Michael Leja
Biographic Data
| ID | 389019 |
|---|---|
| NAME | Michael Leja |
| GIVEN NAMES | Michael |
| FAMILY NAME | Leja |
| SIGNATURE | LEJA M |
| AFFILIATIONS | Northwestern University |
| VERIFIED | No |
| TOTAL WORKS | 16 |
| TOTAL CITATIONS | 7 |
| AUTHOR COUNT | 16 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1985 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
Two Photo Essays on Art and Cultural Exchange
Les fondations de la recherche sur l’art américain
Les bourses et les subventions accordées par trois fondations distinctes en faveur de la recherche sur l’art des États-Unis représentent chaque année un soutien de quinze à vingt millions de dollars. Ces financements privés ont contribué pour une large part à l’évolution et à la maturation de cette discipline. Les trois organisations qui distribuent cet argent – essentiellement les Luce, Terra et Wyeth Foundations – sont très différentes en ce qu…
Foundations of American art scholarship
In the early 1980s, directors of the Henry R. Luce Foundation wished to expand their grant program to support scholarship in art history. Namesake and founder Luce (1898-1967), the enormously successful publisher of the mass-market magazines Time, Fortune, and Life, professed belief in the importance of art for elevating and inspiring a democratic society, so expansion in this direction suited his legacy. The directors, wanting to concentrate the…
Cubism in Bondage: Morgan Russell’s Synchromism
Morgan Russell’s synchromist paintings of 1913 to 1915 merge cubism with color abstraction by appearing to sculpt with color planes. Often treated as a variant of Robert Delaunay’s orphism, they actually are quite different in form and in the themes they engage. An important sculptural source for these works was Michelangelo’s Louvre Captive (The Dying Slave), and Russell’s obsessive interest in this sculpture points to personal psychological fac…
Scenes from a History of the Image
A history of should force a convergence of three fundamental human activities: seeing, thinking, and depicting. Images have long been understood to be the currency of all three, so a comprehensive history would have to venture into many of the disciplines that bear on these activities. This article is something much more limited: a collection of significant episodes that indicate something of the range a full history of the image would require. I…
Keyword
Two Americanists in China
Monet's Modernity in New York in 1886
Peirce, Visuality, and Art
The visuality of Peirce's semiotics by which mean the character of the reflection on images and the uses made of them is the subject of this paper. Peirce himself would probably have agreed with the idea that his semiotics was fundamentally visual, and he would have meant by this more than that his categories of icon and index especially accommodated visual signs.3 Peirce noted that he felt a strong orientation in his natural patterns of thought …
The Culture of Spontaneity: Improvisation and the Arts in Postwar America
Journal Article The Culture of Spontaneity: Improvisation and the Arts in Postwar America. By Daniel Belgrad. (Chicago: University of Chicago Press, 1998. xii, 343 pp. $29.00, ISBN 0-226-04188-3.) Get access Michael Leja Michael Leja Massachusetts Institute of Technology, Cambridge, Massachusetts Search for other works by this author on: Oxford Academic Google Scholar Journal of American History, Volume 86, Issue 1, June 1999, Page 306, https://d…
American Art's Shifting Boundaries
Barnett Newman's Solo Tango
Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s
Journal Article Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s. By Michael Leja. (New Haven: Yale University Press, 1993. viii, 392 pp. $50.00, ISBN 0-300-04461-5.) Get access George H. Roeder, Jr. George H. Roeder, Jr. School of the Art Institute of Chicago, Chicago, Illinois Search for other works by this author on: Oxford Academic Google Scholar Journal of American History, Volume 81, Issue 1, June 1994, Pages 341–342…
Making the Modern: Industry, Art, and Design in America
Jackson Pollock: Representing the Unconscious
Le Vieux Marcheur’ and ‘Les Deux Risques‘: Picasso, Prostitution, Venereal Disease, and Maternity, 1899–1907
Peirce, Visuality, and Art
