comité International d’Histoire de l’Art, Vienna, 1983, Arbeitsgruppe: Neue Forschungsergebnisse und Arbeitsvorhaben, Abstract no. 12.
“Poetry and the Art of Raphael”, Raphael and the Ruins of Rome: the Poetic Dimension. Exhibition catalogue, ed. Philipp Fehl and Stephen Prokopoff, Krannert Art Museum. Champaign, IL, 1983, 5–13.
“Schönheit, Schicklichkeit und Ikonographie: Bemerkungen zur in Rom”, Martin Gosebruch zu Ehren: Festschrift, ed. Frank N. Steigerwald. Munich, 1984, 126–137.
“Painting and the Inquisition at Venice: Three Forgotten Files” (with Marilyn Perry), Interpretazioni Veneziane … in onore di Michelangelo Muraro, ed. David Rosand. Venice, 1984, 371–381.
“Vasari and the Arch of Constantine”, Giorgio Vasari tra decorazione ambientale e storiografia artistica, ed. Gian Carlo Garafagnini. Florence, 1985, 27–44.
“Improvisation and the Artist’s responsibility in St. Peter’s, Rome: Papal Tombs by Bernini and Canova”, XXV. Internationaler Kongress für Kunstgeschichte, CIHA, Wien, Acts, IX. Vienna, 1985, 111–123, 199–204.
“Feasting at the Table of the Lord: Pietro Aretino and the Hierarchy of Pleasures in Venetian Painting”, Hebrew University Studies in Literature and the Arts, XIII, no. 2, 1985, 161–174.
“Hermeticism and Art: Emblem and Allegory in the Work of Bernini”, Artibus et Historiae, no. 14, VII, 1986, 153–189.
“Death and the Artist’s Fame: The AGENDA of Prominent Signatures on Papal Tombs in St. Peter’s”, Abstracts and Program Statements for Art History Sessions, 75th Annual Meeting of the College Art Association of America, Boston, 1987, 67.
“Wagner’s Anti-Semitism and the Dignity of Art”, Wagner in Retrospect: A Centennial Reappraisal, ed. Leroy R. Shaw, et al. Amsterdam, 1987, 197–202.
“L’umiltà cristiana e il monumento sontuoso: la tomba di Urbano VIII del Bernini”, Gian Lorenzo Bernini e le arti visive, ed. Marcello Fagiolo. Rome, 1987, 185–208.
“Imitation as a Source of Greatness: Rubens, Titian and the Painting of the Ancients”, The Bacchanals by Titian and Rubens, ed. Görel Cavalli-Björkman, National Museum, Stockholm, 1987, 107–132.
“The Capriccio in Prints”, lead article in The Jest and Earnestness of Art, ed. Philipp P. Fehl and Stephen Prokopoff. Exhibition Catalogue, Krannert Art Museum, Champaign, IL, 1987, 2–12 and the section “Text and Images”, with Judith Dundas, 32–36.
“The of the Jews of Vienna: Childhood Recollections and History”, Artibus et Historiae 17, IX, 1988 (in honor of Rachel Wischnitzer), 89–126.
“The Ghost of Homer: Observations on Ruben’s ”, Fenway Court, Isabella Stewart Gardner Museum, Boston, 1988, 7–24.
“Art Lessons: Thoughts on Raphael and Wagner”, ed. Charles R. Mack, Collections, I, no. 4, 1989, 7–11.
“Verrocchio’s Tomb of Piero and Giovanni de Medici: Ornament and the Language of Mourning”, Italian Echoes in the Rocky Mountains, ed. Sante Matteo et al. Brigham Young University, Provo, Utah, 1990, 47–67.
“Dürer’s Signatures: The Artist as Witness”, Continuum, I, no. 2, 1991, 3–34.
“Begegnung mit dem Ursprung: Leopoldo Cicognara und die Erfindung der modernen Kunstgeschichte”, Der Kunsthistoriker, Vienna, VIII, 1991, Sondernummer 6: Österreichischer Kunsthistorikertag, 22–29.
“The French Revolution and the Origins of Modern Art History: The Contribution of Leopoldo Cicognara, Acts of the XVI. International Congress of Art History, Strasbourg, 1987. Strasbourg, 1992, 332–343.
“Dürer’s Literal Presence in his Pictures: Reflections on his Signatures in the ”, Der Künstler über sich in seinem Werk, ed. Matthias Winner. Acta humaniora, Weinheim, 1992, 191–244.
“Eine Begegnung mit Albrecht Bloch”, Kontinuität: Identität. Festschrift für Wilfried Skreiner, ed. Götz Pochat, Christa Steinle, Peter Weibel. Vienna, 1992, 227–240.
“Meine Flucht vor den Deutschen, 1939” aus dem Englischen von Freia Hartung, Merkur, Deutsche Zeitschrift für europäisches Denken, Heft S 39 (?? 2001).
“Dürer’s Historiated Self-Portraits: and Related Works”, lecture given at the Hebrew University (Mount Scopus) on 11.3.1992. (So far I have the announcement, must find the text.
“Raphael as a Historian: Poetry and Historical Accuracy in the ”. Artibus et Historiae, no. 28, XIV, 1993, 9–76.
“Dürer’s Portrait of Erasmus and the Medal by Quentin Massys: Two Kinds of Mimesis”, Künstlerischer Austausch: Artistic Exchange: Acts of the XXVIII International Congress of Art History, Berlin, 1992, ed. Thomas Gaethgens. Berlin, 1993, 453–471.
“In Praise of Imitation: Leonardo and his Followers”, Gazette des Beaux-Arts 137, CXXVI, 1995 (July–August), 1–12.
“Über das Schreckliche in der Kunst: als Aufgabe”, Apoll schindet Marsyas. Exhibition Catalogue, ed. Reinhold Baumstark, Peter Volk, Bayerisches Nationalmuseum, Munich, 1995, 49–91.
“Begegnung im Grenzland: Zwei Freunde”, Wilfried Skreiner. Texte, Fotos, Reaktionen: Eine Hommage. Graz–Vienna, 1995, 143–148.
“Touchstones of Art and Art Criticism: Rubens and the Work of Franciscus Junius”, The Humanities Lecture of 1984 at the University of Illinois at Urbana-Champaign, Journal of Aesthetic Education, XXX, no. 2, 1996, 5–24.
“Restitution in Retrospect: Remembering Erik Sjöqvist”, Origine e Primi Sviluppi dell’Unione Internazionale degli Istituti di Archeologia, Storia e Storia dell’Arte in Roma (1946–1953). Per la storia della collaborazione internazionale a Roma nelle ricerche umanistiche nel secondo dopoguerra, Roma, 1996, 159-176.
“Der Klucky-Tempel. Kindheitserinnerungen zur Architekturgeschichte”, Merkur, 575, 1997.
“Epilogue. On Virtue and Vice: Milton’s and Bernini’s Baldachin”, Power Matchless: The Pontificate of Urban VIII. The Baldachin and Gian Lorenzo Bernini, ed. W. Chandler Kirwin. Peter Lang, New York, 1997, 235–252 [237].
"Nostalgie und Kunstgeschichte: Der goldene Name Gottes auf dem Michaelerplatz in Wien," Sinn und Form, 49. Jahr (1997), 2. Heft, pp. 293–97.
