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Alfred H. Barr, Jr. and the Intellectual Origins of the Museum of Modern Art
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This truly significant book is at times as compulsively readable as a novel. Yet the spell that the author casts does not come at the expense of rigorous argument backed up by exhaustive primary documentation and pertinent secondary references. -- Helen Searing, Alice Pratt Brown Professor of Art, Smith College A worthy contribution to the literature. Kantor's book is the most detailed and revelatory account of Barr's approach to modern art ever published. -- Francis M. Naumann, author of Marcel Duchamp: The Art of Making Art in the Age of Mechanical Reproduction At last, Alfred Barr's towering stature as scholarship art historian, evangelical educator, and visionary museum director has been given its due. Meticulously documented, Kantor's study recreates not only the formation, step-by-step, of Barr's unique genius but also the audacious intellectual milieu of the 1920s that nurtured it. -- Robert Rosenblum, Professor of Fine Arts, New York University

About the Author

Sybil Gordon Kantor is an independent scholar living in Columbus, Ohio, and Lugano, Switzerland.

Reviews

An important contribution to the historiography of twentieth-century American art... intellectual and biographical history at its most rigorous.—Daniel A. Siedell, College Art Association Reviews

Alfred Hamilton Barr Jr. remains a figure of fascination and contention.—Michael Kimmelman, The New York Review of Books

It is to the intellectual history of modern art that [this book] makes an indispensible contribution.—Hilton Kramer, The New Criterion

An important contribution to the historiography of twentieth-century American art... intellectual and biographical history at its most rigorous.

-Daniel A. Siedell, College Art Association Reviews

Alfred Hamilton Barr Jr. remains a figure of fascination and contention.

-Michael Kimmelman, The New York Review of Books

It is to the intellectual history of modern art that [this book] makes an indispensible contribution.

-Hilton Kramer, The New Criterion

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