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Christopher M.S. JOHNS Department of History of Art Box 274 GPC 230 Appleton Place Nashville, Tennessee 37203 615-322-2831 [email protected]

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Christopher M.S. JOHNS Department of History of Art Box 274 GPC 230 Appleton Place Nashville, Tennessee 37203 615-322-2831 Christopher.Johns@Vanderbilt.Edu Christopher M.S. JOHNS Department of History of Art Box 274 GPC 230 Appleton Place Nashville, Tennessee 37203 615-322-2831 [email protected] EDUCATION Ph.D., in art history, University of Delaware, 1985 Thesis title: "The Art Patronage of Pope Clement XI Albani and the Early Christian Revival in Eighteenth-Century Rome" Adviser: Barbara Maria Stafford M.A., in art history, University of Delaware, 1980 Thesis title: "Thomas Sully and the Theatrical Portrait: 'George Frederick Cooke as Richard III'" Adviser: Wayne Craven B.A., in art history and history, summa cum laude, Florida State University, 1977 PROFESSIONAL EXPERIENCE Norman and Roselea Goldberg Professor of History of Art, Vanderbilt University, 2003- Professor of Art History, University of Virginia, 1999-2003 Associate Professor of Art History, University of Virginia, 1992-1999 Assistant Professor of Art History, University of Virginia, 1985-1992 SAMPLE COURSES Neoclassicism and Romanticism Eighteenth-Century Art Art at the Court of Louis XV Canova and the Origins of Modern Sculpture British Painting and Sculpture, 1485-1901 The Rococo Napoleon and the Arts Nineteenth-Century Art Revolutionary and Napoleonic Visual Culture PUBLICATIONS Books China and the Church: Chinoiserie in Global Context. (Berkeley: University of California Press, 2016). Benedict XIV and the Enlightenment: Art, Science, and Spirituality (anthology co- edited with Rebecca Messbarger and Philip Gavitt). (Toronto: University of Toronto Press, 2016). The Visual Culture of Catholic Enlightenment. (University Park and London: Penn State University Press, 2014). Antonio Canova and the Politics of Patronage in Revolutionary and Napoleonic Europe. (Berkeley: University of California Press, 1998). (Finalist, Charles Rufus Morey Book Award, College Art Association of America) Papal Art and Cultural Politics: Rome in the Age of Clement XI. (Cambridge and New York, Cambridge University Press, 1993). “The Color Yellow: Qing Imperial Chromatics and the Origins of Western Perceptions of East Asian Difference” (in progress). Exhibition Catalogue Essay "The Entrepôt of Europe: Rome in the Eighteenth Century," in Art in Rome in the Eighteenth Century, ed. Joseph J. Rishel and Edgar Peters Bowron. Catalogue of an exhibition held at the Philadelphia Museum of Art and the Museum of Fine Arts, Houston (Philadelphia and London: Merrell Holberton, 2000), pp. 17-46. Articles and Anthology Contributions “Chinoiserie in Piedmont: An International Language of Diplomacy and Modernity,” in ed. Karin E. Wolfe and Paola Bianchi, Turin and the British in the Age of the Grand Tour (Cambridge and London: Cambridge University Press and the British School at Rome (in press; fall 2016). “Introduction: The Scholar’s Pope: Benedict XIV and Catholic Enlightenment,” in ed. Rebecca Messbarger, Philip Gavitt, and Christopher M. S. Johns, Benedict XIV and the Enlightenment: Art, Science, and Spirituality (Toronto: University of Toronto Press, 2016), pp. 3-14. “Caffeine Culture and Papal Diplomacy: Benedict XIV’s ‘Caffeaus’ in the Quirinal Gardens,” in ed. Rebecca Messbarger, Philip Gavitt, and Christopher M. S. Johns, Benedict XIV and the Enlightenment: Art, Science and Spirituality (Toronto: University of Toronto Press, 2016). pp. 367-387. “Erotic Spirituality and the Catholic Revival in Napoleonic Paris: The Curious History of Antonio Canova’s ‘Penitent Magdalene’,’’ Studies in Eighteenth-Century Culture 42 (2013): 1-20. “Visual Culture and the Triumph of Cosmopolitanism in Eighteenth-Century Rome,” in ed. David Marshall, Karin E. Wolfe, and Sue Russell, in Roma Britannica: Art Patronage and Cultural Exchange in Eighteenth-Century Rome (London and Rome: The British School at Rome, 2011), pp. 13-21. "Travel and Cultural Exchange in Enlightenment Rome," in ed. Mary D. Sheriff, Cultural Contact and the Making of European Art since the Age of Exploration (Chapel Hill, N.C.: University of North Carolina Press, 2010): 73-96. “The ‘Good Bishop’ of Catholic Enlightenment: Benedict XIV’s Gifts to the Metropolitan Cathedral of Bologna,” The Court Historian 14 (2009): 149-160. "Gender and Genre in the Religious Art of the Catholic Enlightenment," in ed. Paula Findlen, Wendy Wassyng Roworth, and Catherine Sama, Italy's Eighteenth Century: Gender and Culture in the Age of the Grand Tour (Stanford, California: Stanford University Press, 2008), pp. 331-45; 451-55. “Exhibition Review: Pompeo Batoni: Prince of Painters in Eighteenth-Century Rome,” Burlington Magazine 150 (April 2008): 269-270. "The Roman Experience of Jacques-Louis David, 1775-1780,” in ed. Dorothy