Historians of Nineteenth-Century Art Newsletter

Historians ofNineteenth-Century Art

Newsletter

SPRING 2009 Volume 16, No. 1

by Paul Ranogajec / The Graduate Center, CUNYWhy Victorian Art?, a symposium held February 6th at the

CUNY Graduate Center, demonstrated the vitality and fresh

approaches that scholars and current Ph.D. candidates are

bringing to the field, and it provided inspiration for those in

attendance (including many AHNCA members) to continue

the project of overhauling the story of nineteenth-century

European art. As we who study Victorian art have long known,

this art challenges the viewer to be open to the provocations

of history and modernity simultaneously, an understanding

that the scholars at the symposium seemed to relish.

For earlier generations of historians, the Janus-faced nature

of the period was incomprehensible. The modernist agenda

eschewed the sentimentality, narrativity, naturalism, classi-

cism, and attachment to tradition that was central to most

Victorian art. Today, however, we are more becoming more

sensitive to the many contexts within which Victorian art was

produced. The symposium confirmed that the new trajectory

of Victorian studies is more open-minded and expansive

than ever before. What follows is a brief summary of the sym-

posium highlighting the main ideas that emerged.

Jason Rosenfeld of Marymount Manhattan College began

the day by discussing the changing reception of Victorian

artists as seen through recent exhibition history in Britain

and the United States. Rosenfeld made the bold but compel-

ling claim that John Everett Millais was the greatest artist of

the mid-century, rather than the usual suspect Gustave

Courbet. Rosenfeld co-curated the blockbuster exhibition on

Millais last year at the Tate, and the reluctance of any U.S.

museum to mount the show informed his critique of exhibi-

tion practices.

Kathryn Heleniak of Fordham focused on artist William

Mulready, including his interest in previously unacceptable

subject matter, his connections to liberal patrons, and the

burgeoning commercial art market of the 19th century. Her

paper exemplified the value of monographic studies of artists

through the lens of changing socio-economic circumstances.

Richard Kaye, an English professor at Hunter College and

the Graduate Center, criticized some of the leading Victorian

art historians for what he sees as their conservatism in avoid-

SYMPOSIUM REVIEW: REVALUING VICTORIAN ART

Edward Burne-Jones, Elaine, stained glass panel, 1870. Victoria and Albert Museum

2 Spring 2009 / HNCA Newslett er Spring 2009 / HNCA Newslett er 3

The Newsletter of the Historians of Nineteenth-Century Art is published twice a year, in April and October. The submission deadline for the fall issue is September 1st. Submissions may be sent to:

Laurie DahlbergHNCA Newsletter Editor, Program in Art History, Bard College, Annandale, New York, [email protected]

DEPARTMENT EDITORS:New Books: Karen Leader ([email protected])

Museum News and International Exhibitions: Cheryl Snay ([email protected])

US Exhibitions: Karin Zonis ([email protected])

Fellowships and Grants: Leanne Zalewski ([email protected])

Symposia and Conferences: Elizabeth Mix ([email protected])

ADVERTISING RATES: full page: $200; half-page: $125 (horizontal); quarter page: $75.

Reduced rates are available for insertions in two issues: full page: $300; half-page: $200; and quarter page: $125.

ing the difficult questions of gender, queer theory, and other

socially-oriented theoretical positions. Kaye castigated histo-

rians of Victorian art for relying too exclusively on hagio-

graphy and canonization rather than following the lead of

progressive and socially-conscious historians of French art.

The second panel began with Geoffrey Batchen of the

Graduate Center, who discussed the need for a new approach

to the history of photography that unabashedly deals with

the commercial and market pressures on the photographic

industry. He insisted that the major Victorian photographic

studios were businesses seeking to make money. Batchen an-

alyzed “The Reading Establishment”, a photograph from ca.

1846 that shows the production studio of Nicolaas Henneman,

manager of the first commercial photographic printing firm

under the sponsorship of William Henry Fox Talbot.

Batchen’s analysis reminded us that labor was an essential

part of the photographic business that calls for greater atten-

tion by scholars.

Talia Schaffer, professor at Queens College, presented a new

look at Victorian visual culture, what she terms “Victorian

domestic handicraft.” Arguing that today the distinction be-

tween fine arts and craft is no longer tenable, she looked back

to the mid-nineteenth century to find the origins of the

handicraft movement. Schaffer argued that Arts and Crafts

reformers not only rebelled against industrialization in de-

sign and production, but that they were opposed to the

bourgeois domestic handicrafts also. Her favored example of

modern handicraft—the crocheted toilet paper cozy—in her

view expresses values first formed in the Victorian period,

thus challenging historians to think about art production in

broader terms and to question the dominance of Arts and

Crafts premises that still govern our thinking about crafts.

Peter Trippi, editor of Fine Art Connoisseur and former direc-

tor of the Dahesh Museum, addressed the impact of

French-born artist Gustave Doré on British visual culture.

Trippi’s explication of the career of the immensely prolific

Doré addressed the question of illustration and its close con-

nection to literature and narrative. The talk directly

confronted the many biases that have led historians—and

museum curators—to undervalue some of the most popular

nineteenth-century artists, including Doré.

The final session provided a forum for Ph.D. candidates to

share their research. Margaret Laster from the Graduate

Center discussed her research on the Gilded Age collectors of

British art Henry Marquand and Catharine Lorillard Wolfe.

While previous studies of collectors focused primarily on

contemporary French art, Margaret’s work sheds light on the

American interest in British art. Catherine Roach of Columbia

discussed her work on paintings within paintings. She wittily

addressed the question, “Why situate your dissertation in the

Victorian era if you don’t have to?”—a question suggesting

that bias against Victorian art is still prevalent. Jordan Bear,

also from Columbia, argued for a new approach to photo-

graphic history that situates the medium within a larger

visual culture. In the Victorian period this means, according

to Bear, more closely analyzing the various ways in which

photographers attempted not to depict a “truthful” appear-

ance but to question the traditional meanings of representation

itself. Andrea Wolk Rager from Yale discussed her work rein-

terpreting the career and legacy of Edward Burne-Jones,

another highly prolific but still undervalued Victorian. Rager

dismissed the current view of Burne-Jones as an escapist

dreamer and asserted his active confrontation with the con-

cerns and themes of modernity.

The day ended with an illuminating talk by keynote speaker

Elizabeth Mansfield of New York University. Her interroga-

tion of the word “Victorian” itself, along with her incisive

comments about our “age of irony,” demonstrated some of

the remaining roadblocks to a full appreciation of the meth-

ods and aims of Victorian artists. In all, the day concluded

with a renewed sense among the presenters and audience

members of the possibilities, frustrations, and joys of study-

ing Victorian art.

For those of us who have entered the field of nineteenth-century art history since 1993, it seems like AHNCA has always been around. This is definitely the case for me. I presented my first conference paper at one of AHNCA’s annual “Future Directions” sessions at CAA. When my first job took me to a liberal arts college in rural Tennessee, I feared that I would quickly lose touch with colleagues and developments in the field. But AHNCA’s Newsletter, list-serv and Membership Directory prevented any sense of professional isolation from developing. Even the annual business meeting provided a moment of relative calm and familiarity during those first hectic CAA conferences (and it still does!).

Of course, AHNCA has not always existed. But in only fif-teen years, AHNCA’s founders have accomplished a great deal. Perhaps the most remarkable achievement is the es-tablishment in 2002 of Nineteenth-Century Art Worldwide. The Art Journal had long provided a venue for important scholarship on nineteenth-century art. When, in 1997, CAA decided to redirect the Art Journal’s mission to focus on contemporary art, the only English-language, scholarly publication with a mandate to present work on nineteenth-century art history was lost. AHNCA officers Petra Chu, Gabriel Weisberg, and Peter Trippi decided to take action and Nineteenth-Century Art Worldwide was born. Today the journal is regularly cited as a model publication both for its high editorial standards and its electronic format.

NCAW’s distinctiveness goes even further: the journal is free to anyone with an internet connection. Such accessibil-ity is extremely rare among peer-reviewed publications. And NCAW is celebrated as a herald of what the “digital humanities” can achieve. But this approach requires con-tinuous support. Toward this end, a portion of each member’s annual dues helps to pay for NCAW. This makes maintaining, even increasing, membership an especially important task for AHNCA. But even with membership support, NCAW must find additional funds to cover operat-ing costs. Along with building an endowment and seeking revenue through limited and appropriate advertising, the journal depends on voluntary subscriptions from institu-tions. If your library links to NCAW through its electronic catalogue, please encourage those who manage subscrip-tions to sign up for an institutional membership (information on how to do this can be found on AHNCA’s website or on the membership form at the end of the Newsletter).

AHNCA’s past-president, Petra Chu, will remain at the helm of NCAW. As executive editor of AHNCA’s journal, she’ll also maintain a post on the organization’s board. I know I speak for all members in thanking Petra for her tireless service as president of AHNCA as well as our grati-tude for her continuing guidance of NCAW.

Elizabeth MansfieldPresident

PRESIDENT’S GREETING

IN THIS ISSUE:

p.01 / Revaluing Victorian Art

p.03 / President’s Greetings

p.05 / AHNCA News

p.05 / Nineteenth-Century Art Worldwide

p.06 / Remembering Albert Boime and Hans Lüthy

p.08 / Symposia, Lectures, Conferences

p.12 / Fellowships

p.18 / U. S. Exhibitions

p.24 / International Exhibitions

p.26 / New Books

IN THIS ISSUE:

ABOUT THIS ISSUE

4 Spring 2009 / HNCA Newslett er

AHNCA NEWSMINUTES OF THE ANNUAL BUSINESS MEETING

ARTICLES“Compare and Contrast: Rhetorical Strategies in Edmond de Goncourt’s Japonisme” by Pamela J. Warner

“Making Matter Make Sense in Cézanne’s Still Lifes with Plaster Cupid” by Joni Spigler

“Identity and Interpretation: Receptions of Toulouse-Lautrec’s Reine de joie Poster in the 1890’s” by Ruth E. Iskin

NEW DISCOVERIES“Théodore Rousseau’s View of Mont Blanc, Seen from La Faucille” by Simon Kelly

REVIEWSImpressionism and the Modern Landscape: Productivity, Technology, and Urbanization from Manet to Van Gogh by James Rubin. Reviewed by Marnin Young

Modern Women and Parisian Consumer Culture in Impressionis Painting by Ruth E. Iskin. Reviewed by Francesca Bavuso

The New Bibliopolis: French Book Collectors and the Culture of Print, 1880–1914 by Willa Silverman. Reviewed by Elizabeth Mix

Courbert by Ségolène Le Men. Reviewed by Elizabeth Mansfield

Art in an Age of Civil Struggle, 1848–1817 by Albert Boime; and Revelation of Modernism: Responses to Cultural Crises in Fin-de-Siècle Painting by Albert Boime. Reviewed by Elizabeth Mansfield

EXHIBITIONS REVIEWSMatisse: Painter as Sculptor. Reviewed by Ellen McBreen

Constantin Meunier in Sevilla. De andalusische ouverture. Reviewed by Marjan Sterckx

Échappées nordiques: Scandinavian and Finnish Artists in France, 1870–1914. Reviewed by Kathryn Brown

Henry de Triqueti (1803–1874), scultore dei Principi. Reviewed by Caterina Y. Pierre

Art in the Age of Steam: Europe, America and the Railway, 1830–1960. Reviewed by Janet Whitmore

Van Gogh: Heartfelt Lines. Reviewed by Jane Van Nimmen

AHNCA’s annual business meeting took place on Friday, February 27, 2009 in Los Angeles at the College Art Association annual conference. The minutes of the last business meeting, published in the Newsletter, were ap-proved by the members present. The agenda for the 2009 meeting was also approved.

Petra Chu announced in the President’s Report that she is stepping down after a long term as president and en-couraged the organization to continue its hard work. Petra will continue to serve as executive editor of NCAW. She also announced that the NCAW endowment is cur-rently $36,624, thanks largely to a single donor who wishes to remain anonymous. There was a long ovation from all members present in recognition of Petra’s tre-mendous service to the field.

The Treasurer, Yvonne Weisberg, gave her report. The total amount of monies received in dues and gifts in 2008 was $36,605.54. The expenses for the Newsletter and the 19thc-artworldwide.org Journal came to a total of $19,573.23. The amount deposited to the endowment account was $11,168.72. As of February 3, 2009 the amount in the endowment account was $36,624.60.

The report of the Membership Coordinator, Janet Whitmore, was made by Elizabeth Mansfield. Janet re-ported that membership renewals for 2009 declined by 21%. In 2008 AHNCA gained 28 news members which is an increase over 2007. The new category introduced a year ago for “retired members” has proven to be a suc-cess. The membership fee structure remains as follows:

Student/Retired: $20 Regular Member: $35 Supporting Member: $50 Patron: $100 Benefactor: $200 Sponsor: $500+

Janet noted that if the Newsletter appeared by October 31 the deadline for renewals could be set for November 30, thus avoiding competition with holiday spending.

The report of the Program Coordinator, Patricia Mainardi, was given by Petra. The annual AHNCA/CUNY graduate symposium will take place on March 27, 2009 at CUNY. Neil McWilliam will chair AHNCA’s ses-sion at the 2010 CAA on “Myths of the Nation in Nineteenth-Century Visual Culture”. Julie Codell will chair the New Directions session at the 2010 CAA.

Petra then introduced some changes to the by-laws which were approved. AHNCA now has up to 8 members-at-large and a new position on the board for Executive Editor for NCAW.

Elizabeth Mansfield organized the very important elec-tion of officers on behalf of Ting Chang, Secretary. The following members were elected:

President: Elizabeth Mansfield

Members-at-Large: Nina Kallmyer, Elizabeth Fraser, Micheline Nilsen, Miranda Mason, Alison McQueen

Executive Editor of NCAW: Petra Ten-Doesschate Chu

Continuing for another year are Greg Thomas, Pamela Warner, Peter Trippi, Members-at-large; Ting Chang, Secretary; Yvonne Weisberg, Treasurer; Janet Whitmore, Membership Coordinator; Patricia Mainardi, Program Chair; Laurie Dahlberg, Newsletter Editor; Amelia Kahl Avdic, Webmaster.

Past presidents of AHNCA are Patricia Mainardi, Gabriel P. Weisberg, Petra ten-Doesschate Chu.

The newly elected President, Elizabeth Mansfield then announced the winner of the AHNCA Graduate Prize, awarded annually to the PhD candidate who submits the best conference or symposium paper on a topic related to nineteenth-century art or art history. The winner for 2008 is Annah Kellogg-Krieg (U of Pittsburgh). Her es-say, “‘Now I prophesize, Lehnin, your future destiny’: Christoph Hehl and Romanesque Revival in the Crown of Roses Church (1899–1900)” will appear in a future is-sue of Nineteenth-Century Art Worldwide. Honorable mention was given to Katie Lee Hanson (CUNY Graduate Center) for her essay, “Ariadne Awakened, Antoine-Jean Gros Reborn.”

The nomination of Howard Rehs as Life-time Honorary Member of AHNCA was approved.

President Mansfield introduced new business, namely the creation of committees to increase membership and to raise funds.

With the meeting adjourned, members shared some wine and conversation.

HOWARD REHS: AN APPRECIATIONThe running of any organization is most often dependent on people who prefer to remain in the background, but who are willing to quietly shoulder the work that has to be done. Howard Rehs is such a person. He has, on many occasions offered his advice and know how to the Association of Historians of Nineteenth-Century Art, and has been ex-tremely generous in his support of AHNCA’s most visible endeavor, the on-line journal 19thc-artworldwide.org. His personal financial support, and willingness be a spokesman for our cause, deserves both our gratitude and the aware-ness of our membership for what he has done.

As an art dealer working out of New York City, Howard has been a point man in our drive to secure funds. As President of the Fine Arts Dealers Association he has helped us secure sizeable grants, each year, for NCAW. He has been a fervent supporter in the art world of our mission, and a champion of our cause. He continues to do so today at a time when raising funds has become precarious. We all recognize his quiet work, thanking him deeply for spreading the message so that we can continue to exist.

—The AHNCA Board

AHNCA GRADUATE PRIZEWinner of the 2009 AHNCA Graduate Prize is Annah Kellogg-Krieg (University of Pittsburgh). The prize is awarded annually to the PhD candidate who submits the best conference or symposium paper on a topic related to

19th-century art or art history during the preceding year. Her essay, “‘Now I prophesize, Lehnin, your future destiny’: Christoph Hehl and Romanesque Revival in the Crown of Roses Church (1899–1900)” will appear in a future issue of Nineteenth-Century Art Worldwide. Katie Lee Hanson (CUNY Graduate Center) received Honorable Mention for her essay, “Ariadne Awakened, Antoine-Jean Gros Reborn.”

