Curriculum Vitae of Maryan Wynn Ainsworth

Department of European Paintings

The Metropolitan Museum of Art

1000 Fifth Avenue

New York, New York 10028

Phone: (212) 396-5172

Fax: (212) 396-5052

e-mail: maryan.ainsworth@metmuseum.org

EDUCATION

Yale University, New Haven, Conn., Department of History of Art

Ph.D., May 1982

M. Phil., May 1976

Doctoral dissertation, “Bernart van Orley as a Designer of Tapestry”

Oberlin College, Oberlin, Ohio, Department of Art History

M.A., May 1973

B.A., January 1972

Master’s thesis, “The Master of St. Gudule”

Independent art-history studies in Vienna (1969), Mainz (1973–74), and Brussels (1976–77)

PROFESSIONAL EXPERIENCE

The Metropolitan Museum of Art, New York

Department of European Paintings

Curator of European Paintings, 2002–present

Research on Northern Renaissance paintings at The Metropolitan Museum of Art, with

emphasis on the integration of technical examination of paintings with art-historical

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information; curating exhibitions; cataloguing the fifteenth- and sixteenth-century

Netherlandish and German paintings in the collection; teaching courses on connoisseurship

and Northern Renaissance paintings topics for Barnard College and Columbia University;

directing the Slifka Fellowship program for art historians at the graduate level; departmental

liaison and coordinator, European Paintings volunteers (2008–16)

Paintings Conservation, Conservation Department

Senior Research Fellow, 1992–2001

Research Fellow, 1987–92

Senior Research Associate, 1982–87

Research Investigator, 1981–82

Interdisciplinary research on the Metropolitan Museum’s early Netherlandish paintings, using

infrared reflectography; monographic studies on Petrus Christus, Gerard David, and Joos van

Cleve; initiation of internship program in technical art history for art-history graduate students

Objects Conservation and Research Laboratory, Conservation Department

Research Associate, 1978–79

Research Laboratory, Conservation Department

Research Associate, 1977–78

Neutron Activation Autoradiography study of paintings by Rembrandt, Van Dyck, and

Vermeer

Participation on Metropolitan Museum staff committees and organizations:

Department of Education

Grants Committee, 2002–5; Chair, 2004–5

Forum of Curators, Conservators, and Scientists

Delegate to the Board of Trustees, 2012–13

Standing Committees:

Library, Education, and Editorial Committee, 2008–11; Chair, 2010–11

External Affairs and Development Committee, 2014–16; Co-Chair, 2015–16

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Scholarship Committee, 2016–present; Co-Chair

Barnard College, Columbia University, New York

Adjunct Professor, 1991–present

Adjunct Associate Professor, 1986–91

Columbia University, Graduate School of Art History

Adjunct Professor, 1996-98

EXHIBITIONS

“Dante Gabriel Rossetti and the Double Work of Art.” Yale University Art Gallery, New Haven,

Conn., 1976.

“Facsimile in Early Netherlandish Painting: Dieric Bouts’s ‘Virgin and Child.’” The

Metropolitan Museum of Art, New York, 1993–95.

“Petrus Christus: Renaissance Master of Bruges.” The Metropolitan Museum of Art, New York,

1994.

“From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art.”

Co-curator, Keith Christiansen. The Metropolitan Museum of Art, New York, 1998.

“Byzantium: Faith and Power (1261–1557).” Curator of the section devoted to Northern

Renaissance painting. The Metropolitan Museum of Art, New York, 2004.

“Left Unfinished by Albrecht Dürer.” The Metropolitan Museum of Art, New York, 2005.

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“Side by Side: Oberlin’s Masterworks at The Metropolitan Museum of Art.” The Metropolitan

Museum of Art, New York, 2010.

“Man, Myth, and Sensual Pleasures: Jan Gossart’s Renaissance.” Co-curators, Stijn Alsteens and

Nadine M. Orenstein. The Metropolitan Museum of Art, New York, and National Gallery,

London, 2010–11.

“Grand Design: Pieter Coecke van Aelst and Renaissance Tapestry.” Curator of the section

devoted to panel paintings by Pieter Coecke van Aelst. The Metropolitan Museum of Art, New

York, 2014–15.

“Cranach’s Saint Maurice.” The Metropolitan Museum of Art, New York, 2015.

“A New Look at a Van Eyck Masterpiece.” The Metropolitan Museum of Art, New York, 2016.

“New Acquisitions: European Paintings Department, 2015–2016.” The Metropolitan Museum of

Art, New York, 2016–17.

PUBLICATIONS

EXHIBITION CATALOGUES

Dante Gabriel Rossetti and the Double Work of Art. New Haven, Conn.: Yale University Art

Gallery, 1976.

Facsimile in Early Netherlandish Painting: Dieric Bouts’s “Virgin and Child.” New York: The

Metropolitan Museum of Art, 1993.

