 Curriculum
Vitae
 Elizabeth
Johns
Lilly
Vocation Fellow, Center for Religion,Ethics and Culture
Smith Hall 322, College of
the Holy Cross
Worcester MA 01610-2395
508 793-2737
EJOHNS@holycross.edu
21 Shady Lane
Shrewsbury MA 01545
508 842-0168
Education
2000-2001 Program
for Experienced Spiritual Directors, Center for Religious Development,
Weston Jesuit School of Theology, Cambridge MA
1974 Ph.D. Graduate Institute
of the Liberal Arts, Emory University. Areas of study: American art, literature,
and historical traditions; European art 1750-1850; Aesthetic theory from
Plato to Kant. Dissertation: Washington Allston's Theory of the Imagination.
1965 M.A. University of California,
Berkeley. Major: English and American literature.
1959 B.A. Birmingham-Southern
College, Birmingham, Alabama. Major: English; minor: philosophy.
1955-57 Oberlin College.
Liberal arts, music.
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Academic
Appointments
2001-present
Lilly Vocation Fellow, Center for Religion, Ethics and Culture, College
of the Holy Cross
2001 Professor Emerita
of the History of Art, University of Pennsylvania
1997-2000 Chair, History
of Art Department, University of Pennsylvania
Fall 1996 Clark Visiting
Professor, Williams College Graduate Program in the History of Art.
1989-2001 Silfen Term Professor
of American Art History, University of Pennsylvania.
1986-89 Andrew Mellon Professor
of Fine Arts and History, University of Pittsburgh.
1984-87 Associate Professor
of American Studies, University of Maryland, College Park
1975-84 Assistant, then Associate
Professor of Art, University of Maryland, College Park.
1972-75 Assistant Professor
of English and Humanities, Savannah State College, Savannah, Georgia.
1971-72 Instructor of English,
Clayton Junior College, Morrow, Georgia.
1968-71 Instructor of English
and Humanities, Albany State College, Albany, Georgia.
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Experience
as Spiritual Director and Retreat Leader
January 2003-March
2003, Seminar Leader for "Let Your Life Speak," Holy Cross students
September 2002-May 2003,
Facilitator, Prayer and Reflection for the Holy Cross Community, Wednesday
mornings at 8
September 2002-May 2003,
Director of the Spiritual Exercises of Saint Ignatius, Nineteenth Annotation,
for Holy Cross faculty
August 2002, Facilitator,
"Reflecting on Who I am," retreat for the Student Affairs Division, College
of the Holy Cross
June 2002, Facilitator, "Life
in the Academy and Our Search for Meaning," Lilly Seminar on Vocation,
College of the Holy Cross
March 2002, Co-leader, Triduum
retreat for Holy Cross community
Lent 2002 "Lenten Spiritual
Journey" leadership, Holy Cross
December 4, 2001, "Advent
Day of Reflection", Office of the College Chaplains, College of the Holy
Cross
Fall 2001, "Experiencing
Advent," a series of four mid-day guided prayer and reflections for Advent,
2001, Center for Religion, Ethics and Culture, College of the Holy Cross
2000-2001 Associate, Center
for Religious Development, Weston Jesuit School of Theology, Cambridge
MA
May 2000 Planner and leader,
faculty development seminar at Seton Hall University, "'I Have Called You
by Name': Spirituality and the Academic Vocation"
1994-2000 Member of the Ignatian
Spirituality Committee, Old St. Joseph's Parish, Philadelphia, giving individual
and group spiritual direction
1994-2000 Retreat leader
for group retreats at Lent and Advent, Old St. Joseph's Parish, Philadelphia
1994-2000 Individual direction
for weekend retreats of Old St. Joseph's Parish at the Jesuit Center for
Spiritual Growth, Wernersville, PA
1994-2000 Individual direction
of faculty and graduate students, University of Pennsylvania
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Honors
and Awards
Phi Beta Kappa Fellows
Lecturer, 1998-present.
Lindback Award for Excellence
in Teaching, University of Pennsylvania, 1996.
J. Clawson Mills Fellow,
Metropolitan Museum of Art, 1992-93.
Doctor of Humane Letters,
Lafayette College, May 1992.
Life Fellow, Philadelphia
Athenaeum, elected 1990.
Woodrow Wilson International
Fellow, 1985-86.
Guggenheim Fellow, 1985-86.
Winner of the 1984 Mitchell
Prize in the History of Art for Thomas Eakins: The Heroism of Modern
Life.
Smithsonian Postdoctoral
Fellow, 1981-82.
American Council of Learned
Societies, Grant-in Aid, 1980.
Wyeth Endowment for American
Art, research award, 1980.
Phi Beta Kappa, 1959.
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Publications
Books
Paths to Impressionism:
French and American Landscape Paintings in the Worcester Art Museum,
forthcoming October 2003.
Winslow Homer: The Nature
of Observation, Berkeley and London: University of California Press,
2002.
New Worlds from Old: Nineteenth-Century
Australian and American Landscapes, Canberra, London, and New York:
Thames and Hudson, 1998.
American Genre Painting:
The Politics of Everyday Life, Yale University Press, 1991.
Thomas Eakins: The Heroism
of Modern Life, Princeton University Press, 1983 (awarded the 1984
Mitchell Prize for the most promising first book in the History of Art).
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Articles
"Holiness, the Academy,
and the Laity: The Vocations of Teaching and Learning," Sacred Heart
University Review, fall 2002.
"Accidental Discoveries,"
in As Leaven for the World: Catholic Reflections on Faith, Vocation,
and the Intellectual Life (Franklin, WI: Sheed and Ward, 2001)
"'I have called you by name':
Spirituality and the Academic Vocation," in I Have Called You
By Name, Proceedings of the Center for Catholic Studies, Summer
Seminar 2000, Seton Hall University
"Looking Back: A Career in
the History of American Art," American Art, November 2000.
"Cities, the Day Excursion,
and Late-Century Landscapes," in American Victorians and Virgin Nature
(Boston, Isabella Stewart Gardner Museum, 2002).
"Thoughts on the Historiography
of Art in Nineteenth-Century Philadelphia," in Philadelphia's Cultural
Landscape. Philadelphia, Temple University Press, 2000.
