Alison McNeil Kettering

After earning a BA in Art History from Oberlin College, Professor Kettering attended the University of California, Berkeley for her MA and PhD degrees. Midway through graduate school she spent a year teaching at Carleton College. Later she taught at Hobart and William Smith Colleges, Swarthmore College, and the University of California, Santa Cruz. In 1982, she returned to the Carleton faculty, where she is now the William R. Kenan, Jr. Professor of Art History. With a special interest in seventeenth-century Dutch art, Professor Kettering has taught a wide range of courses on early modern art throughout Western Europe, gender issues in Western art, portraiture, and the theory and methodology of art history.

Kettering is the author of several books, The Dutch Arcadia: Pastoral Art and Its Audience in the Golden Age, Drawings from the Ter Borch Studio Estate in the Rijksmuseum, Rembrandt’s Group Portraits, and Gerard ter Borch and the Treaty of Münster/Gerard ter Borch en de Vrede van Munster. She has also published numerous articles on Gerard ter Borch, Rembrandt, women artists, and gender issues. One of these,“Ter Borch’s Ladies in Satin” (Art History 1993), was reprinted in Looking at Seventeenth-Century Dutch Art (ed. Wayne Franits, Cambridge, 1997). Another article, “Men at Work in Dutch Art, or Keeping One’s Nose to the Grindstone,” was published in The Art Bulletin (December 2007).

Kettering has won fellowships from the American Philosophical Society, the American Council of Learned Societies, and the National Endowment for the Humanities. In 1997, she was a Fellow at the Netherlands Institute for Advanced Study in Wassenaar. Her forthcoming articles include “The Rustic Still Life in Dutch Genre Painting: Bijwerck dat Verclaert,” which will be published in New Perspectives on Early Modern Northern European Genre Imagery (ed. Art Di Furia, Ashgate Press), and “Hendrick Goltzius, Painting with Chalk,” for publication in Affect, Agency and Uses of Portrayal: Approaches to the Netherlandish Portrait (1550–1700) (ed. Ann J. Adams, Ashgate Press). She is a past president of Historians of Netherlandish Art and, since 2008, Editor-in-Chief of the semiannual, refereed e-journal, Journal of Historians of Netherlandish Art (www.jhna.org).

Midwestern Arcadia 7 Books and Articles

Kettering, Alison. “Rembrandt’s Flute Player: A Unique Treatment of Pastoral.” Simiolus: Netherlands Quarterly for the History of Art 9 (1977): 14–44.

Kettering, Alison McNeil. The Dutch Arcadia: Pastoral Art and Its Audience in the Golden Age.Montclair, N.J.: Allan- held & Schram; and Woodbridge, England: Boydell and Brewer, 1983.

Kettering, Alison McNeil. “Ter Borch’s Studio Estate.” Apollo 117 (June 1983): 443–51 (in an issue devoted to the Rijksprentenkabinet).

Kettering, Alison McNeil. “Dutch Pastoral Art.” In La pastorale olandese nel Seicento: L’ispirazione poetica della pittura ne Secolo d’Oro. Exh. cat. by Alison McNeil Kettering and P. E. L. Verkuyl, 1–29. Rome: Istituto Olandese, 1983.

Kettering, Alison McNeil. Drawings from the Ter Borch Studio Estate in the Rijksmuseum. 2 vols.The Hague: Staatsuit- geverij, 1988.

Kettering, Alison McNeil. “Ter Borch’s Ladies in Satin.” Art History 16, no. 1 (1993): 95–124. Reprinted in Looking at Seventeenth-Century Dutch Art: Realism Reconsidered, edited by Wayne Franits. Cambridge: Cambridge University Press, 1997.

Kettering, Alison McNeil. “Het Portret van Moses ter Borch door Gerard and Gesina ter Borch.” Bulletin van het Rijksmuseum 43 (1995): 317–35.

Kettering, Alison McNeil. “Gender Issues in Seventeenth-Century Dutch Pastoral Portraiture, a New Look.” Penn State Papers in Art History 11 (1997): 142–75.

Kettering, Alison McNeil. “Gentlemen in Satin: Masculine Ideals in Later Seventeenth-Century Dutch Portrai- ture.” Art Journal 56, no. 2 (1997): 41–47.

Kettering, Alison McNeil. Gerard ter Borch and the Treaty of Münster / Gerard ter Borch en de Vrede van Munster. The Hague: Mauritshuis, 1998 (published in conjunction with an exhibition held July 3–October 11, 1998).

Kettering, Alison McNeil. “Gerard ter Borch’s Swearing of the Oath of Ratification of the Treaty of Munster as His- torical Representation.” In 1648: War and Peace in Europe. Exh. cat. edited by Klaus Schilling and Heinz Bussmann, 605–14. Münster: Westfälisches Landesmuseum, 1998 (also available on CDROM).

Kettering, Alison McNeil. “La ‘peinture de guerre’ aux Pays-Bas aprés les congrés de Münster et d’Osnabrück.” In Pro- ceedings of the Colloquium “1648: L’art, la guerre et la paix en Europe”; Paris, Louvre, November 20–21, 1998, 515–41. Paris, 1999.