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Splendid Legacy: The Havemeyer Collection, by Alice Cooney Frelinghuysen et al. Catalogue

entries on paintings by Lucas Cranach and Hugo Van der Goes, pp. 54–55. New York: The

Metropolitan Museum of Art, 1993.

“Hans Memling as a Draughtsman.” In Hans Memling, [vol. 1], Essays, edited by Dirk De Vos,

pp. 78–87. Groeningemuseum, Bruges. Ghent: Ludion, 1994.

Petrus Christus: Renaissance Master of Bruges. With contributions by Maximiliaan P. J.

Martens. New York: The Metropolitan Museum of Art, 1994. Finalist, Alfred H. Barr Jr. Award,

College Art Association.

Ed. and principal author. From Van Eyck to Bruegel: Early Netherlandish Painting in The

Metropolitan Museum of Art. Co-editor, Keith Christiansen. New York: The Metropolitan

Museum of Art, 1998.

“Gerard David.” In Bruges and the Renaissance: Memling to Pourbus, edited by Maximiliaan P.

J. Martens, pp. 80–93. Memlingmuseum, Bruges. Ludion: Stichting Kunstboek, 1998. [Dutch

edition, Brugge en de Renaissance: Van Memling tot Pourbus. Notities. Catalogue entries on

works by Gerard David, pp. 23–30. Ludion: Stichting Kunstboek, 1998. French edition, Bruges

et la Renaissance: De Memling à Pourbus. Notices. Catalogue entries on works by Gerard

David, pp. 23–30. Ludion: Stichting Kunstboek, 1998.]

Tapestry in the Renaissance: Art and Magnificence, by Thomas P. Campbell, with contributions

by Maryan W. Ainsworth et al. Catalogue entries on Bernaert van Orley’s Passion of Christ

(Alba Set), pp. 304–21, nos. 30–34. New York: The Metropolitan Museum of Art, 2002. Winner

of the Alfred H. Barr Jr. Award, College Art Association.

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“Illuminators and Painters: Artistic Exchanges and Interrelationships.” Co-author, Thomas Kren.

Catalogue entries on Simon Marmion, Petrus Christus, Hugo van der Goes, and Gerard David,

nos. 4–8, 11, 31, 46, 47, 99–107, 126, 142; co-authors, Thomas Kren, nos. 6, 99, 100, 103, 105;

Thomas Kren and Elizabeth Morrison, no. 126. In Thomas Kren and Scot McKendrick, with

contributions by Maryan W. Ainsworth et al., Illuminating the Renaissance: The Triumph of

Flemish Manuscript Painting in Europe, pp. 35–57 and passim (catalogue entries). J. Paul Getty

Museum, Los Angeles, and Royal Academy of Arts, London; 2003–5. Los Angeles: J. Paul

Getty Museum, 2003. Winner of the Jan Mitchell Prize.

“À la façon de grèce: The Encounter of Northern Renaissance Artists with Byzantine Icons.”

Catalogue entries, nos. 329–55. In Byzantium: Faith and Power (1261–1557), edited by Helen C.

Evans, pp. 545–93. New York: The Metropolitan Museum of Art, 2004. Winner of the Alfred H.

Barr Jr. Award, College Art Association.

“Gerard David: Vita e opere” and “Il progetto di Gerard David per il Polittico della Cervara.” In

Il Polittico della Cervara di Gerard David, edited by Clario Di Fabio, pp. 13–31, 59–67. Musei

de Strada Nuova, Palazzo Bianco, Genoa; 2005–6. Cinisello Balsamo: Silvana, 2005.

“Minimal Means, Remarkable Results: Memling’s Portrait Painting Technique.” In Memling’s

Portraits, edited by Till-Holger Borchert, pp. 92–111. Museo Thyssen-Bornemisza, Madrid;

Groeningemuseum, Bruges; and Frick Collection, New York. London: Thames & Hudson, 2005.

Hans Holbein the Younger: The Basel Years, 1515–1532, by Christian Müller et al. Catalogue

entry on Portrait of Benedict von Hertenstein by Hans Holbein the Elder, pp. 178–80, no. 30.

Kunstmuseum Basel. Munich: Prestel, 2006.

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Man, Myth, and Sensual Pleasures: Jan Gossart’s Renaissance. The Complete Works. Co-

authors, Stijn Alsteens and Nadine M. Orenstein, with contributions by Lorne Campbell et al.

Published in association with an exhibition at The Metropolitan Museum of Art, New York, and

National Gallery, London; 2010–11. New York: The Metropolitan Museum of Art, 2010. Winner

of the Alfred H. Barr Jr. Award, College Art Association. [Dutch edition, Mens, mythe en

zinnelijkheid: De Renaissance van Jan Gossart. Het volledige werk. Brussels: Fonds Mercator,

2010. French edition, La Renaissance de Jan Gossart: L’homme, le mythe et la sensualité.

L’oeuvre complet. Brussels: Fonds Mercator and Actes Sud, 2010.]

