Meyer Schapiro (23 September 1904 – 3 March 1996) was a Lithuanian-born American art historian who developed new art historical methodologies that incorporated an interdisciplinary approach to the study of works.
Born~Died Sep 23, 1904 ~ Mar 3, 1996Last edited Oct 15, 2026, 5:39 PM
Meyer Schapiro (23 September 1904 – 3 March 1996) was a Lithuanian-born American art historian who developed new art historical methodologies that incorporated an interdisciplinary approach to the study of works. An expert on early Christian, Medieval and modern art, he explored periods and movements with an eye toward their works' social, political and material constructions.
Credited with fundamentally changing the course of the art historical discipline, Schapiro's scholarly approach was dynamic and it engaged other scholars, philosophers and artists. An active professor, lecturer, student, writer and humanist, he maintained a long professional association with Columbia University in New York.
Background
Meir Schapiro was born in Šiauliai, Lithuania (then Governorate of Kaunas of the Russian Empire) on September 23, 1904. His ancestors were Talmudic scholars. His parents, Nathan Menachem Schapiro and Fanny Adelman Schapiro, were Lithuanian Jews.12
In 1906, his father came to New York City and found a job as a Hebrew teacher at the Yitzcak Elchanan Yeshiva on the Lower East Side. Once secure, he sent for his family, who emigrated in 1907. The son's first name changed from "Meir" to "Meyer". He grew up in the Brownsville section of Brooklyn, where he was first exposed to art in evening classes taught by John Sloan at the Hebrew Educational Society.13
He attended Public School 84 and then Boys High School in Brooklyn. He attended lectures on anthropology and economics at the Young People's Socialist League. During summers, he worked as a delivery boy, a warehouse packer, an electrical-supply assembler and an adjustment clerk at .
This page is based on “Meyer Schapiro” from English Wikipedia, (r1376713968) CC BY-SA 4.0 used under the license. The original authors are listed in its page history.
In 1920, Schapiro entered Columbia University as a 16-year-old Pulitzer and Regents scholar. His professors included Mark Van Doren and Franz Boas. Undergraduate classmates included Whittaker Chambers, Clifton Fadiman, Herbert Solow, Lionel Trilling, Henry Zolinsky and Louis Zukofsky, with many of whom he contributed to The Morningside literary magazine. In 1923, he traveled to Europe with Chambers and Zolinsky.4 During his undergraduate days, he became known for his "Schapiric victory", by allegedly reducing an instructor to tears by means of dialectic logic.5 In 1924, he received his bachelor's degree with honors in art history and philosophy. Princeton University denied him admission for his doctorate, so he continued at Columbia and earned his doctoral degree in art history in 1929.6 His professors at that time included Ernest DeWald. His dissertation, five years in the making, examined the cloister and portal of Moissac Abbey, built about A.D. 1100:
Dr. Schapiro's research went far beyond the implications of Moissac itself. Medieval church history, liturgy, theology, social history, illuminated manuscripts, folklore, epigraphy, the analysis of ornament and national characteristics (real or imagined) all were pressed into service and synthesized. As a result, what had been thought of as antiquarian artifacts were seen to have a completely different character. "A new sphere of artistic creation," Dr. Schapiro called it, "without religious content and imbued with values of spontaneity, individual fantasy, delight in color and movement, and the expression of feelings that anticipate modern art. This new art, on the margins of religious work, was accompanied by a conscious taste of the spectators for the beauty of workmanship, materials and artistic devices, apart from religious meanings."1
(In 1975, he received his third degree from Columbia, an honorary doctor of letters.6)
Career
Academics
Schapiro spent his entire working career at Columbia. In 1928, he began teaching as a lecturer, before completing his dissertation. In 1936, he became assistant professor. In 1946, he became associate professor. In 1952, he became a full professor. In 1965, he was named University Professor. He became University Professor Emeritus in 1973. His final, weekly class at Columbia was "Theory and Methods of Investigation in Art."1
Schapiro's discourse on style is often considered his greatest contribution to the study of art history. He said style refers to the formal qualities and visual characteristics of a piece of art, and demonstrated it could be used as an identifier of a particular period and as a diagnostic tool. Style is indicative of the artist and the culture at large. It reflects the economic and social circumstances in which an artist works and breathes and reveals underlying cultural assumptions and normative values.
