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Faculty

Laura Weigert - Longer List of Publications

Books

French Visual Culture and the Making of Medieval Theater, Cambridge: Cambridge University Press, 2015.

Weaving Sacred Stories: French Choir Tapestries and the Performance of Clerical Identity, Ithaca: Cornell University Press, 2004.

 

Co-authored Books

 Judith et Holopherne, Marc de Launay, Catherine Lépront, and Laura Weigert, Paris : Desclée de Brouwer, 2003.

La Vie de Saint Etienne et la cathédrale d’Auxerre, Edited by Micheline Durand and Laura Weigert (catalogue of exhibition at the Musée Saint Germain, Auxerre, 2000), Auxerre: Presse du Musée Saint-Germain, 2000.

 

Articles           

-“The Environment of Theatre,” in A Cultural History of Theatre in the Middle Ages, Jody Enders ed., London: Bloomsbury, forthcoming.

-“Between mass and ‘mystère’: the Life of Saint Remigius and the ceremonial function of choir tapestries,” in Europe’s Rich Fabric. The Consumption, Commercialisation, and Production of Luxury Textiles in Italy, the Low Countries and Neighboring Territories (Fourteenth-Sixteenth Centuries), Bart Lambert and Katherine Anne Wilson eds., Farnham: Ashgate, January, 2016 (in press).

-“Les tapisseries: images et cérémonial laïque,” in Les images dans l’Occident médiéval, Pierre-Olivier Dittmar and Jérôme Baschet eds., Turnhout: Brepols, 2015, 131-45.

-“Stage,” in Early Modern Theatricality, Henry Turner ed, Oxford: Oxford University Press, 2013, 24-46.

-“L’image peinte du prescheur et la transformation du public théâtral (1470-1577),” in Prédication et performance du XIIe au XVIe siècle, Marie Bouhaïk-Gironès and Marie Anne Polo de Beaulieu eds, Paris: Classiques Garnier, 2013, 229-250.

-“Anthoine Vérard’s Illuminated Playscript of La vengeance nostre seigneur: Marketing Plays and Creating the King’s Image,” in The Social Life of Illumination, Manuscripts, Images and Communities in the Late Middle Ages, Joyce Coleman, Mark Cruse, Kathryn Smith eds, Turnhout: Brepols, 2013, 251-296.

-“The Art of Tapestry: Neither Minor nor Decorative,” in From Minor to Major. The Minor Arts in Medieval Art History, Colum Hourihane, ed. University Park: Penn State University Press, 2012, 103-122.

-“Performativity,” in Keywords for Medieval Art History, Nina Rowe ed., Studies inIconography 33 (2012) : 61-72.

-“Visualizing the Movement of Urban Drama in the Late Middle Ages: The “Mystère” of the Lord’s Vengeance in Reims ” in Meaning in Motion. The Semantics of Movement in Medieval Art, eds. Nino Zchomelidse and Giovanni Freni,  Princeton: Princeton University Press, 2011, 161-187.

-“Medieval Theatricality in Tapestry and its Afterlife in Painting,” Art History 33.2 (April, 2010): 224-235.

-“The Afterlife of Spectacle: Creating a Performance of The Vengeance of Our Lord through Paint,” Early Modern France 13 (2009): 65-87.

-“Chambres d’Amour : Courtly Tapestries and the Texturing of Space,” Oxford Art Journal 31.3(2008): 317-336.

-“Tirer le rideau: planéité et profondeur dans les tapisseries de la vie courtoise,” Oxymore, Acts of the ninth annual conference on art and rhetoric (1998), Bertrand Rougé ed., University of Pau Press, 2008, 55-73.

-“Tisser les liens: la constitution du récit par les liaisons picturales,” La Liaison, Acts of the eighth annual conference on rhetoric and art (1997), Bertrand Rougé ed., Pau: University of Pau Press, 2007, 137-46.

-“La mise en abîme de l’intériorité : la dame jouant de la musique dans les tapisseries millefleurs,” in Les Représentations de la musique au Moyen Age, Martine Clouzot and Christine Lalou eds., Paris : Editions de la Cité de la Musique, 2005, 120-128.

-“Les tentures de choeur des églises francaises du Moyen Age à la Renaissance,” in Saints de Choeur. Tapisseries du Moyen Age et de la Renaissance, Paris : Seuil, 2004, 17-40.