"Boys Will Be Boys': William
Sidney Mount's Vision of Childhood," in William Sidney Mount: Painter
of American Life. New York, American Federation of Arts/Abrams, 1998.
"'A Wonderful Age' and its
'Artistic Bombshells,': Early American Modernists and Their Viewers," in
To
Be Modern: American Encounters with Cézanne and Company. Philadelphia:
Pennsylvania Academy of the Fine Arts, University of Pennsylvania Press,
1996, pp. 26-34.
"Swimming: Thomas Eakins,
the twenty-ninth bather," in Thomas Eakins and the Swimming Picture,
ed. Doreen Bolger and Sarah Cash. Fort Worth, TX: Amon Carter Museum, 1996,
pp. 66-79.
"America on Canvas, America
in Manuscript: Imaging the Democracy," in Breaking Bounds: Whitman and
American Cultural Studies, ed. Betsy Erkkila and Jay Grossman. New
York and London: Oxford University Press, 1995,pp. 147-162.
"A Journey into Spiritual
Community," America, October 22, 1994, pp. 24-26.
"Science, Art, and Literature
in Federal America: Their Prospects in the New Republic," in Everyday
Life in the Early Republic, ed. Catherine E. Hutchins. Winterthur,
Delaware: The Henry Francis du Pont Winterthur Museum, 1994, pp. 347-369.
"An Avowal of Artistic Community:
Nudity and Fantasy in Thomas Eakins's Photographs," in Eakins and the
Photograph, Washington: Smithsonian Institution Press for the Pennsylvania
Academy of the Fine Arts, 1994, pp. 65-93.
"'Va; all'Ovest, giovane':
dipingere il sogno ridestato" ["'Go west, young man': Painting the waking
dream"], in The American West: L'Arte della Frontiera American 1830-1920,
Roma: Palazzodelle Esposizioni, 1993, pp. 39-52.
"Thomas Eakins's Portraits
of Maud Cook and William Macdowell," in Thomas Eakins and the Heart
of American Life, ed. John Wilmerding. London: National Portrait Gallery,
1993, pp. 122-125. Published in conjunction with the exhibition at the
National Portrait Gallery, London.
"William Michael Harnett
Enters Art History: Harnett's Twentieth-Century Reputation," in William
Michael Harnett, Amon Carter Museum and the Metropolitan Museum of
Art/Abrams, 1992 (book accompanying exhibition), pp. 101-112.
"Settlement and Development:
Claiming the West," in The West as America: Reinterpreting Images of
the Frontier, 1820-1920 (book accompanying exhibition at National Museum
of American Art, Smithsonian Institution) (Washington, D. C. : Smithsonian
Institution Press, 1991), 191-235.
"George Caleb Bingham: The
'Missouri Artist' as Artist," George Caleb Bingham (book accompanying
Bingham exhibition), New York: Abrams, for the Saint Louis Art Museum,
1990, 93-139.
"'These men ought to be painted':
The Social Context of Eakins' Portrait of Professor Gross (Gross Clinic)
and The Agnew Clinic," in Thomas Eakins: Image of the Surgeon, Baltimore:
The Walters Art Gallery, The Johns Hopkins Medical Institutions, 1989,
8-13.
"'This New Man': National
Identity in Mid-Nineteenth Century Genre Painting of the United States,"
in Irving Lavin, ed. World Art: Themes of Unity in Diversity, Acts of
the XXVIth International Congress of the History of Art (Pennsylvania
State University for the National Gallery of Art, 1989), Vol. III, 671-678.
"Rowland's World: A physicist's
portrait, suitably framed," The Sciences (The New York Academy of
Sciences), Vol. 27 No. 2 (March/April 1987), 42-43.
"The Farmer in the Works
of William Sidney Mount," in Theodore Rabb and Jonathan Brown, eds.
Art and History: Images and Their Meaning (Cambridge: Cambridge University
Press, 1988) (re-publication of essay that appeared in JIH, Summer
1986).
"Perspectives: Thomas Eakins,"
The
Wilson Quarterly, XI no. 1 (New Year's 1987), 162-173.
"The Farmer in the Works
of William Sidney Mount," Journal of Interdisciplinary History,
XVII no.1 (Summer 1986), 257-281.
"Histories of American Art:
The Changing Quest," The Art Journal, Vol. 44 no.4 (Winter 1984:
special issue on American art), 338-344.
"Scholarship in American
Art: Its History and Recent Developments," American Studies International,
XXII no. 2 (October 1984), 3-40.
"Art, History, and Authority,"
in Sara Putzell-Korab and Robert Detweiler, eds. The Crisis in the Humanities:
Interdisciplinary Responses (Madrid: Studia Humanitatis, 1983), pp.
104-114.
"Thomas Eakins and 'Pure
Art' Education," Archives of American Art Journal, Vol. 23 no. 3,
(1983), 2-5.
"Thomas Eakins: Portrait
of a Realist," Jefferson Medical College Alumni Bulletin, XXXII
no. 1 (Fall 1982), 20-25.
"'I, a Painter': Thomas Eakins
at the Academy of Natural Sciences of Philadelphia," Frontiers: Annual
of the Academy of Natural Sciences of Philadelphia, III (1981-82),
43-51.
"Arthur B. Davies and Albert
Pinkham Ryder: The 'Fix' of the Art Historian," Arts Magazine, vol.
56 no. 5 (January 1982), 70-74.
"Drawing Instruction at Central
High School and Its Impact on Thomas Eakins," Winterthur Portfolio,
XV no. 2 (Summer 1980), 139-149.
"Washington Allston's Later
Career: Art About the Making of Art," Arts Magazine, vol. 54 no.
4 (December 1979), 122-129.
"Albert Pinkham Ryder: Some
Thoughts on His Subject Matter," Arts Magazine, vol. 54 no. 3 (November
1979), 164-171.
"Washington Allston and Samuel
Taylor Coleridge: A Remarkable Relationship," Archives of American Art
Journal, vol. 19 no. 3 (1979), 2-7.
