Publications about L.A.W. by Louis Alexander Waldman
https://finearts.utexas.edu/news/college-honors-three-faculty-members-teaching-research-service, 2020
From the article:
Louis Waldman’s approach to teaching puts respect and love in the center of
pra... more From the article:
Louis Waldman’s approach to teaching puts respect and love in the center of
practice. ... “When we make students know they are important to us, that we care about
them as people, and that we respect them, they learn better.”...
One student e-mailed him and said, “I wanted to tell you that you have done more than any other professor or teacher has done in my life without even knowing me personally. You made me excited to wake up and learn something new. Your class made me feel relieved and a new passion towards art I never knew was in me."
His practice of Empathetic Pedagogy is all about creating meaningful connections that build community, even from a distance, responding to students’ needs, helping them develop their passion for art history, and encouraging them to follow their dreams and goals.
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https://art.utexas.edu/news/different-kind-community-how-one-art-history-professor-transformed-distance-learning-student, 2000
From the article:
'The arts are inherently grounded in connection—communicating ideas, emotion ... more From the article:
'The arts are inherently grounded in connection—communicating ideas, emotion and the history of who we are, where we’ve been and who we hope to become. One outcome of isolation during the pandemic has been the fragmentation of our sense of community. Being apart is causing us to miss the connected nature of life and learning on campus. But Waldman’s course defies this assumption and provides a glimpse into how to build community from a distance. Until “normal” returns, his students have found that sense of connection in his virtual classroom, where responsiveness to students’ concerns, pedagogical innovation, and a passion for art history are all part of a formula for bringing people closer together in this age of social distancing.'
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Papers by Louis Alexander Waldman
A recently discovered will of 1478 by the Florentine cassone painter, Marco del Buono Giamberti (... more A recently discovered will of 1478 by the Florentine cassone painter, Marco del Buono Giamberti (1403-after 1480), reveals important new information about the artist at the end of his career as well as his family. The testament mentions Marco’s workshop, suggesting that he may not yet have ceased his professional activity. The document takes considerable pains to sort out the inheritances of Marco’s two sons, Giamberto and Buono, while it also makes provisions for the living arrangements of his widow, Masa di Giuliano. Marco’s will gives insight into the objects of material culture that an artisan would consider important enough to dispose via testament. We read about his two houses, and also about items of aspirational clothing—a violet lucco and two valuable cloaks—as well as a handful of luxury items. Alongside these, Marco saw fit to oversee the disposition of other, extremely mundane items. But the most important disposition of the will concerns a pair of cassoni Marco possessed that had been painted by Paolo Uccello. One or both of Uccello’s two surviving cassone panels, the Hunt in the Forest now in the Ashmolean and the Battle on the Banks of a River that recently reemerged on the art market, may at one time have been part of one of the of one of the two cassoni by Uccello owned by Marco del Buono.
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Waldman Curriculum Vitae
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"Octahedron Tattianum", 2013
I used my 2000-word essay-length quota for the Joe Connors Festschrift to write eight very short ... more I used my 2000-word essay-length quota for the Joe Connors Festschrift to write eight very short essays of ca. 250 words apiece--one for each year of Joe's tenure as Director of Villa I Tatti. A tiny Festschrift within the Festschrift! Though the individual pieces are very short, each one presents what I hope is an important new argument, document, or attribution. The subjects were chosen in order to present the greatest possible chronological and thematic breadth--striving to reflect, in some small measure, the polyhedricity of the individual to whom they are dedicated.
BIBLIOGRAPHIC INFORMATION:
“A Rediscovered Medal of Crescentius Nomentanus by Filarete (Octahedron Tattianum I),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2011), I, pp. 1-3, 758.
“Lucantonio degli Uberti, ‘Albertus Pictor Florentinus’, and the Master of the Esztergom Virtues (Octahedron Tattianum II),”, in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2011), I, pp. 3-7, 759-761.
“From Gozzoli to Bartolomeo di Giovanni: A Demi-Fake (Octahedron Tattianum III),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2011), I, pp. 7-8, 762.
“Larciani and Granacci Side by Side (Octahedron Tattianum IV),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2011), I, pp. 8-10, 763.
“An Unknown Copyist of Leonardo’s Battle of Anghiari: Francesco Morandini, Called Il Poppi (Octahedron Tattianum V),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2011), I, pp. 10-12, 764.
“Mariotto Albertinelli, pictor et hospes (Octahedron Tattianum VI),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2011), I, pp. 12-14, 765.
“Pontormo, Niccolò di Pietro Gerini, and the Capponi Chapel (Octahedron Tattianum VII),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2011), I, pp. 15-16, 766.
“The Contractors for Jacopo Sansovino’s Façade of San Francesco della Vigna in Venice (Octahedron Tattianum VIII),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2011), I, pp. 16-18, 766.
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“Lucantonio degli Uberti, ‘Albertus Pictor Florentinus’, and the Master of the Esztergom Virtues (Octahedron Tattianum II),”, in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 2 vols. (Florence: Villa I Tatti, 2013), I, pp. 3-7, 759-761.