-“Illuminating the Arras Mystery Play: Text and Image in Arras B.M. MS 697,” in Excavating the Medieval Image: Manuscripts, Artists, Audiences- Essays in Honor of Sandra Hindman, David Areford and Nina Rowe, editors, London:Ashgate, 2004, 81-106.

-“Judith et Holoferne : images du vice, images de la vertu,” in Marc de Launay, Catherine Lépront, Laura Weigert, Judith et Holopherne, Paris : Desclée de Brouwer, 2003, 83-123.

-“Tapisseries et Broderies Flamandes à la fin du Moyen Age et au début de la Renaissance,” in Le siècle des Primitifs: l’art flamand et hollandais de la fin du Moyen Age et du début de la Renaissance, Ed. Christian Heck, Paris: Editions Mazenod, 2003, 392-415.

-“Velum Templi: Painted Cloths of the Passion and the Making of Lenten Ritual in Reims,” Studies in Iconography 24 (2003): 199-229.

-“La spécificité de la tapisserie comme médium dans la constitution d’une image de la “Vie Seigneuriale”,” Methoden der Bildinterpretation, Ed., Andrea von Hülsen-Esch, Göttingen: Wallstein, 2002, 529-550.

-“L’Aménagement Textile des Cathédrales Françaises,” in Vingt siècles de la cathédrale française, Ed., Jacques Le Goff, catalogue of exhibition Reims, Palais de Tau, June-October, 2001, 243-252.

-“Commande, donation et exposition d’une tenture de choeur: La Vie de Gervais et Protais,” in L'Artiste et le Commanditaire, Ed. Fabienne Joubert, Paris: Presses de l'Université de Paris-Sorbonne, 2001: 235-248.

-“Performing the Past: The Tapestry of the City and its Saints in Tournai Cathedral,” Gesta, XXXVIII.2 (1999): 152-168.

-“Reconstructing Medieval Pictorial Narrative in the Nineteenth Century: Louis Joubert's Tapestry Restoration Project,” Art Journal 54.2 (Summer, 1995): 67-72.

-“Sixteenth-Century Images of Witches and Prostitutes: Constructing Autonomy as Deviance,” in Solitary Pleasures: The Historical, Theoretical, and Literary Discourses of Autoeroticism. Eds. Paula Bennett and Vernon A. Rosario, London and New York: Routledge Press, 1995: 19-47.

           

Exhibition and Book Reviews

-Kate Dimitrova and Margaret Goehring eds, Dressing the Part: Textiles as Propaganda in the Middle Ages, Speculum, forthcoming.

- review essay of Interwoven Globe: The Worldwide Textile Trade 1500-1800, Art Bulletin 97.3 (2015), 342-45.

-Tina Kane, The Troyes Mémoire and the Making of a Medieval Tapestry, Speculum 87.3 (2013), 884-5.

-“Tapestry Exposed” (review essay of Tapestry in the Renaissance: Art and Magnificence. The Metropolitan Museum of Art, New York; Edle Wirkung: Burgunder Tapisserien in Neuem Licht. Historisches Museum, Bern), Art Bulletin 85. 4 (2003): 784-96.

-Guy Delmarcel, Flemish Tapestry, Harry N. Abrams, 2000, CAA.Reviews, February, 2001.

-Richard K. Emmerson and Pamela Sheingorn eds., Studies in Iconography 20 (1999), Medieval Reviews, August, 2000.

-Suzanne Lewis, The Rhetoric of Power in the Bayeux Tapestry, Cambridge University Press, Revue de l'Art, 125.3 (1999): 78.

-Bernard Chedozeau, Choeur clos, choeur ouvert. De l'église médiévale à l'église tridentine (France, XVIIe-XVIIIe siecle), Editions du Cerf, 1998, Revue Mabillon (1999): 135-37.

-“Imago Christi: Christusbilder in der weiblichen Vorstellung,” (Review of Exhibition, Le Jardin Clos de l'Ame L'imaginaire des religieuses dans les Pays-Bas du Sud, depuis le 13e siècle) Texte zur Kunst 16 (November, 1994): 170-77.

 

Dictionary Entries

-“Tapestry,” “Nicolas Bataille,” and “Pivial,” entries in The Oxford Dictionary of the  Middle Ages, Robert E. Bjork, ed., Oxford: Oxford University Press, 2011.

