Spring 2007

Collecting China Interdisciplinary symposium expands dialog on Chinese art objects

The Newsletter of the University of Delaware Department of Art History

1 Contents Spring 2007 Editor in Chief and Photo Editor: From the Chair From the Chair | 3 Undergraduate Student Linda Pellecchia News | 15 Titles Editor: David M. Stone No doubt, you’ve noticed that the Art History newsletter has changed its Art History Club | 15 Art Director: Don Shenkle look and now has a name, Insight. The department, launched more than Undergraduate Awards | 15 Editorial Coordinator: forty years ago, has fl ourished and Insight allows us to spread the news Connee McKinney of our extraordinary record of accomplishments. Some news builds on Secretarial Assistance: Eileen Larson, traditional strengths. Other items refl ect exciting new directions. Our Deb Morris, Tina Trimble focus on American art will expand next year with the arrival of a new Graduate Student News | 16 “Collecting ‘China’” — Insight is produced by the Department colleague in the history of African American art and another in the 19th An International Gem | 4 Graduate Awards | 16 of Art History as a service to alumni and 20th-century art of the United States. Our curriculum has, on the Graduate Student News | 16 and friends of the Department. We are other hand, expanded globally beyond America and Europe. We now Graduate Degrees Granted | 17 always pleased to receive your opin- teach the arts and architecture of Africa, Asia, and Latin America. Art News from Alumni | 18 ions and ideas. Please contact Eileen History undergraduate and graduate students have garnered prestigious Larson, Old College 318, University of grants and awards. This past year our faculty published several books, Delaware, Newark, DE 19716 (302- 831-8416) or [email protected]. multiple chapters, and numerous essays. They have lectured on top- Faculty Spotlight | 6 In Memoriam | 22 ics ranging from the mystery of Caravaggio’s signature to the design Interview with Prof. Nina Kallmyer | 6 Maggie Ferger | 22 On the cover: practices of Gee’s Bend, Alabama, quilt makers. Vimalin Rujivacharakul, Vimalin Rujivacharakul speaking on Interview with Prof. Lauren Petersen | 8 Maurice Cope | 22 in partnership with Winterthur Museum, organized an international From Tian Yi Ge to Zhongshan Gongyu- Return of the Guggenheims: Chapman symposium, “Collecting ‘China.’” Perry Chapman and Ann Gibson an: Subjects, Objects, and Things in Re- and Gibson and the Rewards publican China Photo George Freeman returned from Guggenheim fellowships. Nina Kallmyer’s discovery of of Research | 9 an American copy of Gericault’s The Raft of the Medusa has inspired collaboration with museums, art conservationists, and art historians that Around the Department | 10 Thanks to Our Donors | 23 will culminate in an international exhibition. Two seminars give students hands-on experience | 10 Wendy Bellion and Monica Dominguez are launching “Crossing Bor- Faculty awards | 10 ders: Colonial Art and Art History across North America,” our upcom- Department Lecture Series | 12 ing 2008 symposium. Our Art History family is truly re- Receptions and Gala events | 12 markable. You have contributed to that legacy and, we hope, will be a vital participant in its future. We are embarking on Alumni Corner | 13 Faculty Books | Back cover a major effort to raise funds to capitalize on our strengths and achievements. Student support at all levels is our major What can you do with an Art History Books published by Faculty B.A? Lots! | 13 in 2005-2006 goal. Because our undergraduate majors and minors rank among the best at UD, we want to support their profes- sional development. We want to create more internships, study trips, and outreach activities. Our graduate students Prof. Bernard Herman, are exceptional and committed to furthering an understand- Edward F. and Elizabeth ing of art history in classrooms, museums, galleries, and the Rising Stars | 14 Goodman Rosenberg public sphere. We need to provide them with better fellow- Kate LaPrad, Eugene DuPont Memorial Professor of Art History Distinguished Scholar, and Chair, Department of ships, and more funding for research travel and participation Honors student and Alison Art History Photo George in professional meetings and symposia. That kind of exposure Freeman Scholar | 14 translates into enthusiastic teaching and an advocacy that Three Graduate Students Awarded instills in others a lifelong understanding of the importance Smithsonians | 14 of art in our lives. Our invitation to you is to be part of the future; to be a partner in propelling art history at the University of Delaware to the next level. We share a dynamic heritage. Together we will build a legacy for a world that must sustain art at its heart to be complete.

2 3 Collecting

China An International Gem

Could there ever be a universal paradigm governing “Chinesessness” encoded in material objects, or does the cultural code “Chinese” vary from object to object, interpreted differently according to those who collect the objects and their various collecting practice?

n an autumn weekend late in rising stars, took us on journeys spanning September, the campus of the three centuries. In a series of elegant and OUniversity of Delaware and the stimulating presentations, they demon- Winterthur Museum & Country Estate strated how our perceptions of China and became the site of an extraordinary its culture were shaped and reshaped by interdisciplinary conference on Chinese collections of objects and artifacts. From art and its collectors, “Collecting ‘China’: Shang-dynasty oracle bones to Neolithic Objects, Materiality, and Multicultural jades, export ceramics, and pre-modern Collectors.” Co-organized by the De- manuscripts, the speakers revealed how partment of Art History and Winterthur objects helped establish what “Chinese- under the direction of Prof. Vimalin Ruji- ness” means to modern viewers. Accord- vacharakul, the symposium demonstrated ing to Prof. Rujivacharakul, “the study of how a conference designed for specialists ‘Chinese objects’ and their collections has can have far-reaching appeal for non- been at the center of the study of Chi- specialists as well. Because collecting was nese art, architecture, and archaeology in the fulcrum, the conference appealed recent decades, but basic questions about to scholars of Western and non-Western the objects’ cultural code in relation to art alike. “It was splendid to see such a their materiality remain under-examined. strong turnout for scholarly papers in an To explore these interconnections on a “Loading Boats for Canton,” Watercolor, 1956.38.127, Courtesy Winterthur Museum & Country Estate. area, the art of China, that has not re- global scale, we invited scholars to par- ceived much attention on the University ticipate in an interdisciplinary and cross- Perry Chapman (Northern Baroque), and ern collectors. Objects in Rembrandt’s paper titles conveys the expanse of topics of Delaware campus,” commented Prof. cultural conference so that they could ex- Bernard Herman (American folk art and kunstkammer, a collection of art and covered and the interdisciplinary range Lawrence Nees. amine objects beyond the typically fi xed material culture). Regardless of their dif- natural curiosities meant to represent the of speakers: Monumental Miniature, An realms of national culture and accepted fering subjects, a single message became knowledge of the world and popular in Oxymoron?: A Han-Dynasty Bronze The conference also exemplifi ed how historical interpretations of China.” the traditional boundaries of geogra- apparent: collecting affects the mean- seventeenth-century Holland, acquired Mat Weight and Its Cosmos (Eugene phy, discipline, and chronology can be In that spirit of cross-cultural interaction, ing of objects. Collections can alter our new meanings when used as splendid Wang, History of Art and Architecture, transcended to produce exciting new Prof. Rujivacharakul opened the confer- view of the societies that made them or motifs in his paintings. Harvard); Bug Collecting: Imagining the perspectives. For almost three full days, ence with a roundtable discussion on transform our ideas about the ones that Exotic in Late Ming China (Yuming He, Collecting ‘China’ moved into full swing art historians, archaeologists, and anthro- collecting composed of faculty from the collected them. Artifacts of high symbolic East Asian Languages and Civilizations, with three sessions on China: “China and pologists rubbed elbows with museum Art History department, none of whom value to one culture became “loot” in the Chicago); Goncourt’s China Cabinet, the Discourse of Things”; “The World curators, collectors, and art critics at a are scholars of Chinese art. Moderated eyes of a later civilization. The African (Ting Chang, Visual Studies and Critical and Its Collections”; and “On Differ- series of lectures, discussions, dinners, by David M. Stone (Italian Baroque), American quilt made to provide comfort Theory, Carnegie Mellon); Collecting ent Grounds: Collecting Practices and receptions, and meetings. Speakers, from the participants represented a variety and warmth for an Alabama family was China in Britain: Sir Percival David and Private Collectors.” A sampling of the highly acclaimed senior scholars to young of fi elds: Lawrence Nees (Medieval), turned into “art” through the will of mod- Continues on page 20 4 5 FACULTY SPOTLIGHT “The Society is thrilled to have Nina apply her considerable expertise to this long-overshadowed work. We are equally delighted with Joyce and her legendary conservation team. The collaboration between Delaware’s Department of Art History, Winterthur, and the New-York Historical Society is a perfect example of the successful implementation of one of the Society’s most important missions—to use our Lost & collections to foster research that reveals our nation’s richly layered past.” Found — Marybeth De Filippis, Curator, New-York Historical Society Kallmyer Rediscovers Painting

