Robert L. Herbert

We are saddened to learn of the passing of Robert L. Herbert, a visionary in art history and extraordinary teacher to many. He received CAA’s Distinguished Lifetime Achievement Award for Writing on Art in 2008. He passed December 17 of a stroke at 91.

Robert L. Herbert

In an extraordinary career spanning more than sixty years, Robert L. Herbert was remarkably consistent in a practice that has come to define the social history of art, which he described as “the moral and passionate … search for what paintings and drawings meant in the artists’ time.”¹

As an undergraduate at Wesleyan University in the late 1940s and early 1950s, he was fascinated by the history of science, an interest that encouraged his study of color theory in his dissertation on the nineteenth-century French artist Georges Seurat, completed at Yale University under the direction of George Heard Hamilton in 1957. By that time, Herbert had already been inspired by the work of Meyer Schapiro, who encouraged his lifelong commitment to socialism as a framework for political and intellectual development. Proud of his roots in a working-class New England family, Herbert resisted the formalist bias of his training, although he readily acknowledges a debt to those who taught him to look carefully at works of art and to appreciate the importance of technique and pictorial structure. From the beginning he always insisted that “the stuff of ordinary daily life should enter into art history,” and made it his goal “to restore the flesh of real painters and their culture to the bones of style and form.”

A desire to balance respect for the artist’s distinctive modes of representation with a socially and historically grounded reading of subject matter was a salient feature of Herbert’s research, which focused, for example, not only on the color and facture of paintings by Seurat and other Neoimpressionist artists, but also on the distinctive subject matter and the politics of their art. Recognizing that the prevailing view of Seurat tended to privilege his large-scale paintings, Herbert trained attention on his drawings in a book published in 1963; yet he also continued to explore the meanings of Seurat’s paintings, organizing a major retrospective exhibition on the hundredth anniversary of the artist’s death in 1991 as well as another, Seurat and the Making of “La Grande Jatte,” that was devoted to his most celebrated painting in 2004. In fact, many of Herbert’s most innovative and important contributions to the history of art have been made in the context of exhibitions, which require careful attention to individual objects in addition to the presentation of a unifying conception of the whole. For his first foray into this genre of scholarship, the 1962 exhibition Barbizon Revisited, Herbert wrote a catalogue that won CAA’s Frank Jewett Mather Award and precipitated a renewed appreciation of the work and historical significance of mid-nineteenth-century landscape painters such as Corot, Millet, and Rousseau, among others. His ambition for the exhibition was expressed in terms that convey his dedication to a particular kind of art-historical practice: “The purely historical treatment of art is bloodless. The real heritage of Barbizon art is in the paintings, and their vitality must be experienced in our viscera. Otherwise works of art are documents to be assessed, catalogued, and filed away. But there is a proper use of history, namely, to prod us into discoveries which release our imagination and permit us to rise to the realm of true poesis. An historical evaluation of Barbizon art will only have value if it succeeds in doing just this.”

Just as the study of Seurat’s drawings prompted Herbert to look carefully at Millet’s drawings and other work in articles and exhibitions of the 1960s and 1970s, so Seurat’s paintings eventually led him to the work of Fernand Léger, whom he considers to be Seurat’s descendant and a great practitioner of the craft of painting. Thus although Herbert’s scholarly reputation is bound to his work on nineteenth-century French painters—he has written books on Monet and Renoir, a survey devoted to the leisure subjects of the Impressionists, as well as the publications mentioned above on Seurat, Millet, and the Barbizon School—he has also produced significant scholarship on early-twentieth-century modernism. His first contribution to that field was an edited volume of ten essays, Modern Artists on Art, published in 1964. This was followed twenty years later by a detailed study of the large, diverse collection of European and American modernist art from the Société Anonyme that Katherine Dreier had bequeathed to Yale at midcentury and that Herbert had explored for many years together with his students. Along the way, Herbert developed research he had undertaken as a graduate student into a book, published in 1972, on David’s Brutus and its political significance in the context of the French Revolution; his commitment to the social history of art was also evident in a volume of selected art criticism by John Ruskin that Herbert edited in 1964 and for which he wrote an eloquent introduction that provided a thoroughgoing reevaluation of Ruskin’s significance from a variety of perspectives, demonstrating his acute relevance to the social history of art that Herbert was in the process of articulating at the time.

It is impossible to summarize Herbert’s contributions to art history simply in terms of his scholarly production, impressive as that output has been. He has also been an inspiring teacher of undergraduate and graduate students, setting an example in countless ways that go well beyond his commitment to scrutinizing original works of art alongside archival resources of the most diverse kinds. In addition to imparting these indispensable staples of the trade, he maintained an extraordinary level of personal and professional engagement with his students, loyally supporting their ambitions and celebrating their achievements, whether large or small. Refusing to be impressed by conventional measures of status, in 1990 he acted on his commitment to feminism by relinquishing his position at Yale in order to join his wife, Eugenia Herbert—whom he has always described as his greatest intellectual companion—on the faculty of Mount Holyoke College.

As professor emeritus and living in South Hadley, Massachusetts, he discovered a passionate interest in the life and work of a mid-nineteenth-century female botanist and illustrator named Orra White Hitchcock. “I’ve taken the plunge,” Herbert has remarked, “into the world of American women’s diaries, into travel diaries, and into the history of geology and the natural sciences, embraced in the broader spectrum of American social and cultural history of the middle third of the nineteenth century. It’s a new world for me, and I have no regrets at giving up French art history!” Subsequently he turned to exploring the history of Mount Holyoke and curated several exhibitions with James Gehrt and Aaron Miller.

