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Curriculum VitaeJULIE BERGER HOCHSTRASSER

Business Address: School of Art and Art History, 150 Art Building WestThe University of Iowa Iowa City, Iowa 52242-1706

Phone: (319) 335-1744Fax: (319) 335-1774E-mail: [email protected]

EDUCATIONAL AND PROFESSIONAL HISTORY

1. Higher Education

University of California, Berkeley, Ph.D. in History of Art, 1995.Dissertation: Life and Still Life: A Cultural Inquiry into

Seventeenth-Century Dutch Still-life PaintingChair: Professor Svetlana Alpers Committee: Professor T. J. Clark, Professor Jan de Vries (History)Examination Field: Art in Europe 1580-1720, specializing in the

Northern Netherlands; Outside Field: Anthropology

University of California, Berkeley, M.A. in History of Art, 1984. Master's Thesis: An Act of Sight: Renaissance Collections

and the Art of Memory. Chair: Professor Loren Partridge

Swarthmore College, Pennsylvania, B.A. with Distinction in History of Art, 1976.

2. Professional and Academic Positions

Associate Professor, spring 2004-present, The University of IowaAssistant Professor, fall 1998-spring 2004, The University of IowaVisiting Assistant Professor, spring 1998, Mills College, Oakland, CaliforniaLecturer, fall 1996 - spring 1998, Sonoma State University, Rohnert Park, CALecturer, spring 1986, College of Marin, Kentfield, CaliforniaTeaching Associate, fall 1981 - spring 1983, University of California, BerkeleyTeaching Assistant, spring 1981 - fall 1981, University of California, BerkeleyIntern, fall 1979 - summer 1980, Museum of Modern Art, San FranciscoExtern, spring 1976, Baltimore Museum of Art, Baltimore, Maryland

3. Selected Honors and Awards

Frederick Burkhardt Fellowship, for year in residence at the Center forAdvanced Study in the Behavioral Sciences, Stanford University, 2007-2008

Arts and Humanities Initiative, The University of Iowa, 2006-2007Faculty Scholar Award, The University of Iowa, 2005-2008Robert H. and Clarice Smith Fellowship, CASVA (Center for Advanced Studies

in the Visual Arts), National Gallery, Washington, D.C., 1991-92

JULIE BERGER HOCHSTRASSERPAGE 2

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Fulbright Fellowship to The Netherlands, 1990-91

4. Membership in professional societies

American Association for Netherlandic Studies –Executive Board, 2006 - presentHistorians of Netherlandish Art - Executive Board, 2004 - present College Art AssociationIowa Chapter of Phi Beta KappaMidwest Art History SocietyAmerican Association of University Women

5. Professional Development Training

Stichting Restauratie Atelier Limburg (Limburg Conservation Institute), Amsterdam-Maastricht Summer University, “The Painter’s Palette in the 16th- and 17th-Century: Pigment Preparation and Painting Technology.” Competitive, refereed application process. Graduate and Postgraduate-level seminar; fellow participants were professional conservators, scientists, artists and art historians from many international institutions (including The Hermitage, Tate Gallery London, Kunsthistorisches Museum Vienna, Nationalmuseum Stockholm, Prado Madrid, and the Rijksbureau voor Kunsthistorische Dokumentatie in The Netherlands), 2001

Gemeente-Archief, Amsterdam, The Netherlands, completed three-month course on Dutch Paleography, deciphering 15th- through 18th-century handwritten manuscripts, 1991

Universiteit van Amsterdam, Amsterdam, The Netherlands, “Main Trends in Cultural History,” invited and funded by the Dutch government to participate in summer conference, 1991

Kasteel Nijenrode, Breukelen, The Netherlands, completed “Zomercursus Nederlandse Taal en Cultuur,” intensive course on Dutch language and culture, with full scholarship from the Dutch Ministerie van Onderwijs en Wetenschappen, 1990

6. Pedagogically Related Computer Work

Applied for and was awarded a SITA grant for a Student Instructional Technology Assistant for development of ICON websites, consultation on organization of digital images with Microsoft Expressions, and further training in editing digital video with I-Movie and I-DVD for teaching purposes, spring 2007

Utilized Madison Digital Image Database to create presentations from remote locations and present resulting lectures at national and international venues, 2006 - present

Working with I-Movie and I-DVD to develop course materials on “The Dutch in the World,” using equipment obtained through Dean’s Scholar Award, spring 2005 – present

Tested the Beta-version Madison Digital Image Database in Western Art and Culture andDutch and Flemish Painting, one of the first two faculty members to employ the new software in classes for both digital image management and projection in class; spring 2005


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Working with Steve Strait on digital still-image and video editing of research material gathered in the Netherlands Antilles and Suriname, spring 2003 –2005

Twist partnerships with Rijn Templeton and Daniel Stout for webcourses for upper-division Netherlandish Painting, fall 2002, and History of Prints and Inside Baroque, spring 2002 and fall 2003; tried Blackboard.com for Global Issues in Visual Culture, with student postings, spring 2003

Worked with Karla Tonella to present digitized images for upper-division course Inside Baroque, utilizing Photoshop and Dreamweaver, spring 2002

Directed Research Assistants in computerization of bibliography with Endnote, fall 2001 – spring 2003

Worked with Eric Dean and Betsey Kosier of Office of Visual Materials to digitize images for student study for Dutch and Flemish painting, fall 2000 & fall 2002, Inside Baroque and History of Prints, spring 2002, and Western Art and Culture After 1400, spring 2003

n-Title training workshop on WebCT, Claris HomePage, Acrobat, Photoshop, and Powerpoint, spring 1999

On PC: also familiar with Endnote, WORD for Windows; Wordperfect for DOS and Windows; Procite; D-base III+; XTG, Fastback; Scan Manager, Omnipage Direct and Imagestar

On MAC: also familiar with WORD; put courses on the Web with “Web Course in a Box” at Sonoma State University and participated in teleconferencing with California State Universities on digitizing images for use in art history teaching, 1996-97

7. Languages

Participated in AllNET program to advance Dutch language study, spring 2005.Dutch, German, French, Italian: speak, write and read with relative fluency.Portuguese, Russian: read a littleMandarin Chinese, Japanese, Bahasa Indonesia: speak a (very!) littleContract translation work, Dutch to English, for Fitzroy Dearborn Publishers, 1996-97

8. Research-Related International Travel

Ghana and South Africa (three weeks) 2007Japan, Taiwan, Indonesia (Java, Maluku, Sulawesi, Bali),

