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Oliver Tostmann Curriculum Vitae Curatorial Positions Held

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Oliver Tostmann Curriculum Vitae Curatorial Positions Held 1 Oliver Tostmann Curriculum Vitae Curatorial Positions Held Wadsworth Atheneum Museum of Art, Hartford, CT. November 2013-: Susan Morse Hilles Curator of European Art Isabella Stewart Gardner Museum, Boston, MA. April 2011- October 2013: Lia and William Poorvu Curator of the Collection National Gallery of Art, Washington D.C. May 2008-May 2011: Postdoc Andrew W. Mellon Fellowship, Department of Italian and Spanish Paintings and French Paintings September 2007-May 2008: Joseph McCrindle Fellowship, Department of Italian and Spanish Paintings Teaching Visiting Assistant Professor of Fine Arts: Trinity College, Hartford, 2021-2022 Lecturer: Akademie der Staatlichen Museen von Berlin (National Museums in Berlin), 2005-2007 Exhibitions (selection) By Her Hand. Artemisia Gentileschi and Women Artists in Italy, 1500-1800, Wadsworth Atheneum Museum of Art, Hartford Fall/Winter 2021/2022 and Detroit Institute of Arts (as co-curator with Eve Straussman-Pflanzer). A Remarkable Friendship: Henri de Toulouse-Lautrec and Jane Avril, Wadsworth Atheneum, Hartford, Spring- Summer 2021. Giorgio Vasari, Salvator Rosa, Giambattista Tiepolo: Italian Master Drawings from the Collection, Wadsworth Atheneum of Art, Hartford 2019-2020. Giorgione’s La Vecchia, Wadsworth Atheneum Museum of Art, Hartford 2019 (in collaboration with Cincinnati Art Museum). Monsters & Myths. Surrealism and War in the 1930s and 1940s, Wadsworth Atheneum Museum of Art, Hartford 2018 and Baltimore Museum of Art (as co-curator with Oliver Shell). Fine Prints and Drawings by Rembrandt and His Contemporaries, Wadsworth Atheneum Museum of Art, Hartford 2018. Sublime North: Romantic Painters Discover Norway, Wadsworth Atheneum Museum of Art, Hartford 2017. Utamaro and the Lure of Japan, Wadsworth Atheneum Museum of Art, Hartford 2017 (in collaboration with Hakone Museum, Okada). 2 Ornament & Illusion. Carlo Crivelli of Venice, Isabella Stewart Gardner Museum, Boston, 2015 (as co-curator with Stephen Cambell, Nathaniel Silver). Donatello, Michelangelo, Cellini. Sculptors’ Drawings from Renaissance Italy, Isabella Stewart Gardner Museum, Boston, 2014 (as co-curator with Michael Cole). Anders Zorn. A European Artist Seduces America, Isabella Stewart Gardner Museum Boston, 2013. Publications Books Artemisia Gentileschi and Women Artists in Italy, 1500-1800, Eve Straussman-Pflanzer and Oliver Tostmann (eds.), (will be published September 2021 with Yale University Press). Monsters & Myths. Surrealism and War in the 1930s and 1940s, Oliver Shell and Oliver Tostmann (eds.), New York: Rizzoli 2018. Anders Zorn: A European Artist Seduces America, Oliver Tostmann (ed.), London: Paul Holberton 2013. Articles „Unknown Drawings by Carlo Maratti and His Circle at the Wadsworth Atheneum Museum of Art“, draft, c. 4000 words. „Collecting Modern Art in Hartford: James Thrall Soby, the Wadsworth Atheneum, and Surrealism,“, pp. 73-94. Networks, Museums and Collections. Surrealism in the United States, Fabrice Flahutez, Julia Drost, Anne Helmreich, Martin Schieder (eds.), Passages online