In 1931, Schapiro married pediatrician Lillian Milgram. They had two children, Miriam Schapiro Grosof and Ernest Schapiro.16
He died in 1996 in New York at the age of 91 in the Greenwich Village house where he had lived since 1933.1
Impact
Artists
In the 1940s, when the Museum of Modern Art looked at purchasing Jackson Pollock's The She-Wolf (1943), Schapiro, as an acquisitions committee member, supported its acquisition.9
In the 1950s, Schapiro urged Willem de Kooning to finish painting Woman I (1950–1952).9
Marxist art history
Schapiro was, at points in his career, criticized for his approach to style because of its politically radical connotations. He wrote scholarly articles for a variety of socialist publications and endeavored to apply a novel Marxist method to the study of art history. In his most famous essay on MedievalSpanish art, "From Mozarabic to Romanesque in Silos",10 Schapiro demonstrated how the concurrent existence of two historical styles in one monastery was indicative of economic upheaval and class conflict.
In 1974, for Schapiro's 70th birthday, a dozen leading artists made original lithographs, etchings and silk-screens, sold in an edition of 100, whose proceeds endowed the Meyer Schapiro Professorship of Art History in art history and archeology at Columbia. The contributors were: Jasper Johns, Ellsworth Kelly, Alexander Liberman, Stanley William Hayter, Roy Lichtenstein, André Masson, Robert Motherwell, Claes Oldenburg, Robert Rauschenberg, Saul Steinberg, Frank Stella and Andy Warhol.114 The artworks were exhibited at the Metropolitan Museum of Art.6 In 1975, Schapiro received the Alexander Hamilton Medal for distinguished service and accomplishment by the alumni of Columbia University.9 The same year, he received an honorary doctor of letters degree from the university.6
In 1976, he was elected a member of the National Institute of Arts and Letters.9
In 1987, he was named a MacArthur Foundation fellow.6 In 1995, his brother Morris donated $1 million to establish the Meyer Schapiro Professorship of Modern Art and Theory.14
In 1995, Schapiro received a special award for lifetime achievement from the College Art Association at its 83rd annual conference in San Antonio, Texas. He had been a member since 1926 and was cited for seven decades of scholarship and teaching in the field of art history: "Meyer Schapiro, we honor you for 70 years of unique scholarship and perception, for showing us the way in which art history enhances our understanding of human accomplishment."1415
Vincent van Gogh. New York: Harry N. Abrams, 1950 and reprints.
Paul Cézanne. New York: Harry N. Abrams, 1952 and reprints.
The Parma Ildefonsus: A Romanesque Illuminated Manuscript from Cluny, and Related Works. New York: College Art Association of America, 1964.
Words and Pictures. On the Literal and the Symbolic in the Illustration of a Text. Approaches to Semiotics series 11, ed. Thomas A Sebeok. The Hague and Paris: Mouton, 1973.
Selected Papers I: Romanesque Art. New York: George Braziller, 1977.
Translations:
Italian, Romanica (Turin: Giulio Einaudi, 1982).
Spanish, Estudios sobre el Romanica (Madrid: Aliana Editorial, 1984).
Selected Papers II: Modern Art: 19th and 20th Centuries. New York: George Braziller, 1978, 1982.
Translations:
Swedish, Modern Konst-1800-talet och 1900-talet - Valda Studier, 1981
German, Moderne Kunst-19.und 20. Jahrhundert-Ausgewahlte Aufsatze (Cologne: DuMont Buchverlag, 1982).
Italian, L'Arte Moderna (Turin: Giulio Einaudi Editore, n.d.).
Spanish, El Arte Moderno (Madrid: Alianza Editorial, S.A., 1988).
Selected Papers III: Late Antique, Early Christian, and Medieval Art. New York: George Braziller, 1979.
Translations:
Spanish, Estudios sobre el arte de la Antiguedad Tardia, el Cristianismo Primitivo y la Edad Media (Madrid: Aliana Editorial, 1987).
