Notes
259 NOTES introduction 1. See Denman Ross, ‘‘President and Fellows of Harvard College,’’ typescript, file ‘‘Ross, Dr. [Denman] 1923–36,’’ Edward W. Forbes Papers, Harvard Art Museum Archives (hereafter Forbes Papers). 2. Münsterberg, Principles of Art Education, 30. In The Sense of Beauty, Santayana used examples from literature and drama as well as the visual arts, a reminder that at the same time, other disciplines were also beginning to give greater weight to appreciation of the work itself rather than its historical associations. 3. Stein, John Ruskin and Aesthetic Thought in America, x. 4. On Crane in Boston, see Finlay, Artists of the Book in Boston, 4. 5. See Semper, The Four Elements of Architecture, and Herrmann, Gottfried Semper. 6. Coolidge, Foreword. For a discussion of the Kantian legacy in design with particular emphasis on Germany, see Mallgrave and Ikonomou, Empathy, Form, and Space, and D. Morgan, ‘‘The Idea of Abstraction in German Theories of the Ornament from Kant to Kandinsky.’’ 7. See, for example, Martin, ‘‘Some American Contributions to Early TwentiethCentury Abstraction’’; Stanckiewicz, ‘‘Form, Truth and Emotion.’’ Roger Fry knew Santayana’s writings, and Geoffrey Scott, author of The Architecture of Humanism (1914), served as Berenson’s secretary around 1907. For Münsterberg’s influence on European design efforts, see Campbell, Joy in Work, German Work, 77–83; and Moravanszky, ‘‘Educated Evolution.’’ 8. See Jarzombek, ‘‘De-Scribing the Language of Looking.’’ Most recently, Barbara Stafford has returned to the subject in Echo Objects: The Cognitive Work of Images (2007), as has John Onians in Neuroarthistory: From Aristotle and Pliny to Baxandall and Zeki (2008). 9. Ruskin’s ‘‘most important and lasting contribution was his pioneering of a totally new direction for art education, one wedded to the rules of neither art academies nor industrial design; rather, he situated it within the liberal arts. Ruskin’s legacy lives today in the fact that most colleges offer some form of art appreciation in their basic curricula’’ (Efland, A History of Art Education, 147). See the similar argument made for Charles Eliot Norton in J. Turner, The Liberal Education of Charles Eliot Norton, 262. 10. Vasari, Lives of the Artists, 25. 11. Denman Ross, ‘‘Order: Harmony, Balance and Rhythm in Nature,’’ typescript, Box 39, Denman W. Ross Papers, Harvard Art Museum Archives (hereafter Ross Papers), 4. 12. Denman Ross to Edward Forbes, August 11, 1913, Folder 1911–22, Forbes Papers, Harvard Art Museum Archives (hereafter HAMA). For his opinion of impressionism, see Denman Ross, undated typescript ‘‘Introduction,’’ Box 39, Ross Papers. 260 : Notes to Pages 13–19 13. The daughter of William Hooper, a family friend of Ross’s from Cincinnati, had a bust done by Rodin. Ross accompanied her to Rodin’s studio for one of her sittings. Ross recalled: ‘‘Knowing that I was interested in his theory of design he said to me, laughing, ‘Now is your chance to see what to do and how to do it’ ’’ (Denman Ross, ‘‘Autobiographical Notes,’’ Box 37, Ross Papers [hereafter ‘‘Autobiographical Notes’’]). 14. Charles Hopkinson to Theodore Sizer, May 4, 1942, HUG 1753.481, Harvard University Archives (hereafter HUA). See also Shand-Tucci, The Crimson Letter. 15. Berenson, The Letters of Bernard Berenson and Isabella Stewart Gardner, 399. 16. For Ross’s financial help to Parker, see Edgar Parker to Theodore Sizer, HUG 1753.481, HUA. Ross left bequests totaling around $200,000, including a $60,000 gift to the MFA. Notes on his will can be found in the Forbes Papers, folder ‘‘Ross, Denman,’’ and in the Papers of John Coolidge and Agnes Mongan 1909–2006, HC-5, Series 1 General Correspondence, folder 2563, ‘‘Ross, Denman, Journals and Will,’’ HAMA. 17. Hopkinson, ‘‘Denman Waldo Ross,’’ 546. Hopkinson met Ross in the early 1880s and described him as ‘‘a very mild-spoken, kindly young man with a taste for art, who, finding I was interested in drawing, asked me into his house to draw and paint with him. Thus began a discipleship of years and a lifelong friendship which he never gave up, though his over-sensitive and jealous nature was deeply hurt by the partial defection of his pupil’’ (ibid.). 18. Edward Robinson to Joseph Lindon Smith, February 21, 1905, Reel 5115, Joseph Lindon Smith Papers, Archives of American Art, Smithsonian Institution (hereafter JLS Papers). 19. Hopkinson, ‘‘Denman Waldo Ross,’’ 546. 20. Ross, ‘‘Autobiographical Notes.’’ 21. Langdon Warner, the keeper of the Oriental Department at the Fogg, particularly praised Ross’s ability to combine breadth with quality in his...
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