Contributors

Brownlee, Peter John

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Contributors

Peter John Brownlee (Editor)

Samuel F. B. Morse’s Gallery of the Louvre and the Art of Invention

Contributors

Author

Peter John Brownlee (Editor)

PublisherTerra Foundation for American Art

Stable URL: https://aaeportal.com/?id=-20710

Contributors

PETER JOHN BROWNLEE

Peter John Brownlee is associate curator at the Terra Foundation for American Art in Chicago. He was a member of the curatorial team that organized Art Across America, the first major survey exhibition of historical American art ever presented in South Korea (2013). He also recently co-organized the exhibition Home Front: Daily Life in the Civil War North, a collaboration with the Newberry Library in Chicago. Brownlee has contributed essays to a number of exhibition catalogues and his articles on nineteenth-century painting and visual culture have appeared in American Art and the Journal of the Early Republic.

ANDREW MCCLELLAN

Andrew McClellan is professor of art history at Tufts University. He is the author of numerous books and articles on the history of museums and eighteenth-century European art, including Inventing the Louvre: Art, Politics and the Origins of the Modern Museum in Eighteenth-Century Paris (1999), Art and Its Publics (2003), and The Art Museum from Boullee to Bilbao (2008). He is currently co-writing a book-length study entitled Making Museum Men: Paul J. Sachs and the Museum Course at Harvard.

CATHERINE ROACH

Catherine Roach is assistant professor of art history at Virginia Commonwealth University. She holds a BA from Yale University and a PhD in Art History from Columbia University. In 2010, she curated Seeing Double: Portraits, Copies, and Exhibitions in 1820s London at the Yale Center for British Art. Her scholarship has appeared in the British Art Journal, Visual Culture in Britain, Museum History Journal, and the Huntington Library Quarterly.

RACHAEL Z. DELUE

Rachael Z. DeLue is associate professor in the Art & Archaeology Department at Princeton University. She is the author of George Inness and the Science of Landscape (2004) and the co-editor, with James Elkins, of Landscape Theory (2008). Other recent publications include an essay on art and science in America and an essay on beauty and stereotype in the work of the contemporary artists Kara Walker and Michael Ray Charles. Forthcoming are a study of the twentieth-century American abstract painter Arthur Dove, to be published by the University of Chicago Press, and a series of volumes on concepts in American art for which she serves as editor-in-chief, in collaboration with the Terra Foundation for American Art. Professor DeLue is an affiliated faculty member at the Center for African American Studies at Princeton and an active member of Princeton’s American Studies Program. She served as reviews editor for The Art Bulletin from 2012 to 2015.

TANYA POHRT

Tanya Pohrt is the Marcia Brady Tucker Curatorial Fellow in the Department of American Paintings and Sculpture at the Yale University Art Gallery. She received her PhD from the University of Delaware in 2013 with a dissertation entitled “Touring Pictures: The Exhibition of American History Paintings in the Early Republic.” Her recent publications are “John Trumbull’s Declaration of Independence” in the Yale University Art Gallery Bulletin (2013) and “Rembrandt Peale’s 1820–21 Touring Exhibition of The Court of Death” in the forthcoming book, Exhibiting Outside the Academy, Salon, and Biennial, 1775–1999, edited by Andrew Graciano and published by Ashgate Press.

WENDY BELLION

Wendy Bellion is associate professor at the University of Delaware, where she teaches American art history and serves on the Executive Committee of the Winterthur Program in American Material Culture. She is the author of Citizen Spectator: Art, Illusion, and Visual Perception in Early National America (2011) and has lectured and published widely on the art and material culture of the British Atlantic world and early modern Americas. A forthcoming book, What Statues Remember, explores the history of public monuments and iconoclasm in New York City. In 2015, Professor Bellion will be the Terra Foundation for American Art Visiting Professor at the Institut National d’Histoire de l’Art in Paris.

SARAH KATE GILLESPIE

Sarah Kate Gillespie is assistant professor of art history at York College, CUNY, where she teaches American art history and the history of photography. Her book on the intersections of art, science, and technology in the early American daguerreotype is forthcoming from MIT/Lemelson Center, Smithsonian Press. Her work has been supported by fellowships from the Terra Foundation for American Art, the American Antiquarian Society, the Library Company of Philadelphia, and the Smithsonian Institution.