NEW MEMBERSHIP CATEGORIESAHNCA has added two new membership categories: Institutional Memberships ($135), and Sponsoring Member-ships ($500). We hope that libraries, museums, colleges and other institutions will sign up for the Institutional Member-ship in lieu of paying a subscription for AHNCA. Members also receive the Newsletter and Member Directory. The old membership categories of Sustaining ($35), Supporting ($50), Patron ($100), Benefactor ($200) and Student/Retired ($20), still apply, too. We hope this creates a membership for every budget.

MEMBER NEWSMember Marilyn Brown’s article “’Miss La La’s’ Teeth: Reflections on Degas and ‘Race’,” The Art Bulletin, LXXIX, no. 4 (Dec. 2007), 738–65, which previously won the Inter-disciplinary Nineteenth Century Studies Prize for Best Interdisciplinary Article (reported in our Newsletter, Spring ‘08) has won the Nineteenth Century Studies Association 2008 Article Prize.

WHAT’S NEW IN NINETEENTH-CENTURY ART WORLDWIDE Volume 8, Issue 1/ Spring 2009

6 Spring 2009 / HNCA Newsletter Spring 2009 / HNCA Newsletter 7

erations of students, “Al” Boime was known as one who put his philosophical views into action in the day-to-day world. He once observed, “One thing I’ve always thought valuable about Marxism, aside from its methodological and historical perspective, is that it takes the point of view of the oppressed, the exploited, within a dialectical exchange, and that’s very unusual in the history of schol-arship…The Marxist perspective motivates the scholar to investigate how the more numerous portion of the population acts upon the dominant few and drives his-torical change.”

He is survived by his wife, Myra Block Boime, his brother Irving, his sons Eric and Robert, and five grandchildren. He will be greatly missed.

HANS A. LÜTHY, 1932–2009With the death of Hans A. Lüthy, on March 8, 2009, AHNCA has lost a close friend, the field of art history a leader and catalyst, and the world at large a wonderful human being.

Born in 1932, Lüthy studied art history in Zurich, where he wrote a dissertation on the nineteenth-century Swiss landscape painter Johann Jakob Ulrich II (1965). In 1963, he was appointed director of the Schweizerisches Institut für Kunstwissenschaft (SIK) or Swiss Institute for Art Research in Zurich, a position that he would hold for more than thirty years. Founded in 1951, the SIK, under his directorship, became a major research insti-tute, the influence of which was felt both at home and abroad. Lüthy, indeed, pursued a two-pronged agenda, one, to research Switzerland’s artistic patrimony and to disseminate that research through exhibitions and pub-lications; and, two, to promote Swiss art abroad, particularly in the United States. He was responsible for the organization of several exhibitions of Swiss art in the U.S., including From Liotard to Le Corbusier at the High Museum in Atlanta and monographic exhibitions of the works of Ferdinand Hodler.

ALBERT BOIME 1933–2009On October 18, 2009, Albert Boime, one of the leading scholars and teachers in the field of 19th-century art, passed away. We offer this late, brief summary of his achievements to his memory.

Born in St. Louis in 1933 and growing up in Brooklyn before the war, Boime showed an early penchant for drawing and cartooning. But following in the footsteps of his older brother, he chose an academic career path after returning from service in the war. After completing his bachelor’s degree in art history at UCLA in 1961, he pursued his graduate degree at Columbia, earning his Ph.D. in 1968. In an interview with Barbara Anderman in 1995, Boime described the exhilarating effect of study-ing at Columbia at that particularly fertile and turbulent time, when he had the great fortune of working with the likes of Julius Held, Barbara Novak, Theodore Reff, Linda Nochlin, and particularly, Rudolf Wittkower and Meyer Schapiro.

Taking Marx and Freud as spiritual mentors, Boime made his reputation as an exacting researcher and pro-lific writer on the social history of 19th-century art and visual culture. “All art is political,” he noted in Hollow Icons, “whether it serves directly the needs of the state or seems to hover in a realm of fantasy and escapism.” Relishing its rich narrativity and intertextuality, Boime was at the forefront of the scholarly recuperation of 19th-century academic art, which he introduced to multiple generations of young art historians. In a letter to the arts editor of The New York Times in 1969, Boime spiritedly rebuked Hilton Kramer for a slur against the academic tradition as “decadent”: “It is precisely this contracted view of academic art and the stereotypical exploitation of academies as foils for the avant-garde movements that has aroused the suspicion and curiosity of a whole new generation of students and spectators. The present gen-eration dismisses as untenable the classroom account of 19th-century art as a sequence of moral contests between an Academic Evil and a Romantic, Impressionist or Neo-Impressionist Good.”

Boime redressed that impoverished view over his long career, beginning with his first book, the seminal The Academy and French Painting in the Nineteenth Century (1971). He continued to construct a hard-headed, meticu-lously researched social history of 19th–century and 20th-century art through some twenty-six books and well over a hundred articles and reviews, including Thomas Couture and the Eclectic Vision (1980), Hollow Icons: The Politics of Sculpture in Nineteenth-Century France (1987), The Art of Exclusion: Representing Black People in the Nineteenth Century (1990), The Magisterial Gaze: Manifest Destiny and American Landscape Painting, c. 1830–1865 (1991), Art and the French Commune: Imagining Paris After War and Revolution (1995), Revelation of Modernism: Responses to Cultural Crises in Fin-de-Siècle Painting (2008), and the six volume col-lection, A Social History of Modern Art (1987–2010), of which two volumes are still forthcoming.

Boime began his teaching career at the State University of New York at Stony Brook (1968–72), after which he moved to SUNY Binghamton (1972–78), moving ulti-mately to the faculty of UCLA in 1979, where he went on to teach for almost thirty years. Beloved by several gen-

Since his retirement in 1994, Lüthy remained actively involved in art history. Through a private foundation, he funded several research and writing projects. One of these was Nineteenth-Century Art Worldwide, which would not have come into being were it not for his gener-ous start-up grant. For this AHNCA owes him a debt of gratitude. At the same time, he began to collect art. As a collector his taste went out to French neoclassical and Romantic drawings, a predilection that was no doubt re-lated to his life-long interest in the work of Théodore Géricault. A selection of drawings from his collection was exhibited in 2002 in the Kunstmuseum in Bern, at the occasion of his seventieth birthday.

Lüthy’s ill health, during the past few years, prevented him from staying in touch with many former friends and acquaintances. Those who knew him, and I am sure there are many of us in the US, remember him fondly for his genuine kindness, his enthusiasm, and his generosity of spirit.

HANS LÜTHY

REMEMBERING ALBERT BOIME AND HANS LÜTHY

ALBERT BOIME

8 Spring 2009 / HNCA Newslett er Spring 2009 / HNCA Newslett er 9

SYMPOSIA, LECTURES, AND CONFERENCES

THURSDAY, 2 JULY 2009Session 1: Darwin and Aesthetic TheoryChair, Barbara Larson / Barbara Larson, University of West Florida / Marsha Morton, Pratt Institute / Sabine Flach, Zentrum für Literatur-und Kulturforschung Berlin

Session 2: Darwin and the Museum: Curating Darwin/ismChair, Barbara Larson / Arthur MacGregor, formerly of the Ashmolean Museum / Pat Simpson,

University of Hertfordshire / Monique Scott, American Museum of Natural History

Session 3: Darwin, Slavery and Indigenous PeoplesChair, Jeanette Hoorn, University of Melbourne / Cannon Schmitt, University of Toronto / Sarah Thomas, University of Sydney / Jeanette Hoorne, University of Melbourne

FRIDAY, 3 JULY 2009Session 4: Becoming Animal: Capturing Wild Beasts and

Tame PrimatesChair, Fae Brauer, University of East London /University of New South Wales / Speakers TBA

Session 5: Darwin and SurrealismChair, Gavin Parkinson / Marion Endt, Henry Moore Foundation / Donna Roberts, independent scholar / Speaker TBA

Session 6: Darwin and SexualitiesChair, Whitney Davis / Whitney Davis, University of California, Berkeley / Jeremy Melius, Yale Center for British

CONFERENCES: PAST Western Society for French History

Quebec City, Canada, November 6–8, 2008.

Full program available at:

http://www.wsfh.org/annual-conferences.htm

One Life: The Mask of Lincoln

National Portrait Gallery, Washington, D.C.,

February 16, 2009. For information: [email protected]

The Green Nineteenth Century

30th Annual Conference of the Nineteenth-Century

Studies Association, Milwaukee, Wisconsin

March 26–28, 2009. Full program available at: http://

www.english.uwosh.edu/roth/ncsa/2009schedule.htm

Sixth Annual Graduate Student Symposium in

Nineteenth-Century Art

CUNY Graduate Center, 365 Fifth Avenue, New York,

Friday, March 27, 2009, from 10 AM to 4 PM.

THE ART OF EVOLUTION: CHARLES DARWIN AND VISUAL CULTURES CONFERENCE, 2–4 JULY 2009Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN.

40th annual conference of the American Society

for Eighteenth-Century Studies

Richmond, Virginia, March 26–29, 2009.

For more information:

http://asecs.press.jhu.edu/2009annualmtg.html

Midwest Art History Society Annual Conference

Kansas City, Missouri, April 2–4, 2009

For more information:

http://www.mahsonline.org/annual_meeting.asp

CONFERENCES: CALLS FOR PARTICIPATIONArt History in Central Europe: The Vienna School and

its Legacy. September 2–3, 2009. British Academy,

London. Deadline for paper proposals: March 27, 2009.

Send short c.v. and 300 maximum abstracts to:

[email protected]

Plaster and Plaster Casts: materiality and practice

Victoria and Albert Museum, London. March 12–13,

2010. Deadline for paper proposals: March 29, 2009.

Send 300 word maximum abstracts to: Eckart.

[email protected]

Western Society for French History Boulder Colorado

October 22–25, 2009. Deadline for paper proposals:

April 1, 2009. For more information: http://www.wsfh.org

34th Annual European Studies Conference

Omaha, Nebraska. October 1–3, 2009. Deadline for

paper proposals: May 15, 2009. For more information:

http://www.unomaha.edu/esc/papercall.htm

College Art Association

97th Annual Conference. Chicago, Illinois. February

25–28, 2010. Deadline: May 8, 2009. Call for Papers for

120 sessions and Poster session available for download

at: http://conference.collegeart.org/2010/

8th Annual Hawaii International Conference

on Arts and Humanities

January, 2010. Deadline will be in August, 2009.

See the conference website for more information:

http://www.hichumanities.org

College Art Association: Call for Panel Proposals

98th Annual Conference, February, 2011 (dates t.b.a.).

New York, New York. Deadline: September 1, 2009.

For more information: http://www.collegart.org

Art / Caroline Arscott, Courtauld Institute of Art

Keynote Address: Barbara Creed, University of Melbourne, Variation, Dance and Design, the Hollywood Music al as a Darwinian Mating Game

Film Screening: Max, Mon Amour, di-rected by Nagisa Oshima

SATURDAY, 4 JULY 2009Session 7: The Darwinian Body: Eugenic and Genetic BioculturesChair, Fae Brauer, University of

East London /New South Wales / Speakers TBA

Session 8: Photography and the Darwinian ScreenChair, Barbara Creed, University of Melbourne Barbara Creed / Jonathan Smith, University of Michigan Speaker TBA

Session 9: Darwin and Contemporary ArtChairs, Sara Barnes and Andrew Patrizio, Edinburgh College of Art / Bergit Arends, Natural History

Museum, London

Play Reading, Origin, by Justin Fleming; directed by Wayne Harrison; Somerset Square

Conference admission: £60; £70 after May 1; £30 studentsTickets / information: http://www.courtauld.ac.uk/researchfo-rum/conferences/index.shtml. e-mail: [email protected]

Chicago’s Sculptor: The Legacy of Lorado Taft

2010 College Art Association (CAA) Annual Conference,

Chicago, Illinois. On the occasion of the 150th anniver-

sary of his birth, this session reexamines the art, career

and legacy of Lorado Taft (1860–1936), the foremost

sculptor in the Midwest during the late nineteenth and

early twentieth centuries. For this session—appropri-

ately being held in Chicago, not far from Taft’s former

Midway Studios and his monumental Fountain of Time

(1909–1922)—papers of twenty minutes in length are

sought that examine and reassess Taft’s various roles as

artist, art historian, public lecturer, museum designer,

and educator, as well as his influence on, and inspira-

tion from, his students. Papers that discuss Taft’s con-

tributions to the City Beautiful Movement and to Amer-

ican Symbolism are also encouraged. Co-Chairs: Brian

E. Hack, Ph.D. and Caterina Y. Pierre. Ph.D. Please

send two (2) copies of abstract and c.v. via regular mail

and/or email to the Co-Chairs by May 11, 2009: Dr. Bri-

an Edward Hack, Art Department, Kingsborough Com-

munity College, CUNY, 2001 Oriental Boulevard,

Brooklyn, NY 11235. Email: [email protected],

[email protected]


Moguls, Mansions, and Museums: Art and Culture in

America’s “First Gilded Age”

2010 College Art Association (CAA) Annual Conference,

Chicago, Illinois. Following the Civil War, a new genera-

tion of European-trained artists and architects was

hired to design some of the country’s most important

civic buildings-Albany State Capitol; Trinity Church,

Boston; the Boston Public Library-and worked on the

architectural and decorative programs of Chicago’s

World’s Columbian Exposition and the Library of Con-

gress. At the same time these architects built and often

oversaw the decoration of houses for a new class of ex-

tremely wealthy Americans. Their clients also assembled

important art collections, which included contemporary

European academic painting and sculpture, and sup-

ported the establishment of the country’s leading muse-

ums. Papers are sought that explore these interconnec-

tions and/or document the impact of European art on

American culture and are welcome from multiple disci-

plines including architecture, collecting, museum histo-

ry, European academic painting, stained glass, public

art, exposition history, as well as Gilded Age American

sculpture and painting. Abstracts due May 8th. For sub-

mission details, please consult “2010 Call for Participa-

tion” http://www.collegeart.org/pdf/

2010CallforParticipation.pdf. Chair: Sally Webster,

Lehman College and the Graduate Center, City Univer-

sity of New York; mail to: Sally Webster, 158 West 94th

Street, New York, NY, 10025 [email protected]

Centering the Margins of 19th-Century Art

Universities Art Association of Canada / l’Association

d’art des universités du Canada. http://www.uaac-aauc.

com/ University of Alberta, Edmonton, October 22–24,

2009. While Spain and the Netherlands were at the cen-

ter of world events in the 16th and 17th centuries, both

had moved into positions of marginality by the 19th.

This session seeks to explore the art, design and visual

culture emanating from such positions of marginality,

with particular emphasis on Europe and the Americas.

We welcome papers that extend this ongoing discussion,

examining such issues as canon formation and histori-

ography, the reception of earlier art and art theory, reli-

gion, politics and gender, diaspora, exile and expatria-

tion, nationhood and internationalization. We also en-

courage those working on understudied geographical

locations, indigenous arts, and on art froms beyond the

traditional fine arts (painting and sculpture) to apply.

Co-chairs: Dr. M. Elizabeth (Betsy) Boone and Dr. Joan

Greer, University of Alberta. Please submit paper pro-

posals and a CV by email to both Chairs by June 1,

2009. M. Elizabeth (Betsy) Boone, Department of Art

and Design, University of Alberta, 3–98 Fine Arts

Building, Edmonton, AB T6G 2C9, Canada. Email:

[email protected] and Joan Greer, Department

of Art and Design, University of Alberta, 3–98 Fine Arts

Building, Edmonton, AB T6G 2C9, Canada. Email:

[email protected]

La création ivre. L’alcool, moteur, motif et métaphore

artistiques (XVI–XXe siècles)

25–26 septembre 2009. Journées d’études organisées

par l’Équipe d’accueil Histoire culturelle et sociale de

l’art de l’Université Paris 1 Panthéon-Sorbonne et le

Centre d’histoire et de théorie des arts (cehta) de

l’École des hautes études en sciences socials. Institut na-

tional d’histoire de l’art, 2 rue Vivienne 75002 Paris.