"Thomas Eakins: A Case for
Reassessment, " Arts Magazine, vol. 53 no. 9 (May 1979: special
Eakins issue), 130-133.
"Washington Allston's The
Dead Man Revived by Touching the Bones of the Prophet Elisha," Art Bulletin,
LXI no. 1 (March 1979), 78-99.
"Washington Allston: Method,
Imagination, and Reality," Winterthur Portfolio, XII (1977), 1-18.
"Washington Allston's Library,"
American Art Journal, VII no. 2 (November 1975), 32-41.
"Washington Allston: The
Artist as Philosopher," The Paintings of Washington Allston, Lowe Art Museum,
Coral Gables, Florida, March, 1975, 13-17.
"Dürrenmatt's Heroes,"
Savannah State College Research Bulletin, December, 1973, 63-82.
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Exhibitions
Paths to Impressionism:
French and American Landscapes in the Worcester Art Museum, Worcester
Art Museum, opening October 4, 2003.
Another Look: Selections
from the Collection of the Pennsylvania Academy of the Fine Arts, an
exhibition reviewing my work as an art historian. Pennsylvania Academy
of the Fine Arts, Philadelphia, April 2000.
New Worlds from Old: Australian
and American Landscape Painting in the Nineteenth Century, National
Gallery of Australia, Canberra, and Wadsworth Athenaeum, Hartford, exhibition
and book scheduled for 1998.
Seeing Women: Students
Select from the Susan and Herbert Adler Collection of American Drawings
and Watercolors, Arthur Ross Gallery, University of Pennsylvania, September
1991.
The West as America: Reinterpreting
Images of the Frontier, 1820-1920, National Museum of American Art,
1991, curatorial team.
The Drawings of George
Caleb Bingham, guest curator, National Museum of American Art, February-June
1990.
Three Hundred Fifty Years
of Art and Architecture in Maryland, University of Maryland Art Gallery,
1984, co-curator and co-author. Curator of section "Eighteenth and Nineteenth-Century
Painting and Sculpture in Maryland," author of essay and catalogue entries.
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Reviews
Freda Oben, St. Edith
Stein, in Catholic Issues on line at : www.adelphi.edu/ci/REVIEWS/2002/OBEN.HTM
Jeremy Begbie, ed. Beholding
the Glory: Incarnation Through the Arts, 2002, in Collegium News
1:11 (April 2001), p. 13.
Richard Valadesau, Theology
and the Arts: Encountering God through Music, Art and Rhetoric, 2000,
in Collegium News 1:11 (April 2001), pp. 14-15.
Alan Jones, Exploring
Spiritual Direction, new ed. 1999, on-line in Catholic Issues,
spring 2000 (www.adelphi.edu/-catissue).
Earle J. Coleman, Creativity
and Spirituality: Bonds Between Art and Religion, 1998, in Christian
Spirituality Bulletin, Vol. 8, No. 1. Spring/Summer 2000, pp. 20-21.
"Books: Critics' Choices
for Christmas, Commonweal, December 5, 1997, pp. 24- 25.
"Anything But 'Correct',"
review of Robert Hughes, American Visions: The Epic History of Art in
America, 1997, in Reviews in American History 25 (1997): 704-708.
1848: Portrait of the Nation,"
review of exhibition of the same name at the National Portrait Gallery,
Smithsonian Institution, in The Journal of American History, June
1997, pp. 8-10.
"Points of View," John W.
Reps, Cities of the Mississippi: Nineteenth-Century
Images of Urban Development
(Missouri, 1994), Reviews in American History 24 (1996),
pp. 36-39.
Michael Kammen, Meadows
of Memory: Images of Time and Tradition in American Art and Culture,
in The Journal of Interdisciplinary History, Spring 1994, pp. 161-162.
Lillian B. Miller, In
Pursuit of Fame: Rembrandt Peale, 1778-1860 (National Portrait
Gallery, 1992), in The Journal of American History, June 1994, pp.
257-258.
Vivien Greene Fryd, Art
and Empire: The Politics of Ethnicity in the United States Capitol, 1815-1860,
in The American Historical Review, February 1994, pp. 297-298.
Marianne Doezema, George
Bellows and Urban American (Yale, 1992), in Winterthur Portfolio
28:1 (Spring, 1993), 98-100.
"American Landscape: Manifest
What?" Albert Boime, The Magisterial Gaze: Manifest Destiny and American
Landscape Painting c. 1830-1865 (Smithsonian, 1991), Journal of
Interdisciplinary History vol. 23, no. 4 (Spring 1993), 751-754.
"Queens and Captives," Joy
S. Kasson, Marble Queens and Captives: Women in Nineteenth-Century American
Sculpture (Yale, 1990), American Historical Review Vol. 78 No.
2 (September 1991), 662-63..
"Black Models, White Myths,"
Hugh Honour, The Image of the Black in Western Art, vol. 4 (Cambridge,
1988), Woodrow Wilson Quarterly 13, no. 4 (Autumn 1989):107-108.
"A Second-rate rebel," Emily
F. Cutrer, The Art of the Woman: The Life and Work of Elisabet Ney
(Lincoln and London, 1988), The Times Literary Supplement no. 4,481
(February 17-23, 1989):160.
"Art, History, and Curatorial
Responsibility": Exhibition Review of American Paradise: The World of
the Hudson River School (Metropolitan Museum of Art, 1987), Views
and Visions: American Landscape before 1830 (Corcoran, 1986), and The
Catskills: Painters, Writers, and Tourists in the Mountains 1820-1895
(Hudson River Museum, 1988), American Quarterly, 41:1 (March 1989),
143-154.
"LaFarge and Remington,"
John
La Farge and Frederic Remington: The Masterworks exhibitions (1988),
Art
Journal, 47:3 (Fall 1988), 241-243.
Esmond Wright, Franklin
of Philadelphia (Harvard, 1986), The Wilson Quarterly, 10:4
(Autumn 1986), 144-145.
George Gurney, Sculpture
and the Federal Triangle (Smithsonian, 1985), American Studies,
27:2 (Fall 1986), 63.
