Renaissance and early modern art history, art and science, gender studies
I am an historian of early modern Italian and French art with research interests that span the historical divide between the Renaissance and Baroque. Much of my work to date has been concerned with the subtle relationship between art and science in the 15th through the 17th centuries: I've written on the geometry of linear perspective, on anamorphic perspective and on Renaissance and Baroque anatomical representations, and I have strong interests in the history of collecting and the origins of artistic academies in Italy and France. But I am also concerned with articulating how the body, or even the concept of embodiment more generally, entered into practices of representation ca. 1550-1800. What did it mean for an early modern viewer to see a painting as an extension of his/her own space? How was the body understood, both as a subject of representation and as the point of origin for representation?
The courses I teach range from general introductions to Italian Renaissance and Baroque Art, to specialized courses on feminist and gender studies as they relate to the study of Renaissance and early modern art, or on the history of academies or collecting.
Note: Congratulations to Professor Massey, who received the Frederick Burkhardt ACLS fellowship for Residency at the Huntington Library in Pasadena. Her project's title is "Woman Inside Out: Gender, Dissection, and Representation in Early Modern Europe." Professor Massey will be on leave for the 2013-14 school year.
Picturing Space, Displacing Bodies: Anamorphosis in Early Modern Theories of Perspective (Penn State University Press, 2007)
Editor, The Treatise on Perspective: Published and Unpublished, Studies in the History of Art Series, Vol. 59 (National Gallery Publications/Yale U. Press, 2003).
“On Waxes and Wombs,” in Roberta Panzanelli, ed., Waxing Bodies: Wax Reproductions of Bodies and Body Parts, (Publications of the Getty Research Institute, forthcoming, 2008).
Review of Filippo Camerota, La prospettiva del Rinascimento. Arte, architettura, scienza. (Milano: Mondadori Electa, 2006), forthcoming in Nuncius.
“Framing and Mirroring the World,” in John Jeffries Martin, ed. The Renaissance World (Routledge, 2007): 51-68.
“The Anatomy of Gender,” introductory catalogue essay, The Anatomy of Gender exhibition at the Mary and Leigh Block Museum of Art, Northwestern University, Jan. 3-Mar. 12, 2006
“Dissecting Pregnancy in 18th-century England,” essay for The Anatomy of Gender exhibition website, Mary and Leigh Block Museum of Art, Northwestern University, Jan. 3-Mar. 12, 2006 http://anatomyofgender.northwestern.edu
“Pregnancy and Pathology: Picturing Childbirth in eighteenth-Century Obstetric Atlases,” The Art Bulletin, vol. 87, no. 1 (March 2005): 73-91.
“Introduction” and “Configuring Spatial Ambiguity: Tracing the Evolution of the Distance Point from Alberti to Anamorphosis,” in Lyle Massey, ed., The Treatise on Perspective: Published and Unpublished, Studies in the History of Art Series, Vol. 59 (National Gallery Publications/Yale U. Press, 2003): 9-19 and 160-175.
Review of J.V. Field The Invention of Infinity (Oxford U. Press, 1997) in The Art Bulletin, Vol. 83, no. 3 (September 2001): 564-566.
"Anamorphosis through Descartes or Perspective Gone Awry," Renaissance Quarterly 50.4 (December, 1997): 1148-1189. Awarded the William Nelson Prize, Best Article, 1997, by the Renaissance Society of America.
University College Research Grant, Northwestern University, 2005-2006
Course Enhancement Grant, Northwestern University, 2002
National Endowment for the Humanities Fellowship (NEH), Newberry Library, Chicago, 2000-2001
Searle Junior Teaching Fellow, Northwestern University, 1999-2000
University College Research Grant, Northwestern University, 1999-2000