Coordinateurs: Valérie Boudier (cehta), Frédérique

Desbuissons (cirhac), Jean-Claude Yon (chcsc). Les in-

terventions pourront sínscrire dans les axes théma-

tiques suivants: Personnifications de lívresse: Bacchus,

Silène, Noé...; Excès et démesure: lívresse sublime; In

vino veritas: ivresse et connaissance; Vin mauvais:

lívresse improductive; Ivresses métaphoriques. Les

propositions d’environ 300 mots seront envoyées avant

le 30 avril 2009, sous forme électronique à:

[email protected]

TO ATTEND:Seventh Annual Cultural Studies Association (U.S.)

Kansas City, Missouri. April 16–18, 2009. For info-

rmation: http://www.csaus.pitt.edu/frame_home.htm

Invisible History of Exhibitions Symposium and

Related Events

May 21–22, Budapest, Hungary. For information:

http://www.tranzit.org and http://www.artalways.org

Arts to Enchant: Formations of Fantasy in

Visual Culture

Postgraduate Symposium in the History of Art University

of Glasgow, 30th May, 2009. For information: http://www.

glasgow.ac.uk/historyofart

Resorting to the Coast: Tourism, Heritage and Cultures

of the Seaside

25–29 June 2009. Blackpool, United Kingdom. For

information:

http://www.tourism-culture.com/pop_up/forthcoming_

conferences.html?PAGE=3

The German Studies Association Thirty-Third Annual

Conference

Washington, D.C. October 8–11, 2009

For information: http://www.thegsa.org/

conferences/2008/index.asp

The Art, Architecture, and Literature of the Gilded Age

The 13th Annual Salve Regina University Conference on

Cultural and Historic Preservation. Newport, Rhode

Island. October 15–17, 2009

Ornament, Between Art and Design: Interpretations,

Paths and Transformations in the Nineteenth Century.

ISR/University of Neuchâtel. Swiss Institute of Rome

(ISR). April 23, 2009

“Fossilization and Evolution” Nineteenth-Century

French Studies Association (NCFS) Annual Conference

AHNCA-sponsored Open Art History Session. Salt Lake

City, UT. Oct. 22–24, 2009. For more information:

http://ncfs.byu.edu/In October 2008, AHNCA sponsored the panel “Re-Gendered Spaces: Place and Identity in 19th-Century France” at the Nineteenth Century French Studies annual conference held at Vanderbilt University in Nashville, TN. The panel, originally conceived by Helen Burnham and Karen J. Leader, brought together the work of four young scholars and was chaired by Jennifer T. Criss. The papers presented were “Dr. Pozzi at

Home: Male Interiority and Private Space at the Fin de Siècle,” Juliet Bellow, American University;

“Toward a New Woman’s Art: The Masculinization of Impressionist Women’s Domestic Space,” Jennifer Criss, George Washington University; “Boudin sauvé des eaux: Seascape, Sexuality, and the Disavowal of Death,” Paul Galvez, Ohio State University; and “Art as Tart: Allegorizing Art in the Popular

Press,” Karen Leader, New York University. As one of only three art historical panels at NCFS, the papers were delivered to a large audience to a positive public response. Conference organizers greatly wel-comed the presence of AHNCA at NCFS as an opportunity to showcase new scholarship in nineteenth-centu-ry art history.

AHNCA AT NINETEENTH CENTURY FRENCH STUDIES CONFERENCE


FELLOWSHIPS

The Radcliffe Institute for Advanced Study is a scholarly community where individuals pursue advanced work across a wide range of academic disciplines, professions, or creative arts. Radcliffe Institute fellowships are designed to support scholars, scientists, artists, and writers of exceptional promise and demonstrated accomplishment. In recognition of Radcliffe’s historic mission, the Radcliffe Institute sustains a continuing commitment to the study of women, gender, and society. Women and men from across the United States and throughout the world, including developing countries, are encouraged to apply. Residence in the Boston area and participation in the Institute community are required during the fellowship year. Stipends are funded up to $60,000 for one year with additional funds for project expenses. Deadline: Applications for 2010–2011, deadline t.b.a. Contact: Radcliffe Institute Fellowships Office, 34 Concord Ave., Cambridge, MA 02138. Tel: 617–496–1324 or [email protected]. Website: http://www.radcliffe.edu/fellowships/index.php

The National Humanities Center in Research Triangle Park, NC, offers fellowships for advanced study in all fields of the humanities. Fellows are assisted in finding suitable housing and must be in residence for the academic year (September-May). Resources include the libraries at Duke University, the University of North Carolina at Chapel Hill, and North Carolina State University, and the Center maintains a reference collection. Senior and younger scholars are eligible; younger scholars should be engaged in research well beyond their dissertations. Terms: Fellowships up to $50,000 are individually determined, depending upon the needs of the Fellow and the ability of the Center to meet them. Fellowships are intended to maintain scholars at full salary during their year of research. Deadline: postmarked October 15. Contact: Fellowship Program, National Humanities Center, 7 Alexander Drive, P.O. Box 12256, Research Triangle Park, NC 27709–2256. Tel: 919–549–0661; [email protected]. Website: http://www.nhc.rtp.nc.us/fellowships/appltoc.htm The Center for the History of Business, Technology, and Society at the Hagley Museum and Library offers grants-in-aid to assist short-term visiting scholars with travel and living expenses while using the research collections. Scholars receive stipends, conduct research in the imprint, manuscript, pictorial, and artifact collections, and partic-

ipate in the programs and colloquia of the Center. Low-cost housing may be available on the museum grounds. Stipends are for periods of two weeks to two months, at no more than $1,600 per month and are available to scholars and professionals at all levels, in all fields. The Center also offers the Henry Belin du Pont Fellowship to enable scholars to pursue research for periods of two to six months and participate in the interchange of ideas among the Center’s scholars. Tenure must be continuous and last from two to six months. Stipends are no more than $1,600 per month. Applications for all fellowships are reviewed three times per year. Deadlines: March 31, June 30, October 31. For information and application materials for Hagley-Winterthur Fellowship in Arts and Industries contact: Dr. Philip Scranton, Center for the History of Business, Technology, and Society, P.O. Box 3630, Wilmington, DE 19807–0630. Tel: 302–658–2400. E-mail: [email protected]. Website: http://www.hagley.lib.de.us/grants.html. For Henry Belin du Pont Dissertation Fellowships (residential terms of four months, $6,000) contact: Dr. Roger Horowitz, Center for History of Business, Technology, and Society, PO Box 3630, Wilmington, DE 19807–0630, E-mail: [email protected]. Website: http://www.hagley.lib.de.us/grants.html. Deadline: November 14, 2009.

The National Endowment for the Humanities offers a variety of fellowships that allow individuals to pursue advanced work in the humanities. Applicants may be faculty or staff members of colleges, universities, primary or secondary schools, and independent scholars and writers. Tenure normally covers a period of from six to twelve months ($40,000 is for 9–12 mo.; $24,000 for 6–8 mo.). Deadline: received May 1. Shorter projects may be funded by NEH summer stipends ($5,000 for two consecutive months of full-time independent study and research). Summer stipend application deadline: received October 1. Collaborative Research Grants support original research undertaken by a team of two or more scholars or coordinated by an individual scholar that because of its scope and complexity requires additional staff or resources. Grants support full-time or part-time activities for periods up to three years and normally range from $25,000 to $100,000 (the use of federal matching funds is encouraged). Collaborative Research grants deadline: received November 4. Contact: Division of Research Programs, Room 318, National Endowment for

the Humanities, 1100 Pennsylvania, N.W., Washington, DC 20506. Tel: 202–606–8200. E-mail: [email protected], [email protected]. Website: www.neh.gov/grants/index.html. The Social Science Research Council sponsors fellowship and grant programs on a wide range of topics, and across many different career stages. Most support goes to pre-dissertation, dissertation, and postdoctoral fellowships. Some programs support summer institutes and advanced research grants. Although most programs target the social sciences, many are also open to applicants from the humanities. Programs relevant to the history of art and visual culture include Abe Fellowships, The Berlin Program for Advanced German and European Studies, The Eurasia Program, ACLS/SSRC/NEH International and Area Studies Fellowships, and Japan Studies. Deadlines vary program to program. For application and further information, contact: Fellowship Office, SSRC, 810 Seventh Ave., New York, NY 10019. Website: www.ssrc.org/fellowships/ Tel: 212–377–2700, ext. 500. E-mail: [email protected]

The American Council of Learned Societies offers Burkhardt Residential Fellowships for Recently Tenured Scholars, which support long-term, unusually ambitious projects in the humanities and related social sciences. Proposals in interdisciplinary and cross-disciplinary studies are welcome, as are proposals focused on any geographic region or on any cultural or linguistic group. The fellowship carries a stipend of $75,000. Burkhardt Fellowships are intended to support an academic year of residence at any one of nine national residential research centers: The National Humanities Center (Research Triangle Park, NC); the Center for Advanced Study in the Behavioral Sciences (Palo Alto); the Institute for Advanced Study, Schools of Historical Studies and Social Science (Princeton); the American Antiquarian Society, the Folger Shakespeare Library, the Newberry Library, the Huntington Library; the American Academy in Rome, and Villa I Tatti (Florence). Deadline: September [date not yet posted]. Contact: Office of Fellowships and Grants, ACLS, 633 3rd Ave., New York, NY 10017–6795; E-mail: [email protected]; Website: www.acls.org/burkguide.htm. Applications: hhtp://ofa.acls.org/

The American Council of Learned Societies, together with the Social Science Research Council and the National Endowment for the Humanities, fund approximately eight ACLS/SSRC/NEH International and Area Studies Fellowships. Scholars who are at least two years beyond the Ph.D. may apply for 6–12 month fellowships to pursue research and writing on the societies and cultures of Asia, Africa, the Near and Middle East, Latin America, East Europe and the former Soviet Union. The Fellowship stipend is set at three levels based on assistant, associate, or full professor rank, funded at $30,000, $40,000, and $50,000. Approximately 20 fellowships will be available at each level. Deadline: September [date to be posted in June]. Contact: Office of Fellowships and Grants, ACLS, 633 3rd Ave., New York, NY 10017–6795; E-mail: [email protected]; Website: http://www.acls.org/felguide.htm

The American Council of Learned Societies Fellowship Programs seek applications from scholars in all disciplines of the humanities and humanities-related social sciences. Proposals in interdisciplinary and cross-disciplinary studies are welcome, as are proposals focused on any geographic region or any cultural or linguistic group. Deadline: September [date to be posted in June]. Contact: Office of Fellowships and Grants, ACLS, 633 3rd Ave., New York, NY 10017–6795; E-mail: [email protected]; Website: http://www.acls.org/fel-comp.htm

The American Philosophical Society offers the Franklin Research Grant to support research in all areas of scholarly knowledge except those in which government or corporate enterprise is more appropriate. The program does not accept proposals in the areas of journalistic or other writing for the general readership; the preparation of textbooks, casebooks, anthologies or other teaching aids. Award is up to $6,000 for one year. Deadline: received October 1, December 1. The Society also offers a Sabbatical Fellowships in the Humanities and Social Sciences for mid-career faculty of universities and 4-year colleges in the United States who have been granted a sabbatical/research year, but for whom financial support from the parent institution is available for only part of the year. Candidates must not have had a financially supported leave at any time subsequent to September 1, 2004. The doctoral degree must have been conferred between 1983–1999. Award: $30,000 to 40,000. Deadline:


received by October 15. For further information, contact: Linda Musumeci, Res. Admin., American Philosophical Society, 104 South Fifth St., Philadelphia, PA 19106. Tel: 215–440–3429. E-mail: [email protected], Website: http://www.amphilsoc.org/grants/

The Alexander von Humboldt Foundation supports scholarly research and study in Germany. It offers as many as 500 Humboldt Research Fellowships annually to postdoctoral scholars under age 40 to support research for six- or twelve-month periods, normally funded between EUR 2,100 and EUR 3,000 monthly. Scholars may be in any academic field and come from any country except Germany. Applications may be submitted any time; the selection committee meets three times a year to consider applications. Contact: Alexander von Humboldt Foundation, Jean-Paul-Strasse 12, 53173 Bonn, Germany. Tel: (49) 0228–833–0. E-mail: [email protected]; Website: www.avh.de/en/programme/index.htm

The Columbia University Society of Fellows in the Humanities will appoint a number of postdoctoral fellows in the humanities for the academic year 2009–2010. The $52,000 stipend is awarded half for independent research and half for teaching in the undergraduate general education program. To qualify, applicants must have received the Ph.D. between January 1, 2003, and July 1, 2007. Deadline: [October— date to be posted in June] For further information and application materials, write: The Director, Society of Fellows in the Humanities, Heyman Center, Mail Code 5700, 2960 Broadway, New York, NY 10027. Website: www.columbia.edu/cu/societyoffellows/

The National Endowment for the Humanities announces funding for its Scholarly Editions Grants program, which supports preparation of authoritative and annotated texts and documents of value to humanities scholars and general readers. These materials may have been either previously inaccessible or available only in inadequate editions. Projects involve the editing of significant literary, philosophical, and historical materials, but other types of work, such as the editing of musical notation, are also eligible. Awards are made for one to three years and range from $50,000 to $100,000 per year. Deadline: November 1, 2009. Guidelines posted online, summer, 2009. Contact: (202) 606–8200 or e-mail: [email protected] or write Scholarly Editions, Division of Research Programs, Room

318, NEH, 1100 Pennsylvania Avenue, N.W., Washington, D.C. 20506. Website: www.neh.gov/grants/guidelines/editions.html

The James Marston Fitch Charitable Foundation will award a $25,000 research grant to a mid-career professional who has an advanced or professional degree and at least 10 years experience in historic preservation or related fields, including landscape architecture, architectural conservation, urban design, architectural history, and the decorative arts. The grant supports projects of original research or creative design that advance the practice of historic preservation in the U.S. There are also smaller grants of up to $10,000 that are provided at the discretion of the trustees. Deadline: Sept. 16, 2009. Contact: Tel: 212–252–6809; fax: 212–471–9987. 232 East 11th St., New York, NY 10003. Website: www.fitchfoundation.org. E-mail: [email protected].

Fulbright Grants are made to U.S. citizens and nationals of other countries for a variety of educational activities, primarily university lecturing, advanced research, graduate study, and teaching in elementary and secondary schools. The Fulbright Scholar Program sends 800 scholars and professionals each year to more than 140 countries. Grant benefits vary by program and type of award. Complete catalogue of Fulbright Grant opportunities for 2007–08 will be posted online. Deadlines vary by grant. Council for International Exchange of Scholars, 3007 Tilden St., NW, Suite 5L, Washington, D.C. 20008–3009. Website: www.iie.org/cies/ E-mail: [email protected]. Tel: 202–686–4000

The German Historical Institute awards short-term fellowships of one to six months to German and American doctoral students and postdoctoral scholars in the fields of German history. These fellowships are also available to German doctoral students and postdoctoral scholars/Habilitanden in the field of American history. For postdoctoral applications, the GHI will give priority to post-doc projects that are designed for the “second book.” Research projects must draw upon source materials located in the United States. The monthly stipend is Euro 1,600.for doctoral students and Euro 2,800.for postdoctoral scholars. Deadline: May 20 and October 15. Contact: German Historical Institute, Doctoral/Postdoctoral Fellowships, 1607 New Hampshire Ave., NW,

Washington, DC 20009–2562 . Website: http://www.ghi-dc.org/scholarship/grants/doc.html

The Jacob M. Price Visiting Research Fellowships facilitate research at the William L. Clements Library, located on the central campus of the University of Michigan. The Clements Library specializes in American history and culture from the 16th through the 19th centuries. Several grants of $1000 are available for graduate students and junior faculty whose work would benefit from use of the library’s resources. Fellows must spend at least one week at the Clements Library. Applications accepted between October 1 and January 15 each year. Contact: Price Fellowship Coordinator, William L. Clements Library, The University of Michigan, 909 S. University Ave. Ann Arbor, MI. 48109–1190. Tel: 734–764–2347; E-mail: [email protected]. Website: http://www.clements.umich.edu/Services.html#Price

The American Academy in Rome operates a program of fellowships and residencies that support the development of gifted American artists and scholars. Rome Prize winners pursue independent projects, which vary in content and scope, for periods ranging from six months to two years at the Academy. Stipends range from $10,500 to $21,000 (depending on the terms of the fellowships). The Academy’s Rome Prize winners are part of a residential community of 65 to 70 people each year. New info/forms posted early summer. Annual Deadline: November 1. There is a nominal application fee. Contact: American Academy in Rome, 7 E. 60th St., New York, NY 10022–1001. Tel: 212–751–7200. Website: http://www.aarome.org/rome_prize/index.htm