Malaysia, Sri Lanka, India, The Netherlands (ten weeks altogether) 2006China (three weeks) 2006Brazil (three weeks) 2005Dresden, Gotha, Amsterdam, The Hague (two weeks) 2004Suriname (one week) 2004Curaçao and Bonaire, Netherlands Antilles (one week) 2003Antwerp, Belgium (one week) 2002The Netherlands (two weeks) 2001London (one week) 2000


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Yucatan Peninsula (one week) 1996 and 2000Istanbul, Turkey (two weeks) 1999The Netherlands (two weeks) 1999The Netherlands (thirteen months in residence) 1990-91The Netherlands (three weeks) 1988Paris (three months) and further travel in Western and Eastern Europe (one month) 1981Western and Eastern Europe (nine months traveling extensively) 1974

TEACHING AT THE UNIVERSITY OF IOWA

1. Courses Taught

Semester& Year

Courses Taught Number and Title

StudentsEnrolled

Selected ACE Summary Scores

ADVISEES

Intel-lectually stimu-lating

Require-ments/ Goals

clear**

Exams require course

synthesis

Related fields/ Recent

developmnts discussed

Oral communi-

cation competence

Under-grad

Grad

Spring 2007

01H:150 17th c. Dutch and Flemish Painting 28 4 1

Spring 2007

01H:353 Graduate Seminar: Rembrandt 10

Spring 2007

01H:300:003PhD Readings 1 * * * * *

Fall 2006

01H:300:003PhD Readings 1 * * * * * 4 1

Spring2005

01H:006 Western Art& Culture After 1400 243 5.79 5.81 5.71 5.58 5.93 7 7

Spring2005

01H:150 17th c. Dutch and Flemish Painting 26 5.84 5.84 5.84 5.88 5.97

Spring 2005

187:003:001 Issues in International Studies: Global Issues in Visual Culture

45 *** *** *** *** ***

Spring2005

01H:190:003 HonorsResearch in Art History 2 * * * * *

Spring2005

01H:302:003 MAWritten Thesis 1 * * * * *

Fall 2004

01H:183History of Prints 35 5.75 5.75 5.50 5.75 5.75 5 7

Fall 2004

01H:200History and Methods 5 5.67 6.00 4.50 5.88 6.00

Summer 2004

01H:300:003 Directed Reading 1 * * * * * 0 1

Spring2004

01H:006 Western Art& Culture After 1400 250 5.53 5.69 5.65 5.48 5.79 4 8

Spring2004

01H:353 Dutch Imagesof Global Exploration 4 * * * * *


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Fall 2003

01H:200 History and Methods 9 5.75 5.13 5.67 5.17 5.75 6 13

Fall 2003

01H: 151Inside Baroque 12 5.95 5.25 5.25 5.89 5.64

Spring 2003

01H:247 Global Issues in Visual Culture 10 6.00 5.09** 5.20 5.55 5.82 6 14

Spring 2003

01H:006 Western Art & Culture After1400 210 5.25 5.60 5.40 5.26 5.65

Fall2002

01H:150 Netherlandish Painting 1600-1700 25 5.80 5.69 5.86 5.43 5.95 5 16

Fall2002

01H:200 History and Methods 7 ** 5.71 5.86 ** 5.14

Spring 2002

01H:180 History of Prints

25 5.81 5.73 5.78 5.78 5.94 6 16

Spring 2002

01H:153 Inside Baroque

15 5.88 5.50 5.40 5.10 5.94

Spring 2001

01H:200 The Culture of the Object

2 * * * * * 13 14

Spring 2001

01H:006 Western Art & Culture After 1400

197 5.63 5.66 5.34 5.10 5.79

Fall2000

01H:154 Dutch Baroque Painting

24 5.33 5.61 5.31 5.38 5.88 11 12

Fall 2000

01H:200 History and Methods

4 * * * * *

Spring 2000

01H:199 Topics: Rembrandt

24 5.80 5.63 5.36 5.71 5.96 9 9

Spring 2000


187 5.39 5.61 5.17 5.04 5.79

Fall1999

01H:200 History and Methods

9 5.70 5.50 5.40 6.00 6.00 9 5

Fall1999

01H:180 History of Prints

26 5.79 5.85 5.27 5.47 5.73

Spring 1999


206 5.11 5.25 4.72 4.74 5.53 6 3

Spring 1999

01H:053 Introduction to Baroque

39 5.36 5.75 5.21 5.18 5.85

Fall 1998

01H:154 Dutch Baroque Painting

31 5.40 5.36 4.55 5.08 5.87 6 2

Fall1998

01H:004 Masterpieces:Art/Cultural Paradigms

158 5.08 5.47 5.00 4.77 5.69

* The University did not administer ACE forms for courses with enrollment of fewer than 10 students.** Not all questions appeared on all forms. For “Requirements/Goals Clear,” number with ** indicates the question “Goals Clear.”*** This was a 5-week introductory module for International Studies’ interdisciplinary major. No ACE forms were administered.

2. Students Supervised

a. Ph.D. Students: Committee Member (all Art History unless otherwise indicated)

Degree Objective: Student Name: Years: Outcome:

Ph.D. candidate Catherine Adams 2000-2007 ABD –teaching at


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(Baroque Minor Field) University of Northern Iowa

Ph.D. candidate Elizabeth van Arragon 2002-2006 Completed – teaching at Calvin College

Ph.D. candidate Nancy Bishop(Baroque Minor Field)

2000-2004 Completed – Seashore Ballard Fellowship 2003; secured po-sition at Arkansas Tech Uni-versity

Ph.D. candidate Cynthia Bland 2000-2002 Completed – subsequently taught at University of Iowa

Ph.D. candidate Doyle Buhler(Baroque Minor Field)

2002-present Comped Spring 2005 – ABD; presenting dissertation proposal spring 2007

Ph.D. candidate Shane Campbell(Baroque Minor Field)

1999-present Comped Fall 2004 – ABD

Ph.D. candidate Kimberly Cleveland(Baroque Minor Field)

2000-2004 Comped Fall 2004 – Fulbright Fellow, Brazil

Ph.D. candidate Sarah Clunis 2001-2002 Completed – secured position at Tulane University

Ph.D. candidate Susan Cooksey 2003-2004 Completed – curator at University of Florida Museum of Art

Ph.D. candidate (English)

Elizabeth Dietz 1999-2000 Completed – secured position at Rice University

Ph.D. candidate Michael Dooley 2001-present ABD – Henry Luce Fellow

Ph.D. candidate Valerie Kidrick 2000 Completed – secured position at Sacramento City College

