Art historian Richard Poss took a more flexible approach, maintaining that the astronomical rock art of the North American Southwest should be read employing " the hermeneutic traditions of western art history and art criticism " Astronomers, however, raise different questions, seeking to provide their students with identifiable precursors of their discipline, and are especially concerned with the important question of how to confirm that specific sites are, indeed, intentionally astronomical.

This has been identified by the historian Ronald Hutton, cited in an article by Roger Dearnsley " The Influence of Aleister Crowley on Ye Bok of Ye Art Magical, as a piece of medieval ecclesiastical Latin used to mean " lifting the veil.

Art historian John Rewald called Pissarro the “ dean of the Impressionist painters ", not only because he was the oldest of the group, but also " by virtue of his wisdom and his balanced, kind, and warmhearted personality ”.

Art historian and the artist's great-grandson Joachim Pissarro notes that they “ professed a passionate disdain for the Salons and refused to exhibit at them .” Together they shared an “ almost militant resolution ” against the Salon, and through their later correspondences it is clear that their mutual admiration “ was based on a kinship of ethical as well as aesthetic concerns ”.

Art historian Diane Kelder notes that it was Pissarro who introduced Gauguin, who was then a young stockbroker studying to become an artist, to Degas and Cézanne.

Art historian Bernard Berenson wrote in 1896: " Leonardo is the one artist of whom it may be said with perfect literalness: Nothing that he touched but turned into a thing of eternal beauty.

* Calculations by him of eclipses for eighteen hundred years were inserted in L ' Art de vérifier les dates by Benedictine historian Charles Clémencet ( 1750 )

Art historian Giorgio Vasari wrote about Anguissola that she " has shown greater application and better grace than any other woman of our age in her endeavors at drawing ; she has thus succeeded not only in drawing, coloring and painting from nature, and copying excellently from others, but by herself has created rare and very beautiful paintings.

US economic historian Charles P. Kindleberger explained this position in his 1990 book Historical Economics: Art or Science ?.

Art historian John Rowlands sees this work as " one of the most moving portraits in art, from an artist, too, who always characterized his sitters with a guarded restraint ".

* Martin Kemp, Art historian

Art historian Walter J. Friedlander, in The Golden Wand of Medicine: A History of the Caduceus Symbol in Medicine ( 1992 ) collected hundreds of examples of the caduceus and the rod of Asclepius and found that professional associations were just somewhat more likely to use the staff of Asclepius, while commercial organizations in the medical field were more likely to use the caduceus.

Art historian Raymond Cogniat writes that after living and studying art on his own for four years, " Chagall entered into the mainstream of contemporary art.

Art historian and curator James Sweeney notes that when Chagall first arrived in Paris, Cubism was the dominant art form, and French art was still dominated by the " materialistic outlook of the 19th century ".

Art historian Jean Leymarie observes that Chagall began thinking of art as " emerging from the internal being outward, from the seen object to the psychic outpouring ", which was the reverse of the Cubist way of creating.

Art historian Charles Stuckey has compared the viewpoint to that of a distracted spectator at a ballet, and says that " it is Degas ' fascination with the depiction of movement, including the movement of a spectator's eyes as during a random glance, that is properly speaking ' Impressionist '.

His Writings, 1973 – 1983, on Works 1969-1979, co-authored by the art historian Benjamin H. D. Buchloh, was published by The Press of the Nova Scotia College of Art and Design.

Of Posidonius's work on tactics, The Art of War, the Greek historian Arrian complained that it was written ' for experts ', which suggests that Posidonius may have had first hand experience of military leadership or, perhaps, utilized knowledge he gained from his acquaintance with Pompey.

Art historian Sivaramamurti calls it " a unique connection of the closely knit ideal of man and woman rising above the craving of the flesh and serving as a symbol of hospitality and parenthood ".

Art historian Robert Hillenbrand ( 1999 ) likens the movement to the foundation of an " Islamic Rome ", because the meeting of Eastern influences from Iranian, Eurasian steppe, Chinese, and Indian sources created a new paradigm for Islamic art.

She started making plans for a Museum of Modern Art in London together with the English art historian

* Geoffrey Howse ( 1955 – present ) actor, local historian and author, was a student at Barnsley School of Art 1973 – 75.

Art historian Ralph Nicholson Wornum estimated that Stothard's designs number five thousand and, of these, about three thousand were engraved.

The art historian Giovanni Lista has classified Futurism by decades: “ Plastic Dynamism ” for the first decade, “ Mechanical Art ” for the 1920s, “ Aeroaesthetics ” for the 1930s.

Art historian, Philip Mould says, " it is about noticing things which have specific characteristics of the artists involved, as opposed to general characteristics of the era ".

* Whitney Museum of American Art

By the 1930s the place would evolve to become her greatest legacy, the Whitney Museum of American Art, on the site of today's New York Studio School of Drawing, Painting and Sculpture.

The Whitney was founded in 1931, as an answer to the then newly founded ( 1928 ) Museum of Modern Art's collection of mostly European modernism and its neglect of American Art.

Gertrude Whitney decided to put the time and money into the museum after the New York Metropolitan Museum of Art turned down her offer to contribute her twenty-five-year collection of modern art works.

The school officially opened September 23, 1964, it is still currently active and it is housed at 8 W. 8th Street, the site of the original Whitney Museum of American Art.

A group of students including Roger Brown, Gladys Nillson, Jim Nutt, and Barbara Rossi, and teachers at the School of the Art Institute of Chicago, including Ray Yoshida and Whitney Halstead, took an interest in promoting his work.

In 1974 the Whitney Museum of American Art in New York held a major retrospective of his work, and in 1983 he was elected to the American Academy of Arts and Letters.

His work is in the permanent collections of numerous museums, including the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum, the Phillips Collection, the Brooklyn Museum, and Reynolda House Museum of American Art. In May 2007, the White House Historical Association ( via the White House Acquisition Trust ) purchased Lawrence's The Builders ( 1947 ) for $ 2. 5 million at auction.

* Whitney Museum of American Art, New York

A major retrospective exhibition of Lyonel Feininger's work, initially at the Whitney Museum of American Art during June 30-October 16, 2011, was subsequently due to run at the Montreal Museum of Fine Arts during January 20 – May 13, 2012.

New York: Whitney Museum of American Art, 2011

* Feininger retrospective at the Whitney Museum of American Art, New York

King produced an artist's book with designer Barbara Kruger in 1988, My Pretty Pony, published in a limited edition of 250 by the Library Fellows of the Whitney Museum of American Art, later released in a general trade edition by Alfred A. Knopf in 1989.

In 1997, a major retrospective of 25 years of Bill Viola's work was organized and internationally toured by the Whitney Museum of American Art.

Bill Viola's exhibition profile, which includes the National Gallery, London, Guggenheim Berlin, Guggenheim New York, Whitney Museum of American Art, Getty Los Angeles, California, and the Metropolitan Museum of Art, New York marks him as a major contemporary artist.

Already in 1980 the Whitney Museum of American Art spent $ 1 million for Three Flags ( 1958 ), then the highest price ever paid for the work of a living artist.

A leader in the Cubism movement, his works are in the collections of the Whitney Museum of American Art, the Metropolitan Museum of Art and the Denver Art Museum, among others.

New York: Whitney Museum of Art and Paris: Flammarion, 1995.

His stature took a sharp rise in 1931 when major museums, including the Whitney Museum of American Art and the Metropolitan Museum of Art, paid thousands of dollars for his works.