Books and translations

	The Embedded Portrait:  Giotto, Giottino, Angelico Princeton:  Princeton University Press, 2023
	A History of Art History Princeton:  Princeton University Press, 2019             Short-listed (one of five) for Apollo Book of the Year Award*click for reviews of this book
	Anachronic Renaissance (with Alexander Nagel) New York: ZONE Books, 2010 Translated as Renaissance anachroniste (Paris: Presses du Réel, 2015) and Renacimiento anacronista (Madrid: Akal, 2017); Rinascimento anacronico (Rome: Quodlibet, forthcoming) *click for reviews of this book
	Forgery, Replica, Fiction: Temporalities of German Renaissance Art University of Chicago Press, 2008              *click for PDF of entire book  *click for reviews of this book This book was awarded the 2009 Susanne M. Glasscock Humanities Book Prize for Interdisciplinary Scholarship
	The Vienna School Reader: Politics and Art Historical Method in the 1930s, Editor, with introductory essay New York, ZONE Books, 2000 *click for review of this book
	Albrecht Altdorfer and the Origins of Landscape London: Reaktion, and Chicago: University of Chicago Press, 1993 Revised edition, 2014, with new Afterword*click for table of contents and chapter one
	Translation of Erwin Panofsky, “Perspektive als ‘Symbolische Form,'” published as Perspective as Symbolic Form, with introductory essay New York: ZONE, 1991
	Translation of Hans Belting, Das Ende der Kunstgeschichte? published as The End of the History of Art? Chicago: University of Chicago Press, 1987

 

 

Articles

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* Click on red titles to download texts in PDF form *

In Press:

Introduction to translation of Alois Riegl, Volkskunst, Hausfleiss, und Hausindustrie, in West 86th: A Journal of Decorative Arts, Design History, and Material Culture 

Published:

• “The Whisperers:  Invidious Perspectives in Trecento Painting,” I Tatti Studies in the Italian Renaissance 26 (2023):  3-33
• “Points aveugles en histoire de l’art,” moderator, discussion with Claudia Brittenham, Yukio Lippit, Sam Rose et Z. S. Strother, in:  Perspective: actualité en histoire de l’art, Obscurités, no. 2023-1, pp. 21-50
• “Obituary: Hans Belting (1935-2023),” Burlington Magazine 165 (April 2023), pp. 486-88
• Introduction to translation of Henri Focillon, Art populaire, in West 86th: A Journal of Decorative Arts, Design History, and Material Culture vol. 29, no. 1 (2022):  97-105
• “The Universal or Global Style, Past and Present,” in Selva:  A Journal of the History of Art 3 (Fall 2021): 64-76; Chinese version will be published in World 3, vol. 5 (2022)  
• “Editorial” (with Marika Knowles) and “The dancer in and out of character:  Tiepolo, Canova, Degas,” in La parade, special issue of Res:  Anthropology and Aesthetics 73/74 (2020)
• “Kubler, Spratling, and Quetzlcoatl,” in Latin American and Latinx Visual Culture, Volume 2, Issue 4, October 2020
• “Senses of Humor” (on Panofsky, Saxl, and Klibansky, Saturn and Melancholy), Artforum, April 2020, pp. 33-34
• “Unter Einfluss,” in Einfluss Strömung Quelle:  Aquatische Metaphern in der Kunstgeschichte, ed. Ulrich Pfisterer and Christine Tauber (Bielefeld: Transcript, 2018), pp. 327-348 (translation of “Under the Influence,” see below)
• “Formalismus und kein Ende.  Die Einführung zu ‘The Vienna School Reader’ mit einem neuen Nachwort,” Politics and Art Historical Method in the 1930s (2000), in Formbildung und Formbegriff:  Das Formdenken der Moderne, ed. Markus Klammer, Malika Maskarinec, Ralph Ubl, and Rahel Villinger (Munich: Fink, 2019), pp. 93-132
• “The Crime of Passion,” in Mariana Aguirre et al., eds. XXXIX Coloquio Internacional de Historia del Arte:  Historia del arte y estética, nudos y tramas, Universidad Nacional Autónoma de México-Instituto de Investigaciones Estéticas, Publicaciones Digitales, 2019, pp. 155-72   
• “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, ed. Daniela Bohde and Alessandro Nova, with Anna Christina Schütz (Petersberg: Michael Omhoff, 2018), pp. 312-31
• “Public and Private Dimensions of the Votive Offering,” in exhibition catalogue Agents of Faith:  Votive Objects in Time and Place, ed. Ittai Weinryb, Bard Garduate Center (New York, 2018), 67-85
• “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)
• “Figure and Ground in Goethe’s Wilhelm Meisters Lehrjahre,” in ELH 84 (2017): 399-422
  
