InsightFall 2019

Mobility, Objects on the Move The newsletter of the University of Delaware Department of Art History Credits

Fall 2019

Editor: Kelsey Underwood

Design: Kelsey Underwood

Visual Resources: Derek Churchill

Business Administrator: Linda Magner

Insight is produced by the Department of Art History as a service to alumni and friends of the department.

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Sandy Isenstadt, Professor and Chair, Department of Art History Contents E: [email protected] P: 302-831-8105 Derek Churchill, Director, Visual Resources Center E: [email protected] P: 302-831-1460 From the Chair 4 Commencement 28 Kelsey Underwood, Communications Coordinator From the Editor 5 Graduate Student News 29 E: [email protected] P: 302-831-1460

Around the Department 6 Graduate Student Awards Linda J. Magner, Business Administrator E: [email protected] P: 302-831-8416 Faculty News 11 Graduate Student Notes Lauri Perkins, Administrative Assistant Faculty Notes Alumni Notes 43 E: [email protected] P: 302-831-8415

Undergraduate Student News 23 Donors & Friends 50 Please contact us to pose questions or to provide news that may be posted on the department Undergraduate Student Awards How to Donate website, department social media accounts and/ or used in a future issue of Insight. Undergraduate Student Notes Sign up to receive the Department of Art History monthly newsletter via email at ow.ly/

The University of Delaware is an equal opportunity/affirmative action Top image: Old College Hall. (Photo by Kelsey Underwood) TPvg50w3aql. employer and Title IX institution. For the university’s complete non- discrimination statement, please visit www.udel.edu/home/legal- Right image: William Hogarth, “Scholars at a Lecture” (detail), 1736. (Image notices/. courtesy of the Metropolitan Museum of Art, www.metmuseum.org) Follow us on social media:

Cover image: Doctoral student Rachael Vause examines a medieval cross pendant in Great Britain during summer dissertation research. (Photo courtesy of Rachael Vause) @UDArtHistory our department and continues to keep us dynamic, inquiring, sharing and always on the move. From the Chair Please enjoy this issue of Insight and let us hear from you soon!

Art—including everything from jewelry to buildings, as well Best wishes, as painting and sculpture—is everywhere, which is why students and faculty in the Department of Art History are always going Sandy Isenstadt places, to speak and to see, to listen and to learn. This issue of Professor and Chair, Art History Insight showcases a few of these moments from our colleagues’ travels around the country and overseas, where they have been diving into archives, presenting their research, engaging From the Editor in conversations, and making new connections to bolster their professional network and enrich their lives. Six graduate students went to New York, for example, for an intensive whirlwind tour of I immediately felt—and caught—the Blue Hen spirit when I museums, galleries, auction houses and an antiques show, while began the role of Communications Coordinator for the Department Adrianna Nelson, an undergraduate student, went to Rome for a of Art History in August 2019. Responsible for connecting our semester abroad. department with the UD community and beyond, I am proud to At the same time, scholars have traveled internationally to the report the exceptional work and extraordinary opportunities of University of Delaware to meet with our department. Jo Applin, our students, faculty and alumni. Excited to learn new things from from the Courtauld Institute of Art in London, spoke with students our scholars, I often find myself eagerly checking my inbox for about feminist art history today, while two distinguished professors from the University of California, media requests. I am grateful to the department for its support of Berkeley, Catherine Gallagher and Martin Jay, discussed counterfactual history and photography as communications and warm welcome. a trigger for sublime historical experience, respectively. At no point was our department more of a Insight is a fantastic opportunity to celebrate destination than with “In Search of the Global Impact of Asian Aesthetics on American Art and Material accomplishments from the past year and plan for the year ahead. Culture,” a wildly ambitious multi-day conference planned and organized largely by Professor Vimalin Over the 2018-19 academic year students, faculty and alumni Rujivacharakul, a specialist in architectural history, and generously supported by the Terra Foundation have researched and spoken around the globe; published highly for American Art and nearly a dozen other institutions. For four days in October 2018, dozens of reviewed articles and books; organized and attended exhibitions scholars from around the world came together to discuss the ways in which Asian aesthetic insights, and conferences; and earned well-deserved awards, degrees and whether transmitted by objects, texts or individuals, were translated and transplanted to create positions. Over the spring 2020 semester, the Graduate Student new forms in new regions. The event, which included a graduate student workshop and symposium, Lecture Series will continue, beginning with “The Death of the Monument in the Dutch Republic” presented a symposium of museum curators and other scholars, and a “living repository” web archive, was by Marisa Bass, Associate Professor in the Department of the History of Art at Yale University, on Feb. 26 staggering and, by all accounts, a great intellectual and social success. at 5:30 p.m. The Graduate Student Lecture Series Committee, led by co-chairs Michael Hartman and Erin Sharing research discoveries and venturing novel interpretations have long been a hallmark Hein, works extremely hard at organizing the lectures and invites the community to attend. A full schedule of our department. It is a predilection that continues today and has permeated our unit, such that of the lecture series can be found at www.arthistory.udel.edu/news-events/lecture-series. On Feb. 11, students now routinely help other students. I call your attention to one particular article in this issue Mechanical Hall Gallery will open “Black with a Drop of Red: Contemporary Cuban Poster Work” and Old of Insight regarding our Graduate Mentoring Program, which was launched some four years ago by College Gallery will reopen “Beat Visions and the Counterculture.” Visit library.udel.edu/special/exhibits for Alba Campo Rosillo. With this initiative, art history graduate students set aside their time to speak and more information about these exhibits. On May 30, we will celebrate the class of 2020 at commencement. work with undergraduates on a range of topics, from developing research and writing skills to the To remain up-to-date on department news and events, follow @UDArtHistory on Instagram, Facebook branching career paths possible with an art history background. Our graduate students’ dedication and Twitter. to the program not only requires time, but also demands careful planning and, most important, a I extend a special thank you to the students, faculty members and alumni who contributed content generous spirit. This open-handed approach to higher education is something we can all be proud of, to this issue of Insight. The fall semester is a whirlwind of responsibilities and deadlines; thus, I appreciate especially as our undergraduates themselves become graduate students, and our graduates move the time they dedicated to writing submissions and gathering photos. The fall 2019 Insight is a success on to positions in the museum world and academia. due to their outstanding achievements and dedication! To the UD community and beyond, I hope you It is only natural, then, in the context of cycles of professional change, that I address you as enjoy the following pages as much as I enjoyed creating them. the new Chair of Art History, still in the first few months of my tenure in this role. The learning curve is steep, but the rewards are many as I come to know better and better the tireless research agendas— Warm regards, and travel plans—of my colleagues, as well as their devotion to teaching, and as I learn more about the interests and ambitions of our ardent students, for whom a life tied intimately to the arts looms Kelsey Underwood invitingly, even, vitally. Please join me in celebrating the prevailing culture of camaraderie that infuses Communications Coordinator & Insight Editor

4 5 Exploring the Commerce of American Art Around the Department Graduate students attend field study in New York City By Kristen Nassif, Ph.D. student Discussing the Role of Feminist Art History Professor Jo Applin leads “On Art and Feminism” workshop By Wendy Bellion, Professor

What is the role of feminist art history in deliver a public lecture and lead seminars, and the field today? This important question was the Professor David Peters Corbett, Director of the subject of lively conversation for participants in Centre for American Art, will visit UD to speak Professor Jo Applin’s October 2018 workshop about his research. This international partnership entitled “On Art and Feminism.” Applin, a Reader enriches the Department of Art History’s global and Head of the History of Art Department at engagements. In the future, the department hopes London’s Courtauld Institute of Art, visited the to expand this collaboration to include graduate University of Delaware as part of the Department student exchanges and joint research projects of Art History’s faculty exchange program with with the Courtauld Institute of Art’s American art the Courtauld’s Centre for American Art. Leading community. a discussion of her newest book—“Lee Lozano:

Not Working” (Yale University Press, 2018)—Applin (L-R) Adam Grimes, Alba Campo Rosillo, Professor Wendy Bellion, Anna O. Marley (alumna), Katherine W. Baumgartner (Director of Godel & Co.), Kristen discussed Lozano’s conceptual work in 1960-70s Nassif, Thomas Busciglio-Ritter, Meghan Angelos and Jeffrey Richmond-Moll. (Photo courtesy of Wendy Bellion) New York and explored timely questions of art- historical methodology. Applin, a distinguished This past January, I had the pleasure of Carol Nigro and Katherine Baumgartner. Learning scholar of postwar American art, is the author of joining five graduate students on an inaugural, about how galleries function—something rarely five additional books and co-editor of volumes, two-day intensive field study in New York covered in seminars—made me feel more and she is currently working on a new project City. Organized by Professor Wendy Bellion confident in contacting private collectors and about ageing, art and feminism. and themed “The Commerce of American gallerists moving forward. Overall, the field study The Department of Art History looks Art,” the trip coincided with New York’s annual was a resounding success. I hope that this field forward to two faculty exchanges with the “Americana Week.” While in the city, we visited study trip is able to grow and evolve in future Courtauld Institute of Art during 2019-20. the Metropolitan Museum of Art, Christie’s, years. A special thank you to Professor Bellion. Professor Wendy Bellion will travel to London to Jo Applin speaks to workshop attendees. (Photo by Cory Budden) Sotheby’s, Charles Isaacs Photographs, Godel & Co. Inc. and the Winter Antiques Show. The trip showcased the University of Delaware’s strong alumni connections through meetings with curators, gallery owners and art dealers. Course Spotlight Immersing participants in the business of art, the trip enabled students to study how the economic Professor Julie McGee built the course aspect of the art industry intersects and collides “Curating Hidden Collections and the Black with the works researched by art historians. Archive” around a box of 53 late 19th- and I found the field study immensely beneficial. early 20th-century photographs in need of The trip not only showcased career paths I never conservation. McGee and 11 graduate students considered, but it also provided me with invaluable studied the collection, which they named opportunities for professional development as “The Baltimore Collection,” and developed a I advance work on my dissertation. After just database using Artstor. To learn more about two—albeit, long—days, I quickly realized the Graduate students Adam Grimes, Thomas Busciglio-Ritter and Alba “The Baltimore Collection,” please visit sites. extent to which the art market and conceptions Campo Rosillo examine a mold for doll heads on display at Christie’s. udel.edu/baltimorecollection/. of value influence all aspects of American art and (Photo courtesy of Wendy Bellion)

Bridget Killian, an art history master’s student, examines photographs art history. In particular, I enjoyed our visits with from “The Baltimore Collection.” (Photo courtesy of Julie McGee)

6 7 Distinguished Lecturers in the Humanities Swerdlow were also part of the ThingStor Working database in monthly meetings or by attending Group and provided crucial help for building the ThingStor “datathons.” During the datathons, Catherine Gallagher and Martin Jay speak at the University of Delaware initial prototype as a proof of concept. students spend multiple days researching, editing By Vimalin Rujivacharakul, Professor ThingStor began with a simple classroom and submitting data to the project. question. Asking “what is a Bowie knife and what Looking forward, by using computational On Nov. 7 and Nov. 8, 2018, the Department “sublime historical experiences.” Ankersmit is its significance in text, such as Harriet Beecher tools that can analyze large sets of textual of Art History hosted two distinguished lectures in suggests that “sublime historical experiences” Stowe’s ‘Uncle Tom’s Cabin’ and Ambrose Bierce’s and visual data, ThingStor seeks to develop a the humanities by Catherine Gallagher, Emerita provide unusually intense, emotionally laden ‘Civil War Stories,’” students were stumped by searchable digital archive that tracks mundane Eggers Professor of English, and Martin Jay, Sidney encounters with the past that refuse to be results from generic online research tools; neither and symbolic objects as they appeared in English Hellman Ehrman Professor of History, UC Berkeley, contained in conventional explanatory or Wikipedia nor literary databases could provide and American literature, paintings or sculptures with support from and in collaboration with the hermeneutic frames. Seeking to examine the an answer. To provide answers and a sense of produced between the 17th and 20th centuries. Department of English, Department of History, plausibility of his claim, his lecture examined the scope, the ThingStor team used online gravity When fully operational, ThingStor will cross- Office of Graduate and Professional Studies, ways certain photographs may provide such forms, Google Sheets and AirTables to collect and connect object references with vetted object European Studies Program and Winterthur experiences, with a focus on the four images cross-reference objects with material proxies as descriptions, historically appropriate illustrations, Program in American Material Culture. taken clandestinely by the Sonderkommandos cited in literary and visual works published in and a host of other background information, Catherine Gallagher’s lecture, “Why We in Auschwitz. Understood less as mechanical America between the 1840s and 1870s. Sample including historical context, critical analysis and Tell It Like It Wasn’t: The Facts about Historical representations of what they recorded than objects connecting a variety of texts and critical sources. Ultimately, ThingStor hopes to Counterfactuals,” captured her book, which defiant actions of the photographers themselves, paintings range from “watch paper” and “carpet supplement its database with teaching and won the 2018 Jacques Barzun Prize from the the Sonderkommando photos unsettle received bags” to “Brussels carpets” and “astral lamps.” research tools in order to provide students and American Philosophical Society. Her lecture wisdom about the passivity of Holocaust victims. Each object entry consists of over 60 scholars the means for exploring how objects and pushed the public to consider counterfactual different data points detailing everything their material qualities—both representational history beyond politically inspired fantasies or from literary source and textual example, to and thematic—shaped popular stories and pop culture fodder, and pin it down as an object material make and image links, all defined by images over time. of dispassionate study. By focusing on how the standards and protocols prescribed by the As the project grows, the participation of counterfactual history has worked and to what Online Computer Library Center (OCLC), Virtual art history graduate students will be essential to ends throughout modernity, her lecture described International Authority File (VIAF), GeoRef and the project’s ongoing success, shaping its unique the counterfactual imagination, manifested the Getty Research Institute’s Art & Architecture lens for offering material culture readings of through both visual and written materials, with Thesaurus, to name a few. Over the past two works of art. Launched in February, Thingstor’s examples extended from an America ruled by years, several art history graduate students prototype website, sites.udel.edu/thingstor/, Jefferson Davis, a Europe that never threw off have worked as researchers, contributing to the currently holds approximately 100 objects. Hitler, or a second term for JFK, among others. Martin Jay’s lecture, “Sublime Historical Experience, Real Presence and Photography,” examined the argument about what Dutch Catherine Gallagher and Martin Jay. (Photos courtesy of Catherine Out in the Field philosopher of history Frank Ankersmit called Gallagher and Martin Jay) Art history students conduct research in museums and beyond Bringing Literature to Life The ThingStor Working Group launches prototype website By Victoria Sunnergren, Ph.D. student

University of Delaware art history students visual arts. Working with the project’s principal participated in the launch of ThingStor.org, a investigator, Dr. Martin Brückner of the Department web platform for an interactive material culture of English, librarians and fellow graduate students database that enables students and scholars from across the college, Victoria Sunnergren has to identify, study and interpret the form and managed the database since 2017. Over the past function of everyday as well as symbolic objects two years, fellow students Alba Campo Rosillo, Thomas Busciglio-Ritter describes a Paul Weber Michael Hartman forges iron at the Old Salem Lea C. Stephenson and Jalena Jampolsky painting to Professor Wendy Bellion at the Blacksmith in Winston-Salem, North Carolina. observe an object at the Pennsylvania referenced in the works of literature and the Sarah Leonard, Adam Grimes and Rebeccah Pennsylvania Academy of the Fine Arts. (Photo (Photo courtesy of Michael Hartman) Academy of the Fine Arts. (Photo courtesy of courtesy of Thomas Busciglio-Ritter) Wendy Bellion)

