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CURRICULUM VITAE NAME: Susan P. Casteras CURRENT POSITION

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CURRICULUM VITAE NAME: Susan P. Casteras CURRENT POSITION CURRICULUM VITAE NAME: Susan P. Casteras CURRENT POSITION: Professor of Art History, School of Art, University of Washington (Box 353440, Seattle WA 98195; tele. 206-543-4876; email at [email protected]) EDUCATION: Ph.D. in the History of Art, Yale University, 1977; dissertation: Down the Garden Path: Courtship Culture and Its Imagery in Victorian Painting; Advisor: Prof. George L. Hersey M. Phil. in the History of Art, Yale University, 1975 M.A. in the History of Art, Yale University, 1973; master's thesis: Susan Macdowell Eakins and the Eakins Tradition; Advisor: Prof. Theodore E. Stebbins, Jr. Double B.A. in Art History and English Literature, Vassar College, 1971 PRIZES AND AWARDS: Milliman Endowment Award, 2014 Milliman Endowment Award, 2013 Milliman Endowment Award, 2012 Milliman Endowment Award, 2010 Nominated for Favorite Professor Award, UW Alumni, 2007 Nominated for Distinguished Teaching Award, UW, 2006 Donald E. Petersen award for teaching excellence, 2005 Dean's Fund research grant, University of Washington, 2003 Project entitled The Grosvenor Gallery: A Victorian Palace of Art awarded an NEH Planning Grant for March 1992-June l993; also, NEH Implementation Grant awarded for March 1995-June 1996 Frederick W. Hilles Publication Fund award for English Pre-Raphaelitism in its European Context, 1993 First prize for the best exhibition catalogue in the American Association of Museum's NEMA division publication competition as well as a special citation from the judges for the Best Overall Entry, Pocket Cathedrals: Pre-Raphaelite Book Illustration, 1991 Selection of English Pre-Raphaelitism and its Reception in America in the Nineteenth Century as one of the Outstanding Academic Books of 1990-1 by Choice, the official review publication of the Association of College and Research Libraries, division of the American Library Association First prize awarded to Images of Victorian Womanhood in English Art as the best manuscript in Women's Studies, awarded by Associated University Presses, 1985 FELLOWSHIPS: Fulbright Distinguished American Scholars Programme, New Zealand/US Educational Foundation, winter 1997 National Endowment for the Humanities Fellowship for University Teachers, 1991-2 American Council of Learned Societies Post-Doctoral Fellowship, 1983-4 Whiting Prize Fellowship, Yale University, 1976-7 Woodrow Wilson Doctoral Dissertation Fellowship in Women's Studies, 1975-6 Danforth Foundation Fellowship, 1971-5 Kress Fellowship, summer 1973 Rotary International Fellowship, 1971 Vassar College Fellowship, 1971 Woodrow Wilson Fellowship in English Literature, 1971 OTHER ACADEMIC HONORS: Ph.D. awarded "Distinction" by the History of Art Department, Yale University, 1977 Graduated summa cum laude, Vassar College 1971 Departmental Honors and B.A. in Art History, Vassar College, 1971 Departmental Honors and B.A. in English, Vassar College, 1971 Kate Furness Shakespeare Prize, Vassar College, 1970 Elected to Phi Beta Kappa, Vassar College 1970 PROFESSIONAL/WORK EXPERIENCE (at Yale University): Curator of Paintings and Sculpture, Yale Center for British Art, 1991-1996 Assistant Curator of Paintings and Sculpture, Yale Center for British Art, 1977 to 1991 Lecturer, History of Art Department, 1978 to 1996 (also a past member of the British Studies and Women's Studies Departments) Assistant to the Director, Yale University Art Gallery, 1974-5 Teaching Fellow for Profs. T.E. Stebbins, Jr. and Vincent Scully, 1973-4 Special Graduate Assistant to the Director (Alan Shestack), Yale University Art Gallery, 1972-3 OTHER PROFESSIONAL/WORK EXPERIENCE: Adjunct Professor, Art History Department, The Graduate Center of the City University of New York, Winter-Spring 1985 and WinterSpring 1987 Distinguished Visiting Professor, Burke Seminar Lectures, Indiana University, winter 1995 SELECTED PUBLICATIONS: "Aesthetes on Display: 'Not Masculine and Progressive but Reclusive and Retrospective,'" in Lee Glazer and Linda Merrill, Palaces of Art: Whistler and the Art Worlds of Aestheticism Washington, D.C.: Smithsonian Institution Press, 2013), pp. 107-121. "The Pre-Raphaelization of the Modern Literary Heroine," in Margaret Hanni et al., Breaking New Ground in Art History (Washington, D.C.: New Academic Press, 2014), pp. 53-74. Review of Lynn G. Federle and Stephen Calloway, The Cult of Beauty: The Victorian Avant-Garde 1860-1900 and Allen Staley, The New Paintings of the 1860s: Between the Pre-Raphaelites and the Aesthetic Movement, Nineteenth Century Studies, forthcoming in fall 2013. "From Thackeray to Stowe: British Constructions of Slavery during the American Civil War," in Christine DeVine, Nineteenth-Century British Travelers in the New