• “Immortality,” in Liquid Antiquity, ed. Brooke Holmes (Athens: Deste, 2017), pp. 108-11
• “Panofsky in Munich, 1967,” Modern Language Notes 131 (2016): 1236-57
• Entry on J. H. W. Tischbein in Spurenlese: Zeichnungen und Aquarelle aus drei Jahrhunderten, exhibition catalogue, Hamburger Kunsthalle, 2016, pp. 98-99
•  “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
• “Allegorie und Prophezeiung,” in: Allegorie. DFG-Symposion 2014, ed. Ulla Haselstein (Berlin: De Gruyter, 2016), pp. 567-98
• “Image and Thing, A Modern Romance,” Representations 133 (2016): 130-51
• Contribution to questionnaire on Matter and Materialisms, October 155 (Winter 2016): pp. 105-7
• “Maximilian als Archäologe,” in: Jan-Dirk Müller and Hans-Joachim Ziegeler, eds., Maximilians Ruhmeswerk: Künste und Wissenschaften im Umkreis Kaiser Maximilians I. (Berlin: De Gruyter, 2015), pp. 131-84 (translation of “Maximilian I as Archeologist,” see below)
• “Cats (and Creditors) do not Exist,” Yearbook of Comparative Literature 60 (2014): 252-73
• “Aby Warburg, Homo victor,“ Journal of Art Historiography 11 (December 2014) (revised English version of article published in Cahiers du Musée national d’art moderne, see below)
• “Introduction” to Alois Riegl, L’Industrie d’art romaine tardive (Paris: Macula, 2014)
• “What Did the Savage Detectives Find?” (with Gabriele Guercio), Yearbook of Comparative Literature 59 (2013): 253-79
• Review of Eugenio Battisti, L’antirinascimento (with Michael Cole), Art Bulletin 95, December 2013, 651-56
• “Source and Trace,” editorial statement, as introduction to Wet/Dry, special issue of RES: Anthropology and Aesthetics 63/64 (Spring/Autumn 2013): 5-19
• “Metalepsis,” in Denkfiguren / Figures of Thought:  For Anselm Haverkamp, eds. Eva Horn and Michèle Lowrie, eds. (Berlin: August, 2013), pp. 111-113
• “This Strange Speech,” review of The Early Dürer, Thames and Hudson/ Germanisches Nationalmuseum, Nuremberg, 2012, London Review of Books, July 5, 2013
• Preview of NGA Albertina Dürer exhibition, Artforum, January 2013
• Interview with Horst Bredekamp, Art Bulletin 94 (2012): 515-27
• “La Bocca della Verità,” in Christoph Wagner and Oliver Jehle, eds., Albrecht Altdorfer: Kunst als zweite Natur, Regensburg: Schnell & Steiner, 2012, pp. 55-70
• “The Credulity Problem,” in The Age of the Antiquaries in Europe and China, 1400-1800, ed. Peter Miller and François Louis, University of Michigan Press, 2012, pp. 149-79
• “Aby Warburg, Homo victor,“ in Cahiers du Musée national d’art moderne 118 (2011/12) : 81-101
• “Renaissance,” in Lexikon Kunstwissenschaft: Hundert Grundbegriffe, ed. Jürgen Müller and Stefan Jordan (Stuttgart: Reclam, 2012), pp. 295-300
• “Dromenon,” in Common Knowledge 18 (2012): 106-16 (Special Issue on the Warburg Library)
• “Envoi: Reception of the Classics,” in Reception of the Classics:  An Interdisciplinary Approach to the Classical Tradition, ed. William Brockliss et al. (Cambridge University Press, 2012), pp. 163-73
• “The Votive Scenario,” RES: Anthropology and Aesthetics 59/60 (2011): 207-27
• “Wappenbuch des Konrad Peutinger,” in: Bürgermacht und Bürgerpracht:  Augsburger Ehren- und Familienbücher der Renaissance, exhibition catalogue, Maximilianmuseum Augsburg, 2011, pp. 168-69
• “Painting and Plurality,” Yearbook of Comparative Literature 56 (2010): 116-39, modified original English text of “Das Bild ist immer schon plural” (see below)