8 9 Graduate Student Lecture Series | 2018-2019 Faculty News From Student to Master Vimalin Rujivacharakul Graduate Student Research Symposium Associate Professor, Department of Art History Moderated by Vimalin Rujivacharakul Professor David Stone reflects on his journey to becoming an Italian Baroque expert University of Delaware Associate Professor, Department of Art History By Kelsey Underwood, Staff “Finding Hōryūji in Afghanistan” University of Delaware Professor David M. Stone’s early-emerging Norman Vorano Carol Armstrong passion for art history led him to pursue Wayne Craven Lecture Professor, Department of the History of Art a rewarding career of international travel, Assistant Professor and Queen’s National Yale University prominent research and collegiate education. Scholar, Department of Art History and Art “Medium, Matrix, Materiality: A Feminist An expert in Italian Baroque art, especially the Conservation Perspective” works of Caravaggio and Guercino, he travels to Queen’s University distinguished institutions worldwide for research “Between Chacmool and Gerard Sekoto: James Dorothy Moss and exposition. After over 32 years as a professor Houston’s Inuit Modernism in the 1940s” Andrew W. Mellon Curatorial Track in the Department of Art History at the University Ph.D. Lecture of Delaware, Stone will retire this December. Andrés Zervigón Curator of Painting and Sculpture Entering his first museum before his first Associate Professor, Department of Art History National Portrait Gallery year of primary school, Stone’s fascination with Rutgers University “Active Absence, The Obama Portraits, art stemmed from the artistic interests of his “The Camera Lens: Fully Visible Yet Transparent” and the National Portrait Gallery” father and uncle. His father, Daniel Stone, enjoyed art, particularly impressionism, and hung painting Chitra Ramalingam Christina Maranci reproductions around their home. William I. Homer Lecture Arthur H. Dadian and Ara Oztemel Professor “He subscribed to a lot of magazines,” Assistant Curator of Photography of Armenian Art and Architecture, Stone said with fond laughter. “He would cut the Yale Center for British Art Department of Art History photographs of paintings out of the magazines “Fixing and Fading: Decay, Degeneration and Tufts University and put them into different file folders.” Loss in the Archive of Early Photography” “Adventures in Armenian Art” The nephew of Julius Wasserstein, a well- known abstract expressionist painter in San Professor David M. Stone celebrates over 32 years of teaching in the Francisco from 1953 to 1985, Stone visited his Department of Art History at the University of Delaware. (Photo courtesy uncle at his studio and gallery openings. A career of David Stone) in the arts, thus, seemed ordinary to him. Stone also attributes a semester abroad As an undergraduate student, he studied 17th- during his junior year of high school as an influential century Dutch and Flemish art, with a focus period. In 1973, he attended school in Villeneuve- on Rubens, Van Dyck and Rembrandt. While sur-Lot, a town located in southwestern France, studying abroad at the University of Padua in as part of the Experiment in International Living Italy as a junior, Stone took courses on Dutch and program. Stone, who began learning French in the Flemish painting and traveled to approximately fifth grade, enjoyed touring and photographing 20 countries to examine the art firsthand. As a churches and museums, such as the Toulouse- graduate student, however, he quickly realized Lautrec Museum in Albi. that language was a barrier to conducting “Already then in 1973, I was like ‘I’m doing primary research in Dutch and Flemish regions. this for the rest of my life,’” he said. Fluent in French and Italian, he redirected his focus (L-R) Rebeccah Swerdlow, Jordan Hillman, Danielle Canter, Natalie Giguere, (L-R) Natalie Giguere, Rebeccah Swerdlow, Dorothy Fisher, Dorothy Moss Stone received a Bachelor of Arts in art to 17th-century Italian art due to the captivating Meghan Angelos, Gabriella Johnson, Professor Vimalin Rujivacharakul, (alumna), Meghan Angelos and Kristen Nassif. (Photo courtesy of Meghan history from the University of California, Berkeley, lectures of Professor Sydney J. Freedberg, who Dorothy Fisher, Julia Katz and Zoë Colón. (Photo by Cory Budden) Angelos) in 1978 and his master’s and doctorate from taught 16th- and 17th-century Italian painting. Harvard University in 1981 and 1989, respectively. Stone later became interested in Guercino as a

10 11 dissertation topic while studying for his general find it necessary to see the original object— studies on Caravaggio, Stone’s work exams. holding it, touching it, looking at it, seeing how gained recognition rapidly. During a “I realized that there were some much it weighs. You can’t pick it all up from digital visit to Malta in fall 1997, his friend controversial things that had been written about photographs.” Keith Sciberras, who was then a Guercino that I wanted to research,” Stone “Hearing of David’s retirement, I couldn’t graduate student at the University of explained. “In particular, the cause of Guercino’s help but reflect on what are now years’ worth Malta, phoned a friend who served change of style and the historiography of that of memorable conversations, hours inside of as an attaché to the president of problem, because what was at stake was the exhibitions and miles that we walked together Malta to have some fun with Stone’s relationship between theory and practice in 17th- in Naples, Rome and Bologna, as he guided international reputation. century Italy.” me through these cities,” said Tiffany Racco, an “Keith said, ‘David Stone is In 1987, Stone became a professor at the advisee of Stone and doctoral graduate in 2017. here.’” Stone recounted. “‘You don’t University of Delaware under the leadership “A question I will likely always ask is whether I know who David Stone is? He of Department of Art History founder William have really seen a painting until I’ve seen it with is the most famous professor of Innes Homer. Teaching both undergraduate and David, which is both the gift and the curse of Caravaggio in the world. He should graduate students, Stone’s instruction methods having a truly great mentor.” really meet the president. Is the significantly reflect his research practices. Though “I remember watching him freak out in president in his office today?’” he teaches a wide range of topics using multiple front of Correggio’s ‘Danaë’ in the (Galleria) The phone call ending methodologies, he always instills the importance Borghese—he walked in the room, declared it successfully, Stone and Sciberras, of firsthand observation in students and trains a ‘miracle’ and kept moving without missing a sporting tee shirts and shorts due them on critical object analysis. single breath. It was classic Stone—scholarly, to the island’s intense heat, soon “To learn about different objects is a but eyeballs deep in enjoyment,” said Adrian arrived at the president’s office, whole procedure,” Stone said. “Even with great Duran, whom Stone advised from 1998 to 2000 located in the former office of the Stone and Cynthia de Giorgio, Curator of the Museum of St. John’s Co-Cathedral at Valletta, monitors and digital cameras, in many cases, I for his master’s. “Working with Dr. Stone has Grand Master of the Knights of during his trip to Malta in 2007. (Photo courtesy of UDaily) had an impact on my career that I am Malta at the Grand Master’s Palace. still feeling to this day. Stone’s unchecked “The attaché goes to the president and the Sidney and Lois Eskenazi Museum of Art at excitement when talking about paintings says, ‘David Stone is here,’” Stone said with Indiana University, respectively. and sculptures was endlessly contagious laughter. “And, what I hear is the same routine, “The innovative and uniquely rigorous and a great example for keeping our love ‘You don’t know who David Stone is?’” nature of the CTPhD, and Professor Stone’s for the game foremost. What I remember Following introductions with the president, leadership therein, have been of utmost most is having huge, boisterous debates Stone presented an offprint of one of his articles. importance to the development of my career as with my fellow students, discussions so In 2007, Stone returned to Malta as one of a young curator,” Frederick said. good that we used to sit in the seminar four invited scholars to the 400th anniversary “At key moments in my graduate career, room in the dark, after the slide carousels celebration of Caravaggio’s stay on Malta. He Professor Stone advocated for me to have the had finished, still talking.” delivered a lecture at St. John’s Co-Cathedral in resources and support I needed to visit collections, From 1994 to 2009, Stone made Valletta in front of Caravaggio’s “Beheading of to work closely with curators in my field and to over 20 trips to Malta, an archipelago Saint John,” the president of Malta sitting in the study original works of art,” said Olmsted. “His south of Sicily, to study Caravaggio’s front row. tireless advocacy for students and his objects- Maltese Period. According to Stone, these “Presumably, he recognized me. The story focused approach to art history are at the heart trips, without a doubt, were his greatest is legendary,” said Stone, who often shares the of the success of the CTPhD program.” research experience, and the research, his anecdote with his graduate students at UD. “It’s a cliché to say it, but by far the most greatest success. In 2011, Stone helped found the rewarding aspect of teaching has been working “It was an extraordinary thing that Department of Art History’s Curatorial Track Ph.D. with graduate students in seminars and for their changed my life, spending time in the (CTPhD) program and served as the program’s M.A. thesis and Ph.D. dissertation work,” Stone archives and churches in Malta,” Stone first director until 2018. The most recent CTPhD said. “I certainly feel like whatever I gave the said. “When I first got to Malta, it had not student successes include Michele Frederick and students, I got back double, in terms of having yet been hit by the modern digital age. It Galina Olmsted. Frederick and Olmsted both rich intellectual exchanges.” was a place where one could transport successfully defended their dissertations this Stone’s further achievements include

David Stone, invited by a team of conservation scientists, inspects the state of oneself back to the 17th century.” year and received curatorial positions at the numerous publications, exhibitions, symposiums preservation of Guercino’s “Aurora” fresco (c. 1622). (Photo courtesy of David Stone) At the forefront of an explosion of North Carolina Museum of Art in Raleigh and and administrative positions. Publishing dozens

12 13 of articles, essays and catalogue entries— Membership to the Institute for Advanced Study now on record and available for viewing at sites. he contributed the essay “Self and Myth in in Princeton, New Jersey from 2002 to 2003. Since udel.edu/globalaestheticasiaamerica/. Caravaggio’s ‘David and Goliath’” to “Caravaggio: 2012, he has served as a Trustee of the American Prior to conference events, a selection Realism, Rebellion, Reception” (Newark, Delaware: Academy in Rome and as a member of the AAR of doctoral students from around the world University of Delaware Press) in 2006 and the Advisory Council to the Committee on the School participated in the two-day Graduate Student article “Signature Killer: Caravaggio and the of Classical Studies. Stone is also Chief External Workshop and Symposium. Rujivacharakul and Poetics of Blood” to The Art Bulletin in 2012. In Examiner in the Department of History of Art at Garrison recruited UD graduate students to form addition to two catalogs on Guercino (1991), the University of Malta. In 2016, he was elected a Graduate Student Workshop Committee, which he co-authored the book “Caravaggio: Art, to the Centro Studi Internazionale il Guercino in connected UD graduate students with visiting Knighthood, and Malta” (Malta: Midsea Books) in Cento, Italy, Guercino’s hometown. graduate students. The committee proved to be 2006. Stone has organized several symposiums Following retirement, Stone will participate an invaluable asset. From four departments, the and exhibitions at prominent museums, for in a Guercino-related exhibition at the Ringling committee members included Meghan Angelos, instance, the National Gallery of Art, Washington, Museum in Sarasota, Florida. He plans to continue Kate Burnett Budzyn, Nora Ellen Carleson, Anne D.C., where he consulted on its 1992 Guercino working on various Caravaggio and Guercino Cross, Tiarna Doherty, Hee Eun (Helena) Kim exhibition and chaired “Guercino: Nature and projects in the future. He also looks forward to and Zoë Colón. Together, the Graduate Student Idea; A Quadricentennial Symposium.” Among traveling more with his wife Linda Pellecchia, Workshop Committee and faculty advisors his many honors, Stone received the Andrew W. who retired as a professor of Italian Renaissance drafted a call for papers, distributed the call in

Mellon Postdoctoral Rome Prize from the American Art and Architecture in the Department of Art “Team Eco-Aesthetics,” Dorothy Ko and Ned Cooke, present on the second May 2018 and selected the finalists to speak Academy in Rome (AAR) from 1997 to 1998 and History at the University of Delaware in 2014. day of the conference. (Photo courtesy of Vimalin Rujivacharakul) at the symposium. In the end, the students and faculty chose 10 finalists from the following despite continuous rain, the conference moved universities: UC Berkeley, Yale (two students), UC The Influence of Asian Aesthetics on American Art to the larger space of Copeland Hall for the San Diego, Northwestern, Carleton (Canada), Bryn subsequent days. Mawr, City College of New York, Bard Graduate A three-day conference funded by the Terra Foundation Speakers and panelists consisted of Center and the University of Seville (Spain). The By Vimalin Rujivacharakul, Professor prominent scholars and museum curators workshop occurred on Oct. 11 and 12, while the including Partha Mitter (University of Sussex), symposium concluded the second workshop day. In fall 2017, Professor Vimalin Rujivacharakul Material Cultures Studies; the Department of Art Michael Leja (University of Pennsylvania), The UD Graduate Student Workshop Committee and Professor J. Ritchie Garrison were awarded History; Winterthur Museum, Garden and Library; Alexandra Munroe (Guggenheim Museum), deserves high praises for the success of the a substantial conference grant from the Terra the Department of Art Conservation; the Islamic Nasser Rabbat (Massachusetts Institute of Graduate Student Workshop and Symposium. Foundation for American Art in the amount Studies Program; and the Asian Studies Program. Technology), Darielle Mason (Philadelphia of $25,000, with subsequent matching funds Focused on redefining the global influence of Museum of Art), Asma Naeem (Baltimore Museum from the Office of Graduate and Professional Asian aesthetics on American art and material of Art), Edward “Ned” Cooke (Yale University), Studies; the Unidel Foundation Inc.; the Center for culture, the professors argued that emerging Dorothy Ko (Barnard College), Jens Baumgarten artistic forms in the American field relate less to (Universidade Federal de São Paulo), Dennis Carr mobility of actual objects from Asia and more to (Museum of Fine Arts, Boston), Medill Harvey translations of Asian aesthetics in the development (Metropolitan Museum of Art), Forrest McGill of creative new forms. From Oct. 12 to Oct. 14, 2018, (Asian Art Museum of San Francisco), Marco to test their thesis, the professors co-directed a Musillo (Kunsthistorisches Institut in Florenz), conference at the University of Delaware, inviting Karina Corrigan (Peabody Essex Museum), Femke Asian art scholars and American art specialists Diercks (Rijksmuseum), Liu Chang (Tsinghua to pair up and deliver jointly written papers in University and Palace Museum), Lee Glazer 12 different conference sessions, over a period of (Colby College) and Stacey Pierson (University two and a half days, in addition to an opening of London), who joined the UD-Winterthur team roundtable and a concluding panel. On the first including Linda Eaton, Greg Landrey, Catharine day of the conference, entitled “In Search of the Dann Roeber, J. Ritchie Garrison and Vimalin Global Impact of Asian Aesthetics on American Rujivacharakul. Rudi Matthee, Wendy Bellion, Art and Material Culture,” attendees filled the Mónica Domínguez Torres, Stephanie Delamaire

Catharine Dann Roeber, part of “Team Screen,” presents on the third day entire auditorium, including standing room only and Jessica Horton moderated the panels and “Team Fusion,” Medill Higgins Harvey and Forrest McGill, present on the of the conference. (Photo courtesy of Vimalin Rujivacharakul) sections. Due to consistently high attendance sessions. All presentations and discussions are second day of the conference. (Photo courtesy of Vimalin Rujivacharakul)

