David Freedberg

Pierre Matisse Professor of the History of Art and Director of The Italian Academy for
Advanced Studies in America

Selected Short Books for Download

Peter Paul Rubens: Oil Paintings and Oil Sketches. New York: Gagosian Gallery, 1995. Catalogue with essay of an exhibition at the Gagosian Gallery.

Joseph Kosuth: The Play of the Unmentionable. New York: The New Press, 1992.

Iconoclasts and Their Motives (Second Horst Gerson Memorial Lecture, University of Groningen). Maarssen: Gary Schwartz, 1985. Reprinted in Public, Toronto, 1993.

Selected Articles for Download

Necesidad de la emoción: El Cristo muerto sostenido por un ángel de Antonello de Messina.” In Los tesoros ocultos del Museo del Prado, 123-150. Madrid: Fundación Amigos del Museo del Prado; Crítica/Círculo de Lectores, 2017.

From Absorption to Judgement: Empathy in Aesthetic Response."In Empathy: Epistemic Problems and Cultural-Historical Problems of a Cross-Disciplinary Context, edited by Vanessa Lux and Sigrid Weigel, 139-180. London: Palgrave-Macmillan, 2017.

From Defamation to Mutilation: Gender Politics and Reason of State in South Africa.” In Images of Shame: Infamy, Defamation and the Ethics of Oeconomia, edited by Carolin Behrmann, 193-216. Berlin: De Gruyter, 2016.

The Fear of Art: How Censorship Becomes Iconoclasm.” Social Research 83, no. 1 (2016), 67-99.

Carmen Concerto, Carmenrita Infortuna, Ludovico Mineo, Manuel Pereira, David Freedberg, Eileen Chusid, Eugenio Aguglia, and Fortunato Battaglia. “Observation of Implied Motion in a Work of Art Modulates Cortical Connectivity and Plasticity.” Journal of Exercise Rehabilitation 12, no. 5 (2016): 417-423.

Carmen Concerto, Mohomad Al Sawah, Carmenrita Infortuna, David Freedberg, Eileen Chusid, Eugenio Aguglia, and Fortunato Battaglia. “Neural Circuits Underlying Motor Facilitation during Observation of Implied Motion.” Somatosensory and Motor Research (September 30, 2015): 1-4.

Ulrich Kirk and David Freedberg. “Contextual Bias and Insulation against Bias during Aesthetic Rating: The Roles of VMPFC and DLPFC in Neural Valuation.” In Art, Aesthetics and the Brain, edited by Joseph P. Huston, Marcos Nadal, Francisco Mora, Luigi F. Agnati, and Camilo J. Cela-Conde, 158-173. Oxford: Oxford University Press, 2015.

Feelings on Faces: From Physiognomics to Neuroscience.” In Rethinking Emotion: Interiority and Exteriority in Premodern, Modern, and Contemporary Thought (Interdisciplinary German Cultural Studies, vol. 15), edited by Rüdiger Campe and Julia Weber, 289-324. Berlin: De Gruyter, 2014.

Drei Episoden ohne Aby.” Zeitschrift für Ideengeschichte 8, no. 3 (2014): 97-104.

Zu den Märtyrerbildern Antwerpens im späten 16. Jahrhundert.” In Autopsia: Blut-und Augenzeugen; Extreme Bilder des christlichen Martyriums, edited by Carolin Behrmann and Elisabeth Priedl, 181-211. Munich: Wilhelm Finck, 2014.

Dürer’s Limbs.” In The Young Dürer: Drawing the Figure, edited by Stephanie Buck and Stephanie Porras, 37-56. London: Courtauld Gallery; Paul Holberton, 2013.

Pathos en Oraibi: Lo que Warburg no vio.” In David Freedberg, Las máscaras de Aby Warburg, 45-82. Introduction by Luis Vives-Ferrándiz Sanchez and translation by Marta Piñol Lloret. Barcelona: Sans Soleil Ediciones, 2013.

Beatrice Sbriscia-Fioretti, Cristina Berchio, David Freedberg, Vittorio Gallese, and M. Alessandra Umiltà. “ERP Modulation during Observation of Abstract Paintings by Franz Kline.” PLoS ONE 8, no. 10 (October 2013).