No. 3, Centre Allemand d’Histoire de l’Art, Paris/Heidelberg 2019, pp. 77- 98. „Sebastiano del Piombos Porträt von Kardinal Bendinello Sauli und das Kardinalsporträt im frühen Cinquecento,“ Zeitschrift für Kunstgeschichte, 3/2011, pp. 311-348. “ÆTERNÆ FOEDERA PACIS? Darstellungen des Pyrenäenfriedens in Frankreich und Spanien, “La Paix des Pyrénées et son impact, Guy Thewes (ed.), Musée d’Histoire de la Ville de Luxembourg 2010/2011. “Cold Anger: Salvator Rosa as a Painter of Battle Pieces,” Salvator Rosa (1615-1673) e il suo tempo, Sybille Ebert- Schifferer, Caterina Volpi, Helen Langdon (eds.), Rome 2010/2011, pp. 197-215. “Plus oultre: Zur Verwendung von Tapisserien im Cinquecento, “Zeitschrift für Kunstgeschichte, 1/2008, pp. 73- 100. “A la recherche des pays boréales: Die Lithografien der Nordlandfahrt Auguste Mayers (1838-52) “/ “A la recherche des pays boréales: The Lithographs of the Journey to the Nordic Countries from Auguste Mayer (1838-52),” norrøna. Zeitschrift für Kultur, Geschichte und Politik der nordischen Länder, 20th year, no. 36, 2005, pp. 8-16. Exhibition Catalogue Essays „The Advantages of Painting Small: Italian Women Artists and the Matter of Size, By Her Hand. Artemisia Gentileschi and Women Artists in Italy, 1500-1800, Eve Straussman-Pflanzer and Oliver Tostmann (eds.), Wadsworth Atheneum Museum of Art, Detroit Institute of Arts, New Haven 2021, in print, ca. 6000 words. 3 „Van Gogh or Not? Forgeries, Copies, and Misattributions in Van Gogh’s Still Life’s,“ Van Gogh: Still Lifes, Ortrud Westheider and Michael Philipp (eds.), Museum Barberini, Potsdam, Munich/London/New York 2019, pp. 100-115. „Sorolla’s Painterly Style after 1900,“ Sorolla. Spanish Master of Light, Gabriele Finaldi (ed.), The National Gallery, London; The National Gallery of Ireland, Dublin, London 2019, pp. 48-61. „The Surrealists and Their Monsters in a „Time of Distress,“ Monsters & Myths. Surrealism and War in the 1930s and 1940s, Oliver Shell and Oliver Tostmann (eds.), Wadsworth Atheneum Museum of Art; Baltimore Museum of Art, New York 2018, pp. 19-46. „Bernard Berenson and America’s Discovery of Sandro Botticelli,“ Botticelli Reimagined, Ana Debenedetti, Mark Evans, Ruben Rebmann, Stefan Weppelmann (eds.), Gemäldegalerie – Staatliche Museen zu Berlin, Berlin; The Victoria and Albert Museum, London, 2016, pp. 106-109. “An “Inordinate” Passion? Carlo Crivelli and his Reception in America,” Ornament & Illusion. Carlo Crivelli of Venice, Stephen Campbell (ed.), Isabella Stewart Gardner Museum Boston, London 2015, pp. 112-131. “The Sculptor as Draftsman: A Motif in Florentine Portraiture,” Donatello, Michelangelo, Cellini. Sculptors’ Drawings from Renaissance Italy, Michael Cole (ed.), Isabella Stewart Gardner Museum Boston, London 2014, pp. 102-121. „Anders Zorn and His International Success“ in: Anders Zorn: A European Artist Seduces America, Oliver Tostmann (ed.), London 2013, pp. 12-26. “Historische Einführung“/ „Introduction“, Die Entdeckung des Orients in der Druckgraphik der Frühen Neuzeit, Exhib. Cat., Nils Büttner, Mila Horky (eds.), Herzog Anton Ulrich Museum Braunschweig 2000, pp. 8-9. Shorter catalogue contributions and reviews Sonja Brink and Francesco Grisolia: Die Zeichnungen des Giovan Battista Beinaschi aus der Sammlung der Kunstakademie Düsseldorf im Museum Kunstpalast, Petersberg 2020, in: The Burlington magazine, 163. 