14 15 In 2018, her essay “Nel piu ricco paese del the Eremitic Life.” In November of this year, she | Faculty Notes Mondo: Cubagua Island as an Epicenter of the will present a paper entitled “Morgan MS. M.626: Early Atlantic Trade” appeared in the volume Focus, Attention, and the Eremitic Ideal” at the During the 2018-19 academic year, to serve on editorial boards for Bloomsbury “Circulación: Movement of Ideas, Art and People Yale Medieval-Renaissance Forum. This paper is Professor Zara Anishanslin served as the Material Academic, Winterthur Portfolio and the University in Spanish America,” published by the Frederick the subject of an article she is currently writing. Culture Creative Consult for Lin-Manuel Miranda’s of Delaware Press. This year, Bellion looks forward & Jan Mayer Center at the Denver Art Museum. “Hamilton: The Exhibition,” on display alongside to delivering the Sidney Leon Jacob Lecture She presented the papers “La Industria Perlífera Professor Jason Hill completed several the musical in Chicago. She also worked as a at Rutgers University and to a week leading Americana y la Transformación del Conocimiento essays and articles this past year. His essay, “LIFE’s consultant on the planned re-installation of the lectures and classes at the Courtauld Institute Europeo,” at the 56th International Congress of Time,” on the tricky race with the clock run by Early American Wing at the Philadelphia Museum of Art as part of the Department’s partnership Americanists in Salamanca, Spain (July 2018); photojournalists and their editors at the weekly of Art (PMA). Her book “British Atlantic World” with the Courtauld’s Centre for American Art. “Pearls for the King: Philip II and the New World news magazine LIFE, will appear in the catalogue won the Library Company of Philadelphia’s New publication projects include an article on Pearl Industry,” at the symposium “Picture Ecology: for the spring 2020 exhibition “The Power of Biennial Best Book Award (inaugural winner, fall neoclassical sculpture and slavery in colonial Art and Ecocriticism in Planetary Perspective” at LIFE: LIFE Magazine and American Photography, 2018). She was also awarded a Barra Sabbatical Charleston (European Journal of American Studies), the Princeton University Art Museum (November 1936–1972,” co-organized by Katherine Bussard Postdoctoral Fellowship at the McNeil Center an essay on learning to see art from deep within 2018); and “Between Redemption and Damnation: and Kristen Gresh of the Princeton University Art for Early American Studies at the University of the archive (Elusive Archives, UD Press) and a new Philip II’s Pearls,” at the College Art Association Museum and the Museum of Fine Arts, Boston, Pennsylvania, where she is currently on research book project on the visual culture of theater in Annual Conference in New York City (February respectively. His essay, “Weegee, Standing By,” leave. the early United States (“Pictures Onstage”). In 2019). She also conducted primary research was published in “Street Photography Reframed,” Anishanslin was delighted to teach Colonial her free time, she attempts to hit tennis balls over at a number of Spanish archives, libraries and a special issue of the open-access online American portraiture to upper-level art history pesky nets and indulge in quiet yoga studios. museums over the summer as the recipient of the journal Arts, edited by Stephanie Schwartz. This majors and grad students for the Department Renaissance Society of America/Samuel H. Kress essay considers, among other infrastructural of History. The class consisted of students from Mid-Career Fellowship. entanglements, the role of the then novel art history, history and the Winterthur Program technology of police radio in Weegee’s work as in American Material Culture (WPAMC). The a press photographer in New York in the 1940s. students were able to visit colonial collections Another look at midcentury American news at Winterthur, the Philadelphia Museum of Art photography, this time in its connection with and the Pennsylvania Academy of the Fine Arts the art world, “An Exact Instant in the History of (PAFA). While at PAFA, Anna O. Marley, UD alumna the Modern,” is forthcoming in “Modern in the and art history Ph.D., guided students through the Making: MoMA and the Modern Experiment,” investigation of “mystery paintings.” Sandra Zalman and Austin Porter, eds. (London: Bloomsbury, 2019). Hill presented new research After a spring sabbatical working on new at a number of conferences. In June 2019, he research in 2019, Professor Wendy Bellion is Professor Wendy Bellion attends the 2018 “HECAA at 25” conference of presented “Paper Routes,” on the newspaper happy to be back in the classroom this year. She the Historians of Eighteenth-Century Art and Architecture. (L-R) Alumna Dr. delivery truck and the newsstand as key modes Amy Torbert (curator, St. Louis Art Museum), Ph.D. student Michael Hartman, University of Salamanca. (Photo courtesy of Mónica Domínguez Torres) is delighted to announce the publication of her Professor Jennifer Van Horn, alumna Dr. Kristel Smentek (professor, MIT) of photographic circulation, at “The Business new book “Iconoclasm in New York: Revolution to and Professor Wendy Bellion. (Photo courtesy of Wendy Bellion) of Photography” at De Montfort University’s Reenactment” (Penn State University Press), which Professor Denva Gallant has given Photographic History Research Center in Leicester, explores paintings, prints and civic performances Professor Mónica Domínguez Torres several invited lectures on her current book England. In March 2019, he presented a paper that represented acts of destruction as origin continues to work hard on her book “Pearls for project, “Into the Desert: Illustrating the ‘Vitae entitled “Booked,” on a controversy involving stories for the United States. Bellion has begun the Crown: European Courtly Art and the Atlantic patrum’ (New York, Pierpont Morgan Library, MS. Leonard Freed’s 1980 photobook Police Work, at an appointment as Co-Director of UD’s Center for Pearl Trade, 1498-1728” during sabbatical leave M.626),” a monographic study on one of the most “The British, American, and French Photobook: Material Culture Studies, and she remains busy over the 2019-20 academic year. She received a extensively illuminated manuscripts of the Italian Commitment, Memory, Materiality, and the Art beyond campus, too. Delaware Governor John six-month residential scholar grant from the Getty Trecento. In April, she was one of the Comini Market (1900-2019),” held at Maison Française, Carney recently appointed Bellion to the Board Research Institute in Los Angeles to complete her lecturers at Southern Methodist University and Oxford. Hill continues laying the groundwork for of Trustees of the Biggs Museum of American Art, manuscript during the 2019-20 Scholars Program delivered a lecture on her current book project at a new book project addressing the dynamics of where she is chairing the museum’s Collections devoted to the theme Art and Ecology. In addition, the Index Workshops in Medieval Art at Princeton photography, policing and the definition of crime Committee. She was also elected to the Executive she will also spend two months in residence University. In May 2019, she organized and spoke in the 20th-century United States. Lately, this Board of Historians of Eighteenth-Century Art at the Bard Graduate Center in New York City on a session titled “In Search of the Desert: New has led to a deep-dive into the photo “morgue” and Architecture (HECAA), and she continues during spring 2020. Observations on the Late-Medieval Revival of of the defunct Philadelphia Bulletin, housed at

16 17 Temple University. This research informed much co-edited with Martin Brückner and Sarah les Temps, les Espaces, les Hommes, Haut Moyen of his teaching this past year, which included Wasserman. Each of these books has an essay- Âge” (Turnhout: Brepols, 2018), Pages 385-407, the graduate seminar “Photography and Crime,” length introduction co-authored by Isenstadt and Rolf Grosse and Michel Sot, eds.; “From Ancient and the undergraduate seminar, “The Arts of Brückner. to Medieval Books: On Reading and Illuminating Crime and Punishment in the United States.” In addition, Isenstadt presented three Manuscripts in the Seventh Century,” in “Books Hill continues his service to the department as lectures: “Driving Through the American Night” at and Readers in the Pre-Modern World: Essays in Associate Chair and to the discipline as Field Cornell University in October 2018, “Matriculated Honor of Harry Gamble” (Atlanta: SBL Press, 2018), Editor for Photography at caa.reviews. Modern: The Future Was Then” at the “Campus of Pages 69-98, Karl Shuve, ed.; “Design, Default or the Future” symposium in February 2019 and “Glass Defect in Some Perplexing Represented Books,” in Professor Jessica Horton was pleased to House Horror: Modernism’s Haunted Landscapes” “Imago Libri. Les Représentations Carolingiennes direct the Curatorial Track Ph.D. program during at Bard College in April 2019. Within the 2019-20 du Livre” (Turnhout: Brepols, 2018), Pages 71-78, 2018-19. In addition to her global contemporary academic year, he will present two more talks: Charlotte Denoël, Anne-Orange Poilpré, and Sumi art and Native North American art undergraduate “Immaterial Effects: Windows and Light” at Shimahara, eds.; and “‘Merovingian’ Illuminated surveys, she co-taught an experimental graduate George Washington University in November 2019 Manuscripts and their Links with the Eastern seminar called “Diplomatic Things: Art and Professor Jessica Horton gets a rare glimpse of murals created by Diné and “The Switch to Modernity” at the University Mediterranean World,” in “The Merovingian artist Gerald Nailor, 1942-43, which depict the history of the Navajo Nation Architecture in Global Contexts” with Professor inside the Council Chambers in Window Rock, Arizona. (Photo courtesy of of Hawaii in March 2020. Kingdoms and the Mediterranean in the Early Ikem Okoye. Her essay “Performing Paint, Claiming Jessica Horton) Middle Ages” (Cambridge: Cambridge University Space: The Santa Fe Indian School Posters on At the end of August 2019, Professor Press, 2019), Pages 297-317, Yitzhak Hen, Stefan Paul Coze’s Stage in Paris, 1935,” published in a In August 2019, Professor Sandy Isenstadt Lawrence Nees completed his term as Interim Esders, Yaniv Fox and Laury Sarti, eds. He published special issue of Transatlantica: Revue d’Études was honored to begin his term as the Department Chair and then Chair, leaving the honor and an exhibition review—“Pleasurable Perplexity. Américaines devoted to “Dialoguing the American of Art History Chair. Isenstadt’s book “Electric Light: responsibility in the very capable hands of Reflecting the Holy City” [review of Jerusalem West in France” (2019), was generously supported An Architectural History” was published by MIT Professor Sandy Isenstadt. His service challenging 1000-1400: Every People Under Heaven, Exhibition by a Center for Material Culture Studies Faculty Press in fall 2018. During 2018-19, he wrote three and often very satisfying, he is deeply grateful to at the Metropolitan Museum of Art], Jewish Research Publication Subvention. She published reviews: “Desperately Seeking a Center, in the his faculty colleagues, the wonderful staff of the Quarterly Review, 108 (2018): 551-561—concerning two additional essays, “Ecolonial Holism” in the Postwar American Suburb,” a review of “Shopping department—especially Business Administrator an exhibition he visited with his seminar. He Bully Pulpit of the journal Panorama: Journal of Town” by Victor Gruen (2017) and “Banking on Linda Magner, without whom he would not have published two book reviews: “An Insular Odyssey. the Association of Historians of American Art Beauty” by Adam Arenson (2018), in the Journal survived the experience—and the wonderful Manuscript Culture in early Christian Ireland (summer 2019) and “An Ecolonial Reassessment of Urban History (summer 2019); “Modernism’s graduate and undergraduate students in the and Beyond” (Dublin, 2017), Rachel Moss, Felicity of the Indian Craze: Elbridge Ayer Burbank and Visible Hand,” a review of Michael Osman, in the department. His chief regret during his time as O’Mahony and Jane Maxwell, eds., in Cambrian Standing Bear” in the book “Ecocriticism and Winterthur Portfolio (winter 2019); and “Dieter Chair was a drastically curtailed opportunity to Medieval Celtic Studies, 76 (winter 2018): 114-117; the Anthropocene in Nineteenth-Century Art Rams: Principled Design,” an exhibition review of teach. and “The Lindisfarne Gospels. New Perspectives” and Visual Culture” (Routledge, 2019). A Chinese the Philadelphia Museum of Art, in W86th (April From 2019 to 2020, he will be on research (Brill, 2017), in Early Medieval Europe, 27 (2019): translation of her 2017 essay in Art Journal, 2019). Additionally, Isenstadt authored two articles leave, but looks forward to returning to full- 307-310, Richard Gameson, ed. “Indigenous Artists Against the Anthropocene,” in architectural journals. First, “Ornamental time teaching in fall 2020. During his leave, he Additionally, he presented lectures at was included in a special issue on “Ecological Art Transparency in the Modern Kitchen,” published is finishing final revisions on his book “Frankish three conferences: “School, Seat of Writing, and Practices” in the Journal of the National Academy in Flow: Interior, Landscape and Architecture in the Manuscripts 7th-10th Centuries,” to appear in Library in the Plan of St. Gall” at “Paradigms and of Art (2019). Horton was promoted to the rank Era of Liquid Modernity, Penny Sparke, Patricia the series “Manuscripts Illuminated in France,” Personae in the Medieval World: A Symposium of Associate Professor with tenure, beginning Brown, Patricia Lara-Betancourt, Gini Lee and published by Harvey Miller Ltd. and Brepols. This in Honor of Elizabeth A. R. Brown” at CUNY in fall 2019. She is on leave during 2019-20 after Mark Taylor, eds. (London: Bloomsbury, 2018), series is a detailed catalogue of 100 manuscripts, Graduate Center on March 16, 2018; “Antique and receiving a Clark Art Institute Fellowship and an Pages 218-228. Second, “White Space: An Interior with introductory essays, publication envisaged pseudo-Antique in Manuscripts from the time Andy Warhol Foundation Book Award to work on Monolog,” appeared in House Tour: Views of the for 2020. He plans to revise his book manuscript of Charlemagne” at Internationale Tagung “Die her second book, “Earth Diplomacy: Indigenous Unfinished Interior, Adam Jasper, ed. (Zurich: Park “Illuminating the Word: On the Beginnings of Handschriften der Hofschule Kaiser Karls des American Art and Reciprocity, 1953–1973,” which Books, 2018), Pages 102-107. He is currently editing Medieval Book Decoration,” completed before his Grossen–individuelle Gestalt und europäisches charts the revitalization of Indigenous ecology two books: “Elusive Archives: Material Culture term as Chair, for submission to the publisher in Kulturerbe,” at Stadtbibliothek Trier on Oct. 11-13, and diplomacy through Cold War arts initiatives. Studies in Formation” (Newark, Del.: University spring 2020. 2018; and “The European Context of Manuscript She spent a portion of the summer building an of Delaware Press, forthcoming), co-edited Since the last issue of Insight, he published Illumination in the Anglo-Saxon Kingdoms, 600– earth-sheltered, solar-powered dome house on with Martin Brückner; and “Imagined Forms: four articles: “Networks or Schools? Production 900” (keynote address) at “Manuscripts in the family land in California. The Material Culture of Modeling,” (Minneapolis: of Illuminated Manuscripts and Ivories During Anglo-Saxon Kingdoms” at the British Library on University of Minnesota Press, forthcoming), the Reign of Charlemagne,” in “Charlemagne: Dec. 13, 2018.