Ph.D. candidate Andrea Kann(Baroque Minor Field)

1999-2003 Completed – Seashore Ballard Fellowship 2002, Com-pleted—subsequently taught at University of Iowa

Ph.D. candidate Barbaranne Liakos 2005 Stand-in for absent professor for dissertation proposal meeting only

Ph.D. candidate Ann Paulk 2003 Completed – secured position at Dennison University


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Ph.D. candidate Gitti Salami 2004 – 2005 Completed – secured position at University of Kansas

Ph.D. candidate (Co-Chair)*

Beata Sloan 2001-2003 Completed – secured position at Maine College of Art

*The Reception and Impact of Flemish Art in Poland in the Late Middle Ages

PhD candidate Kimball Smith (Medieval and Renaissance literature)

2001 Completed – subsequently taught at The University of Iowa

Ph.D. candidate Danielle Snoddy 2004-2006 Completed spring 2006

Ph.D. candidate Jennifer Vigil 2001-2004 Completed fall 2004 – secured position at U. of Arizona

b. Ph.D. Students: Primary Advisor


Ph.D.candidate Ellen O’Neil Rife 2003-2004 Presidential Scholar; transferred to University of Kan-sas

Ph.D.candidate Elizabeth Sutton 2005-present Taking Comprehensive Exam-inations Spring 2007

c. Masters Students: Degree Committees (students listed alphabetically)


MFA (Painting) Arbe Bareis 2003-2005 Completed—subsequently teaching at University of Iowa

MA (Art History) Erica Barkost 1998-2001 Completed

MA (Art History) Jennifer Baum 2007-present

In progress

MA (Art History) Lyndsay Bennion 2004-2005 Transferred to Bowling Green University

MA (Art History) Shanshan Chen 2003- Completed; went on to Prince-


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2005 ton University for PhD

MFA (Printmak-ing)

Allan Coburn 2000 Completed

MFA (Photogra-phy)

Christine Flavin 2004-2005 Completed; subsequently teaching at University of Iowa

MA (Printmaking) Nathan Haenlein 2001 Completed—went on for MFA

MFA (Printmak-ing)

Nathan Haenlein 2002 Completed—secured position at Mary Washington College

MA (Art History) Peter Holtgrave 1999-2002 Completed—went on to serve in Peace Corps in Mauritius

MA (Art History) Shannon Karol 2004-2005 Completed—secured museum position

MA (Art History) Soo-min Kim 2002-2003 Completed—advanced to PhD

MA (Art History) Justin Quinn 1998-2001 Completed—went on for MFA

MFA (Printmak-ing)

Justin Quinn 2000 Completed—secured positionat University of North Texas

MA (Art History) Danielle Snoddy 2002-2003 Completed—advanced to PhD

d. Masters Degree Students: Primary Advisor

MA (Art History) Elizabeth Sutton 2003-2005 Completed—won Jakobsen Forum award; advancedto PhD

“Order, Instruction, and the Dignity of Man: Humanism, Empiricism, and Morality in Jan Huy-gen van Linschoten’s Itinerario and Vesalius’ De Humani Corporis Fabrica”

e. Undergraduate students (student projects listed chronologically)


Independent Study-Art Appraisal (BA Art History)

Natalie Allen Spring 2001 Com-pleted


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Independent Study-Baroque Light (BFA Painting)

Ida Delrieu-Schulz 2000-2002 Com-pleted

US-IA Research Assistantship-Endnote bibliography database development (BA Education)

Emily Hoogestraat Fall 2002 Com-pleted

Volunteer: Baroque slide collection improvement (BA Art History)

Amber Erickson Fall 2002 Com-pleted

US-IA Research Assistantship-collection of photographs for publication (BA Art)

Katherine Couch Spring 2003 Com-pleted

USA Research Assistantship- collection of color transparencies for book publication (BA History)

Josiah Fricton Fall 2003-Fall 2004

Com-pleted

USA Research Assistantship-Digitizing Lecture Images on Madi-son Digital Image Database

Kristin Bonk Spring 2005 Com-pleted

IREU – Iowa Research Experiences for Undergraduates: Windmills on the Plains: Pella and Orange City, Two Dutch Communities in Iowa

Anne Rosenberg Spring-Sum-mer 2005

Com-pleted

f. Honors Projects (students listed alphabetically)


Honors Thesis on Etch-ings of James Whistler

Kristin Bonk 2004-2005 Completed—went on to graduate school in Art History at the University of Denver

Honors Research Practicum—manage pub-lication permissions

Melinda Brocka 2007 Completed

Honors Research Practicum—collection of photographs and permis-sions (BA Art)

Katherine Couch 2002-2003 Completed—went on to study abroad in France and then complete BFA, University of Iowa

Honors Thesis on Dutch Genre Painting

Allison Cronin 2004-2005 Completed—went on to work for “Arttrain USA”

JULIE BERGER HOCHSTRASSERPAGE 10 5/25/2023

Honors Research Practicums—collection of photographs and permis-sions (BA Cinema and Com-parative Literature)

Nana Diederichs 2000, 2002 Completed—awardedRhodes-Dunlap Scholar 2002, studied abroad in Paris, worked in La Re-union, went on to graduate school in comparative literature

Honors Research Practicum—digital image management

Kristin Epping 2007 Completed

Honors Thesis—Conser-vation and Art History(BA Art and Art History)

Cori Howard 2002 Completed—went on to intern in conservation at the National Gallery,Washington D.C.

Honors Designation forWestern Art and Culture(BA Art History)

Mackenzie Horras Spring 2003

Completed—under TA Deanna Bell

Honors Thesis on Four Engravings by William Blake in UI Art Museum

Jessica Lansing Fall 2004 Completed

Honors Designation in Dutch and Flemish Course: extended paper on Queen Christina of Sweden

Nathan Popp 2007 Completed—now ac-cepted into graduate pro-gram in History of Art at the University of Iowa

Honors Designation for 17th-Century Dutch and Flemish Painting

Leslie Smith 2007 Completed

3. Other Contributions to Instructional Programs

a. Faculty Mentor for Crossing Borders Graduate Fellows in Art History:

Identify and secure approval of qualified students (eligible for two per year) in consultation with colleagues in the Department of Art History. Complete student registration in the program in conjunction with departmental staff and Rex Honey, newly appointed director of the Crossing Borders program. Attend regular meetings of Crossing Borders Executive Committee to remain informed on changes in program funding and administration. Report to Art History faculty to keep them apprised of current program status and upcoming opportunities. Meet with departmental graduate fellows regularly (though we have none currently) to advise them on funding opportunities and ensure appropriate fulfillment of Crossing Borders requirements.