The German Center for Art History in Paris, offers approximately six fellowships a year for students (any nationality) to pursue their research in the arts and the humanities of Germany and France in the context of a pre-determined theme. Recipients are expected to be in residence for the duration of the fellowship and to participate in the activities of the Center. Deadline not yet posted. For information, contact: Prof. Dr. Thomas W. Gaehtgens, Deutsches Forum für Kunstgeschichte/Centre allemand d’histoire de l’art, 10 place des Victoires, F-75002 Paris. Website: http://www.dt-forum.org/bourses.html. E-Mail: [email protected]. Tel: 01.55.35.02.33

The William T. Grant Scholars Program supports promising early career researchers from diverse disciplines. Each fellow receives $300,000 distributed over a 5-yr period. Investigators in any discipline, at all non-profit institutions. worldwide, are eligible. Applicants should be pre-tenure or in a similar early career status if in a non-tenure track position. The award may not be used as a post-doctoral fellowship. Applicants must be within seven years of receipt of their terminal degree at the time of application. Awards are made to the applicant’s institution, providing support of $60,000 per year. The William T. Grant Scholars Award must not replace the institution’s current support of the applicant’s research. Nominations for 2009 due July 9. Contact: William T. Grant Scholars Program, 570 Lexington Ave., 18th Floor, New York, NY 10022–6837, Tel: 212–752–0071 Website:http://www.wtgrantfoundation.org/

The Institute for Scholars at Reid Hall, of Columbia University (New York) offers fellowships to scholars who are interested in working in Paris. Individuals may applyfor year-long or academic term fellowships. Opened in January 2001 in cooperation with the Maison des Sciences de l’Homme, the Institute offers a setting at which fellows may pursue their individual and collective research while interacting with other scholars in France and throughout Europe. The Institute encourages collaborative group proposals, although individual applications will be considered. The Institute does not consider applications from doctoral or postdoctoral candidates. Fellows may apply for a semester or a year of residence. Complete applications must be submitted by March 1st of any given year. Contact: Office of the Provost, Columbia University, 535 West 116 Street, 205 Low Memorial Library, Mail Code 4336, New York, NY 10027, Tel: 212–854–3813, Email: [email protected]. Website: http://www.columbia.edu/cu/reidhall

IFK Internationales Forschungszentrum Kulturwissen-schaften offers Visiting Fellowships to internationally recognized scholars. Applications are going to be peer-reviewed by IFK’s International Academic Advisory Board. For deadlines, consult website. Contact: IFK Internationales Forschungszentrum Kulturwissenschaften, Reichsratsstraße 17, 1010 Wien, Austria, Tel: (+43–1) 504 11 26. E-Mail: [email protected]. Website: http://www.ifk.ac.at/contact.html


Kluge Center Fellowships, offered through the Library of Congress, support post-doctoral research in all disciplines of the humanities and humanities-related social sciences using the foreign language collections of the Library of Congress. Applicants must have received the Ph.D. within the past seven years. Fellowships up to 12 months carry a stipend of $4,000 per month. During the fellowship period, scholars are expected to be engaged in full-time research in the Library. Deadline: postmarked July 15, 2009. Contact: American Council of Learned Societies, 228 E. 45th St., New York, NY 10017–3398; 212–697–1505; E-mail: [email protected]; Website: www.loc.gov/loc/kluge/fellowships. Kluge Fellowships, Office of Scholarly Programs, Library of Congress, LJ120, 101 Independence Ave., SE, Washington, DC 20540–4860. E-Mail: [email protected].

The Institute of European History, Department of General History, awards ten fellowships for a six- to twelve-month research stay at the Institute in Mainz, for research in the field of German and European history since the 16th century. The selection is made by the department’s fellowship commission, which meets three times a year, in March, July and November. Consult website for stipend amounts and deadlines. Contact: Professor Dr. Heinz Duchhardt, Institut fuer Europaeische Geschichte. Abteilung Universalgeschichte Alte Universitaetsstr. 19 D-55116 Mainz, GERMANY. Website: http://www.inst-euro-history.uni-mainz.de

The American Historical Association offers several book prizes for outstanding works in the field of history. The Herbert Baxter Adams Prize for a work in the field of European history from 1815 through the 20th century; the James A. Rawley Prize in Atlantic History for historical writing that explores the integration of Atlantic worlds before the twentieth century; the J. Russell Major Prize for the best work in English on any aspect of French history and the George Louis Beer Prize in European international history since 1895 century. The Albert J. Beveridge Award in American history

recognizes a distinguished book on the history of the United States, Latin America, or Canada, from 1492 to the present. Deadline for all submissions: May 15. For complete competition guidelines, contact: Book Prize Administrator, American Historical Association, 400 A St., SE Washington, D.C. 20003–3889. Tel: 202– 544–2422, E-mail: [email protected]. Website: www.historians.org/prizes/index.cfm The Society for the History of Technology offers prizes for outstanding work in the history of technology, broadly defined. The Edelstein Prize of $3,500 is awarded to the outstanding book published in the history of technology during the period 2006–2008. Non-English language books are eligible for three years following the date of their English translation. Publishers and authors are invited to nominate titles for this prize; send one copy to EACH of the committee members. Deadline for receipt of books is April 15. Contact committee chair: Edmund Russell, STS Dept., Univ. of Virginia, Thornton Hall, Charlottesville, VA, 22904–4744. The Sally Hacker Prize is awarded to the best popular book published during the period 2006–2008. The prize of $2,000 recognizes books in the history of technology that are directed to a broad audience, including students and the interested public. Publishers and authors are invited to nominate titles; Deadline for receipt of books is April 15. Contact committee chair: Emily Thompson, 232 E. Market St., Venice, CA 90291. The Levinson Prize of $400 and a certificate is awarded to a graduate student for an unpublished paper that explicitly examines a technology or device/process within the framework of social or intellectual history. Deadline for nominations: April 15. Contact committee chair: Gerard Fitzgerald, Chemical Heritage Foundation, 315 Chestnut St., Philadelphia, PA 19106. E-mail: [email protected]. For more information about these and other SHOT programs and prizes, contact: contact the secretary at: SHOT, Department of History, 603 Ross Hall, Iowa State University, Ames, IA 50011, ph: 515.294.8469. Website: http://shot.press.jhu.edu. E-mail: [email protected]

The Rudolf Jahns Prize (10,000 Euros) is given every two years to art historians, journalists and curators/exhibition organizers early in their careers who are engaged in projects related to Rudolf Jahns and/or his period. Both already completed and planned projects are eligible. No

deadline is given. Contact: Staatliche Museen zu Berlin, Kunstbibliothek, Matthäikirchplatz 6, D-10785 Berlin, or: Rudolf Jahns-Stiftung, (Attn: Rudolf Jahns Preis 2004), Leopold Zunz Weg 9, D-32756 Detmold. Website: http://www.rudolf-jahns-stiftung.de/

The Phi Beta Kappa Society has been granted the opportunity to foster continuing education through two foreign study fellowships. The Mary Isabel Sibley Fellowship ($20,000) is awarded annually to young women who wish to study Greek or French language and literature. The Walter J. Jensen Fellowship ($10,000) aimed to help educators and researchers improve the study of French in the U.S., is awarded annually for six months of study in France. Phi Beta Kappa also recognizes those who work to preserve and promote the liberal arts and sciences. The Sidney Hook Award ($7,500) recognizes national distinction by a single scholar in each of three endeavors scholarship, undergraduate teaching and leadership in the cause of liberal arts education. The Award for Distinguished Service to the Humanities is given to recognized individuals who have made significant contributions in the field of the humanities. The Fellows Award honors an individual who has demonstrated scholarly achievement and excellence in his or her chosen field and who, by work and life, has exemplified the goals and ideals of Phi Beta Kappa. Phi Beta Kappa Society, 1606 New Hampshire Ave. NW, Washington, DC 2009. Tel: 202–265–3808. E-mail: [email protected]. For deadline and application information, consult website: http://staging.pbk.org/AM/Template.cfm?Section=Scholarships_and_Awards

National Gallery of Art - Senior Fellowships for Advanced Study in the Visual Arts Fellowships are for full-time research, and scholars are expected to reside in Washington, D.C., and to participate in the activities of the Center throughout the fellowship period. Lectures, colloquia and informal discussions complement the fellowship program. There will be one Paul Mellon Fellowship, and four to six Ailsa Mellon Bruce and Samuel H. Kress Senior Fellowships. Deadline for 2010–2011: October 15, 2009. The Paul Mellon and Ailsa Mellon Bruce Senior Fellowships are intended to support research in the history, theory and criticism of the visual arts (painting, sculpture, architecture, landscape architecture, urbanism, prints and drawings,

film, photography, decorative arts, industrial design and other arts) of any geographical area and of any period. The Samuel H. Kress Senior Fellowships are intended primarily to support research on European art before the early nineteenth century. The Frese Senior Fellowship is intended for study in the history, theory and criticism of sculpture, prints and drawings, or decorative arts of any geographical area and of any period. Stipend amount:$50,000 (plus housing). Consult website for eligibility and application information. http://www.nga.gov/resources/casvasen.shtm#application Contact National Gallery of Art, Center for Advanced Study in the Visual Arts, 2000B South Club Drive, Landover, Maryland 20785. Tel: 202–842–6482. E-mail: [email protected].

The John Simon Guggenheim Memorial Foundation offers fellowships to further the development of scholars and artists by assisting them with research in any field of knowledge and creation in any of the arts, under the least restrictive conditions and irrespective of race, color or creed. The fellowships are awarded to men and women who have already demonstrated exceptional capacity for productive scholarship or exceptional creative ability in the arts. Deadline: October 1, 2009. Awards: $40,211 (average amount). Contact: John Simon Guggenheim Memorial Foundation, 90 Park Ave., New York, NY 10016, Tel: 212–687–4470, Fax: (212) 697–3248 Website: [email protected].

The Dactyl Foundation offers a $1,000 award for essays on literary, aesthetic, or cultural theory. Essays may be submitted by the author or nominated by another individual. Length open. Published or unpublished, no deadline. Send via regular mail to Victoria N. Alexander, 64 Grand Street, New York, NY 10013. Website: www: dactyl.org. E-mail: [email protected]

PRIZES AND AWARDS


U.S EXHIBITIONS

CONNECTICUTGreenwich. Bruce Museum. Illuminating the Sea: The Marine Paintings of James E. Buttersworth, 1844–1896. March 28–July 5, 2009

New Britain Museum of American Art. The Eight and American Modernisms. March 6–May 24, 2009. This exhibition highlights the works of three collections, including the Milwaukee Art Museum and the Terra Museum of American art. 70 works by The Eight will be on display.

New Haven. Yale University Art Gallery. Picasso and the Allure of Language. January 27–May 24, 2009. Displaying nearly 80 objects, this exhibition will explore the relationship between art and literature, and painting and writing in Picasso’s work. Paintings from the Reign of Victoria: The Royal Holloway Collection, London. May 7–July 26, 2009. Dalou in England: Portraits of Womanhood, 1871–1879. June 11–August 23, 2009. During his exile in London, Jules Dalou (1838–1902) focused on themes of modern womanhood. This exhi-bition explores four of his sculptures.

DELAWAREWilmington. Delaware Art Museum. John Sloan in Philadelphia and New York. Febru-ary 21–May 17, 2009. Illustrating Her World: Ellen Bernard Thompson Pyle. August 1, 2009–January 3, 2010. Ellen Pyle (1876–1936) was one of the only female illustrators working for the Saturday Eve-ning Post. About 50 of the artist’s works will be featured.

Winterthur Museum. Harbor and Home: Furniture of Southeastern Massachusetts, 1710–1850. March 21–May 25, 2009.

FLORIDACoral Gables. Lowe Art Museum. Through the Lens: Photography from the Permanent Col-lection: Part I: 19th Century through WWII. June 27–October 4, 2009.

Gainesville. Samuel P. Harn Museum of Art. Uncommon Glazes: American Art Pottery, 1880–1950. February 24–September 13, 2009. This exhibition highlights the inno-

vative techniques of ceramics after the Civil War and during the industrial growth of America. Fashioning Kimono: Art Deco and Modernism in Japan. March 8–May 17, 2009. Approximately 100 kimo-nos, ranging from the early 20th century through the 1940s, will be on display. Landscape Perspectives: Highlights from the Photography Collection. March 10–August 30, 2009. This exhibition celebrates land-scape photography from the 1860s to the present, including works by Carleton Watkins and Mark Klett.

Orlando Museum of Art. American Portraits and Landscapes. January 1–December 31, 2009. Three centuries of art will be pre-sented, including works by Benjamin West, Rembrandt Peale, and John Henry Twachtman. 19th and Early 20th American Art. January 1–December 31, 2009. Works from the Museum’s collection by artists, such as George Inness, John Singer Sar-gent, and Georgia O’Keeffe, will be featured.

West Palm Beach. Norton Museum of Art. Landscapes from the Age of Impressionism. February 6–May 10, 2009. Off the Wall: The Human Form in Sculpture. May 23–Septem-ber 30, 2009. Over 30 works by American and European artists will emphasize the unique qualities of sculpture.

Winter Park. The Charles Hosmer Morse Museum of American Art. A Brilliant Set-ting—American Cut and Pressed Glass Tableware 1876–1917. Open until Septem-ber 27, 2009. The Virtues of Simplicity —American Arts and Crafts. Opens February 17, 2009. This exhibition includes Crafts-man furnishings and works by Frank Lloyd Wright and Gustav Stickley.

GEORGIAAtlanta. High Museum of Art. Louvre Atlanta: The Louvre and the Masterpiece. October 12, 2008–September 6, 2009.

Atlanta. Michael C. Carlos Museum at Emory. Modern to Contemporary Masters: Works on Paper Highlights. January 24–May 17, 2009.

Cartersville. Booth Western Art Museum. Wild at Heart: Selections from the National Museum of Wildlife Art. April 11–July 19, 2009. Themes of wildlife are represented in paintings and sculpture by past artists Albert Bierstadt and George Catlin and contem-porary artists Tucker Smith and Bob Kuhn.

Savannah College of Art and Design Museum of Art. The Master Eye: 19th and 20th–Century Photography from the Rhoades Collection. June 1, 2008–December 31, 2009.

Savannah. Telfair Museum of Art. Gaming Tables for Whist, Chess, and Other Amuse-ments. April 18–August 23, 2009. Exploring the material culture of games during the Federal era, this exhibition addresses the popularity of card tables during this period.

HAWAIIHonolulu Academy of Arts. Capturing the Actor’s Spirit: Kabuki Actor Prints by Katsu-kawa Shunshö. January 15–April 26, 2009. Katsukawa Shunshö (1726–1792) pio-neered the production of multicolor woodblock prints. Approximately 30 prints will be on view. A Rare Pair of Imperial Korean Screens. January 1–May 17, 2009. This pair of imperial Korean screens is among the largest to have survived from the court of the Joseon dynasty (1392–1910).

ILLINOISChicago. The Art Institute of Chicago. Becoming Edvard Munch: Influence, Anxiety, and Myth. February 14–April 26, 2009. Photography on Display: Modern Treasures. May 9–September 13, 2009. Beyond Golden Clouds: Japanese Screens in the Art Institute of Chicago and Saint Louis Art Museum. June 26–September 27, 2009. Daniel Burnham’s Plan of Chicago. September 6, 2008–December 15, 2009.

Chicago. Loyola University Museum of Art. Rodin: In His Own Words. June 13–August 23, 2009.

Sara Fisher Ames, Bust of Abraham Lincoln, c. 1863. Williams College Museum of Art, Williamstown, MA

ALABAMAAuburn. Jule Collins Smith Museum of Fine Art. Audubon: Selections from the Perma-nent Collection. February 14–June 20, 2009. This exhibition explores the theme of taxonomy and nomenclature.

CALIFORNIA“http://www.fresnomet.org/” Fresno Met-ropolitan Museum of Art and Science. Anna Richards Brewster: American Impression-ist. March 21–June 7, 2009.

Los Angeles. The J. Paul Getty Museum. In Focus: The Portrait. January 27–June 14, 2009. Walls of Algiers: Narratives of the Colo-nial City. May 19–October 18, 2009. Through vintage postcards, architectural

illustrations, and photographs, this exhibi-tion follows the urban changes that occurred during the city’s colonial period. Cast in Bronze: French Sculpture from Renais-sance to Revolution. June 30–September 27, 2009. In Focus: Making a Scene. June 30–November 1, 2009. This exhibition comprises more than 25 photographs, including works by Henry Peach Robin-son, Julia Margaret Cameron, and Man Ray.

