Creativity Program page 2

CREATIVITY: The Sketch in the Arts and Sciences

Creativity has a history. It is hard for us to imagine that people have not always experimented, tried out, testedsketchedideas before putting them into practice.  Yet, that is what the record shows: in the visual arts, for example, the medieval artist created unselfconsciously, out of a millennial workshop tradition that did not require "pre-visualization."  The transition from the medieval model book, which provided a repertory of prototypes to be copied, to a series of preparatory studies in which a final design was worked out, took place in the Renaissance.  In fact, our modern way of thinking "out loud," on paper or in some other medium, may be a relatively recent development.  The purpose of this symposium is to explore the history of the creative process itself, by examining the evidence, of whatever kind, for trial and erroror its absencein a variety of periods and disciplines.  What is a preparatory study, and does it have a parallel history in different fields?  What does a musical or choreographic sketch look (and sound) like?  What is the history of the writer's "rough draft"?  What constitutes a sketch in photography or film?  How does the scientist, natural or mathematical, try out ideas before he can prove their validity?  The symposium will include creative people as well as scholars, in the hope of shedding light on the edges of conception.


A Symposium Sponsored Jointly by
the School of Historical Studies, Institute for Advanced Study, and
the Center for Advanced Study in the Visual Arts, National Gallery of Art

Wednesday, May 23, 2001, in Washington, DC
Thursday, May 24, and Friday, May 25, 2001, in Princeton, NJ

Henry A. Millon
Center for Advanced Study in the Visual Arts, NGA
Irving Lavin
School of Historical Studies, IAS

The Symposium was made possible by The Arthur Vining Davis Foundation, the J. Seward Johnson, Sr. Charitable Trusts and Mrs. F. Merle-Smith

Video Recording: Dario Mastroianni, 2001
Edited by:  Uta Nitschke-Joseph, Marilyn Aronberg Lavin, and María Mercedes Tuya, March, 2021


National Gallery of Art, Washington, D.C.

May 23 Center for Advanced Study in the Visual Arts, National Gallery of Art

Elizabeth Cropper, Dean, Center for Advanced Study in the Visual Arts
Henry A. Millon, Center for Advanced Study in the Visual Arts (emeritus)
Introductory Remarks

Henry A. Millon, moderator

James Ackermann, Harvard University (emeritus)
The Beginnings of Architectural Sketching

Philippe Boudon, École d'Architecture de Paris-la-Villette
Kahn’s Square and Kant’s Square: Which Kind of “Intuition” in Architects’ Sketches

Frank O. Gehry, Gehry Partners LLP, Santa Monica, CA
Working Process

Greg Lynn, Greg Lynn FORM, Venice, CA
The Differential Calculus of the Sketch

James Ackermann, moderator

Shane Butler, University of Pennsylvania
Roman Rough Drafts and Literary Self-Consciousness

Paul Saenger, Newberry Library, Chicago, IL
From Compilatio to Cursiva: The Role of Media in the Genesis of Genius, 1400-1600

Marc Fumaroli, Collège de France, Paris
From Bees to Spiders:Essais, Pensées, Memoirs Streams of Consciousness

Peter Parshall, National Gallery of Art, Washington, DC
The Unfinished Print

Institute for Advanced Study, Princeton, NJ

May 24 Wolfensohn Hall, Institute for Advanced Study

Giles Constable, Institute for Advanced Study
Irving Lavin, Institute for Advanced Study
Introductory Remarks

Edward T. Cone, Princeton University (emeritus)

Leo Treitler, City University of New York (emeritus)
Writing Music, Sketching Music

Lewis Lockwood, Harvard University
Beethoven’s Sketches: from Conceptual Image to Realization

Robert Levin, Harvard University
Experience, Discipline, Fantasy: Improvisation in Classical Music and Jazz

Introduction: Irving Lavin

Twyla Tharp, Choreographer, New York, NY
Sketching and Choreography

May 25 Wolfensohn Hall, Institute for Advanced Study

Horst Bredekamp, Humboldt-Universität, Berlin

Jean Dhombres, École des Hautes Études en Sciences Sociales, Paris
Creation in Mathematics: The Question of the Sketch of the Proof

Michael S. Mahoney, Princeton University
Sketching Science in the Seventeenth Century

W. Bernhard Carlson, University of Virginia
Sketching as Re-representation: Edison and the Development of the Telephone, 1875-1879

Irving Lavin, moderator

James Cahill, University of California, Berkeley (emeritus)
Uses of Sketches by Chinese Painters

Horst Bredekamp
Sketch Act

Introduction: Horst Bredekamp
Irving Lavin
'Bozzetto Style': The Renaissance Sculptor’s Handiwork

Kirk Varnedoe, Museum of Modern Art, New York, NY
A Modernity of Obsessive Calculations and Heedless Haste