“Death and the Sculptor’s Fame: Artist’s Signatures on Renaissance Tombs in Rome”, Biuletyn Historii Sztuki, LXI, 1997, 196–217.
“Vasari e il Mosè di Michelangelo”, introduction to Naomi Vogelman, Roma, Una Storia d’Amore. Introduzione al Mosè, Florence, 1997.
“Kunstgeschichte und die Sehnsucht nach der hohen Kunst: Winckelmann, Fiorillo und Leopoldo Cicognara”, Johann Dominicus Fiorillo. Kunstgeschichte und die romantische Bewegung um 1800, ed. A. M. Kosegarten. Göttingen, 1997, 450–476.
“Das gezähmte Monster. Bemerkungen zum Gartenportal des Palazzo Zuccari in Rom: 'prudentia monstrorum domitrix'”, Römisches Jahrbuch der Bibliotheca Hertziana 32, 1997/98, Beih., 265–293.
“Franciscus Junius, Rubens and Van Dyck”, Franciscus Junius and his Circle, ed. Rolf Bremmer. Amsterdam–Atlanta, 1998, 35–70.
“Drei Ebenen von Platons Höhle: Wiederbegegnung mit Edgar Winds 'Art and Anarchy'”, Egdar Wind. Kunsthistoriker und Philosoph, ed. H. Bredekamp, B. Buschendorf , F. Hartung, J. M. Krois. Berlin, 1998, 135–177.
“The Dedication Copy of Leopoldo Cicognara’s Catalogo Ragionato of 1821 (B.A.V., Riserva IV. 169) and the Fondo Cicognara at the Vatican Library. Thoughts on a Legacy”, with Maria Raina Fehl, Miscellanea Bibliothecae Vaticanae Apostolicae VI, Collectanea in honorem Rev.mi Patris Leonardi E. Boyle Septuagesimum quintum annum feliciter complentis. Città del Vaticano, 1998, 173–209.
“Van Dyck’s moral grace: Antwerp and the classics”, Ars longa. Prace dedykowane pamieci profesora Jana Bialostockiego: materially sesji Stowarzyszenia Historyków Sztuki, ed. M. Porprzecka. Warszawa, 1999, 295–331.
“The Fondo Cicognara in the Vatican Library: Inventing the Art Library of the Future”, Memory and Oblivion: Proceedings of the XXIXth International Congress of the History of Art held in Amsterdam, 1–7 September 1996, Dordrecht, 1999, 43-56.
“Stendhal and Leopoldo Cicognara, Notes on the Strategy and the Truth of Stendhal’s Lies”, Gazette des Beaux-Arts 141, CXXXIV, 1999, 93–116.
“Michelangelos Decke der Sixtinischen Kapelle als Ornament: Rahmen und Inhalt”, In Erinnerung an Fabrizio Mancinelli. Die Rhetorik des Ornaments, ed. Isabelle Frank, Freia Hartung (aus dem Englischen von Jürgen Blasius). Wilhelm Fink Verlag, München, 2001, 35–37.
“Life Beyond the Reach of Hope: Recollections of a Refugee, 1938–39. With a Postscript on Hope and the Humanities: Recollections of an art historian”, Exile and Displacement, ed. Lauren Enzie. Peter Lang, New York, 2001.
“Michelangelo’s Tomb in Rome: Observations on the in Florence and the . Artibus et Historiae. No. 45, 2002, 9-26. .
„"Der Heilige Stephan und Michelangelos “ Wiener Jahrbuch für Kunstgeschichte, LII, 2002, pp. 47- 66.. [Philipp read the paper in Vienna 1998.]
UNPUBLISHED (including lectures, etc. never intended for publication): MISSING HERE BECAUSE NEVER PUBLISHED:
"Colossal Sculpture and the Light of God: Remarks on Michelangelo's Tomb of Julius II." (CAA, New York, 1990 ??
"Michelangelo's Decorum and the Grotesque.", paper first presented at the 22nd International Medieval Congress held under the auspices of the Medieval Institute of Western Michigan University, May, 1987. The expanded version was read in homage of John W. Dixon, September, 1987, in Chapel Hill, NC. The paper must still be better restored. It was badly garbled by the software. Raina Fehl added a section of this paper as an appendix to Monuments and the Art of Mourning: The Tombs of Popes and Princes in St. Peter’s.
“Virtù and Truth: Arundel state Portraits by Rubens and Van Dyck”, paper read for the Society of Art History and Archaeology, University of Illinois, September 14, 1995.
"Piety and the Conspicuous Monument: Michelangelo's Tomb of Julius II", unpublished lecture, certainly no later than 15 May 1984. It was likely read at the meetings of that year of the International Medieval Society in Kalamazoo,MI. Philipp re-used the first part of this essay, with its title, "Prelude macabre" in his essay “L’umiltà cristiana e il monumento sontuoso: la tomba di Urbano VIII del Bernini” and Raina Fehl adopted a part of it in "Monuments and the Art of Mourning: The Tombs of Popes and Princes in St. Peter’s".
Paper read May, 1986, 21st Int. Congress on Medieval Studies, Kalamazoo, MI., “More Modest than Thou: Complexities of Decorum in Christian Funerary Sculpture”
Bernini's Project of a Funerary Chapel for the Popes of the Future, final version dated by Philipp February, 1990. Philipp read it first at the conference held by the Canadian Institute in Rome in honor of Richard Krautheimer andLeonard Boyle. Philipp worked out the architectural possibilities with Kasimir and Maria Piechotka and the drawings to scale are by them, working out Philipp's ideas. The paper but only two of the illustrations is included as an appendix to Monuments and the Art of Mourning: The Tombs of Popes and Princes in St. Peter’s.
“Laudatio Naomi Vogelman” read 15, April, 1999, in Rome on the occasion of the presentation of her Roma, Una storia d’amore. Introduzione al Mosè, Firenze, 1997, con prefazione di Philipp Fehl, “Vasari e il di Michelangelo”.. UNPUBLISHED
MISSING: the Turtles
C. Tapes for the Blind
Art and the Imagination: An Introduction to the Poetry of Renaissance Painting for the Particular Pleasure of the Blind, a series of twelve tape recordings (conversations). Twelve radio broadcasts, edited by Goddard Graves. One set of tapes were deposited and were to be available for use in the Media Center of the Library of the University of Illinois at Urbana-Champaign (Undergraduate Library), another in the Department of Education of the Krannert Museumof the University of Illinois. Neither seems extant in 2007. Goddard has a set.
D. Entries in Encyclopedias
“Paolo Veronese”, New Catholic Encyclopedia, New York, 1967, XIV, 623–625.
“Monument”, “Triumphal Arch”, Oxford Companion to Art, Oxford, 1971, 623–625, 737–738.
“Antonio Correggio”, “Lorenzo Lotto”, “Jacopo Tintoretto”, “Paolo Veronese”, The McGraw-Hill Encyclopedia of World Biography, New York, 1973, III, 145–147; VI, 572–573; X, 449–452; XI, 126–128.
“Belvedere Apollo”, “Junius (Du Jou), Franciscus, the younger (1591–1677)”, An Encyclopedia of the History of Classical Archaeology, ed. Nancy Thomson De Grummond, Fitzroy Dearborn Publishers, London–Chicago, 1996, I, 143–146 and625–627.
E. Book Reviews
In : College Art Journal , Art Digest , Journal of Aesthetics and Art Criticism , Renaissance Quarterly.