Art after Iconoclasm: Painting in the Netherlands between 1566 and 1585.” In Art after Iconoclasm: Painting in the Netherlands between 1566 and 1585, edited by Koenraad Jonckheere and Ruben Suykerbuyk, 21-49. Turnhout: Brepols, 2012.

M. Alessandra Umiltà, Cristina Berchio, Mariateresa Sestito, David Freedberg, and Vittorio Gallese. “Abstract Art and Cortical Motor Activation: An EEG Study.” Frontiers in Human Neuroscience 6 (2012): 1-9.

The Case of the Spear.” Art South Africa 11, no. 1 (September 2012): 36-41.

Davide Massaro, Federica Savazzi, Cinzia Di Dio, David Freedberg, Vittorio Gallese, Gabriella Gilli, and Antonella Marchetti. “When Art Moves the Eyes: A Behavioral and Eye-Tracking Study.” PloS ONE 7, no. 5 (May 2012).

Fortunata Battaglia, Sarah H. Lisanby, and David Freedberg. “Corticomotor Facilitation during Observation and Imagination of a Work of Art.” Frontiers in Human Neuroscience 5 (2011): 1-6.

Memory in Art: History and the Neuroscience of Response.” In The Memory Process:  Neuroscientific and Humanistic Perspectives, edited by Suzanne Nalbantian, Paul M. Matthews, and James L. McClelland, 337-358. Cambridge, MA: MIT Press, 2011.

Movement, Embodiment, Emotion.” In Cannibalismes disciplinaires: Quand l’histoire de l’art et l’anthropologie se rencontrent, edited by Thierry Dufrêne and Anne-Christine Taylor, 37-61. Paris: INHA; Musée du Quai Branly, 2009.

Immagini e risposta emotiva: La prospettiva neuroscientifica.” In Prospettiva Zeri, edited by Anna Ottani Cavina, 85-105. Turin: Umberto Allemandi & C., 2009.

Los retratos de Van Dyck en el Prado: Las conexiones españoles y flamencas.” In La Senda Espanola de los Artistas Flamencas, 287-306. Madrid: Fundación Amigos del Museo del Prado; Barcelona: Galaxia Gutenberg, 2009.

Choirs of Praise: Some Aspects of Action Understanding in Fifteenth Century Painting and Sculpture.” In Medieval Renaissance Baroque: A Cat’s Cradle for Marilyn Aronberg Lavin, edited by David A. Levine and Jack Freiberg, 65-81. New York: Italica Press, 2009.

Antropologia e storia dell’arte: La fine delle discipline?Ricerche di Storia dell’arte 94 (2008): 5-18.  Translated into Spanish as “Antropología e Historia del Arte: ¿El fin de las Disciplinas?”  in Revista Sans Soleil – Estudios de la Imagen 5, no. 1 (2013): 31-46.

Empathy, Motion and Emotion.” In Wie sich Gefühle Ausdruck verschaffen: Emotionen in Nahsicht, edited by Klaus Herding and Antje Krause Wahl, 17-51. Berlin: Driesen, 2007.

Vittorio Gallese and David Freedberg. “Mirror and Canonical Neurons Are Crucial Elements in Esthetic Response.” Trends in Cognitive Science 11, no. 10 (October 2007): 411.

Roberto Casati and Alessandro Pignocchi. “Mirror and Canonical Neurons Are Not Constitutive of Aesthetic Response.” Trends in Cognitive Science 11, no. 10 (October 2007): 410.

David Freedberg and Vittorio Gallese. “Motion, Emotion and Empathy in Esthetic Experience.” Trends in Cognitive Science 11, no. 5 (May 2007): 197-203. Translated into Italian in Prometeo 26, no. 103 (2008): 52-59; and again, with commentary, in Teorie dell'immagine: Il dibattito contemporaneo, edited by Andrea Pinotti and Antonio Somaini, 331-351. Milan: Cortina, 2009.

Empatia, movimento ed emozione.” In Immagini della Mente: Neuroscienze, arte, filosofia, edited by Giovanni Lucignani and Andrea Pinotti, 13-68. Milan: Cortina, 2007.