Dürer and Beyond: Central European Drawings in The Metropolitan Museum of Art, 1400–

1700, by Stijn Alsteens and Freyda Spira, with contributions by Maryan W. Ainsworth et al.

Catalogue entry on Salvator Mundi by Albrecht Dürer, pp. 19–22, no. 8. New York: The

Metropolitan Museum of Art, 2012.

Earth, Sea, and Sky: Nature in Western Art. Masterpieces from The Metropolitan Museum of Art.

Catalogue entry on a panel painting from the workshop of Herri met de Bles, p. 71, no. 20. Exh.

cat. Tokyo Metropolitan Art Museum; 2012–13. [Tokyo]: Yomiuri Shimbun, 2012.

“The Illusion of Reality in Alice Dalton Brown’s Paintings.” In Alice Dalton Brown: The

Language of Angels. New York: Fischbach Gallery, 2014.

“Pieter Coecke van Aelst as a Panel Painter.” Catalogue entries, nos. 1, 2, 5, 6, 9, 10, 22. In

Elizabeth Cleland, with Maryan W. Ainsworth et al., Grand Design: Pieter Coecke van Aelst and

Renaissance Tapestry, pp. 22–34 and passim (catalogue entries). New York: The Metropolitan

Museum of Art, 2014.

“Lucas Cranach’s Saint Maurice.” Co-authors, Sandra Hindriks and Pierre Terjanian. The

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Metropolitan Museum of Art Bulletin, n.s., 72, no. 4 (Spring 2015). Published in association with

an exhibition of the same title held at The Metropolitan Museum of Art, New York, in 2015.

Bosch: The 5th Centenary Exhibition. Edited by Pilar Silva Maroto. Catalogue entry on

Adoration of the Magi by Hieronymus Bosch, pp. 209–11. Madrid: Museo Nacional del Prado,

2016.

“The Evolution of Jan Crabbe’s Triptych.” In Hans Memling: Portraiture, Piety, and a Reunited

Altarpiece, edited by John Marciari, pp. 73–80. Exh. cat. Morgan Library & Museum, New

York; 2016–17. Bruges: Flemish Research Centre for the Arts in the Burgundian Netherlands,

Musea Brugge; New York: Morgan Library & Museum, in association with Paul Holberton

Publishing, London, 2016.

BOOKS, ESSAYS, JOURNAL ARTICLES, REVIEWS, AND OTHER PUBLICATIONS

“St. Catherine Disputing with the Philosophers: An Early Work by the Master of St. Gudule.”

Bulletin (Allen Memorial Art Museum, Oberlin, Ohio) 32, no. 1 (1974–75), pp. 22–33.

“A Flute in the Olsen Collection: Its Place in Pre-Columbian Music and Art.” Yale University Art

Gallery Bulletin 35, no. 2 (Spring 1975), pp. 26–33.

“D. G. Rossetti’s Dantis Amor.” Journal of Pre-Raphaelite Studies 1, no. 1 (November 1980),

pp. 69–78.

“Autoradiography: Principles of the Technique and Its Use for the History of Art. Aspects of

Van Dyck’s Creative Process.” Co-authors, John Brealey, Egbert Haverkamp-Begemann, and

Pieter Meyers. Annales d’histoire de l’art et d’archéologie 4 (1982), pp. 43–55.

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“Bernart van Orley as a Designer of Tapestry.” Ph.D. diss., Yale University, 1982. Ann Arbor,

Mich.: University Microfilms International, 1982.

“Paintings by Van Dyck, Vermeer, and Rembrandt Reconsidered through Autoradiography.” Co-

authors, John Brealey, Egbert Haverkamp-Begemann, and Pieter Meyers. In Art and

Autoradiography: Insights into the Genesis of Paintings by Rembrandt, Van Dyck, and Vermeer,

pp. 9–99. New York: The Metropolitan Museum of Art, 1982. [2nd printing, 1987.]

“Pigments and Other Painting Materials.” Co-authors, Pieter Meyers and Karin Groen. In Art

and Autoradiography: Insights into the Genesis of Paintings by Rembrandt, Van Dyck, and

Vermeer, pp. 101–4. New York: The Metropolitan Museum of Art, 1982. [2nd printing, 1987.]

“Underdrawings in Paintings by Joos van Cleve at The Metropolitan Museum of Art.” In Le

dessin sous-jacent dans la peinture, colloque IV, 29–30–31 octobre 1981: Le problème de

l’auteur de l’oeuvre de peinture; contribution de l’étude du dessin sous-jacent à la question des

attributions, edited by Roger van Schoute and Dominique Hollanders-Favart, pp. 161–67.

Louvain-la-Neuve: Collège Érasme, 1982.