Art History Graduate Student Crossing Borders Fellows:

Brett van Hoesen, 2000-2002 (completed)Prita Meier, 2000-2001 (transferred)Sarah Clunis, 2001-2002 (completed)Bridget Sandhoff, 2001-2003 (completed)Peter Holtgrave, 2001-2002 (joined Peace Corps)Kimberly Cleveland, 2002-2004 (completed)Danielle Snoddy, 2002-2005 (completed)Shanshan Chen, 2002-2004 (completed)

SCHOLARSHIP

1. Publications

a. Refereed

books

Still Life and Trade in the Dutch Golden AgeLondon: Yale University Press, 2007

in books

“Remapping Dutch Art in Global Perspective: Other Points of View,” in Cultural Contact and the Making of European Art 1500-1930, ed. Mary Sheriff. Chapel Hill: University of North Carolina Press, forthcoming*

“Eye to Eye with the Dutch in America: Vermeer and the Visual Turn,” in From De Halve Maen to KLM: 400 Years of Dutch-American Exchange, ed. Margriet Lacy. Studies in Dutch Language and Culture, vol. 2. Munster, Germany: Nodus, forthcoming*

“Human Nature: Observing Dutch Brazil, 1637-1644,” in Engaging with Nature: Essays on the Natural World in Medieval and Early Modern Europe, ed. Lisa J. Kiser.

University of Notre Dame Press, forthcoming*

“Windmills on the Plains: Vision and Social Memory in Two Dutch Communities in Iowa,” in Going Dutch: The Dutch Presence in America, 1609-2009. Joyce Goodfriend, Benjamin Schmidt, Annette Stott, eds. Brill, forthcoming*

“Portrait of an Ecclesiastic, by Otto van Veen,” in Corpus of Drawings in Midwestern Collections, Volume II: The Sixteenth Century, Part II: Northern European Drawings, 1500-1600. Burton L. Dunbar and Edward J. Olszewski, eds. Midwest Art History Society (Turnhout, Belgium: Brepols Publishers)— in press***

“The Conquest of Spice and the Dutch Colonial Imaginary: Seen and Unseen in the


Visual Culture of Trade,” in Colonial Botany: Science, Commerce, and Politics in the Early Modern World, Londa Schiebinger and Claudia Swan, eds. (Philadelphia: The Pennsylvania University Press, 2005), pp. 169-186*

“Wisselwerkingen Redux: Ceramics, Asia and the Netherlands,” in Points of Contact:Crossing Cultural Boundaries, ed. Amy Golahny, The Bucknell Review (Lewisburg, Pennsylvania: Bucknell University Press, 2004), pp. 50-79*

“Goede Dingen Willen Tijd Hebben (Good Things Take Time): Time as a Meditation onPainting in Dutch Still Life of the Seventeenth Century,” in Symbols of Time in the History of Art (Papers presented at the Thirtieth International Congress of the History of Art (CIHA), London 2000), ed. Christian Heck and Kristin Lippincott. (Turnhout, Belgium: Brepols, 2002), pp. 117-135*

“Imag(in)ing Prosperity: Still Life and Material Culture in the Seventeenth-centuryDutch Household” in Wooncultuur in de Nederlanden / The Art of Home in the Netherlands, 1500-1800, ed. Jan de Jong, Bart Ramakers, Herman Roodenburg, Frits Scholten, Mariët Westermann. Nederlands Kunsthistorisch Jaarboek 2000, Deel 51 / Netherlands Yearbook for History of Art 2000, vol. 51 (Zwolle, The Netherlands: Waanders Uitgevers, 2001), pp. 194-235*

“Seen and Unseen in the Visual Culture of Trade: The Conquest of Pepper,” in The Low Countries and the New World(s): Travel, Discovery, Early Relations, ed. Johanna C. Prins, Bettina Brandt, Timothy Stevens and Thomas F. Shannon. (Lanham, Maryland: University Press of America, 2000), pp. 91-111*

“Feasting the Eye: Painting and Reality in the Seventeenth-Century Bancketje,” in Still Life Paintings from the Netherlands 1550-1720, ed. Alan Chong and Wouter Kloek (exhibition catalogue: Rijksmuseum Amsterdam and Cleveland Museum of Art), (Zwolle, The Netherlands: Waanders Uitgevers, 1999), pp. 73-85*

“Inroads to Seventeenth-Century Dutch Landscape,” in Natuur en Landschap in deNederlandse Kunst 1500-1850 / Nature and Landscape in Netherlandish Art 1500-1850, ed. Reindert Falkenburg, Jan de Jong, Mark Meadow, Bart Ramakers, Herman Roodenburg, Frits Scholten. Nederlands Kunsthistorisch Jaarboek 1997, Deel 48 / Netherlands Yearbook for History of Art 1997, vol. 48 (Zwolle, The Netherlands: Waanders Uitgevers, 1998), pp. 193-221*

b. Non-refereed

in dictionaries and encyclopedias

“Clara Peeters,” for Dictionary of Women Artists, edited by Delia Gaze(London: Fitzroy Dearborn, 1997) pp. 1080-1084*

“Vanitas,” “Still life: traditions, conventions, themes (16th-19th centuries),” and“Gamepiece,” three entries in Dutch Art from 1475 to 1990: An Encyclopedia, edited by Sheila Muller (NewYork: Garland, 1997) pp. 151-2, 365-8, 431-2*


c. Invited Book Reviews

Anne Goldgar, Tulipmania: money, honor, and knowledge in the Dutch golden age (Chicago and London: The University of Chicago Press, 2007) in Metascience.