Nina Athanassoglou-Kallmyer, Full Professor, LP: Your achievements are truly daunt- than most scholarly books. It’s a compre- is a truly international scholar. She received ing. If you had to pick one thing that hensive overview of Géricault’s work in the Licence-ès-Lettres from the Institut d’Art most contributed to your success as a the context of the culture, politics, and et d’Archéologie of the University of Paris scholar, what would it be? ideas of his time. (Sorbonne); a doctorate from the School of NK: Moving to the United States. Un- Philosophy of the University of Thessaloniki equivocally. There is a sense of enormous LP: I gather you came across an interest- (Greece); and a Ph.D. in art history from opportunity in this country that only ing discovery in the New York Historical Princeton University. an outsider can really appreciate. The Society while you were researching the grants, fellowships, sabbaticals and other book? NK: Yes. I was writing the last chapter Nina Kallmyer discusses George Cooke’s copy of support for scholars are unique. This Géricault’s Raft of the Medusa with Joyce Hill-Stoner and on the reception of Géricault’s work. willingness to support research and publi- Laura Cox. Photo Duane Perry cation results in advances in scholarship Although I knew there were copies made admiral, collected French paintings and and allows individuals to become known after The Raft of the Medusa (1819), I America in the 1830’s. And yet there they Remember America was a seafaring admired France and Thomas Jefferson. in their chosen fi eld. For me this is a was fascinated to discover that George were lining up to see a work that was nation and shipwrecks were important He even bought Monticello. Just think--- specifi cally American phenomenon. Cooke, an American artist, copied the ground-breaking and highly controversial culturally. They were a favorite topic for painting while in Paris in 1830-31. At even in France at the time. Instead of early 19th c. American painters. Cooke’s copy of Géricault’s Raft may have LP: You were born in Greece, studied in that time American artists traveling to being shocked or indifferent, the Ameri- hung in Monticello! Paris, returned to Greece for a doctorate Europe copied the old masters—you can public embraced both the original LP: Those American shipwreck images must have been quite different from LP: I gather the painting is now at Win- George Cooke Raft of the Medusa Photo Lauren Cox and then got a Ph.D in the United States. know, Raphael, Correggio, or Rubens. and Cooke’s copy. A Boston newspaper terthur being restored? How would you compare the education Géricault’s Raft, a controversial work with extolled Géricault’s Raft as excelling over Géricault’s? NK: Encouraged by Linda Ferber (Di- you received in each of those countries? an infl ammatory political message, hardly “anything we have ever seen of the school NK: They certainly were. They were Professor Kallmyer specializes in late-eigh- rector, NY Historical Society) and Deb- NK: Art historians in France and Greece seemed the kind of painting to inspire an to which it belongs…. No lover of the mostly very conventional—you know, teenth and nineteenth-century art in Europe. bie H. Norris (Interim Associate Dean, learned a single method: formal analysis American copyist. So I was intrigued by arts, can ever visit this noted collection stormy seas, a boat tossed about, a dark She is a prolific scholar with three books to College of A&S), I approached Joyce Hill leading to a monograph on the life and Cooke’s bold decision. [the Louvre] without pausing to admire sky. So Gericault’s work must have really her name: French Images from the Greek work of a single artist. My fi rst doctor- this chef-d’oeuvre of sea pieces.” It impressed people. It doesn’t show the Stoner, one of our Art History Alumnae War of Independence, 1821-1830: Art and ate in Greece was in this vein—a study LP: Did you fi nd the copy? continued, “a faithful and highly fi nished shipwreck itself but rather the moment and Director of the Winterthur Museum Politics under the Restoration (Yale, 1989), of a nineteenth-century Greek artist. NK: I did. It turned out that Cooke had copy of this picture, the only one that has when the dying men on the raft spot the Program in Conservation and Preserva- Eugène Delacroix: Prints, Politics and Satire Even then the approach was ossifi ed and made two copies, one full-scale (16 x 25 ever reached our country, is now exhibit- boat that will rescue them. So it’s an im- tion Studies. Joyce generously agreed (Yale, 1991), and Cézanne and Provence. The conventional. So it was a revelation when ft) and another roughly 4 x 6 ft. Accord- ing in this city.” Another paper called age of extreme suffering but also of salva- to restore the work. This is a wonderful Painter in his Culture (Chicago, 2003), along I got to Princeton to fi nd that there were ing to written sources, a Raft by Cooke it “wonderfully represented by Cooke’s tion. It shows both tragedy and hope. multi-institutional exchange that show- with a host of articles in scholarly journals different ways of approaching objects. was in the New York Historical Society. brush.” So both the original and the copy cases the interrelationship between art and essays in books. LP: Do you have any idea why Cooke Suddenly I was reading Tim Clarke But the museum had no record of it made a splash on this side of the ocean. history, art conservation, and museums. made this copy? Her Art Bulletin article “Under the Sign (whose fi rst book had just come out) and because long ago it had been catalogued NK: One copy seems to have been a LP: Has the restoration produced any of Leonidas: The Political and Ideological dealing with issues of ideology. Even Pan- under the more famous name of Gilbert LP: Why do you think people were so commission. The other might have been results yet? Significance of David’s Leonidas at ofsky’s work on iconography was an eye Stuart. But it wasn’t Gilbert Stuart. It was excited about it? made to take on tour. I don’t yet know NK: Localized tests reveal the high Thermopylae” won CAA’s prestigious Arthur opener for me. That was it. My career as the smaller version of Cooke’s copies. I NK: Géricault’s painting refers to a who the patron was. I’ve limited it to two quality of Cooke’s Raft. The brushwork Kingsley Porter Prize for the best article writ- a nineteenth-century scholar was born in was delighted to fi nd it. famous French shipwreck of 1816. A individuals---James Robb, a progressive is quite beautiful. When the restora- ten that year in the Art Bulletin. Kallmyer has those seminars at Princeton. group of survivors were stranded on a LP: Do you know anything about the and liberal banker from New Orleans tion is complete, I intend to organize an received numerous fellowships: a Getty, the raft for two weeks without food or water. response to Cooke’s copy? who opposed slavery (there are three exhibition around this copy and similar Institute for Advanced Study, the American LP: You are currently writing a book on They even resorted to cannibalism. The NK: It was a big hit. It went on a tour black sailors in the painting, one of them ones from France. I want to pursue the Philosophical Society, a Guggenheim. Géricault for Phaidon. American press covered the ordeal of (Washington, Baltimore, New York, and signaling for salvation on top of the hu- concept of early European avant-gard- a Senior Ailsa Mellon Bruce Fellow at NK: Yes. I was commissioned to write the raft castaways in a big way and were Boston) usually reserved for master- man pyramid). The other is a New Yorker ism and its reception in ante-bellum C.A.S.V.A. at the National Gallery and a J. the book for a series called Art and Ideas still writing about it in the 1860s. So the pieces. Now this was interesting because named Uriah Phillips Levy, a naval America. ❧ Stanley Seeger Fellow at Princeton. which is geared to a broader audience public was really interested in this story. of the conservative artistic culture of offi cer. Levy, who retired at the rank of 6 7 FACULTY FACULTY SPOTLIGHT SPOTLIGHT Tomb of the Baker, Eurysaces Rome, Italy

