The article offers a revised view of some aspects of the earlier history of art history in the United States that have previously been ignored, downplayed, or represented inaccurately. It presents the story as it unrolled before 1933 as providing precedents and accordingly a context for the reception of Germanic scholarship, among other things for the origins of current interests in a broader, globalize view of art history. It also offers a critique of some outstanding interpretations of the importance and identity of German scholarly emigres (e.g. Josef Strzygowski, Erwin Panofsky, Paul Frankl).
Financed by the National Centre for Research and Development under grant No. SP/I/1/77065/10 by the strategic scientific research and experimental development program:
SYNAT - “Interdisciplinary System for Interactive Scientific and Scientific-Technical Information”.