Style, Artiste et Societe, trans. Blaise Allan et. a. Paris: Editions Gallimard, 1982.
The Romanesque Sculpture of Moissac. New York: George Braziller, 1985.(Reprint of Schapiro's dissertation originally published in Art Bulletin. Includes photographs by David Finn)
Selected Papers IV: Theory and Philosophy of Art: Style, Artist, and Society. George Brailler, 1994.
Mondrian: On the Humanity of Abstract Painting. New York; George Braziller, 1995.
Meyer Schapiro : the bibliography / compiled by Lillian Milgram Schapiro. New York : G. Braziller, 1995.
Words, Script, and Pictures: The Semiotics of Visual Language. New York: George Braziller, 1996.
Impressionism: Reflections and Perceptions. New York George Braziller, 1997.
A kind of rapture / Robert Bergman; introduction by Toni Morrison; afterword by Meyer Schapiro. New York: Pantheon Books, 1998.
Worldview in Painting—Art and Society: Selected Papers, Vol. 5. New York: George Braziller, 1999.
The Unity of Picasso's Art. New York: George Braziller, 2000.
Meyer Schapiro : his painting, drawing, and sculpture. New York : Harry N. Abrams, Publishers, 2000.
Language of Forms: Lectures on Insular Manuscript Art. New York: Pierpont Morgan Library, 2005.
Romanesque architectural sculpture: The Charles Eliot Norton lectures. Chicago: University of Chicago Press, 2006.
Meyer Schapiro abroad : letters to Lillian and travel notebooks. Los Angeles, Calif. : Getty Research Institute, 2009.
Articles
Schapiro wrote some articles under assumed names.16
Sauerländer, Willibald (June 28, 2007). "The artist historian". The New York Review of Books. 54 (11): 55–57, 61–62.
Artworks
In 1987, Schapiro exhibited 65 drawings and paintings from 1919 to 1979 in the Wallach Art Gallery in Schermerhorn Hall at Columbia. Subjects ranged from portraiture, landscapes, family, war horrors and abstraction. Included were a self-portrait at age 16 and two portraits of friend Whittaker Chambers.16
Literature
C. Oliver O'Donnell: Meyer Schapiro's Critical Debates. Art Through a Modern American Mind, The Pennsylvania State University Press, University Park, Pennsylvania, 2019, ISBN 9780271084640
Meyer Schapiro (23 September 1904 – 3 March 1996) was a Lithuanian-born American art historian who developed new art historical methodologies that incorporated an interdisciplinary approach to the study of works. An expert on early Christian, Medieval and modern art, he explored periods and movements with an eye toward their works' social, political and material constructions.
Credited with fundamentally changing the course of the art historical discipline, Schapiro's scholarly approach was dynamic and it engaged other scholars, philosophers and artists. An active professor, lecturer, student, writer and humanist, he maintained a long professional association with Columbia University in New York.
Background
Meir Schapiro was born in Šiauliai, Lithuania (then Governorate of Kaunas of the Russian Empire) on September 23, 1904. His ancestors were Talmudic scholars. His parents, Nathan Menachem Schapiro and Fanny Adelman Schapiro, were Lithuanian Jews.12
In 1906, his father came to New York City and found a job as a Hebrew teacher at the Yitzcak Elchanan Yeshiva on the Lower East Side. Once secure, he sent for his family, who emigrated in 1907. The son's first name changed from "Meir" to "Meyer". He grew up in the Brownsville section of Brooklyn, where he was first exposed to art in evening classes taught by John Sloan at the Hebrew Educational Society.13
He attended Public School 84 and then Boys High School in Brooklyn. He attended lectures on anthropology and economics at the . During summers, he worked as a delivery boy, a warehouse packer, an electrical-supply assembler and an adjustment clerk at .