Los Angeles. Armand Hammer Museum of Art at UCLA. Houseguest: Gabbiani. Feb-ruary 15–May 24, 2009. This exhibition, curated by Los Angeles-based artist Franc-esca Gabbiani, presents works that represent themes used in her own art,

such as sorcery and witchcraft. The images range from the Renaissance to the present.

Los Angeles. UCLA Fowler Museum of Cultural History. Fowler in Focus: Masks of Sri Lanka. Opens March 1, 2009. 25 rare 19th and early 20th-century masks from Sri Lanka will represent the significant indige-nous collection of the Museum.

Monterey Museum of Art. Made in Mon-terey. Opens April 18, 2009. Images of Monterey’s landscape from the Museum’s collection will be on display. These include photographs by Ansel Adams and Edward Weston. Over Rainbows and Down Rabbit Holes: The Art of Children’s Books. Opens July 18, 2009. The works in this exhibition range from the historic images by Beatrix Potter to those by contemporary artists.

San Diego. Museum of Photographic Arts. Picturing the Process: The Photograph as Wit-ness. August 1, 2009–February 6, 2010.

San Marino. The Huntington Library. Treasures through Six Generations: Chinese Painting and Calligraphy from the Weng Col-lection. April 11–July 12, 2009.

Santa Ana. Bowers Museum. Art of the Samurai: Selections from the Tokyo National Museum. April 18–June 14, 2009. This exhibition features 81 objects, primarily from the Edo Period, ranging from swords to theater costumes.

Santa Barbara Museum of Art. Corot in California. July 4–October 11, 2009. A dozen of the paintings created in Califor-nia by the celebrated French landscape artist will be on display.

Cantor Arts Center at Stanford Univer-sity. Rodin! The Complete Stanford Collection. Opens February 18, 2009. Both small and large works by the artist will be pre-sented. Splendid Grief: Darren Waterston and the Afterlife of Leland Stanford, Jr. April 15–July 5, 2009. From the Bronze Age of China to Japan’s Floating World. July 29–October 18, 2009.


Chicago. Smart Museum of Art. The “Writ-ing” of Modern Life: The Etching Revival in France, Britain, and the U.S., 1850–1940. November 18, 2008–April 19, 2009.

INDIANABloomington. Indiana University Art Museum. From Pen to Printing Press: Ten Centuries of Islamic Book Arts. March 6–May 10, 2009. 50 Islamic works on paper will be on display for the first time.

Indianapolis. Indiana State Museum. Shadow and Substance: African American Images from the Burns Archive. January 19–May 17, 2009. Photographs of African Americans, from slaves and Civil War sol-diers to political activists will be featured.

IOWAAmes. Brunnier Art Museum. N.C. Wyeth: America in the Making. March 10–August 9, 2009.

Cedar Rapids Museum of Art. Goya’s “Disasters of War”. August 16–December 6, 2009. This exhibition will feature side-by-side comparisons of Goya’s etchings of witnessed events and present-day conflicts.

LOUISIANANew Orleans Museum of Art. Style, Form and Function: Glass from the Collection of Jack M. Sawyer. February 7–April 26, 2009. Lou-isiana Women Artists from the Early 19th Century to the Present. April 15–September 13, 2009.

MAINEBrunswick. Bowdoin College Museum of Art. Ink Tales. February 3–May 10, 2009. The Chinese paintings in this exhibition highlight the many narratives that exist in both scrolls and albums, ranging from the 15th through the 18th century.

MASSACHUSETTSCotuit. Cahoon Museum of American Art. American Masterworks on Paper from the Ken Ratner Collection. July 21–September 13, 2009. Works by the Museum’s American artists, including Mary Cassatt, Edward Hopper, and Robert Henri, among others, will be on display.

Fitchburg Art Museum. All Things Bright and Beautiful: California Impressionist Paint-ings from the Irvine Museum. March 15–June 7, 2009. Fifty eight American Impression-ist paintings dating from the end of the 19th century to the 1930s will be featured.

South Hadley. Mount Holyoke College Art Museum. What Can a Woman Do?: Women, Work, and Wardrobe 1865–1940. February 3–May 31, 2009. This exhibition examines the changing perceptions of women between the Civil War and World War II.

Springfield Museums. The Allure of Italy: Late 19th–Century Italian Watercolors. Octo-ber 28, 2008–October 25, 2009. The images of Italy presented in this exhibition belonged to the collection of George Wal-ter Vincent Smith, who traveled on the Grand Tour between 1884 and 1887.

Stockbridge. Norman Rockwell Museum. Artists in Their Studios. February 7–May 25, 2009. This exhibition offers a glimpse into the studios of 75 important artists from the 19th century to present day.

Williamstown. Williams College Museum of Art. Lincoln to the Nth Degree. March 28–June 28, 2009. This exhibition cele-brates Lincoln’s bicentennial through images and texts produced during his life-time and after his death. Prendergast in Italy. July 18–September 20, 2009. Letters, prints, and photographs accompany the approximately 50 watercolors by Maurice Prendergast (1858–1924) that were pro-duced during his travels through Italy.

Worcester Art Museum. Alive in Colorful Display. October 29, 2008–June 7, 2009. Six-panel and two-panel screen paintings in the manner of ukiyo-e and Rinpa depict the pleasurable pursuits and customs of the people of Edo.

MICHIGANEast Lansing. Kresge Art Museum at Michigan State University. Gods, Demons and Generals: Icons of Korean Shamanism. September 8–October 18, 2009. Paintings and photographs trace Korean Shaman-ism during the 19th and 20th centuries.

MINNESOTAMinneapolis Institute of Arts. From Rem-brandt to Matisse: Selected Works on Paper. December 20, 2008–June 14, 2009. Wood-block Prints by Kawase Hasui. March 7–May 31, 2009. Thirteen prints produced in the time-honored Japanese manner by Kawase Hasui (1883–1957) capture romanticized views of Japan.

MISSISSIPPIJackson. Mississippi Museum of Art. Raoul Dufy: A Celebration of Beauty. Febru-ary 7–July 5, 2009. This exhibition will present work by the artist spanning seven decades of his career, and includes more than 200 drawings, paintings, and textile designs.

MISSOURIColumbia. Museum of Art and Archaeol-ogy-University of Missouri. The Sacred Feminine: Prehistory to Post-Modernity. August 29–December 24, 2009. This exhibition addresses the role of women in religious settings, spanning both East and West from pagan cultures to later Christianity.

Kansas City. Nelson-Atkins Museum of Art. Senses and Sensibilities. February 6–October 1, 2009.

Saint Louis University Museum of Art. Relics of a Glorious Past: Imperial Russian Artifacts from the Collection of Dr. James F. Cooper. February 27–December 20, 2009. More than 400 religious, political, decora-tive, and military objects from Imperial Russia will be on display.

St. Louis. Mildred Lane Kemper Art Museum. The Political Eye: 19th-Century French Caricature and the Mass Media. January 30–April 27, 2009. Lithographic caricatures, satirical journals, illustrated books, and political posters that express the political and social ideas of 19th-cen-tury France.

MONTANAGreat Falls. C.M. Russell Museum. Photo-graphing Montana 1894–1928: The World of Evelyn Cameron. April 16–May 25, 2009. Photographs of Montana wildlife, people,

and landscapes by Evelyn Cameron (1868–1928) will be on display.

NEBRASKALincoln. Sheldon Museum of Art. James McNeill Whistler: 40 Years of Printmaking. May 26–September 29, 2009. Approxi-mately 40 etchings and lithographs from the Museum’s collection will be on view.

Omaha. Joslyn Art Museum. The Indian Portrait Gallery of Thomas L. McKenney. March 7–June 14, 2009.

NEW HAMPSHIREHanover. Hood Museum of Art. Wearing Wealth and Styling Identity: Tapis from Lam-pung, South Sumatra, Indonesia. April 11–August 31, 2009. Garments from East-ern and Western Asia express the product of a culture located between two maritime routes. France in Transformation: The Cari-cature of Honoré Daumier, 1833–1870. April 25–August 24, 2009. Social and political caricatures from the Museum’s collection will be on view.

NEW JERSEYJersey City Museum. A Community Collects. September 18, 2008–August 17, 2009. The Boudoir. September 18, 2008–August 17, 2009. This exhibition is the second instal-lation in a two-part series of interiors. The Boudoir presents a period room with a 19th-century sleigh bed, a marble-topped dresser, and a painting by August Will.

Montclair Art Museum. Cézanne and Amer-ican Modernism. September 13, 2009– January 3, 2010. This is the first exhibition to examine Cézanne’s influence on Ameri-can painters, such as Max Weber, Marsden Hartley, and Charles Demuth.

Morristown. Morris Museum. Invitations to a Wedding: Bridal Gowns from 1812 to the Present. June 9–November 26, 2009. This exhibition demonstrates changes in the role of women through the wedding gown.

The Newark Museum. 100 Masterpieces of Art Pottery, 1880–1930. September 23, 2008–January 31, 2010.

NEW MEXICOSanta Fe. New Mexico Museum of Art. American Impressionism: Paintings from the Phillips Collection. June 5–September 13, 2009.

NEW YORKBlue Mountain Lake. Adirondack Museum. Common Threads: 150 Years of Adirondack Quilts and Comforters. May 22–October 18, 2009. The quilts and comforters in this exhibition were all made by women living in the Adirondack area. A “Wild, Unsettled Country”: Early Reflections of the Adirondacks. May 22–October 18, 2009.

Buffalo. Burchfield Penney Art Center. The Art of Western New York: An Historical Context. November 21, 2008–September 27, 2009. Works by artists of the Buffalo and Niagara Regions will be on display.

Catskill. Cedar Grove, The Thomas Cole National Historic Site. River Views of the Hudson River School. Opens May 2, 2009. Landscapes by Thomas Cole, Sanford Gif-ford, and Jasper Cropsey will be some of the many works on view celebrating the 400th anniversary of Henry Hudson’s 1609 voyage up the Hudson River.

Cooperstown. Fenimore Art Museum. New Additions / New Perspectives: American Indian Art. April 1–December 31, 2009. America’s Rome: Artists in the Eternal City, 1800–1900. May 23–December 31, 2009. The approximately 80 paintings in this exhibition represent American artists’ views of 19th-century Rome.

Corning. Rockwell Museum of Western Art. Remington’s West and the Popular Prints. February 20–May 11, 2009. Sewing the Seeds: 200 Years of Iroquois Glass Beadwork. May 23–September 13, 2009. This exhibi-tion will feature over 100 pieces of beadwork. Las Artes de Mexico. September 24, 2009–January 3, 2009. This exhibition presents works by artists from Mexico, ranging from the Mayan and Aztec cul-tures through the 20th century.

Glens Falls. The Hyde Collection. Thomas Chambers (1808–1869): American Marine and Landscape Painter. February 8–April 19, 2009. Degas and Music. July 12–Octo-ber 18, 2009.

Huntington. The Heckscher Museum of Art. Paper Chase: Works on Paper by William Merritt Chase and His Contemporaries. July 11–September 27, 2009. Works on paper by the artist that were donated to the Museum by Chase scholar Ron Pisano will be featured.

New York City. Brooklyn Museum. Gus-tave Caillebotte: Impressionist Paintings from Paris to the Sea. March 27–July 5, 2009. Approx-imately 40 paintings will highlight the artist’s oeuvre, which includes urban scenes as well as seascapes.

New York City. Cooper-Hewitt National Design Museum. Shahzia Sikander Selects: Works from the Permanent Collection. March 6–September 7, 2009. As the 9th guest curator of the “Selects” exhibition series, contem-porary artist Shahzia Sikander will choose objects from the permanent collec-tion’s wide-ranging selection that relate to her work.

New York City. Guggenheim Museum. Frank Lloyd Wright: From Within Outward. May 15–August 29, 2009. Kandinsky. Sep-tember 18, 2009–January 10, 2010. More than 100 paintings will highlight the art-ist’s contri-bution to the development of abstract art in the 20th century.

New York City. Metropolitan Museum of Art. Augustus Saint-Gaudens in the Metropoli-tan Museum of Art. June 30–October 12, 2009. 45 of the artist’s sculptures, from cameos to reductions of public monu-ments, will be on display. Cast in Bronze: French Sculpture from Renaissance to Revolu-tion. February 24 –May 24, 2009. Living Line: Selected Indian Drawings from the Sub-hash Kapoor Gift. March 25–September 6, 2009. 58 drawings in ink, and in some cases highlighted with watercolor, repre-sent the mastery of 18th-century Punjabi court artists. Napoleon III and Paris. June 9–September 7, 2009. With paintings and photographs from the Museum’s perma-


nent collection, this exhibition will focus on the transformation of Paris under the reign of Napoleon III. Royal Porcelain from the Twinight Collection, 1800–1850. Septem-ber 16, 2008–August 9, 2009. Nearly 75 extraordinary examples of porcelain from the three major European porcelain cen-ters, Berlin, Sèvres, and Vienna, will be on display.

New York City. The Morgan Library and Museum. Studying Nature: Oil Sketches from the Thaw Collection. January 23–August 30, 2009. More than 20 sketches chronicle the history of painting nature with works by Pierre-Henri Valenciennes, Jean-Baptiste-Camille Corot, and John Constable, among others.

New York City. National Academy Museum. Reconfiguring the Body in American Art, 1820–2009. July 9–August 30, 2009. This exhibition will illustrate how the body has been central to the artist throughout history, from formal portraiture and genre painting to modernist devices of decon-structing the figure.

New York City. Neue Galerie. Brücke: The Birth of Expressionism, 1905–1913. February 26–June 29, 2009. More than 100 works in different media—drawing, painting, and sculpture—represent German Expression-ism as developed by the group of artists known as Die Brücke.

New York City. New-York Historical Soci-ety. Abraham Lincoln in His Own Words. February 12–July 12, 2009. Letters by and sculptures of Lincoln, among other objects, are featured in this exhibition, which commemorate the bicentennial of Lincoln’s birth. New York Painting Begins: Eighteenth-Century Portraits. January 24, 2009–January 1, 2010.

New York City. Rubin Museum of Art. Patron and Painter: Situ Panchen and the Revival of the Encampment Style. February 6–August 17, 2009. The work of the great scholar-painter Situ Panchen Chokyi Jungne (1700–1774), who revived the Encampment style, a combination of Indo-Nepali and Chinese traditions, will be traced in this exhibition.

Poughkeepsie. The Frances Lehman Loeb Art Center. Catching Light: European and American Watercolors from the Permanent Col-lection. May–July 2009. Watercolors by English and American artists from the 18th through 20th century highlight the Art Center’s rich collection. Drawn by New York: Six Centuries of Watercolors and Drawings at the New-York Historical Society. August 14–November 1, 2009. These watercolors and drawings represent the country’s evolving image from a dependent colony into an independent world power.

Rochester. George Eastman House. Truth-Beauty: Pictorialism and the Photograph as Art, 1845–1945. February 7–May 31, 2009. The progression of Pictorialism, the move-ment that instigated the desire to elevate photography to an art form, will be illus-trated through the works of many celebrated photographers.

Rochester. Memorial Art Gallery. Walter Goodman’s The Printseller: Solving a Painter’s Puzzle. August 14–November 8, 2009. Scholar Pete Brown explores the mysteri-ous painting The Printseller (1882–1883) and its unknown artist, Walter Goodman (1838–1912).

Roslyn Harbor. Nassau County Museum of Art. Facing Destiny: Children in European Portraiture (1500–1900). March 29–May 25, 2009. This exhibition looks at the por-traiture of royal and aristocratic children painted during the period before child-hood was considered a stage of life.

Southampton. The Parrish Art Museum. American Views: Landscape Paintings from the Collection of the Parrish Art Museum. Sep-tember 27–November 29, 2009. Works painted during the 19th and the 20th centu-ries will highlight the progression of American landscape painting.

Utica. Munson-Williams-Proctor Arts Institute. The Fabrics of the Home. April 4–August 16, 2009. This exhibition features upholstery and wallpaper treatments from 1850 to 1900 as elements of cohesively conceived interior designs, works of art, and as historical documents. James E. Free-man, 1808–1884: An American Painter in

Italy. September 12, 2009–January 17, 2010. This is the first retrospective on the American artist, who lived in Rome where he painted portraits and genre scenes.

NORTH CAROLINAChapel Hill. Ackland Art Museum. At the Heart of Progress: Coal, Iron and Steam since 1750, Industrial Imagery from the John P. Eckblad Collection. January 24–May 17, 2009.