PAPERS READ BUT NOT INTENDED FOR PUBLICATION OR AT LEAST NOT SUBMITTED FOR PUBLICATION
Zur Restoration der Sixtinischen Kapelle im Vatikan (It seems that Philipp may have read this in Munich at the Zentral Institut or else at a session of a CIHA Congress presided over by Prof. Tegethoff. I did not see a date in thetext.)
"Piety and the Conspicuous Monument: Michelangelo and the Tomb for Julius II" (It contains the prefatory part later used for “L’umiltà cristiana e il monumento sontuoso: la tomba di Urbano VIII del Bernini”, Gian Lorenzo Bernini ele arti visive, ed. Marcello Fagiolo. Rome, 1987, 185–208, "Prélude Macabre".) The Italian version of the preface is minimally richer in a few spots.
Unpublished and at the same time not complete papers, such as Wittenberg, Einhorn, etc.
[edit]See also
San Gregorio Magno al Celio
[edit]References
^ Marilyn Perry. Philipp P. Fehl: Artist, Scholar, Humanist, Witness (pp. 13-15) Artibus et Historiae no. 48 (XXIV)2003
[edit]External links
http://www.philippfehl.com/
http://www.ranafehl.com/
http://www.cicognara.com/
http://openlibrary.org/a/OL735689A/Philipp-P.-Fehl
http://books.google.com/books?id=EvKlY7c7z9AC&...=result&resnum=1
http://www.journals.uchicago.edu/doi/abs/10.2307/2860281
http://www.jstor.org/pss/1483726
http://www.d-nb.de/sammlungen/dea/samml_bestaende/.../exil_nachlaesse.htm
http://www.jstor.org/pss/1483726
Philipp Fehl (9 May 1920, Vienna, Austria-11 September 2000) was an Austrian artist and art historian. He emigrated to the United States in 1941, and became an artist and lecturer at several universities. He moved back to Europe in 1990, living mainly in Rome, where he initiated the Cicognara Project at the Vatican Library. He is buried at Prima Porta in Rome. He was married for 54 years.
Contents [hide]
1 Early life
2 Early work
3 Teaching
3.1 Education
3.2 Teaching
3.3 Honors
3.4 Offices
3.5 Membership in Learned Societies
3.6 Listed in
4 Artist
5 Publications of Works of Art
6 Critiques and reproduction of drawings in newspapers
7 Exhibits of Philipp Fehl's Works of Art
7.1 One Man Shows
7.2 Group Shows
7.3 Annual Exhibitions
7.4 Works in Public Collections
8 Bibliography
9 See also
10 References
11 External links
[edit]Early life
From childhood on he drew and painted whenever possible. He was the oldest child of Hugo and Frieda Fehl and the brother of Arnold Fehl. He was the cousin of the renowned ballet photographer Fred Fehl. His older cousin, Paul Eisler, attended Gymnasium, and Fehl determined that he also wanted this classical higher education for gifted students.
He was accepted and attended Gymnasium and continued to attend school after the Anschluß. After Matura, (graduation), he emigrated to England . He worked for a time in Birmingham as an apprentice commercial artist with the firm Stagg Displays before immigrating to the United States of America in 1940, becoming a citizen in 1943.
[edit]Early work
Till 1942 he attended the School of the Art Institute of Chicago for painting after which he continued his art studies at Stanford University, taking up also humanistic studies. In 1943 he enrolled in the US Army, serving as an interrogator at the Nuremberg War Crimes Tribunal (1946–1947). In 1945 he married Raina Fehl daughter of the writer Erich Fritz Schweinburg, also born in Vienna, and the couple had two daughters, Katharine, "Kathy Fehl", and Caroline Coulston. He returned to Stanford University, taking a B.A. in romance languages and a M.A. in history of art. In 1948 he moved back to Chicago, where he continued his studies at the University of Chicago in painting and graphicarts as well as history of art; in 1963 he obtained his Ph.D. from the Committee on Social Thought of the University of Chicago (his thesis was partly published in 1972 as “The Classical Monument”, see bibliography).
[edit]Teaching
"His legacy resides in a long and distinguished list of art historical publications, in thousands of witty and melancholy drawings, in the microfiches of the Fondo Cicognara, and in the enjoyment of art he inspired in his studentsand friends. He also entrusted to us an indelible testimony of the inhumanity of Nazi Europe. In person, he was distinguished by a quick, nervous, ironic intelligence, an engaging warmth, a sense of humor. He spoke English with avast vocabulary and the accent of his native Vienna, absorbing ideas and parsing them with broad learning and brilliant asides. As an artist he thought in images and metaphors that enlivened his conversation and sharpened his memory. He wrote as he spoke, with wit and passion. He was never dull."
Marilyn Perry[1]
While studying he also began to teach, 1949–1950 photography with the Youth Program of Temple Sinai, Chicago, 1951–1952 as director of The Bateman School, Chicago, 1951–1954 as a lecturer in art at University College, University of Chicago (“Experimental figure drawing according to 18th century methods”) and 1951–1963 as an instructor in Home Studies, University of Chicago (“Elementary Figure Drawing in the Academic Tradition”). He started academic teaching in 1951 as a lecturer at the University of Chicago and, after holding a number of other academic appointments and receiving numerous honours (see list), retired in 1990 as Professor Emeritus from the University of Illinois.
He began to make pen and ink drawings of bird like characters (who closely resembled him physically) dressed in the peruke and trousers of the 18th century. He called these drawings "capricci". The bulk of these capricci are now preserved in the Exile's archives at the German National Library, das Deutsche National Bibliothek.
Philipp and Raina Fehl in London in the early 1960's
[edit]Education
School of the Art Institute of Chicago, 1940-1942 (Painting).
Stanford University, 1943, 1947-1948. B.A. (Romance Languages) M.A. (History of Art).
University of Chicago 1948-1952, 1963. Ph.D. (History of Art in the Committee on Social Thought).
[edit]Teaching
University College, University of Chicago. Lecturer, 1951-1954.
Department of Home Study, University of Chicago. Instructor (part time), 1951-1963.
University of Kansas City, Kansas City, Missouri. Instructor, 1952-1954.
University of Nebraska, Lincoln. Assistant Professor, later Associate Professor, 1954-1963.
University of North Carolina, Chapel Hill. Associate Professor, later Professor, 1963-1969.
University of Illinois, Urbana-Champaign. Professor 1969 - 1990. Professor Emeritus, 1990-. Director, Summer Seminar for College Teachers, National Endowment for the Humanities, University of Illinois, 1978 and 198l.
Visiting appointments at
University of California, Berkeley, 1960, 1963;
Brown University, 1967; Trinity College at Rome, Summer 197l;
Tel Aviv University, Winter, 1982; The Hebrew University, Jerusalem, Spring l992.
Central European University, Prague, Spring 1993.
[edit]Honors
Fellow, Brussels Art Seminar, Belgian-American Educational Foundation, 1952.
Research Fellow, Warburg Institute of the University of London, 1952-53.
Associate, Committee on Social Thought, University of Chicago, 1963-2000.
Art Historian in Residence, American Academy in Rome, 1967-1968.
Fellow, National Endowment for the Humanities, 1977-1978.
Associate, Center for Advanced Study, University of Illinois, 1970–1971, 1981–82, 1989-90. Resident Associate, l990-2000.