John Dillenberger, The
Visual Arts and Christianity in America: The Colonial Period through the
Nineteenth Century (Scholars Press, 1984), The American Historical
Review, vol. 90 no. 5 (December 1985), 1262.
Theodore E. Stebbins, Jr.,
A
New World: Masterpieces of American Painting 1760-1910 (exhibition
catalogue, Boston Museum of Fine Arts, 1983), American Quarterly,
36:5 (Winter 1985), 725-730.
Bryan Jay Wolf, Romantic
Re-Vision (Chicago, 1982), The Art Bulletin, 66:4 (December
1984), 705-707.
Nicolai Cikovsky, Jr., Editor,
Lectures
on the Affinity of Painting with the Other Fine Arts, by Samuel F. B. Morse
(Missouri, 1983), Winterthur Portfolio, 18:2/3 (Autumn 1984), 215-217.
Edgar P. Richardson, Brook
Hindle, and Lillian B. Miller, Charles Willson Peale and His World
(The Barra Foundation and H. N. Abrams, Inc., 1982), Winterthur Portfolio,
18:4 (Winter 1983), 305-307.
Lloyd Goodrich, Thomas
Eakins (Harvard and National Gallery of Art, 1982), The Art Bulletin,
65:4 (December 1983), 702-704.
Barbara Novak, Nature
and Culture: American Landscape and Painting 1825-1875 (Oxford, 1980),
Art
Journal, 41:1 (Spring 1981), 85-89.
Philip Beam, Winslow Homer's
Magazine Engravings (Harper & Row, 1979) and Gordon Hendricks,
The
Life and Work of Winslow Homer (Abrams, 1979), Winterthur Portfolio,
15:4 (Winter 1980), 381-383.
Autobiography of Samuel
D. Gross, M.D. (1887, reprint Da Capo 1972), The Pennsylvania Magazine
of History and Biography, 104:1 (January 1980), 130-131.
David Sellin, The First
Pose (Norton, 1977), Art Journal, vol. 38 no. 1 (Fall 1978):
72-74.
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of Contents
Papers
and Talks
"Writing
a Book on Winslow Homer," Phi Beta Kappa Distinguished Lectureship, Walter
Panas High School, Cortlandt Manor, NY, April 23, 2003.
"Paths
to Impressionism: Organizaing an Exhibition," Alumni Continuing Education
Day, College of the Holy Cross, April 12, 2003.
"Rethinking
Evidence," Response to panel "Gender and Cultural Production in 19th-Century
America," annual meeting of the Organization of American Historians, Memphis,
April 5, 2003.
"Winslow
Homer: The Nature of Observation," University of Memphis, April 3, 2003.
"Winslow
Homer: The Nature of Observation," Arthur Berger Lecture, Manhattanville
College, October 9, 2002.
"Thomas
Eakins: Painter, Photographer, and Complex Character," Metropolitan Museum
of Art, June 23, 2002.
"Holiness,
the Academy, and the Laity: The Vocations of Teaching and Learning," Bishop
Walter Curtis Lecture, Sacred Heart University, April 4, 2002.
"Winslow
Homer and the Nature of Observation," October 23, 2001, Center for Religion,Ethics
and Culture, College of the Holy Cross, Worcester MA
"Who,
then, are we? Genre painting in mid-nineteenth-century America,"
October 13, 2001, Abernethy Lecture, Center for the Arts, Middlebury College,
Middlebury VT
"Memory
and Hope in Norman Rockwell," Clark Symposium on "Community, Commerce,
and Cultural Connections in Norman Rockwell's America," September 22, 2001,
Sterling and Francine Clark Art Institute, Williamstown, MA
"American Genre
Painting: Its Cultural Work Across the 19th Century ,"Director's Lecture,
Terra Museum of American Art, Chicago, May 9, 2000.
"Images of the Passion
in the Gospel of John," Old St. Joseph's Parish, Philadelphia, March 29,
2000.
"Winslow Homer: The Nature
of Observation," Phi Beta Kappa lecture, University of Pennsylvania, March
2, 2000.
"Winslow Homer: The Nature
of Observation," Phi Beta Kappa lecture, Connecticut College, February
14, 2000.
"Spirituality and the Academic
Vocation," at "The Future of American Catholic Intellectual Life," conference
at College of the Holy Cross, Nov. 12-14, 1999.
"Winslow Homer: The Nature
of Observation," Henry Luce lecture at Bowdoin College, Brunswick, ME,
October 7, 1999.
"Women and Children: Their
changing place in 19th-century American painting,"
Newark Museum, April 26,
1999.
"Cities, the Day Excursion,
and Late-Century Landscapes," for the symposium "American Victorians &
Virgin Nature," Isabella Stewart Gardner Museum, March 20, 1999.
"An Insider's View of the
Exhibition," for the lecture series on New Worlds from Old, Corcoran
Gallery of Art, March 4, 1999.
"Winslow Homer: The Nature
of Observation," Holbrook Memorial Lecture, University of Georgia, January
29, 1999.
"Sea Change: Genre Painting
crosses the Atlantic," for the conference "English Accents," at the Tate
Gallery, London, November 6, 1998.
"What I Learned in the Process:
The Hazards of 'National Identity' in Interpreting Landscape Painting,"
symposium at the Wadsworth Athenaeum accompanying the exhibition New
Worlds from Old, October 24, 1998.
"Irony or Confidence? Genre
and landscaping painting in the antebellum United States," New York University,
October 19, 1998.
"New Directions in the Study
of Landscape Painting," National Gallery of Australia, Canberra , ACT,
March 7, 1998.
"Homer, Johnson, and the
work of American genre painting 1860-1890," Brice Museum, Greenwich, CT,
January 21, 1998.
"Winslow Homer and the Nature
of Observation," Oswaldo Rodriguez Roque Memorial Lecture, Yale University,
November 1, 1997.
"The Historiography of Philadelphia's
Cultural Landscape," Keynote Address, Symposium on The Sartain Family and
the Philadelphia cultural Landscape 1830-1930, Moore College of Art, April
11, 1997.
"Sex and Photographs: Speculation
or Art History?" Rhode Island School of Design, February 13, 1997.
"Winslow Homer: A Painter
of Men and Women," Amherst College, Nov. 7, 1996.