Ed. Essays in Northern European Art Presented to Egbert Haverkamp-Begemann on His Sixtieth

Birthday. Co-editors, Anne-Marie Logan, Thomas Kren, Jeffrey M. Muller, and Martha Wolff.

Doornspijk: Davaco, 1983.

“New Insights into Joos van Cleve as a Draughtsman.” In Essays in Northern European Art

Presented to Egbert Haverkamp-Begemann on His Sixtieth Birthday, edited by Anne-Marie

Logan et al., pp. 15–17. Doornspijk: Davaco, 1983.

“Gerard David’s Working Methods: Some Preliminary Observations.” In Le dessin sous-jacent

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dans la peinture, colloque V, 29–30 septembre–1er octobre 1983: Dessin sous-jacent et autres

techniques graphiques, edited by Roger van Schoute and Dominique Hollanders-Favart, pp. 53–

60. Louvain-la-Neuve: Collège Érasme, 1985.

“Northern Renaissance Paintings: The Discovery of Invention.” Co-author, Molly Faries.

Bulletin of the Saint Louis Art Museum, n.s., 18, no. 1 (Summer 1986).

Pre-Columbian Art of Mexico and Central America. Edited by George Kubler. Catalogue entry

on a polychrome flute, pp. 78–80, no. 126. Yale University Art Gallery. New Haven, Conn.,

1986.

“Assembly of Infra-red Reflectograms by Digital Processing Using a Portable Data Collecting

System.” Co-authors, George Wecksung, Randall Evans, James J. Walker, John Brealey, and

Gary W. Carriveau. In 8th Triennial Meeting, Sydney, Australia, 6–11 September, 1987:

Preprints, vol. 1, pp. 107–9. ICOM Committee for Conservation. Los Angeles: Getty

Conservation Institute, 1987.

“Schäufelein as Painter and Graphic Artist in The Visitation.” Metropolitan Museum Journal 22

(1987), pp. 135–40.

“The Use of Digital Image Processing in Constructing Infrared Reflectogram Assemblies.” Co-

authors, George Wecksung, Randall Evans, James J. Walker, John Brealey, and Gary W.

Carriveau. In Preprints of Papers Presented at the Fifteenth Annual Meeting, Vancouver, British

Columbia, Canada, May 20–24, 1987, pp. 163–67. Washington, D.C.: American Institute for

Conservation of Historic and Artistic Works, 1987.

“Gerard David’s Drawings for the ‘Justice of Cambyses’ Once Again.” Burlington Magazine

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130 (July 1988), pp. 528–30.

“Infrared Reflectogram Assembly by Digital Image Processing.” Co-authors, George Wecksung,

Randall Evans, James J. Walker, John Brealey, and Gary W. Carriveau. In Le dessin sous-jacent

dans la peinture, colloque VII, 17–19 septembre 1987: Géographie et chronologie du dessin

sous-jacent, edited by Roger van Schoute and Hélène Verougstraete-Marcq, pp. 131–36.

Louvain-la-Neuve: Collège Érasme, 1989.

“Northern Renaissance Drawings and Underdrawings: A Proposed Method of Study.” Master

Drawings 27, no. 1 (Spring 1989), pp. 5–38.

“Reassessing the Form and Function of Gerard David’s Drawings and Underdrawings.” In Le

dessin sous-jacent dans la peinture, colloque VII, 17–19 septembre 1987: Géographie et

chronologie du dessin sous-jacent, edited by Roger van Schoute and Hélène Verougstraete-

Marcq, pp. 123–30. Louvain-la-Neuve: Collège Érasme, 1989.

“Bernart van Orley: Peintre-Inventeur.” Studies in the History of Art (National Gallery of Art,

Washington, D.C.), 24 (1990), pp. 41–64.

“‘Paternes for phiosioneamyes’: Holbein’s Portraiture Reconsidered.” Burlington Magazine 132

(March 1990), pp. 173–86.

Review of Gerard David, by Hans J. van Miegroet. Art Bulletin 72, no. 4 (December 1990), pp.

649–54.

“Methods of Copying in the Portraiture of Hans Holbein the Younger.” In Le dessin sous-jacent

dans la peinture, colloque VIII, 8–10 septembre 1989: Dessin sous-jacent et copies, edited by

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Hélène Verougstraete-Marcq and Roger van Schoute, pp. 11–13. Louvain-la-Neuve: Collège

Érasme, 1991.

“Mosart Software for Constructing Infrared Reflectograms.” Co-author, James J. Walker. In Le

dessin sous-jacent dans la peinture, colloque VIII, 8–10 septembre 1989: Dessin sous-jacent et

copies, edited by Hélène Verougstraete-Marcq and Roger van Schoute, pp. 155–60. Louvain-la-

Neuve: Collège Érasme, 1991.

Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the

Public Collections of North America. Catalogue entries on paintings by Gerard David, Bernaert

van Orley, Joos van Cleve, and Hans Memling. Antwerp: Fonds Mercator, 1992.