[edit]Offices
Committee for Awards in the Humanities, American Council of Learned Societies, 1965-1969.
Committee for the Administration of the Medieval and Renaissance Institute of Duke University and the University of North Carolina, 1966-1969.
Editor for Book Reviews, The Art Bulletin, 1965-1968.
Board of Directors, College Art Association of America, 1967-1971.
Central Illinois Archaeological Society (American Institute of Archaeology), President, 1973–1975; Board of Directors, 1975-1977.
Advisory Council, The Dunlap Society, Washington, D.C., 1975-1977.
Selection Committee for Kress Fellows, Institute of International Education, New York, 1976-1978.
Publication Committee, Midwest Art History Society, 1976-1978.
Advisory Council, Gazette des Beaux Arts, 1975- .
Board of Reviewers for grant proposals, NEH Division of Public Programs, 1977- .
International Survey of Jewish Monuments, President, 1977–97, Advisory Council, 1997-2000.
Board of Directors, Midwest Medieval Society of America, 1980-83.
Consultant editor, Dictionary of the History of Classical Archaeology, ed. Nancy de Grummond, 1983-1996.
Art Bulletin Committee, College Art Association of America, 1968-91.
Advisory Council, American Academy in Rome, l982-1990.
Advisory Council, Committee for the Advancement of Early Studies, Ball State University, 1986-2000.
Director, The Leopoldo Cicognara Program at the University of Illinois Library, dedicated to the study and promulgation of literary sources in the history of art, 1987-2000.
[edit]Membership in Learned Societies
College Art Association of America, Renaissance Society of America, South Eastern Renaissance Society, Central Renaissance Society, American Society for Aesthetics and Art Criticism, Midwest Art History Society, Midwest Medieval Society of America, International Survey of Jewish Monuments.
Honorary Associate, Centro Studi Monopolis: Arte e Cultura, Monopoli, Puglia, 1984-2000.
Corresponding Member, Ateneo Veneto, Venice, 1988-2000.
Corresponding Member, Braunschweigische Wissenschafliche Gesellschaft, Klasse für Geisteswissenschaften, 1992-.
[edit]Listed in
Directory of American Scholars
Who's Who in American Art
Who's Who in Austria
Dictionary of International Biography
The Writers Directory
Who's Who in the Midwest
International Authors and Writers Who's Who
Who's Who in Europe
Who's Who in Society
[edit]Artist
Capricci Pen and Ink:
Artists Have No Illusions. That Is Why We Create Them. Pen and Ink Wash by Philipp Fehl
http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5211898 http://www.dictionaryofarthistorians.org/fehlp.htm
Saying Good bye to a mediocre drawing, Pen and Ink Wash by Philipp Fehl
Oils
Self Portrait in Oil by Philipp Fehl circa 1950
[edit]Publications of Works of Art
Carolina Quarterly, Winter 1966, 21–27. Sample Copy, University of North Carolina, Chapel Hill, North Carolina, 1968: “Series”, 5 pages. Lillabulero, Chapel Hill, North Carolina, VII, 1969, 86, 96, 100. The Bird (serigraph and original pen and ink drawings), Finial Press, Urbana, Illinois, 1970. Capricci, selection and introduction by Wilfried Skreiner, Neue Galerie am Landesmuseum Joanneum, Graz, 1971. Also Published in German, same title. Voyages, ChapelHill, North Carolina, IV, 1971, nos. 1–2, 39, 63, 67; nos. 3–4, 64, 65, 85, 89, 163; V, 1973–1974, nos. 1–4, 109. Au Verso (St. John’s College, Sante Fe, New Mexico), 1972, “Aging”, 10 pages. North Carolina Museum of Art Bulletin, XII, 1975, no. 4; 11. Archaeological News, IV, 1975, no. 1; 7, 11. Polity, Summer 1977, title page. Birds of a Feather (with an introduction by Maurice Cope), University of Illinois Press, Champaign, Illinois, 1991.
[edit]Critiques and reproduction of drawings in newspapers
Daily Tar Heel, The Courier, The News-Gazette, Kleine Zeitung, Kultur, William and Mary News, The Cavalier Daily, Illini Week.
[edit]Exhibits of Philipp Fehl's Works of Art
[edit]One Man Shows
Art Gallery of Chapel Hill, Chapel Hill, North Carolina, 1968, 1970.
Neue Galerie am Joanneum, Graz, "Capricci," 1971.
Roberts Gallery, London, 1971.
Galerie im Stock, Vienna, Austria, 1973.
Folger Shakespeare Library (Ann Hathaway Gallery), Washington D.C. "Birds on Crutches," 1973.
Peoria Art Guild, Peoria, Illinois, "Birds of a Feather," 1975.
University of Illinois (Department of Art and Design), 1969, 1974.
College of William and Mary, Williamsburg, Virginia, 1977.
Kenyon College, Gambier, Ohio, "New Capricci," 1979.
Mt. Holyoke College, South Hadley, Mass., "New Capricci," 1979.
Società Dante Alighieri, Venice, Italy, 1980-81.
Department of Art, Tel Aviv University, 1982.
Herzog August Bibliothek, Wolfenbüttel, 1982.
Kunsthistorisches Institut, Universität Kiel, 1983.
Gallery ?Nature's Table?, Urbana, Illinois, 1984.
University of Virginia Art Museum, Charlottesville, Virginia, April-June 1986 (a retrospective exhibition of Capricci: "A Poet's Progress"). Catalogue essay by Paul Barolsky.
University of Delaware Perkins Student Center Gallery, A Poet's Progress," April l987.
Hallside Gallery at the University of Utah, Department of Medical Illustration, Salt Lake City, "Capricci," October-November, 1987.
Gallery ?Nature's Table?, Urbana, Illinois, "New Capricci," November-December 1987.
Gallery 107 Mercer Street, New York, New York, "Capricci," April-May, 1989.
Krannert Museum of Art and Kinkaid Pavilion, "Birds of a Feather," September, l991.
Miracles Cafe", Cardiff By The Sea, California, "Capricci" June-July 1992.
Central European University, Prague, "Birds of a Feather," Spring, 1993.
Exil Archiv, Die Deutsche Bibliotek, Adickesallee 1, D-60322 Frankfurt am Main, November 2001 through early January 2002.
[edit]Group Shows
Exline, Fehl, and Lancaster, Krannert Art Museum, University of Illinois, 1971.
Figures, The Anderson Gallery, Champaign, Illinois: April-May, 1986.
Rethinking the Avant-Garde, Kotonah Gallery, Kotonah, New York, April-May, 1986: catalogue by Jonathan Fineberg.
[edit]Annual Exhibitions
Renaissance Society of the University of Chicago, 1948-1963. (drawings, prints, glass-etchings).
University of Illinois Faculty Show, Krannert Art Museum, 1969-1986.
[edit]Works in Public Collections
Neue Galerie am Joanneum, Graz, Austria.
North Carolina Museum of Art, Raleigh, N.C.
Krannert Art Museum and Kinkaid Pavilion (University of Illinois), Champaign, Illinois.
U.S. Embassy to the Czech Republic, Prague
[edit]Bibliography
Philipp Fehl at Work 1996
Nicolas Cochin the Younger and Denis Diderot, A Course in Drawing, being the plates and notes on figure drawing in the Encyclopédie ou Dictionnaire Raisonné des Arts et des Métiers of 1751, edited and translated by Philipp Fehl. University of Chicago, 1954.