18 19 In March 2019, he and Stephen Jaeger Way Architecture (NWA),” at the Bartlett School architecture in China and Japan. Her next co-organized and co-chaired a session titled of Architecture and Planning, University College seminar sequence will take place in December “Genius and Originality in Medieval Literature London, as part of the annual conference of of 2019. This seminar sequence will be part of a and Art: The Undiscovered Artist and Poet” at the the Architectural Research in Europe Network symposium and workshop on vernacular heritage Medieval Academy of America Annual Meeting Association (ARENA). The conference was themed and contemporary architectural design in China. in Philadelphia. He also presented the 12th Kurt around architectural historiographies, which in She is excitedly looking forward to this upcoming Weitzmann Endowed Lecture titled “The Princeton part honored the legacy of pioneer historian of event and the next steps of her collaborative Garrett 6 Evangelists Revisited” in the Department global architecture Banister Fletcher. Okoye was projects with Tsinghua colleagues. of Art and Archaeology at Princeton University. also asked to participate in a related keynote He continues to serve on the Advisory Board of roundtable entitled “The Objects of Architectural At the invitation of the European Studies the Centre for the Study of Manuscript Cultures, History,” which was part of a public event held at Group at the University of Iowa, Janis Tomlinson University of Hamburg, Germany, and has begun the Royal Institute of British Architects. In this venue, lectured on “Goya: The War Years 1808-1814” on a three-year term on the Fellows Nominating Okoye contributed a short spoken commentary March 26, 2019. Her article, “Amistades y tiempo Committee of The Medieval Academy of America. on “Histories of Architecture and Urbanism, and en la vida de Goya,” was published in “El tiempo Professor Lauren Hackworth Petersen enjoys a glass bottom boat tour the Ecological–An African Perspective.” of the sunken ruins of ancient Roman villas. (Photo courtesy of Lauren y el arte: Reflexiones sobre el gusto” (Zaragoza: Professor Ikem Stanley Okoye was In spring 2019, Okoye was honored to Hackworth Petersen) Instituto Fernando el Católico, 2018), Pages 87-98, on sabbatical in spring 2018, and conducted receive a short term grant from the Canadian Alberto Castán, Concha Lomba and María Pilar research for his slavery’s landscapes project Centre for Architecture (CCA, Montreal), an In 2018, Professor Vimalin Rujivacharakul Poblador, eds. Tomlinson also co-authored, with in West Africa, the United Kingdom and South advanced study center for world architecture— was awarded the three-year Visiting Ronna Hertzano and Philip A. Mackowiak, “Goya’s Africa. The periods of archival and field research the only one of its kind in the world. The short Professorship at Tsinghua University’s School Lost Hearing: A Twenty-First Century Perspective were nevertheless interspersed with invited term grant supported his return to research on of Architecture, a post which she is holding on its Cause, Effects and Possible Treatment” lectures and conference presentations. He modern architecture in Africa. Awarded to only in tandem with her position at the University printed in The American Journal of Medical delivered a talk, “Enigmatic Mobilities/Historical 16 among 90 applicants from across the globe, of Delaware. The award ceremony was held Sciences, 357 (2019): 275-279. Her biography, Mobilities,” at the symposium “African Mobilities Okoye undertook a brief period of research, in Beijing at Tsinghua University in May 2018, “Goya: A Portrait of the Artist,” is in press (Princeton –This is Not a Refugee Camp Exhibition,” which resulting in a paper and an embedded proposal during which she also gave an inaugural lecture University Press, fall 2020). Her review of “Spanish was held at the Architekturmuseum, Munich in for a wider project. Last May, Okoye delivered the of her visiting professorship, “The Other Origin,” Books in the Europe of the Enlightenment” (Paris April 2018. He worked to convert the talk into a paper under the title “Where Was Modernism” at detailing ways in which Chinese architecture and London) by Nicolás Bas Martín, Andy Birch scholarly paper, which was ultimately published, a series of workshops held over three days at the as a concept was developed as a foil for the trans., appeared in Dieciocho (Leiden and Boston: under the same title, in the “Discourses” section Ethiopian Institute of Architecture, Building Design emergence of European architectural history Brill, 2018), 42.2 (fall 2019): 425-427. As Director of of the exhibition website—an independent peer- and City Development (EiABC), Addis Ababa as a field of inquiry. In November of the same Special Collections and Museums, she developed reviewed online platform, experimenting with the University, Ethiopia. year, she gave the first seminar sequence at an integrated Collections Management Policy, in idea of a catalogue, outliving the exhibition’s first Tsinghua as part of her duty as Tsinghua’s visiting consultation with the Conservation Center for Art iteration. Earlier, Okoye published an extended Professor Lauren Hackworth Petersen professor. The seminar sequence, “Orientalism and Historic Artifacts, approved by the Library online review of the book “Authentically African: continues to serve as the Interim Associate and Vernacular Architecture,” examined the ways Executive Council in July 2019. Arts and the Transnational Politics of Congolese Dean for the Humanities. Last October brought in which the subject of vernacular architecture Culture” by art historian Sara Van Beurden for a her to the Bay of Naples (Cumae), Italy, where emerged alongside that of modern architecture Professor Jennifer Van Horn spent the February release of caa.reviews. she presented a paper, “Pompeian Women and in the 20th century. The sequence consisted of past year as the William C. Seitz Senior Fellow In fall 2018, his leave concluded and he the Making of a Material History,” at Symposium eight seminar classes in total and together they at the Center for Advanced Study in the Visual returned to campus. Okoye was invited by Campanum, “Women on the Bay of Naples: mapped the growth of the idea and variations Arts (CASVA), at the National Gallery of Art. She organizers of the Africa-Asia Conference to give Recent Research” conference. The conference in design definitions of “vernacular architecture” has been writing her second book, “Resisting a paper at their annual international conference, conveners organized a wonderful glass bottom in China and Japan for a period of 180 years, the Art of Enslavement: Slavery and Portraiture which for 2018 was titled “Africa-Asia—A New boat tour to show participants the sunken ruins starting with late 19th-century Sinologists and in American Art, 1720-1890.” Van Horn’s article Axis of Knowledge.” For this extraordinary of ancient Roman villas, along with a visit to European architects, the Bauhaus obsessions “‘The Dark Iconoclast’: African Americans’ gathering, Okoye delivered a paper titled the local museum at Baiae filled with sculptural with things in the East, Walter Gropius’ connection Artistic Resistance in the Civil War,” published “Diplomatic Dances Across Transnationality: Of treasures. This past March, Petersen once again with Kenzo Tange, and Le Corbusier’s French in The Art Bulletin in 2017, received the National Art (and Architecture) in the New Globalism.” joined delegates from Delaware to advocate for Orientalist interpretations of French colonies, Portrait Gallery’s inaugural Director’s Essay The event was held at the University of Dar es the humanities and for NEH funding on Capitol before concluding with late 20th-century Chinese Prize, a biennial award for leading research by Salaam in Dar es Salaam, Tanzania. In October, Hill, which is always a rewarding experience. and Japanese architects’ re-interpretations an emerging scholar in American portraiture. Okoye gave another talk, “Circa 1912: Africa’s New of European-American interpretations of She published two essays in collected volumes

20 21 this year. The first article, “‘Painting’ Faces and the presentations of her advisees, Galina Olmsted ‘Dressing’ Tables: Concealment in Early Southern and Jordan Hillman, who were also presenting Undergraduate Student News Dressing Furniture,” was published in “A Material at the conference. She presented another talk World: Culture, Society, and the Life of Things on Manet in spring, “Painting What Cannot be in Early Anglo-America.” The second article, Seen: Invisibility in the Realist Art of Manet,” in a Building the Foundation for a Museum Career “Prince Demah and the Profession of Portrait session on the eidetic image at the Association Painting,” was included in “Beyond the Face: New of Art Historians, in Brighton, U.K. In February 2019, Olivia Mann interns at the Frick Collection Perspectives on Portraiture,” a volume from the her article “Mallarmé and Impressionism in 1876” By Olivia Mann, Class of 2019 National Portrait Gallery, Smithsonian. was published in nonsite, an online journal, in a Van Horn gave talks at the Huntington special issue on the 19th century. In spring 2019, I spent summer 2018 as the Ayesha commemorate milestones in womanhood, such Library and Art Museum, the Wellcome Collection she taught a graduate seminar on “Performance Bulchandani Undergraduate Education Intern as marriage or giving birth. In stark contrast, (London), Sully Historic Site, the Old Barracks in the Nineteenth Century” that stretched from at the Frick Collection in New York City. During the portrait “Miss Mary Edwards,” which was Museum and the National Portrait Gallery. She pantomime and street performers to dramatic my internship, I prepared and delivered two commissioned by Mary Edwards herself and presented research from her forthcoming book at theatre, opera, orchestral music, masquerade gallery talks: “A Home for Art” and “Closer Look.” features the accouterments of white male power, the Maryland Institute College of Art (MICA) and and the masked ball, and acrobats and cabaret The latter lecture discussed an object of choice represents female agency. Through this artwork, I the National Museum of American History. This performers. from the Frick’s permanent collection. For “Closer found a way to incorporate the Frick Collection’s spring, Van Horn convened a workshop entitled Look,” I selected “Miss Mary Edwards,” a 1742 permanent collection into contemporary “Race and Representation in the Atlantic World” portrait by British artist William Hogarth. This talk discussions about women’s rights. For “A Home at Winterthur Museum, which brought together was broadcast live through the Frick’s Facebook for Art,” I negotiated between Henry Clay Frick’s seven art historians working on representations of page on June 27. identity as a ruthless tycoon whose opposition to African Diaspora subjects in different geographic Preparation for my talks required hours labor unions precipitated the Homestead Strike areas to discuss pre-circulated papers and to of poring over art history books and exhibition of 1892 and a philanthropist who brought the participate in a public roundtable. She is also catalogs in the Frick Art Reference Library (FARL). Frick Collection into existence. the guest editor for a special issue of Winterthur I worked through several drafts of my talks with This kind of negotiation was facilitated Portfolio, “Enslavement and Material Culture,” with Education Assistant Rachel Himes and Associate by the Museum Education Reading Group. The editor Catharine Dann Roeber. A call for papers Museum Educator for Academic Programs Caitlin Museum Education Reading Group—curated went out in February. Henningsen. The portrait “Miss Mary Edwards” and guided by Education—met once a week upset widely held beliefs in 18th-century Britain to discuss “institutional critique,” including about a women’s place in the world. At the issues around gallery dialogues, visual thinking time, the status quo was that men—fathers of strategies and decolonizing museums. Last, daughters or husbands of wives—commissioned I worked with the Summer Institute for High portraits of women. Portraiture was a means to School Students. The Summer Institute drew

Professor Margaret Werth and her advisees, Jordan Hillman and Galina Olmsted, attend the Nineteenth-Century French Studies Colloquium. Undergraduate Degrees Awarded | 2019 (Photo courtesy of Margaret Werth) Bachelor of Arts Minor

Professor Jennifer Van Horn presents her award-winning article at the Vivien Lafcadia Barnett Kristie Jo Beyer Tara McKenna National Portrait Gallery. (Photo by Duma Photography) Courtney Rose Depasquale Annabelle Ruth F. Camp Sofia Catarina Romero Isabella Ho Rachel Dunscomb Amanda Paige Schain Professor Margaret Werth was on leave Olivia Mann Hannah Carmean Geyer Kendall Layne Small in fall 2018 and continued work on her book Kelly Annette Maurer Gavin Lee Jefferson Nathan Widom on Manet in the 1870s. She delivered a talk on Annalivia McCarthy Amanda Joy Kielhorn “Manet’s Hamlets” at the Nineteenth-Century Darianne Navarro Emily Victoria Kline French Studies Colloquium in Manhattan Beach, Raychelle Anne Osnato Sara E. Kuzmenka California in October 2018, and was able to sit in on Hannah Marie Rosato

22 23 Education Intern at the Frick Collection. With Rika Reconstructing the Past Burnham, co-author of the groundbreaking book “Teaching in the Art Museum: Interpretation as Annabelle Camp’s research keeps Native net making alive Experience,” at the helm of Education, the Frick By Annabelle Camp, Class of 2019 Collection truly operates as an arena for engaged pedagogical exploration. The institution is like an For her senior thesis, Annabelle (Fichtner) evolving laboratory for museum education. With Camp collaborated with the Lenape Tribe of Education at the Frick Collection’s emphasis on Delaware to study Native Mid-Atlantic fishing the concept of narrative in European paintings net construction. The Lenape Tribe is one of two and decorative arts, being an Ayesha Bulchandani recognized tribes within the state of Delaware. Undergraduate Education Intern has afforded Having only gained state recognition in 2015, the me the building blocks for becoming the kind of group is actively working to regain the lifeways museum educator I aspire to be in the future. of their ancestors that have been lost in the One of the highlights of my time at the aftermath of colonization. Camp’s collaborative Frick Collection was going bowling in Henry Clay research was inspired by the last known Lenape Frick’s bowling alley. Finished in 1916, Henry Clay net maker, Clem Carney, whose work was Frick’s bowling alley has elegant wooden lane collected by anthropologists in the early 1900s, beds, a gravity-powered ball return and heirloom but since forgotten. The project was completed in balls, which curiously have two holes instead of collaboration with the tribe from initial proposal the typical three. As I am sure my co-interns— onward and included three main stages. First, the Isabelle Fernandez (Hunter College), Habiba construction and materiality of fishing nets from Hopson (Occidental College) and Jenn Tham Native Mid-Atlantic groups were examined at (Bryn Mawr College)—will attest, bowling in an both the National Museum of the American Indian

Oliva Mann discusses “Miss Mary Edwards” at the Frick Collection. (Photo authentic early 20th-century bowling alley is a and the American Museum of Natural History. A courtesy of Olivia Mann) great bonding opportunity. Lenape delegation was also organized to view

Neither a name nor a New York art museum the materials. Analysis included identification Annabelle Camp examines a net at the American Museum of Natural on the special exhibition “Canova’s George has meant so much to me, because neither a of bast fibers, cordage twist and diameter, History. (Photo courtesy of Annabelle Camp) Washington” and the Frick Collection’s celebrated name nor a New York art museum has opened and the identification of historic repairs and portrait holdings, and engaged with the visual up so much to me; the life-changing generosity preservatives. The data was then compiled into through numerous public and tribal forums, as language of memorialization. Professor Wendy of Ayesha Bulchandani—the Frick Collection systematic examination forms and accompanied well as net-making workshops held at the Biggs Bellion’s “Iconoclasm” seminar’s field trip focusing trustee who financed my internship—opened up by an inventory of Native Mid-Atlantic nets and Museum of American Art in Dover, Delaware. on the Mayoral Advisory Commission on City the warmth of Education at the Frick Collection associated tools from institutions throughout Through these events and a range of media Art, Monuments and Markers proved invaluable to me. North America. The findings were then shared posts and articles, at least 6,000 people learned throughout the summer. At the Samuel H. Kress about this collaboration between the humanities Lecture in Museum Education, I even met President and an Indigenous community. The project of the Ford Foundation Darren Walker, who co- served as a model for tribe-driven research and chaired the Mayoral Advisory Commission on Research Spotlight has prompted subsequent collaborations. It also City Art, Monuments and Markers. has fostered a greater respect and interest in the I have always believed that being Lauren Lee, a senior art history and work of Clem Carney and the material culture a museum educator is not without civic anthropology double major and Summer of Native Mid-Atlantic groups as a whole. Camp responsibility. Authentically engaging with the Fellow, traveled to Los Angeles, California is continuing to collaborate with the Lenape Frick Collection by going public and critically this past summer to begin her senior thesis and study textiles as a Masters student in the negotiating Henry Clay Frick’s past in 2018 has research. Lee’s thesis focuses on the oldest Winterthur/University of Delaware Program in only strengthened this conviction; museum church in Los Angeles, Nuestra Señora La Art Conservation. The Lenape tribe is interested in education has a civic purpose. Having held a Reina de Los Ángeles (Our Lady Queen of collaborating with other students on arts-related summer 2017 internship in Major Gifts at the the Angels), and how its relationship with research. If you are interested, please contact Whitney Museum of American Art, I became the Latinx community of the greater city [email protected]. reaffirmed of my passion for museum education has defined the form and function of the as an Ayesha Bulchandani Undergraduate José Antonio Ramírez, Nuestra Señora La Reina de Los Ángeles, architecture seen from its inception to 1822. (Photo courtesy of Lauren Lee) now.