Charlotte. Mint Museum of Art. Master-works from the New Orleans Museum of Art. March 14–June 21, 2009. American Quilt Classics, 1800–1980: The Bresler Collection. July 25, 2009–February 28, 2010. This exhibition celebrates the gift of 36 quilts by the Breslers to the Museum.

Raleigh. North Carolina Museum of Art. Highlights of the American Collection. Opens February 15, 2009.

Winston-Salem. Reynolda House Museum of American Art. American Impressions: Selections from the National Acad-emy Museum. February 28–June 28, 2009.

OHIOKent State University Museum. The Art of the Embroiderer. September 25, 2008–August 30, 2009.

Oberlin. Allen Memorial Art Museum. Envisioning Edo’s Splendor: “The Floating World” and Beyond. February 3–July 19, 2009. The selection of Japanese prints comprises an overview of the history, tech-nique, and subject matter of the ukiyo-e tradition. Imagining Rome through Artist’s Eyes, 1600–1800. February 3–July 19, 2009.

OKLAHOMAOklahoma City Museum of Art. Passport to Paris: 19th-Century French Prints from the Georgia Museum of Art. April 30–June 7, 2009. Turner to Cézanne: Masterpieces from the Davies Collection, National Museum Wales. June 25–September 20, 2009.

Tulsa. Philbrook Museum of Art. Everyday People, Everyday Places: Prints From the Age

of Impressionism. March 22–June 14, 2009. The prints in this exhibition focus on scenes of everyday life in France circa 1850 to 1900.

OREGONPortland Art Museum. La volupté du goût: French Painting in the Age of Madame de Pompadour. February 7–May 17, 2009

PENNSYLVANIAAllentown Art Museum. Waves, Waterfalls and Ripples: Water in Japanese Art. April 26–July 18, 2009. Approximately twenty wood block prints depicting water by the leading 19th-century Japanese artists will be featured.

Philadelphia Museum of Art. The Art of Japanese Craft: 1875 to the Present. Decem-ber 6, 2008–September 2009. Nearly 40 objects of Japanese craft, including lac-querware, wood sculpture, metalwork, and paintings, will be displayed. Cézanne and Beyond. February 26–May 17, 2009. 40 paintings and 21 watercolors by Cézanne will be exhibited alongside works by artists who were inspired by him. Stories and Images in East Asian Art. March 12, 2009–March 31, 2010. Korean screen paintings with Chinese narratives will be juxtaposed with ceramics of the Qing dynasty that are decorated with similar motifs. Shopping in Paris: French Fashion 1850–1925. April 11–September 2009. Nearly 25 French garments will represent the inspiration for American fashion.

Pittsburgh. The Frick Art Museum. The Road to Impressionism: Barbizon Landscapes from the Walters Art Museum. Open until May 24, 2009. Meissonier: A Final Master-piece, A Pittsburgh Home. Open until May 31, 2009.

University Park. Palmer Museum of Art. Peter Henry Emerson and American Naturalis-tic Photography. January 20–May 17, 2009. In an 1889 publication, Emerson argued for the elevation of photography as art. This exhibition includes works by the art-ist and other Pictorialist artists.

RHODE ISLANDProvidence. Museum of Art Rhode Island School of Design. The Lure of Ink: Japanese Monochrome Prints and Books. March 6– July 5, 2009. This exhibition explores the variety of effects that woodblock prints produce.

SOUTH CAROLINAColumbia Museum of Art. Highlights from the Collection. January 10–June 7, 2009. Turner to Cézanne: Masterpieces from the Davies Collection, National Museum Wales. March 6–June 7, 2009.

TENNESSEEMemphis Brooks Museum of Art. Pieced and Patterned: Southern Quilts, 1840–1940. February 21–May 17, 2009. Over 30 quilts will represent the wide range of quilt-pro-duction in the Southern states.

Nashville. Cheekwood Museum of Art. From Washington to Warhol: Americana Rede-fined. July 11–September 20, 2009. This exhibit features images of America ex-pressed through early portraits to Pop Art.

Nashville. Vanderbilt University Fine Arts Gallery. Views from the Collection III. April 3–June 30, 2009. Works from all aspects of the Gallery’s collection will be on display, including Renaissance, 17th-century Dutch, and 19th-century French paintings.

TEXASAustin. Ransom Humanities Research Center at the University of Texas. The Persian Sensation: The Rubáiyát of Omar Khayyám in the West. February 3, 2009–August 2, 2009. 2009 marks the 150th anniversary of Edward Fitzgerald’s land-mark translation of the poetry of the medieval Persian astronomer Omar Khayyám.

El Paso Museum of Art. Realism in Print from the Dr. Richard L. Shorkey Collection, Art Museum of Southeast Texas, Beaumont, Texas. April 5–June 7, 2009. Etchings of architec-tural views, portraits, and figures by the artist will be featured.

Fort Worth. Amon Carter Museum. High Modernism: Alfred Stieglitz and His Legacy. March 7–June 28, 2009. Photographs by Stieglitz and his contemporaries will be on display.

Museum of Fine Arts, Houston. Wrapped in Color: Lithographic Book Covers and Jack-ets, 1890–1970. Open until May 25, 2009. A selection of rare lithographic book cov-ers, created by artists including Picasso, Chagall, and Matisse, will show how prac-tical this medium is, and how works of art were once used as functional objects.

Orange. Stark Museum of Art. Bluebonnets and Beyond: Julian Onderdonk, American Impressionist. February 10–May 24, 2009. Julian Onderdonk (1882–1922) trans-formed the Texas landscape through his work during his short life.

Tyler Museum of Art. Scenes from the American West: The Phelan Collection. Febru-ary 22–May 17, 2009. Over 60 works offer a panoramic view of the American West.

UTAHProvo. Brigham Young University Museum of Art. Visions of the Southwest from the Diane and Sam Stewart Art Collection. February 13–July 3, 2009. 124 works by artists who flocked to the Southwest to capture the landscape during the late 19th and 20th centuries will be on display. Paint-ings from the Reign of Victoria: The Royal Holloway Collection, London. August 15–October 25, 2009.

VERMONTBurlington. Fleming Museum at the Uni-versity of Vermont. A Beckoning Country: Art and Objects from the Lake Champlain Val-ley. April 14–September 20, 2009.

Shelburne Museum. Louis Comfort Tiffany: Nature by Design. June 20–October 25, 2009.


VIRGINIAAbingdon. William King Regional Arts Center. Interwoven: The Everyday Basket in the 19th and Early 20th Centuries. January 23–July 12, 2009. Buying Time: Clocks Along the Great Road, 1790–1870. July 31, 2009–January 3, 2010. This exhibition will tell the complex story of buying and selling clocks in the South from the late 18th cen-tury through the Civil War.

WASHINGTONBellevue Arts Museum. American Quilt Classics, 1800–1980: The Bresler Collection. January 27–May 31, 2009.

Goldendale. Maryhill Museum of Art. Hudson River Sojourn. March 15–July 8, 2009. Over Julia’s Dead Body: Gabriel von Max’s Mystics and Martyrs. May 2–Sep-tember 13, 2009. This exhibition will feature the Munich Secessionist von Max’s paintings of women, and the response to one of his paintings by Seattle writer Lesley Hazleton.

Seattle Art Museum. Life, Liberty and the Pursuit of Happiness: American Art from the Yale University Art Gallery. February 26–May 25, 2009. More than 250 objects will be featured in this exhibit that explores American art from its beginnings in the colonies to the World’s Columbian Exposi-tion in 1893.

WASHINGTON D.C.Smithsonian American Art Museum. Graphic Masters I: Highlights from the Smith-sonian American Art Museum. November 27, 2008–May 25, 2009. The Art and Craft of Greene & Greene. March 13–June 7, 2009. This retrospective is the largest exhibition of the Greenes’ work to date.

Freer Gallery of Art. Winslow Homer: Four Views of Nature. November 22, 2008–May 25, 2009. Winslow Homer’s watercolors and paintings from the Gallery’s collection are on view.

Arthur M. Sackler Gallery. The Tale of Shuten Doji. March 21–September 20, 2009.

National Gallery of Art. Designing the Lin-coln Memorial: Daniel Chester French and Henry Bacon. February 12, 2009–February 12, 2010.

National Portrait Gallery. Tokens of Affec-tion and Regard: Photographic Jewelry and Its Makers. October 24, 2008–June 21, 2009. This exhibition will highlight the tradition of photographic jewelry through daguerreotypes, ambrotypes, tintypes, and paper prints.One Life: The Mask of Lincoln. November 7, 2008–July 5, 2009. This exhibition documents the life of Lincoln through his portraits on the bicentennial of his birth.

WEST VIRGINIAHuntington Museum of Art. Who’s Who in the Vault: Portraits from the Permanent Collection. November 15, 2008–October 18, 2009.

WISCONSINMilwaukee Art Museum. The Artistic Furni-ture of Charles Rohlfs. June 6–August 23, 2009. Charles Rohlfs (1853–1936) was influenced by the Art Nouveau style and the Arts and Crafts movement. This exhi-bition is the first major monograph of Rohlfs’ work, and will present over 40 pieces of furniture and decorative objects.

Oshkosh. Paine Art Center and Gardens. Treasures from the Frederic Remington Art Museum. January 31–May 17, 2009. 26 original paintings, drawings, and sculp-tures will be on display.

Please confirm all dates before visiting museums as advance schedules are subject to change. Travelling exhibitions are listed only once at the most current venue. All dates are 2009 unless otherwise noted. Where information is available on exhibition catalogues, they are listed separately in our New Books section.

AUSTRIAVienna. Belvedere (Lower Belvedere).Ferdinand Georg Waldmüller. Jun 9–Oct. 11.

BELGIUMAntwerp. Royal Museum of Fine Arts.Goya, Redon, Ensor: Grotesque Paintings and Drawings. Through June 14.

Charles Meryon, Turret, Rue de l’École de Médecine, 22, Paris, 1861, etching. Smart Museum of Art, University of Chicago

Brussels. Royal Museum of Fine Arts.Alfred Stevens. May 8–Aug. 23.

Ghent. Museum of Fine Arts. Emile Claus and Rural Life. Through June 21.

CANADAMontreal. Museum of Fine Arts.Expanding Horizons. June 18–Sept. 27. Landscape painting and photography in North America from the nineteenth and twentieth centuries.

Ottawa. National Gallery of Canada.The Symbolist Muse: Prints from the Permanent Collection. Through June 21.

Toronto. Art Gallery of Ontario. Sin and Salvation. Holman Hunt and the Pre-Raphaelite Vision. Through May 10.

DENMARKSkagen. Skagens Museum. Anna: An Homage to Anna Archer (1859–1935). May 2–Aug. 31.

ENGLANDBirmingham. The Barber Institute of Fine Arts. Northern Lights: Swedish Landscapes from the National Museum, Stockholm. Through May 31.

Cambridge. The Fitzwilliam Museum.Endless Forms: Charles Darwin, Natural Science and the Visual Arts. June 16–Oct. 4.Lincoln. Tennyson Research Center.Tennyson Transformed. Through July 1.

London. Dulwich Picture Gallery. Sickert in Venice. Through May 31. Japanese Prints from the Honolulu Academy of Arts. July 8–Sept. 27.

London. National Gallery. Corot to Monet: A Fresh Look at Landscape from the Colletion. July 8–Sept. 20.

London. National Portrait Gallery.Constable Portraits: The Painter and His Circle. Through June 14.

London. Royal Academy of Arts.Kuniyoshi from the Arthur R. Miller Collection. Through June 7. J. W. Waterhouse: The Modern Pre-

Raphaelite. June 27–Sept. 13. Exhibition travels to the Museum of Fine Arts, Montreal, Oct. 1, 2009–Feb. 7, 2010London. Tate Britain. Turner and the Masters. Sept. 23, 2009–Jan. 24, 2010.London. Victoria & Albert Museum.Owen Jones (1809–74). Through Nov. 22.

FRANCECompiègne. Musées et Domaine nationaux de Compiègne. Napoleon and Romania. Through June 29.

Lille. Palais des Beaux-Arts. Mirrors of the Orient. May 15–Aug. 31. Drawings, photographs and video from the nineteenth and twentieth centuries of Morocco, Turkey, Egypt and Iran.

Paris. Musée d’Orsay. See Italy and Die: Photography and Painting in Nineteenth-Century Italy. Through July 19. Leaving Rodin Behind: Sculpture in Paris, 1905–1914. Through May 31. Italian Models: Ernest Hébert and the Peasants of Latium. Through July 19.

GERMANYBerlin. Bode Museum. John Flaxman and the Renaissance. Through July 12.

Hamburg. Kunsthalle. Edgar Degas: Intimacy and Pose. Through May 5. Nicolai Abildgaard: Body and Tradition. Through June 14. Collaborative exhibition organized with the Louvre and the Statens Museum for Kunst, Denmark. Opens in Copenhagen Aug. 29, 2009–Jan. 3, 2010. Catalog in Danish and English.

Stuttgart. Staatsgalerie. Edward Burne-Jones: The Earthly Paradise. Oct. 24, 2009–Feb. 7, 2010.

ITALYRavenna. Loggetta Lombardesca. The Artist Traveler: From Gauguin to Klee, from Matisse to Ontani. Through June 21.

THE NETHERLANDSAmsterdam. Van Gogh Museum. Van Gogh and the Colors of Night. Through June 7. Alfred Stevens. Sept. 18, 2009–Jan. 24, 2010.

INTERNATIONALEXHIBITIONS

SCOTLANDEdinburgh. National Gallery of Scotland.Turner and Italy. Through June 7.

Glasgow. Hunterian Museum and Art Gallery. The Glasgow Boys. Through May 16. Whistler: The Gentle Art of Making Etchings. Through May 30. Edvard Munch: Prints. June 12–Sept. 5. Major loan exhibition from the Munch Museum, Oslo.

SWEDENStockholm. Nationalmuseum. The Pre-Raphaelites. Through May 24.

SWITZERLANDBasel. Kunstmuseum. Vincent Van Gogh: Between Heaven and Earth, the Landscapes. Through Sept. 27. From Arcadia to Atlanta: Photographs from the Estate of Frank Buchser (1828–1890). June 6–Sept. 13.

WALESCardiff. National Museum. Sisley in England and Wales. Through June 14.


NEW BOOKS

Adlam, Carol and Juliet Simpson eds. Critical exchange: Art Criticism of the Eighteenth and Nineteenth Centuries in Russia and Western Europe. Oxford, Lang, 2009. 420 pp. $92.95.

Anselmo, Daniele, Franco La Cecla and Dario Lo Dico. Un fotografo americano in Sicilia: An American photographer in Sicily. Kalos, 2008. 140 pp. Hardcover $55.00.

Arizzoli-Clémentel, Pierre. L’album de Marie-Antoinette. Vues et plans du Petit Trianon à Versailles. Editions Gourcuff Gradenigo, 2008. 19 pp. Paperback $38.50.

Arnaldo, Javier ed. El naturalismo y la vida moderna. Museo Thyssen-Bornemisza, 2008. 154 pp. Paperback 28.50.

Asenbaum, Paul, Wolfgang Kos and Evan-Maria Orosz eds. Glanzstücke: Emilie Flöge and Wiener Werkstätte Jewellery. Arnoldsche, 2008. 152 pp. Hardcover $70.00.

Ausherman, Maria Elizabeth. The Photographic Legacy of Frances Benjamin Johnston. Univ. Press of Florida, 2009. 281 pp. Hardcover $69.95.

Auricchio, Laura. Adelaide Labille-Guiard: Artist in the Age of Revolution. J. Paul Getty Museum, 2009. 146 pp. Hardcover $29.95.

Bassett, Lynne Zacek. Massachusetts Quilts: Our Common Wealth. Univ. Press of New England, 2009. 356 pp. Hardcover $60.00.

Beizer, Janet. Thinking through the Mothers: Reimagining Women’s Biographies. Cornell Univ. Press, February 2009. 276 pp. Hardcover $45.00.

Bellocchi, Arianna. Baldassarre Orsini: L’attivita pittorica 1732-1810. EFFE, Fabrizio Fabbri, 2008. 237 pp. Paperback $37.50.

Beltrami, Cristina ed. Vittore Antonio Cargnel 1872-1931. Canova, 2008. 126 pp. Hardcover $66.50.

Bentley, Nancy. Frantic Panoramas: American Literature and Mass Culture, 1870-1920. Univ. Of Pennsylvania Press, June 2009. 392 pp. Hardcover $ 59.95.