“Implications of Revised Attributions in Netherlandish Painting.” In “Essays in Memory of Guy

C. Bauman.” Metropolitan Museum Journal 27 (1992), pp. 59–76.

“New Observations on the Working Technique in Simon Marmion’s Panel Paintings.” In

Margaret of York, Simon Marmion, and The Visions of Tondal: Papers Delivered at a

Symposium Organized by the Department of Manuscripts of the J. Paul Getty Museum in

Collaboration with the Huntington Library and Art Collections, June 21–24, 1990, edited by

Thomas Kren, pp. 243–55. Malibu, Calif.: J. Paul Getty Museum, 1992.

“Gérard David’s Workshop Practices: An Overview.” In Le dessin sous-jacent dans la peinture,

colloque IX, 12–14 septembre 1991: Dessin sous-jacent et pratiques d’atelier, edited by Roger

van Schoute and Hélène Verougstraete-Marcq, pp. 11–33. Louvain-la-Neuve: Collège Érasme,

1993.

Les Primitifs flamands et leur temps. Edited by Brigette de Patoul and Roger van Schoute.

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Catalogue entry on Gerard David, pp. 481–93. Louvain-la-Neuve: La Renaissance du Livre,

1994.

“Afterthoughts and Challenges to Modern-Day Connoisseurship.” In Petrus Christus in

Renaissance Bruges: An Interdisciplinary Approach, edited by Maryan W. Ainsworth, pp. 205–

14. Paper presented at a symposium held at The Metropolitan Museum of Art, New York, June

10–12, 1994. New York: The Metropolitan Museum of Art; Turnhout: Brepols, 1995.

Ed. “Conservation and Art History.” Co-editor, James Coddington. Art Journal 54, no. 2

(Summer 1995).

Ed. Petrus Christus in Renaissance Bruges: An Interdisciplinary Approach. Papers presented at a

symposium held at The Metropolitan Museum of Art, New York, June 10–12, 1994. New York:

The Metropolitan Museum of Art; Turnhout: Brepols, 1995.

“Orley, van: Valentin van Orley” and “Orley, van: Bernard van Orley.” In The Dictionary of Art,

edited by Jane Turner, vol. 23, pp. 523–28. London: Grove’s Dictionaries, 1996.

“Underdrawing.” In The Dictionary of Art, edited by Jane Turner, vol. 31, pp. 577–78. London:

Grove’s Dictionaries, 1996.

“The Virgin and Child in an Apse: Reconsidering a Campin Workshop Design.” In Robert

Campin: New Directions in Scholarship, edited by Susan Foister and Susie Nash, pp. 149–58.

Turnhout: Brepols, 1996.

“Old Assumptions Reconsidered through Revised Methodologies.” In Le dessin sous-jacent et la

technologie dans la peinture, colloque XI, 14–16 septembre 1995: Dessin sous-jacent et

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technologie de la peinture; perspectives, edited by Roger van Schoute and Hélène Verougstraete,

pp. 103–8. Louvain-la-Neuve: Collège Érasme, 1997.

“France: Fifteenth and Sixteenth Centuries.” Co-author, Charles Sterling. In Fifteenth- to

Eighteenth-Century European Paintings: France, Central Europe, the Netherlands, Spain, and

Great Britain, pp. 2–28, nos. 1–5. Vol. 2 of The Robert Lehman Collection, edited by Egbert

Haverkamp-Begemann. New York: The Metropolitan Museum of Art, 1998.

Gerard David: Purity of Vision in an Age of Transition. New York: The Metropolitan Museum

of Art, 1998. Winner of the C.I.N.O.A. (La Confédération Internationale des Négociants en

Oeuvres d’Art) Prize. Apollo Books of the Year, December 1999.

“The ‘Mocking of Christ’: A Hitherto Unknown Painting by Gerard David.” Städel Jahrbuch,

n.s., 16 (1997; pub. 1998), pp. 147–58.

“An Unfinished Landscape Painting Attributed to the Master LC and Sixteenth-Century

Workshop Practice.” In Herri met de Bles: Studies and Explorations of the World Landscape

Tradition, edited by Norman E. Muller, Betsy J. Rosasco, and James H. Marrow, pp. 117–27.

Paper presented at a symposium held at Princeton University, Princeton, N.J., October 13–14,

1995. Princeton, N.J.: Art Museum, Princeton University; Turnhout: Brepols, 1998.

“Some Theories about Paper and Parchment as Supports for Early Netherlandish Paintings.” In

La peinture dans les Pays-Bas au 16e siècle: Pratiques d’atelier; infrarouges et autres méthodes

d’investigation, edited by Hélène Verougstraete and Roger van Schoute, pp. 251–60.

Proceedings of the conference “Le dessin sous-jacent et la technologie dans la peinture,”

colloque XII, Bruges, September 11–13, 1997. Louvain: Peeters, 1999.