24 25 The Graduate Mentoring Program Turns Four Abroad in Rome Graduate students continue to support undergraduate peers Adrianna Nelson studies at John Cabot University By Rachael Vause, Ph.D. student By Adrianna Nelson, Undergraduate student

The Graduate Mentoring Program for Although this amazing event was sadly not In spring 2019, I had the opportunity to person. I now firmly believe that viewing a slide Undergraduates was initiated in 2016 by doctoral recorded, a transcript is available upon request. travel to Rome, Italy and study at John Cabot is no substitute for seeing an object in real life! candidate Alba Campo Rosillo to strengthen The Mentoring Program is currently working to University for the semester. The experience Traveling to Italy and beyond reaffirmed the interaction between graduate and set up a public repository for information and was even more amazing than I had imagined. that art is my passion and what I want to pursue undergraduate students in art history and related resources included in our workshops and events. After studying numerous European artworks in for the rest of my life. As I further my art history disciplines. Historically, the program has offered As the Mentoring Program enters its textbooks and slideshows throughout my college career, I hope to have the opportunity to revisit one-on-one mentoring between graduate and fourth year, the program will be working more career, I felt overjoyed when I saw those same Rome and possibly make the city my home. undergraduate students, information sessions intimately with the Art History Club. The club, remarkable works of art in person. and workshops to address the process of entering comprised of undergraduate art history majors Rome is a city filled with such life, but also and succeeding in graduate school, and a career and interested non-majors, hosts activities so much history. On my second day in Rome, I event that highlights the various opportunities including viewings of biographical films about toured the Church of St. Ignatius of Loyola. and possibilities for those graduating with an artists, discussions with faculty members and bus Absolutely taken aback, I gasped and tears came advanced art history degree. Highlights from trips to local museums. This year, Mentoring Chair to my eyes as I looked at the illusionistic ceiling the 2018-19 academic year included the autumn Rachael Vause and club Co-Presidents Kimberly frescos and magnificent golden ornamentation. I Writing and Research Workshop and the spring Ortega and Bianca Thiruchittampalam plan also enjoyed walking into the Piazza Navona to “Career Paths in Art History” event. The workshop, to combine the resources of both programs to see Bernini’s sculptures many times. The ability to organized by Jordan Hillman and Dorothy Fisher, host events that cater specifically to the interests visit one of my favorite artist’s works whenever I was not only successful in the fall semester, and needs of undergraduates. For graduate wished felt incredible. Eager to soak up all of the but continues to aid students through an mentor profiles and other information on the knowledge and in-person experience that Rome informational Google document still circulating Mentoring Program please visit www.arthistory. has to offer, I spent my four and a half months among undergraduates. The career event, udel.edu/undergraduate/advising or email abroad viewing all of the art I possibly could. organized by Mentoring Chair Rachael Vause, [email protected]. Throughout the semester, I also traveled showcased speakers whose outside of the city. Unlike most study-abroad paths varied in length students, I selected my weekend trips based on and direction to their final the museums I wanted to visit. I traveled to Greece, destinations. The candid Amsterdam, Paris, Germany and throughout Adrianna Nelson visits the Fountain of Four Rivers by Bernini. (Photo courtesy testimonials of each speaker Italy to see artworks I never imagined seeing in of Adrianna Nelson) demonstrated how non- arts-related beginnings— degrees ranging from visual art to literature to Asian studies—can still end in art Undergraduate Departmental Awards history-related careers. Paths can also branch off into non-academic careers, Trudy H. Vinson Memorial Scholarship sometimes veering off for Awarded to outstanding juniors in the Department of Art History a few years, or sometimes away from art history Catherine Eleanor Canning Adrianna N. Nelson altogether. Most importantly, Lauren Lee Rachel Townsend the speakers impressed the value of each leg of Art History Faculty Award for Academic Excellence the journey and sought to Awarded to an outstanding senior in the Department of Art History dispel the stigma of leaving Mentoring Chair Rachael Vause (L) with Art History Club Co-Presidents Kimberly Ortega and Bianca academia as “failure.” Thiruchittampalam (L-R). (Photo courtesy of Rachael Vause) Olivia Brooke Mann

26 27 Commencement May 31, 2019 Graduate Student News Watercolors Up-close Alba Campo Rosillo participates in Whistler’s Watercolors workshop By Alba Campo Rosillo, Ph.D. student

Within the project of creating a digital had surely brighter and more shocking color database comprising all of the watercolors made combinations, such as emerald green and purple, by American artist James Abbott McNeill Whistler than originally believed. (1834-1903) owned by the Arthur M. Sackler Gallery The findings of each participant resulting and Freer Gallery of Art, the staff of the project from the workshop will be published as individual designed a pedagogic component funded by a entries for the upcoming digital catalogue of National Endowment for the Humanities (NEH) Whistler’s watercolors. grant. I was selected as a participant of the three-day workshop led by former Curator of American Art Lee Glazer, Paper and Photographs Conservator Emily Klayman Jacobson and Senior Scientist Blythe McCarthy. This dream team of professionals helped the workshop participants understand and apply technical art history to the study of the watercolors. Besides learning how to observe and handle works on paper, the other participants and I discovered the different ways in which watercolors can age. Watercolors can develop mold, showing a distorted white surface. They can also fade, becoming paler or even invisible. Aging can impact the way individuals perceive

the work of an artist. This statement holds true Alba Campo Rosillo studies a watercolor by Whistler during the Freer and for Whistler’s art, where some watercolors Sackler Galleries workshop. (Photo courtesy of Alba Campo Rosillo)

Top left: Art history major Olivia Mann. (Photo courtesy of Mónica Domínguez Torres) Graduate Degrees Awarded | 2019 Top right: (L-R) Art history majors Alexandra Ashman, Courtney Depasquale, Isabella Ho, Kelly Maurer, Arielle Mobley and Hannah Rosato. (Photo courtesy of Mónica Doctorate in Art History Master of Arts in Art History Domínguez Torres)

Center left: Master’s graduates Rebeccah Swerdlow, Michele L. Frederick Zoë Amanda Colón Michelle Dao and Carolanne Deal. (Photo courtesy of Caitlin M. Hutchison Dorothy L. Fisher Mónica Domínguez Torres) Jeffrey Gray Richmond-Moll Julia Rose Katz Center right: Caitlin Hutchison (Ph.D. ‘19) with her parents. Rebeccah Z. Swerdlow (Photo courtesy of Caitlin Hutchison) Master of Arts for Museum Professionals Bottom left: (L-R) Michele L. Frederick (Ph.D. ‘19), Professor H. Perry Chapman, Caitlin Hutchison (Ph.D. ‘19), Professor Lawrence Nees, Jeffrey Richmond-Moll (Ph.D. ‘19) and Michelle Vu Dao Professor Wendy Bellion at the doctoral hooding Carolanne Deborah Deal ceremony. (Photo courtesy of Wendy Bellion)

28 29 Blue Hens in the Midwest Shining Light on the “Dark Ages” Graduate students participate in the 2019 Midwest Art History Society conference Rachael Vause educates the public about medieval England By Liz Simmons, Ph.D. student By Rachael Vause, Ph.D. student

In spring 2019, 200 art Passionate about teaching, I presented my who enjoy learning, teaching, conversation and historians from around the country dissertation research to various groups within the travel. “Making the Dark Ages a Little Brighter: descended upon Cincinnati for the community throughout the year. First, I proposed Using Objects to Touch the Medieval” sparked annual conference of the Midwest Art a talk on my research, which explores the bodily vigorous discussion among the lifelong learners. History Society, and many University relationship between jewelry and wearer in Following the talk, OLLI instructor Michael Kramer of Delaware students and alumnae early medieval England, to Nerd Nite Philly. Held wrote to me, “I think we were all impressed by participated. Organized by site co- monthly at Frankford Hall in Philadelphia, Nerd your presentation. You gave it with such ease and chair Julie Aronson (Ph.D. 1995), Curator Nite Philly describes itself as a “lecture event that without notes and demonstrated your expertise of American Paintings, Sculpture strives for an inebriated, salacious, yet deeply on the topic...You will make a great teacher.” and Drawings at the Cincinnati Art academic vibe.” On March 6, 2019, I introduced Museum (CAM), the conference attendees to the Anglo-Saxon people of early featured three days of paper sessions, medieval England in a talk titled “Handling the roundtable discussions, gallery talks, Family Jewels in the Early Middle Ages.” When museum tours and much collegial polled, most audience members volunteered “the conversation. Dark Ages” or “plague” as words to describe the On March 21 and 22, CAM medieval period. Through the familiar object of held sessions, which featured jewelry, I attempted to pull the era out of the reevaluations of current practices, (L-R) Liz Simmons, Karli Wurzelbacher, Galina Olmsted, Julie Aronson, Amy Torbert (Ph.D. shadows, revealing a brighter and more complex 2017) and Zoë Colón. (Photo courtesy of Liz Simmons) exploring the intersection of art and age, full of the exchange of ideas and glittering crucial social issues. Keynote speaker S. Hollis conference, from planning to participating. Of products of artistic invention. The talk was well- Clayson, Bergen Evans Professor in the Humanities the presenters, Julie Aronson gave a tour of her received with numerous questions and comments at Northwestern University, presented her lecture exhibition “Art Academy of Cincinnati at 150: A from the audience, and I was invited to speak at

“Is Paris Still the Capital of the Nineteenth Century?” Celebration in Drawings and Prints.” Additionally, future sessions. Vause examines a medieval cross pendant during summer dissertation in conjunction with CAM’s exhibition “Paris 1900: Galina Olmsted (Ph.D. candidate) addressed research. (Photo courtesy of Rachael Vause) City of Entertainment.” The Contemporary Arts “Gustave Caillebotte’s Large-Scale Paintings, Center hosted a reception with an overview of its 1877-1884.” I, Liz Simmons, (Ph.D. candidate) gave On July 2, 2019, I presented “A Sumptuous building designed by renowned architect Zaha a presentation entitled “Utility or Virtuosity? Defense: Amuletic Jewelry from Islamic Caesarea,” Hadid. Behind-the-scenes tours of the newly Problems of Function Versus Style in Volterrano’s at the International Medieval Congress (IMC) at the renovated Union Terminal—an iconic Art Deco Preparatory Drawings.” Zoë Colón (Ph.D. student) University of Leeds. My lecture discussed amulets train station now home to the Cincinnati Museum spoke about “Rethinking Human-Animal and other power objects’ co-existence with, Center—were a highlight for many conference Relations through Inuit Graphic Arts.” Finally, Karli and eventual replacement by, Christian crosses. attendees who traversed the formal dining Wurzelbacher (Ph.D. 2018) lectured on “Hothouse The IMC is the largest academic gathering of rooms, passenger lounges, newsreel room and Modernity: Joseph Stella at the New York medieval scholars in Europe, featuring over 2,000 catwalk in the huge rotunda. The Taft Museum Botanical Garden.” paper presentations and approximately 3,000 of Art housed the conference on March 23, its As Program Coordinator for the conference, attendees from various countries around the staff providing tours between sessions. Built in I also managed the schedule, determining the globe. Following my conference presentation, I 1820, the Taft Museum of Art is not only home to makeup of each day’s program and slotting was invited to contribute an essay for publication some of Cincinnati’s founding arts patrons, but 140 presenters into thirty sessions, taking into Vause speaks at Nerd Nite Philly. (Photo courtesy of Rachael Vause) in an edited volume. The multi-authored work will also displays European and American master account individual conflicts and potential be published by Brill in the winter of 2020. paintings, Chinese porcelains and European audience overlap. Learning the details of how a On May 8, 2019, I conducted a similar lecture This year, I was also honored to receive the decorative arts, as well as luminous landscape large conference functioned was eye-opening! I on my research at the Osher Lifelong Learning Anna R. and Robert T. Silver Award, which honors murals by African American painter Robert S. am proud to have been a part of the event and Institute (OLLI) at the University of Delaware. the parents of Susan Silver, for demonstrating Duncanson dating from before the Civil War. I am grateful to have connected with so many OLLI, located in Wilmington, is an academic an exceptional commitment to and talent for Blue Hens were involved throughout the colleagues and caught up with friends. cooperative for adults 50 years of age and older teaching.

30 31 “The Darkroom in the Digital Age” Graduate Student Awards An exhibition featuring the work of five local photographers By Danielle Canter, Ph.D. student

This past year, fellow doctoral student Meghan Angelos Anne Cross Meghan Angelos and I had the opportunity Directors’ Scholarship, Rare Book School, University Doctoral Fellowship, University of to curate an exhibition of contemporary summer 2019 Delaware, 2019-20 photography in Recitation Hall Gallery. A result University Graduate Scholars Award, University Joan and Stanford Alexander Award (for of interdepartmental collaboration between the of Delaware, 2018–19 dissertations in the history of Department of Art History and Department of photography), 2019 Art & Design, this exhibit was the third annual Christine Bachman Outstanding Achievement in Graduate Studies exhibition curated by graduate students in this Graduate Student Research Travel Grant, Award, Department of Art History, University space. On view from January through February College of Arts and Sciences, University of Delaware, 2019 2019, “The Darkroom in the Digital Age” featured of Delaware, 2018 Professional Development Award, Office of five local artists whose work engages with Graduate Student Research Presentation Award, Graduate and Professional Education, historical photographic processes. Center for Material Culture Studies, University of Delaware, March 2019 The exhibition offered visitors from the University of Delaware, 2018 Unidel Louise Roselle Collections-Based Research university community a greater understanding Bursary, International Medieval Congress, Award, University of Delaware, 2019 of the history of photography and the innovative University of Leeds, 2018 Award for Graduate Research Presentation, practices of contemporary artists. In each of their Center for Material Culture Studies, projects, Justyna Badach, Andrew S. Bale, Jon Alba Campo Rosillo University of Delaware, spring 2018 Cox, Martha Madigan and Joshua Meier revisit Anna R. and Robert T. Silver Teaching Award for Graduate Research Travel, Center for forms of photography that originated in the 19th Award, University of Delaware, 2019 Material Culture Studies, University of century, including daguerreotype, cyanotype Collection-Based Research Grant, Office of Delaware, fall 2018 and gum printing. These more labor-intensive Graduate and Professional Education, Delaware Public Humanities Institute (DELPHI) methods of image making not only create University of Delaware, 2019 Summer Fellowship, University of Delaware, distinctive visual effects, but also resonate with Global Dissertation Development Grant, 2018 each artist’s subject matter. Department of Art History, University of A reception celebrating the exhibition in Delaware, 2019 Tiarna Doherty Goldstein February included a talk by Philadelphia-based University Doctoral Fellowship, University of Collections-Based Seminar Grant, Center for artist Justyna Badach. Badach gave a captivating Delaware, 2019 (declined) Material Culture Studies, University of talk about her series “Land of Epic Battles,” which Friends of Rockwood Award, Center for Delaware, 2019 is comprised of single frames pulled from ISIS Material Culture Studies, University Summer Doctoral Fellowship, Office of Graduate recruitment videos. Her distinctive works are of Delaware, 2018 and Professional Education, University of made by modifying a 19th-century gum printing Delaware, 2018 technique to use gunpowder rather than pigment Danielle Canter to color the prints. Getty Graduate Fellowship in Prints and Drawings, Michael Hartman We are grateful to the Department Cleveland Museum of Art, summer 2019 Frank L. Horton Fellowship, Museum of Early Art & Design, Department of Art History and Southern Decorative Arts, Summer Department of Art Conservation, as well as Zoë Colón Institute, summer 2019 the Center for Material Culture Studies, whose Emerging Writer Award, Journal for Curatorial generous support made this exhibition and Studies, 2019 Erin Hein programming possible. Graduate Research Travel Grant, Center for University Graduate Scholars Award, University Material Culture Studies, University of of Delaware, 2019-20 Delaware, 2019 Distinguished Scholars Fellow, College of Arts and Top: “The Darkroom in the Digital Age” exhibition. (Photo courtesy of Meghan Angelos) Walter Read Hovey Memorial Fund Graduate Sciences, University of Delaware, 2018-19 Fellowship, Pittsburgh Foundation, 2019 University Graduate Scholars Award, University Bottom: (L-R) Danielle Canter and Meghan Angelos at “The Darkroom in the Digital Age” exhibition. (Photo by Cory Budden) of Delaware, 2018-19