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Mitteilungen Des Kunsthistorischen Institutes in Florenz, 2012
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Publications about L.A.W. by Louis Alexander Waldman
Louis Waldman’s approach to teaching puts respect and love in the center of
practice. ... “When we make students know they are important to us, that we care about
them as people, and that we respect them, they learn better.”...
One student e-mailed him and said, “I wanted to tell you that you have done more than any other professor or teacher has done in my life without even knowing me personally. You made me excited to wake up and learn something new. Your class made me feel relieved and a new passion towards art I never knew was in me."
His practice of Empathetic Pedagogy is all about creating meaningful connections that build community, even from a distance, responding to students’ needs, helping them develop their passion for art history, and encouraging them to follow their dreams and goals.
'The arts are inherently grounded in connection—communicating ideas, emotion and the history of who we are, where we’ve been and who we hope to become. One outcome of isolation during the pandemic has been the fragmentation of our sense of community. Being apart is causing us to miss the connected nature of life and learning on campus. But Waldman’s course defies this assumption and provides a glimpse into how to build community from a distance. Until “normal” returns, his students have found that sense of connection in his virtual classroom, where responsiveness to students’ concerns, pedagogical innovation, and a passion for art history are all part of a formula for bringing people closer together in this age of social distancing.'
Papers by Louis Alexander Waldman
BIBLIOGRAPHIC INFORMATION:
“A Rediscovered Medal of Crescentius Nomentanus by Filarete (Octahedron Tattianum I),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2011), I, pp. 1-3, 758.
“Lucantonio degli Uberti, ‘Albertus Pictor Florentinus’, and the Master of the Esztergom Virtues (Octahedron Tattianum II),”, in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2011), I, pp. 3-7, 759-761.
“From Gozzoli to Bartolomeo di Giovanni: A Demi-Fake (Octahedron Tattianum III),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2011), I, pp. 7-8, 762.
“Larciani and Granacci Side by Side (Octahedron Tattianum IV),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2011), I, pp. 8-10, 763.
“An Unknown Copyist of Leonardo’s Battle of Anghiari: Francesco Morandini, Called Il Poppi (Octahedron Tattianum V),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2011), I, pp. 10-12, 764.
“Mariotto Albertinelli, pictor et hospes (Octahedron Tattianum VI),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2011), I, pp. 12-14, 765.
“Pontormo, Niccolò di Pietro Gerini, and the Capponi Chapel (Octahedron Tattianum VII),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2011), I, pp. 15-16, 766.
“The Contractors for Jacopo Sansovino’s Façade of San Francesco della Vigna in Venice (Octahedron Tattianum VIII),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2011), I, pp. 16-18, 766.
Louis Waldman’s approach to teaching puts respect and love in the center of
practice. ... “When we make students know they are important to us, that we care about
them as people, and that we respect them, they learn better.”...
One student e-mailed him and said, “I wanted to tell you that you have done more than any other professor or teacher has done in my life without even knowing me personally. You made me excited to wake up and learn something new. Your class made me feel relieved and a new passion towards art I never knew was in me."
His practice of Empathetic Pedagogy is all about creating meaningful connections that build community, even from a distance, responding to students’ needs, helping them develop their passion for art history, and encouraging them to follow their dreams and goals.
'The arts are inherently grounded in connection—communicating ideas, emotion and the history of who we are, where we’ve been and who we hope to become. One outcome of isolation during the pandemic has been the fragmentation of our sense of community. Being apart is causing us to miss the connected nature of life and learning on campus. But Waldman’s course defies this assumption and provides a glimpse into how to build community from a distance. Until “normal” returns, his students have found that sense of connection in his virtual classroom, where responsiveness to students’ concerns, pedagogical innovation, and a passion for art history are all part of a formula for bringing people closer together in this age of social distancing.'
BIBLIOGRAPHIC INFORMATION:
“A Rediscovered Medal of Crescentius Nomentanus by Filarete (Octahedron Tattianum I),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2011), I, pp. 1-3, 758.
“Lucantonio degli Uberti, ‘Albertus Pictor Florentinus’, and the Master of the Esztergom Virtues (Octahedron Tattianum II),”, in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2011), I, pp. 3-7, 759-761.
“From Gozzoli to Bartolomeo di Giovanni: A Demi-Fake (Octahedron Tattianum III),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2011), I, pp. 7-8, 762.
“Larciani and Granacci Side by Side (Octahedron Tattianum IV),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2011), I, pp. 8-10, 763.
“An Unknown Copyist of Leonardo’s Battle of Anghiari: Francesco Morandini, Called Il Poppi (Octahedron Tattianum V),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2011), I, pp. 10-12, 764.
“Mariotto Albertinelli, pictor et hospes (Octahedron Tattianum VI),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2011), I, pp. 12-14, 765.
“Pontormo, Niccolò di Pietro Gerini, and the Capponi Chapel (Octahedron Tattianum VII),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2011), I, pp. 15-16, 766.
“The Contractors for Jacopo Sansovino’s Façade of San Francesco della Vigna in Venice (Octahedron Tattianum VIII),” in Renaissance Studies in Honor of Joseph Connors, ed. Machtelt Isräels and Louis A. Waldman, 3 vols. (Florence: Villa I Tatti, 2011), I, pp. 16-18, 766.