Interview with Lauren Petersen LP: What is your next scholarly project? Return of the Guggenheims: Chapman LHP: I’m doing a study of the material life of Roman slaves. It’s a collaborative and Gibson and the Rewards of Research LP: Your new book on the art of former LP: And education? study with a scholar of ancient literature Roman slaves is fascinating. How did you LHP: Slaves came from all over the Ro- to see how far we can get to understand- come to work on such a topic? man world, often from conquered lands. ing the experience of slaves from a new Prof. H. Perry Prof. Ann Gibson LHP: It all began during a graduate Many of them were educated and even paradigm—that of the slaves perspective. Chapman Photo Photo George seminar on Pompeii when I realized that acted as teachers for the children of elite What sort of possessions did slaves have? George Freeman Freeman all the scholarship on slaves and ex-slaves couples. Where did they sleep? How did they treated them as if they were non-hu- move about the city when they worked? man. Why was this negative perception LP: Can you give me an example of how Our working premise is that they ab- so pervasive, I wondered. Everyone, I preconceptions about freedmen have sorbed a lot more culture from their prox- soon concluded, relied on the same small complicated the study of Roman art? imity to their masters than has tradition- group of literary works penned by upper- LHP: There is an extraordinary tomb in ally been thought. After all, slaves were class writers. It’s always problematic to Rome right beside the Porta Maggiore. not necessarily ignorant. They were often confl ate literary texts with historical real- It’s a large stone monument decorated simply non-Romans in servitude to Rome. ity, but in the case of slaves and freed- with striking circular forms. They turn LP: What advice would you give to un- men, the literary distortion became fact out to be copies of kneading-machines turned on their sides. The rest of the dergraduates thinking about working in and infl uenced the way scholars viewed LP: You teach courses over a span of Having two winners of Guggenheim politics or the economics of 17th-century images also refer to baking. So here was the fi eld of Ancient art? ex-slaves and their art. thousands of years (from Ancient Egypt grants in 2006 is a great honor for any art,” Chapman says. “Looking at econom- a monumental tomb dedicated not to a LHP: Dig! Go abroad and join an ar- and Mesopotamia to Modern Rome). department and especially one of our ics is a new direction art history is taking, LP: Can you give me an example of this senator, but to a baker named Eurysaces. cheological excavation. That’s where you How has your research infl uenced your size. Prof. H. Perry Chapman, a special- and it’s especially strong in Dutch art.” confusion between fact and fi ction? Scholars concluded that he had to be a develop the passion to learn more and teaching? ist in seventeenth-century Dutch art and This semester Chapman is sharing her LHP: There’s a famous character in freedman since who else would have cre- understand how knowledge of the an- LHP: In my own research I look for ways Prof. Ann Gibson, a scholar of post-war research with students in her graduate Petronius’s novel, Satyricon, called Tri- ated such an outsized image of baking? cient world is formed. It’s one of the most to challenge the dominant view. That art of the United States, join Prof. Nina seminar “The Art Market in the Dutch malchio. He’s the literary character that Who else would have created the unlikely exciting experiences you will have. Go to approach informs my teaching whether Kallmyer, an historian of nineteenth- Republic.” I love to hate. Anybody who knows any- combination of elite tomb architecture museums in Greece, Italy, or Turkey and I’m teaching a graduate seminar or an century French art, and Prof. Lawrence thing about Roman social history is famil- and non-elite profession? But as I got look at the artifacts of past cultures fi rst undergraduate lecture course. I want Nees, a medievalist, as members of the Ann Gibson devoted her Guggenheim iar with this fabulously wealthy boorish deeper into the subject, I found that hand. There is no substitute for seeing students to question received wisdom. elite club of Guggenheim fellows. At this year to research on the topic of diaspora, ex-slave who gets everything wrong—the there was not a shred of evidence to the originals and nothing can replace see- Also my scholarly interest in freedman art point, one third of our department has migration, and travel in the twentieth quintessential parvenu who has wealth suggest that Eurysaces was an ex-slave. ing art in its original context. has also led me to pay attention to the art won the prestigious grant. century. She especially concentrated on without taste. Now as a satirical fi gure, We can no longer just assume that of ordinary people in my classes. I don’t the places that the painter Hale Woodruff he’s very funny. But taken in by his wit, every quirky monument in Rome is the ignore the major monuments, but I’m Lauren Hackworth Petersen, Associate Perry Chapman spent 2006 research- had lived and traveled: Cairo, Illinois, scholars unfortunately mined Petronius’s brainchild of an ill-informed freedman. also fascinated by everyday topics such Professor, received her B.A. from Santa ing (in the Netherlands and United various places in France, Indianapolis, text for specifi c information about freed- The picture that emerges of Roman art as latrines. In my seminars on Pompeii, Clara University in California and an M.A. Kingdom) and writing. The support of Chicago, Atlanta, Mexico, Los Angeles, men in ancient Rome. Rich ex-slaves through my work is that we can no longer I enjoy getting away from the scholarly from Florida State University. Her Ph.D. a Guggenheim fellowship (2006) and a and New York City. For a project that emerge as base characters imitating the think in the simple dichotomies of elite focus on houses and painting to see how in Roman art and architecture comes from Kress Fellowship at CASVA (2004-05) will read his work through the focus of art of elite culture without understanding versus freedmen. people interacted with the city on a daily the University of Texas at Austin. She joined permitted her to return to her book varied and overlapping patterns of his it. So I set out to fi nd a different model. basis. In other words I like to examine the department of Art History in 2000. Her project, The Painter’s Place in the Dutch experiences in new surroundings and his I show that freedmen commissioned art how the elite and the common folk lived. teaching and research interests include the Republic, 1604-1718, after four years memories of earlier ones, she worked in sophisticated ways that refl ected their Prof. Lauren Petersen Photo George Freeman art in the everyday life of ancient Romans, as editor of The Art Bulletin. The book in archives in Atlanta, New York, Wash- own experience and historical reality. LP: What about vice versa? Has your visual culture in Pompeii, the art of com- examines “how Rembrandt, Vermeer, ington, D.C., and Los Angeles. She is teaching affected your research interests? memoration, classical art revivals and their and their contemporaries were shaped collaborating with the High Museum in LP: So you’re saying that ex-slaves had LHP: Yes. I like to teach courses that meanings, ancient constructions of sexual- by and in turn shaped the development Atlanta on a projected exhibition tenta- both wealth and knowledge? allow me to explore new areas. I just ity, and feminist theory. Her new book, The of the independent republic, a free tively entitled “Hale Woodruff Across LHP: Yes. When slaves were freed they fi nished teaching a new course on the Freedman in Roman Art and Art History, market economy, and an artistic culture Cultures,” that will focus on the relation continued to work for their masters and Art of Ancient Egypt and the Near East. examines the art and lives of former slaves centered in the painter’s studio.” It ad- between place and production in the often got a share of the business profi ts. Teaching outside my area stimulates me (freedmen) in Rome and Pompeii. She has dresses what it meant to be an artist in artist’s drawings, prints, and paintings. This may sound odd—why would they to think in original ways about art and also done extensive research on Greek and 17th-century Holland when scenes of She also worked on her forthcoming give slaves money and status? But it really leads me to new topics. I’m now interest- Etruscan art and assisted with the excava- home and domesticity rather than reli- book, Seeing Through Theory: Intention, was a form of social control. By freeing ed in the cultural exchanges between the tions at the Etruscan/Roman habitation gious or royal subjects became the focus Identity and Agency in the Wake of Ab- slaves, you rewarded loyalty. Also there Greek and Roman world and the cultures at Cetamura del Chianti, Italy. Professor for art. Self-portraits and images of the stract Expressionism, a collection of her was prestige involved for the master in of Egypt and the Near East. I see a lot Petersen has received a Getty Postdoctoral artist’s studio--many of them idealized essays on those themes. ❧ having a retinue of wealthy ex-slaves. more interconnection than I saw before I ❧ Fellowship, an NEH Summer Stipend, a or fanciful--became common. “I do a lot taught this course. Rome Prize at the American Academy in of interdisciplinary thinking, about the Rome, and a Fulbright Grant. 8 9 AROUND THE AROUND THE DEPARTMENT DEPARTMENT

Art and Religion of the New World Do you know a Mola from a Guercino? UD students at the Philadelphia Drawings Seminar brings UD to Princeton Museum of Art the results will be unreliable Teaching Spanish colonial art in North phia,” she explained, “it was surrounded Last semester, I got the chance to have a rare – and broader interpretations America is always a challenge. Missing by a dazzling display of sculpture, paint- encounter with Old Master drawings from based on them will be vulner- from art history surveys and traditional ing, furniture and cult objects from Peru, Princeton’s collection in Dr. Stone’s class, and able to attack. How do we curricular offerings, the art of colonial Bolivia, Mexico, and Brazil, to name just Spanish Colonial paintings at the Philadelphia know who made what – and Latin America is virtually unknown to a few.” Scholars of Spanish colonial art Museum of Art in Dr. Dominguez’s course when? most students. So, when Professor Moni- have never had the opportunity to see - two of the most truly unique and valuable ca Dominguez learned that the Philadel- such a diversity of objects under one roof. experiences I have had at the University of Prof. Stone’s seminar, Author- phia Museum of Art was organizing the Delaware. ship and Authenticity in 17th- largest show of colonial Latin American With such riches on display seminar dis- Century Art (fall 2006) taught The opportunity to study directly from an art ever on display in the Americas, she cussions began focusing on larger issues. From left to right: Rachel Schwartz; Jessica Waldmann; students a variety of connois- original work of art, to see and even touch it, knew she had to design a seminar that Students made connections that even Nenette Luarca-Shoaf; Tess Schwab; Catherine Walsh; seurship methods from which Stephanie Lambe at Philadelphia Museum of Art Photo provides an extraordinary sense of connection would take full advantage of this un- established scholars had not previously to approach the thorny prob- Monica Dominguez with its creator that no reproduction can ever precedented exhibit. “At last,” she said, explored. The exhibit also encouraged lems of attribution, dating, foster. Layers of the image otherwise invisible “my students will be able to see these students to think about design chal- technique, creative process, only facilitated visits to the museum, she in photographs and impossible to experience magnifi cent objects in the fl esh. They’ll lenges. Since it involved international and function in Italian Ba- found space in the museum for a public, in any other way become accessible as the be able to appreciate their dimensions agreements, multilingual considerations, roque drawings. The seminar graduate-student colloquia. The collo- result of retracing the artist’s hand, seeing his Dr. Laura Giles, Curator of Prints and Drawings, Princeton Art Museum and examine unusual techniques such as and special transportation and assembly would not have been possible quia turned out to be a great experience brush strokes, and viewing the image from Photo Jeff Evans feather painting, corn-paste sculptures, procedures, it allowed students to study without the participation of for the students who were given high varied angles. wood panels inlaid with tortoise shell and organizational complexities. Students, the Art Museum at Princeton praise from the museum staff and UD ropean Art at the Yale University Art Gal- mother-of-pearl.” amazed by the richness of the fi eld, found Lynley Ann Herbert, Ph.D. candidate University, with its world-class collec- faculty alike. “Needless to say,” Professor lery, spoke on problems of connoisseur- exciting research topics that led to new tion of Italian drawings and its generous ship and scientifi c analysis in the study The overall experience proved to be even areas of study. Lynley Herbert decided to Dominguez concluded, “it was also one curator Dr. Laura Giles. Three seminar of the most gratifying teaching experi- John Shearman used to begin a Michel- of 16th-century Italian drawings. Art di more rewarding than she had anticipated. minor in Latin American art and David meetings took place at Princeton, where Furia (lecturer, Moore College of Art) When Tesoros/Treasures/Tesouros: The Amott found a dissertation topic. ences I have ever had. I hope to continue angelo lecture by reading aloud a Renais- UD students worked on a variety of top- such collaborative interactions in the sance document that mentions Raphael and Kristel Smentek (curatorial intern at Arts in Latin America, 1492-1820 fi nally ics, including: papers, inks, and chalks; the Frick Art Collection) – both Ph.D. The Philadelphia museum was extraor- future.” ❧ as the author of the Sistine Ceiling. One opened, it included not only canonical regional and individual styles; functions candidates at UD – lectured, respectively, pieces she always uses in her courses, but dinarily generous. Joseph Rishel, curator of the core skills every art historian needs and typologies; fakes and forgeries. The of European Painting before 1900 and is the ability to work with original objects. on the Berlin sketchbook of Maarten van also artifacts she had never seen. “Not eight participants each chose fi ve previ- Heemskerck and the restoration/altera- only had the 18th-century confessional I organizer of the exhibit, gave the seminar Faculty Awards Otherwise, we are simply unequipped to ously unpublished or problematic draw- a private tour. Andreina Castillo, Program double-check the basic facts concerning a tion of drawings by collector-connoisseur studied back in my college years in Cara- Wendy Bellion: GUR grant (2006-07) ings from the Princeton collection as the Pierre-Jean Mariette. cas, Venezuela made its way to Philadel- Coordinator for External Affairs, not particular piece and to understand its ma- subjects for their oral reports and fi nal “Citizen Spectator: Art, Illusion, and terial and stylistic context. If the building (catalogue entry) papers. Visits to the print collection of the late Lynley Herbert presents “The Trials and Travails of the Tricephalous Trinity” at the Philadelphia Visual Perception in Early National blocks used to construct an artistic per- Prof. Maurice Cope (an expert on Re- Museum of Art America.” sonality are false or misidentifi ed (what The seminar was enhanced by three naissance Venice and the history of print- Bernard L. Herman: Abbott Lowell if Shearman’s “Raphael document” were remarkable guest lectures. Prof. John making who retired from UD several Cummings Award for the best work on our only written source on the Sistine?), Marciari, Associate Curator of Early Eu- years ago) and to the Italian baroque col- North American vernacular architec- lection of well-known Philadelphia por- ture from the Vernacular Architecture From left: Adam Koh, traitist Nelson Shanks allowed for further Forum (2006). Lynley Herbert, Colleen Terry, Prof. David M.Stone discussion of the relationship between Nina Kallmyer, GUR grant (2007- (not pictured: Christa drawings and other media. The seminar 2008), “Theodore Géricault, Romantic Aube, Eliza Butler, Lorena ended with an animated “Ebay Derby” in Modernist” Baines, Sarah Beetham, which students had a chance to fl ex their Vimalin Rujivacharakul, Gur Grant Nina Lasak) Photo George new connoisseurial muscles by proposing Freeman (2007-2008) “Exhibiting ‘Chinese actual Ebay old master offerings as either Architecture’, 1959-1983”; Chiang “great deals” or “highway robbery.” Stone Ching-kuo International Conference plans to offer his seminar in the near Grant (2006) “Collecting ‘China’: future with a focus on paintings. ❧ Objects, Materiality, and Multicultural Collectors”