-“Romance, manuscript,” entry in the Dictionary of Art, vol.26, London: Macmillan Publishers, 1994: 561-64.

 

Susan Sidlauskas - Selected Lectures and Invited Talks 2011-2011

March 2011: Tyler School of Art, Temple University, Philadelphia, “Flesh, Fiber, Paint: The Later Portraits of John Singer Sargent,” The Inaugural Steuben and Vivian Granger Lecture in American Art.

November 2010: University of Pennsylvania, Department of Art History, “Manet and Victorine Meurent”

October 2010: “A Theory of Practice: Cézanne’s Drawings,” French 19th Century Studies Conference, Yale University

April 2010, “Sargent’s Bodies and the Unmaking of History,” University of Georgia, Lamar Dodd School of Art, Athens.

March 2010, “Lalla Essaydi’s Orientalism,” Zimmerli Museum, Rutgers University

September 2009, “Gender and Agency at the Asylum: Casebook Photographs in England, 1890-1922,” Distinguished Lecture, Institute of Research on Women, Rutgers University

May 2009: Cézanne’s Other,” University of Groningen, Netherlands, Department of Art History

May 2009: “Time and Body: The Medical Photography of Henry Van Der Weyde,” Women’s Studies Program, University of Utrecht

April 2009: “Manet’s Spectacle,” University of Essex, Colchester, England.

April 2009: “The Problem of Manet’s Portraiture,” Research Institute, University of Utrecht .

April 2009: “Current Cézanne Research,” Symposium on Modernism (Bijeenkomst Sectie Moderne Kunst), Museum Beelden aan Zee, Scheveningen, Netherlands

March 2009: “Michael Fried and the Contemporary Photograph,” University College, University of Utrecht, Netherlands.

March 2009: “19th Century Collecting Practices in America and Europe,” (with Kathleen Nieuwenhuisen), Bonnefantenmuseum, Maastricht, Netherlands.

February 2009: “Contemporary Art in New York,” Department of History and Art History, University of Utrecht, Netherlands.

January 2009, “Counter-Muse or Ideal?” Cézanne’s Portraits of Hortense,” The Behrend Family Endowed Lecture, Philadelphia Museum of Art.

April 2008, “Cézanne’s Multiples,” Keynote speaker for the Arizona State University Graduate Symposium in Art History.

February 2008, “Figure and Ground in Sargent’s Portraits,” for College Art Association Annual meeting, Dallas. Session on the Gilded Age, chaired by William Rudolph and Sylvia Yount.

November, 2007, “Time, Body, Neurasthenia: Dr. Playfair’s Before and After Pictures,” Yale University, Nineteenth Century Visual Culture Colloquium.

October, 2007, “Before and After: Picturing the Rest Cure,” conference paper at the Wellcome Collection, London, for “Journeys into Madness: Representing Mental Illness in the Arts and Sciences, 1850-1930”

April 2007, University of Massachusetts, Amherst, Keynote talk for the Graduate Student Symposium, “Cézanne’s Galatea?: Madame Cézanne in the Conservatory”

April 2007, Symposium on the exhibition Skin and Bones, Bard Graduate Center, New York

February 2006, Chair, CAA session: “What Do We Say Now About Cézanne?” and speaker in special session on feminist pedagogy, chaired by Mary Garrard and Norma Broude, on “Degas’s La Malade”.

November, 2005: “Picturing Hysteria: Before and After,” Modernist Studies Association, Chicago, IL

October 2005, “Race in Nineteenth-century Century Sculpture,” for symposium accompanying Breaking the Mold: Sculpture in Paris from Daumier to Rodin.

October 2004, “Illness as Metaphor,” Murphy Lecture, Kress Foundation Department of the History of Art, University of Kansas.
June 2004, Getty Museum, “Edgar Degas’s La Malade”

February 20 and 21, 2004, College Art Association Annual Meeting, Seattle. Respondent for 2-part panel: “Fashioning the Public Self: Modernity, Transformative Fictions, and the Social Construction of Artistic Identity.” Co-chaired by Patricia Berman and Susan M. Canning.

October 2003, “Color, Emotion, Cézanne,” French Cultural Studies Seminar, University of Pennsylvania.