JEAN-PHILIPPE ANTOINE

Jean-Philippe Antoine is professor of aesthetics and contemporary art theory at Paris 8 University. His research bears on the relationship between images and the social construction of memory. He is also currently preparing a French translation of Samuel F. B. Morse’s lectures. His recent publications include the first major monograph in French devoted to Joseph Beuys, La travérsée du XXe siècle: Joseph Beuys, l’image et le souvenir (Presses du Réel, Collection MAMCO, 2011); Marcel Broodthaers: Moule, Muse, Méduse (Presses du Réel, Dijon, 2006), and Gerhard Richter: Landscapes (Zwirner & Wirth, New York, 2004), as well as numerous articles. As an artist, he has shown paintings and installations, and performed lectures and sound works in France, Germany, Sweden, and the United States.

RICHARD READ

Richard Read is Winthrop Professor in art history at the University of Western Australia in Perth where writes he on art, criticism, theory, media, and literature. An expert on the British artist and critic Adrian Stokes, Professor Read published Art and Its Discontents: the Early Life of Adrian Stokes (Pennsylvania State University Press, 2003), which was joint winner of the Art Association of Australia and New Zealand best book prize. His current research includes a book project on “The Reversed Painting in Western Art.” Read’s article, “The Diastolic Rhythm of the Gallery: Copies, Originals, and Reversed Canvases,” was published in the Australian & New Zealand Journal of Art. His essay, “The Thin End of the Wedge: Self, Soul and Body in Rembrandt’s Kenwood Self Portrait,” will appear in Conjunctions: Body and Mind from Plato to Descartes, ed. Danijela Kambaskovic-Sawers in 2014. Professor Read has taught on many university residences and lectured internationally.

DAVID BJELAJAC

David Bjelajac is professor of art and American studies at The George Washington University, where he teaches American art as well as eighteenth-century European art. Professor Bjelajac is the author of several books, including Millennial Desire and the Apocalyptic Vision of Washington Allston (Smithsonian Institution Press: Washington, D.C., 1988); Washington Allston, Secret Societies and the Alchemy of Anglo-American Painting (Cambridge University Press: Cambridge, 1997), and American Art: A Cultural History (Prentice Hall, 2000; 2nd edition, 2005). Recent publications include “Mercurial Pigments and the Alchemy of John Singleton Copley’s Watson and the Shark,” in Artefacts: Studies in the History of Science and Technology, Vol. 9: Analyzing Art and Aesthetics, edited by Anne C. Goodyear and Margaret Weitekamp (Washington, D.C.: Smithsonian Institution Scholarly Press, 2013). Professor Bjelajac’s current book project is “John Singleton Copley’s Mercurial Leviathan and the American Revolution.”

ALEXANDER NEMEROV

Alexander Nemerov is the Carl and Marilynn Thoma Provostial Professor in the Arts and Humanities at Stanford University, where he teaches and writes about American visual culture from the eighteenth to the mid-twentieth century. His most recent article is “The Madness of Art: Georgia O’Keeffe and Virginia Woolf,” Art History (2011) and his most recent books are Wartime Kiss: Visions of the Moment in the 1940s (2013) and To Make a World: George Ault and 1940s America (2011), the catalogue to the exhibition he curated for the Smithsonian American Art Museum. He is also the author of Acting in the Night: Macbeth and the Places of the Civil War, published in 2010. He is the author of a book on film—Icons of Grief: Val Lewton’s Home Front Pictures (2005)—and two further books on painting, The Body of Raphaelle Peale: Still Life and Selfhood, 1812–1824 (2001), and Frederic Remington and Turn-of-the-Century America (1995).

LANCE MAYER AND GAY MYERS

Lance Mayer and Gay Myers are independent painting conservators based in New London, Connecticut. In addition to Morse’s Gallery of the Louvre, they have treated many important American paintings for museums and private collectors, including Rembrandt Peale’s The Court of Death at the Detroit Institute of Arts, Emanuel Leutze’s Washington Crossing the Delaware at the Metropolitan Museum of Art, and eleven paintings by Gilbert Stuart for the National Gallery of Art. For many years they have also studied documentary sources that shed light on the history of painting materials. They were recipients of a Winterthur Advanced Fellowship in 1999, in 2003 were Museum Scholars at the Getty Research Institute, and in 2005 received an FAIC/Kress Publication Grant. Their most recent publications include American Painters on Technique: The Colonial Period to 1860 (Getty Publications, 2011), a chapter on Reginald Marsh’s techniques in Swing Time: Marsh in Thirties New York (New-York Historical Society and D. Giles Ltd., 2012), and American Painters on Technique: 1860–1945 (Getty Publications, 2013). In 2013 they were awarded the College Art Association/Heritage Preservation Award for Distinction in Scholarship and Conservation.

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