• “Das Bild ist immer schon plural,” in David Ganz and Felix Thürlemann, eds., Das Bild im Plural: Mehrteilige Bildformen zwischen Mittelalter und Moderne, Berlin: Reimer, 2010, 87-110
• “Roundtable on Globalization,” ed. David Joselit, October 133 (Summer 2010): 3-19
• “Art History Reviewed VI: Ernst H. Gombrich, Art and Illusion,” Burlington Magazine 151, December 2009, 836-39; reprinted in The Books That Shaped Art History, ed. Richard Shone and John-Paul Stonard (London: Thames and Hudson, 2013), 116-27; translated in 16 Klassiker der Kunstgeschichte, ed. Shone and Stonard (Bern and Vienna: Meyer, 2015)
• “Eine Nachricht von Raffael,” in: Öffnungen:  Zur Theorie und Geschichte der Zeichnung, ed. Friedrich Teja Bach and Wolfram Pichler, (Munich: Fink, 2009), 109-37
• “When Attitudes Became Form” (on Michael Baxandall), Artforum, January 2009, 43-44
• “Alternative Antiquities in the Renaissance” (with Alexander Nagel), in Renaissance Medievalisms, ed.  Konrad Eisenbichler (Toronto: CRRS, 2008), 53-74
• “The Imagined Landscape: Autonomy, Fiction, Modernity,” in Tradition and Modernity: Comparative Perspectives, Peking – Yale University Conference (Beijing: Peking University Press, 2007), 534-48
• “Van Eyck Out of Focus,” in Amy Golahny, Mia M. Mochizuki and Lisa Vergara, eds., In His Milieu: Essays on Netherlandish Art in Memory of John Michael Montias (Amsterdam: Amsterdam University Press, 2006), 467-82
• “Otto Pächt und die nicht mehr schönen Künste,” in Michael Pächt and Artur Rosenauer, eds., Otto Pächt: Symposion anlässlich seines 100. Geburtstages (Munich: Michael Pächt, 2006), 67-76
• “Countermagical Combinations by Dosso Dossi,” RES: Anthropology and Aesthetics 49/50 (2006): 151-70
• “A Newer Protagoras” (with Robert Williams), Art Bulletin 88 (2006): 567-82
• “Piero della Francesca, Liminologist,” in Steffen Bogen et al., eds., Bilder, Räume, Betrachter Festschrift für Wolfgang Kemp (Berlin: Reimer, 2006), 252-69
• “Mortal Immortal” [on Hans Holbein the Younger], Artforum, January 2006, p. 101
• “Maximilian I as Archeologist,” Renaissance Quarterly 58 (2005): 1128-74
• “Interventions: Toward a New Model of Renaissance Anachronism” (with Alexander Nagel), Art Bulletin 87 (2005): 403-32
• “Translatio Imperii,” Texte zur Kunst 15, 57 (March 2005): 99-107
• “Strzygowski und Riegl in den Vereinigten Staaten,” in: Wiener Schule: Erinnerung und Perspektiven, ed. Michael Viktor Schwarz (= Wiener Jahrbuch für Kunstgeschichte 53, 2004), 217-34
• Interview, Passepartout: Skrifter for Kunsthistorie 12 (2004): 115-30
• “Riegl’s Mache,” RES: Anthropology and Aesthetics 46 (Autumn 2004): 155-72
• “Indoor/ Outdoor: The Studio around 1500,” in Inventions of the Studio: Renaissance to Romanticism, ed. Mary Pardo and Michael Cole, Chapel Hill: University of North Carolina Press, 2004, 36-72
• “The Perspective Treatise in Ruins: Lorenz Stoer, Geometria et perspectiva, 1567,” The Treatise on Perspective, Published and Unpublished, ed. Lyle Massey, Studies in the History of Art, Symposium Papers XXXVI, Washington, National Gallery of Art, CASVA, 2003, 235-57; republished with CD-ROM edition of Lorenz Stoer, Geometria et Perspectiva (Erlangen: Harald Fischer), 2006
• “Short Dialogue on Painting,” Index 2003: Fellows and Residents at the American Academy in Rome, Rome, 2003, n.p.