September 2003, University of Delaware, “Nothing but Emotion,” for a symposium, “The Ends of Portrayal,” organized by Margaret Werth
.
October 2002, “Sargent’s Skin,” for an interdisciplinary symposium on “Skin,” Smithsonian Museum of American Art, Washington, D.C.

October 2002, Philadelphia Museum of Art, “Degas and the Dance.”

March 2002, The Lee Frank Lecture, Swarthmore College, “Mirror Mirror: Cézanne’s Doubled Self.”

January 2002, Opening night lecture for “Painted Faces: Mary Cassatt, Alice Neel, Karen Kilimnik,” an exhibition at the Galleries of the Moore College of Art, Philadelphia: “Femininity and its Discontents.”

May 2001, The Doris and Harry Rubin Lecture in American Art, Metropolitan Museum of Art, “Disturbing Beauty: The Enigmatic Portraits of John Singer Sargent.”

Jane Sharp - Longer List of Publications

Books and Catalogues:

Russian Modernism Between East and West: Natalia Goncharova and the Moscow Avant-Garde, 1905-1914.  (Cambridge University Press, forthcoming).

Evgenii Mikhnov-Voitenko: Selections from the Norton and Nancy Dodge Collection of Nonconformist Art from the Soviet Union. Exhibition Catalogue, Jane Voorhees Zimmerli Art Museum, New Brunswick, 2001.

New Acquisitions from Central Asia: Selections from the Norton and Nancy Dodge Collection of Nonconformist Art from the Soviet Union. Exhibition Catalogue, Jane Voorhees Zimmerli Art Museum, New Brunswick, 2001.

Realities and Utopias: Abstract Painting in the Norton and Nancy Dodge Collection of  Nonconformist Art from the Soviet Union. Exhibition Catalogue, Jane Voorhees Zimmerli Art Museum, New Brunswick, 2000.

With Michael Govan, The Great Utopia:  The Russian and Soviet Avant-Garde, 1915-32. Exhibition Catalogue, The Solomon R. Guggenheim Museum (New York, 1992).

Chapters in Books, Refereed Articles

“Identity and Resistance: Abstract Painting in the Dodge Collection.” Zimmerli Journal, vol. 1, no. 1 (September, 2003)

“K probleme bezobraznogo v tvorchestve Natalii Goncharovoi.” N. Goncharova I M. Larionov (Moscow: Nauka, 2001), 43-54.

"Natalia Goncharova: Lives of the Artist." Amazons of the Russian Avant-Garde. John E. Bowlt and Matthew Drutt, eds. Exhibition Catalogue, The Solomon R. Guggenheim Museum (Berlin, 1999), 155-83. Republished as the sole essay in Natalia Goncharova: A Pioneer of the Russian Avant-Garde. Tel Aviv Art Museum, Tel Aviv, 2000.

"The Russian Avant-Garde and Its Audience: Moscow 1913."  Modernism/Modernity. Vol. 6, no. 3 (September 1999): 91-116.

"Becoming Avant-Garde: Audience Provocation from the 'Donkey's Tail' Exhibition to the 'Target' Debate (Moscow 1912-13)."  Biuletyn Historii Sztuki. Polska Akademiia Nauk. Vol. LX, no. 1-2 (1998), 149-168.

"L'Exercice de la répétition:  les cycles et les compositions sérielles de Nathalie Gontcharova de 1907-11." Nathalie Gontcharova et Michel Larionov dans la collection du Musée national d'art moderne, Centre Georges Pompidou. Jessica Boissel, ed. Catalogue de l'exposition (Paris, 1995), 178-187.  Republished in Italian translation as “L’esercizio della ripetizione: cicli e le composizioni seriali di Natalija Goncarova dal 1907-al 1911,” Natalija Goncarova e Mikhail Larionov (Milano: Fondazione Antonio Mazzotta, 1996).

"Redrawing the Margins of Russian Vangard Art:  Natalia Goncharova's Trial for Pornography in 1910." Sexuality and the Body in Russian Culture. Jane Costlow, Stephanie Sandler, Judith Vowles, eds. (Stanford: Stanford University Press, 1993, 1997), 97-123.

"The Critical Reception of the '0.10' Exhibition:  Malevich and Benua."  The Great Utopia:  The Russian and Soviet Avant-Garde, 1915-32.  Exhibition Catalogue, The Solomon R. Guggenheim Museum (New York, 1992), 38-52.  Also published in German, Dutch, and Russian translations in the exhibition catalogues of The Schirn Kunsthalle, Frankfurt; The Stedelijk Museum, Amsterdam, and the State Tretiakov Gallery, Moscow.