Rebecca Parker Brienen, Visions of Savage Paradise, Amsterdam University Press, 100-word endorsement for US distributors University of Chicago Press, 2007

Donna M. Barnes and Peter G. Rose, “Matters of Taste: Food and Drink in Seventeenth-Century Art and Life,” in HNA Review of Books (Historians of Netherlandish Art), spring 2005, both hardcopy and online at http://www.hnanews.org/2002/bookreview4.html

“Pieter Bruegel the Elder: Drawings and Prints,” in The Art Book, January 2003, Volume 10, Number 1, pp. 18-20*

“Art & Home: Dutch Interiors in the Age of Rembrandt,” in HNA Review of Books (Historians of Netherlandish Art), fall 2002, both hardcopy and online at http://www.hnanews.org/2002/bookreview4.html*

2. Published Reviews of Scholarship (of Hochstrasser’s work)

HNA Review of Books, fall 2007, review by Larry Silver of Still Life and Trade in the Dutch Golden Age. Online at http://www.hnanewsorg/2002/bookreview4.html (forthcoming)

HNA Review of Books, fall 2002, review by Stephanie Dickey of The Low Countries and the New World(s): Travel, Discovery, Early Relations, including Hochstrasser, “Seen and Unseen in the Visual Culture of Trade: The Conquest of Pepper.” Online at http://www.hnanewsorg/2002/bookreview4.html

3. Cited in Print

Grootenboer, Hanneke. The Rhetoric of Perspective (Chicago: University of Chicago Press, 2005)

Biesboer, Pieter, Martina Brunner-Bulst, Henry D. Gregory, Christian Klemm. Pieter Claesz: Master of Haarlem Still Life. Exh. Cat. Frans Hals Museum, Haarlem; Kunsthaus Zürich; National Gallery of Art, Washington (Zwolle: Waanders Publishers, 2004)

Brunner-Bulst, Martina. Pieter Claesz., der Hauptmeister des Haarlemer Stillebens im 17. Jahrhundert; Kritischer Oeuvrekatalog. (Lingen, Germany: Luca Verlag, 2004)

http://www.hnanewsorg/2002/bookreview4.html

http://www.hnanewsorg/2002/bookreview4.html


Ebert-Schifferer, S. Still Life: A History (New York: Abrams, 1999)

4. Project Participation

2001-present: Caribbean Diaspora Studies Association, share work in progress;planning future research. I traveled to Curaçao, Netherlands Antilles, March 2003, and to Suriname, March 2004, delivered a talk to the group about my research in spring 2004.

1998–2005: Interdisciplinary workgroup on material culture with University of Iowa colleagues. Share work in progress. April 2001, helped plan and host Fleeting Objects, a symposium on material culture; served as coordinator for graduate student participation in the symposium and delivered a talk there.

1996–1999: Committee of advisors and authors for exhibition of seventeenth-century Dutch still-life paintings, Still-Life Paintings from the Netherlands, 1550-1720, Rijksmuseum Amsterdam, 19 June - 19 September 1999, and Cleveland Museum of Art, 31 October 1999 - 9 January 2000.

5. Grants

a. External

See Page 1, “Selected Honors and Awards,” and: American Council of Learned Societies, 2005-6 (granted but declined

in order to accept Burkhardt)Mabelle McLeod-Lewis Fellowship, 1992-93, $13,000, PIKress Dissertation Fellowship, 1992-93, $12,000, PI (granted but declined

in order to accept Mabelle McLeod-Lewis)Ministerie van Onderwijs en Wetenschappen (Netherlands Ministry of Education

and Science), 1990, for Zomercursus Nederlandse Taal en Cultuur, PISamuel Kress Travel Grant to The Netherlands, 1988, $2,000, PISamuel Kress Travel Grant to Western and Eastern Europe, 1980, $1,000, PIPhi Beta Kappa, Swarthmore College, 1976Letitia Wolverton Scholar, Swarthmore College, 1974

b. Internal

See Page 1, “Selected Honors and Awards,” and:Iowa Promise Momentum Plus Award for Diversity Enrichment, 2007, $5,500, PIInternational Programs Travel Grant for Ghana and South Africa, 2007, $600, PI

Student Instructional Technology Assistants grant, spring 2007, PI Departmental travel funding for CAA, New York, spring 2007, $600, PIFaculty Scholar Award, 2006-7, $5500, PIDepartmental travel funding for CAA, Boston, spring 2006, $400, PIFaculty Scholar Award, 2005-6, $5500, PI


Departmental travel funding for CAA, Atlanta, spring 2005, $400, PIDepartmental travel funding for Germany and The Netherlands, summer 2004, $300, PIDean’s Scholar Award, 2004-6, $10,000 ($5000 per year for two years), PIInternational Travel Grant for Germany and The Netherlands, summer 2004, $700, PIDepartmental travel funding for CAA conference Seattle, spring 2004, $400, PIDepartmental travel funding for CAA conference New York, spring 2003, $400, PIInternational Programs Course Development Grant, (for IP Major Module), 2003, $4,000, PIObermann Center funds for Research Assistant and travel to HNA Antwerp, 2002, $500, PISecond Old Gold Fellowship, University of Iowa, summer 2002, $5,000, PICollege of Liberal Arts supplemental travel funding for HNA, MAHS, CAA, 2002, $1000, PIDepartmental travel funding, for CAA conference Philadelphia, spring 2002, $400, PIResidency at Obermann Center for Advanced Study, University of Iowa, 2001 - 2002International Course Proposal funding, “Inside Baroque,” summer 2001, $3200, PIDepartmental travel funding for CAA conference Chicago, spring 2001, $500, PIVice President for Research, travel funding for CIHA London, fall 2000, $500, PIInternational Programs travel funding for CIHA London, fall 2000, $500, PIDepartmental travel funding for CAA conference New York, spring 2000, $500, PIOld Gold Fellowship, University of Iowa, summer 1999, $4,800, PIInternational Travel Grant to Turkey, University of Iowa, summer 1999, $600, PInTitle Grant, University of Iowa, (computer hardware and training), summer 1999, $3,000, PIHumanities Graduate Research Grant, University of California, Berkeley,

summer 1981, $1500, PI

6. Invited Lectures and Conference Presentations

a. International

Melbourne, Victoria, Australia, The University of Melbourne, “Exposure to your ways: China, the Dutch, and Early Modern Vision,” for Crossing Cultures: Conflict, Migration, Convergence, the 32nd Congress of the International Committee of the History of Art (CIHA), 13-18 January 2008, upcoming

Taipei, Taiwan, National Central University, “The Dutch in Asia,” September 2006

Taipei, Taiwan, National Palace Museum, “The Dutch in the World: Formosa in the Seventeenth Century ,” September 2006

Paramaribo, Suriname, for the conference Legacies of Slavery: Globalization, Diaspora and Identity Formation, “Visual Legacies of Slavery in Suriname? The Stakes of Not Seeing,” February 2004 (Invited for publication, forthcoming)

Antwerp, Belgium, Biennial Conference of the Historians of Netherlandish Art, presenterfor workshop on The Dutch Colonial and Global Imaginary: “Imag(in)ing the Other in Seventeenth-Century Dutch Painting,” March 2002

London, England, XXX International Congress of the History of Art, on the theme of