World War I Propaganda Posters: Selections from the Bowman-Gray Collection of Materials Related to World War I and World War II, texts by Philipp Fehl and Patricia Fenix, Ackland Art Center, Chapel Hill, North Carolina, 1969.
The Classical Monument: Reflections on the Connection between Morality and Art in Greek and Roman Sculpture. New York University Press, New York, 1972.
Raphael and the Ruins of Rome: The Poetic Dimension. Exhibition Catalogue, Krannert Art Museum, Champaign, IL, 1983 (with Stephen Prokopoff).
The Jest and Earnestness of Art: A History of the Capriccio in Prints. Exhibition Catalogue, Krannert Art Museum, Champaign, IL, 1987 (with Judith Dundas and Stephen Prokopoff).
Franciscus Junius the Younger, The Literature of Classical Art: I. The Painting of the Ancients. London 1638. II. Catalogus Architectorum, Mechanicorum sed praecipue Pictorum, Statuariorum …. Rotterdam, 1694. A critical edition and translation by Keith Aldrich, Philipp Fehl and Raina Fehl. University of California Press, Berkeley, California, 1992.
Decorum and Wit: The Poetry of Venetian Painting. Essays in the History of the Classical Tradition. Bibliotheca Artibus et Historiae, Vienna, 1992.
Albrecht Dürer’s “Small Passion” of 1511 with its Latin Text by Benedictus Chelidonius, edited by Philipp Fehl with a translation by J. K. Newman and an essay on meter and music in Chelidonius’ poems by Thomas F. Kelly (forthcoming).
'Sprezzatura' and the Art of Painting Finely. Open-ended Narration in Paintings by Apelles, Raphael, Michelangelo, Titian, Rembrandt and Ter Borch. The Ninth Gerson Lecture. Groningen, 1997.
Monuments and the Art of Mourning: The Tombs of Popes and Princes in St. Peter’s. Unione Internazionale degli Istituti di Archeologia, Storia e Storia dell’Arte in Roma. 2007.
The Art and Architecture Library of Count Leopoldo Cicognara (1767–1834). A reprint on microfiche of all the works contained in the Fondo Cicognara of the Vatican Library (circa 5000 books and pamphlets). The publication program,known as the Cicognara Project, is a joint venture of the Vatican Library and the University of Illinois Library. (work in progress). Philipp Fehl was the editor-in-chief until his death in September, 2000. See http://www.cicognara.com website.
B. Articles
“Test of Taste”, College Art Journal, XII, 1953, 233–248.
“Coordination of Art History. Studio Work and Museum Study”, Midwestern College Art Conference 1953, Report of the Meetings at Kansas City and Lawrence. Kansas City, Missouri, 1954, 39–41, 46.
“Arts vs. Birds and Beasts” (Letter to the editor), College Art Journal, XIV, 1954, 55–56.
“The Hidden Genre: A Study of the in the Louvre”, Journal of Aesthetics and Art Criticism, XVI, 1957, 153–168.
“Questions of Identity in Veronese’s ”, Art Bulletin, XXXIX, 1957, 301–302.
“A Statuette of the Pugilist Creugas by Antonio Canova”, Register of the Museum of Art of the University of Kansas, no. 10, June 1958, 13–24.
“The Rocks on the Parthenon Frieze”, Journal of the Warburg and Courtauld Institutes, XXXIV, 1961, 1–44.
“Manfred L. Keiler” (obituary), College Art Journal, XXI, 1961, 30–31.
“Veronese and the Inquisition: a study of the subject matter of the so-called ”, Gazette des Beaux-Arts 103, LVIII, 1961, 325–354.
“Practical Observations on the Development of a Taste for the Beautiful”, Four Quarters, XI, no. 3 (March 1962), 8–11.
“The Fineness of the Visual Arts: Notes on the Survival of a Humanistic Tradition”, Speculum Humanitatis (Bulletin 11 of the Southern Humanities Conference). Lexington, Kentucky, 1964, 53–60.
“Bernini’s Triumph of Truth over England”, Art Bulletin, XLVIII, 1966, 404–405.
“Rodolphe Toepffer’s Course in Figure Drawing for Men of Humorous Curiosity and Good Will”, Carolina Quarterly, Winter 1966, 16–28.
“Canova’s : notes regarding a small bronze in the North Carolina Museum of Art”, North Carolina Museum of Art Bulletin, VIII, 1968, no. 1, 2–25.
“Thomas Appleton of Livorno and Canova’s Statue of George Washington”, Festschrift Ulrich Middeldorf, ed. Antje Kosegarten and Peter Tigler. Berlin, 1968, 523–552.
“Realism and Classicism in the Representation of a Painful Scene: Titian’s in the Archiepiscopal Palace at Kromeriz”, Czechoslovakia Past and Present, ed. Miloslav Rechcigl Jr. The Hague, 1969, II, 1387–1415.
“The Final Version of Michelangelo’s Tomb of Julius II”, Renaissance Papers, 1968 (South Eastern Renaissance Conference), Duke University, Durham, North Carolina, 1969, 85–87.
“On the dark Side of the Love of Art”, Theology Today, XXVII, 1970, 207–211.
“Peculiarities in the Relation of Text and Image in two Prints by Peter Bruegel: and ”, North Carolina Museum of Art Bulletin, IX, 1970, no. 3–4, 24–35.
“A Literary Keynote for Pompeo Batoni’s ”, North Carolina Museum of Art Bulletin, X, 1971, no. 3, 2–15.
“Mass Murder or Humanity in Death (Reflections on Dürer’s and Bruegel’s )”, Theology Today, XXVIII, 1971, no. 1, 52–71.
“Michelangelo’s : Notes on the identification of the locale of the action”, Art Bulletin, LIII, 1971, 326–343.
“John Trumbull and Robert Ball Hughe’s Restoration of the Statue of Pitt the Elder”, New York Historical Society Quarterly, LVI, 1972, 6–28.
“Rubens’ ”, Burlington Magazine, LXIV, 1972, no. 828, 159–162.
“Sehnsucht in Arkadien: Bemerkungen zu Pastoralgemälden von Giorgione und Tizian”, Mitteilungen der Gesellschaft für vergleichende Kunstforschung in Wien, XXIV, 1972, no. 3, 16–17.
“The Ghosts of Nuremberg”, The Atlantic Monthly, vol. 229, no. 3, March 1972, 70–80.
“On the Representation of Character in Renaissance Sculpture”, Journal of Aesthetics and Art Criticism, XXXI, 1973, 291–307.
“The Placement of Canova’s in the Palazzo Torlonia”, North Carolina Museum of Art Bulletin, XI, 1973, no. 3, 14–27.
“Pictorial Precedents for the Representation of Doge Lionardo Loredano in Batoni’s ”, North Carolina Museum of Art Bulletin, XI, 1973, no. 4, 20–31.
“Hasidism and Elie Wiesel”, Theology Today, XXX, no. 2, July 1973, 148–153.
“Raphael’s Reconstruction of the Throne of Gregory the Great”, Art Bulletin, LV, 1973, 373–379.
“Thomas Sully’s : The History of a Commission”, Art Bulletin, LV, 1973, 584–599.