32 33 Jordan Hillman Short-Term Research Fellowship, Winterthur Summer Doctoral Fellowship, Office of Graduate Museum, Garden and Library, 2018 | Graduate Student Notes and Professional Education, University of Harvey Fellowship, Mustard Seed Foundation, Delaware, 2019 2017-19 In the summers of 2018 and 2019, In the summer of 2018, Christine Bachman International Fine Print Dealers Association Meghan Angelos interned in the Department of traveled to the United Kingdom to pursue her Curatorial Fellowship, Baltimore Galina Olmsted Photographs at the Museum of Fine Arts, Boston research on early medieval manuscripts, made Museum of Art, 2019 University Dissertation Fellowship, 2018-19 and at the Princeton University Art Museum, possible by the support of the College of Arts CCL/Mellon Foundation Seminar in respectively. At both institutions, she assisted and Sciences and the Center for Material Culture Caitlin Hutchison Curatorial Practice, 2018 with the upcoming exhibition “Life Magazine Studies. She examined 18th-century manuscripts Sewell C. Biggs Dissertation Fellowship in Art Graduate Research Travel Award, Center for and the Power of Photography,” which opens at from Italy, France and the British Isles at the British History, 2018-19 Material Culture Studies, 2018 the Princeton University Art Museum in February Library, London and Parker Library, Corpus Christi Award for Graduate Research Travel, Center for Summer Doctoral Award, Office of Graduate and 2020. For this project, she visited several different College, Cambridge. Bachman also presented Material Culture Studies, 2018 Professional Education, 2018 archives and also contributed to the catalogue. her paper “The Cover of the Faddan More Psalter Outstanding Achievement in Graduate Studies In January 2019, she and Danielle Canter curated and the Practice of Ornament in the Early Middle Award, Department of Art History, University Emily Shartrand an exhibition of photographs for Recitation Ages” at the International Medieval Congress at of Delaware, 2018 Summer Doctoral Fellowship for Professional Hall Gallery. Titled “The Darkroom in the Digital the University of Leeds. This summer travel was Development, Office of Graduate Age,” the exhibition featured works by five crucial for the development of the proposal for Craig Lee and Professional Education, University of contemporary photographers whose works her dissertation, entitled “Outside the Pages: The University Dissertation Fellowship, University of Delaware, 2019 engage with historical photographic processes. Making and Meaning of Early Medieval Book Delaware, 2018-19 Lynn Herrick Sharp Curatorial Fellowship, In June 2019, she participated in the “Identification Covers.” University of Delaware and Delaware of Photographic Print Processes” course at Rare Since September 2018, Bachman has Kiersten Mounce Art Museum, 2018-20 Book School. been working as the Graduate Assistant at the Professional Development Grant, Office of Winterthur Library, where she has been involved Graduate and Professional Education, Victoria Sunnergren in various projects including re-cataloging the University of Delaware, 2019 Delaware Public Humanities Institute (DELPHI) library’s collection of early modern ornament Competitive 2018 Graduate Student Travel Grant, Summer Fellowship, University of prints and developing a small exhibit entitled College of Arts and Sciences, University Delaware, 2019 “The Gothic Library: Medieval Revival Designs for of Delaware, 2018 Books and their Spaces,” opening in May. University Doctoral Fellowship, Office of Rachael Vause Graduate and Professional Education, Anna R. and Robert T. Silver Teaching Award, Alba Campo Rosillo began summer 2018 University of Delaware, 2018 University of Delaware, 2019 by attending the Delaware Public Humanities Graduate Student Research Travel Grant, College Institute, where she learned how to engage her Kristen Nassif of Arts and Sciences, University of work with wider audiences. Campo Rosillo spent Delaware Public Humanities Institute (DELPHI), Delaware, 2019 the rest of the summer traveling to advance her Center for Material Culture Studies, Professional Development Grant, University of dissertation work on the portraiture of George University of Delaware, 2019 Delaware, 2019 Peter Alexander Healy. She gave a lecture at Global Dissertation Development Grant, Summer Doctoral Grant, University of Delaware, the interdisciplinary conference on portraiture Department of Art History, University of 2019 (Durham University, U.K.), and visited museums and Delaware, 2019 Delaware Public Humanities Institute (DELPHI) archival collections across the United States. During Summer Fellowship, University of the academic year, Campo Rosillo was selected Jeffrey Richmond-Moll Delaware, 2018 as the University of Delaware’s representative Henry Luce Foundation/American Council of Global Dissertation Grant, University of Delaware, for the “Spotlight Program” at the Philadelphia Learned Societies Dissertation Fellowship 2018 Museum of Art, where she discussed works of in American Art, 2018-19 art from the Mexican colonial and American University Dissertation Fellowship, Office of Genevieve Westerby 19th-century periods. She also participated in a Graduate and Professional Education, Andrew W. Mellon Curatorial Track Fellowship, workshop on Whistler’s watercolors organized University of Delaware, 2018-19 Andrew W. Mellon Foundation, 2018–19 by the Freer and Sackler Galleries. Her dedication

(declined) Meghan Angelos at the Museum of Fine Arts, Boston. (Photo courtesy of to teaching was recognized with the Anna R. and Meghan Angelos) Robert T. Silver Teaching Award. She will spend

34 35 September 2019 to August 2020 in Washington, arcticartecology/. In fall 2018, Colón presented her Archive in Florence. She was a member of the In November 2018, Michael Hartman D.C. as a predoctoral residential fellow at the research on Inuit art and the role of Indigenous organizing committee for the two-day graduate traveled to the Clark Art Institute in Williamstown, Smithsonian’s National Portrait Gallery. ecological knowledge at the symposium “New workshop associated with “In Search of the Massachusetts to present the opening lecture Perspectives in Native American Art and Museum Global Impact of Asian Aesthetics on American for his exhibition, “Extreme Nature!,” which was Studies” at the University of Oklahoma, with Art and Material Culture,” held in October 2018. on view through February 2019. Included in the honorarium and travel provided by the Andrew During January 2019, she traveled to London, New York Times’ fall 2018 “Not to Miss Exhibitions” W. Mellon Foundation. She also presented this Rome and Florence to carry out archival research and reviewed by the Wall Street Journal, the research at the Midwest Art History Society and see the newly-installed “Annunciation” by exhibition’s success brought Hartman to the Yale Conference in Cincinnati and at the UD Art History Leonardo da Vinci at the Uffizi Gallery. Doherty Center for British Art in March 2019, where he Graduate Student Research Symposium in spring Goldstein presented her research on the display spoke on “Curating Environmental Apocalypse,” 2019. of unfinished paintings by Leonardo da Vinci and a panel organized as part of an interdisciplinary In 2019, Colón was named co-winner Michelangelo at the Graduate Students’ Forum in symposium hosted in conjunction with the Yale of the Journal of Curatorial Studies Emerging April 2019. In March 2019, she participated in the Center for British Art’s exhibition “Before the Writer Award for her review of the recent Crystal seminar “The technique of oil in The Art of Painting Deluge.” He also joined the first-year Winterthur Bridges Museum of American Art exhibition “Art by Pacheco: theory, materials and techniques” at Material Culture Students on their annual for a New Understanding: Native Voices, 1950s the Escuela del Prado in Madrid. The four-day British design history trip in January. In summer to Now.” Her review appeared in the 2019 spring course included presentations by art historians, 2019, Hartman was the Frank L. Horton Fellow Journal of Curatorial Studies Alba Campo Rosillo speaks at the Philadelphia Museum of Art as part of issue of the . In conservators and scientists from the Prado at the Museum of Early Southern Decorative its “Spotlight Program.” (Photo courtesy of Alba Campo Rosillo) summer 2019, Zoë received fellowships from the Museum and other European institutions. Travel Arts (MESDA) Summer Institute and served as Pittsburgh Foundation and the Center for Material in 2019 was sponsored by University of Delaware a research assistant for Dr. Jennifer Van Horn. During the 2018-19 academic year, Culture Studies to conduct dissertation research grants. During the 2019-20 academic year, Hartman is Danielle Canter served as co-chair of the in Oklahoma, where she visited collections at the In summer 2019, Doherty Goldstein the Graduate Assistant to curators Stephanie Graduate Student Lecture Series with fellow University of Oklahoma, National Cowboy and completed a curatorial internship at the Hispanic Delamaire and Linda Eaton at the Winterthur doctoral student Meghan Angelos. She and Western Heritage Museum, Gilcrease Museum Society Museum and Library in New York. For Museum. Hartman is also co-chair for the 2019-20 Angelos also co-curated “The Darkroom in and Philbrook Museum of Art. In the midst of the 2019-20 academic year, she is the Graduate Graduate Student Lecture Series Committee and the Digital Age,” an exhibition in Recitation Hall this year, Zoe married the greatest supporter Research Assistant for Special Collections and is a co-organizer for the 2020 Center for Material Gallery featuring the work of five contemporary of her art history endeavors in Kennett Square, Museums at the University of Delaware. Culture Studies Emerging Scholars Symposium. photographers. Canter presented the paper “To Pennsylvania on April 26, 2019. Destroy is to Remain: Whistler’s Cancelled Etching Plates” at the UD Art History Graduate Student Research Symposium in April. Since December 2018, she has served as Lecture Coordinator on the board of the Association of Print Scholars. In the summer of 2019, Canter worked as the Getty Graduate Fellow in Prints and Drawings at the Cleveland Museum of Art, conducting research for a forthcoming exhibition and catalogue of 19th-century French drawings.

In summer 2018, Zoë Colón (formerly Wray) worked as the graduate student intern for the University of Delaware Special Collections & Michael Hartman at “Extreme Nature!” exhibition. (Photo by Tucker Bair)

Museums. She spent the summer designing and Zoë Colón with her husband on their wedding day. (Photo courtesy of creating the exhibition website for the University Zoë Colón) Erin Hein published her article “Making a Museums’ fall 2018 exhibition “‘The World is Martyr: Preserving and Creating Cultural Identity Following Its People’: Indigenous Art and Arctic In summer 2018, Tiarna Doherty Goldstein through Caravaggio’s Burial of Saint Lucy (1608)” Ecology,” which featured Canadian Inuit and completed a curatorial internship at the Museum in the graduate journal Athanor in summer 2018. Tiarna Doherty Goldstein examines a Leonardo da Vinci painting as part Alaskan Yup’ik art from the museums’ collections. of Fine Arts, Boston and took a course on of her research on unfinished paintings. (Photo courtesy of Tiarna Doherty She was a 2018-19 College of Arts and Sciences The website can be found at sites.udel.edu/ “Paleography and Archival Studies” at the Medici Goldstein) Distinguished Scholars Fellow. In December, Hein

36 37 was invited to attend a graduate study day at the International Fine Print Dealers Association Travel Grant allowed her to live most of the year the Morgan Library & Museum, which focused Curatorial Fellow at the Baltimore Museum of Art in Paris, where she wrote and studied archival on 16th- and 17th-century French manuscripts alongside Senior Curator and Department Head collections at the Musée des Arts Décoratifs, the and drawings. She spent the summer as the of Prints, Drawings and Photographs Andaleeb Archives Nationales, the Bibliothèque Forney and Solow Art and Architecture Foundation Graduate Banta on an upcoming exhibition entitled “Women the Institute Nationale de l’Histoire de l’Art. She Intern at the Metropolitan Museum of Art, where Behaving Badly: 400 Years of Power and Protest.” was selected to attend the ninth annual Research she conducted research on Italian Renaissance Camp for the Applied Arts at the University of paintings in the Robert Lehman Collection. She Bern and presented portions of her dissertation was awarded the 2019-20 University Graduate at Newcastle University and the London Centre Scholars Award from the University of Delaware. for Interdisciplinary Research. Alongside Michael Hartman, Hein is co-chair of the 2019-20 Graduate Student Lecture Series Committee.

Kristen Nassif presents research at Saint Louis University. (Photo courtesy of Kristen Nassif)

Galina Olmsted was appointed Assistant Curator of European and American Art at the Sidney and Lois Eskenazi Museum of Art at Indiana University in July 2019. Olmsted successfully defended her dissertation, “Making and Exhibiting Modernism: Gustave Caillebotte in Paris, New York, and Brussels,” in October 2019. She also presented two papers: “Gustave

Kiersten Mounce speaks at Newcastle University. (Photo courtesy of Caillebotte’s Large-Scale Paintings, 1877–1884” Kiersten Mounce) Jordan Hillman and Galina Olmsted attend the Nineteenth-Century French at the 46th Annual Conference of the Midwest Studies Colloquium. (Photo courtesy of Margaret Werth) Art History Society at the Cincinnati Art Museum During the 2018-19 academic year, in March 2019 and “‘Il se fera un nom’: Gustave Erin Hein at the Metropolitan Museum of Art. (Photo courtesy of Erin Hein) Doctoral student Gabriella Johnson Kristen Nassif conducted archival research for Caillebotte and the 1876 Impressionist Exhibition,” passed her major and minor field exams in 17th- her dissertation, “Blindness: Unseeing Sight in at the 44th Annual Nineteenth-Century French In October 2018, Jordan Hillman presented century Italian art and Spanish colonial art, circa American Art and Material Culture,” with support Studies Colloquium at the University of California, her work at two conferences in Los Angeles: 1492-1700. She is now working on her dissertation from the University of Delaware’s Center for Riverside in October 2018. UCLA’s 51st Annual Graduate Student Symposium proposal. Material Culture Studies, Office of Graduate and and the 44th Annual Nineteenth-Century French In the summer of 2018, Johnson worked as Professional Education and Department of Art Studies Colloquium. The papers, while analyzing an editorial assistant in the European Decorative History. She presented parts of her research at the same series of Dreyfus Affair-related Arts Department at the Philadelphia Museum Winterthur through the Queen Mary University postcards produced in Paris circa 1900, focused of Art. In this role, she researched objects in of London Graduate Exchange Program in Visual on different aspects of the postcard series’ the museum’s arms and armor collection and and Material Culture, Saint Louis University and complicated material and cultural contexts. prepared the bibliography for publication. Last the University of Virginia. She published her peer- Hillman was joined by her University of Delaware summer, she assisted Professor David Stone reviewed article, “Duane Michals: ‘Photographing colleague, Galina Olmsted, and their advisor, with a research project centering on Guercino’s Nothing,’” in the 2019 conference proceedings of Professor Margaret Werth, in presenting at the portrait of Fra’ Bonaventura Bisi and the culture the International Association of Word and Image NCFS Colloquium. of earrings in early modern Italy. Studies. Over the summer, she participated in Hillman spent the first half of summer the Delaware Public Humanities Institute (DELPHI) 2019 in Paris beginning archival research for Made possible by a University Doctoral and continued work on her dissertation. Nassif her ongoing dissertation project with support Fellowship, Kiersten Mounce spent the 2018- continues to serve as the department’s Graduate from a Summer Doctoral Fellowship from the 19 academic year focused on her dissertation, Student Liaison and was a committee member Galina Olmsted at the Eskenazi Museum of Art at Indiana University. University of Delaware Graduate College. Upon “The Revolutionary Life of the Chaise Sandows, of the Graduate Student Lecture Series. (Photo by Shanti Knight) her return to the United States, she worked as 1928-1937.” A Competitive Graduate Student

