Christopher S. Wood

Department of German    
New York University


AB, History and Literature,  Harvard University, 1983
PhD, Fine Arts, Harvard University, 1991
Department of German
New York University
19 University Place
New York, NY 10003

Christopher Wood came to New York University in 2014.  From 1992 until 2014 he taught in the Department of History of Art at Yale University.  At Harvard University he was a Jacob Wendell Scholar and a Junior Fellow of the Harvard Society of Fellows. In 2002 he was awarded a John Simon Guggenheim Fellowship and a NEH Rome Prize Fellowship to the American Academy in Rome. In fall 2004 he was Ellen Maria Gorrissen Fellow at the American Academy in Berlin.  In 2011-12 he was a Member of the School for Historical Studies of the Institute for Advanced Study, Princeton; and a Senior Fellow at the Internationales Forschungszentrum Kulturwissenschaften, Vienna.  He is a Member of the American Academy of Arts and Sciences.

Recent lectures and presentations

  • “L’ ex-voto, une nouvelle interprétation,” presentation at seminar Anthropologie de la mémoire (Carlo Severi), Paris, EHESS, January 23, 2019
  • “La Parade,” Kolleg-Forschergruppe BildEvidenz, Freie Universität Berlin, December 19, 2018
  • “Parade, Parodie:  Wege der Landsknechte,” Universität der Künste, Berlin, December 11, 2018
  • “Giotto, Burckhardt:  behutsames Nachsinnen über die Kunst,” Jacob-Burckhardt-Preisvortrag, Alte Pinakthek, Munich, October 22, 2018

Recent publications:


  • A History of Art History, Princeton University Press, September 2019
  • “Unter Einfluss,” in proceedings of conference Einfluss Strömung Quelle: Aquatische Metaphern in der Kunstgeschichte, Zentralinstitut für Kunstgeschichte
  • “Die Wiener Schule der Kunstgeschichte,” in Formbildung und Formbegriff: Das Formdenken der Moderne, ed. Markus Klammer, Malika Maskarinec, Ralph Ubl, and Rahel Villinger, Fink (Reihe: eikones)
  • “The Crime of Passion,” in XXXIX Coloquio Internacional de Historia del Arte: Historia del arte y estética, nudos y tramas (Universidad Nacional Autónoma de México-Instituto de Investigaciones Estéticas)
  • “Landscapes by Wolf Huber and Domenico Campagnola, invented, copied, and replicated,” in Jenseits des Disegno? Die Entstehung selbständiger Zeichnungen in Deutschland und Italien im 15. und 16. Jahrhundert (Florence, Kunsthistorisches Institut)



  • “Public and Private Dimensions of the Votive Offering,” in exhibition catalogue Agents of Faith:  Votive Objects in Time and Place, Bard Garduate Center, New York
  • Le traité de perspective en ruines,” translation of “The Perspective Treatise in Ruins” (2003), as Introduction to Lorenz Stöer, Geometria et perspectiva, Brussels: Zones sensibles, 2018
  • “Strzygowski and Riegl in America,” Journal of Art Historiography = English original of article published in Wiener Jahrbuch, 2004
  • “Cats (and Creditors) Do Not Exist,” Yearbook of Comparative Literature 60 (2014): 252-73 (appeared 2017)
  • “Figure and Ground in Goethe’s Wilhelm Meisters Lehrjahre,” ELH 84 (2017): 399-422
  • “Self-Portraiture,” in: Oxford Philosophical Concepts: Self-Knowledge, ed. Ursula Renz (Oxford University Press, 2017), pp. 295-99
  • “Under the Influence,” Res: Anthropology and Aesthetics 67/68 (2016-17): 290-98
  •  “Immortality,” in Liquid Antiquity, ed. Brooke Holmes (Athens: Deste, 2017), pp. 108-11
  • “Panofsky in Munich, 1967,” Modern Language Notes 131 (2016): 1236-57
  • “Articles of Faith,” in Artforum, January 2017, p. 113
  • “Self-Portraiture,” in: Self-Knowledge: A History, ed. Ursula Renz (Oxford Philosophical Concepts) (Oxford University Press, 2017), pp. 295-99

Research Interests:

  • History of the discipline of art history
  • Theories of art:  philosophical aesthetics
  • Temporalities of art:  anachronism, archaism, typology
  • Cultures of art in the eighteenth century:  archeology, antiquarianism, aesthetics
  •  History of dance and performance
  •  History and theory of realism
  • Popular, prosaic, profane:  representations of lowly, everyday,  unpatterned in early modern Europe
  • Prose and the prosaic 
  •  Portraiture and late medieval devotional painting:  donor portraits, votaries
  • “Folk art,” folklore, popular culture
  • Votive objects and images, pilgrimages, relics
  • Early panel painting
  • Drawing and studio practice in the Renaissance
  • Art and replication technologies (print, bronze casting, tapestry)
  • Early woodcuts, engravings, and illustrated books
  • Renaissance magic and witchcraft
  • Art and the Protestant Reformation; iconoclasm
  • History of archeology and antiquarianism