Lloyd C. Engelbrecht (born 1927) is Professor Emeritus of Art History at the University of Cincinnati. His article, “Wood, Plywood and Veneer, Cranbrook, the New Bauhaus and the W. P. A.: the Origins of the Eames Chair of 1946,” had its origins in a paper presented at a symposium, “Bauhaus, New Bauhaus, W. P. A.: Chairs for Mid-Century,” October 17, 1981, at the Mid-America Conference of the College Art Association, meeting in Milwaukee. The article was expanded and eventually completed in 1987, but it was never published. The author asked that his late wife, June-Marie F. Engelbrecht (1930-2009), be given credit for her immense amount of help with the research and writing of the article.
Lloyd C. Engelbrecht (born 1927) is Professor Emeritus of Art History at the University of Cincinnati. This study guide was used to illustrate some of his classroom presentations and also on-site visits with his students to Prairie School buildings. This version of the study guide dates from May 10, 1994.
Lloyd C. Engelbrecht (born 1927) is Professor Emeritus of Art History at the University of Cincinnati. In collaboration with his late wife, June-Marie F. Engelbrecht (1930-2009), he has been researching, writing about and speaking about architect and designer Henry C. Trost (1860-1933) and his family firm of Trost & Trost.
On May 8, 2014, Lloyd Engelbrecht was invited to speak at the University of Texas at El Paso as part of a Trost symposium. The following is an excerpt from the official announcement of the symposium:
In celebration of Trost’s architectural legacy, UTEP Special Collections will host the “Trost Lecture Series” at 6 p.m. May 8  in the UTEP Library, Blumberg Auditorium, room 111.
The event will feature speakers Dr. Troy Ainsworth, executive director of El Camino Real de Tierra Adentro Trail Association (CARTA); Joe and Lanna Duncan, owners of the Trost-designed El Capitan Hotel in Van Horn, Texas and El Paisano Hotel in Marfa, Texas; and Dr. Lloyd Engelbrecht, co-author of Henry C. Trost: Architect of the Southwest.
A public exhibit featuring family photos, sketches, blueprints and photographs of the buildings Trost designed in El Paso and throughout the Southwest will be on display May 10 in the UTEP Library’s atrium on the third floor.
The lecture and exhibit were part of Trost Week, May 3-10, 2014, which was organized by the Texas Trost Society, a new nonprofit group that advocates for the preservation of Trost & Trost architecture.
Lloyd C. Engelbrecht (born 1927) is Professor Emeritus of Art History at the University of Cincinnati. He is author of Moholy-Nagy: Mentor to Modernism (Cincinnati: Flying Trapeze Press, 2009), two volumes. Moholy-Nagy: Mentor to Modernism is the first comprehensive, fully documented biography of the most fully-rounded creative figure of the twentieth century.
This introductory essay was originally published in German in 2014 in the Beiheft, or supplementary volume, that accompanies the first German edition of Vision in Motion.
László Moholy-Nagy, Sehen in Bewegung, Deutsche Fassung von László Moholy-Nagys vision in motion in der Übersetzung von Herwig Engelmann [on verso of title page: “Mit einem Beiheft mit Texten von Lloyd C. Engelbrecht, Hattula Moholy-Nagy und Philipp Oswalt”]
(Leipzig: Spector Books, 2014)
László Moholy-Nagy, Vision in Motion, “id BOOK, INSTITUTE OF DESIGN” (Chicago: Paul Theobald, 1947)
Lloyd C. Engelbrecht (born 1927) is Professor Emeritus of Art History at the University of Cincinnati. He is author of Moholy-Nagy: Mentor to Modernism (Cincinnati: Flying Trapeze Press, 2009). He will supply addenda and corrigenda for this book on a continuing basis.
This article features several books in the University of Cincinnati Libraries' collection that were previously in Nazi and other World War Two related libraries and explains how UCL came to acquire them through the Cooperative Acquisitions Project sponsored by the Library of Congress after the war.
A conversation between two friends who are not musicians and whose personal histories could hardly be more different. Through a series of conversations we explored those journeys, compared and contrasted our stories, and discussed just why this music affects us so deeply. We discussed specific musicians in terms of whether we liked, did not like, or were indifferent to their music, and why we either agreed or not. In these conversations we posed various questions to each other, hoping to discover and articulate certain essences that we might share. One thing we agreed upon up front is that we are neither musicians nor music critics. In fact, we’re not convinced that the field of music criticism is even a valid endeavor. Music description and personal reaction, however, is another matter. In our conversations we tried to describe our reactions to specific musicians and “schools” of music, without labeling the music as “good” or “lousy”. You will see that this doesn’t prevent us from disagreeing and disagreeing in spirited fashion, while always trying to focus on why our personal reaction is what it is.