10 11 AROUND THE ALUMNI DEPARTMENT CORNER

Liminal Visions, Receptions and Gala Events What can you do Elusive Objects with an Art History B.A? Lots! Left: Department Reception, Adam Koh, “What a perfect way to use my love for art, apply Lecture Series, 2006-2007 Nenette Luarca-Shoaf the skills I learned as an art history major, and Anna Marley Department of Art History, University of advocate for education in the arts.” Delaware Gwendolyn DuBois Shaw, Associate Professor of American Art, University When I was faced with picking a major, I with cultural agencies across Delaware of Pennsylvania thought about so many things. What are and throughout the United States to (Un)Lovely Louisiana: Prescient my strong points? What do I love? What develop grant strategies and program ini- History in the Recent Work of Carrie Reception at College Art can I do when I graduate? I picked art tiatives. I love this job and intend to get Association, Throckmorton Mae Weems history because I wanted to learn about a degree in Public Administration so that Gallery, New York, Adrian culture, history, art, and the humanities. I can apply my background in the arts to Ikem Okoye, Associate Professor, Duran and Sandra Cheng But, my parents noted, “You have to foster cultural growth for all Americans. University of Delaware make a living.” Here are some personal Captive Audience: Theorizing Art and answers to the perennial question, What My path led me to a non-profi t founda- Slavery in late 18th and 19th century can you do with that major? tion; other classmates found different op- near Coastal West and Central Africa portunities. Corey Chockley now works Elizabeth Johns, Professor Emerita, Graduate school is the obvious fi rst for Bohn Associates, Inc. as an interior University of Pennsylvania response. With a graduate degree you designer in New York City. Amanda Winslow Homer: the Nature of can become a museum curator or a Krantz is getting an M.S. degree in art Observation professor. However, I wanted to expe- education at Penn State. She recently rience “the real-world” and I needed completed an internship at the Peggy Debra Hess Norris, Associate Professor Below: Reception at a momentary reprieve for my overly Guggenheim collection in Venice. Emily and Conservator of Photographs, College Art Association, abused bank account. So, with diploma Ernst studied museum education at the University of Delaware Throckmorton Gallery in hand and a freshly typed resume on University of the Arts in Philadelphia New York, Bernie We Can Work it Out: The Preservation ivory linen paper, I began the ritual of and now works in New York. Tierney of our Photographic Heritage at Risk Herman welcomes faculty members and searching for that perfect job. Museums, Sneeringer decided to live in Spain where Richard Meyer, Associate Professor graduate students I thought. Daily I checked postings—at she teaches English in public schools. of Modern and Contemporary Art, the American Association of Museums, Michele Kinicki found a way to foster University of Southern California the Philadelphia Cultural Alliance, and her love of traveling—she’s spent time in What was Contemporary Art? even Craigslist. Even entry-level jobs Italy since graduation and found a job in Department Reception, Laura Cochrane, Anna Marley, Rebecca Ayres required experience. How do I get the Passport Services Department. William I. Homer Lecture in experience if no one will give me a job? Photography Then I began to think outside the box. Majoring in Art History doesn’t close Photos David My choices weren’t limited to a university doors, it opens them. There is an assort- Douglas R. Nickel, Director of the Stone Center for Creative Photography, or a museum. ment of careers in the museum world, University of Arizona cultural organizations, tourism, com- Physiological Optics: the Photography Chance played a part in my journey. I mercial galleries or even law. Yes, art law of Peter Henry Emerson bumped into a Delaware alumnus who is a thriving and lucrative career. This was leaving his job at a non-profi t organi- list could expand to work in the non- Graduate Student Symposium zation to go to graduate school. I applied profi t sector, philanthropic organizations, for and got his job at the Delaware Hu- design fi rms, and countless educational Wayne Craven Annual Lecture manities Forum! DHF supports muse- programs worldwide. You can search Alex Potts, Max Loehr Collegiate ums, historical societies, theatre groups, in fi elds of government, industry, and Professor of the History of Art and and other cultural venues in Delaware organizations of social concern. So, in the Chair of the Department of History of with grants from funds provided by the future if someone asks you that intimidat- Art, University of Michigan National Endowment for the Humani- ing question, “What are you going to do The Romantic Art Work ties. What a perfect way to use my love with an art history degree?” The answer for art, apply the skills I learned as an art is, “Well, where do I begin?” history major (critical thinking, writing, and visual skills), and advocate for educa- — John Van Heest, Class of 2005 Reception at College Art Association, Throckmorton tion in the arts and humanities. I work Gallery , New York, Karen Sherry and Teresa A. Carbone 12 13 UNDERGRAD RISING ✯ STARS STUDENT NEWS

