Professor, J. R. Herbert Boone Chair in the Humanities
(secondary appointment: Department of the History of Art)
Modern art, literature, criticism, and theory. Italian painting in the age of Caravaggio.
The Humanities Center
Johns Hopkins University
3400 North Charles Street
Baltimore, MD 21218
Michael Fried is a poet, art historian, art critic, and literary critic. He has written extensively about abstract painting and sculpture since World War II, about French painting and art criticism from the mid-eighteenth century to the advent of Edouard Manet and his generation (and beyond), about Thomas Eakins and Stephen Crane, about the great nineteenth-century German painters Caspar David Friedrich and Adolph Menzel, about Charles Baudelaire, Joseph Conrad, and Søren Kierkegaard, about Gustave Flaubert’s novels Madame Bovary and Salammbô, about Bernd and Hilla Becher, Jeff Wall, Jean-Marc Bustamante, Thomas Struth, Thomas Ruff, Andreas Gursky, Thomas Demand, Luc Delahaye, James Welling, and other contemporary “art” photographers, about Caravaggio and the transformation of Italian painting around 1600, and about the contemporary artists Anri Sala, Charles Ray, Joseph Marioni, and Douglas Gordon (among others). He has long been engaged by problems of modernism, abstraction, realism, theatricality, objecthood, self-portraiture, embodiedness, and the everyday. Thinkers who particularly interest him include Diderot, Kierkegaard, Merleau-Ponty, Wittgenstein, and Cavell. He is currently writing two books, After Caravaggio, on various Italian painters working between 1610 and 1630, and Almayer’s Face: Studies in Literary Impressionism, on a number of British and American writers between 1890 and 1914. A new collection of poems, Promesse du Bonheur, awaits publication.
Why Photography Matters as Art as Never Before
The Next Bend in the Road (Poems)
Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin
|Art and Objecthood: Essays and Reviews|
University of Chicago Press, 1998
Manet's Modernism, or, The Face of Painting in the 1860s
|To the Center of the Earth|
Noonday Press, 1994
|Realism, Writing, Disfiguration: On Thomas Eakins and Stephen Crane|
University of Chicago Press, 1987
Absorption and Theatricality: Painting and Beholder in the Age of Diderot
The Review, 1973
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