Why Connoisseurship Matters.” In Munuscula Amicorum: Contributions on Rubens and His Colleagues in Honour of Hans Vlieghe, edited by Katlijne van Stighelen, 29-43. Turnhout: Brepols, 2006.

Composition and Emotion.” In The Artful Mind, edited by Mark Turner, 73-89. Oxford: Oxford University Press, 2006.

Warburg’s Mask: A Study in Idolatry.” In Anthropologies of Art, edited by M. Westerman, 3-25. Williamstown: Clark Institute, 2005. Translated into Polish in Konteksty: Polska Sztuka Ludowa 65 (2011), 2-3 (293-4), 70-82; and into French as “La masque de Warburg: Une étude sur l’idolatrie.” In Penser l’image II: Anthropologies du visuel, edited by Emmanuel Alloa, 103-150. Dijon: Les Presses du Réel, 2015.

Pathos at Oraibi: What Warburg Did Not See” [Original text for “Pathos a Oraibi: Ciò che Warburg non vide,” as below].

Pathos a Oraibi: Ciò che Warburg non vide.” In Lo sguardo di Giano: Aby Warburg fra tempo e memoria, edited by Claudia Cieri Via and Pietro Montani, 569-611. Turin: Nino Aragno, 2004.

La ‘Danza de aldeanos’ de Rubens en el Prado.” In Historias Mortales: La vida cotidiana en el arte, 128-142. Madrid: Fundación Amigos del Museo del Prado; Barcelona: Galaxia Gutenberg/Círcolo de Lectores, 2004.

Damnatio Memoriae: Why Mobs Pull Down Statues.” The Wall Street Journal, April 16, 2003, D10.

Apollo, David, Santa Cecilia: Musica y pintura en algunas obras de Poussin en el Prado.” In Historias Inmortales, 239-260. Madrid: Fundación Amigos del Prado; Barcelona: Galaxia Gutenberg, 2002.

The Power of Wood and Stone.” The Washington Post, Outlook, Sunday, 25 March, 2001, B2. On Taliban destruction of art.

Del nominare i fiori: Ferrari, Poussin e la storia della storia naturale.” In Quaderno di dieci anni, Gruppo Giardino Storico dell'Università di Padova, edited by Luciano Morbiato, 57-84. Padua: Gruppo Giardino Storico, 2000.

Les images dans les rêves.” In Crises de l'image religieuse/Krisen religiöser Kunst, edited by Olivier Christin and Dario Gamboni, 33-53. Paris: Éditions de la Maison des Sciences de l’Homme, 1999.

De l’effet de la musique, aux effets de l’image; ou pourquoi les affetti ne sont pas les modes.” In La Jérusalem délivrée du Tasse: Poésie, peinture, musique, ballet; Actes du colloque organisé au Musée du Louvre par le Service Culturel en collaboration avec l’Instituto Italiano di Cultura de Paris les 13 et 14 novembre 1996, edited by Giovanni Careri, 311-338. Paris: Klincksieck; Musée du Louvre, 1999.

Iconography between the History of Art and the History of Science: Art, Science and the Case of the Urban Bee.” In Picturing Science, Producing Art, edited by Peter Galison and Caroline Jones, 272-296. London: Routledge, 1998.

Rubens and Titian: Art and Politics.” In Titian and Rubens: Power, Politics, and Style, 29-66. Boston: Isabella Stewart Gardner Museum, 1998.

Poussin, Ferrari, Cortone et l'Aetas Florea.” In Nicolas Poussin (1594-1665): Actes du colloque organisé au Musée du Louvre par le Service culturel, 19-21 octobre 1994, vol. 1, edited by Alain Mérot, 337-362. Paris: La Documentation Française, 1996.

Ferrari and the Pregnant Lemons of Pietrasanta.” In Il Giardino delle Esperidi: Gli agrumi nella storia, nella letteratura e nell'arte, edited by Alessandro Tagliolini and Margherita Azzi Visentini, 41-58. Florence: Edifir, 1996.