Kate LaPrad, DuPont As chair of the DuPont Scholars lecture Three Graduate Students Domestic Interiors,” looks at centers of to Delaware, Sarah was a curatorial as- Art History Club Events: series for three years, she helped bring exchange from wealthy tobacco planta- sistant in the Modern and Contemporary Scholar, Alison Scholar, nationally renowned speakers to cam- awarded Smithsonians tions to houses in the booming port city department at the Philadelphia Museum (Fall 2006-Spring 2007) pus. Her concern for giving back to the of Baltimore. “I want to see how Ameri- of Art and worked on the Andrew Wyeth Art Career Panel and Warner Outstanding The Art History department has numer- September community led her to become a Peer cans in different regions of the county in- exhibition there just before winning the ous stars in its graduate program, but this First Friday in Philadelphia, Senior Woman Mentor for the LIFE Program which vested the landscape with meaning,” she Smithsonian grant. year in an unprecedented triple hitter October helps fi rst-year students adjust to col- noted, “and how they represented those Kate LaPrad did not have art history three of its graduate students won Smith- lege life. Kate is participating in a new images to themselves within their homes. Kerry Roeder loves comic strips and Longwood Gardens, December on her mind when she arrived at UD as sonian pre-doctoral grants for dissertation Associate of Arts Program, designed for What do these intimate landscapes tell us found a way to integrate them into her Art History Faculty Luncheon, a freshman in 2003. A native of Seaford, research. As Bernie Herman, the depart- non-traditional students who need to stay about conceptions of nature, home, land, work at Delaware. Her dissertation, “Cul- February Delaware, Kate intended to major in ment chair sees it, “Having three gradu- closer to home. In one of the projects and empire in the early national period in tivating Dreamfulness, Fantasy, Longing history. But after taking Prof. David M. ate students receive prestigious Smithso- Philadelphia Museum of Art, March she designed for the course, students America?” Anna received her B.A. from and Commodity Culture in the Work of Stone’s “Introduction to Art History II” nian grants in one year is an extraordinary collected photographs of Sussex County Vassar College and a master’s degree in Winsor McCay (1905-1915)” treats a sub- National Gallery of Art, Washington, (ARTH 154), Kate was hooked on art. accomplishment that refl ects the depart- as a way of documenting the positive and Art History and Museum Studies from ject of popular culture with the sophis- D.C. April Those of us who teach art history are ment’s breadth and depth in the history negative effects of rapid development on the University of Southern California. ticated methodology normally lavished First Friday, Philadelphia, May glad she expanded her focus. When she of art. We have a fabulous program in the county. She entered the PhD program at Dela- only on high art. McCay’s Little Nemo in graduates in May, Kate will have a double American art precisely because we have ware in 2003. Slumberland, a Sunday comic strip, leads major in history and art history – not Kate is fascinated with a long lost practice such talented faculty and students in her to think about “the intersection of to mention a double minor in medieval all areas of art history. Our broad-based called colonial or Sacred Harp singing. Sarah imagination, childhood, and urban leisure studies and material culture studies. And curriculum prevents students from Used to teach musically illiterate people Powers at the turn of the century. Fantastical, these are just the most obvious of Kate’s about harmonies in the eighteenth and becoming too narrowly specialized and Photo George surreal, and wildly inventive, McCay’s accomplishments. nineteenth centuries, it survived in the helps them understand American art in Freeman comics draw upon a rich array of cultural southern US, but died out elsewhere. more nuanced and intellectual contexts. sources and warrant critical consider- Kate La Prad I believe our expansive vision of what Photo George Kate is a founding member of a colonial ation.” Kerry is also a fellow at the Swann Freeman singing group in Plymouth, MA. American art is and how it needs to be Foundation for Cartoon and Caricature Undergraduate Awards: understood gives our graduate students Art at the Library of Congress. In 2005, Outstanding Senior Awards in Art Her love for art and history has led Kate a competitive edge in the universe of art she was a research fellow at the Corcoran History to pursue opportunities at museums. She historical studies. “ Gallery of Art in Washington, DC. Kerry 2006, Devon Stewart interned at the Biggs Museum of Art and came to Delaware with a B.A. from Trin- Anna Marley 2007, Stephanie Oman was an education intern at Plimoth Plan- ity College and a master’s degree in Art Photo George tation in Plymouth, MA. She returned to History from the University of Maryland Emalea P. Warner Award for Out- Plimoth as an intern in the Development Freeman at College Park. ❧ standing Senior Woman at the offi ce and a Summer Programs Coordina- University of Delaware tor (in Education), where she helped the 2007, Kate LaPrad museum work on an NEH grant for an Trudy Vinson Award for Outstanding exhibition on seventeenth-century, bicul- Kerry Junior in Art History tural (English and Native) adornment. Roeder Sarah Powers who came to Delaware 2006, Lauren Bradley The exhibit will highlight the material with a B.A. from Barnard College and a 2007, Camille Pouliot culture of the Wampanoag nation. Kate Master’s degree from Williams College Arts & Humanities Scholarships is currently an intern with Winterthur’s and the Clark Art Institute is equally As predicted by her stellar high-school Summer 2006, Laura Armstrong and visitor services offi ce. impressive. Her dissertation, “Images of achievements—Kate was her class vale- Chad Longmore Tension: City and Country in the Work dictorian—her college career can only As she prepares to leave UD, Kate’s goal of Charles Sheeler, Edward Hopper and be described in superlatives. She entered is to pursue a career in the museum fi eld. Thomas Hart Benton,” deals with urban UD as a Eugene DuPont Memorial She says she’ll miss conversations with and rural themes in the US between the Distinguished Scholar and, as an Honors friends and the view from the top of the two World Wars as the nation’s identity student and Alison Scholar, quickly dis- steps at Old College once she is gone. shifted from rural to urban. tinguished herself in the classroom. She We’ve enjoyed sharing that view with Anna Marley was a McNeil Disserta- has been recognized as the Outstanding Kate for the past four years, and, for our tion Fellow at Winterthur Museum and “This group of artists fascinate me Senior in the Department of Art History part, we’ll miss her too. Kate has been Country Estate in 2005/06. Her Smith- because they approached the representa- and, this year, was a nominee for national an exceptional member of our academic sonian Fellowship allows her to continue tion of the city and the country with very awards including the Marshall Scholar- family and we wish her all the luck in her her research on landscape paintings different ideas about style, language and ship and the Rhodes, for which she was future endeavors. found above mantels or on furniture in content. I’m looking at how their works a regional fi nalist. She was also awarded 18th century American homes. Her dis- deal with broad concepts like nostalgia, UD’s 2007 Emalea P. Warner Award for sertation, “Rooms with a View: Land- history and myth, modernity, commer- Outstanding Senior scape Representation in Early National cialism and technology.” Before coming

14 15 GRADUATE GRADUATE STUDENT NEWS DEGREES Graduate Student News

Graduate Student Awards Sandra Cheng was awarded the Sewell Architecture and Design. In 2006 he pre- in the museum’s collection, including a very Dorothy Moss won two fellowships, a Graduate Degrees C. Biggs Dissertation Writing Award in Art sented “Final Victory on the First Battlefield early Thomas Cole landscape and a magnifi- Smithsonian Pre-doctoral Fellowship (2005- David Amott History and University Dissertation Fellows of the Rebellion? Commemoration and cent Saint Gaudens’ marble sculpture that 2006) and an ACLS/Henry Luce Foundation Granted Sally Kress Tompkins Fellowship, His- Award for 2006-2007 to complete her dis- Memory on the Front Lines at Manassas will be on view at the museum this winter. Dissertation Fellowship in American Art Ph.D. Degrees toric American Buildings Survey, sertation, “Il bello dal deforme: Caricature Battlefield,” at Ritual Spaces and Places: (2006-2007) to continue work on her disserta- Isabelle Lachat was selected by the faculty Ellen Avitts, Summer 2006 Summer 2006. and Comic Drawings in Seventeenth-Century Memory and Commemoration in 19th tion, “Recasting the Copy: Original Paintings to represent Delaware at the Mid Atlantic Live the Dream: The Rhetoric of the Sandra Cheng, Italy.” She recently concluded a year in Century America, Salve Regina University’s and Reproductions at the Dawn of American Symposium, at the National Gallery of Art in Furnished Model Home at the Turn Sewell C. Biggs Dissertation Writing residence as a pre-doctoral fellow in the 10th Annual Conference on Cultural and Mass Culture, ca. 1900.” In 2006 she pre- Washington DC in 2006. She presented “A of the Twenty First Century (Bernard Award, 2006/07 Department of Drawings and Prints at the Historic Preservation and “Material as sented “The Copy on Campus: Reading Gift Fit for a King: Reconsidering Carolingian Herman) Pre-doctoral Fellowship, Metropolitan Metropolitan Museum of Art, where she pre- Evidence: Figured Woods in Eighteenth- Photographs of Paintings at Smith and Court Taste in the Gospels of Sta. Maria ad Museum of Art, NYC, NY, 2006/07 sented a paper “Parodies of Life: Burlesque century America” at Yale’s graduate student Harvard, ca. 1900” at CAA in New York. Adrian Duran, Summer 2006 Martyres (Trier, Stadtbibliothek, cod.23),” Drawings by Baccio del Bianco and Stefano symposium, The New American Art History: Il Fronte Nuovo Delle Arti: Realism Sara Desvernine Reed which she also presented at the Graduate Sarah Ruhland presented “Constructing della Bella.” In 2006, she also presented Against the American Grain. In 2007 Eric and Abstraction in Italian Painting at Sewell C. Biggs Dissertation Writing Student Symposium. Isabelle participated at the Cannon Ball House: Subjectivity and “The Carracci at Work and Play: Pranks, will present, “This busy Spot, as in a Map, the Dawn of the Cold War, 1944-50 Award, 2006/07. the 41st ICMS, Kalamazoo, with “Alcuin and Documentation” in 2006 at “Word and Caricature, and Art Theory” at the graduate contains . . . . Visions of Empire in John (Ann Gibson) Eric Gollannek the Gospels of Sta. Maria ad Martyres: Sacred Image: Visual Dialogues,” the University of symposium “Punch Line: Humor, Irony, and Wood the Elder’s Exchange at Bristol,” at the David Meschutt, Winter 2006 McNeil Dissertation Fellowship, Genealogy, Humble Treasures, and the Pennsylvania Graduate Humanities Forum. Satire in Art and Visual Culture” (Boston annual meeting of the Society of Architectural The Portraiture of James Monroe Winterthur Museum Garden and Carolingian Leader of the People of God.” University/Museum of Fine Arts). Historians [SAH]. He received a Rosann S. Kristel Smentek continues as a Mellon cura- 1758-1831 (Wendy Bellion) Library, Winterthur, DE, 2006/07. Berry Annual Meeting Fellowship from SAH Anna O. Marley is currently finishing up torial fellow at the Frick Collection in New Laura Cochrane organized “Conveying Jeroen Van den Hurk, Winter 2007 Nikki Greene to attend the meeting and present his paper. a very productive semester as a McNeil York where she curated an exhibition “Rococo the Image: Publishing and Teaching in a Early Dutch Neo-Gothic Architec- Barra Foundation Fellowship, Center Dissertation Fellow at Winterthur Museum Exotic: French Mounted Porcelains and the Digital Age (A Roundtable Discussion),” a Amy Henderson is researching and writing ture, 1772-1849 (Bernard Herman) for American Art, The Philadelphia working on her dissertation “Rooms with a Allure of the East” (which will be on view session for the 41st International Congress her dissertation, “Furnishing the Republican Museum of Art, Philadelphia, PA, View: Landscape Representation in Early until June 2007) and wrote the catalogue . M.A. Degrees of Medieval Studies [ICMS], Kalamazoo, Court: Building and Decorating Philadelphia 2006/07 National American Domestic Interiors.” In She has given papers on Pierre-Jean Mariette, Corina Weidinger, Summer 2006 in 2006. In 2007 she organized “Medieval Homes, 1790-1800.” In 2006 she completed 2007 she will take up a year-long residence the subject of her dissertation, and presented Imperial Desire and Classical Reviv- Anna O. Marley Monuments, Modern Methodologies,” also a one-year Barra Dissertation Fellowship as Smithsonian Pre-Doctoral Fellow at the a paper on Jean-Étienne Liotard (1702-1789) al: Gustave Boulanger’s Rehearsal of Smithsonian Pre-doctoral Fellowship, for Kalamazoo, in which she will present a at the McNeil Center for Early American American Art Museum. She has also been at CAA in February. “The Flute Player” (Nina Kallmyer) Smithsonian American Art Mu- paper, “‘The Trembling Canvas’: Political Studies at the University of Pennsylvania. She seum, Washington, D.C., 2006/07 awarded a two month Gilder-Lehrman fel- Polemic in Jean-Paul Laurens’s Paintings of published a revision of her M.A. thesis as “A Erika Suffern won a two-year Kress Lynley Herbert, Spring 2006 McNeil Dissertation Fellowship, lowship at Colonial Williamsburg and is look- Byzantine Subjects,” in a session on 19th- Family Affair: The Design and Decoration Fellowship to Leiden University for 2006- Duccio Di Buoninsegna: Icon of Winterthur Museum Garden and ing forward to spending time doing research century medievalism. Her article, “‘The Wine of 321 South Fourth Street, Philadelphia,” in 2008. She presented the paper “Interiority in Painters, or Painter of “Icons”? Library, Winterthur, DE, Fall 2006 in Williamsburg. This past academic year in the Vines and the Foliage in the Roots’: Gender, Taste and Material Culture in Britain the Miniature Domestic Spaces of Petronella (Larry Nees) Gilder Lehrman Fellowship, John D. she had a wonderful experience working as Representations of David in the Durham and North America, 1700-1800. In 2007 she Oortman’s Dollhouse” at the RSA annual Catherine Walsh, Spring 2006 Rockefeller, Jr. Library, Colonial a Research Assistant for the University of Cassiodorus,” will appear in Studies in will present two papers, one at the McNeil meeting in a session on interiority chaired by Walter Crane in Greece: Antiquity Williamsburg, Williamsburg, VA, Delaware Museums on the Edward Loper Iconography in 2007. Center, “‘She rambles through the town’: Art Di Furia. Sr. Project. The Edward Loper retrospective Through Socialist Eyes (Margaret Fall 2008 Shopping and Self-Fashioning in Federal Art Di Furia gave a paper at the exhibition will open in April of 2007. Werth) Sarah Golda Powers Philadelphia,” and the other “Feting the Renaissance Society of America [RSA] Anne Counter, Spring 2006 Smithsonian Pre-doctoral Fellowship, Republican Court: The Pleasures and Pains 2006-7 new graduate students: From left: Adam Koh, Elizabeth Scheulen, Nina Lasak, Colleen Terry, Sarah Beetham, Eliza Conference called “The Consumption and Photography, Text, and the Limits of Smithsonian American Art Mu- of the Drawing Room,” at the Society for Butler, Nenette Luarca-Shoaf, Rachel Schwartz, Ted Triandos Production of ‘Serlian Space’ in mid-16th- Representation in Marcel Proust’s seum, Washington, D.C., 2006/07 Early Americanists’ conference at Colonial century Northern European Prints” in 2006. “In Search of Lost Time” and Roland Williamsburg. On a personal note, she and Kerry Roeder He also organized “Interiors and Interiority in Barthes’s “Camera Lucida” (Margaret her husband, John, welcomed their second Smithsonian Pre-Doctoral Fellow, 16th- and 17th-century Northern European Werth/Ann Gibson) National Portrait Gallery, Smithso- child, Ella Virginia, in early July. Art” for the same conference. His article David Amott, Winter 2006 nian Institution, Washington, D.C. “Wikipedia and Undergraduate Research Lynley Anne Herbert completed her Of Heaven and Of Earth Guarabira’s 2006/07 Papers” appeared in CAA News (Sept. 2006). Master’s degree last spring and has entered Memorial to Frei Damiao (Monica Pepper Stetler the PhD program. Last spring, she presented, Karen Gloyd presented “Why Label? Dominguez) Berlin Program for Advanced Ger- “Duccio di Buoninsegna: Icon of Painters, or Reconsidering the Inscriptions on an Eighth man and European Studies, Freie Painter of ‘Icons’,” at the Graduate Student Century Crucifixion Icon” in 2006 at “Word Universität, Berlin Pre-doctoral Symposium. In 2007, she will present a ver- and Image: Visual Dialogues,” the University Fellowship, 2006/07 sion of this paper at the ICMS in Kalamazoo. of Pennsylvania Graduate Humanities Forum. German Academic Exchange Service, Catherine Reed Holochvost, now in her DAAD, 2007 Eric Gollannek has received a McNeil second year at UD, served as a Fellow for the Library Research Grant, Getty Re- Dissertation Fellow at Winterthur Museum, Center for American Art at the Philadelphia search Institute, Los Angeles, CA Garden and Library for 2006-2007, after Museum of Art last summer. She researched September 2006 three years at the Center for Historic under-studied and recently-acquired objects 1616 17 ALUMNI NEWS ALUMNI NEWS