“The Account Book of Thomas Appleton of Livorno: A Document in the History of American Art, 1802–1825”, Winterthur Portfolio, IX, 1974, 123–151.
“Gods and Men on the Parthenon Frieze” (excerpts from “The Rocks on the Parthenon Frieze”, 1961, reprinted with a foreword), The Parthenon, ed. Vincent J. Bruno (Norton Critical Studies in Art History). New York, 1974, 311–321.
“Vasari’s : The Challenge of Pity and Fear”, Gazette des Beaux-Arts, LXXXI, 1974, 257–283.
“The Placement of the Equestrian Statue of Marcus Aurelius in the Middle Ages”, Journal of the Warburg and Courtauld Institutes, XXXVII, 1974, 362–367.
“ von Giorgio Vasari: Gedanken über das Schreckliche in der Kunst”, Mitteilungen der Technischen Universität Carola-Wilhelmina zu Braunschweig, IX, 1974, 71–87.
“Saints, Donors and Columns in Titian’s ”, Renaissance Papers 1974 (Proceedings of the South Eastern Renaissance Conference, University of North Carolina). Chapel Hill, North Carolina, 1975, 61–85.
“Science and Art”, The Nature of Scientific Discovery, ed. Owen Gingerich. Washington, D.C., 1975, 485.
“Raphael as Archaeologist”, Archeological News, IV, 1975, nos. 2–3, 29–48.
“Masks, False Gods and the Truth of Art: A Phantasy Biased in Favor of Reason”, Creative Communicator, VI, no. 12, 1975, 8–10.
“The Worship of Bacchus and Venus in Bellini’s and Titian’s for Alfonso d’Este”, Studies in the History of Art, National Gallery of Art, Washington, D.C., VI, 1974, 37–87.
“Bernini’s STEMME for Urban VIII on the baldacchino in St. Peter’s: a forgotten compliment”, Burlington Magazine, LXVIII, 1976, 484–491.
“Vasari e Stradano come panegiristi dei Medici: Osservazioni sul rapporto tra verità storica e verità poetica nella pittura di fatti storici”, Il Vasari storiografo e artista: congresso internazionale nel IV centenario della morte, 1974, Istituto Nazionale di Studi sul Rinascimento, Florence. 1976, 207–224.
“Turner’s Classicism and the Problem of Periodization in History of Art”, Critical Inquiry, III, no. 1, 1976, 93–129.
“Ovidian Delight and Problems in Iconography” (with Paul Watson), Storia dell’Arte, XXVI, 1976, 23–30.
“Patronage through the Ages”, The Great Ideas Today, ed. Robert M. Hutchins and Mortimer Adler. Chicago, 1977, 74–90.
Contribution to John W. Dixon, “A Hermeneutic of Narrative”, a Colloquium, 1976, Colloquy 24, Center for Hermeneutical Studies, Berkeley, California, 1977, 27–30.
“Ekphrasis or Iconology? The Case of the Neglected Cows in Titian’s ”, Actas del XXIII Congreso Internacional de Historia del Arte, Granada, 1977, II, 258–277.
“Enlightenment: E. H. Gombrich’s The Heritage of Apelles”. Burlington Magazine, XXI, 1979, 178–181 (review article).
“Farewell to Jokes: The last of Giovanni Domenico Tiepolo and the Tradition of Irony in Venetian Painting”, Critical Inquiry, VI, 1979, 761–791.
“Titian and the Olympian Gods: The Camerino of Philip II”, Convegno di Studi: Tiziano e Venezia, Università degli Studi di Venezia, 1976. Venice, 1980, 139–147.
“Life Beyond the Reach of Hope: Recollections of a Refugee, 1938–39”, The College, St. John’s College, Md., XXXI, no. 2, 1980, 32–39.
“ and Related Ovidian Pictures by Titian (Part I)”, Fenway Court, 1979, Isabella Stewart Gardner Museum, Boston, 1980, 3–24.
“Poetry and the Entry of the Fine Arts into England: UT PICTURA POESIS”, The Age of Milton, ed. C. A. Patrides and Raymond B. Waddington. Manchester, England, 1980, 273–306.
“The Decorum of Paolo Veronese: Notes on the ”, Art the Ape of Nature: Studies in Honor of H. W. Janson. New York, 1981, 341–365.
“A Tomb in Rome by Harriet Hosmer: Notes on the Rejection of Gesture in the Rhetoric of Funerary Art”, Essays in Honor of Jan Bialostocki: Ars Auro Prior”. Warsaw, 1981, 639–649.
“ and Related Ovidian Pictures by Titian (Part II)”, Fenway Court, 1980, Isabella Stewart Gardner Museum, Boston, 1981, 2–19.
“Franciscus Junius and the Defense of Art”, Artibus et Historiae, no. 3, II, 1981, 9–55.
“Canova’s Tomb and the Cult of Genius”, Il Labirinto, I, no. 2, 1982, 46–67.
“Beauty and the Historian of Art: Reflections on Titian’s ”, Problemi di metodo: condizioni di esistenza di una storia dell’arte, ed. Layos Vayer (Comité International d’Histoire de l’Art, X). Bologna, 1982, 185–195.
“The Naked Christ in Santa Maria Novella in Florence: Reflections on an Exhibition and the Consequences”, Storia dell’Arte, XLV, 1982, 161–169.
“Bernini’s DECORO: some preliminary observations on the baldachin and his tombs in St. Peter’s”, Studies in Iconography, VII–VIII, 1981–82, 323–369 (with Chandler Kirwin).
“Sculpture in St. Peter’s, Rome: Function and the Exigencies of Display”, Abstracts, XXV. Internationaler Kongress für Kunstgeschichte, Comité International d’Histoire de l’Art, Vienna, 1983, Arbeitsgruppe: Neue Forschungsergebnisse und Arbeitsvorhaben, Abstract no. 12.
“Poetry and the Art of Raphael”, Raphael and the Ruins of Rome: the Poetic Dimension. Exhibition catalogue, ed. Philipp Fehl and Stephen Prokopoff, Krannert Art Museum. Champaign, IL, 1983, 5–13.
“Schönheit, Schicklichkeit und Ikonographie: Bemerkungen zur in Rom”, Martin Gosebruch zu Ehren: Festschrift, ed. Frank N. Steigerwald. Munich, 1984, 126–137.
“Painting and the Inquisition at Venice: Three Forgotten Files” (with Marilyn Perry), Interpretazioni Veneziane … in onore di Michelangelo Muraro, ed. David Rosand. Venice, 1984, 371–381.
“Vasari and the Arch of Constantine”, Giorgio Vasari tra decorazione ambientale e storiografia artistica, ed. Gian Carlo Garafagnini. Florence, 1985, 27–44.
“Improvisation and the Artist’s responsibility in St. Peter’s, Rome: Papal Tombs by Bernini and Canova”, XXV. Internationaler Kongress für Kunstgeschichte, CIHA, Wien, Acts, IX. Vienna, 1985, 111–123, 199–204.
“Feasting at the Table of the Lord: Pietro Aretino and the Hierarchy of Pleasures in Venetian Painting”, Hebrew University Studies in Literature and the Arts, XIII, no. 2, 1985, 161–174.
“Hermeticism and Art: Emblem and Allegory in the Work of Bernini”, Artibus et Historiae, no. 14, VII, 1986, 153–189.
