The A. W. Mellon Lectures in the Fine Arts were inaugurated in 1949 by Paul and Mary Mellon and have been delivered annually at the , since 1952. 快色直播 has published the resulting books in the Bollingen Series since 1967. Named for Andrew W. Mellon, the series was founded 鈥渢o bring to the people of the United States the results of the best contemporary thought and scholarship bearing upon the subject of the Fine Arts.鈥� It is widely considered to be one of the most prestigious lecture series in the humanities in North America. The entire series is now available in print and digital formats, including twenty-six titles that were long out of print, now with stunning new covers. Download the list of A.W. Mellon Lectures in the Fine Arts, 1952-2022 in publication order.
- 1952 Jacques Maritain, Creative Intuition in Art and Poetry (published 1953)
- 1953 Sir Kenneth Clark, The Nude: A Study of Ideal Art (published as The Nude: A Study in Ideal Form, 1956)
- 1954 Sir Herbert Read, The Art of Sculpture (published 1956)
- 1955 脡tienne Gilson, Art and Reality (published as Painting and Reality, 1957)
- 1956 E. H. Gombrich, The Visible World and the Language of Art (published as Art and Illusion: A Study in the Psychology of Pictorial Representation, 1960)
- 1957 Sigfried Giedion, Constancy and Change in Art and Architecture (published as The Eternal Present Volume I: The Beginnings of Art, and The Eternal Present, Volume II: The Beginnings of Architecture)
- 1958 Sir Anthony Blunt, Nicolas Poussin and French Classicism (published as Nicolas Poussin, 1967)
- 1959 Naum Gabo, A Sculptor鈥檚 View of the Fine Arts (published as Of Divers Arts, 1962)
- 1960 Wilmarth Sheldon Lewis, Horace Walpole (published 1960)
- 1961 Andr茅 Grabar, Christian Iconography and the Christian Religion in Antiquity (published as Christian Iconography: A Study of Its Origins, 1968)
- 1962 Kathleen Raine, William Blake and Traditional Mythology (published as Blake and Antiquity, 1968)
- 1963 Sir John Pope-Hennessy, Artist and Individual: Some Aspects of the Renaissance Portrait (published as The Portrait in the Renaissance, 1966)
- 1964 Jakob Rosenberg, On Quality in Art: Criteria of Excellence, Past and Present (published 1967)
- 1965 Sir Isaiah Berlin, Sources of Romantic Thought (published as The Roots of Romanticism, 1999)
- 1966 Lord David Cecil, Dreamer or Visionary: A Study of English Romantic Painting (published as Visionary and Dreamer: Two Poetic Painters, Samuel Palmer and Edward Burne-Jones, 1969)
- 1967 Mario Praz, On the Parallel of Literature and the Visual Arts (published as Mnemosyne: The Parallel between Literature and the Visual Arts, 1970)
- 1968 Stephen Spender, Imaginative Literature and Painting
- 1969 Jacob Bronowski, Art as a Mode of Knowledge (published as The Visionary Eye: Essays in the Arts, Literature, and Science, 1978)
- 1970 Sir Nikolaus Pevsner, Some Aspects of Nineteenth-Century Architecture (published as A History of Building Types, 1976)
- 1971 T.S.R. Boase, Vasari: The Man and the Book (published as Giorgio Vasari: The Man and the Book, 1979)
- 1972 Ludwig H. Heydenreich, Leonardo da Vinci
- 1973 Jacques Barzun, The Use and Abuse of Art (published 1974)
- 1974 H. W. Janson, Nineteenth-Century Sculpture Reconsidered (published as The Rise and Fall of the Public Monument)
- 1975 H. C. Robbins Landon, Music in Europe in the Year 1776
- 1976 Peter von Blanckenhagen, Aspects of Classical Art
- 1977 Andr茅 Chastel, The Sack of Rome: 1527 (published 1982)
- 1978 Joseph W. Alsop, The History of Art Collecting (published as The Rare Art Traditions: The History of Art Collecting and Its Linked Phenomena Wherever These Have Appeared, 1982)
- 1979 John Rewald, C茅zanne and America (published as C茅zanne and America: Dealers, Collectors, Artists, and Critics, 1891鈥� 1921, 1989)
- 1980 Peter Kidson, Principles of Design in Ancient and Medieval Architecture
- 1981 John Harris, Palladian Architecture in England, 1615鈥� 1760
- 1982 Leo Steinberg, The Burden of Michelangelo鈥檚 Painting
- 1983 Vincent Scully, The Shape of France (published as Architecture: The Natural and the Manmade)