Images of Aleksei Remizov. Greta Slobin, ed. Exhibition Catalogue, Mead Art Museum, Amherst College, (Amherst, 1985).

"Sounds, Noises and Smells: Sensory Experience in Futurist Art."  The Futurist Imagination:  Word + Image. Anne Coffin Hanson, ed.  Exhibition Catalogue, Yale University Art Gallery (New Haven, 1983), 16-29.

Essays

"Contemporary Russian Art and the Newly Historical Russian Avant-Garde." Russian Constructivist Roots:  Present Concerns. Exhibition Catalogue, University of Maryland Art Gallery (College Park, 1997), 14-17

"Sofiya Dymshits-Tolstaya." Dictionary of Russian Women Artists. Delia Gaze, ed. (London: Fitzroy Dearbourne, 1997), 481-483.

"Review Essay of Modern Art:  Practices and Debates, 4 volumes. (New Haven:  Yale University Press and the Open University, 1993)."  Art Bulletin (September 1995): 502-06.

Lectures

2001 (April) The Bruce Museum, Connecticut. Hascoe Lecture Series. “Varieties of Soviet Nonconformist Art.”

2001 (February) “The Question of Pluralism in Soviet Art, 1932-1986.” Gustavus Adolphus College, Minnesota. Invited lecturer:

2000 (November) Denver, American Association for the Advancement of Slavic Studies. Respondent to panel “Red Orient: Central Asia in Russian and Soviet Visual Culture.”

2000 (September) London, International Congress of Art Historians. Refereed lecture on panel, Other Modernisms: “Neoprimitivism and Vsechestvo:  Russia’s Other Modernism.”

2000 (August) Almaty, Kazakhstan, Soros Center for Contemporary Art. Invited lecture and seminar on “Postmodernism and Other Trends in Art Criticism in the U. S.”

2000 (April), New Brunswick, NJ, The Jane Voorhees Zimmerli Art Museum. Respondent to symposium “Looking Back on Modernism: An International Perspective, 1890s-World War 1.”

2000 (March) University of California, Berkeley, Program in Soviet and Post-Soviet Studies and the Department of Slavic Languages and Literatures. Invited lecture:  “Modernism as Orientalism: Goncharova, Zdanevich and the Caucasus.”

1999 (December) Institute of Design and Architecture, Almaty, Kazakhstan. Invited lecture for the Senior Design Studio: “Art History and the Art Market in the U. S.”

1999 (October) State Institute for Art Historical Research of the Russian Ministry of Culture, Moscow. Refereed lecture at conference on N. S. Goncharova and M. F. Larionov: “Bezobraznost’ in the Art of Goncharova.”

1999 (June) Kasteev State Art Museum, Almaty, Kazakhstan. Invited lecture at conference on The Avant-Garde and Asia: “A Russian Tahiti? Larionov and Goncharova’s Turn to the East.”

1998 (April) Princeton, Institute for Advanced Study, School of Historical Studies: "Futurism and Blasphemy: Varieties of the Modernist Informe in Late-Imperial Russia, 1910-14."

1997  (November) American Association for the Advancement of Slavic Studies, Seattle. Refereed lecture on panel, Thought, Word, and Image in Modern Russian Culture: "Vostokofil'stvo, or the Orientalism of the Russian Avant-Garde."

1997  (February) Yale University Art Gallery, New Haven. Invited lecture, Lydia Winston Malbin Lectures in Honor of Anne Coffin Hanson, Conversations on Pictorial Space: "Speculations on the Pictorial Space of the Urban Signboard in Russian Avant-Garde Art."

1997  (February) College Art Association, New York. Refereed lecture on panel, Totalitarian Cultures and Their Audiences: “From Donkey’s Tail to Target: The Audience Provocatrice for Prerevolutionary Russian Vanguard Art.”

1996  (November) American Association for the Advancement of Slavic Studies,  Boston. Chair of panel: Actresses and Others: Women in Russian Theater.

1995  (November) Whitney Humanities Center, Yale University, New Haven. Invited lecture on panel, Futurism and Modernity:  "Futurism and Blasphemy:  The Reception of Natalia Goncharova's Religious Paintings, 1913-14."