"Winslow Homer: A Painter
of Men and Women," Clark Art Institute, October 30, 1996.
"Winslow Homer: A Painter
of Men and Women," Metropolitan Museum of Art, June 23, 1996.
"Winslow Homer: A Painter
of Men and Women," Friends of American Art,
Los Angeles County Museum,
May 3, 1996.
"Winslow Homer: New Interpretive
Possibilities," Southwestern University,
Georgetown, TX, as Visiting
Art Historian, April 29, 1996.
"American Impressionist Landscapes:
Assessing the Present, Reconstructing the Past," Aldrich Museum of Contemporary
Art, Ridgefield, CT, April 14, 1996.
"Preparing a Comparative
Exhibition: Australian and American 19th-Century
Landscape Painting," Plenary
Address, Nineteenth-Century Studies Annual Meeting, Miami, April 11, 1996.
"On the Walls, Not the Screens:
Using Museum Collections in Teaching the American Art Survey," Collage
Art Association Annual Meeting, Boston, February 23, 1996.
"'New World' Landscapes:
Comparing Practices in the United States and Australia," Symposium on American
Art Studies at the End of the Twentieth Century, Northwestern University,
January 27, 1996.
"Winslow Homer and the Wilderness
Landscape," Keynote Address, Southeastern
College Art Association annual
meeting, Georgetown University, October 13, 1995.
"Thinking Anew About Landscape:
Nineteenth-Century American and Australian Landscape Painting," Lebanon
Valley College of Pennsylvania, September 27, 1995.
"Bingham's Fur Traders,
the History of the MMA Collection, and the Historiography of American Art,"
Symposium "American Art Before 1850: A Celebration of the Metropolitan
Museum's Collection," December 9, 1994.
"Thomas Eakins, Harrison
Morris, and Philadelphia 'Propriety'", Symposium "Taste and Tradition in
Nineteenth-Century Philadelphia," Sterling and Francine Clark Art Institute,
Williamstown, MA, November 12, 1994.
"American Impressionism:
An Outside View," Metropolitan Museum of Art, May 22, 1994, lecture accompanying
the exhibition "American Impressionism and Realism: The Painting of Modern
Life, 1885-1915."
"Genre Painting and the Tensions
of Modern Life: the U.S. and Europe, 1865-1900" annual Lefcoe Lecture,
the Pennsylvania Academy of the Fine Arts, April 7, 1994.
African-American Artists
of the Nineteenth Century," Pennsylvania Academy of the Fine Arts, January
24, 1994.
"Thomas Eakins and the Homosocial
Body," National Portrait Gallery, London, November 18, 1993.
"Genre Painting and the Tensions
of Modern Life in Europe and American, 1865-1900," Walters Art Gallery,
October 7, 1993.
"Winslow Homer and the Wilderness,"
Rubin Lecture, Metropolitan Museum of Art, May 4, 1992.
"Nudity and Fantasy in Eakins's
Photography," Pennsylvania Academy of the Fine Arts, March 28, 1992.
"Art in Tanner's Philadelphia,"
DeYoung Museum of the Fine Arts Museums of San Francisco, January 25, 1992.
"The Ideology of Medium:
Photography and Painting in the 19th-Century United States, Amon Carter
Museum, November 21, 1991.
"Thomas Eakins, Henry Tanner,
and the Art World of Philadelphia," Philadelphia Museum of Art, February
2, 1991, and Detroit Institute of Arts, June 2, 1991.
"Global Culture," for Summit
2000: Preparing for the First Global Civilization, the Aresty Institute
of Executive Education, November 21, 1990.
"Images of Pure Yankeeism:
The Genre Paintings of William Sidney Mount," Lafayette College, November
15, 1990.
"George Caleb Bingham's Vision
of the West: Generous Irony," National Museum of American Art, Smithsonian
Institution, June 10, 1990.
"The Cultural Work of American
Genre Painting," Arizona State University, Tempe, April 24, 1990.
"Representations of Bodies:
Oppression and Agency," response paper at "Four Test Cases of Representation,"
American Studies Conference at University of California, Los Angeles, April
12-24, 1990.
"A View of Thomas Eakins
from 1990," address at the 175th annual meeting of the Philadelphia Athenaeum,
April 2, 1990.
"Genre Painting and the Claims
of Competitive Equality in the Antebellum United States," at annual meeting
of the (British) Association of Art Historians, Trinity College, Dublin,
March 23-26, 1990.
"Interpretation of Technical
Studies on the Drawings of George Caleb Bingham," with Nancy Heugh, conservator,
Symposium on George Caleb Bingham, Saint Louis Art Museum, February 23,
1990.
"The Sun Never Sets: Landscape
Painting in 19th-century Anglo-American Societies," response paper, American
Studies Association Annual Meeting, Toronto, November 1989.
"The Cultural Work of American
Landscape Painting," inaugural lecture, University of Pennsylvania, October
12, 1989.
"Arts and American Values,"
keynote speech at symposium on "Arts and American Values," Angelo State
University, San Angelo, Texas, October 23-24, 1989.
"Easterners and Westerners
in 19th-century Genre Painting," Westmoreland Museum of Art, April 5, 1989.
"American Genre Painting
1830-1860," Graduate Center of the City University of New York, April 5,
1989.
"Mount and Bingham: a 'national'
genre," Whitney Museum of American Art, November 9, 1988.
"Science, Art, and Literature
in Federal America: The Search for a Mission," Conference on Everyday Life
in Federal America, Winterthur Museum, November 3-4, 1988.
"Thomas Eakins: The Lure
of a Human Face," Nelson-Atkins Museum, October 26, 1988.
"'Reckoning': American Genre
Painting 1830-1860," Department of American Civilization, University of
Pennsylvania, March 3, 1988.
"From Shared Visions to Private
Insights: Nineteenth-Century American Painting," Conference on Taste and
Transformation: Change in Nineteenth Century American Arts and Culture,"
West Chester University and Chester County Historical Society, November
7, 1987.
"The Easterners' West," Symposium
on American Frontier Life, Amon Carter Museum, October 17, 1987."'Reckoning':
American Genre Painting 1830-1860," Seminar on History and Art History,
University of Texas, October 15-16, 1987.