Kettering, Alison Mc Neil. “The “War-painting” in the Netherlands after the Peace of Münster and Osnabrück.” In 1648: Paix de Westphalie, l’art entre la guerre et la paix / 1648: Westfälischer Friede, die Kunst zwischen Krieg und Frieden; Actes du colloque, Westfälisches Landesmuseum and Musée du Louvre, 1998, 513–41. Klincksieck, 1999.

Kettering, Alison McNeil. “Gerard ter Borch’s Portraits for the Deventer Elite.” Simiolus: Netherlands Quarterly for the History of Art 27, nos. 1/2 (1999): 46–69.

Kettering, Alison McNeil. “Gerard ter Borch’s Military Men: Masculinity Transformed.” InThe Public and Private in Dutch Culture of the Golden Age, edited by Arthur K. Wheelock Jr. and Adele Seeff, 100–119. Newark: University of Delaware Press; and London: Associated University Press, 2000.

Kettering, Alison McNeil. “Gerard ter Borch’s ‘Modern Manner’” and fifteen individual entries. In Gerard ter Borch. Exh. cat. edited by Arthur K. Wheelock, Jr. Washington, D.C.: National Gallery; Detroit Institute of Arts;

Midwestern Arcadia 8 Amsterdam: Rijksmuseum / New Haven and London: Yale University Press, 2004.

Kettering, Alison McNeil. “Gerard ter Borch’s Portrait of the Magistraat and the Deventer Elite” (in Dutch). Jaarboek van de Vereniging Oud Deventer 20 (2006).

Kettering, Alison McNeil. Rembrandt’s Group Portraits. Zwolle: Waanders, 2006. Kettering, Alison McNeil. “Men at Work in Dutch Art, or Keeping One’s Nose to the Grindstone.” Art Bulletin 89, no. 4 (2007): 694–714.

Kettering, Alison McNeil. “Landscape with Sails, the Windmill in Netherlandish Prints.”Simiolus: Netherlands Quar- terly for the History of Art 33 (2007–8): 67–80.

Kettering, Alison McNeil. “Rembrandt and the Male Nude.” In Aemulatio: Imitation, Emulation and Invention in Netherlandish Art from 1500 to 1800; Essays in Honor of Eric Jan Sluijter, edited by Anton W. A. Boschloo, Jacquelyn N. Coutré, Stephanie S. Dickey, and Nicolette C. Sluijter-Seiffert, 248–62. Zwolle: Waanders, 2011.

Kettering, Alison McNeil. “The Friendship Portraits of Hendrick Goltzius.” In Face Book: Studies on Dutch and Flem- ish Portraiture of the 16th–18th Centuries; Liber Amicorum Presented to Rudolf E. O. Ekkart, edited by Edwin Buijsen, Charles Dumas, and Volker Manuth. The Hague: RKD / Leiden: Primavera, 2012.

Book Reviews

Review of Rembrandt in America: Collecting and Connoisseurship. Exh. cat. New York: Skira Rizzoli in association with Minneapolis Institute of Arts, Cleveland Museum of Art, and North Carolina Museum of Art, 2012. caareviews. org, June 6, 2013.

Review of Public Faces and Private Identities in Seventeenth-Century Holland: Portraiture and the Production of Community, by Ann Jensen Adams (Cambridge University Press, 2009).caareviews.org, December 1, 2010.

Review of Tempest and Shipwreck in Dutch and Flemish Art: Convention, Rhetoric and Interpretation, by L. O. Goedde (University Park, Pa., and London, 1989). Simiolus: Netherlands Quarterly for the History of Art 21, nos. 1/2 (1992): 102–6.

Entries

“Satin, Poetry, and Dutch Female Beauty” and “Dutch Male Beauty.” In Beauty, Beauties. Paris: Editions-Babylone, 2008.

Entries on members of the Ter Borch Family. Allgemeines Künstlerlexikon, Munich and Leipzig: K. G. Saur Verlag, 1996.

“Gesina ter Borch.” Dictionary of Women Artists. London: Fitzroy Dearborn, 1997.

“Women Artists in the 17th Century and Thereafter” and “Gerard Ter Borch (1617–1681).” Dutch Art from 1475 to 1990: An Encyclopedia. New York: Garland, 1996.

“Gerard ter Borch Sr., View along the Panisperna toward S. M. Maggiore and Gardens of the Villa Madama, Outside Rome.” In Fiamminghi a Roma, 1508–1608. Exh. cat. Brussels: Societé des Expositions du Palais des Beaux-Arts; and Rome: Palazzo delle exposizioni, 1995.

“Gerard Ter Borch Jr.” and “The Family of Gerard Ter Borch Sr.” The Dictionary of Art. London, 1996.

“Biography of Gesina ter Borch” (in Dutch). Overijsselse Biografieën, vol. 2. Kampen (The Netherlands), 1992.

Midwestern Arcadia 9 Recommended Citation: Dawn Odell and Jessica Buskirk, “Alison Kettering: Biography and Bibliography,” Midwest- ern Arcadia: Essays in Honor of Alison Kettering (2015) DOI: 10.18277/makf.2015.15

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