1995  (June)  Musée national d'art moderne, Centre Georges Pompidou, Paris. Invited lecture at conference, Nathalie Gontcharova et Michel Larionov: "Nathalie Gontcharova:  la femme-artiste au sein de l'avant-garde russe."

1993  (October)  Decatur House, Washington D. C.  Invited lecture for series organized by Georgetown University, St.Petersburg on the Potomac  Russian Arts Festival:  "Eclecticism and Originality in the Art of the Russian Avant-Garde."

1992  (December) CUNY Graduate Center, Department of Art History. Invited lecture:  "Organizing The Great Utopia: The Russian and Soviet Avant-Garde, 1915-32."

1992  (March) Department of Women's Issues (Frauenreferat), City of Frankfurt-am-Main. Invited lecture: "Goncharova's Representations of the Female Nude and Her Trial for Pornography in 1910."

1989  (September) Participant in Bodies, Stories, Images:  Respresentations of Sexuality in Russian Culture, a symposium at Amherst College.

1988  (November) American Association for the Advancement of Slavic Studies, Honolulu. Refereed lecture: "The Public Reception of Russian Avant-Garde Art in the Year 1913."

1988 (July)  Yale University Art Gallery, New Haven: "Mass Media Imagery from Pollock to Warhol."

1984  (November) American Association for the Advancement of Slavic Studies, New York. Refereed lecture:  "Russian Art in America:  Katherine Dreier and the Société Anonyme."

1984  (March) North-East Modern Language Association, Philadelphia. Refereed lecture:  "The Landscape Garden and Golden Age Imagery in Osip Mandel'stam's Kontsert na vokzale and Shum vremeni."

1984  (April) Yale University Art Gallery, New Haven:  "The Futurist Imagination --An Introduction to the Exhibition."

1983  (April) Yale Center for British Art, New Haven:  "The Transformation of the English Landscape Garden in Russia:  Tsarskoe Selo and Pavlovsk."

Symposia Organized

"Russian Modernism: Methods and Meaning in the Post-Soviet Era," Department of Art History, University of Maryland College Park, and The Kennan Institute for Advanced Russian Studies, Woodrow Wilson Center for International Scholars, Washington D. C. (April 8-10, 1999).

Susan Sidlauskas - Longer List of Publications

*refereed

Books
*Body, Place, and Self in Nineteenth-Century Painting, Cambridge University Press, 2000

*Cézanne’s Significant Other: The Portraits of Hortense, 2009, University of California Press. Winner of the Motherwell Book Award for 2009, presented by the Dedalus Foundation

Chapters in Books
“ The Spectacle of the Face: Manet’s Portrait of Victorine Meurent,” in Thérèse Dolan, ed. Perspectives on Manet, forthcoming, Ashgate Press.

“Not Beautiful: A Counter-Theme in the History of Women’s Portraiture,” in Re-Framing Representations of Women, ed. Susan Shifrin, Ashgate Press, London, 2008, pp 183-198

“Degas and the Sexuality of the Interior,” in Barbara Miller Lane, ed. Housing and Dwelling: Perspectives on Modern Domestic Architecture, London and New York: Routledge, 2007, pp 178-196

“Sargent's Interior Abysses,” in The Built Surface: Architecture and Pictures from Antiquity to the Millenium, London: Ashgate Press, 2001. Christy Anderson and Karen Koehler, editors, pp 31-53

“Psyche and Sympathy: Staging Interiority in the Early Modern Home,” in Not at Home: Resisting Domesticity in Early Modernism, Christopher Reed, ed. London, Thames and Hudson, 1996, pp 65-80.

Articles
“ Afterward” for Skin and Bones: Parallels in Contemporary Fashion and Architecture, curated by Brooke Hodge, Los Angeles Museum of Contemporary Art, October, 2006, pp. 46-49

*‘Emotion, Color, Cézanne (The Portraits of Hortense), www.19th centuryart-worldwide, September 2004. E-journal published by the Association of Historians of Nineteenth-Century Art, edited by Petra Chu, Seton Hall University.

*“Painting Skin: John Singer Sargent’s Madame X,” American Art, published by the Smithsonian Institution, November, 2001, pp. 8-33.