"Early American Genre Painting,"
Symposium for The Warner Collection, Birmingham Museum of Art, February
28, 1987.
"'Reckoning': American Genre
Painting 1830-1860," Mellon Lecture at the University of Pittsburgh, February
26, 1987.
"'Reckoning': American Genre
Painting 1830-1860," Emory University, lecture December 4 and seminar December
5, 1986.
"'Reckoning': American Genre
Painting 1830-1860," National Gallery of Art, November 30, 1986.
"Thomas Eakins and the Spirit
of His Times," Reynolda House, Winston-Salem, North Carolina, November
13, 1986.
"Genre Painting, East and
West," Amon Carter Museum of Western Art, Anniversary Symposium, October
18, 1986.
"This New Man: National Identity
in Pre-Civil War American Genre Painting," Twenty-sixth International Congress
of the History of Art, Washington, August 14, 1986.
"Thomas Eakins and Nineteenth-Century
Ideals of Heroism," Dallas Museum of Art, May 1, 1986.
"National Identity in American
Genre Painting 1830-1852," Colloquium, Woodrow Wilson International Center
for Scholars, Washington, D.C., April 22, 1986.
"Politics on the Farm: 'Disguised
Symbolism' in Pre-Civil War American Genre Painting Before the Civil War,"
Luce Symposium on American Art, April 4, 1986.
"Thomas Eakins and the Medial
Community of Philadelphia," Symposium on Art, Medicine, and the Human Condition,
Philadelphia Museum of Art, October 26, 1985.
"William Sidney Mount and
American Genre Painting," Friends of American Art, St. Louis Art Museum,
October 2, 1985.
"Thomas Eakins and Rowing,"
Seminar on The History of Rowing in Philadelphia, Philadelphia Maritime
Museum, September 21, 1985.
"The Historiography of American
Landscape," Symposium on American Painting Before 1900: New Perspectives,
University of Delaware, April 12, 1985.
"The Farmer in the Works
of William Sidney Mount," Conference on Art and History, sponsored by Journal
of Interdisciplinary History, Bellagio, March 4-8, 1985.
"Thomas Eakins' Intimate
Portraits," Los Angeles County Museum of Art, February 24, 1985.
"Thomas Eakins and Nineteenth-Century
Ideals of Heroism," Swarthmore College, February 6, 1985.
"Realism as a National Style,"
Symposium on Nineteenth-Century American Realism, Baltimore Museum of Art,
November 17, 1984.
"Thomas Eakins and Nineteenth-Century
Ideals of Heroism," Department of American Civilization, Columbia University,
October 30, 1984.
"Thomas Eakins and Nineteenth-Century
Ideals of Heroism," Frick Friends of the Fine Arts, University of Pittsburgh,
October 17, 1984.
"America in 1833: How We
Saw Ourselves and How Others Saw Us," Symposium on Morse's Gallery of
the Louvre, Oklahoma Art Center, Oklahoma City, October 6, 1984.
"Thomas Eakins and History,"
Yale Friends of Art, Yale University, April 28, 1984.
"Themes in the Historiography
of American Art," Nineteenth-Century Seminar, Joseph Henry Papers, Smithsonian
Institution, February 10, 1984.
"Thomas Eakins and Modern
Life," Corcoran Gallery of Art, January 12, 1984.
"Thomas Eakins as a Teacher
of Artists," Symposium on the Education of the American Artist, Mount Holyoke
College, April 9, 1983.
"Thomas Eakins: Heroism in
the Unexpected," University of Delaware, November 15, 1982.
"Thomas Eakins' Paintings:
Heroism in the Unexpected," National Gallery of Art, November 14, 1982.
"Thomas Eakins' Gallery of
Eminent Philadelphians," National Museum of American Art, October 28, 1982.
"Thomas Eakins: Heroism in
the Unexpected," Boston Museum of Fine Arts, September 23, 1982.
"Thomas Eakins' Gallery of
Eminent Philadelphians," Philadelphia Museum of Art, June 2, 1982.
"Thomas Eakins' Gallery of
Eminent Philadelphians," National Museum of American Art, October 28, 1982.
"Thomas Eakins: Heroism in
the Unexpected," Boston Museum of Fine Arts, September 23, 1982.
"Thomas Eakins' Gallery of
Eminent Philadelphians," Philadelphia Museum of Art, June 2, 1982.
"Thomas Eakins and Jefferson
Medical College," on the occasion of the dedication of the Eakins Gallery,
Jefferson Medical College of the Thomas Jefferson University, Philadelphia,
April 23, 1982.
"Thomas Eakins' Gross
Clinic: Its Philadelphia Heritage," Symposium on the Philadelphia Tradition
in Art, Independence National Historical Park, Philadelphia, November 14,
1981.
"Samuel D. Gross: The Surgeon
as Hero," Southeastern Nineteenth Century Studies Conference, Atlanta,
May 8, 1981.
"Arthur B. Davies and Albert
Pinkham Ryder: The 'Fix' of the Art Historian," Symposium on Arthur B.
Davies, Institute of Contemporary Art, Boston, March 27, 1981.
"Thomas Eakins' Gross
Clinic: An Anatomy of Realism," Stanford University, February 24, 1981.
"Religion and the Paintings
of Thomas Eakins," Corcoran Gallery of Art, October 15, 1980.
"Thomas Eakins' Gross
Clinic: Its Meaning for our Times," Mount Holyoke College, October
8, 1980.
"Albert Pinkham Ryder and
the Imaginative Tradition," Symposium on American Symbolist Painting, Spencer
Museum of Art, University of Kansas, February 23, 1980.
"Washington Allston and Samuel
Taylor Coleridge: A Remarkable Relationship," Symposium on Allston, Boston
Museum of Fine Arts, January 12, 1980.
"Thomas Eakins and William
Rush: The Artist as Art Historian," SouthEastern College Art Conference,
Atlanta, October 27, 1979.
"Thomas Eakins' Clinic of
Professor Gross," College Art Association Annual Meeting, Washington, February
2. 1979.