of Herbert Matter and Jackson Pollock” and War in Mid-Century” (Duke University) Washington Galleries and an Adjunct Alumni News in 2006, she is also organizing an exhibi- and “David Smith and the Gender of War” Professor in American Art History at tion entitled “Pollock Matters” which opens (SECAC annual conference). Georgetown University. He was awarded the in 2007. Forthcoming in 2007 is “Double 2008-09 Dorothy K. Hohenberg Chair of Jhennifer A. Amundson (Ph.D. 2001) tive artspace in Austin. Kelly is currently pre- Betsy Fahlman (Ph.D. 1981) Professor of Mark Parker Miller (M.A. 1992) was Consciousness in Mexico: How Philip Guston Excellence in Art History at the University received tenure at Judson College in Elgin, paring three exhibitions for 2007. Art History, School of Art, Arizona State appointed director of publishing for Oak IL. Her book, Thomas Ustick Walter: The University, Tempe, AZ won the Katherine and Reuben Kadish Painted a Morelian of Memphis. In 2007, he will co-direct an Jack Becker (Ph.D. 2002) President/CEO of Knoll Press in May 2006. Lectures on Architecture, 1841-1853 was K. Herberger College of Fine Arts Research Mural,” American Art. NEH Landmarks in American History and Cheekwood Botanical Garden and Museum Elizabeth Moodey (M.A. 1987) is spending Culture Workshop for School Teachers published in 2006 (Athenaeum, Philadelphia). Award in 2005. Among her publications in Sylvia Leistyna Lahvis (Ph.D. 1990) pre- of Art in Nashville, Tennessee (since 2004), the year teaching at Vanderbilt University. entitled “The U. S. Constitution and the Art Her chapter on Walter is scheduled to appear 2006 were “Realist Variations: Pennsylvania sented “Negotiating Identities: William Rush received an MB.A. from the University and Architecture of the Capitol.” Part of the in 2007 in American Architects and Their Painters and Modernism,” in Artists of the and his Native American Figureheads” at a of Michigan in 2005. His publication, Micheline Nilsen (Ph.D. 2003) is now in President’s “We the People” initiative, this Books, 1840-1914, ed. James O’Gorman (U. Commonwealth: Realism and its Response Philadelphia symposium honoring the carver’s “Championing Tonal Painting: The Lotos her third year of a tenure-track position at workshop has been funded by the NEH for Mass.). In 2006 she presented a paper on in Pennsylvania Painting, 1900-1950 and 250th birthday. She teaches for the Master of Club,” was printed in The Poetic Vision: Indiana University South Bend. Beyond small the past four summers. In 2006, Tom pre- symbolism and architectural technology for “Realism and Its Response in Pennsylvania Arts in Liberal Studies Program at UD. She American Tonalism. exh. cat (Spanierman publications and reviews, she is continuing sented two papers on the sculptures of Paul a conference sponsored by the Smithsonian Painting,” American Art Review. has published in Winterthur Portfolio, The Gallery, 2005). to work on revising her dissertation for pub- Wayland Barlett and George Grey Barnard in Institution and held at the University of Magazine Antiques, and American National Kevin Hatch (M.A. 2001) is currently a lication. A future curatorial project on nine- Washington, DC and Harrisburg, PA respec- Virginia, and another on the culture of archi- Jody Blake (M.A. 1992) is the Curator Biography and is preparing a book on PhD candidate at Princeton University teenth-century photographs in the collection tively. In addition, he has curated several tectural education at a conference held at of the Tobin Collection of Theater Arts at American sculpture. writing his dissertation on Bruce Conner. of the Snite Museum (Notre Dame) is in the exhibitions for the Ridderhof Martin Gallery. Oxford University. the McNay Art Museum in San Antonio, Kevin received an ACLS/Luce Dissertation works. Texas. Jodi lectured in Madrid, Spain on Joan Marter (Ph.D. 1974), Distinguished Allan Antliff (Ph.D. 1998) is the Canada Fellowship in American Art for 2006. His Joyce Hill Stoner (Ph.D. 1995) was the “A certain comb, a certain shawl, a cer- Professor and Director of Graduate Studies Marina Pacini (M.A. 1994) curated “Blocks Research Chair in Modern Art History at essay, “Roy Lichtenstein: Wit, Invention, guest curator of “Factory Work: Warhol, tain flower: Natalia Goncharova’s Spanish in Art History at Rutgers has become the edi- and Pieces: The Quilts of Hattie Childress,” the University of Victoria, Canada. In 2006 and the Afterlife of Pop,” will appear in Pop Wyeth, and Basquiat,” at the Brandywine Dancers” at La noche española. Flamenco, tor of Woman’s Art Journal. Marter’s recent and “Music in Memphis Through the Lens of he published, “Breaking Free: Anarchist Art: Contemporary Perspectives (Yale U. River Museum which will travel to the vanguardia y cultura popular, a symposium publications include: Abstract Expressionism, Ernest Withers,” at the Brooks Museum of Pedagogy,” in Radical Experiments in Utopian 2007). He and his wife Julia Walker live in McNay Museum in San Antonio, Texas, held at the Museo Nacional Centro de Arte The International Context, edited volume, Art in Memphis, TN. She presented a paper Pedagogy: Confronting Neoliberalism in the Philadelphia. and the Farnsworth Museum in Rockland, Reina Sofia. She also contributed an essay (Rutgers, 2007) and “Ethical Issues and entitled “Marisol’s Families” (SECAC, 2006). Age of Globalization (U. of Toronto) and two Maine, in 2007. In addition she wrote for on “Modernistische Kunst und popular Susan Isaacs (Ph.D. 1991) was promoted Curatorial Practices,” a chapter in Ethics feature articles: “Masters in Glass,” Galleries Mark Pohlad (Ph.D. 1994) has been named the catalogue and coordinated the essays. In Unterhaltung im Paris der Jazz-ära,” in Black to full professor at Towson University in and the Visual Arts, Elaine A. King and Gail West Magazine 5 no. 3 (Fall/Winter, 2006): Director of the First Year (Freshman) November, 2006, Joyce participated in the Paris: Kunst und Geschichte einer Schwarzen 2005. She teaches courses on Modern and Levin, eds. (Allworth, 2006). Marter contin- 50-55 and “The Making and Mauling of Program at DePaul University (Chicago). 40th anniversary symposium on the Florence Diaspora organized by the Iwalewa-Haus der Contemporary Art and Criticism, curates ues as a member of the Board of Directors Marcel Duchamp’s Readymade,” Canadian He published “The Appreciation of Ruins in Flood rescue held at the Villa la Pietra in Universität, Beyreuth. Among the exhibitions exhibitions for their two galleries, and for the of CAA and Chair of the Exhibitions Art Magazine, 23 (Spring, 2006): 56-61. In Blitz-Era London,” in London Journal, 2006, Florence. Together with four WUDPAC she organized at the McNay Art Museum, is Delaware Center for the Contemporary Arts. Committee. 2006/07, he co-curated “Touching Ground,” and a catalogue essay, “American Women graduate students, she interviewed flood res- Toulouse-Lautrec and Friends at the Theatre, Last year she published several exhibitions an exhibition of Canadian and Mexican Roberta Mayer (Ph.D. 2000) is the Visual Printmakers and their Relationships with cue pioneers for the NYU/FAIC oral history celebrating the museum’s acquisition of a brochures and two catalogues for the DCCA, landscape art (Maltwood Art Gallery, U. of Arts Area Head in the Department of the Men,” in Paths to the Press: Printmaking and project. rare collection illustrated programs for avant- (works on paper by Eric Fischl and the works Arts at Bucks County Community College Victoria). Allan programmed speakers for American Women Artists, 1910-1960 (Kistler Thayer Tolles (M.A. 1990) Associate garde theatre in fin-de-siècle Paris. of Gretchen Hupfel). She also published an and was promoted to Associate Professor the “Artists of Conscience” International Arts Museum, Kansas State U., 2006.) Curator of American Paintings and Sculpture article on Piper Shepherd for Surface Design this year. Her book, Lockwood de Forest: Symposium (2006, Victoria, Canada). In April Jonathan P. Canning (M.A. 1992) was at the Metropolitan Museum of Art is work- Journal. She is working on a catalogue for a Furnishing the Gilded Age with a Passion Audrey Scanlan-Teller (M.A. 1995) will he delivered the keynote address, “Porous appointed the Martin D’Arcy Curator of Art ing on ongoing renovations and reinstallation exhibition of prints by Alison Saar. for India, will be published by the University be the Kress Fellow of Medieval Art at the Anarchy” at the International Anarchist at the Loyola University Museum of Art, in the Metropolitan’s American Wing gal- of Delaware Press. This year she presented: Walters Art Museum until September, 2007 Academics and Activists Conference (Pitzer Chicago in 2006. He came to Chicago from Toby Jurovics (M.A. 1991) was appointed leries which will continue through 2010. In “Lockwood de Forest’s Vision of India in in order to catalogue the medieval metalwork College, Claremont, CA). Canterbury, England, where he had been the Curator of Photography at the Smithsonian 2006 she co-authored the monograph and Gilded Age Baltimore,” at the Baltimore in the collection. She invites everyone to visit Research Curator for the city’s Museums and American Art Museum in March 2006. He catalogue of works, Captured Motion: The Kelly Baum (Ph.D. 2005) is Assistant Museum of Art and “Unraveling Louis when next in Baltimore. Galleries Service. is responsible for research, exhibitions and Sculpture of Harriet Whitney Frishmuth and Curator of American and Contemporary Comfort Tiffany’s Early Businesses,” at the acquisitions related to the museum’s photog- Leo Sewell (M.A. 1970) makes his living as (with Janis Conner), “Double Take: Looking Art at the Blanton Museum of Art, at the Julie Dunn-Morton (Ph.D. 2005) is the Charles Hosmer Morse Museum, in Florida. raphy collection. a junk artist (www.leosewell.net). His works at American Bronze Sculpture,” Antiques. University of Texas at Austin, where she has Curator of the Fine Art Collections of St. have often been published (most recently worked for four years. In 2006 she co-edited Louis Mercantile Library (University of Ellen Landau (Ph.D., 1981), published her David McCarthy (Ph.D. 1992) continues to in The Sculpting Techniques Bible, Claire Erin Valentino (B.A. 1987) completed her the collection’s catalogue, Blanton Museum Missouri - St. Louis). During 2006 Julie co- essay “Mexico and American Modernism: study American artists and war since 1936. Waite Brown, ed., 2006), and shown in gal- M.S.L.I.S. degree at Simmons College in of Art: American Art since 1900, to which curated the exhibition “History Uncorked: The Case of Jackson Pollock” in Abstract He published “Andy Warhol’s Silver Elvises: leries around the country (most recently at 2004 and is now working as a Reference she also contributed numerous essays. She Two Centuries of Missouri Wine” which is Expressionism: An International Language, Meaning through Context at the Ferus the Delaware Center for Contemporary Arts Librarian at Trinity College Library, Trinity assisted on the exhibitions that inaugurated slated to travel to France in 2007. Julie also Joan Marter, ed. Rutgers U., 2006). She Gallery in 1963” in the Art Bulletin, and Wilmington and the Shipley School in Bryn College in Hartford, Connecticut. the Blanton’s new building, which opened in taught for the UM-St. Louis Honors College presented an expanded version of “Pollock “Becoming H. C. Westermann” in the exhibi- Mawr). He lives in Philadelphia with his wife April 2006. In 2006, she also curated an exhi- and presented “Early Patrons of Western Matters,” in 2006 at CAA (Boston M.A.) tion catalogue Dreaming of a Speech Without Andrea Youngfert (B.A. 2006) moved to and daughter. bition on New York-based artist Carol Bove, Art and St. Louis Connoisseurship” at the in memory of Kirk Varnedoe. Invited to Words (Honolulu: The Contemporary Boston for her new job at Harvard University wrote the exhibition brochure and designed Western History Association’s annual confer- lecture at the New York Studio School on Museum). In 2006 he gave two papers: “In Thomas P. Somma, (Ph.D. 1990) is as a Photograph Conservation Technician. the exhibition Wide Open Wide at an alterna- Mourning and Rage: American Sculpture ence. “Action/Re-Action: The Artistic Relationship the Director of the University of Mary Continues on page 22 18 19 Left: Title page, Athansius Kircher, China Monumentis, qua Sacris quà Profanis “The Collecting ‘China’” symposium stands (Amsterdam, 1667) Photo Courtesy, as milestone in the history of our department The Winterthur Library Printed Book and on numerous counts. It set a standard for our Periodical Collection. Above: Participants future as a dynamic and collaborative partner of the Symposium and Art History Faculty in widening conversations about the history Members Photo George Freeman of art and architecture in global contexts. “Collecting ‘China’” built on our department’s long partnerships with the Winterthur Top left: Wen-Hsin Yeh, Morrison Professor of 20th Century Chinese History, University Museum and our colleagues throughout the of California Berkeley Photo George Freeman Left: Eugene Wang, History of Art and University community, generating energy Architecture, Harvard University photo George Freeman Above right: Eugene Wang and and goodwill as we worked toward a common Jerome Silbergeld looking at books on China at Winterthur Library Photo Pat Halfpenny goal.”