- 1984 Richard Wollheim, Painting as an Art (published 1987)
- 1985 James S. Ackerman, The Villa in History (published as The Villa: Form and Ideology of Country Houses, 1990)
- 1986 Lukas Foss, Confessions of a Twentieth-Century Composer
- 1987 Jaroslav Pelikan, Imago Dei: The Byzantine Apologia for Icons (published 1990)
- 1988 John Shearman, Art and the Spectator in the Italian Renaissance (published as Only Connect: Art and the Spectator in the Italian Renaissance, 1992)
- 1989 Oleg Grabar, Intermediary Demons: Toward a Theory of Ornament (published as The Mediation of Ornament, 1992)
- 1990 Jennifer Montagu, Gold, Silver, and Bronze: Metal Sculpture of the Roman Baroque (published 1996)
- 1991 Willibald Sauerl盲nder, Changing Faces: Art and Physiognomy through the Ages
- 1992 Anthony Hecht, The Laws of the Poetic Art (published as On the Laws of the Poetic Art, 1995)
- 1993 John Boardman, The Diffusion of Classical Art in Antiquity (published 1994)
- 1994 Jonathan Brown, Kings and Connoisseurs: Collecting Art in Seventeenth-Century Europe (published 1995)
- 1995 Arthur C. Danto, Contemporary Art and the Pale of History (published as After the End of Art: Contemporary Art and the Pale of History, 1997)
- 1996 Pierre M. Rosenberg, From Drawing to Painting: Poussin, Watteau, Fragonard, David, Ingres (published as From Drawing to Painting: Poussin, Watteau, Fragonard, David, and Ingres, 2000)
- 1997 John Golding, Paths to the Absolute (published as Paths to the Absolute: Mondrian, Malevich, Kandinsky, Pollock, Newman, Rothko, and Still, 2000)
- 1998 Lothar Ledderose, Ten Thousand Things: Module and Mass Production in Chinese Art (published 2000)
- 1999 Carlo Bertelli, Transitions
- 2000 Marc Fumaroli, The Quarrel between the Ancients and the Moderns in the Arts, 1600鈥� 1715
- 2001 Salvatore Settis, Giorgione and Caravaggio: Art as Revolution
- 2002 Michael Fried, The Moment of Caravaggio (published 2010)
- 2003 Kirk Varnedoe, Pictures of Nothing: Abstract Art since Pollock (published 2006)
- 2004 Irving Lavin, More than Meets the Eye
- 2005 Irene J. Winter, 鈥淕reat Work鈥�: Terms of Aesthetic Experience in Ancient Mesopotamia
- 2006 Simon Schama, Really Old Masters: Age, Infirmity, and Reinvention
- 2007 Helen Vendler, Last Looks, Last 快色直播: The Binocular Poetry of Death (published as Last Looks, Last 快色直播: Stevens, Plath, Lowell, Bishop, Merrill, 2010)
- 2008 Joseph Leo Koerner, Bosch and Bruegel: Parallel Worlds (published as Bosch and Bruegel: From Enemy Painting to Everyday Life, 2016)
- 2009 T. J. Clark, Picasso and Truth (published as Picasso and Truth: From Cubism to Guernica, 2013)
- 2010 Mary Miller, Art and Representation in the Ancient New World
- 2011 Mary Beard, The Twelve Caesars: Images of Power from Ancient Rome to Salvador Dal铆 (published as Twelve Caesars: Images of Power from the Ancient World to the Modern, 2021)
- 2012 Craig Clunas, Chinese Painting and Its Audiences (published 2017)
- 2013 Barry Bergdoll, Out of Site in Plain View: A History of Exhibiting Architecture since 1750
- 2014 Anthony Grafton, Past Belief: Visions of Early Christianity in Renaissance and Reformation Europe
- 2015 Thomas Crow, Restoration as Event and Idea: Art in Europe, 1814鈥�1820 (published as Restoration: The Fall of Napoleon in the Course of European Art, 1812鈥�1820, 2018)
- 2016 Vidya Dehejia, The Thief Who Stole My Heart: The Material Life of Chola Bronzes from South India, c. 855鈥�1280 (published as The Thief Who Stole My Heart: The Material Life of Sacred Bronzes from Chola India, 855鈥� 1280, 2021)
- 2017 Alexander Nemerov, The Forest: America in the 1830s (published as The Forest: A Fable of America in the 1830s, 2023)
- 2018 Hal Foster, Positive Barbarism: Brutal Aesthetics in the Postwar Period (published as Brutal Aesthetics: Dubuffet, Bataille, Jorn, Paolozzi, Oldenburg, 2020)
- 2019 Wu Hung, End as Beginning: Chinese Art and Dynastic Time (published as Chinese Art and Dynastic Time, 2022)
- 2021 Jennifer L. Roberts, Contact: Art and the Pull of Print
- 2022 Richard J. Powell, Colorstruck! Painting, Pigment, Affect