“Death and the Artist’s Fame: The AGENDA of Prominent Signatures on Papal Tombs in St. Peter’s”, Abstracts and Program Statements for Art History Sessions, 75th Annual Meeting of the College Art Association of America, Boston, 1987, 67.
“Wagner’s Anti-Semitism and the Dignity of Art”, Wagner in Retrospect: A Centennial Reappraisal, ed. Leroy R. Shaw, et al. Amsterdam, 1987, 197–202.
“L’umiltà cristiana e il monumento sontuoso: la tomba di Urbano VIII del Bernini”, Gian Lorenzo Bernini e le arti visive, ed. Marcello Fagiolo. Rome, 1987, 185–208.
“Imitation as a Source of Greatness: Rubens, Titian and the Painting of the Ancients”, The Bacchanals by Titian and Rubens, ed. Görel Cavalli-Björkman, National Museum, Stockholm, 1987, 107–132.
“The Capriccio in Prints”, lead article in The Jest and Earnestness of Art, ed. Philipp P. Fehl and Stephen Prokopoff. Exhibition Catalogue, Krannert Art Museum, Champaign, IL, 1987, 2–12 and the section “Text and Images”, with Judith Dundas, 32–36.
“The of the Jews of Vienna: Childhood Recollections and History”, Artibus et Historiae 17, IX, 1988 (in honor of Rachel Wischnitzer), 89–126.
“The Ghost of Homer: Observations on Ruben’s ”, Fenway Court, Isabella Stewart Gardner Museum, Boston, 1988, 7–24.
“Art Lessons: Thoughts on Raphael and Wagner”, ed. Charles R. Mack, Collections, I, no. 4, 1989, 7–11.
“Verrocchio’s Tomb of Piero and Giovanni de Medici: Ornament and the Language of Mourning”, Italian Echoes in the Rocky Mountains, ed. Sante Matteo et al. Brigham Young University, Provo, Utah, 1990, 47–67.
“Dürer’s Signatures: The Artist as Witness”, Continuum, I, no. 2, 1991, 3–34.
“Begegnung mit dem Ursprung: Leopoldo Cicognara und die Erfindung der modernen Kunstgeschichte”, Der Kunsthistoriker, Vienna, VIII, 1991, Sondernummer 6: Österreichischer Kunsthistorikertag, 22–29.
“The French Revolution and the Origins of Modern Art History: The Contribution of Leopoldo Cicognara, Acts of the XVI. International Congress of Art History, Strasbourg, 1987. Strasbourg, 1992, 332–343.
“Dürer’s Literal Presence in his Pictures: Reflections on his Signatures in the ”, Der Künstler über sich in seinem Werk, ed. Matthias Winner. Acta humaniora, Weinheim, 1992, 191–244.
“Eine Begegnung mit Albrecht Bloch”, Kontinuität: Identität. Festschrift für Wilfried Skreiner, ed. Götz Pochat, Christa Steinle, Peter Weibel. Vienna, 1992, 227–240.
“Meine Flucht vor den Deutschen, 1939” aus dem Englischen von Freia Hartung, Merkur, Deutsche Zeitschrift für europäisches Denken, Heft S 39 (?? 2001).
“Dürer’s Historiated Self-Portraits: and Related Works”, lecture given at the Hebrew University (Mount Scopus) on 11.3.1992. (So far I have the announcement, must find the text.
“Raphael as a Historian: Poetry and Historical Accuracy in the ”. Artibus et Historiae, no. 28, XIV, 1993, 9–76.
“Dürer’s Portrait of Erasmus and the Medal by Quentin Massys: Two Kinds of Mimesis”, Künstlerischer Austausch: Artistic Exchange: Acts of the XXVIII International Congress of Art History, Berlin, 1992, ed. Thomas Gaethgens. Berlin, 1993, 453–471.
“In Praise of Imitation: Leonardo and his Followers”, Gazette des Beaux-Arts 137, CXXVI, 1995 (July–August), 1–12.
“Über das Schreckliche in der Kunst: als Aufgabe”, Apoll schindet Marsyas. Exhibition Catalogue, ed. Reinhold Baumstark, Peter Volk, Bayerisches Nationalmuseum, Munich, 1995, 49–91.
“Begegnung im Grenzland: Zwei Freunde”, Wilfried Skreiner. Texte, Fotos, Reaktionen: Eine Hommage. Graz–Vienna, 1995, 143–148.
“Touchstones of Art and Art Criticism: Rubens and the Work of Franciscus Junius”, The Humanities Lecture of 1984 at the University of Illinois at Urbana-Champaign, Journal of Aesthetic Education, XXX, no. 2, 1996, 5–24.
“Restitution in Retrospect: Remembering Erik Sjöqvist”, Origine e Primi Sviluppi dell’Unione Internazionale degli Istituti di Archeologia, Storia e Storia dell’Arte in Roma (1946–1953). Per la storia della collaborazione internazionale a Roma nelle ricerche umanistiche nel secondo dopoguerra, Roma, 1996, 159-176.
“Der Klucky-Tempel. Kindheitserinnerungen zur Architekturgeschichte”, Merkur, 575, 1997.
“Epilogue. On Virtue and Vice: Milton’s and Bernini’s Baldachin”, Power Matchless: The Pontificate of Urban VIII. The Baldachin and Gian Lorenzo Bernini, ed. W. Chandler Kirwin. Peter Lang, New York, 1997, 235–252 [237].
"Nostalgie und Kunstgeschichte: Der goldene Name Gottes auf dem Michaelerplatz in Wien," Sinn und Form, 49. Jahr (1997), 2. Heft, pp. 293–97.
“Death and the Sculptor’s Fame: Artist’s Signatures on Renaissance Tombs in Rome”, Biuletyn Historii Sztuki, LXI, 1997, 196–217.
“Vasari e il Mosè di Michelangelo”, introduction to Naomi Vogelman, Roma, Una Storia d’Amore. Introduzione al Mosè, Florence, 1997.
“Kunstgeschichte und die Sehnsucht nach der hohen Kunst: Winckelmann, Fiorillo und Leopoldo Cicognara”, Johann Dominicus Fiorillo. Kunstgeschichte und die romantische Bewegung um 1800, ed. A. M. Kosegarten. Göttingen, 1997, 450–476.
“Das gezähmte Monster. Bemerkungen zum Gartenportal des Palazzo Zuccari in Rom: 'prudentia monstrorum domitrix'”, Römisches Jahrbuch der Bibliotheca Hertziana 32, 1997/98, Beih., 265–293.
“Franciscus Junius, Rubens and Van Dyck”, Franciscus Junius and his Circle, ed. Rolf Bremmer. Amsterdam–Atlanta, 1998, 35–70.
“Drei Ebenen von Platons Höhle: Wiederbegegnung mit Edgar Winds 'Art and Anarchy'”, Egdar Wind. Kunsthistoriker und Philosoph, ed. H. Bredekamp, B. Buschendorf , F. Hartung, J. M. Krois. Berlin, 1998, 135–177.
“The Dedication Copy of Leopoldo Cicognara’s Catalogo Ragionato of 1821 (B.A.V., Riserva IV. 169) and the Fondo Cicognara at the Vatican Library. Thoughts on a Legacy”, with Maria Raina Fehl, Miscellanea Bibliothecae Vaticanae Apostolicae VI, Collectanea in honorem Rev.mi Patris Leonardi E. Boyle Septuagesimum quintum annum feliciter complentis. Città del Vaticano, 1998, 173–209.