— Prof. Bernard Herman, Edward F. and Elizabeth Goodman Rosenberg Professor of Art History and Chair, delighted and challenged the audience. thur’s senior librarian, Catherine Cooney, Continued from page 5 allowed Winterthur to highlight a select moved from lecture halls to receptions Department of Art History She held the audience spellbound with and three curators of collections, Linda the Institutionalization of Chinese Art portion of its collection while learning and from museum workshops to lunch provocative comments on the contrasting Eaton (Curator of Textiles), Ronald W. “This conference was a stimulating conversa- (Stacey Pierson, Percival David Foun- from scholars in the fi eld. We hope to and dinner tables. Participants were conceptions of collecting Chinese arti- Fuchs II (Associate Curator of Textiles), tion from beginning to end, reminding us dation of Chinese Art, London); and A see some of those prestigious speakers treated to an entire weekend of thought- Passion for Porcelain: Henry Francis du facts by Americans, Chinese-Americans, and Leslie Grigsby (Curator of Ceramics back as visiting scholars and to continue provoking dialogues on multi-cultural that global exchanges engage far more than and the Chinese. “How,” she mused, “can and Glass), gave the participants a direct economics and politics. To study Asian art Pont’s Collection of Export Porcelain, mutually benefi cial collaborative projects collecting practices. Stacy Percival, one we assume that an object can possess a experience of Winterthur’s collections of and design, we have to reframe our perspec- (Ronald W. Fuchs II, Winterthur Mu- with the Art History Department at UD. of the conference participants, said “I stable meaning when historical contexts Chinese and Chinese-inspired objects. tives, from the Atlantic World to one that seum). “Collecting ‘China,’” the fi rst major event think it was one of the best [symposia] and agents continually change over time.” This experience alone would have made on Chinese art and culture ever held by I’ve ever been to and I’m so glad I could materialized in countless subtle ways around The keynote address by Professor Wen- the conference a memorable one. As Jodi both institutions, allowed everyone to be a part of it.” the globe.” The fi nal events at Winterthur, a remark- hsin Yeh, Morrison Professor of 20th Cross, Assistant Curator of Education at see,” Cross continued, “how fruitful the able series of workshops held by Winter- — Prof. Ritchie Garrison, Century Chinese History at Berkeley Winterthur, remarked, “the conference collaboration between the Department of The conference was funded by the De- Director, Winterthur Program Art History and Winterthur can be even partment of Art History, the East Asian and Professor of History, when moving beyond the confi nes of Studies Program, the Dean's Office of University of Delaware American art.” the College of Arts and Sciences, Winter- “Collecting ‘China’” The Students’ Perspective thur Museum, and the Chiang Ching-kuo Serving on the planning committee for “Collecting ‘China’” provided us with a valuable opportunity for professional development. It was help- “Collecting ‘China’” drew an internation- Foundation for International Scholarly ful to witness key planning decisions involved in organizing and publicizing such an event. Most beneficial was the one-on-one interaction with al audience of over two hundred par- Exchange. ❧ conference presenters and the academic and institutional relationships these encounters helped us to build. Student Symposium Committee ticipants, including academics, curators, Graduate Students: David Amott, Laura Cochrane, Annie Counter, Janet Dees, Melody Barnett Deusner, Karen Gloyd. Undergraduates: Gina collectors, and graduate students from a Watkinson, Amy Hanenberg and Marisa Porgpraputson range of disciplines. Attendees not only came from out-of-state, but sev- I’m not a student of China, but for me this conference was fabulous. Not only did it introduce me to the variety of current scholarship in East eral scholars from universities in Europe Asian studies—providing an important supplement to my largely Western art history education—it also helped me with my own research on and Asia fl ew in to hear the papers. Con- late-nineteenth-century art collections. The papers stimulated me to think about broader collecting patterns and priorities. versations introduced by the day’s ses- sions continued well into the night, and — Melody Barnett Deusner, Ph.D. candidate 20 21 ALUMNI NEWS In Memoriam Donors and Friends