Bernstein, Susan David and Elsie B. Michie. Victorian Vulgarity-Taste in Verbal and Visual Culture. Ashgate, July 2009. 250 pp. Hardcover $99.95.

Beyeler, Christophe et al eds. Jérome Napoléon: Roi de Westphalie. Musees Nationaux, 2008. 175 pp. Paperback $75.00.

Bietti, Monica ed. I fatti gloriosi compiuti da donne italiane: Un episodio di Romanticismo storico in

Palazzo Trombetta a Pontassieve. Polistampa, March 2009. 72 pp. Paperback $18.95.

Birkett, Mary Ellen and Christopher Rivers, eds. Approaches to Teaching Duras’s Ourika. (Approaches to Teaching World Literature 107). Modern Language Association, April 2009. 230 pp. Hardcover $37.50. Paperback $19.95.

Blackshaw, Gemma and Leslie Topp. Madness and Modernity : Mental Illness and the Visual Arts in Vienna 1900. Lund Humphries, 2009. 168 pp. Hardcover $70.00.

Blix, Göran. From Paris to Pompeii: French Romanticism and the Cultural Politics of Archaeology. Univ. of Pennsylvania Press, 2008. 320 pp. Hardcover $59.95.

Boyle, Richard. Double Lives: American Painters as Illustrators 1850-1950. New Britain Museum of American Art, 2009. 84 pp. Paperback $20.00.

Bott, Gian Casper and Nico Kirchberger. Albert von Keller: Salons, Séancen, Secession. Hirmer, April 2009. 200 pp. Paperback $65.00.

Braddock, Alan C. Thomas Eakins and the Cultures of Modernity. Univ. of California Press, April 2009. 304 pp. Hardcover $49.95.

Brainerd, Andrew W. On Connoisseurship and Reason in the Authentication of Art. Prologue Press, 2007. 616 pp. Hardcover $55.00

Brandlhuber, Margot Th. and Michael Buhrs. Franz von Stuck: Meisterwerke der Malerei. Hirmer, 2008. 251 pp. Paperback $70.00.

Brittain-Catlin, Timothy. The English Parsonage in the Early Nineteenth Century. Spire Books, 2008. 352 pp. Hardcover $60.00.

Brugerolles, Emmanuelle and Camille Debrabant. Antoine-Francois Callet décorateur. Ecole nationale superieure des beaux-arts, 2008. 96 pp. Paperback, $33.50.

Brunet, François. Photography and Literature. Reaktion Books, 2009. 144 pp. Paperback, $29.95.

Brunner, Michael et al. Gericault, Delacroix, Daumier und Zeitgenossen - Französische Lithographien und Zeichnungen. Imhof, 2008. 224 pp. Hardcover $55.00.

Buccaro, Alfredo, Gaetana Cantone and Francesco Starace eds. Storie e teorie dell’architettura dal quattrocento al novecento. Pacini, 2008. 308 pp. Paperback $41.75.

Burke, Peter. Circa 1808: Restructuring Knowledges. Um 1808: Neuordnung der

Wissensarten. Deutscher Kunstverlag, 2008. 63 pp. Paperback $29.95.

Burns, Sarah and John Davis. American Art to 1900: A Documentary History. Univ. of California Press, March 2009. 1080 pp. Hardcover $70.00; paperback $34.95.

Burrows, Stewart. A Familiar Strangeness : American Fiction and the Language of Photography, 1839-1945. Univ. of Georgia Press, 2008. 287 pp. Hardcover $34.95.

Butler, Ruth et al. La sculpture au XIXe siècle. Mélanges pour Anne Pingeot. Chaudun, 2008. 487 pp. Hardcover $115.00.

Canella, Maria ed. Luigi Broggi: Memorie e diari di viaggio di un architetto milanese. Skira, 2008. 342 pp. Hardcover $64.50.

Castagno, John. European Artists III: Signatures and Monograms From 1800: A Directory. Scarecrow Press, 2009. 286 pp. Hardcover $175.00.

Chaitin, Gilbert D. ed. Culture Wars and Literature in the French Third Republic. Cambridge Scholars Publishing, 2008. 224 pp. Hardcover $52.99.

Cheeke, Stephen. Writing for Art: The Aesthetics of Ekphrasis. Manchester Univ. Press, 2008. 303 pp. Hardcover $84.95.

Cheshire, Jim, Colin Ford, John Lord, Leonee Ormond Ben Stoker and Julia Thomas. Tennyson Transformed- Alfred Lord Tennyson and Visual Culture. Ashgate, May 2009. 160 pp. Hardcover $80.00.

Dallago, Carl. Il grande Segantini: Scritti scelti. Il Margine, 2008. 196 pp. Paperback $27.95.

D’Angelo, Giuseppe. On the Thread of the Memory: Castellammare di Stabia through the engraving of XVIII and XIX century. Longobardi, 2008. 332 pp. Hardcover $148.00.

de Decker Heftler, Sylviane. Gustave Eiffel: Les grandes constructions metalliques. Les Editions de l’Amateur, 2008. 140 pp. Paperback $30.00.

de Moncan, Patrice and Clemence Maillard. Charles Marville: Paris photographié au temps d’Haussmann. Les Editions du Mécène, 2008. 175 pp. Hardcover $88.50.

Desbordes-Valmore, Marceline. Sarah: An English Translation. Deborah Jenson, Doris Y. Kadish transl. Modern Language Association, 2008. 96 pp. Paperback $9.95.

Dewilde, Jan, Morisse Annemie, Donche, Pieter, Van Acker, Jan and Trio, Paul. Arthur Merghelynck 1853-1908 – passies van een edelman. Veurne, Stadsbestuur, 2008. 144 pp. 29,90.

Dewilde, Jan. Louise De Hem 1866-1922. Stedelijk Museum, 2008. 180 pp. Hardcover 20.

Dickinson Michaux, Lisa and Gabriel P. Weisberg. Expanding the boundaries : Selected Drawings from The Yvonne and Gabriel P. Weisberg Collection. Minneapolis Institute of Arts, 2008. 96 pp. Paperback $29.95.

Donaldson-Evans, Mary. Madame Bovary at the Movies: Adaptation, Ideology, Context. Rodopi, 2009. 218 pp. Paperback $64.00.

Dorontchenkov, Ilia ed. Russian and Soviet Views of Modern Western Art, 1890s to Mid-1930s. Univ. of California Press, April 2009. 400 pp. Hardcover $65.00; paperback $29.95.

Dowling, Gregory. In Venice and in the Veneto with Lord Byron. Dipartimento di Americanistica, Iberistica e Slavistica, Universita Ca’Foscari di Venezia, 2008. 93 pp. Paperback $29.95.

Draguet, Michel. Alfred Stevens. Mercatorfonds, May 2009. 208 pp. Hardcover $62.50.

Dufour, Gerard. Goya: durante la Guerra de la Independencia. Catedra, 2008. 293 pp. Hardcover $43.50.

Dupuy, Pascal. Face à la Revolution e l’Empire: Caricatures Anglaises (1789-1815): Collections du musee Carnavalet. Paris-Musees, 2008. 191 pp. Hardcover $100.00.

Dutton, Dennis. The Art Instinct : Beauty, Pleasure & Human Evolution. Bloomsbury Press, 2009. 278 pp. Hardcover $25.00.

Esterhammer, Angela. Romanticism and Improvisation, 1750-1850. Cambridge Univ. Press, 2008. 269 pp. Hardcover $99.00.

Facos, Michelle. Symbolist Art in Context. Univ. of California Press, March 2009. 304 pp. Hardcover $65.00; paperback $29.95.

Fairclough, Oliver and Bryony Dawkes. Turner to Cezanne : Masterpieces from the Davies Collection, National Museum Wales. American Federation of Arts in association with Hudson Hills Press, 2009. 176 pp. Hardcover $60.00.

Farese Sperken, Christine. La scultura monumentale in Puglia nell’Ottocento e Novecento: Percorsi esemplari. Add, 2008. 221 pp. Hardcover $79.95.

Ferdinand Hodler: Catalogue raisonné der Gemälde. Band 1: Die Landschaften. Scheidegger and Spiess, 2008. 2 vols. 628 pp. Hardcover $640.00.

Festi, Roberto ed. Josef Maria Auchentaller (1865-1949): Un secessionista ai confini dell’Impero. Ein Künstler der Wiener Secession. esaExpo, 2008. 238 pp. Paperback $95.00.

Folk, Thomas C. New Hope Impressions: George J. Stengel 1866-1937. Hard Press Editions, 2008. 83 pp. Hardcover $29.95.

Forest, Marie-Cécile. Catalogue sommaire des dessins du Musée Gustave Moreau. Musées nationaux, 2009. 992 pp. Hardcover $550.00.

Forrer, Matthi. Hokusai: Prints and Drawings. Prestel, April 2009. 220 pp. Paperback $19.95.

Gaillemin, J.-L., M. Hilaire, A. Husslein-Arco and C. Lange eds. Alfons Mucha. Hirmer, 2009. 400 pp. Hardcover $85.00.

Gamiz Gordo, Antonio. Alhambra : Imagenes de ciudad y paisaje (hasta 1800). Fundacion El legado andalusi, 2008. 224 pp. Hardcover $80.00.

Garber, Marjorie. Patronizing the Arts. Princeton Univ. Press, 2008. 272 pp. Hardcover $24.95.

Gaugusch, Georg and Sophie Lill. Portrait of Adele Bloch-Bauer [Klimt]. Neue Galerie, 2009. 96 pp. Hardcover $30.00.

Gerkens, Dorothee. Elfenbilder – Traum, Rausch und das Unbewusste. Die Erkundung des menschlichen Geistes in der Malerei des 18. und 19. Jahrhunderts. Reimer, 2008. 320 pp. Hardcover $95.00.

Gonzalez Bueno, Antonio. Jose Celestino Mutis (1732-1808): Naturaleza y Arte en el Nuevo Reyno de Granada : Edicion conmemorativa del II centenario. Agencias Espanola de Cooperacion Internacional para el Desarrollo, Direccion General de Relaciones Culturales y Cientificas, 2008. 127 pp. Hardcover $100.00.

Goode, James M. Washington Sculpture: A Cultural History of Outdoor Sculpture in the Nation’s Capital. Johns Hopkins Univ. Press, 2008. 830 pp. Hardcover $75.00.

Goodfriend, Joyce D., Benjamin Schmidt and Annette Stott eds. Going Dutch: The Dutch presence in America, 1609-2009. Brill, 2008. 367 pp. Hardcover $129.00.

Gordon, Raebeth. Dances with Darwin, 1875-1910: Vernacular Modernity in France. Ashgate, 2009. 330 pp. Hardcover £60.00

Graciano, Andrew ed. Visualising the Unseen, Imagining the Unknown, Perfecting the Natural: Art and Science in the 18th and 19th Centuries. Cambridge Scholars Publishing, 2008. 214 pp. $52.99.

Griswold, William M. et al. The Thaw Collection of Master Drawings: Acquisitions since 2002. The Morgan Library & Museum, 2009.196 pp. Paperback $25.00.

Groshens, Marie-Claude. Marionettes du Monde : Collections du musee des Civilisations de l’Europe de

l’Europe et de la Mediterranee (Marseille) et du musee des Marionettes du monde (Gadagne-Lyon). Musees Nationaux, 2008. 255 pp. Paperback $92.50.

Gualdoni, Flaminio. Impressionism. Skira, April 2009. 90 pp. Paperback $8.99.

Guderzo, Mario, Federica Luser and Alessandra Tiddia. Umberto Moggioli: Magia del silenzio. Edizionitrart, 2008. 175 pp. Hardcover $68.50.

Halsall, Francis, Julia Jansen and Tony O’Connor eds. Rediscovering Aesthetics: Transdisciplinary Voices from Art History, Philosophy, and Art Practice. Stanford Univ. Press, 2009. 322 pp. Hardcover $65.00.

Hanson, Marin F. and Patricia Cox Crews eds. American Quilts in the Modern Age, 1870-1940: The International Quilt Study Center Collections. Univ. of Nebraska Press, April 2009. 490 pp. Hardcover $90.00.

Haudiquet, Annette and Olivier Le Bihan eds. Sur les quais: Ports, docks et dockers de Boudin a Marquet. Somogy, 2008. 262 pp. Paperback $58.50.

Hausdoerffer, John. Catlin’s Lament: Indians, Manifest Destiny, and the Ethics of Nature. Univ. Press of Kansas, 2009. 184 pp. Hardcover $34.95.

Heilbrun, Françoise and Guy Cogeval eds. A History of Photography: The Musée d’Orsay Collection. Flammarion, March 2009. 288 pp. Hardcover $60.00.

Heller, Reinhold. Brücke:The Birth of Expressionism 1905–1913. Hatje Cantz, March 2008. 240 pp. Hardcover $55.00.

Henares, Ignacio and Lola Caparros eds. La critica de arte en Espana (1830-1936). Universidad de Granada, 2008. 378 pp. Paperback $52.98.

Hermann Obrist: Sculpture, Space, Abstraction around 1900. Scheidegger and Spiess, 2009. 240 pp. Hardcover $70.00.

Higonnet, Anne. Lewis Carroll. Phaidon, 2008. 128 pp. Hardcover $39.95.

Hüneke, Saskia et al. Antiken I: Kurfürstliche und königliche Erwerbungen für Schlösser und Gärten Brandenburg-Preussens vom 17. bis zum 19. Jahrhundert. Akademie, 2009. 763 pp. Hardcover $185.00.

Husslein-Arco, Agnes and Sabine Grabner. Ferdinand Georg Waldmüller. Brandstätter, March 2009. 356 pp. Hardcover $69.98.

Husslein-Arco, Agnes and Alfred Weidinger eds. Gustav Klimt und Die Kunstschau 1908. Prestel, 2008. 559 pp. Hardcover $72.50.


Isenhagen, Hartwig ed. Karl Bodmer: Depicting the Native North Americans. Scheidegger and Spiess, 2009. 240 pp. Hardcover $70.00.

Jackson, Anna. Expo: International Expostitions 1851-2010. V&A, 2008. 128 pp. Paperback $40.00.

Jobe, Brock, Gary R. Sullivan and Jack O’Brien. Harbor and Home: Furniture of Southeastern Massachusetts, 1710-1850. Univ. Press of New England, March 2009. 456 pp. Hardcover $75.00.

Joos, Erwin. Eugeen van Mieghem 1875-1930: Antwerp. BAI, 2008. 271 pp. Hardcover $58.95.

Jullien, Dominique. Les Amoureux de Schéhérazade: variations modernes sur les Mille et une nuits. Droz, January 2009. 219 pp. 47,06.

Kabbani, Rana. Imperial Fictions: Europe’s Myths of Orient. SAQI, 2008. 256 pp. Paperback $16.95.

Kathrens, Michael C. (text) and Richard C. Marchand (floorplans). Newport Villas: The Revival Styles, 1885-1935. W. W. Norton & Co., 2009. 383 pp. Hardcover $85.00.

Kennedy, Elizabeth ed. The Eight and American Modernisms. Terra Foundation for American Art, 2009. 144 pp. Hardcover $29.95.

Lack, H. Walter. Alexander von Humboldt: The Botanicals of America. Prestel, June 2009. 288 pp. Hardcover $185.00.

Larson, Barbara and Fae Brauer, eds. The Art of Evolution: Darwin, Darwinisms, and Visual Culture. University Press of New England, June 2009. 344 pp. Hardcover $50.00.

Laurent, Franck. Le Voyage en Algérie. Anthologie de voyageurs français dans l’Algérie coloniale (1830-1930). Robert Laffont, coll. Bouquins, 2008. 1042 pp. 29.

———. Victor Hugo: espace et politique (jusqu’à l’exil: 1823-1852). Presses universitaires de Rennes, coll. Interférences, 2008. 285 pp. 18.

Lee, Anthony W. and Elizabeth Young. On Alexander Gardner’s Photographic Sketch Book of the Civil War. Univ. of California Press, 2008. 144 pp. Hardcover $50.00; paperback $19.95.Le Pera, Enzo. Enciclopedia dell’arte di Calabria: Ottocento e Novecento. Rubbettino, 2008. 595 pp. Hardcover $96.50.

Lobstein, Dominique. Defense et illustration de l’impressionisme: Ernest Hoschede et son “Brelan de Salons” (1890). L’Echelle de Jacob, 2008. 260 pp. Paperback $52.50.

