Susan Sidlauskas - Longer List of Publications
*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.
“ 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,
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
“ 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
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.
“ 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.