38 39 In October of 2018, Emily Shartrand Drawings” at the Newport History Museum in World is Following Its People’: Indigenous Art to the seventh century. Physically experiencing was invited to speak about her research at the February. As an outgrowth of her Duveneck and Arctic Ecology” at Old College Gallery (fall the weight, size, dimension, texture and play of Fragmentarium Project Workshop in Fribourg, research, and in the spirit of Cincinnati’s upcoming 2018). She published an exhibit review of “Jeffrey light of each object provided valuable sensory Switzerland, where she gave a paper entitled exhibition “Women Breaking Boundaries,” Gibson: The Anthropophagic Effect,” in ASAP data on the effects of both sight and touch on “Cut and Paste: The Manuscript Fragments and Simmons recently led a gallery experience on Journal in May 2019, and wrote exhibition literature the relationship between the object and wearer. Grangerized Books of John Frederick Lewis at the the art and life of Elizabeth Boott Duveneck, a to accompany “Luster,” an exhibition at Recitation In the spirit of public outreach, Vause Free Library of Philadelphia” at the Schoenberg 19th-century painter who exhibited extensively Hall Gallery at the University of Delaware during presented her lecture “Making the Dark Ages Institute of Manuscript Studies. For the past year when pursuing such a profession was rare for a October 2018. She has continued to serve as a Little Brighter: Using Objects to Touch the and a half, Shartrand has worked as the Lynn woman. the co-chair of the Methods in Material Culture Medieval” at the Osher Lifelong Learning Institute Herrick Sharp Curatorial Fellow at the Delaware In March, Simmons presented “Utility or Graduate Student Working Group and as a and her talk “Handling the Family Jewels in the Art Museum. At the museum, she is organizing Virtuosity? Problems of Function Versus Style member of the ThingStor Working Group, which Early Middle Ages” at Nerd Nite Philly. On May the exhibition “Fantasy and the Medieval Past,” in Volterrano’s Preparatory Drawings” at the launched its website this year. 8, 2019, she received the Anna R. and Robert T. which will be open from Sept. 26, 2020 to Jan. Midwest Art History Society’s annual conference. Silver Award. This award, which honors the 31, 2021. Drawing from the work of contemporary Her lecture came from a chapter of her parents of Susan Silver, is given annually to one illustrators Tony DiTerlizzi, Leo and Diane Dillon dissertation, “Volterrano as a Draftsman: Style, or two outstanding graduate students who have and Ian Schoenherr, as well as historical works Technique, and Connoisseurship of Drawings demonstrated an exceptional commitment to from the Museum’s Howard Pyle collection, this in Seicento Florence.” Simmons also assisted and talent for teaching. exhibition takes a look at the fantasy medieval in organizing the conference as the Program For summer 2019, Vause received the realms of some of our beloved young adult reads. Coordinator and encouraged fellow Blue Hens to Summer Doctoral Grant, the CAS Summer Travel In the summer of 2019, Shartrand was awarded participate. Grant and the Professional Development Grant to the Summer Doctoral Fellowship for Professional conduct research and speak at a conference in Development in support of this project. the United Kingdom. Using a digital microscope, she examined copper-alloy, silver and gold and garnet cloisonné cross pendants at the British Museum in London and two gold and garnet

Victoria Sunnergren participates in the Otsego Institute for Native pendants at the Ashmolean Museum in Oxford. American Art History. (Photo courtesy of Victoria Sunnergren) On July 2, 2019, Vause presented “A Sumptuous Defense: Amuletic Jewelry from Islamic Caesarea” In June 2018, doctoral candidate Rachael at the International Medieval Congress (IMC) at Vause participated in the DELPHI Summer the University of Leeds. Following her conference Fellowship. The two-week program guided presentation, she was invited to contribute an fellows through the vigorous process of refining essay for publication in an edited volume. The their writing and communication skills—from multi-authored work will be published by Brill in Liz Simmons presents the lecture “Hidden Gems: Frank Duveneck’s Drawings” at the Newport History Museum. (Photo courtesy of Liz composing press releases to conducting the winter of 2020. Simmons) interviews—for various audiences. As a scholar

Emily Shartrand answers audience questions at the Fragmentarium specializing in a time period unfamiliar to many Project Workshop. (Photo courtesy of Emily Shartrand) For the summer of 2019, Victoria art historians and most non-academics, she Sunnergren was selected as a participant in the was most inspired by exercises in outreach to For the past year, Liz Simmons has Otsego Institute for Native American Art History public audiences. Immediately following the served as a Curatorial Research Assistant at the at the Fenimore Art Museum in Coopersown, New program, Vause utilized her fellowship funding Cincinnati Art Museum helping develop a major York. She was also selected as a Delaware Public to conduct dissertation research in Great Britain. exhibition on the art of Frank Duveneck, one of the Humanities Institute Fellow, which allowed her to Her dissertation explores the bodily relationship most influential and widely respected American travel to Santa Fe, New Mexico, to make initial between jewelry and wearer in early medieval artists of the 19th century. In addition to archival community contacts for her future dissertation England. She focuses specifically on power research, travel study, catalog writing and project and to intern at the Wheelwright objects, such as amulets’ co-existence with and exhibition planning, Simmons also participated Museum of the American Indian. Over the past eventual replacement by Christian crosses. She in community events celebrating the 100th year, she was a student co-curator for “Truths of spent three weeks visiting museums and libraries anniversary of Duveneck’s death, including giving the Trade: Slavery and the Winterthur Collection” in Cambridge, Newark-on-Trent, Sheffield and Rachael Vause presents at the International Medieval Congress. (Photo her lecture “Hidden Gems: Frank Duveneck’s at Winterthur Museum (summer 2018) and “‘The London, studying gold and garnet crosses dating courtesy of Rachael Vause)

40 41 In the fall of 2018, Genevieve Westerby on Paper at the Art Institute of Chicago,” was began her first year in the Curatorial Track Ph.D. published online, for which she served as co- Alumni Notes program as an Andrew W. Mellon Foundation editor and co-authored three entries. Fellow. In October, she attended the workshop “Impressionism: An Object-Based Study Allan Antliff (Ph.D. 1998) revisited the career “Odyssey: Jack Whitten Sculpture, 1965-2018,” Workshop on Renoir’s Great Bathers” at the of Robert Henri in “Decolonizing Modernism: Robert and contributed the essay “Continental Drift” to Philadelphia Museum of Art, which gave graduate Henri’s Portraits of the Tewa Pueblo Peoples of the catalogue. In 2018, she was a fellow at the students the opportunity to learn about recent New Mexico,” The Art Bulletin, 100:4 (2018). He also Center for Curatorial Leadership. discoveries made by museum conservators contributed a chapter, “Aesthetics of Tension,” to and curators. Over the winter break, she led “The Anarchist Imagination: Anarchism Encounters Alan C. Braddock (Ph.D. 2002), Ralph two in-gallery discussions at the Delaware the Humanities and Social Sciences” (2019), edited H. Wark Associate Professor of Art History and Art Museum, which were a part of their “Inside by Carl Levy and Saul Newman (Goldsmiths American Studies at the College of William Look” series. She focused on a recently acquired College, University of London). In May 2019, Antliff & Mary, has been awarded an Association of watercolor by the Pre-Raphaelite artist Barbara was invited to speak on contemporary art at the American Publishers Award for Professional Bodichon. In summer 2019, she participated in the Universidad Autónoma, Madrid and addressed and Scholarly Excellence (PROSE Award) in the internship program at the National Gallery of Art, issues of gentrification in contemporary art at Art Exhibitions category for his book, “Nature’s Washington, D.C. in the Department of French the Fundación Anselmo Lorenzo, Madrid. In July, Nation: Art and Environment,” (Yale University Paintings, where she conducted research on Mary he gave a talk, “On the Living Theatre,” at the Press, 2018). Braddock co-authored the book Cassatt and assisted with the exhibition “Degas Getty Center, Los Angeles as part of an event and co-curated the corresponding exhibition at and the Opera.” In February, her co-authored celebrating the collection of Guiseppe Morra, Princeton University with Karl Kusserow. article, “Digital Art History and the Museum: The founder of the Morra Foundation, Naples. He also Online Scholarly Collection Catalogues at the participated in a panel, Indigenous Avant-Gardes, In October 2018, Kendra Brennan (B.A. Art Institute of Chicago,” was published in the at the annual conference of the Modernist Studies 2010) celebrated her five-year anniversary Visual Resources journal . In May, the permanent Genevieve Westerby at the Art Institute of Chicago. (Photo courtesy of Association (Toronto, Oct. 17-20, 2019). Antliff has working with the Calder Foundation as an collection volume “Manet Paintings and Works Genevieve Westerby) been commissioned by Reaktion Books (U.K.) to archivist. Founded in 1987, the foundation undertake a critical treatment of anarchism’s is dedicated to the collection, exhibition, cultural impact globally. He will begin work on preservation and interpretation of the art and his book “Cultural Anarchy: A History of Global archives of Alexander Calder. The foundation’s Interventions” in summer 2020. He continues to projects include collaborating on exhibitions and serve as Art Editor for Anarchist Studies and co- publications, organizing and maintaining the edits Anarchist Developments in Cultural Studies. Calder archives, examining works attributed to Calder and cataloguing the artist’s works. In August 2019, Jhennifer Amundson (Ph.D. 2001) became the Inaugural Dean of O’More College of Architecture, Art and Design at Belmont University. A Society of Architectural Historians (SAH) member, she will serve as a Session Chair at the 2020 SAH Annual Conference.

Kelly Baum (M.A. 1995, Ph.D. 2005) is the Cynthia Hazen Polsky and Leon Polsky Curator of Contemporary Art at the Metropolitan Museum of Art. Between 2018 and 2019, she curated two commissions, the first with Polish artist Alicja Kwade for the Met’s roof garden (“ParaPivot”) and the second with Kenyan-American artist Wangechi Mutu for its façade (“The New Graduate students visit the Pennsylvania Academy of the Fine Arts. (L-R) Genevieve Westerby, Jalena Jampolsky, Adam Grimes, Anna O. Marley (PAFA curator and UD alumna), Megan Baker, Michael Hartman, Lea C. Stephenson, Julia Hamer-Light, Anastasia Kinigopoulo, Joseph Litts and Olivia Ones, will free Us”). She also co-curated the Kendra Brennan at the Calder Foundation. (Photo courtesy of Kendra Armandroff. (Photo courtesy of Wendy Bellion) first presentation of Jack Whitten’s sculpture, Brennan)

42 43 Nicole Cook (Ph.D. 2016) presented new Early Irish Law,” as part of a panel sponsored by manage six to seven titles a season alongside Cologne: Wallraf-Richartz-Museum & Fondation research on the little-known, yet exceptional, the American Society for Irish Medieval Studies. the acquisitions editor. Corboud, 2018. Her work acquiring pieces by career of 17th-century female poet, artist and In 2018, she was awarded the Outstanding women artists for PAFA over the past 10 years archaeologist Titia Brongersma at the College Achievement in Graduate Studies, the Summer On Sept. 28, 2019, the Pennsylvania received national attention in a feature article in Art Association conference and the Renaissance Doctoral Fellowship and a Center for Material Academy of the Fine Arts held a special tour and the New York Times on Sept. 19, 2019. In 2018 and Society of America conference during the Culture Studies Travel Award. This support allowed panel called “Learning to Look,” which featured 2019, she lectured and organized sessions at the spring of 2019. She also continues her work as her to take a final dissertation research trip to Dr. Anna O. Marley (Ph.D. 2009), Dr. Laura Turner Museum of Fine Arts, Houston; Palmer Museum Coordinator for Academic Partnerships at the Ireland, where she spent time in the extreme north Igoe from the James A. Michener Art Museum and of Art at Penn State University; the Philadelphia Philadelphia Museum of Art (PMA), a position viewing some of the lesser-known high crosses, UD alumnus Dr. Franklin Kelly from the National Museum of Art; and the CAA, AHAA and AAMC that she began in 2017. In the fall of 2018, Cook as well as the archives of the National Museum of Gallery of Art, for an up-close and personal conferences. In 2019, she began her tenure as launched the first museum-wide Fellows Group Ireland-Archaeology. Her favorite part of the trip experience with some of the masterpieces in an Advisory Board Member of the Smithsonian’s Program, developed through collaborations with was visiting the famed early medieval monastery Marley’s current exhibition “From the Schuylkill to Archives of American Art Journal, and continues different museum departments and extensive located on the craggy island of Skellig Michael. the Hudson: Landscapes of the Early American to serve as an Advisory Board Member at the research into various fellowship programs across While she climbed the over-600 stone steps to Republic.” It was especially rewarding for her to Frances Lehman Loeb Art Center, Vassar College. the country. This programming, open to all reach the oratories, crosses and clochán-type invite Kelly, her supervisor at the National Gallery Finally, she is thrilled to share that she has recently curatorial, conservation and education fellows domed beehive cells with little difficulty, the of Art 17 years ago, to PAFA, where she celebrated been accepted into the prestigious cohort for the at the museum, focuses on cohort-building and eight-mile boat ride across the choppy Atlantic her 10-year work anniversary in spring 2019. This Center for Curatorial Leadership Fellowship class professional development activities. Cook is waters presented its own set of difficulties. program and exhibition represented a culmination of 2020. contributing to a small gallery re-installation at of decades of work on American landscapes, as the PMA with the working title of “What Can the exhibition drew from her doctoral work at Paintings Tell Us?: Renaissance and Baroque UD, and is the first exhibition of 18th- and early Paintings in Focus,” which will go up in March 19th-century work she has been able to organize 2020 and focus on paintings currently undergoing at PAFA. The exhibition publication was made new technical study and research. possible by a major grant from the Henry Luce Foundation, where she is indebted to UD alumna Recent graduate Michele Frederick (Ph.D. Terry Carbone for encouraging her to present 2018) has been named the Associate Curator of such an ambitious exhibition of PAFA’s landscape European Art at the North Carolina Museum of holdings. The exhibition features 119 objects Art. In her new position, Frederick is responsible dating from the 1770s through the 1870s, over for growing the museum’s European art collection, 10 of which she purchased for PAFA, including curating special exhibits and developing its first landscape painting by Frederic Edwin programs related to the collection. Church, “Valley of Santa Ysabel, New Granada,”

1875. She was thrilled to have current UD Mellon (L-R) Dr. Laura Turner Igoe, Dr. Anna O. Marley and Dr. Franklin Kelly speak With the help of the Sewell C. Biggs Curatorial Track Ph.D. student Thomas Busciglio- at “Learning to Look.” (Photo courtesy of Anna O. Marley) Dissertation Fellowship in Art History (2018- Ritter as her summer 2019 intern on this exhibition, 19), Caitlin Hutchison (Ph.D. 2019) successfully and also to host Dr. Wendy Bellion’s seminar on a Joan Marter (M.A. 1970, Ph.D. 1974) is defended her dissertation and graduated this Caitlin Hutchison in Ireland for research. (Photo courtesy of Caitlin visit to the exhibition in fall 2019. Distinguished Professor Emerita at Rutgers past spring. She was also the University of Hutchison) In addition to “From the Schuylkill to the University. She is also Editor-in-Chief of an Delaware’s selected representative at the 24th Hudson,” which received a David R. Coffin Grant international journal, Woman’s Art Journal, which Annual Graduate Student Symposium on the After graduating from the University of from the Foundation for Landscape Studies, her has been published continuously since 1980. History of Art held at the Barnes Foundation, Delaware summa cum laude with an Honors recent publications include “Painting History in Her book entitled “Women Artists on the where she presented “‘Rig Herenn and Christus Bachelor of Arts in Art History and History, Olivia the United States Capitol Rotunda,” The Capitol Leading Edge: Visual Arts at Douglass College” Rex:’ The High Cross as Expression of Christian Mann (2019) interned as part of the Research Dome: A Magazine of History published by the was published this year (Rutgers University Press, and Irish Kingship.” Hutchison also headed back Team at the Museum of Modern Art in New United States Capitol Historical Society, Vol. 55, 2019). This volume presents graduates of Rutgers to her home state of Michigan to participate York. In September, she began a new position No. 1, December 2018 (www.e-digitaleditions. such as Alice Aycock, Joan Snyder, Jackie Winsor in the 54th International Congress on Medieval as Editorial Fellow at Prestel Publishing, one of com/i/1052459-2018-dome-55-1), and “Von and others who were among the first students Studies in Kalamazoo, where she presented “Ail the world’s leading publishers in the fields of art, Cassatt zu O’Keeffe – Der Aufstieg professionaller to experience new approaches to artmaking Anscuichthe (The Immovable Rock): The High architecture, photography and design. At Prestel Kunstlerinnen in den USA” in “Once Upon a Time with instructors espousing Pop Art, Fluxus, Cross as Witness to Compact, Boundary, and Publishing, also located in New York, she helps in America: Three Centuries of American Art,” performance and installations.