*“Contesting Femininity: Vuillard’s Family Pictures.” The Art Bulletin, March, 1997, pp 85-111.

*“Resisting Narrative: The Problem of Edgar Degas’s Interior,” The Art Bulletin, December 1993, pp 671-696.

*“Creating Immortality: Turner, Soane and the ‘Great Chain of Being’,” Art Journal, Summer 1993, in issue on Romanticism, edited by Nina Athanassoglou-Kallmyer,
pp 59-65.

Media
Consultant for THIRTEEN/WNET series Art Through Time: A Global View, funded through the Annenberg Foundation. Interviewed on camera for two episodes: Portraits and The Body. To be broadcast in the fall of 2010. Streaming videos available at http://www.learner.org/courses/globalart

Exhibition Review
“ Review of the ‘Uncanny Spectacle: The Public Career of Young John Singer Sargent,” at the Sterling and Francine Clark Museum, Williamstown, curated by Marc Simpson. In Association of Historians of Nineteenth-Century Art Newsletter, Vol. 4, no. 2, Fall 1997.

Exhibitions and Exhibition Catalogues
“ Connoisseurship Redux,” in Master Drawings (1800-1914) from the Ashmolean Museum, Oxford, for the Arthur Ross Gallery, University of Pennsylvania, April-June 2004.

Intimate Architecture: Contemporary Clothing Design, ex. cat., MIT Committee on the Visual Arts, 1982. Original photographs by Robert Mapplethorpe. ; Two-part essay on the exhibition and catalogue in the New Yorker by Kennedy Fraser, Nov. 8 and 15, 1982

Clothing by Artists, May 1982, Hayden Corridor Gallery

Rooms: An Installation by Richard Artschwager, Cynthia Carlson and Richard Haas, ex. cat., MIT Committee on the Visual Arts, 1981. Exhibition and catalogue.

Arts on the Line (with Katy Kline). ex. cat., MIT Committee on the Visual Arts, 1980. Exhibition and catalogue.
Co-curated: Local Visions, works on paper by Boston area artists, January 1982.

Assisted with: Aldo Rossi: Between Inventory and Memory, May 1981 and Furniture by Architects, January 1981.

Works in Preparation
Books
John Singer Sargent’s Metamorphoses and the Un-Making of History. A full-length reformulation of Sargent’s late portraits, 1890-1912, in which the painter gives a radical form to the end of the 19th century notion of subjecthood.

The Medical Portrait: The Visual Culture of Medicine 1886-1946. A study of the artfulness of the “objective” genre of Anglo-American medical photography, using a variety of case studies from the documented practice of an English obstetrician, a private asylum outside London, and the early years of plastic surgery in America and England.

Articles
“ Time, Body, Neurasthenia: Dr. Playfair’s ‘Before and After’ Pictures,” article related to the book The Medical Portrait, as above.

“Transformation in Sargent’s Late Portraits,” article related to Sargent’s Metamorphoses, as above.

“A Theory of Practice: Cézanne’s Drawings.” An attempt to develop a theory about Cézanne’s practice of drawing.

“Degas’s Androgynes: The Late Harlequins en travesti,” an analysis of six pastels of the 1890's in which Degas’s own anxieties about gender and sexuality are analyzed within the context of contemporary preoccupations with the “masculinity” of the New Woman.

“Mirror Mirror: ‘Identification Against the Self and Female Spectatorship,’ analysis of a form of female viewing that was first documented by the poet Rainer Maria Rilke, who wrote about the way fashionable Parisiennes disdained Cézanne’s portraits of his wife, exhibited in Paris in 1907. The practice is deliberately provoked by contemporary artists such as Jenny Saville and Marlene Dumas.

Catherine Puglisi - Longer List of Publications

Full Publication List

New Perspectives on the Man of Sorrows, co-editor and contributor to volume of essays, Studies in Iconography: Themes and Variations I,Kalamazoo: Medieval Institute Publications, 2013.

Passion in Venice from Crivelli to Tinotretto and Veronese: The Man of Sorrows in Venetian Art, co-author and co-editor, Exhibition Catalogue. Museum of Biblical Art, New York, London: D. Giles Ltd, 2010.

Caravaggio, London: Phaidon Press Ltd, 1998.

Francesco Albani, London: Yale University Press, 1999.