Time: Art History for the Millennium, for session on Symbols of Time: “Goede Dingen Nemen Tijd (Good Things Take Time): Time as Meditation on Painting in Seventeenth-Century Dutch Still Life,” September 2000

Toronto, Canada, College Art Association, for session on The Artistic Response to the Dutch Revolt: “Things Dutch: Still Life and Postcolonial Identity in the United Republic of the Netherlands,” February 1998

Arnhem, The Netherlands, Delta Kappa Gamma European Conference, guest speaker, “The Fulbright Experience,” May 1991

Amsterdam, The Netherlands, Universiteit van Amsterdam Kunsthistorisch Instituut, forActualiteiten Kollegas, guest panelist: “The Study of Art History: America and The Netherlands Compared,” February 1991

Amsterdam, Rijksmuseum, Lecturer-tourguide for students from Carleton College visiting the Netherlands, “Seventeenth-Century Dutch Still-Life Paintings at the Rijksmuseum,” November 1990

b. National

Columbia University, New York City, invited to present at an all-expenses-paid workshop on “The Dutch and the World;” paper entitled “Nostalgia, Craft, and Magic at the Ends of the Earth,” March 30-31, 2007, upcoming

Walters Art Gallery, Baltimore, Maryland, and Washington D.C., National Gallery of Art: chaired session on “The Dutch in the World: Art and Collecting in an International Context,” for the Biennial Conference of the Historians of Netherlandish Art, “From Icons to Art in The Netherlands,” November 8-12 2006

National Gallery of Art, Washington, D.C., Study day with curator Arthur Wheelock (by invitation), in exhibition Pieter Claesz: Master of Haarlem Still Life, November 18, 2005

The University of Denver, for conference Going Dutch: Holland in America, 1609-2009, presented a paper entitled “Windmills on the Plains: Pella and Orange City, Two Dutch Communities in Iowa,” March 2005

Chicago, for Social Science History Association Annual Conference Markets as Sites of Interdisciplinary History, chair and discussant for panel on global history of commodities, November 2004

New York City, for Historians of Netherlandish Art session at College Art Association, “The Intimate Moment: Public Privacy in the Dutch Golden Age,” February 2003

The University of Michigan, Ann Arbor, for “The Low Countries:Crossroads ofCultures,” 11th Interdisciplinary Conference on Netherlandic Studies, “Wisselwerkingen Redux: Ceramics, Asia and the Netherlands,” June 2002


The Milwaukee Museum of Art, Wisconsin, for Midwest Art History Society Annual Conference, “Object Lessons: Behind the Silver Platters of the Dutch Golden Age,” April 2002

The University of Iowa, for Crossing Borders Convocation, Globalization and/or Spaces of Hope, in panel on Connections between Africa and Europe, “Bhabha’s Theory of Colonial Discourse and Figuring the Other in 17th-century Dutch Painting,” March 2002

The University of Texas at San Antonio, for 2nd Interdisciplinary and Multicultural Conference on Food Representation in Literature, Film and the Other Arts, “Dutch Still Life: A Conundrum,” February 2002

The University of Iowa, for Material Culture Symposium Fleeting Objects, Enduring Communities, “Memory, Emotion, Consciousness: How Still Life Speaks,” April 2001

Chicago, Illinois, for College Art Association, session on Still Life in Motion, “Let Us Now Praise Anonymous Men: Pieter van Anraadt’s Still Life with Tobacco and Beer,” February 2001

The University of Iowa Oakdale Presidential Seminar, “Global Vision? Learning from Dutch Art,” December 2000

Columbia University, New York City, for Interdisciplinary Conference on Netherlandic Studies, “Seen and Unseen in the Visual Culture of Trade: The Conquest of Pepper,” June 1996

National Gallery of Art, Washington, D.C. Seminar in conjunction with the exhibitionStill Lifes of the Heinz Family Collection, participation funded by Berkeley Graduate Division Dean's Fund, February 1989

Stanford University, California, for The Stanford-Berkeley Forum, “Inroads to Seventeenth-Century Dutch Landscape Painting,” March 1982

c. Guest Lectures

The Cedar Rapids Museum of Art, “Symbol and Allegory in 17th-century Dutch and Flemish Painting,” September 13, 2007 (upcoming)

University of Iowa Graduate Art History Colloquium, “Nostalgia, Craft and Magic at the Ends of the Earth,” March 27, 2006

University of North Carolina Museum of Art, the Rand Lectures: “Remapping Dutch Art in Global Perspective: Other Points of View,” November 16, 2006


Ohio State University, Center for Medieval and Renaissance Studies, for year-long lecture series on the theme of Nature, “Human Nature: Observing Dutch Brazil, 1636-1644,” March 2005

The Caribbean Diaspora Association at the University of Iowa, “The Visual Culture of Slavery in Suriname 1600-1800: The Stakes of Not Seeing,” February 2004

The University of Iowa, for Professor Paul Greenough’s Crossing Borders Proseminar, “Dutch Art in Global Perspective,” May 2003

The Nelson-Atkins Museum of Art, Kansas City, Missouri, The Kiffin Memorial Docent Lecture, “Feasting the Eye: Dietary Decorum in 17th-century Dutch Still-Life Painting,” April 2003

University Book Club, at the University Art Museum, Iowa City, Iowa, “Vermeer in fiction: Tracy Chevalier’s Girl with a Pearl Earring and Susan Vreeland’s Girl in Hyacinth Blue,” March 2003

Webster University, St. Louis, Missouri, “Seen and Unseen in the Visual Culture of Trade: The Seventeenth Century and Today,” September 2002

The Blanden Memorial Art Museum, Fort Dodge, Iowa, “Four Artists, Four Objects, Ten Centuries,” November 2001

University of Iowa School of Art, for Margaret Rochelle’s graduate seminar on History and Methods of Painting, “Rembrandt’s Use of Light,” April 2000

The University Art Museum, University of Iowa, “Old Master Drawings in the Permanent Collection,” Perspectives series, November 1999

University of Iowa Graduate Colloquium, “When Pictures Matter: Still Life and Material Culture in the 17th-Century Netherlands,” October 1998

Stanford University, in conjunction with “Masters of Light” Exhibition at the California Palace of the Legion of Honor, “Landscape and Still Life in Utrecht,” November 1997

University of California, Berkeley, guest lecture for Professor Elizabeth Honig’s graduate seminar on Still Life, “Time and Self-Reflexivity in Seventeenth-Century Dutch Still Life,” March 1996

University of California, Berkeley, two lectures for Professor Svetlana Alpers’s upper-division class on Dutch and Flemish Painting, “Approaches to Seventeenth-Century Dutch Still-Life Painting,” October 1993