Holy Images and Other Images.” In The Art of Interpreting (Papers in Art History from the Pennsylvania State University), edited by Susan C. Scott, 68-87. University Park, PA: The Pennsylvania State University, 1996.

Poussin et Sienne.” In Nicolas Poussin, 1594-1665, edited by Pierre Rosenberg and Louis-Antoine Prat, 62-68. Paris: Réunion des Musées Nationaux, 1994.  Catalogue of the exhibition held at the Galeries Nationales du Grand Palais, Paris, 1995.

The Failure of Colour.” In Sight and Insight: Essays on Art and Culture in Honour of E.H. Gombrich at 85, edited by John Onians, 245-262. London: Phaidon, 1994.

Van Dyck and Virginio Cesarini: A Contribution to the Study of Van Dyck’s Roman Sojourns.” In Van Dyck 350 (Studies in the History of Art 46), edited by Susan J. Barnes and Arthur K. Wheelock Jr., 152-174. Washington: National Gallery of Art, 1994.

Imitation and Its Discontents.” In Künstlerischer Austausch/Artistic Exchange: Akten des XVIII. Internationalen Kongresses für Kunstgeschichte, Berlin, 1992, edited by Thomas W. Gaehtgens, 483-491. Berlin: Akademie Verlag, 1993.

Painting and the Counter Reformation in the Age of Rubens.” In The Age of Rubens, edited by Peter C. Sutton, 131-146. Boston: Museum of Fine Arts, 1993.

Cassiano and the Art of Natural History.” In The Paper Museum of Cassiano dal Pozzo, 141-154. Ivrea: Olivetti; London: The British Museum, 1993.

Kunst und Gegenreformation in den südlichen Niederlanden, 1560-1660.” In Von Bruegel bis Rubens: Das goldene Jahrhundert der flämischen Malerei; Eine Ausstellung des Wallraf-Richartz-Museums, Köln, des Koninklijk Museum voor Schone Kunsten, Antwerpen und des Kunsthistorischen Museums, Wien, edited by Ekkehard Mai and Hans Vlieghe, 55-71. Cologne: Locher; Vienna: Kunsthistorisches Museum, 1993.

Iconoclasm and Idolatry.” In A Companion to Aesthetics, edited by David E. Cooper, 207-209. Oxford: Blackwell Reference, 1992.

Censorship Revisited.” Res 21 (1992): 5-11.

Ferrari on the Classification of Oranges and Lemons.” In Documentary Culture: Florence and Rome from Grand-Duke Ferdinand I to Pope Alexander VII; Papers from a Colloquium Held at the Villa Spelman, Florence, 1990 (Villa Spelman Colloquia 3), edited by Elizabeth Cropper, Giovanna Perini, and Francesco Solinas, 287-306. Bologna: Nuova Alfa Editoriale, 1992. Translated and revised as "Gli agrumi di Giovanni Battista Ferrari." In Miti, arte e scienza nella pomologia italiana, edited by Enrico Baldini, 127-155. Rome: Consiglio Nazionale di Ricerca, 2008.

Cassiano on the Jewish Races of Rome.” Quaderni puteani 3, II (1992): 41-56.

Science, Commerce and Art: Neglected Topics at the Junction of History and Art History.” In Art in History, History in Art: Studies in Seventeenth-Century Dutch Culture, edited by David Freedberg and Jan de Vries, 376-428. Los Angeles: The Getty Center, 1991. Updated and better-illustrated version published as “Science, Trade and Art.” In Brazil and the Dutch 1630-1654, edited by Paulo Herkenhoff, 192-217. Rio de Janiero: Sextante Artes, 1999.

Cassiano dal Pozzo, Natural Historian” and “Cassiano dal Pozzo’s Drawings of Citrus Fruits.” In Il Museo cartaceo di Cassiano dal Pozzo: Cassiano naturalista (Quaderni puteani 1), 10-36.  Milan: Olivetti, 1989.

From Hebrew and Gardens to Oranges and Lemons: Giovanni Battista Ferrari and Cassiano dal Pozzo.” In Cassiano dal Pozzo: Atti del Seminario Internazionale di Studi, edited by Francesco Solinas, 37-72. Rome: De Luca, 1989.

