Meyer Schapiro (23 September 1904, Šiauliai – 3 March 1996, New York) was a Lithuanian-born American art historian known for forging new art historical methodologies that incorporated an interdisciplinary approach to the study of works of art. An expert on early Christian, Medieval, and Modern art, Schapiro explored art historical periods and movements with a keen eye towards the social, political, and the material construction of art works.
Credited with fundamentally changing the course of the art historical discipline, Schapiro's scholarly approach was dynamic and it engaged other scholars, philosophers, and artists. An active professor, lecturer, writer, and humanist, Schapiro maintained a long professional association with Columbia University in New York as a student, lecturer, and professor. He died in 1996 in New York at the age of 91.
In 1907 his family immigrated to the United States, where he received his bachelors' and doctorate degrees from Columbia University. He began teaching in 1928 and became a full professor at Columbia in 1952. Schapiro was a proponent of modern art, and published books on Van Gogh and Cézanne and various essays on modern art. He was a founder of Dissent, along with Irving Howe and Michael Harrington. From 1966–1967 Schapiro was the Norton professor at Harvard University.
Schapiro's discourse on style is often considered his greatest contribution to the study of art history. According to Schapiro, style refers to the formal qualities and visual characteristics of a piece of art. Schapiro demonstrated that style could be used not only as an identifier of a particular period but also as a diagnostic tool. Style is indicative of the artist and the culture at large. It reflects the economic and social circumstances in which an artist works and breathes and reveals underlying cultural assumptions and normative values. On the other hand our own descriptions of form and style indicate our period, our concerns, and our biases; the way art historians of a particular age talk about style is also indicative of their cultural context.
Classmate and friend Whittaker Chambers mentions him in his 1952 autobiography, Witness.
Schapiro was, at points in his career, criticized for his approach to style because of its politically radical connotations. Schapiro himself wrote scholarly articles for a variety of socialist publications and endeavored to apply a novel Marxist method to the study of art history. In his most famous essay on Medieval Spanish art, 'From Mozarabic to Romanesque in Silos,' Schapiro demonstrated how the concurrent existence of two historical styles in one monastery was indicative of economic upheaval and class conflict.