World (London: Ashgate Press, 2013) pp. 221-250. Review of Alexandra K. Wettlaufer, Portraits of the Artist as a Young Woman: Painting and the Novel in France and Britain, 1800-1860, Nineteenth-Century Literature, (Dec. 2012), pp. 406-10. Review of Barbara Baert, Fluid Flesh: The Body, Religion and the Visual Arts, Religion and Gender, No. 2 (2012), pp. 176-180. Review of Thomas M. Bayer and John R. Page, The Development of the Art Market in England, 1730-1930 (Journal of British Studies), No. 17 (2011), pp. 267-70. "Joseph Noel Paton's 'Bond and Free: Five Studies Illustrative of Slavery,'", in Julie Codell, ed. Visual Resources 2011, pp. 48-62.. "Poetry and the Pre-Raphaelites," Canadian Aesthetics Journal, 15 (Fall 2009), online. "Aestheticism and Victorian Culture," CAA Reviews (CAA online, issue 3.1). "Reader, Beware: Representations of the Victorian Female and Books," Nineteenth-Century Gender Studies, (Spring 2007), online. issue 3.1. "Through the Looking Glass: Inanimate and Animate, Still Life and Fantasy Worlds in the Westheimer Collection," in Hardy George et al., Shining Spirit: The Westheimer Family Collection (Oklahoma: May 2007). "Women and Children Last in Victorian Emigration Paintings," in Exiles and Emigrants: Epic Journeys to Australia in the Victorian Era (National Gallery of Victoria, Melbourne, 2006), pp. 58-71. "With Palettes, Pencils, and Parasols: Victorian Women Artists Traverse the Empire," in Jordana Pomeroy et al., Journeying Women: Victorian Women Artists Travel (London: Lund Humphries, 2006), pp. 11-25. "The Never-Ending Dream: Love, Courtship, and Femininity in mid- 19th-century British and French Art," The Artist as Narrator (Oklahoma: Oklahoma City Museum of Art, 2005), pp. 55-81. "Feminism and Art History: Past Achievements and New Directions," in Carol Berkin, Carole Appel, and Judith L. Pinch, eds., Looking Forward/Looking Back: A Reader in Women's Studies (New York: Prentice Hall, 2005), pp. 360-381. "'Weary Stitches': The Song of the Shirt' and Thomas Hood's Poems: Key Illustrations, Paintings, and Other Permutations," in Beth Harris, ed., Fashion and Famine (London: Ashgate Publishing, 2005,pp. 13-39). "Winged Fantasies: constructions of childhood, innocence, adolescence , and sexuality in Victorian fairy painting,"in Marilyn R. Brown, ed., Picturing Children: Constructions of Childhood between Rousseau and Freud (London: Ashgate Press, 2004), pp. 142-175. "The Symbolist Debt to Pre-Raphaelitism: A Pan-European Phenomenon," in Thomas Tobin, ed., World-wide Pre-Raphaelitism (New York: SUNY Press, 2004, pp.119-144). "Painted Fictions: Commemorating the Everyday in Victorian Art", in Pre-Raphaelite and Other Masters: The Andrew Lloyd Webber Collection, Royal Academy of Arts, London, 2003), pp. 204-228. "Playing to the Masses: Constructions of Childhood in Victorian Art" and "'Little Tragedies of Modern Life': Victorian Social Realism," in Victorian Art from the Forbes Collection, (London: Christie's Publications, 2003), Vols. 1 and 2. "The Prime Hours of First--and Subsequent--Initiations: Henry James on Pre-Raphaelite Art and Artists," Henry James Review, 23, No. 3 (Fall 2002), pp. 304-317. The Defining Moment: Victorian Narrative Painting (Charlotte, N.C. and New York: Mint Museum of Art, 2000), pp. 126-148. "Post-Raphaelite Visions: A Strangely Disordered Gaze," in Margaretta Watson, ed., Collecting the Pre-Raphaelites: The Anglo-American Enchantment.(London: Scolar Press, 1998), pp.139-149. "Victorian Vignettes: Daniel Maclise's 'Scottish Lovers" and Marie Spartali Stillman's 'La Pensierosa,'" University of Michigan Art Bulletin (Winter 1998), pp. 29-40. "Gendered Places, Female Spaces: Courtship Ritual and the Iconology of Victorian Trysts," Australasian Victorian Studies Journal: The Victorians and Romance, 3 (1998), pp.1-14. "The Victorian Lady's Domestic Threat: The Good, the Bad, and the Indifferent Female Adversary," in Andrew Bradstock et al., eds., Women of Faith in Victorian Culture: Reassessing 'The Angel in the House'. (London: Macmillan and Co., 1998), pp. 186-208. "The Wise Child and Her 'Offspring': The Changing Faces of Queen Victoria," in Adrienne Munich and Margaret Homans, eds., The Age of Queen Victoria (Cambridge: Cambridge University Press, 1997), pp. 182-199. "The Unsettled Hearth: The Problematics of Women and Victorian Interiors," in Ellen Harding, ed., Re-Framing the Pre-Raphaelites: Historical and Theoretical Essays. (London: Scolar Press, 1997), 149-172. The Grosvenor Gallery: A Palace of Art in Victorian England, co-editor and author with Colleen Denney (New Haven and London: Yale University Press, 1996). English Pre-Raphaelitism and its European Context, co-editor and author with Alicia Craig Faxon (London and Toronto: Associated University Presses, 1995). "Seeing the Unseen: Faces in the Victorian Crowd" in Carol Christ
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