School of Art and Architecture, University of California, Berkeley, “Dutch Interiors: A Socio-historical Background,” and participated in studio critique of student work based on this material, December 1992


Center for Advanced Studies in the Visual Arts, Washington, D.C., Report on research to fellow CASVA Fellows, April 1992

d. Invited Respondent

University of Iowa Museum of Art, for 18th- and 19th-Century Interdisciplinary Colloquium co-sponsored by International Programs and the UI Museum of Art, as part of ENCIS Fauna and Flora Lecture Series in connection with the UIMA Exhibition “PICTURING EDEN”: serving as respondent for Adriana Mendez’s lecture “Through the Green Threshold: 19th-Century Naturalists and the Romance of the Jungle,” February 22, 2007

European Studies Group at the University of Iowa, respondent for Mark Peterson’s talk on “Boston and the Atlantic World”, April 2005

SERVICE

1. Department

Chair of Committee for Second-Year Review of Brenda Longfellow, Assistant Professor, Ancient Art History, spring 2007

Executive Committee, School of Art and Art History, spring 2007Salary Review Committee, School of Art and Art History, spring 2007Committee for Third-Year Review of Monica Correia, Assistant Professor, Design,

School of Art and Art History, spring 2007Committee on Admissions, Recruitment, and TA Assignments, 2004-2005, spring 2007Undergraduate Program Committee, 2004-2005 Visiting Lecture Committee, 2004-5

(Helped to coordinate arrangements for visiting lecturers to theDepartment. Helped to invite, plan, and fund guest lecturer John Onians from the Warburg and Cortauld Institutes, spring 2005; secured co-sponsorships from International Programs, European Studies, and Health Sciences for interdisciplinary talks, Spring 2005)

Contributed Questions for Graduate Colloquium on Academic Freedom, spring 2005Participated in Graduate Workshop on Teaching Art History, spring 2005School of Art and Art History Executive Committee, fall 2003 to spring 2005Historical Memory Committee, fall 2003 to spring 2005Helped plan and organize day trip to Chicago for Undergraduate Art History Student

Association, and led gallery tour at Chicago Art Institute, spring 2003, 2004, and 2005 Participated in Graduate Workshop on Publishing in Art History, fall 2004Planned and hosted Graduate Student Reception at my home, fall 2004Presented for Undergraduate Colloquium on Art Historical Fiction, spring 2004Visiting Painter Search Committee, spring 2004Participated in Graduate Colloquium on Ethics in Art History, spring 2003Presented for Undergraduate Arts Forum on Career Development, fall 2002Hosted First Annual Undergraduate Reception, fall 2002Graphic Design Search Committee, 2001-2002Invited and hosted guest lecturer Professor Alison Kettering from Carleton College, fall 2002Art History Honors Advisor, spring 2002Art History Undergraduate Majors Student Outreach co-chair, fall 2001-presentInvited and hosted guest lecturer Fred G. Meijer of the Rijksbureau voor Kunsthistorische


Dokumentatie, The Hague, The Netherlands, fall 2001Search committee for new Latin American Art Historian, 2000-2001Art History Executive Committee, fall 2000Invited and hosted Stanley Distinguished Lecturer, Professor Svetlana Alpers, fall 2000Visiting Lecturers Committee, chair, fall 2000-spring 2001Search committee for new Assistant Professor of Painting, 1999-2000Successful Application on behalf of the department for Student Computer Fee Grant

for $31,305 for technological upgrade for the Auditorium of the Art Building, fall 1999Graduate Student Art History Society Liaison, fall 1999-spring 2001Art History Faculty Secretary 1999-2000Art History Faculty Council, fall 1998 - spring 1999Curriculum Committee, fall 1998 - spring 1999Visiting Lecturers Committee, fall 1998 and chair, spring 1999School of Art and Art History Budget Committee, fall 1998

2. College

Crossing Borders Departmental Liaison and Executive Committee, 1999-2005, spring 2007Center for European Studies, Visiting Lecture Committee, fall 2004-spring 2005Faculty Senate, fall 2002 – spring 2005Review Committee for Campus Applicants for Fulbright Fellowships, fall 2004Crossing Borders Convocation Session Co-organizer, spring 2002Faculty Assembly, fall 2000 – spring 2002Invited and hosted guest lecturer Professor Rudolf Dekker of Erasmus Universiteit

Rotterdam, for Obermann Symposium Fleeting Objects, spring 2001Center for the Book, Advisor Status for new MA and MFA programs, 2001-2004

3. University

Proposal review committee for Arts and Humanities Initiative, spring 2007Search Committee for Communications Coordinator, International Programs, spring 2007Nominated for Educational Policy Committee, spring 2007; obliged to decline presently

since I will be off campus next year on the Burkhardt Fellowship at Stanford Review Committee for Major Projects Grants for International Programs, spring 2005Parking Committee, 2004-2005Planning meetings for a Center for European Studies at International Programs, 2003-2004Fulbright Workshop Guest Speaker, The University of Iowa, fall 2001 and again fall 2002Graduate Senate Research Forum, judge, The University of Iowa, spring 2000Articulation Conference, presenter, The University of Iowa, spring 1999Academic Senate, Sonoma State University, spring 1996 – fall 1997

4. Profession

Executive Board of American Association of Netherlandic Studies, 2006-2009Executive Board of Historians of Netherlandish Art, spring 2004-2008Invited to serve as liaison for American Association of Netherlandic Studies

to College Art Association and Historians of Netherlandish Art, fall 2001; declined for the time being on advice of department colleagues

National Selection Committee for Fulbright Grants to Belgium, the Netherlands,


and the European Union, Chicago, 1999, and again in 2003Designed topics used for Biennial conference of Association of Netherlandic Studies, fall 1996

5. Community

Designed and drafted “Sensory Activity Motor” Cards in cooperation with Occupational Therapist Leah Taylor, 2006-7 (in production)

Taught Class on Albrecht Dürer for Advanced Placement German Class,Iowa City West High School, 2005

Iowa Rockets Volleyball Club Parent Support, 2002-2004West High School Speech and Debate Team Parent Support, 2002-2004Iowa Soccer Club Parent Support, 2001-2003Iowa City Alliance Soccer Club Parent Support, 1998-2001Music Auxiliary, Northwest Junior High and West High School, Iowa City, 1998-presentClub West, West High School Athletics Parent Support, Iowa City, 1998-presentChair, Friends of the Marin County Free Library Sale, Fairfax, California, 1997President, Manor School Parent Teacher Association, Fairfax, California, 1995-96Gifted and Talented Education Representative, White Hill School, Fairfax, California, 1994-95Space Redesign Committee, White Hill School, Fairfax, California, 1994-95Public Relations & Media Committee for successful Parcel Tax Campaign,