“Talking Pictures: Sound in Caravaggio’s art,” Caravaggio: Reflections and Refractions, ed. David Stone and Lorenzo Pericolo, Aldershot: Ashgate, 2014 (in press).

“Milling the Bread of Salvation: Art and Technology in the de Lazara Altarpiece in Padua,” coauthored with William Barcham, Art and Identity in Venice and Its Territories: Essays in Honor of Deborah Howard –II, eds. Nebahat Avcioglu, Victoria Avery, and Emma Jones, forthcoming, Ashgate, 2014 (in press).

“Veronese’s Visioning of the Man of Sorrows,” in New Perspectives on the Man of Sorrows, eds. William Barcham and Catherine Puglisi, Kalamazoo: Medieval Institute Publications, 2013, 257-94.

“The Aldobrandini Lunettes from Early Baroque Chapel Decoration to Pamphilj Art Treasures,” The Pamphilj and the Arts: Patronage and Consumption in Baroque Rome, ed. Stephanie C. Leone, McMullen Museum of Art, Boston College, 2011, 37-45.

“Bernardino da Feltre, the Monte di Pietà, and the Man of Sorrows: Activist, Microcredit and Logo,” coauthored with William Barcham, artibus et historiae, vol. 57, 2008, 35-63.

“Eight Short Essays on Francesco Albani, in Pinacoteca Nazionale di Bologna: Catalogo generale, Vol III: Guido Reni e il Seicento, eds. Jandranka Bentini and Giampiero Cammarota, Venice, 2008, 185-192, 195-197, 200-201.

“Caravaggio’s Life and Lives over Four Centuries,” book chapter in Caravaggio: Realism, Rebellion, Reception, ed. Genevieve Warwick, Newark, Delaware, University of Delaware Press, 2006, 23-35.

“Gli Esordi del Cristo Passo nell’arte veneziana e la Pala Feriale di Paolo Veneziano,” (“The Pala feriale and the Cristo passo in Early Venetian Art,” coauthored with William Barcham, Cose Nuove e Cose Antiche: Scritte per Monsignor Antonio Niero e Don Bruno Bertoli, eds. F. Cavazzana Romanelli, M. Leonardi, S. Rossi Minutelli, Biblioteca Marciana, Collana di Studi, X, Venice, 2006, 403-29.

“Paolo Verones e lar Roma dei Barberini,” coauthored with William Barcham, Saggi e Memorie di Storia dell’Arte, vol. 25, 2001, 57-87.

“Veronese: Cristo Sostenuto da due angeli,” in Caravaggio e i Giustiniani, exh. cat., Rome, Palazzo Giustiniani, Milan, 2001, 216-17.

“L’Albane et la France,” essay in L’Albane, Les dossiers du Département des peintures, Musée du Louvre, Paris, 2000, 13-33.

“Bellori e alcuni dei suoi amici,” in L’idea del Bello: Viaggio a Roma nel Seicento con Giovanni Pietro Bellori, exh. cat., Palazzo Venezia, Rome, 2000, 489.

“Caravaggio’s Beheading of St. John the Baptist,” essay in The Return of Caravaggio’s Beheading of the Baptist to Malta ed. T. Vella, National Museum of Fine Arts, Malta, 1999, 17-18.

“Francesco Albani,” The Dictionary of Art, London, Macmillan Publishers Ltd., 1996, vol. 8, 140-146.

“Guido Reni’s Pallione del Voto and the 1630 Plague,” Art Bulletin, LXXVII, 1995, 402-412.

Entries on Francesco Albani in The Age of Correggio and the Carracci, exh. cat., Bologna, Pinacoteca Nazionale; Washington, DC, National Gallery; New York, Metropolitan Museum, 1986-87.

Entries on Francesco Albani in Around 1610: The Onset of the Baroque, Mathiesen Fine Art Ltd., London, 1985.

“Albani at Princeton,” Record of the Art Museum of Princeton University, XLVIII, 1989, 18-27.

“Piazzetta’s Glory of St. Dominic,” Arte Veneta, XLI, 1987, 210-217.

“The Cappella di San Domenico in Ss. Giovanni e Paolo, Venice,” Arte Veneta, XL, 1986, 230-238.

“Two Newly Identified Drawings by Annibale Carracci,” Master Drawings, XX, 1984, 310-315.

“Early Works by Francesco Albani,”Paragone, no. 381, 1981, 26-47.   

 

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