He died December 17 of a stroke at 91 and is survived by his wife of 67 years Eugenia (Fi); children, Tim, Rosie, and Cathy; their mates, Mara, John and Chris; six grandchildren, and a wealth of friends to whom he was immensely devoted as well.

Dr. Richard (Rick) Brettell.

We were saddened to learn of the passing of longtime CAA member Dr. Richard Brettell last month at the age of 71. Dr. Brettell was a tireless advocate for the arts, a well-respected scholar, former director of the Dallas Museum of Art, and founding director of the Edith O’Donnell Institute of Art History at the University of Texas, Dallas. Read an remembrance by Jonathan D. Katz, Interim Director, Gender, Sexuality and Women’s Studies and Associate Professor of Practice in the History of Art at the University of Pennsylvania, below.

In Memoriam

Richard (Rick) Brettell died July 24, 2020 in Dallas after a long battle with prostate cancer—and entirely characteristically, he was working until the very end. A tireless advocate for the arts in general, for French Impressionism in particular and for Texas artists and the local cultural scene, Brettell spanned genres, chronologies, nationalities and professions with an acrobatic grace. He was a world class scholar, a museum director and builder, and above all a connector, of people to ideas, of money to institutions, of museums in France to museums in the US, of friends to other friends. Seemingly limitless in his capacity to extend friendship and take it up again, I’m sure there are legions out there who think Rick was their best friend. A man of sure and independent judgment, Brettell was as thrilled to bring attention to an underknown or even unsung artist as he was to Gauguin, and approached both with the same profound curiosity and boosterism.

A graduate of Yale University, Brettell’s dissertation on Pissarro set the pattern for the rest of his life. Once he became interested in something, he would not only write about it, he’d also work up an exhibition spotlighting it—in this case, the very first international Pissarro exhibition, curated when he was still quite young. He turned his enthusiasms into scholarship with a speed and assurance that suggested he saw no difference between the two modes. And the goal was always the same, to kindle the viewer’s own enthusiasm, to seduce close looking and careful thought and make art history, art criticism, and art appreciation one and the same.

Initially hired as a professor at the University of Texas, in 1980 Brettell left Texas to become the Searle Curator of European Painting at the Art Institute of Chicago. Renovating and reinstalling the Art Institute’s vast European art collection hardly impeded the string of notable international exhibitions he curated, most centrally the one that earned him the honor of being named a Chevalier (Arts et Lettres) by the French government: A Day in the Country, Impressionism and the French Landscape.  Because Brettell traveled in some of the most rarified circles in the country, his genuine friendships with some of the country’s wealthiest citizens made him a rainmaker in a class by himself. When he was a curator at the Art Institute of Chicago and I was still a grad student, I remember visiting him at the museum to ask about the whereabouts of a specific Gauguin painting, the subject of a paper I was assigned. Rick reached down to the safe at his feet, opened it, pulled it out and nonchalantly asked, “this one?”

In 1988, Brettell moved to Dallas to become the McDermott Director of the Dallas Museum of Art. There he continued to develop important international exhibitions—including a new emphasis on the arts of Latin America and Africa—while also raising the funds to build a major new wing. In 1998, Brettell became the Margaret McDermott Distinguished Chair in Art and Aesthetic Studies at the University of Texas, Dallas (UTD). He would soon transform UTD, bringing in such transformational gifts as a huge endowment to build the Edith O’Donnell Institute of Art History. With the assistance of Margaret McDermott, in 2017 Brettell created a $150,000 bi-annual lifetime achievement in the arts award, The Richard Brettell Award in the Arts. The following year, he acquired the Barrett collection of Swiss art for UTD, consisting of 400 works, including a large percentage by the Swiss 19th/early 20th-century master Ferdinand Hodler. And last year, he helped UTD acquire the extensive Crow Collection of Asian Art, along with 23 million dollars to build a new museum, the second for the collection, on campus. A lifelong student of architecture, he helped to found the Dallas Architecture Forum. Many doubtless fondly remember his loud, enthusiastic, no holds barred architecture tours, where he would alternately vigorously praise and vehemently excoriate architects, and the houses and institutions they built.

Brettell was the author of numerous books and catalogs, including the editor of the forthcoming Gauguin catalogue raisonné. As a leading international specialist in French art history, he joined forces with his friend Elizabeth Rohatyn, then the wife of the Ambassador to France under Clinton, and Françoise Cachin, former Director of the French National Museums, to found an organization called  FRAME (French/Regional/American Museum Exchange). He directed this project in cultural diplomacy bringing together twelve French and twelve American museums to cooperatively share works and develop exhibitions. For this effort, he was named a  Commandeur in the French Order of Arts et Lettres. For decades, Brettell was loyally assisted by Pierrette Lacour, who shared his grand visions, but was rather more attentive to the nuts and bolts work of bringing them about. 

Immensely erudite, opinionated, and frank, Brettell would assert that fame was no barometer of quality. He loved complicated, intelligent work regardless of the artist’s standing. He boosted Texas artists in general, and none more so than James Magee, an artist he frequently called the most underrated in the country. He was central to the ongoing effort to protect  Magee’s extraordinary project in the desert outside of El Paso, The Hill, a hand-built mytho-poetic compound that has taken the bulk of Magee’s artistic life.

A famous raconteur, fabulous cook, witty tour guide, emotional lover of beauty and gossip, Brettell was roundly adored. He leaves behind his wife Caroline, his 94 year-old mother, his assistant Pierrette, and legions on every continent who basked, however briefly, in the warmth of his attention. A celebration of his life will be held at a later date. But those who wish to remember Brettell are encouraged to make donations to the University of Texas at Dallas’ Richard Robson Brettell Reading Room in the future UTD Athenaeum, which Brettell helped conceive.

Remembrance by Jonathan D. Katz.