Ross Valley School District, Marin County, California, 1992-93Executive Board, Glen Drive Homeowners' Association, 1989-94Executive Board, San Anselmo Co-op School, San Anselmo, California, 1989-90


ADDENDUM: STUDIO ARTS AND OTHER BACKGROUND

1. Studio Arts Training

Maastricht, The Netherlands, 2001, Stichting Restauratie Atelier LimburgFairfax, California, 1995-1997, Life drawing groupAtelier 17, Paris, France, 1981, studied Gravure with Stanley William HayterMassachusetts College of Art, Boston, Massachusetts, 1978, Illustration for Children's BooksHarvard University Extension, Cambridge, Massachusetts, 1977, Interior DesignFoothill College, Los Altos Hills, California, 1976, Printmaking and Commercial IllustrationInternationale Somerakademie für bildende Kunst, Salzburg, Austria, 1974, Figure DrawingPhiladelphia College of Art, Philadelphia, Pennsylvania, 1971, Foundation Course

2. Selected Prizes and Exhibitions

Painting: Marin Agricultural Land Trust Benefit Exhibition, San Rafael, California, 1988Graphic Design: poster selected for annual Fairfax Festival, Fairfax, California, 1985 and 1986Ceramic Design: exhibited and sold at Faneuil Hall Market Place, Boston, Massachusetts, 1978Etching: Bay Area Regional Graphics Competition Juried Exhibit, Cupertino, California, 1977Prints: Down Home Arts and Crafts, Stanford, California, 1976

Drawing: Förderungspreis at the Internationale Somerakademie für bildende Kunst, and Römpreis from the city of Salzburg: month-long stipend with

private studio at the Istituto Austriaco di Cultura, Rome, 1974

3. Other Teaching Experience

Great Books Instructor and Classroom Volunteer, Manor School, Fairfax, California, 1987-95Parent Teacher, San Anselmo Co-op School, San Anselmo, California, 1986-92Teacher, Dover-Sherborn Public Schools, Dover, Massachusetts, 1978-79Director of Art and Music, Bar 717 Ranch School, Hyampom, California, 1977-78Teaching Assistant and Printmaking Lab Assistant, Foothill College, Los Altos Hills, CA, 1976-77


Book Abstract:

Still Life and Trade in the Dutch Golden Age

Dutch still-life painting of the seventeenth century is richly laden with commodities that played

significant roles in the history of Dutch commerce—which was, in turn, the font of the spectacular

prosperity enjoyed by the new Dutch Republic during this, its Golden Age. As such these glowing

depictions of the fruits of Dutch trade might be seen as celebrating this prosperity, along with the pride

of the Dutch both in their hard-won independence and in their equally hard-won and perpetually

fiercely-challenged primacy in global trade.

In a series of case studies, this book explores the unseen trade histories of various items featured in

seventeenth-century Dutch still-life painting that were also key commodities of Dutch trade. From the

point of view of their origins as commodities, there is much more to these ingredients of Dutch still

life than meets the eye. Important domestic commodities for which the Dutch enjoyed considerable

renown included cheese, herring, and beer, while wine, lemons, and grain were imported from

elsewhere in Europe. Then there were exotic products gathered from far and wide by the efficient

network of the Dutch trading companies. The East India Company supplied pepper, porcelain, and

tea, while the West India Company trafficked in salt, tobacco, sugar, and African slaves. Disturbing

as it is to classify them in this way, slaves do count as important commodities during the very period

when they also make their appearance among the objects in still-life painting.

Indeed, travel journals and other records reveal not only pride in the achievements of Dutch trade,

but also a disturbing subtext of exploitation that goes unaddressed in these celebratory representations

of its products. Was this too part of the allure of still life, that it served up these luxuries on a silver

platter, comfortably divorced from any more unpleasant realities of their acquisition? Implications

reverberate into our own experience in the present: in the seventeenth century just as today, distant

markets enabled these trade secrets to remain largely unseen. Indeed, the very thing that went

unaddressed in painting and society alike—the true social costs of those luxuries—ultimately proved

in economic terms to precipitate the undoing of the Dutch Golden Age.


Book Manuscript Abstract:

Life and Still Life: A Cultural Inquiry into Seventeenth-Century Dutch Still-Life Painting

While my first book looked at meanings of still-life painting in relation to the Dutch abroad,

this study turns the analysis of these pictures toward the Dutch at home. Similarly grounded in an

anthropological conception of art, this study further investigates what I call the “cultural

iconography” of still life: allusions inherent in the practice of everyday Dutch life. It is striking that

the genesis of still-life painting as an independent genre coincides in time and place with a key

period in the birth of consumer society. The thesis of this book is that in their conspicuous display

of value, Dutch still lifes of the laid table are tokens of power, in three aspects: the power of the

society that commanded the affluence and global resources assembled in these compositions; the

power of the individual who could afford to buy and own such a picture; and the power of the artist

to generate market value, to out-craft the craftsmen of depicted objects, even to defy death by

creating enduring images.

The study distinguishes three methodological approaches, addressing in turn objects in the

pictures, the pictures themselves as objects, and the picturing of objects. Chapter One, investigating

objects in the pictures, finds that contrary to conventional interpretations reading emblematic

censure in the visual feasts of still life, these paintings observe the same dietary decorum dictated by

period texts on diet and manners—which opens the way to acknowledge the proud assertion of

prosperity inherent in these celebrations of Dutch trade commodities. Chapter Two examines Dutch

household inventories that suggests that the pictures themselves as objects were deployed in a kind

of conspicuous consumption. Chapter Three relates the emphasis upon temporality in the picturing

of these objects to the remarkable self-consciousness exhibited by still-life painters; the

commodification of time accompanying the evolution of market economy highlights painterly skill

and the production of value to recast our very conception of vanitas. The long-standing debate over

the putative presence of “hidden” religious or emblematic symbolism has yielded a reading of these

still lifes as moralizing admonitions against excess; this evidence calls for a fundamental

reassessment of that interpretation.

Documents

JULIE BERGER HOCHSTRASSER - International Programs€¦ · Web viewBaroque Painting 31 5.40 5.36 4.55 5.08 5.87 6 2 Fall 1998 01H:004 Masterpieces: Art/Cultural Paradigms 158 5.08