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Review of The Fifteenth Century Netherlandish Schools, by Lorne Campbell. Apollo 150

(November 1999), pp. 56–57.

“Caveat Emptor: An Early Twentieth-Century Workshop for Flemish Primitives.” Apollo 153

(June 2001), pp. 20–29.

“Commentary: An Integrated Approach.” In Early Netherlandish Painting at the Crossroads: A

Critical Look at Current Methodologies, edited by Maryan W. Ainsworth, pp. 106–21. Paper

presented at a symposium held at The Metropolitan Museum of Art, New York, November 7,

1998. New York: The Metropolitan Museum of Art, 2001.

Ed. Early Netherlandish Painting at the Crossroads: A Critical Look at Current Methodologies.

Papers presented at a symposium held at The Metropolitan Museum of Art, New York,

November 7, 1998. New York: The Metropolitan Museum of Art, 2001.

Review of From Schongauer to Holbein: Master Drawings from Basel and Berlin, by Christian

Müller et al. Master Drawings 39, no. 1 (Spring 2001), pp. 63–65.

“Was Simon Bening a Panel Painter?” In “Als Ich Can”: Liber Amicorum in Memory of

Professor Dr. Maurits Smeyers, edited by Bert Cardon, Jan Van der Stock, and Dominique

Vanwijnsberghe, [vol. 1], pp. 1–25. Corpus of Illuminated Manuscripts 11. Low Countries Series

8. Louvain: Peeters, 2002.

“‘Diverse patterns pertaining to the crafts of painters or illuminators’: Gerard David and the

Bening Workshop.” Master Drawings 41, no. 3 (Fall 2003), pp. 240–65.

“Revelations about Jan van Eyck’s Virgin and Child with Saints Donation and George and the

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Canon van der Paele.” In Jérôme Bosch et son entourage et autres études, edited by Hélène

Verougstraete and Roger van Schoute, pp. 273–85. Proceedings of the conference “Le dessin

sous-jacent et la technologie dans la peinture,” colloque XIV, Bruges and Rotterdam, September

13–15, 2001. Louvain: Peeters, 2003.

“What’s In a Name? The Question of Attribution in Early Netherlandish Painting.” In Recent

Developments in the Technical Examination of Early Netherlandish Painting: Methodology,

Limitations & Perspectives, edited by Molly Faries and Ron Spronk, pp. 135–47. Paper

presented at a symposium organized by the Harvard University Art Museums, Cambridge,

Mass., November 2, 1996. Cambridge, Mass.: Harvard University Art Museums; Turnhout:

Brepols, 2003.

Review of Early Netherlandish Drawings: From Jan van Eyck to Hieronymous Bosch, by Fritz

Koreny, Erwin Pokorny, and Georg Zeman. Master Drawings 41, no. 3 (Fall 2003), pp. 305–16.

Review of German Drawings before 1540: Central European Drawings in the Department of

Prints and Drawings, Statens Museum for Kunst, Copenhagen, by Mikael Bøgh Rasmussen.

Master Drawings 41, no. 4 (Winter 2003), pp. 397–98.

“From Connoisseurship to Technical Art History: The Evolution of the Interdisciplinary Study of

Art.” Conservation: The Getty Conservation Institute Newsletter 20, no. 1 (2005), pp. 4–10.

“Intentional Alterations of Early Netherlandish Paintings.” Metropolitan Museum Journal 40

(2005), pp. 51–65.

“Jan Gossaert’s Malvagna Triptych: A Study of Two Versions.” Co-author, Molly Faries. In La

peinture ancienne et ses procédés: Copies, répliques, pastiches, edited by Hélène Verougstraete

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and Jacqueline Couvert, pp. 138–49. Proceedings of the conference “Le dessin sous-jacent et la

technologie dans la peinture,” colloque XV, Bruges, September 11–13, 2003. Louvain: Peeters,

2006.

“Romanism as a Catalyst for Change in Bernard van Orley’s Workshop Practices.” In Making

and Marketing: Studies of the Painting Process in Fifteenth- and Sixteenth-Century

Netherlandish Workshops, edited by Molly Faries, pp. 99–118. Turnhout: Brepols, 2006.

“The Master of the Embroidered Foliage Group: A Brussels or Bruges Workshop?” In Le Maître

au Feuillage brodé: Démarches d’artistes et méthodes d’attribution d’oeuvres à un peintre

anonyme des anciens Pays-Bas du XVe siècle; colloque organisé par le Palais des Beaux-Arts de

Lille les 23 et 24 juin 2005 / The Master of the Embroidered Foliage: Artists’ Processes and

Attribution Methods to an Anonym[o]us Flemish Painter of the XVth Century; Symposium

Organised by le Palais des Beaux-Arts de Lille les 23 et 24 juin 2005, edited by Florence

Gombert and Didier Martens, pp. 151–63. [France]: Librairie des Musées, 2007.