Johnson, Jacques-Louis David: New Perspectives (Newark, Delaware and London: University of Delaware Press, 2006), pp. 58-70. “Papa Albani and Francesco Bianchini: Intellectual and Visual Culture in Early Eighteenth- Century Rome,” in ed. Valentin Kockel and Brigitte Sölch, Francesco Bianchini (1662- 1729) und die europäische gelehrte Welt um 1700, Colloquia Augustana, v. 21 (Berlin: Akademie Verlag, 2005), pp. 41-55. "Portraiture and the Making of National Identity: Pompeo Batoni's 'The Honourable Colonel William Gordon’ (1765-66) in Italy and North Britain," Art History 27 (2004): 382-411. "The Empress Josephine's Collection of Sculpture by Antonio Canova at Malmaison," Journal of the History of Collections 16 (2004): 19-33. "'An Ornament of Italy and the Premier Female Painter of Europe': Rosalba Carriera and the Roman Academy," in ed. Melissa Hyde and Jennifer Milam, Women, Art, and the Politics of Identity in Eighteenth-Century Europe (London: Ashgate, 2003), pp. 20-45. “Proslavery Rhetoric and Classical Authority: Antonio Canova’s ‘George Washington’,” Memoirs of the American Academy in Rome 47 (2003): 119-150. "The Conceptualization of Form and the Modern Sculptural Masterpiece: Canova's Drawings for 'Venus Italica'," Master Drawings 41 (2003): 128-139. "Ecclesiastical Politics and Papal Tombs: Antonio Canova's Monuments to Clement XIV and Clement XIII," The Sculpture Journal 2 (1998): 58-71. "'That Amiable Object of Adoration': Pompeo Batoni and the Sacred Heart," Gazette des Beaux-Arts 132 (1998): 19-28. "Subversion through Historical Association: Canova's ‘Madame Mère’ and the Politics of Napoleonic Portraiture," Word & Image 13 (1997): 43-57. "Venetian Eighteenth-Century Art and the Status Quo," review of the exhibition 'The Glory of Venice'," Washington, D.C., National Gallery of Art, Eighteenth-Century Studies 28 (1995): 427-428. "Portrait Mythology: Antonio Canova's Representations of the Bonapartes," Eighteenth- Century Studies 28 (1994): 115-129. "Art and Science in Eighteenth-Century Bologna: Donato Creti's Astronomical Landscape Paintings," Zeitschrift für Kunstgeschichte 55 (1992): 578-589. "Re-framing Art History: Text and Context," Eighteenth-Century Studies 26 (1992): 517- 522. "French Connections to Papal Art and Politics in the Rome of Clement XI, 1700-1721," Storia dell'Arte 67 (1990): 279-285. "Illuminations of S. Maria Maggiore in the Early Settecento," (with Steven F. Ostrow) Burlington Magazine 123 (1990): 528-534. "Antonio Canova and Austrian Art Policy," in ed. Kinley Brauer and William E. Wright, Austria in the Age of the French Revolution, (Minneapolis: University of Minnesota Press, 1990), pp. 83-90. "Antonio Canova's 'Napoleon as Mars': Nudity and Mixed Genre in Neoclassical Portraiture," Proceedings of the Consortium on Revolutionary Europe, 1750-1850 (1990): 368-382. "Antonio Canova's Drawings for 'Hercules and Lichas'," Master Drawings 27 (1989): 358- 367. "Papal Patronage and Cultural Bureaucracy in Eighteenth-Century Rome: Clement XI and the Accademia di San Luca," Eighteenth-Century Studies 22 (1988): 1-23. "Politics, Nationalism, and Friendship in Van Dyck's 'Le Roi à la Ciasse'," Zeitschrift für Kunstgeschichte 51 (1988): 243-261. "Clement XI, Carlo Fontana, and Santa Maria Maggiore in the Early Eighteenth Century," Journal of the Society of Architectural Historians 45 (1986): 286-293. "Some Observations on Collaboration and Patronage in the Altieri Chapel, San Francesco a Ripa: Bernini and Gaulli," Storia dell'Arte 50 (1984): 43-47. "Theater and Theory: Thomas Sully's 'George Frederick Cooke as Richard III'," Winterthur Portfolio 18 (1983): 27-38. Exhibition Catalogue Entries Art in Rome in the Eighteenth Century, ed. Joseph J. Rishel and Edgar Peters Bowron (Philadelphia and London, 2000), s.v. "Antonio Canova," pp. 234-239; "Giuseppe Chiari," pp. 345-348; "Sebastiano Conca," pp. 348 and 492-493; and "Francesco Trevisani," pp. 441-446. Encyclopedia Entries “David, Jacques-Louis,” in ed. Anthony Grafton, Glenn Most, and Salvatore Settis, The Classical Tradition (Cambridge, Mass.: Harvard University Press, 2010), pp. 252-253. "Neoclassicism, [4: 264-68]" "Canova, Antonio, [1: 376-78]" and "Mengs, Anton Raphael [4: 94-96]" in ed. John Dewald, Europe 1450 to 1789: Encyclopedia of the Early Modern World 6 vols. (New York: Charles Scribner’s Sons, 2004). "Benincampi, Teresa." in ed. Delia Gaze, Dictionary of Women Artists, (London, 1997), pp. 243-44. "Bertotti Scamozzi, Ottavio," in The Macmillan Encyclopedia of Architects, 4 vols. (New York, 1982), I: 203-204. Book Reviews Bindman, David. Warm Flesh, Cold Marble: Canova, Thorvaldsen and Their Critics (New Haven and London: Yale University Press, 2014) The Sculpture Journal 24 (2015): 117-119. Manfredi, Tommaso. Filippo Juvarra: Gli anni giovanili (Rome: Argos, 2010) Palladio 51 (2013): 134-136. Paul, Carole. The Borghese Collections and the Display of Art in the Age of the Grand Tour
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