"Thomas Eakins, a Painter
of Feeling: Thesis and Antithesis in His Method," Symposium on the Genesis
of Art in the Nineteenth Century, Temple University, March 31, 1978.
"Washington Allston: Method,
Imagination and Reality," College Art Association Annual Meeting, Washington,
January 23, 1975.
"Washington Allston's Nineteenth-Century
Reputation, "Lowe Art Museum, Coral Gables, Florida, January 10, 1975.
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Professional
Activities, Memberships
Memberships: Society for
the Study of Christian Spirituality, College Art Association, Organization
of American Historians, American Studies Association, American Antiquarian
Society, The Athenaeum of Philadelphia (Lifetime Fellow).
Boards of Trustees: The Athenaeum
of Philadelphia, 1996-2000.
Boards of Directors: College
Art Association, 1986-1989 with special responsibility as Chair, Program
Committee for Annual Meetings; Southeastern Nineteenth-Century Studies
Association, 1980-1982; Commonwealth Center for the Study of American Culture,
The College of William & Mary; College Art Association 1987-1990.
Editorial Advisory Boards:
University of Pennsylvania Press 1994-96 (chair, Faculty Editorial Board,
1995-96; American Quarterly; Woodrow Wilson Quarterly; Winterthur
Portfolio; Smithsonian Institution Press.
Committees: Visiting Committee
to review the History of Art Department, Yale University, fall, 1990; Curatorial
Advisory Committee, Virginia Museum of Art; Planning Committee, American
Studies Association Annual Meeting 1987; Visiting Committee to review the
Art Department, Swarthmore College, 1981.
Session Chairs: "America's
Birthday Parties: History, Representation, and Citizenship in the Birthplace
of the Nation--1976, 1926, 1976," Annual Meeting of the Organization of
American Historians, San Francisco, April 18, 1997; "The Artist as Explorer,"
Conference on Surveying the Record: North American Scientific Exploration
to 1900, American Philosophical Society, Philadelphia, March 15, 1997;
"History, Memory, and Identity in American Image-Making," for the Organization
of American Historians Annual Meeting, Chicago, March 29, 1996; "Winslow
Homer: A Forum," College Art Association annual meeting, New York, February
1994; "Private Eyes and Public Visions: Transforming Boston Culture in
the Late Nineteenth Century," American Studies Association Annual Meeting,
Boston, November, 1993; "The Sun Never Sets: Landscape Painting in 19th-century
Anglo-American Societies," American Studies Association Annual Meeting,
Toronto, November 1989; "Symbolic Transformations in the 1850's: Culture
and Impending Catastrophe," American Studies Association Annual Meeting,
New York, 1987; "Methodologies in American Art History," (co-chair with
Barbara Weinberg), College Art Association Annual Meeting, Los Angeles,
1985; "Thomas Eakins: New Approaches," College Art Association Annual Meeting,
Philadelphia, 1983.
Referee and panel member
(ongoing): American Philosophical Society; Woodrow Wilson International
Center for Scholars; Smithsonian Institution Scholarly Studies Committee;
Getty postdoctoral fellowships; American Council of Learned Societies postdoctoral
fellowships; National Endowment for the Humanities; Yale University Press;
Harvard University Press; Cambridge University Press; Princeton University
Press; National Gallery of Art; University of Missouri Press; University
of Texas Press; Winterthur Portfolio; Barra Foundation.
Outside Examiner: Justin
Wolfe, Ph.D. dissertation on Richard Caton Woodville, Princeton University,
April, 1994; honors program, Swarthmore College, April 1986.
Consultant on exhibitions:
"The Eight," Milwaukee Art Museum, 1989-1991; "The Eakins-Bregler Collection,"
Pennsylvania Academy of the Fine Arts, 1988-91; educational material for
"Facing History: The Black Image in American Art, 1710-1940," The Brooklyn
Museum, 1990.
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of Contents
Theses
and Dissertations Directed
"Infiltrating the
Interior: The New York Art World and Collectors' Houses, 1860-1900," Alison
Bechtel, Ph.D. in process.
"The Persistence of Memory:
The Continuity of Culture in American Paintings of Interiors, 1880 to 1920,"
Isabel Taube, Ph.D. in process.
"Envisioning Female
Adolescence: Rites of Passage in Late Nineteenth-Century Painting
and Photography," Gretchen R. Sinnett, Ph.D. in process.
"Imaging Memory: Nationhood
and American Art at the 1876 Centennial Exhibition," Susanna Williams Gold,
Ph.D. in process.
"The Studio of the Western
Artist: Museums, Regionalism, and Nationalism," Elizabeth Sargent
Kennedy, Ph. D. 2003..
"Articulating 'American'
and 'Modern': Text and Image in the Early American Modernists," Rachael
Arauz, Ph.D. 2000.
"In Sympathy with the Heart,"
A Reinterpretation of the Art and Life of Rembrandt Peale," Carol Eaton
Soltis, Ph.D.2000.
"Exhibiting Nations: Christian
Brinton, Modernism, and the Construction of Public Collections of Modern
Art, 1910-1935," Andrew Walker, Ph.D. 1999.
"Performing Identity: The
Portraiture of John Singer Sargent," Leigh Culver, Ph.D.1998.
"'Eloquent Representatives':
A Study of the Native-American Figure in the Early Landscapes of Thomas
Cole," Scott Dimond, Ph.D.1998.
"Shifting Sexual Difference:
Body and Identity in the nudes and bathers of Paul Cézanne and in
the figures of Pablo Picasso from 1905-1908," Sue Ann Prince [co-directed
with Christine Poggi], Ph.D. 1998.
"Reginald Marsh and the Burlesque
Theater: Doubly Mediated Representations of Gender & Sexuality," Michele
Miller, Ph.D. 1997.
"The Politics of Regional
Representation: Art, New England, and the Making of American Identity,"
Julie Rosenbaum, Ph.D. 1997.
"'A Modern Vision': Thomas
Dewing and Aesthetic Vision at the Turn of the Century," Lee Glazer, Ph.D.
1996.
"Howard Roberts' La Premiere
Pose," Maria P. Gindhart, M.A. 1995.