“Text and Image: How St. Jerome Sees the Trinity.” Burlington Magazine 149 (February 2007),

pp. 95–96.

“Juan de Flandes: Chameleon Painter.” In Invention: Northern Renaissance Studies in Honor of

Molly Faries, edited by Julien Chapuis, pp. 105–23. Turnhout: Brepols, 2008.

“The Évora Altarpiece: A Preliminary Report.” Co-author, Catherine Metzger. In The Quest for

the Original, edited by Hélène Verougstraete and Colombe Janssens de Bisthoven, pp. 10–20.

Proceedings of the conference “Underdrawing and Technology in Painting,” symposium XVI,

Bruges, September 21–23, 2006. Louvain: Peeters, 2009.

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“Special Exhibitions and Panel Paintings: A Curatorial Perspective.” In Facing the Challenges of

Panel Paintings Conservation: Trends, Treatments, and Training; Proceedings from the

Symposium . . . Organized by the Getty Conservation Institute, the Getty Foundation, and the J.

Paul Getty Museum, the Getty Center, Los Angeles, May 17–18, 2009, edited by Alan Phenix

and Sue Ann Chui, pp. 178–89. Los Angeles: Getty Conservation Institute, 2011.

“La Sagrada Familia de Jan Gossart / The Holy Family by Jan Gossart.” Co-author, Ana

Sánchez-Lassa. Buletina / Boletín / Bulletin (Museo de Bellas Artes de Bilbao), no. 6 (2012), pp.

73–112.

Foreword to Jan Gossart: The Documentary Evidence, by Sytske Weidema and Anna Koopstra.

Turnhout: Harvey Miller, 2012.

German Paintings in The Metropolitan Museum of Art, 1350–1600. Co-author, Joshua

Waterman. New York: The Metropolitan Museum of Art, 2013.

The Metropolitan Museum of Art Collection online. Catalogue entries on fifteenth- and

sixteenth-century Netherlandish paintings in the museum’s collection; 2013–present.

http://www.metmuseum.org/art/collection.

Jan Gossart’s Trip to Rome and His Route to Paragone. Hofstede de Groot Lecture 3. The

Hague: Rijksbureau voor Kunsthistorische Documentatie, 2014.

“Judith with the Head of Holofernes: Jan Cornelisz Vermeyen’s Earliest Signed Painting.” Co-

author, Abbie Vandivere. Journal of Historians of Netherlandish Art 6, no. 2 (September 2014).

DOI: 10.5092/jhna.2014.6.2.2.

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Review of the exhibition “Michiel Coxie” at the M Museum, Louvain. Burlington Magazine 156

(March 2014), pp. 190–92.

Review of The Sixteenth Century Netherlandish Paintings with French Paintings before 1600,

by Lorne Campbell. Burlington Magazine 157 (February 2015), pp. 103–4.

“The Relationship between the Rotterdam Drawing and the New York Painting.” In An Eyckian

Crucifixion Explored: Ten Essays on a Drawing, edited by Albert J. Elen and Friso Lammertse,

pp. 116–33, 149–51. Rotterdam: Museum Boijmans Van Beuningen, 2016, pp. 116-33.

“Revelations Regarding the Crucifixion and Last Judgment by Jan van Eyck and Workshop.” In

Van Eyck Studies, edited by Christina Currie, Bart Fransen, Valentine Henderiks, Cyriel Stroo,

and Dominique Vanwijnsberghe. Proceedings of the conference “Underdrawing and Technology

in Painting,” symposium XVIII, Brussels, September 19–21, 2012. Louvain: Peeters. 2017, pp.

221-31.

Review of Jan Gossart and the Invention of Netherlandish Antiquity, by Marisa Anne Bass.

Burlington Magazine 159 (February 2017), pp. 135-36.

Ed. and contributor. Workshop Practice in Early Netherlandish Painting: Case Studies from Van

Eyck through Gossart. Turnhout: Brepols, 2017.

“Gerard David in Antwerp.” In Imagery and Ingenuity in Early Modern Europe: Essays in

Honor of Jeffrey Chipps Smith, edited by Catharine Ingersoll, Jessica Weiss, and Alisa M.

Carlson. Turnhout: Brepols. Forthcoming (2017).

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“Hugo van der Goes as a Portraitist.” In The Primacy of the Image in Northern European Art,

1400–1700: Essays in Honor of Larry Silver, edited by Debra Cashion. Leiden: Brill Publishers.

Forthcoming (2017).

“Jan Gossart’s Deesis: A Commission for Brou?” In Actes du colloque “Princesses et

Renaissance(s): La commande artistique de Marguerite d’Autriche et de son entourage,” edited

by Laurence Ciavaldini-Rivière and Magali Briat-Philippe. Proceedings of a conference held at

the Monastère Royal de Brou, Bourg-en-Bresse, February 27–28, 2015. Online Editions du

Patrimoine. Forthcoming (2017).