In 1920, Schapiro entered Columbia University as a 16-year-old Pulitzer and Regents scholar. His professors included Mark Van Doren and Franz Boas. Undergraduate classmates included Whittaker Chambers, Clifton Fadiman, Herbert Solow, Lionel Trilling, Henry Zolinsky and Louis Zukofsky, with many of whom he contributed to The Morningside literary magazine. In 1923, he traveled to Europe with Chambers and Zolinsky.4 During his undergraduate days, he became known for his "Schapiric victory", by allegedly reducing an instructor to tears by means of dialectic logic.5 In 1924, he received his bachelor's degree with honors in art history and philosophy. Princeton University denied him admission for his doctorate, so he continued at Columbia and earned his doctoral degree in art history in 1929.6 His professors at that time included Ernest DeWald. His dissertation, five years in the making, examined the cloister and portal of Moissac Abbey, built about A.D. 1100:
Dr. Schapiro's research went far beyond the implications of Moissac itself. Medieval church history, liturgy, theology, social history, illuminated manuscripts, folklore, epigraphy, the analysis of ornament and national characteristics (real or imagined) all were pressed into service and synthesized. As a result, what had been thought of as antiquarian artifacts were seen to have a completely different character. "A new sphere of artistic creation," Dr. Schapiro called it, "without religious content and imbued with values of spontaneity, individual fantasy, delight in color and movement, and the expression of feelings that anticipate modern art. This new art, on the margins of religious work, was accompanied by a conscious taste of the spectators for the beauty of workmanship, materials and artistic devices, apart from religious meanings."1
(In 1975, he received his third degree from Columbia, an honorary doctor of letters.6)
Career
Academics
Schapiro spent his entire working career at Columbia. In 1928, he began teaching as a lecturer, before completing his dissertation. In 1936, he became assistant professor. In 1946, he became associate professor. In 1952, he became a full professor. In 1965, he was named University Professor. He became University Professor Emeritus in 1973. His final, weekly class at Columbia was "Theory and Methods of Investigation in Art."1
Schapiro's discourse on style is often considered his greatest contribution to the study of art history. He said style refers to the formal qualities and visual characteristics of a piece of art, and demonstrated it could be used as an identifier of a particular period and as a diagnostic tool. Style is indicative of the artist and the culture at large. It reflects the economic and social circumstances in which an artist works and breathes and reveals underlying cultural assumptions and normative values.
In 1931, Schapiro married pediatrician Lillian Milgram. They had two children, Miriam Schapiro Grosof and Ernest Schapiro.16
He died in 1996 in New York at the age of 91 in the Greenwich Village house where he had lived since 1933.1
Impact
Artists
In the 1940s, when the Museum of Modern Art looked at purchasing Jackson Pollock's The She-Wolf (1943), Schapiro, as an acquisitions committee member, supported its acquisition.9
In the 1950s, Schapiro urged Willem de Kooning to finish painting Woman I (1950–1952).9
Marxist art history
Schapiro was, at points in his career, criticized for his approach to style because of its politically radical connotations. He wrote scholarly articles for a variety of socialist publications and endeavored to apply a novel Marxist method to the study of art history. In his most famous essay on MedievalSpanish art, "From Mozarabic to Romanesque in Silos",10 Schapiro demonstrated how the concurrent existence of two historical styles in one monastery was indicative of economic upheaval and class conflict.
In 1974, for Schapiro's 70th birthday, a dozen leading artists made original lithographs, etchings and silk-screens, sold in an edition of 100, whose proceeds endowed the Meyer Schapiro Professorship of Art History in art history and archeology at Columbia. The contributors were: Jasper Johns, Ellsworth Kelly, Alexander Liberman, Stanley William Hayter, Roy Lichtenstein, André Masson, Robert Motherwell, Claes Oldenburg, Robert Rauschenberg, Saul Steinberg, Frank Stella and Andy Warhol.114 The artworks were exhibited at the Metropolitan Museum of Art.6 In 1975, Schapiro received the Alexander Hamilton Medal for distinguished service and accomplishment by the alumni of Columbia University.9 The same year, he received an honorary doctor of letters degree from the university.6
In 1976, he was elected a member of the National Institute of Arts and Letters.9
In 1987, he was named a MacArthur Foundation fellow.6 In 1995, his brother Morris donated $1 million to establish the Meyer Schapiro Professorship of Modern Art and Theory.14
In 1995, Schapiro received a special award for lifetime achievement from the College Art Association at its 83rd annual conference in San Antonio, Texas. He had been a member since 1926 and was cited for seven decades of scholarship and teaching in the field of art history: "Meyer Schapiro, we honor you for 70 years of unique scholarship and perception, for showing us the way in which art history enhances our understanding of human accomplishment."1415
Vincent van Gogh. New York: Harry N. Abrams, 1950 and reprints.