• “Why Autonomy?“, Perspecta 33 (2002): 48-53
• “Art History’s Normative Renaissance,” The Italian Renaissance in the Twentieth Century, Acts of an International Conference, Florence, Villa I Tatti, 1999; Florence: Olschki, 2002, pp. 65-92
• “Notation of Visual Information in the Earliest Archeological Scholarship,” Word and Image 17 (2001): 94-118
• “Print Technology and the Brixen Globes,” Kunsthistoriker: Mitteilungen des österreichischen Kunsthistorikerverbandes 15/16 (1999/2000): 15-20
• “Die Brixner Globen” and catalogue entries in Circa 1500: Landesausstellung 2000, Innsbruck, 2000, pp. 237-39, 418-20
• “A Rediscovered Venetian Woodcut after Georg Pencz,” Festschrift Konrad Oberhuber, ed. Achim Gnann and Heinz Widauer, Milan: Electa, 2000, pp. 255-61
• “Remarks on the Portrait of Otto I at Innichen,” in: Michael Pacher und sein Kreis, Proceedings of Symposium, Brunico, Italy, 24-26 September 1998, Bolzano: Athesia, 1999, 105-12
• “Introduction” to Otto Pächt, The Practice of Art History: Reflections on Method, London, Harvey Miller, 1999, pp. 9-18
• “The Errera Sketchbook and the Landscape Drawings on Grounded Paper,” Herri met de Bles: The Road to Calvary in the Art Museum, Princeton University: Studies and Explorations of the World Landscape Tradition, ed. Norman E. Muller et al., Antwerp: Brepols, 1998, pp. 101-16
• “Early Archeology and the Book Trade: The Case of Peutinger’s Romanae vetustatis fragmenta (1505),” Journal of Medieval and Early Modern Studies 28 (1998): 83-118
• “Germany’s Blind Renaissance,” Infinite Boundaries: Order, Disorder, and Reorder in Early Modern German Culture, ed. Max Reinhart (= Sixteenth Century Essays and Studies, vol. 40), 1998, pp. 225-44
• “Une perspective oblique: Hubert Damisch, la grammaire du tableau et la Strukturanalyse viennoise,” Cahiers du Musée national d’art moderne 55 (Winter 1996): 107-29
• contribution to “Questionnaire on Visual Culture,” October 77 (Summer 1996): 68-70
• “Theories of Reference,” contribution to forum “Art History and its Theories,” Art Bulletin 78 (March 1996): 22-25
• “‘Curious Pictures’ and the Art of Description,” Word and Image 11 (October-December 1995): 332-52
• “Charisma and Self-Doubt in the Western Tradition” (with Romy Golan), forum on teaching of the art history survey, Art Journal 54 (Fall 1995): 78-81
• “Paul de Man und die Kunstgeschichte,” Texte zur Kunst 4, 14 (June 1994): 83-89 [“Paul de Man and Art History,” Flash Art International, vol. 28, no. 183 (Summer 1995): 87-90]
• “Ryman’s Poetics,” Art in America 82 (January 1994): 62-70; reprinted in Robert Ryman: Critical Texts since 1967, ed. Vittorio Colaizzi and Karsten Schubert (London: Ridinghouse, 2009), pp. 296-306
• “Ritual and the Virgin on the Column: The Cult of the Schöne Maria in Regensburg,” Journal of Ritual Studies 6 (1992): 87-101
• “Das erzählte Drama in Bildern: Adolph von Menzel und Max Klinger” (with Amy Kurlander and Stephan S. Wolohojian), in Der Text des Bildes: Möglichkeiten und Mittel eigenständiger Bilderzählung, ed. Wolfgang Kemp, Munich: text + kritik, 1989, pp. 35-61
• “Michael Pacher and the Fate of the Altarpiece in Renaissance Germany,” Res: Journal of Anthropology and Aesthetics 15 (Spring 1988): 89-104
• “In Defense of Images: Two Local Rejoinders to the Zwinglian Iconoclasm,” The Sixteenth Century Journal 19 (Spring 1988): 25-44