“The Middendorf Altarpiece.” To be published in the proceedings of the conference

“Underdrawing and Technology in Painting,” symposium XIX, Bruges, September 2014.

Forthcoming (2018).

“Memling’s Preliminary Working Stages: the Najera Panels in Context.” To be published in the

proceedings of the conference “Memling’s Christ Between Singing and Music-making Angels

Restored,” Antwerp, March 2017. Forthcoming (2019).

The Art of Discovery: Early Netherlandish Painting at The Metropolitan Museum of Art. New

York: The Metropolitan Museum of Art. In preparation.

UNDERGRADUATE AND GRADUATE COURSES

Barnard College, Columbia University, New York

Introduction to Connoisseurship

Early Netherlandish Painting at The Metropolitan Museum of Art

Columbia University, Graduate School of Art History

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Problems in Connoisseurship

Gerard David and Renaissance Bruges

Patronage and Art Markets for Early Netherlandish Painting

The Making and Marketing of Early Netherlandish Painting

Institute of Fine Arts, New York University

Curatorial Studies I and II

Princeton University

Northern Renaissance Paintings and Technical Art History

RESEARCH GRANTS AND AWARDS

Oberlin College, Oberlin, Ohio, Alumni Travel and Research Grant, 1972

Yale University, New Haven, Conn., Graduate Travel and Research Grant, 1974

Belgian American Educational Foundation Grant, 1976–77

Rowland Foundation Research Grant-in-Aid, 1977–87

N.E.A. Grant for Internship Program, 1988–89

J. Paul Getty Museum, Malibu, Calif., Guest Scholar, 1991

Getty Grant Program Interpretive Project Grant, 1993–94

College Art Association/National Institute for Conservation—Joint Award for Distinction in

Scholarship and Conservation, 1994

Finalist, Alfred H. Barr Jr. Award, College Art Association, for Petrus Christus: Renaissance

Master of Bruges, 1995

C.I.N.O.A. (La Confédération Internationale des Négociants en Oeuvres d’Art) Prize, for Gerard

David: Purity of Vision in an Age of Transition, 1998

Apollo Books of the Year, for Gerard David: Purity of Vision in an Age of Transition, 1999

Chevalier de l’Ordre de la Couronne, bestowed by King Albert II of Belgium, 2001

Dresden State Art Collections / The Metropolitan Museum of Art Staff Exchange Program,

Summer 2005

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Joseph S. and Ethel B. Atha Lecturer, Nelson-Atkins Museum of Art, Kansas City, Missouri,

September 27–28, 2005

State Hermitage Museum / The Metropolitan Museum of Art Staff Exchange Program, Summer

2007

Knight of the Order of Léopold, bestowed by King Albert II of Belgium, 2011

Alfred H. Barr Jr. Award, College Art Association, for Man, Myth, and Sensual Pleasures: Jan

Gossart’s Renaissance—The Complete Works, 2010

Cynthia Hazen Polsky / Metropolitan Museum of Art Visiting Curator, American Academy in

Rome, 2013–14

Hofstede de Groot Lecture, Rijksbureau voor Kunsthistorische Documentatie, The Hague,

Spring 2014

Staatliche Museen zu Berlin / The Metropolitan Museum of Art Staff Exchange Program, Spring

2016

Robert Janson-La Palme *76 Visiting Professorship, Princeton University, Fall 2017

PROFESSIONAL AFFILIATIONS

American Association for Netherlandish Studies, member, 1990–98

International Council of Museums, Committee for Conservation, member of the subcommittee

New Applications of Methods of Examination, 1994–present

Historians of Netherlandish Art, Board of Directors, 1997–2000

Brepols, Turnhout, Series Editor, “Ars Nova” and “Me Fecit,” 1997–present

National Gallery of Art, Washington, D.C., CASVA Grant Committee, 1999–2005

Belgian-American Educational Foundation, Board of Directors, 1999–present

College Art Association, Publications Awards Committee, CAA/NIC Award Committee, and

session chair and speaker, 2002–4, 2014, 2017

Renaissance Society of America, member, 2004–present

Allen Memorial Art Museum, Oberlin College, Ohio, Visiting Committee, 2007–present

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Simiolus, Editorial Board, 2010–present

INTERNATIONAL ADVISORY COMMITTEES

Bosch Research and Conservation Project, Den Bosch, 2012–16

Ghent Altarpiece, cleaning and restoration project, Royal Institute for Cultural Heritage (KIK-

IRPA), Brussels, 2014–present

Lamentation by Rogier van der Weyden, Mauritshuis, The Hague, cleaning and restoration

project, 2016–17

Bernaert van Orley, Palais des Beaux-Arts, Brussels, 2016–19

LANGUAGES

Dutch, French, German