First published in 1948, Frederick Antal’s Florentine Painting and Its Social Background was an important milestone in anglophone art history. Based on European examples, including Max Dvořák, it sought to understand art history’s relationship to social and intellectual history. When Antal, a Hungarian émigré, arrived in Britain in 1933, he encountered an inward-looking discipline preoccupied with formalism and connoisseurship; or, as he phrased it, art historians of ‘the older persuasion’ ignorant of ‘the fruitful achievements of modern historical research’. Despite its considerable scholarship and erudition, Antal’s book was not warmly received, largely because he had used historical materialism to understand the production of art and the development of styles. Antal’s class-based account of the social position of the artist and the role of the patron in determining the emergence of early Renaissance styles was especially controversial. However, although Marxist analysis was used to challenge the assumptions of Anglo art history, it was not Antal’s intention to weaken art history’s disciplinary autonomy. With historical materialism, he sought to place art history on a firmer historical footing. Most importantly, this approach was compatible with the discipline’s Central European tradition, where art-historical scholarship was framed by questions of method and based on broad historical research. Without defending its more deterministic features, this article supports a re-evaluation of Antal’s book, as an important forerunner of interdisciplinary art scholarship. It considers why Antal’s legacy has not endured, despite the ‘social history of art’ enjoying widespread acceptance in English-speaking art history in later decades.
Wish You Were Here; A Short History of New Zealand Muslims and Integration