Continued from page 19 Maurice E. Cope years ago. His great grandfather was a Gifts of $1000 or more Mrs. Jacqueline Meisel Dr. and Mrs. Howard Kliger Saul Zalesch (Ph.D. 1992) organized the civil war surgeon for the Union Army. Mr. William Allen Dr. Debra Hess Norris and Mr. Ms. Jane Kulczycki exhibition “Commerce and Graphic Design, Dr. Maurice E. Cope, Professor Emeritus Robert Norris, Jr. Ms. Tracey Legat He led a happy life traveling extensively Choptank Foundation American Catalogs, 1901-1960” at the in the Department of Art History at the in Europe and enjoying a deep interest in Florida Education Fund Ms. Lili Regan Mrs. Randi Lehrfeld Louisiana Tech Art galleries in Ruston, LA, University of Delaware, died peacefully art of all periods, classical music, ballet, Dr. and Mrs. Leslie Reidel Mrs. Julia McNeil which documented the changing visual styles at his home in New Castle, Delaware, on Gallagher Financial Systems and especially opera. He was a passion- Dr. Wilford Scott in commercial design and tracked the rise February 26, 2007, at the age of 81. Dr. Ann Gibson Ms. Diane Minnite ate and discriminating collector of prints, of photographic illustration. Saul published Dr. and Mrs. Bernard Herman Ms. Susan Silver Dr. and Mrs. Jeffrey Potteiger A Veteran of World War II, Cope later especially those of the Renaissance and several articles on the visual qualities of old Dr. Ingrid Steffensen-Bruce and Mr. Dr. Aline Sayer attended the University of Chicago where Baroque periods. Endlessly generous Mr. Charles Isaacs and Ms. Carol catalog and sheet music covers in Paper & Jeffrey Bruce Dr. Audrey Scanlan-Teller he received his M.A. and Ph.D. degrees in making his collection accessible to Nigro Advertising Collectors’ Marketplace and Dr. and Mrs. Damie Stillman in Art History. He taught at Valparaiso students – not only to those in his own Mr. and Mrs. Douglas Stewart other journals. Last year his review of Nancy Gifts of $100-$999 University, the University of Chicago, seminars, but also to other professors and Dr. Joyce Hill Stoner and Mr. Patrick Mr. and Mrs. Paul Spatz Heller’s “Why a Painting is Like a Pizza” Stoner their students – Maurie taught genera- Mrs. Sylvia Brown Mr. and Mrs. Samuel Williamson appeared in the SECAC Review. Mr. and Mrs. H. Lloyd Taylor Dr. Maurice tions of UD students to look closely at Mrs. Catherine Caple Dr. Judith Zilczer Judith Zilczer, (Ph.D. 1975) Curator E. Cope objects and appreciate their complex Dr. and Mrs. H. Nichols Clark Dr. Catherine Turrill Visit our departmental web site: Emerita of the Hirshhorn Museum and techniques, range of quality, and subtle- Ms. Barbara Consadene Mrs. Sue Van Fleet Sculpture Garden, received two awards for ties of iconography. Mr. Andrew Cosentino Dr. and Mrs. Jack R. Vinson www.udel.edu/ArtHistory her final curatorial project at the museum, Dr. and Mrs. John Crawford Mr. Jack R. Vinson, Jr. Visual Music (2005). The exhibition, co-orga- He is survived by two sons, Thomas and Nicholas, a daughter, Cynthia, and four Mr. and Mrs. Robert Davis Mr. and Mrs. Stephen Vincent We wish to thank all the friends and nized with the Museum of Contemporary Art, alumni who have made generous contri- grandchildren. Ms. Ellen Jo Friedman Dr. Stephen Wagner Los Angeles, was named the Best Exhibition butions over the past year. Your gifts are of Time-Based Art by the International Dr. Ruth Weidner We will all miss Maurie and remember Mr. and Mrs. David Florenzo used for many worthwhile purooses—to Association of Art Critics, American Section. him with affection. Dr. George Gurney Other Gifts create professional development op- The accompanying catalog, Visual Music: Mr. and Mrs. Steven Hanuszek portunities for our students, to support Synaesthesia in Art and Music Since 1900 Ms. Jody Abzug Maggie Ferger Dr. Grant Holcomb III programs that enrich our curriculum, and (Thames and Hudson, 2005) won the George Dr. Julie Aronson Mr. and Mrs. Walter Ivankow to fund special events that deepen our Wittenborn Memorial Book Award of the Art Maggie Ferger, who had just completed Mr. and Mrs. William Bennewitz understanding in the history of art. Libraries Society of North America for 2006. Mr. and Mrs. Alan Kreitzer her junior year as an art history major, Mr. and Mrs. William Bizjak Working now as an independent scholar, she was tragically killed in an automobile Dr. Sylvia Lahvis We hope you will consider making a gift Dr. Jeanne Brody has contributed entries on works by Francis Pomona College, Ohio State University, accident last July, near her home in the Dr. Marilyn Laufer and Charles T. to our department. To do so, please fi ll Bacon, Jean Hélion, Earl Horter and William and, for the fi nal 24 years of his career, at St. Louis area. Maggie came to Delaware Butler Ms. Claire Evans out the coupon and return it with your Sommer for the catalogue of the collection the University of Delaware. He retired in because of her interest in art history, Mrs. Jacalyn Factor check. of the Board of Governors of the Federal 1997. especially modern French painting. Reserve. Her work continues on a monograph Though she later shifted to a pre-dental His articles appeared in various academic on Willem de Kooning for Phaidon Press. program, she returned to art history in journals, and his well-regarded book, The Venetian Chapel of the Sacrament her junior year. Her unexpected death cut short her plans to begin graduate in the Sixteenth Century, was published Yes, I want to help the Department of Art History with a contribution of: study in art history after graduation. In in 1979. Recipient of a Fulbright fel- the department, she was well-known to lowship for study in Italy in 1954-55, professors and students alike; on Main Amount: ❍ $1000 ❍ $500 ❍ $100 ❍ $50 ❍ Other $ Cope returned to Florence for eighteen Street many knew her as a barrista at months in 1967-68, helping to recover Brewed Awakenings. Maggie was a lively I want my gift to be used for: works of art damaged in the 1966 fl ood. person and enthusiastic about art history. ❍ ❍ He received the University’s Excellence General Departmental Fund Other (please specify) Her family established a memorial fund in Teaching Award in 1978. in her name at the Cottonwood Gulch Name Maurie (as everyone affectionately called Foundation, a small camp in New Mexico Address him) was born February 4, 1926, in dedicated to ecological awareness and Detroit, to Henry E. Cope and Myragene education, where she spent several sum- M. Cope who were both physicians. His mers. Donations in her name can be sent grandfather, Henry F. Cope, a professor to the Maggie Ferger Memorial Fund, of religious education at the University Cottonwood Gulch Foundation, P.O. Box Please make checks payable to the University of Delaware. Send to: of Chicago, founded a religious retreat at 3915, Albuquerque, NM 87190. Department of Art History Little Point Sable, Michigan, over 100 University of Delaware 318 Old College Newark, Delaware 19716 22 23 Art History Faculty Books

Nonprofit Organization U.S. Postage PA I D Newark, DE Permit No. 26 University of Delaware Department of Art History 318 Old College Newark, DE 19716-2516

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