Encyclopedia Entries

• entry on “Albrecht Dürer,” Gay Histories and Cultures: An Encyclopedia, ed. George E. Haggerty, New York and London: Garland Press, 2000, pp. 262-63
• entries on “Iconoclasm and Iconophobia” and “Perspective,” Encyclopedia of Aesthetics, ed. Michael Kelly, Oxford: Oxford University Press, 1998, 2: 450-54, 3: 477-81 (revised for new edition)
• “The History of Art History,” Encyclopedia Americana, 1995 edition (CD-ROM); 1996 edition (print), pp. 384r-384s

Book Reviews

• Molly Nesbit, The Pragmatism in the History of Art, in Artforum, November 2014, pp. ….
• review of Thomas Noll, Albrecht Altdorfer in seiner Zeit: religiöse und profane Themen in der Kunst um 1500; Magdalena Bushart, Sehen und Erkennen: Albrecht Altdorfers religiöse Bilder; and Margit Stadlober, Der Wald in der Malerei und der Graphik des Donaustils,  Art Bulletin 89 (December 2007): 818-21
• review of Joachim Pissarro, Cézanne/Pissarro, Johns/Rauschenberg:  Comparative Studies on Intersubjectivity in Modern Art, and Gabriele Guercio, Art as Existence:  The Artist’s Monograph and its Project, in Artforum, October 2006, pp. 77-78
• review of Edgar Bierende, Lucas Cranach d. Ä. und der deutsche Humanismus:  Tafelmalerei im Kontext von Rhetorik, Chroniken und Fürstenspiegeln, in Zeitschrift für Kunstgeschichte 69 (2006): 281-85
• review of David Summers, Real Spaces, in Bookforum, February/March 2005, p. 20
• review of Hans Belting, Bild-Anthropologie, in Art Bulletin 86 (June 2004): 370-73
• review of Ernst Gombrich, The Preference for the Primitive, in The New Republic, May 26, 2003, pp. 31-35
• review of Michael Fried, Menzel’s Realism, in Artforum, October 2002, pp. 43-4
• review of Hans Belting, The Invisible Masterpiece, in The New Republic, March  25, 2002, pp. 40-46
• review of Bruno Bushart, Die Fuggerkapelle in Augsburg, in Renaissance Quarterly 50 (Spring 1997): 326-27
• review of Hubert Damisch, The Origin of Perspective and Le Jugement de Paris, in Art Bulletin 77 (December 1995): 677-82
• review of books on Jan van Eyck by Craig Harbison, Joel Upton, and Jan-Baptist Bedaux, in Art Bulletin 75  (March 1993): 174-80
• review of The Age of Dürer and Holbein, ed. John Rowlands, in Speculum 66 (1991): 471-74
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