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Memorial Minute - Sydney J. Freedberg
Sydney Joseph Freedberg died on May 6, 1997, after an illness that he
had long overcome with valiant determination and good humor. He was born
in Boston in 1914 and graduated with distinction from the Boston Latin School.
What seemed to him an incongruity between his origins and the cosmopolitan
world of art scholars, connoisseurs and collectors into which he quickly
became absorbed no doubt prompted him to create in dress and in speech an
image of fastidious refinement; his celebrated accent, perhaps initially
intended to be British, effectively erased the Boston connection, and never
failed to promote discussion. He was always willing to joke about it himself,
invariably describing it as "pure affectation." His prose -- and
lecture -- style, perfectly suited to his nuanced penetration into paintings
and drawings, was also a consciously nurtured construction of a Henry-Jamesian
complexity.
Apart from a period of teaching at Wellesley College, his career before
retirement was tied to Harvard; He received his B.A. summa cum laude
in 1936, his Ph.D. in 1940, and he published the majority of his books with
the Harvard Press. After receiving his doctorate he served for four years
in the Army, while attached to a British naval intelligence unit accountable
directly to the British War Cabinet, he risked disciplinary action by refusing
as a matter of conscience to work on intelligence about Rome, fearing that
any information gained would be used in a military operation against the
city which might damage works of art there. Despite this, he was awarded
the Order of the British Empire. His many other honors include two of the
most prestigious decorations of the Italian Republic as well as the International
Galileo Galilei Prize.
Sydney served Harvard for twenty-seven years, from 1954 to 1983, in the
last three years as the first Arthur Kingsley Porter Professor of Fine Arts.
His legendary lectures and seminars, like his other contributions to art
history, were predicated on the unshakable belief that our own humanity
has been generated from the dim, distant past in an uninterrupted chain.
In the study of the links that constitute the chain, he maintained, there
is not only the explanation of what and how we have come to be, but the
opportunity to relive portions of past time. The links that concerned him
above all were those formed by the galaxy of painters active in Italy during
the sixteenth century and the first decades of the seventeenth. He profoundly
experienced the artistic individuality of artists active from the time of
Leonardo, Raphael, Michelangelo and Titian to Caravaggio and the Carracci,
and had a genius for communicating his reactions, controlled by his expert
knowledge, in his always scrupulously nuanced language. Another strength
was his passion for teaching advanced students the principles of connoisseurship:
how to identify objects, determine their quality, and assess their character.
His students now constitute a large percentage of those teaching Italian
Renaissance art in research universities. These accomplishments served him
as a collector in his own right, and he was the defacto curator of
the Fogg Museum's Italian Renaissance and Baroque art. Sydney's intimate
knowledge of the Fogg Museum collections and of the place of the Museum
in the structure of the University led to his appointment, in 1978-79, as
acting Director of the Museum, at the time of a major capital fund drive.
His two best-known books Painting of the High Renaissance in Rome
and Florence of 1961, and Painting In Italy, 1500-1600, (in the
Pelican Series in the History of Art), 1971 (both followed by several revised
editions), were written at least partly in the spirit of public service
- an extension, as it were, of teaching; they were major reference works
on their subject in the ensuing years. The last book, Circa 1600:
A Revolution of Style in Italian Painting, of 1983 reached beyond
the close reading of pictures to discuss the impact of religious and political
ideas of the period.
For almost four decades, Sydney was involved with the Harvard Center
for Italian Renaissance Studies at Villa I Tatti. From its inception he
was influential in defining its mission, shaping its policies, advising
its Directors, and choosing its fellows. Sydney loved I Tatti from the days
when it was the home of his mentor, Bernard Berenson; in its intellectual
and sensuous surroundings he chose his specialty and forged his professional
identity. It was his Italian home, where he seemed happier and more fulfilled
than almost anywhere, and his affection was reciprocated by its fellows
and its staff. In 1966, after the catastrophic floods in Italy, he served
as national vice-chairman of the Committee to Rescue Italian Art, and later
joined the Board of Directors of Save Venice.
On retiring from Harvard in 1983, Sydney accepted an invitation to join
the staff of the National Gallery of Art in Washington as Chief Curator.
Over the next five years he effectively carried out a mandate to raise the
standards of curatorial appointments, scholarship and publishing, acquisitions
and exhibitions. The highlight of his tenure was the organization, with
John Pope-Hennessey of the Metropolitan Museum in New York, of a comprehensive
exhibition of Italian art in the period of his main interest: "The
Age of Correggio and the Carracci: Emilian Painting of the Sixteenth and
Seventeenth Centuries." For his career achievements he was awarded,
in 1988, the National Medal of the Arts, the only scholar to have received
this decoration.
He is survived by his wife, the former Catherine Blanton (Harvard Ph.D.,
1981), their son, Sydney Jr. (Harvard B.A., summa cum laude, 1995)
and by William (Harvard B.A., 1964), Kate and Nathaniel, children from earlier
marriages.
Sydney's capacity for friendship was, among those lucky enough to be
his friends, legendary; in this he was as discriminating as in all his other
enthusiasms; but once one was chosen, one was given without reservation
his life-enhancing companionship. The friends whom he gathered around him
on evenings in Channing Place, or at the I Tatti villino were drawn not
merely from his professional circle but also from a more extended, comprehensive
congregation.
Respectfully submitted,
Walter Kaiser
Seymour Slive
Arthur Solomon
John Wilmerding
James S. Ackerman, Chair
Copyright
1998 President and Fellows of Harvard College
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