Lobstein, Dominique et al. Honoré Daumier: Du rire aux armes. Illustria, 2008. 133 pp. Paperback $40.00.

Lochnan, Katharine and Carol Jacobi eds. William Holman Hunt and the Pre-Raphaelite Vision. Yale University Press, in association with The Art Gallery of Ontario, Toronto, 2009. 224 pp. Hardcover $75.00.

Lopez Fernandez, Maria ed. Arte y Estetica de fin de siglo (1890-1914). Instituto de Cultura, Fundacion MAPFRE, 2008. 277 pp. Paperback $41.50.

Ludwig, Horst G. Genre und Landschaft in der Kunst des 19. Jahrhunderts: Gemälde und Graphiken. Hirmer, 2009. 352 pp. Hardcover $100.00.

Lundstrom, Mari-Sofie. Travelling in a Palimpsest : Finnish Nineteenth-Century Painters’ Encounters with Spanish Art and Culture. Academia Scientiarum Fennica, 2008. 460 pp. Paperback $95.00.

MacGregor, Arthur ed. Sir John Evans 1823-1908: Antiquity, Commerce and Natural Science in the Age of Darwin. Ashmolean Museum, Univ. of Oxford, 2008. 326 pp. Hardcover $90.00.

Macleod, Dianne Sachko. Enchanted Lives, Enchanted Objects: American Women Collectors and the Making of Culture 1800-1940. Univ. of California Press, 2008. 328 pp. Hardcover $45.00.

Madeline, Laurence ed. Picasso/ Manet: Le Dejeuner sur l’herbe : L’album de l’exposition. Musees nationaux, Musee d’Orsay, 2008. 47 pp. Paperback $17.50.

Mao, Douglas. Fateful Beauty: Aesthetic Environments, Juvenile Development, and Literature 1860-1960. Princeton Univ. Press, 2008. 336 pp. Hardcover $35.00.

Marrinan, Michael . Romantic Paris: Histories of a Cultural Landscape 1800-1850. Stanford University Press, March 2009. 488 pages. Hardcover $85.00, paperback $35.00.

Mallgrave, Harry Francis and Christina Contandriopoulos eds. Architectural Theory Volume II, An Anthology from 1871 -2005. Blackwell, 2008. 792 pp. Paperback $54.95.

Masini, Patrizia, Anna Aletta and Fabio Betti eds. Roma, la magnifica visione: Vedute panoramiche del XVIII e XIX secolo dalle collezioni del Museo di Roma. Gangemi, 2008. 49 pp. Paperback $37.50.

Mauron, Christophe ed. Miroirs d’Argent: Daguerréotypes de Girault de Prangy. Slatkine, 2008. 191 pp. Hardcover $85.00.

Maxwell, Judith Kafka ed. Anna Richards Brewster, American Impressionist. Univ. of California Press, 2008. 216 pp. Hardcover $39.95.

McClennan, Andrew. The Art Museum from Boullée to Bilbao. Univ. of California Press, 2008. 364 pp. Hardcover $65.00; paperback $29.95.

Milet, Eric. Orientalist Photographs 1870-1940. Flammarion, 2009. 204 pp. Hardcover $69.00.

Meara, David. Modern Memorial Brasses 1880-2001. Shaun Tyas, 2008. 302 pp. Hardcover $75.00.

Meedendorp, Theo ed. Drawings and Prints by Vincent Van Gogh: In the Collection of the Kröller-Müller Museum. Amsterdam Univ. Press, 2008. 192 pp. Hardcover $99.95.

Merwood-Salisbury, Joanna. Chicago 1890: The Skyscraper and the Modern City. Univ. of Chicago Press, 2009. 208 pp. Hardcover $45.00.

Miller, Markus et al. Fürstenkinder – Porträts vom 16. bis 21. Jh. im Hause Hessen. Imhof, 2008. 256 pp. Paperback $42.50.

Monroe, Alexandra. The Third Mind: American Artists Contemplate Asia, 1860-1989. Guggenheim Museum, March 2008. 440 pp. Hardcover $85.00.

Moure, Gloria ed. Honore Daumier: Coleccion Armand Hammer. Fundacion Banco Santander, 2008. 182 pp. Hardcover $63.98.

Munsterberg, Marjorie. Writing about Art. CreateSpace, March 2009. 173 pp. Paperback $10.00.

Naef, Weston. Carleton Watkins in Yosemite. J. Paul Getty Museum, 2008. 88 pp. Hardcover $29.95.

Nance, Agnieszka B. Literary and Cultural Images of a Nation without a State: The Case of Nineteenth-Century Poland. Peter Lang, 2008. 182 pp. Hardcover $64.95.

Noon, Patrick. Richard Parkes Bonington: The Complete Paintings. Yale Univ. Press, Paul Mellon Centre for Studies in British Art, 2008. 480 pp. Hardcover $125.00.

Ottani Cavina, Anna ed. Granet tra Roma e Parigi: Dipingere en plein air nell’eta romantica. Electa, April, 2009. 128 pp. Paperback $55.00.

Pagano, Denise ed. Vincenzo Gemito: un protagonista dell’arte italiana fra Ottocento e Novecento. Electa, April 2009. 352 pp. Paperback $67.50.

Papanikolas, Theresa and Kevin Salatino. Doctrinal Nourishment: Art and Anarchism in the Time of James Ensor. Los Angeles County Museum of Art, June 2009. 88 pp. Paperback $20.00. Parissien, Steven. Interiors: The Home Since 1700. Laurence King Publishing, 2009. 304 pp. Hardcover $50.00.

Parshall, Peter. The Darker Side of Light: Arts of Privacy, 1850-1900. Lund Humphries, Published in association with the National Gallery of Art, Washington, DC, April 2009. 191 pp. Hardcover $70.00.

Parsons, Crystal S. ed. Maurice Cullen and His Circle. National Gallery of Canada, 2009. 26 pp. Paperback $9.95.

Pezzoli, Stefano and Orlando Piraccini eds. L’artista e l’amico: Ritorno a Luigi Serra: Opere e documenti dalla raccolta di Enrico Guizzardi. Compositori, 2008. 189 pp. Paperback $49.50.

Picard, Denis. Paris et ses expositions universelles : architectures, 1855-1937. Centre des monuments nationaux, 2008. 101 pp. Paperback $31.50.

Picardi, Paola. Il patrimonio artistico romano delle corporazioni religioso sopprese: Protagonisti e comprimari (1870-1885). De Luca, 2008. 303 pp. Paperback $45.00.

Pietrovsky, Mikhail b. et al. Caspar David Friedrich and the German Romantic Landscape. Lund Humphries, March 2009. 128 pp. Hardcover $40.00.

Pinna, Baignio ed. Art and Perception. Towards a Visual Science of Art, Part 2. Brill, 2008. 398 pp. Hardcover $196.00.

Pla, Josep. Vida de Manolo [Hugue] (nueva edición). Libros del Asteroide, 2008. 141 pp. Paperback $38.00.

Pohlsander, Hans A. National Monuments and Nationalism in 19th Century Germany Peter Lang, 2008. 375 pp. Paperback $102.95.

Ragazzi, Franco. Riviere magiche : Artisti in Liguria fra Monet, De Chirico e Picasso. De Ferrari, 2008. 159 pp. Hardcover $51.25.

Ribement, Francis ed. L’étrange Monsieur Merson. Lieux Dits, 2008. 285 pp. Paperback $55.00.

Richemond, Stephane. Les Orientalistes: Dictionnaire des sculpteurs, XIXe-XXe siècles. Editions de l’Amateur, 2008. 222 pp. Hardcover $100.00.

Rosenthal, Donald. The Photographs of Frederick Rolfe, Baron Corvo (1860-1913). Asphodel Editions, 2008. 153pp. Hardcover $85.00.

Rouge-Ducos, Isabelle. L’Arc de Triomphe de l’Etoile: Pantheon de la France guerrière: art et histoire. Faton, 2008. 397 pp. Hardcover $175.00.

Roussier, François. Jacqueline Marval: 1866-1932. Thalia, 2008. 407 pp. Hardcover $115.00.

Rossi, Luisa. Napoleone e il Golfo della Spezia : Topografia francesi in Liguria tra il 1809 e il 1811. Silvana, 2008. 237 pp. Paperback $47.50.

Ruffini, Mario and Gerhard Wolf eds. Musica e Arti figurative: Rinascimento e Novecento. Marsilio, 2008. 450 pp. Hardcover $140.00.

Sabourin, Lise ed. Poésie et illustration. Presses Universitaires de Nancy, February 2009. 417 pp. Paperback, 35,00.

Saunders, Ann. Historic Views of London: Photographs from the collection of BEC Howarth-Loomes. English Heritage, 2008. 237 pp. Hardcover $40.00.

Schaefer, Iris, Caroline von Saint-George and Katja Lewerentz. Painting Light: The Hidden Techniques of the Impressionists. Skira, 2008. 238 pp. Hardcover $50.00.

Schröder, Klaus Albrecht et al. Infinite Ice: The Arctic and the Alps from 1860 to the Present. Hatje Cantz, 2009. 112 pp. Hardcover $45.00.

Scognamiglio, Ornella. I dipinti di Gioacchino e Carolina Murat: Storia di una collezione. Edizioni Scientifiche Italiane, 2008. 316 pp. Hardcover $132.00.

Scott, Gail R. E. Ambrose Webster: Chasing the Sun: A Modern Painter of Light and Color. Hudson Hills Press, 2009. 224 pp. Hardcover $50.00.

Severiukhin, Dmitrii. Staryi khudozhestvennyi Peterburg (sic): rynok i samoorganizatsiia khudozhnikov (ot nachala XVIII veka do 1932 goda) [The Art World of Old St. Petersburg: The Art Market and Artists’ Organizations from the Early Eighteenth Century to 1932.] St. Petersburg: Mir, 2008. 536 pages. Hardcover np.Spitta, Silvia. Misplaced Objects: Migrating Collections and Recollections in Europe and the Americas. Univ. of Texas Press, July 2009. 288 pp. Hardcover $50.00.

Sprague, Elmer. Brooklyn Public Monuments, Sculpture for Civic Memory and Urban Pride. Dog Ear Publishing, 2008. 163 pp. Paperback $12.95.

Strong, Mary, text editor and Laena Wilder, visual editor. Viewpoints: Visual Anthropologists at Work. Univ. of Texas Press, May 2009. 384 pp. Hardcover $90.00.

Sureda, Joan and Anna Pou. Los mundos de Goya 1746-1828. Los Espejos de Goya. Lunwerg, 2008. 383 pp. Hardcover $100.00.

Swinbourne, Anna ed. James Ensor. Museum of Modern Art, July 2008. 208 pp. Hardcover $60.00.

Todts, Herwig. James Ensor: Paintings and Drawings from the Collection of The Royal Museum of Fine Arts in Antwerp. Bai & KSMKA, Sabam, 2008. 143 pp. Hardcover $47.50.

Traisman, Yuri A. ed. Ode to Joy: Russian Porcelain in the Yuri Traisman Collection. Pinakoteka, 2009. 528 pp. Hardcover $150.00.

Trepesch, Christof and Shahab Sangestan. Entdeckungen: Malerei des 19. Jahrhunderts aus dem Bestand der Kunstsammlungen und Museen Augsburg. Deutscher Kunstverlag, 2009. 248 pp. Paperback $46.50.

Trippi, Peter ed. J. W. Waterhouse: The Modern Pre-Raphaelite. Royal Academy of Arts (Abrams), 2009. 240 pp. Hardcover $75.00.

Troisi, Sergio ed. La memoria Custodita: Rare immagini fotografiche di Sicilia della fine del secolo XIX. 177 pp. Paperback $75.00.

Umstätter-Mamedova, Lada, Hélène Meyer and Caroline Guignard. Peintres et voyageurs russes du XIXe siècle: Collections du Musée d’art et d’histoire de Genève. Somogy, 2008. 111 pp. Paperback $58.50.

Vandepitte, Francisca, Sura Levine, Pierre Baudson, Norbert Hostyn, and Carlos Colon. Constantin Meunier à Séville. L’ouverture andalouse. Musées royaux des Beaux-Arts de Belgique et Éditions Snoeck, Gand, 2008. Paperback. 128 pp. 25.

Vital, M. Christophe et al eds. La Vendée sous l’oeil de Jules Robuchon: Itineraire d’un pionnier de la photographie. Somogy, 2008. 135 pp. Hardcover $35.00.

Weidinger, Alfred ed. Gustav Klimt and the Viennese Avant Garde. Prestel, May 2009. 560 pp. Hardcover $65.00.

Weingarden, Lauren S. Louis H. Sullivan and a 19th-Century Poetics of Naturalized Architecture. Ashgate, August 2009. 416 pp. Hardcover $99.95

Weinstein, Arnold. Northern Arts: The Breakthrough of Scandinavian Literature and Art, from Ibsen to Bergman. Princeton Univ. Press, 2008. 544 pp. Hardcover $35.00.

Witt-Dörring, Christian. Josef Hoffmann: Interiors 1902–1913: The Making of an Exhibition. Neue Galerie, 2009. 88 pp. Hardcover $45.00.

Woll, Gerd. Edvard Munch: Complete Paintings. Thames and Hudson, 2009. 1696 pp. Hardcover $775.00.

Spring 2009 / HNCA Newsletter 31

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Imaging Blackness in the Long Nineteenth Century

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This special issue of Visual Resources examinesimages of Africans and African Americans producedbetween 1820 and 1914 in the context of politics,popular culture and scientific studies of this period.

The mechanisms of racial identification and classificationreceive particular attention, as does the constructed andperformative nature of blackness, and race moregenerally.

This issue contributes to the growing literature onAmerican and European depictions of blacks by providing

compelling case studies from the long nineteenth century, and underscoresthe fact that the visualization and conceptualization of race and ethnicity areinexorably intertwined.

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Benefactors Petra ChuLee MacCormick EdwardsTherese Ann DolanChristopher ForbesMichèle HannooshKristi HoldenElizabeth MansfieldREHS Galleries, Inc. Sally and Nick WebsterGabriel & Yvonne Weisberg

Patrons Annette BlaugrundAnnette Bourrut-LacoutureMarc FehlmannLinda FerberMichelle A. FoaOtto HarrassowitzMichael LejaPatricia MainardiMarjorie MunsterbergLinda NochlinDavid OgawaFronia W. SimpsonJudy E. SundCarol TablerPeter TrippiPaul TuckerJane Van Nimmen

Judith WechslerJanet WhitmoreBeth S. Wright

Supporting Robert Alvin AdlerLynne AmbrosiniRobyn AslesonMary Elizabeth BooneCaroline Boyle-TurnerAlan C. BraddockJoshua BrownMarilyn R. BrownHelen M. BurnhamRuth A. ButlerVeronique Chagnon-BurkeAdrienne L. ChildsJay A. ClarkeS. Hollis ClaysonJulie CodellJohn B. CollinsPaige ConleyDeepali DewanJan DewildeAndre DombrowskiMichael H. DuffyStephen EdidinDario L. GamboniMarc Saul GersteinGloria Groom

Françoise Forster-HahnJune HargroveNora M. HeimannKathryn M. HeleniakAnne L. HelmreichErica E. HirshlerJoel HollanderColta IvesNina M. KallmyerCarol Solomon KieferJulie L’EnfantMary Lublin Fine ArtsMichael A. MarlaisMargaret MacNamidheClaire Black McCoyMarsha L. MortonMary G. MortonDewey F. and Rebekah P. MosbyNancy Scott NewhouseLucy OakleyCaterina Y. PierreAimee Brown PriceDonald A. RosenthalJames H. RubinNancy ScottMarc Simpson & Fronia E. WissmanSuzanne M. SingletaryJames SmallsCheryl K. SnayCarol Solomon

Susan StrauberElizabeth Pendleton StreicherRebecca B. TrittelHenry G. TurnerEldon N. Van LiereOscar E. VasquezJane S. WarmanPamela J. WarnerJeffrey WeidmanMargaret WerthAlexandra K. WettlauferBarbara Ehrlich White

Major Donors:Anonymous Donor, United StatesDahesh Museum of ArtThe Fine Art Dealers AssociationFrancis Gorman V. Art Library Endowment, University of MinnesotaKristi and Barry HoldenHans LüthyDr. Sura Levine, Northhampton, MADr. Elizabeth Mansfield, New York, NYREHS Galleries, Inc., New YorkSchiller & Bodo European Paintings, New YorkMichael Schwartz, Galerie Michael, Beverly Hills, CaliforniaSeton Hall UniversityGabriel and Yvonne Weisberg

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