“Van Dyck’s moral grace: Antwerp and the classics”, Ars longa. Prace dedykowane pamieci profesora Jana Bialostockiego: materially sesji Stowarzyszenia Historyków Sztuki, ed. M. Porprzecka. Warszawa, 1999, 295–331.
“The Fondo Cicognara in the Vatican Library: Inventing the Art Library of the Future”, Memory and Oblivion: Proceedings of the XXIXth International Congress of the History of Art held in Amsterdam, 1–7 September 1996, Dordrecht, 1999, 43-56.
“Stendhal and Leopoldo Cicognara, Notes on the Strategy and the Truth of Stendhal’s Lies”, Gazette des Beaux-Arts 141, CXXXIV, 1999, 93–116.
“Michelangelos Decke der Sixtinischen Kapelle als Ornament: Rahmen und Inhalt”, In Erinnerung an Fabrizio Mancinelli. Die Rhetorik des Ornaments, ed. Isabelle Frank, Freia Hartung (aus dem Englischen von Jürgen Blasius). Wilhelm Fink Verlag, München, 2001, 35–37.
“Life Beyond the Reach of Hope: Recollections of a Refugee, 1938–39. With a Postscript on Hope and the Humanities: Recollections of an art historian”, Exile and Displacement, ed. Lauren Enzie. Peter Lang, New York, 2001.
“Michelangelo’s Tomb in Rome: Observations on the in Florence and the . Artibus et Historiae. No. 45, 2002, 9-26. .
„"Der Heilige Stephan und Michelangelos “ Wiener Jahrbuch für Kunstgeschichte, LII, 2002, pp. 47- 66.. [Philipp read the paper in Vienna 1998.]
UNPUBLISHED (including lectures, etc. never intended for publication): MISSING HERE BECAUSE NEVER PUBLISHED:
"Colossal Sculpture and the Light of God: Remarks on Michelangelo's Tomb of Julius II." (CAA, New York, 1990 ??
"Michelangelo's Decorum and the Grotesque.", paper first presented at the 22nd International Medieval Congress held under the auspices of the Medieval Institute of Western Michigan University, May, 1987. The expanded version was read in homage of John W. Dixon, September, 1987, in Chapel Hill, NC. The paper must still be better restored. It was badly garbled by the software. Raina Fehl added a section of this paper as an appendix to Monuments and the Art of Mourning: The Tombs of Popes and Princes in St. Peter’s.
“Virtù and Truth: Arundel state Portraits by Rubens and Van Dyck”, paper read for the Society of Art History and Archaeology, University of Illinois, September 14, 1995.
"Piety and the Conspicuous Monument: Michelangelo's Tomb of Julius II", unpublished lecture, certainly no later than 15 May 1984. It was likely read at the meetings of that year of the International Medieval Society in Kalamazoo,MI. Philipp re-used the first part of this essay, with its title, "Prelude macabre" in his essay “L’umiltà cristiana e il monumento sontuoso: la tomba di Urbano VIII del Bernini” and Raina Fehl adopted a part of it in "Monuments and the Art of Mourning: The Tombs of Popes and Princes in St. Peter’s".
Paper read May, 1986, 21st Int. Congress on Medieval Studies, Kalamazoo, MI., “More Modest than Thou: Complexities of Decorum in Christian Funerary Sculpture”
Bernini's Project of a Funerary Chapel for the Popes of the Future, final version dated by Philipp February, 1990. Philipp read it first at the conference held by the Canadian Institute in Rome in honor of Richard Krautheimer andLeonard Boyle. Philipp worked out the architectural possibilities with Kasimir and Maria Piechotka and the drawings to scale are by them, working out Philipp's ideas. The paper but only two of the illustrations is included as an appendix to Monuments and the Art of Mourning: The Tombs of Popes and Princes in St. Peter’s.
“Laudatio Naomi Vogelman” read 15, April, 1999, in Rome on the occasion of the presentation of her Roma, Una storia d’amore. Introduzione al Mosè, Firenze, 1997, con prefazione di Philipp Fehl, “Vasari e il di Michelangelo”.. UNPUBLISHED
MISSING: the Turtles
C. Tapes for the Blind
Art and the Imagination: An Introduction to the Poetry of Renaissance Painting for the Particular Pleasure of the Blind, a series of twelve tape recordings (conversations). Twelve radio broadcasts, edited by Goddard Graves. One set of tapes were deposited and were to be available for use in the Media Center of the Library of the University of Illinois at Urbana-Champaign (Undergraduate Library), another in the Department of Education of the Krannert Museumof the University of Illinois. Neither seems extant in 2007. Goddard has a set.
D. Entries in Encyclopedias
“Paolo Veronese”, New Catholic Encyclopedia, New York, 1967, XIV, 623–625.
“Monument”, “Triumphal Arch”, Oxford Companion to Art, Oxford, 1971, 623–625, 737–738.
“Antonio Correggio”, “Lorenzo Lotto”, “Jacopo Tintoretto”, “Paolo Veronese”, The McGraw-Hill Encyclopedia of World Biography, New York, 1973, III, 145–147; VI, 572–573; X, 449–452; XI, 126–128.
“Belvedere Apollo”, “Junius (Du Jou), Franciscus, the younger (1591–1677)”, An Encyclopedia of the History of Classical Archaeology, ed. Nancy Thomson De Grummond, Fitzroy Dearborn Publishers, London–Chicago, 1996, I, 143–146 and625–627.
E. Book Reviews
In : College Art Journal , Art Digest , Journal of Aesthetics and Art Criticism , Renaissance Quarterly.
PAPERS READ BUT NOT INTENDED FOR PUBLICATION OR AT LEAST NOT SUBMITTED FOR PUBLICATION
Zur Restoration der Sixtinischen Kapelle im Vatikan (It seems that Philipp may have read this in Munich at the Zentral Institut or else at a session of a CIHA Congress presided over by Prof. Tegethoff. I did not see a date in thetext.)
"Piety and the Conspicuous Monument: Michelangelo and the Tomb for Julius II" (It contains the prefatory part later used for “L’umiltà cristiana e il monumento sontuoso: la tomba di Urbano VIII del Bernini”, Gian Lorenzo Bernini ele arti visive, ed. Marcello Fagiolo. Rome, 1987, 185–208, "Prélude Macabre".) The Italian version of the preface is minimally richer in a few spots.
Unpublished and at the same time not complete papers, such as Wittenberg, Einhorn, etc.
[edit]See also
San Gregorio Magno al Celio
[edit]References
^ Marilyn Perry. Philipp P. Fehl: Artist, Scholar, Humanist, Witness (pp. 13-15) Artibus et Historiae no. 48 (XXIV)2003
[edit]External links
http://www.philippfehl.com/
http://www.ranafehl.com/
http://www.cicognara.com/
http://openlibrary.org/a/OL735689A/Philipp-P.-Fehl
http://books.google.com/books?id=EvKlY7c7z9AC&...=result&resnum=1
http://www.journals.uchicago.edu/doi/abs/10.2307/2860281
http://www.jstor.org/pss/1483726
http://www.d-nb.de/sammlungen/dea/samml_bestaende/.../exil_nachlaesse.htm
http://www.jstor.org/pss/1483726