2021, pp. 556-557. 30 cat. entries, By Her Hand. Artemisia Gentileschi and Women Artists in Italy, 1500-1800, New Haven 2021. 38 cat. entries, Wadsworth Atheneum Museum of Art. Uncommon Legacy, New York 2017. Cat. Entry „Caravaggio: Saint Francis in Ecstasy“, Dentro Caravaggio, Exhib. Cat. Milan, Rossella Vodret (ed.), Palazzo Reale Milan 2017, pp. 70-73. Cat. Entry „Aniello Falcone (and workshop?): Battle Painting“, Caravaggios Erben. Barock in Neapel, Exhib. Cat. Wiesbaden, Peter Forster, Elisabeth Oy-Marra, Heiko Damm (eds.), Mueseum Wiesbaden 2016, pp. 362-363. Nineteen cat. entries in: Anders Zorn: A European Artist Seduces America, Exhib. Cat. Boston, Oliver Tostmann (ed.), London 2013. Five cat. entries (Gherardo Cibo, Giovanni Balducci, Pier Francesco Mola, Ciro Ferri, Giovanni Paolo Panini), The Mc Crindle Gift. A Distinguished Collection of Drawings and Watercolors, Exhib. Cat. Washington D.C., Margaret Morgan Grasselli, Arthur K. Wheelock Jr. (eds.), National Gallery of Art Washington D.C. 2012. Johann Evangelist Holzer (1709-1740): Augsburg, in: The Burlington magazine, 152. 2010, 1292, pp. 767-768 Johann Heinrich Schönfeld (1609-1682): Friedrichshafen, in: The Burlington magazine, 152. 2010, 1283, pp. 128- 129 4 Cécile Michaud: Johann Heinrich Schönfeld. Un Peintre Allemand du XVIIe Siècle en Italie, München: Martin Meidenbauer 2006, in: Sehepunkte 7 (2007), Nr. 11 [15.11.2007], (http://www.sehepunkte.de/2007/11/12781.html) Sabine Jacob/ Susanne König –Lein: Die italienischen Gemälde des 16. bis 18. Jahrhunderts/ Herzog Anton Ulrich Museum Braunschweig, München: Hirmer 2004, in: Sehepunkte 5 (2005), Nr. 11, [15.11.2005], (http://www.sehepunkte.de/2005/11/6430.html) Acquisitions for the Wadsworth Atheneum Museum of Art Georg Tappert, Geisha-Revue; Jan Brueghel the Elder, A Mountaineous Landscape with Herdsmen; Johan Wilhelm Baur, Ecce Homo; Luis de Morales, Man of Sorrows (shortlisted in Apollo Magazine 2018 Acquisition of the Year); Salomon van Ruisdael, Riverscape; Aniello Falcone, Cavalry Battle between Turks and Christians; Artemisia Gentileschi, Self-Portrait as a Lute Player (shortlisted in Apollo Magazine 2014 Acquisition of the Year). Public Lectures (selection) National Gallery of Art, Washington DC; Boston Museum of Fine Arts; Bibliotheca Hertziana, Rome; Kunsthistorisches Institut, Florence; Centre Allemand d’Histoire de l’Art, Paris; Palazzo Barberini, Potsdam, Musée d’Histoire de la Ville de Luxembourg, Luxembourg; Slovenian Academy of Sciences and Arts, Ljubljana; Park Avenue Armory, New York; The Kitchen, New York; Newport Symposium, R.I.; Trinity College, Hartford; as well as Isabella Stewart Gardner Museum, Boston; Wadsworth Atheneum Museum of Art, Hartford. Education Freie Universität Berlin, Scuola Normale Superiore Pisa, Université Paris I-Sorbonne, Humboldt- Universität Berlin Freie Universität Berlin July 2008, Dr. phil., magna cum laude Supervisors: Dr. Thomas W. Gaehtgens (former Getty Research Institute, Los Angeles) and Dr. Sybille Ebert- Schifferer (former Bibliotheca Hertziana/ Max Planck Institute for Art History, Rome) Dissertation: “Battaglie:
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