44 45 In October, Marter was guest curator Art Conference (SECAC) in October. Last summer, after 18 months of intermittent Professor Curlee Raven Holton, Executive Director of “Abstract Expressionism Revisited” at the research, Christine Isabelle Oaklander (Ph.D. of the David Driskelll Center at the University of Guild Hall Museum in East Hampton, New York. In what he still jokingly refers to as his 1999) was able to confirm the authenticity of a Maryland, College Park. She informally mentors This exhibition includes works by artists who “so-called retirement,” Harold B. “Hal” Nelson rare oil-on-panel study for Emanuel Leutze’s iconic a handful of exceptionally talented high-school contributed to the development of Abstract (M.A. 1972) has continued to work on several “Washington Crossing the Delaware,” which she and college art students, which greatly enriches Expressionism, and interacted with one another projects related to the non-profit Enamel Arts found at an antiques show. The unsigned study her life. She has two essays coming out next year on the East End of Long Island. Works by Jackson Foundation he and his partner Bernard Jazzar is beautifully painted, with the same basic, very in books to be published by the Frick Collection Pollock, Lee Krasner, Willem de Kooning, James created in 2007. The goal of the foundation complex composition as the enormous painting and the University of Vermont’s Fleming Museum. Brooks, Grace Hartigan and others will be is to collect, document and shed light on the owned by the Metropolitan Museum of Art, but One is an 1800s topic and the other, an early included. The show, which includes paintings, American enamels field over the past 100 years. demonstrates significant differences in poses, 20th-century topic, so her omnivorous curiosity works on paper and sculpture, will be on view Having collaborated on two books and several costume color and detail and proportions, making continues apace. Both topics closely relate to her from Oct. 26 to Dec. 30, 2019. Marter is the author articles on the history of enameling in America it obvious that it was no copy. Additional proof studies at UD, which is wonderful. Most enjoyable of the accompanying, fully illustrated catalogue. from 1920 to 2015, Nelson and Jazzar are now involved inspecting related period prints and this year was meeting with John Shipman, who focusing on contemporary developments. Their the eventual discovery of a twice-size, signed is the Director of Development of the College of most recent publications are “June Schwarcz: and dated, almost identical painting formerly Arts and Sciences at UD. A former gallery director Artist in Glass and Metal” (distributed by ACC owned by Thomas J. Watson, founder of IBM, and printmaker, Shipman is a true delight and Art Books and available on Amazon.com) and after whom the Met’s principal research library is “kindred spirit.” She was delighted to work with “Master Metalsmith: Sarah Perkins” (published named. An article condensing a 34-page dossier UD alumnus Franklin Kelly, Deputy Director of the by the Metal Museum in Memphis). They also of her discoveries is in draft form. Last December, National Gallery of Art, arranging to donate a co-authored a feature article on the pioneering in the course of one week, she found an unsigned drawing of Abraham Lincoln by Douglas Volk, enamelist June Schwarcz for The Magazine oil study by the talented American genre painter a preliminary to the oil portrait owned by the ANTIQUES. The foundation continues to acquire William Tylee Ranney hanging unrecognized in a National Gallery, to the museum’s study collection. enamels by modern and contemporary artists group antique shop and, in a different shop, an and to support the field through exhibitions, American abstract oil painting dating to about educational programs and its website, www. one century later, by the Park Avenue Cubist enamelarts.org. Charles Greene Shaw. Both of these paintings, once restored and framed, not to mention researched and written up, were placed on the market, with the Ranney painting recently selling advantageously. Oaklander recently learned that the Art Institute of Chicago plans to buy the Elihu Vedder cast-iron fireback she offered to them earlier this year, marking her third sale to the museum. Her philanthropy in the arts continues as she supports a range of art institutions through art Joan Marter receives the Distinguished Feminist Award at the College Art Association Annual Conference in 2018. (Photo courtesy of Joan Marter) or cash gifts, including the Delaware Art Museum (gifts in honor of Professor Wayne Craven), a five-

David McCarthy (Ph.D. 1992) continues year pledge to the Craven-Homer Fund in the Art Christine Oaklander with “Washington Crossing the Delaware.” (Photo to chair the Department of Art & Art History at History Department, lead funding to support a courtesy of Christine Oaklander) Rhodes College. He published two articles on the new theater design and production major at the sculptor H.C. Westermann: “Of Plush and Imitation Lehigh Valley Charter High School for the Arts, Marina Pacini (M.A. 1988)—Chief Knotty Pine: H.C. Westermann and American a gift in honor of retiring Curator of Illustration Curator and Curator of American, Modern and Sculpture of the 1960s,” American Art, 33 (fall 2019), at the Delaware Art Museum and UD aluma Dr. Contemporary Art at the Memphis Brooks and “A Thank-you Note from H.C. Westermann,” Mary Holahan, and funding for a three-year pilot Museum of Art for 18 years—announced her Archives of American Art Journal, 58 (spring 2019). program supporting an emerging artist studio at retirement on Nov. 1, 2019. She leaves after He also gave a public lecture on Westermann the Banana Factory in Bethlehem, Pennsylvania. opening “Photography in Memphis,” organized entitled “Homage on the Range: Nauman, Wiley, She has also become involved with promoting in commemoration of the city’s bicentennial.

Westermann and the Masculine Mythology of “June Schwarcz: Artist in Glass and Metal” by Harold B. Nelson and Bernard the “Legacy Tour” of iconic scholar and artist Dr. The exhibition is framed around works from the the American West” at the Southeastern College Jazzar. (Photo courtesy of Harold B. Nelson) David Driskell, the result of her long friendship with permanent collection by artists such as William

46 47 Eggleston, William Christenberry, Ernest Withers published in the exhibition catalogue “Nature’s by auditing one of Professor George B. Tatum’s Patrons, Painters, and Piagnoni at S. Caterina and Paul Graham, in conjunction with emerging Nation: American Art and Environment” (2018)—a courses at the University of Delaware. This in Cafaggio,” which will appear in “Convent and mid-career photographers such as Pixy Liao, project he supported for two years as a Curatorial experience also led Scott to his current service Networks in Early Modern Italy,” an anthology Tommy Kha, Coriana Close and David Horan. She Research Associate at the Princeton University Art as a member of the Historic Preservation published by Brepols (forthcoming). Catherine’s co-curated the exhibition with Ciara Fisk, Studio Museum. Additionally, he contributed catalogue Commission of the City of Annapolis, following Sacramento-based activities include serving as Institute Summer Intern. entries on works by American modernist and 30 years of service on the Planning Commission lead historian for the annual historic home tours Regionalist painters for “Once Upon a Time in of the city. (sponsored by Preservation Sacramento) and as America: Three Centuries of American Art” (2018- Photography continues to occupy much editor of her neighborhood’s monthly newsletter. 19) at the Wallraf-Richartz-Museum in Cologne, of his time. He recently returned from a week in Germany. Budapest, Hungary. While there, he spoke to local Betsy Wieseman (B.A. 1979, M.A. 1983 college students visiting the exhibition “-scapes” has been appointed curator and head of the at the PH21 Gallery. One of his photographs, “Our department of northern European paintings at Beach,” was included in the show. Another of the National Gallery of Art (effective November his photographs, “Phantoms,” received two best 2019). in show awards from American galleries. Scott credits Professor William I. Homer, his dissertation Rachel Zimmerman (Ph.D. 2017) started advisor, with inspiring his interest in the art of the position of Assistant Professor of Art History photography. at Colorado State University-Pueblo in August 2018. Her essay “American Invention, African Bodies and Asian Prestige: The Hammock as an Honorary Mode of Transportation in Colonial

Marina Pacini and Ciara Fisk celebrate the “Photography in Memphis” Brazil” appeared in the Denver Art Museum’s exhibit. (Photo courtesy of Marina Pacini) “Circulación: Movement of Ideas, Art, and People in Spanish America” collection the following Jeffrey Richmond-Moll (Ph.D. 2019) month. In March of 2019, she presented a paper was recently appointed Curator of American titled “Sacred, Secular, Exotic, European: Imitation Art at the Georgia Museum of Art, the art Lacquer Chinoiserie in Colonial Minas Gerais, Jeffrey Richmond-Moll with his dissertation committee after his defense. museum of the University of Georgia and the (L-R) Sandy Isenstadt, John Davis, Wendy Bellion, Jeffrey Richmond-Moll Brazil” at the American Society of Eighteenth- state museum of Georgia. In March 2019, he and Jessica L. Horton. (Photo courtesy of Jeffrey Richmond-Moll) Century Studies annual meeting. successfully defended his dissertation, “Roots/ Routes: Religion and Modern Mobility in American Wilford W. Scott (Ph.D. 1984) continues his Art, 1900-1935.” The project was supported work in photography and arts leadership. Scott during the 2018-19 academic year by a Henry was recently elected to the position of Internal Wilford W. Scott’s “Our Beach” on display at the exhibition “-scapes” in Luce Foundation/American Council of Learned Vice President of the Maryland Federation of Art Budapest, Hungary. (Photo courtesy of Wilford W. Scott) Societies Dissertation Fellowship in American Art, (MFA). The MFA represents artists from the Mid- and a short-term research fellowship from the Atlantic region and beyond, including members in Catherine Turrill Lupi (M.A. 1978, Ph.D. Winterthur Museum, Garden and Library. It was other countries. The organization’s main purpose 1986) continues to enjoy the travel, research and also nominated for Delaware’s Wilbur Owen is to maintain the oldest non-profit art gallery writing opportunities offered by retirement. In Sypherd Prize in the Humanities. in Maryland. Its mission is “to make connections October 2018, she was the keynote speaker at the Richmond-Moll published two web-based in the community through art.” To accomplish Fifth Annual Jane Fortune Conference, titled “The essays related to his dissertation during the last this mission, the MFA sponsors more than thirty Colors of Paradise: Painting Miniatures in Italian year. “Henry Tanner’s Judas: The Lost Disciple,” exhibitions annually in its primary venue in Convents, ca. 1300-1700,” held in the Quattrocento which involved using a photograph printed Annapolis, temporary spaces in the immediate library of the Florentine monastery of San Marco. in reverse to solve the mystery of a painting area and online. More about the federation can In March 2019, she presented a paper entitled by Tanner that was long thought destroyed, be found on its website, mdfedart.com/. “The Cult of Savonarola at the Florentine Convent appeared on the blogs of Smithsonian magazine Scott also leads walking tours of historical of Santa Caterina da Siena in the Late 1500s” at and the Smithsonian’s Archives of American Art. Annapolis architecture in collaboration with the the annual Renaissance Society of America (RSA) His essay “A Knot of Species: Raphaelle Peale’s Historic Annapolis Foundation. His interest in conference in Toronto. This lecture developed out Still Life with Steak and the Ecology of Food,” was 18th- and 19th-century buildings was inspired of the essay “Pursuing a Savonarolan Thread:

48 49 Donors & Friends | 2018

Gifts of $1,000 or more

American Endowment Foundation Carol A. Nigro ‘97M ‘09Ph.D. and Charles T. Isaacs H. Perry Chapman Christine I. Oaklander ‘99Ph.D. H. Nichols Blake Clark ‘75M ‘82Ph.D. H. Rodney Sharp III ‘60 and Lynn Herrick Sharp Lawrence and Margaret V. Nees Ingrid Steffensen-Bruce ‘94Ph.D. and Jeffrey B. Bruce

Gifts of $100 or more

Jennifer Welling Barrows ‘91 and Brian K. Barrows ‘95 Scott J. Mangieri ‘08M Barbara A. Baxter ‘79 and Marc Postman Chase T. Markee ‘13 Brent E. Beebe ‘93 and Carol Althouse Beebe ‘94 Jacqueline Corman Meisel ‘71M Charles T. Butler ‘76 and Marilyn Laufer Sue Himelick Nutty Sandra Cheng ‘00M ‘08Ph.D. Jennifer K. O’Keefe ‘00 Derek D. Churchill Melinda B. Parsons Sue Murray Van Fleet Leslie and Janice B. Reidel Cynthia Woerner Foresman ‘69 and Wayne M. Foresman Emily J. Reynolds-Goodman ‘78M Cynthia A. Fowler Marianne Richter Ellen J. Friedman ‘76 Deborah Williams Sheldon ‘01 and Richard Sheldon Susan Smeltz Gallagher ‘72 Susan Silver Noriko Gamblin ‘89M Ernest C. Jr. ‘65 and Patty E. Soffronoff Barbara Elliott Hallett ‘63 Damie ‘56M and Diane B. Stillman How to Donate Jason E. Hill James Symons and Sheila Harrington Mary F. Holahan ‘74M ‘78Ph.D. and Luigi Caporaso Sandra L. Tatman As part of our 50th anniversary celebration in 2016, the University of Delaware’s Department of Art History Duncan C. Holyoke ‘00 ‘18M Thayer C. Tolles ‘90M launched an ambitious fundraising campaign with the goal of building an endowment to enhance our commitment to Edward G. Howard Jr. Mónica Domínguez Torres graduate education. Elizabeth Proctor Howard ‘81 Catherine L. Turrill Lupi Sandy M. Isenstadt Jack R. and Midge Vinson The William I. Homer and Wayne Craven Fund for Graduate Studies at the University of Delaware is named Richard T. and Pamela M. Jett Stephen S. Vinson and Joann Sheaffer Vinson after two distinguished scholars and educators. They both helped found the University of Delaware Art History program, Maureen Keefe ‘81 Margaret Werth and Michael J. Leja taught here for over three decades and instilled a passion for lifelong learning in art history in their students. Professors Sylvia Leistyna Lahvis Judith K. Zilczer Homer and Craven established a significant legacy of art historical training and mentorship, and many of their students Lockheed Martin Corporation have gone on to prominent, productive and fulfilling careers in the field in colleges, universities and museums across the country. Other gifts In recognition of their longstanding dedication to graduate education, the William I. Homer and Wayne Kathleen Motes Bennewitz ‘97M and William S. Bennewitz Heather Swain Milliron ‘73 Craven Fund will provide travel and fellowship stipend support to graduate students in the Department of Art Jeanne K. Brody ‘01Ph.D. and William L. Foley Jr. Elizabeth J. Moodey ‘87M History at all levels and in all areas of specialization. Sophie V. Coco ‘16 Deborah A. Reinholz ‘75 and Henry N. Mensack Margaret Swallow Dwyer ‘98M and Michael R. Dwyer Christina M. Riley ‘82 Together, with your help, we will strengthen our program for years to come and establish a critical foundation of Virginia Wagner Foster ‘81M ‘87Ph.D. Lynn Pearson Russell ‘01M and William A. Russell support for graduate education for the next 50 years. Make your gift in support of the William I. Homer and Wayne Edward J. Heimiller ‘08 Heather Karasow Smith ‘92 Craven Fund for Graduate Studies today. Please visit this website to make a donation: ud.alumniq.com/giving/to/ Walter S. and Bonnie J. Ivankow Amy Torbert ‘17Ph.D. ArtHistory. Thank you. Robin S. Kershaw ‘76 Jennifer C. Van Horn ‘00 ‘02M and Christian J. Koot ‘01M Kathryn S. LaPrad ‘07 ‘10M ‘05Ph.D. Above: Skellig Michael, west of the Iveragh Peninsula in County Kerry, Ireland. (Photo courtesy of Caitlin Hutchison) Joan M. Marter ‘70M ‘74Ph.D. Amy E. Waye Back cover: “Embroidered Map Sampler,” 1783. (Image courtesy of the Metropolitan Museum of Art, www.metmuseum.org)

50 51 Insight University of Delaware Department of Art History 318 Old College Newark, DE 19716-2516