The visuality of Peirce's semiotics by which mean the character of the reflection on images and the uses made of them is the subject of this paper. Peirce himself would probably have agreed with the idea that his semiotics was fundamentally visual, and he would have meant by this more than that his categories of icon and index especially accommodated visual signs.3 Peirce noted that he felt a strong orientation in his natural patterns of thought …
Barnett Newman's Solo Tango
Jackson Pollock: Representing the Unconscious
Le Vieux Marcheur’ and ‘Les Deux Risques‘: Picasso, Prostitution, Venereal Disease, and Maternity, 1899–1907
Jackson Pollock: Representing the Unconscious
Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s
Journal Article Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s. By Michael Leja. (New Haven: Yale University Press, 1993. viii, 392 pp. $50.00, ISBN 0-300-04461-5.) Get access George H. Roeder, Jr. George H. Roeder, Jr. School of the Art Institute of Chicago, Chicago, Illinois Search for other works by this author on: Oxford Academic Google Scholar Journal of American History, Volume 81, Issue 1, June 1994, Pages 341–342…
Making the Modern: Industry, Art, and Design in America
Barnett Newman's Solo Tango
American Art's Shifting Boundaries
The Culture of Spontaneity: Improvisation and the Arts in Postwar America
Journal Article The Culture of Spontaneity: Improvisation and the Arts in Postwar America. By Daniel Belgrad. (Chicago: University of Chicago Press, 1998. xii, 343 pp. $29.00, ISBN 0-226-04188-3.) Get access Michael Leja Michael Leja Massachusetts Institute of Technology, Cambridge, Massachusetts Search for other works by this author on: Oxford Academic Google Scholar Journal of American History, Volume 86, Issue 1, June 1999, Page 306, https://d…
Monet's Modernity in New York in 1886
Peirce, Visuality, and Art
The visuality of Peirce's semiotics by which mean the character of the reflection on images and the uses made of them is the subject of this paper. Peirce himself would probably have agreed with the idea that his semiotics was fundamentally visual, and he would have meant by this more than that his categories of icon and index especially accommodated visual signs.3 Peirce noted that he felt a strong orientation in his natural patterns of thought …
Two Americanists in China
Keyword
Scenes from a History of the Image
A history of should force a convergence of three fundamental human activities: seeing, thinking, and depicting. Images have long been understood to be the currency of all three, so a comprehensive history would have to venture into many of the disciplines that bear on these activities. This article is something much more limited: a collection of significant episodes that indicate something of the range a full history of the image would require. I…
Les fondations de la recherche sur l’art américain
Les bourses et les subventions accordées par trois fondations distinctes en faveur de la recherche sur l’art des États-Unis représentent chaque année un soutien de quinze à vingt millions de dollars. Ces financements privés ont contribué pour une large part à l’évolution et à la maturation de cette discipline. Les trois organisations qui distribuent cet argent – essentiellement les Luce, Terra et Wyeth Foundations – sont très différentes en ce qu…
Foundations of American art scholarship
In the early 1980s, directors of the Henry R. Luce Foundation wished to expand their grant program to support scholarship in art history. Namesake and founder Luce (1898-1967), the enormously successful publisher of the mass-market magazines Time, Fortune, and Life, professed belief in the importance of art for elevating and inspiring a democratic society, so expansion in this direction suited his legacy. The directors, wanting to concentrate the…
Cubism in Bondage: Morgan Russell’s Synchromism
Morgan Russell’s synchromist paintings of 1913 to 1915 merge cubism with color abstraction by appearing to sculpt with color planes. Often treated as a variant of Robert Delaunay’s orphism, they actually are quite different in form and in the themes they engage. An important sculptural source for these works was Michelangelo’s Louvre Captive (The Dying Slave), and Russell’s obsessive interest in this sculpture points to personal psychological fac…
Two Photo Essays on Art and Cultural Exchange
Art (15 works) · Art history (11 works) · History (10 works) · Art History and Market Analysis (6 works) · Art, Politics, and Modernism (5 works) · Visual Culture and Art Theory (5 works) · Aesthetics (4 works) · Computer Science (4 works) · Painting (4 works) · Sociology (4 works)