Paul Cézanne. New York: Harry N. Abrams, 1952 and reprints.
The Parma Ildefonsus: A Romanesque Illuminated Manuscript from Cluny, and Related Works. New York: College Art Association of America, 1964.
Words and Pictures. On the Literal and the Symbolic in the Illustration of a Text. Approaches to Semiotics series 11, ed. Thomas A Sebeok. The Hague and Paris: Mouton, 1973.
Selected Papers I: Romanesque Art. New York: George Braziller, 1977.
Translations:
Italian, Romanica (Turin: Giulio Einaudi, 1982).
Spanish, Estudios sobre el Romanica (Madrid: Aliana Editorial, 1984).
Selected Papers II: Modern Art: 19th and 20th Centuries. New York: George Braziller, 1978, 1982.
Translations:
Swedish, Modern Konst-1800-talet och 1900-talet - Valda Studier, 1981
German, Moderne Kunst-19.und 20. Jahrhundert-Ausgewahlte Aufsatze (Cologne: DuMont Buchverlag, 1982).
Italian, L'Arte Moderna (Turin: Giulio Einaudi Editore, n.d.).
Spanish, El Arte Moderno (Madrid: Alianza Editorial, S.A., 1988).
Selected Papers III: Late Antique, Early Christian, and Medieval Art. New York: George Braziller, 1979.
Translations:
Spanish, Estudios sobre el arte de la Antiguedad Tardia, el Cristianismo Primitivo y la Edad Media (Madrid: Aliana Editorial, 1987).
Style, Artiste et Societe, trans. Blaise Allan et. a. Paris: Editions Gallimard, 1982.
The Romanesque Sculpture of Moissac. New York: George Braziller, 1985.(Reprint of Schapiro's dissertation originally published in Art Bulletin. Includes photographs by David Finn)
Selected Papers IV: Theory and Philosophy of Art: Style, Artist, and Society. George Brailler, 1994.
Mondrian: On the Humanity of Abstract Painting. New York; George Braziller, 1995.
Meyer Schapiro : the bibliography / compiled by Lillian Milgram Schapiro. New York : G. Braziller, 1995.
Words, Script, and Pictures: The Semiotics of Visual Language. New York: George Braziller, 1996.
Impressionism: Reflections and Perceptions. New York George Braziller, 1997.
A kind of rapture / Robert Bergman; introduction by Toni Morrison; afterword by Meyer Schapiro. New York: Pantheon Books, 1998.
Worldview in Painting—Art and Society: Selected Papers, Vol. 5. New York: George Braziller, 1999.
The Unity of Picasso's Art. New York: George Braziller, 2000.
Meyer Schapiro : his painting, drawing, and sculpture. New York : Harry N. Abrams, Publishers, 2000.
Language of Forms: Lectures on Insular Manuscript Art. New York: Pierpont Morgan Library, 2005.
Romanesque architectural sculpture: The Charles Eliot Norton lectures. Chicago: University of Chicago Press, 2006.
Meyer Schapiro abroad : letters to Lillian and travel notebooks. Los Angeles, Calif. : Getty Research Institute, 2009.
Articles
Schapiro wrote some articles under assumed names.16
Sauerländer, Willibald (June 28, 2007). "The artist historian". The New York Review of Books. 54 (11): 55–57, 61–62.
Artworks
In 1987, Schapiro exhibited 65 drawings and paintings from 1919 to 1979 in the Wallach Art Gallery in Schermerhorn Hall at Columbia. Subjects ranged from portraiture, landscapes, family, war horrors and abstraction. Included were a self-portrait at age 16 and two portraits of friend Whittaker Chambers.16
Literature
C. Oliver O'Donnell: Meyer Schapiro's Critical Debates. Art Through a Modern American Mind, The Pennsylvania State University Press, University Park, Pennsylvania, 2019, ISBN 9780271084640