Allusion and Topicality in the Work of Pieter Bruegel the Elder: The Implications of a Forgotten Polemic.” In The Prints of Pieter Bruegel the Elder, edited by David Freedberg, 53-65. Tokyo: Tokyo Shimbun, 1989.

The Problem of Classicism: Ideology and Power.” Art Journal 47, no. 1 (1988): 1-6.  Introductory essay to volume of the Art Journal devoted to The Problem of Classicism, edited by David Freedberg.

De Kunst en de Beeldenstorm, 1525-1580: De Noordelijke Nederlanden”/“Art and Iconoclasm, 1525-1580: The Case of the North Netherlands.” Kunst voor de Beeldenstorm. Noordnederlandse Kunst 1525-1580, edited by J.P. Filedt Kok et al., 39-84. Amsterdam: Rijksmuseum; ‘s-Gravenhage: Staatsuitgeverij, 1986.

Paintings or Prints? Experiens Sillemans and the Origins of the Dutch Grisaille Sea-Piece: Notes on a Rediscovered Technique.” Print Quarterly 1 (1984): 149-168 (with Aviva Burnstock and Alan Phenix).

Fame, Convention and Insight: On the Relevance of Fornenberg and Gerbier.” The Ringling Museum of Art Journal: Papers Presented at the International Rubens Symposium, 1982 (1983): 236-259.

Prints and the Status of Images in Flanders.” In Le Stampe e la diffusione delle immagini e degli stili: Atti del XXIV Congresso internazionale di storia dell'arte, 1979, vol. VIII, edited by Henri Zerner, 39-54. Bologna: CLUEB, 1983.

The Hidden God: Image and Interdiction in the Netherlands in the Sixteenth Century.” Art History 5 (1982): 133-153. Translated into Japanese by Michiko Fukaya and Masaya Wakabayashi and comments by Toshiharu Nakamura, Studies in Western Art 6 (2001): 51-76.

The Origins and Development of the Flemish Madonnas in Flower Garlands: Decoration and Devotion.” Münchner Jahrbuch der Bildenden Kunst 32 (1981): 115-150.

A Source for Rubens's Modello of the Assumption and Coronation of the Virgin in Leningrad: A Case Study in the Response to Images.” Burlington Magazine 120 (1978): 432-441.

Rubens as a Painter of Epitaphs, 1612-1618. Gentse Bijdragen tot de Kunstgeschiedenis 24 (1976-78): 51-71.

The Structure of Byzantine and European Iconoclasm.” In Iconoclasm, edited by Anthony Bryer and Judith Herrin, 165-177. Birmingham: Centre for Byzantine Studies, University of Birmingham, 1977.

The Problem of Images in Northern Europe and Its Repercussions in the Netherlands.” Hafnia: Copenhagen Papers in the History of Art; Proceedings of the 7th International Colloquium in the History of Art, 25-45. Copenhagen: University of Copenhagen, 1976.

The Representation of Martyrdoms during the Early Counter-Reformation in Antwerp.” Burlington Magazine 118 (1976): 128-138.

Johannes Molanus on Provocative Paintings.” Journal of the Warburg and Courtauld Institutes 34 (1971): 229-245.

Selected Book Prefaces for Download

The Power of Images: Studies in the History and Theory of Response. Chicago: University of Chicago Press, 1989.

Preface to the French edition (1998)
Preface to the Polish edition (2007)
Preface to the Second Italian edition (2009)

Selected Review for Download

Verzameld Werk, 4 vols., by J.A. Emmens. Simiolus 13 (1983): 142-146 (review-article).

Selected Interviews for Download

Dionigi Mattia Gagliardi. “Il diologo possibile tra arte e neuroscienze.” Nodes 9-10 (2017): 30-39.

Domenica Bruni. “Intervista a David Freedberg.” Rivista per la Formazione, Tendenze - Pratiche - Strumenti 87 (2011): 81-86.

Alessia Cervini. “La natura delle emozioni.” Fata morgana: Quadrimestrale di cinema e visioni IV, no. 12 (2010): 7-19.