"Henry Ossawa Tanner's Portrait
of the Artist's Mother," Rachael Arauz, M.A. 1995.
"Horace Pippin's Mr. Prejudice,"
Maria Ali, M.A. 1995.
"The American Aesthetic Movement,
Art Worlds, and Consumer Culture, 1876-1890," Sylvia Yount, Ph.D. University
of Pennsylvania, 1994.
"Non-Modernist Responses
to the Work of Jackson Pollock and Modernist Reactions," Robert Krulak,
M.A. University of Pennsylvania, 1993.
"The Audience and Supporters
of Charles Willson Peale's Philadelphia Museum, 1784-1827," David Brigham,
Ph.D. University of Pennsylvania (American Civilization), 1993.
"The Characters of Charles
Willson Peale: Portraiture and Social Identity, 1769-1776," David Steinberg,
Ph.D. University of Pennsylvania, 1993.
"Florine Stettheimer's Spring
Sale at Bendel's: The Construction of an Artist and a Painting," Carol
M. Losos, M.A. 1993.
"Labor in American Murals
1893-1917," Janet Marstine, Ph.D. University of Pittsburgh, 1992.
"Artists' Images of Artists
in Antebellum America," Elisabeth Roark, Ph.D. University of Pittsburgh,
1990.
"Images of Industry in Pittsburgh,"
Rina Youngner, Ph.D. University of Pittsburgh, 1990.
"Childhood in the Work of
Winslow Homer," Rachel Carren, Ph.D. University of Maryland, 1990.
"The History of the Pittsburgh
School of Design for Women," Britta Dwyer, Ph.D. University of Pittsburgh,
1989.
"Facing History: Images of
Blacks in American Art," Guy McElroy, University of Maryland, student died
just short of completion.
"American Images of French
Peasants, 1860 to 1893," Julia Myers, Ph.D. University of Maryland, 1989.
"American Art 1865 to 1876,"
Jean Baxter, Ph.D. University of Maryland, 1988.
"American Sculptors in Italy,
1825-1875," Janet Headley, Ph.D. University of Maryland, 1988.
"Primitivism and Nature Myths
in American Art 1890-1910," Elizabeth Tebow, Ph.D. University of Maryland,
1987.
"Labor in Nineteenth-Century
American Imagery," Gail Kaplan, M.A. University of Maryland, 1986.
"Louis Lozowick: From Precisionist
to Social Realist, 1920-1935," Virginia Marquardt, Ph.D. University of
Maryland, 1983.
"American Aesthetic Theory,
1908-1917: Issues in Conservative and Avant-Garde Thought," Virginia Mecklenburg,
Ph.D. University of Maryland, 1983.
"Oscar Bluemner: Life, Art,
and Theory," Jeffrey R. Hayes, Ph.D. University of Maryland, 1982.
"Aesthetic, Political, and
Utilitarian Functionalism in the Library of Congress," Beverly Lynn Elson,
Ph.D. University of Maryland, 1981.
"The U.S.I.A. Exhibition
of 1959," Karen Holtzman, M.A. University of Maryland, 1984.
"Joseph Cornell's Homages
to the Romantic Ballet in a Twentieth-Century Context," Christine Hennessey,
M.A. University of Maryland, 1981.
"The War Paintings and Lithographs
of George Bellows," Krystyna Wasserman, M.A. University of Maryland, 1981.
"Thomas Wilmer Dewing, Henry
James, and the Ideal Victorian Woman," Susan Wortek, M.A. University of
Maryland, 1980.
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Courses
Taught
At the College of the Holy
Cross: American Art 1750-1960; Seminar in Landscape, Tourism, and
Spirituality; Seminar in Barbizon and Impressionist Landscapes; History
of Photography.
At the University of Pennsylvania,
graduate level: Seminar on Space and Representation; Seminar (co-taught)
on Landscape and Spirituality from 1400 to the present; Seminar on Cultural
Context (What is it?); Seminar in Categorization (How does it help us?
How does it hinder us? --Homer, Cassatt, Tanner, O'Keeffe, and Davis);
Seminar on Early American Modernism; Seminar on the Individual Work; Seminar
in American Landscape Painting; Seminar in Late Nineteenth-Century American
Art; Seminar in the Construction of Gender in American Art; Seminar in
Works on Paper: the Ideology of Medium; Seminar in the Social History of
American Modernism; Seminar in Anglo-Colonial Landscape Painting (United
States, Canada, Australia).
At the University of Pennsylvania,
undergraduate level: Senior Seminar on American Landscape, Tourism, and
Spirituality; American Painting and Sculpture 1750-1945; History of Photography;
European Art and Civilization from 1400 to the Present, Seminar on Late
Nineteenth-Century American Painting; Seminar on the Figure in the History
of Photography; Seminar in American Art and American History (Freshman
Seminar Program).
At the University of Pittsburgh,
undergraduate level: Cultural History of the Antebellum United States;
Cultural History of the 1890s in America; Nineteenth-Century American Painting;
Survey of American Painting, Sculpture, and Architecture from Colonial
Times to the Present.
At the University of Pittsburgh,
graduate level: Seminar on Winslow Homer; Cultural History of the Antebellum
United States, 1830-1861; American Genre Painting in the Nineteenth Century;
American Landscape Painting in the Nineteenth Century; Images of the Nineteenth-Century
American West.
At the University of Maryland,
undergraduate level in American Studies: Critics of American Culture (Bradford
to Lasch); The Civil War in Word and Image; America at the Turn of the
Century; Literature and Society; undergraduate level in art history: Introduction
to Art (and Introduction to Art, University Honors Program); American painting,
sculpture, and architecture 1630 to 1900 and 1900 to the Present; American
Art and Literature; European Art 1880-1920; European painting, sculpture
and architecture from the Renaissance to the Present; Masterpieces of Sculpture
from the Renaissance to the Present; Masterpieces of Painting from the
Renaissance to the Present.
At the University of Maryland,
graduate level: seminars on the Religious Spirit in American Art; American
Realism; Thomas Eakins; Music in Nineteenth-Century American Painting;
Politics, Gender and Morality in American Genre painting 1810-1913.
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