Call Number:

AC204

Repository:

Princeton University Library: University Archives

Extent:

• 4 boxes
• 2 items

Language:

English

Preferred Citation:

Identification of specific item; Date (if known); John Rupert Martin Papers, Box and Folder Number; Special Collections, Princeton University Library.

Date:

1950-1999 (inclusive)

Creator:

Martin, John Rupert

Abstract:

John R. Martin was a professor of Art History at Princeton University for 40 years, joining the faculty as a Woodrow Wilson Fellow in 1947. Consists of Martin's correspondence and his handwritten lecture notes from courses taught as well as his lecture appointments at other institutions.

John R. Martin was a professor of Art History at Princeton University for 40 years, joining the faculty as a Woodrow Wilson Fellow in 1947. He was eventually made the Marquand Professor of Art and Archaeology in 1970, and chairman of the department from 1973-1979. Specializing in Flemish and Baroque painting, Martin was well-known among the student body as a powerful and engaging lecturer, a reputation that followed him outside of the classroom as he periodically gave lectures at the Metropolitan Museum of Art and other institutions. Martin's scholarly work was held in high esteem, and he won the College Art Association book award in 1974 for his contribution to the Rubens catalogue raisonne, going on to serve as president of the organization from 1984-1986. He was also editor of Art Bulletin from 1971-1974. John R. Martin died in 2000.

The College of New Jersey was initially chartered in 1746. The first classes were held in Elizabeth, New Jersey, in the parsonage of the president, the Reverend Jonathan Dickinson. Upon his death, the College moved to Newark, New Jersey, and was headed by the Reverend Aaron Burr, Sr. Since 1756, the College has been located in Princeton, New Jersey. For the first fifty years, nearly all College operations took place within Nassau Hall. Fires, fundraising difficulties, low student enrollment, and the Civil War challenged the vitality of the College in the early and middle nineteenth century, but the College grew vigorously under the leadership of President James McCosh, and it was renamed Princeton University in 1896. The Graduate School was established in 1900, although a limited graduate program had existed since the 1870s. Princeton enthusiastically supported the country (living up to its informal motto, "Princeton in the Nation's Service") during the First and Second World Wars, offering the expertise of faculty and campus space for training, as well as facilitating the early graduation of students so they could enlist. The post-World War II years brought dramatic changes to Princeton. The size and strength of the University's facilities and academic programs—especially for the applied sciences and public policy—were increased dramatically. Under President Robert Goheen, Princeton began to admit minority students in greater numbers in the 1960s and admitted women undergraduates in 1969. Today, Princeton is widely regarded as one of the top universities in the world.

John R. Martin was a professor of Art History at Princeton University for 40 years, joining the faculty as a Woodrow Wilson Fellow in 1947. He was eventually made the Marquand Professor of Art and Archaeology in 1970, and chairman of the department from 1973-1979. Specializing in Flemish and Baroque painting, Martin was well-known among the student body as a powerful and engaging lecturer, a reputation that followed him outside of the classroom as he periodically gave lectures at the Metropolitan Museum of Art and other institutions. Martin's scholarly work was held in high esteem, and he won the College Art Association book award in 1974 for his contribution to the Rubens catalogue raisonne, going on to serve as president of the organization from 1984-1986. He was also editor of Art Bulletin from 1971-1974. John R. Martin died in 2000.

Consists of Martin's correspondence and his handwritten lecture notes from courses taught as well as his lecture appointments at other institutions. Much of the correspondence is with fellow art historians and deals with scholarly matters, including one letter from Irwin Panofsky.