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Lindsay Harris, “Photography of the
‘Primitive’ in Italy: Perceptions of the
Peasantry at the Turn of the Twentieth
Century,” Journal of Modern Italian
Studies 17, no. 3 (2012): 310–330.
>Jennifer Henel, two entries in Vermeer.
Il secolo d’oro dell’arte olandese (Milan:
Skira, 2012).
>Henriette de Bruyn Kops, six entries
in Vermeer. Il secolo d’oro dell’arte olandese
(Milan: Skira, 2012).
>Molli Kuenstner, “Citizens of the
Republic: Portraits from the Dutch
Golden Age,” Washington, DC,
Maryland, and Virginia Chapter of
the Art Libraries Society of North
America, http://arlisdmv.org/2012/07/
citizens-of-the-republic.
>Roger Lawson, review of Carrère and
Hastings: The Masterworks, by Laurie
Ossman and Heather Ewing, ARLIS/
NA Reviews, http://www.arlisna.org/
pubs/reviews/2012/03/ossman.pdf.
>Alexandra Libby, five entries in
Vermeer. Il secolo d’oro dell’arte olandese
(Milan: Skira, 2012).
>Suzanne Quillen Lomax, Beth A. Price,
Ryan Grieb, Charles Davis, Boris
Pretzel, and Marcello Picollo, “Raman
Revealed: A Shared Internet Resource
for the Cultural Heritage Community,”
Paintings Specialty Group Postprints
23 (Philadelphia: American Institute for
Conservation, 2011).
>Alison Luchs, “‘Così si specchi’:
Speculations on Medici Patronage
and Purposes for Desiderio’s Louvre
Tondo,” in Desiderio da Settignano:
convegno 9–11 maggio 2007, eds.
Beatrice Paolozzi Strozzi, Joseph
Connors, Alessandro Nova, and
Gerhard Wolf (Venice, 2011), 1–16.
>———, “The Renaissance Portrait from
Donatello to Bellini: Objects and
Installation in the Bode Museum and
the Metropolitan Museum of Art,”
Newsletter of the Italian Art Society 24,
no. 1 (Winter 2012): 2–4.
>Eleonora Luciano, “A More ‘Modern’
Ghiberti: The Saint Matthew for
Orsanmichele,” in Orsanmichele and
the History and Preservation of the Civic
Monument, ed. Carl B. Strehlke
(Washington: National Gallery of Art,
Center for Advanced Study in the
Visual Arts, 2012): 214–242.
>Christopher McGlinchey, Rebecca
Ploeger, Annalisa Colombo, Ricardo
Simonutti, Michael R. Palmer, Oscar
Chiantore, Robert Proctor, Bertrand
Lavédrine, and E. René de la Rie,
“Lining and Consolidating Adhesives:
Some New Developments and Areas
of Future Research,” in Symposium
2011 Adhesives and Consolidants for
Conservation: Research and applications,
October 17–21, 2011 (Ottawa:
Canadian Conservation Institute,
2011), 1–20.
>James Meyer, “The Painting Factory:
A Roundtable Discussion,” in The
Painting Factory, ed. Jeffrey Deitch (Los
Angeles: Museum of Contemporary
Art, 2012).
>———, “Anthropomorphism:
Notes from the Field,” Art Bulletin
(March 2012).
>Thomas O’Callaghan, “The Solemnity
of Shadows: Juan Laurent’s Vision
of Spain,” Washington, DC, Maryland,
and Virginia Chapter of the Art
Libraries Society of North America,
http://arlisdmv.org/2012/01/thesolemnity-of-shadows.
>Therese O’Malley, “Mildred Barnes
Bliss’s Garden Library at Dumbarton
Oaks,” in A Home of the Humanities:
The Collecting and Patronage of Mildred
and Robert Woods Bliss, ed. James N.
Carder (Washington: Dumbarton Oaks,
Trustees for Harvard University, 2010),
139–165.
>———, “Cultivated Lives, Cultivated
Spaces: The Scientific Garden in
Philadelphia, 1740–1840,” in Knowing
Nature: Art and Science in Philadelphia,
1740–1840, ed. Amy R. W. Meyers
(New Haven and London: Yale
University Press, 2011), 36–59.
>Lorenzo Pericolo, Caravaggio and
Pictorial Narrative: Dislocating the Istoria
in Early Modern Painting (London:
Harvey Miller, 2011).
>Thomas Primeau and Kimberly
Schenck, “Matisse’s Drawings and
Prints: Materials and Techniques,”
in Matisse Drawing Life (South
Brisbane: Queensland Art Gallery/
Gallery of Modern Art, 2011).
>Paola Ricciardi, John K. Delaney,
Michelle Facini, Jason G. Zeibel,
Marcello Picollo, Suzanne Quillen
Lomax, and Murray H. Loew, “Near
Infrared Reflectance Imaging
Spectroscopy to Map Paint Binders
In Situ on Illuminated Manuscripts,”
Angewandte Chemie International Edition
51, no. 23 (2012): 5607–5610.
>Paola Ricciardi, Michelle Facini,
and John K. Delaney, “Painting and
Illumination in Early Renaissance
Florence: the Techniques of Lorenzo
Monaco and His Workshop,” in The
Renaissance Workshop: The Materials
and Techniques of Renaissance Art.
10–11 May 2012 (London: British
Museum, 2012).
>Andrew Robison, “Marco Ricci:
Fortifications Overlooking a Broad
River Landscape,” in Drawn to
Excellence: Renaissance to Romantic
Drawings from a Private Collection
(Northampton, Mass.: Smith College
Museum of Art, 2012).
>Guendalina Serafinelli, “La decorazione
pittorica di Giacinto Brandi nella cripta
del duomo di Sant’Erasmo in Gaeta,”
Arte/Documento 27 (2011): 132–141.
>———, “Giacinto Brandi, San Pietro,”
in Opere d’arte dalle Collezioni di Ascoli
Piceno. La Pinacoteca Civica e il Museo
Diocesano: scoperte, ricerche e nuove
proposte, ed. Stefano Papetti (Rome,
2012), 174–175, 359.
>———, “Giovanni Baglione, Il Sogno
di San Giuseppe,” in Roma al Tempo di
Caravaggio: 1600–1630, ed. Rossella
Vodret (Rome, 2011), 30–31.
NATIONAL GALLERY OF ART
>———, “La decorazione secentesca
degli altari nella Collegiata di
Valmontone: nuovi documenti su A.
Pozzo, C. Ferri, P. Lucatelli, G. Brandi,
A. Scilla a G. A. Carlone,” Rivista d’Arte
2 (2012): 497–518.
>Anne Simmons, review of Defining
Contemporary Art: 25 Years in 200
Pivotal Artworks, by Daniel Birnbaum et
al., Choice: Current Reviews for Academic
Libraries 50, no. 3 (November 2012).
>———, review of Art in the Streets,
organized by Jeffrey Deitch with Roger
Gastman and Aaron Rose, Choice:
Current Reviews for Academic Libraries
49, no. 10 (June 2012).
>———, review of Graffiti and Street Art,
by Anna Waclawek, Choice: Current
Reviews for Academic Libraries 49, no. 7
(March 2012).
>Shelley Sturman and Daphne Barbour,
“Degas as Sculptor,” in Degas’s Dancers
at the Barre: Point and Counterpoint,
(Washington: The Phillips Collection,
2011), 57–70.
>Helen Tangires, “Lessons from Europe:
Public Market Reform in the United
States during the Progressive Era,
1894–1922,” in Fer ciutat a través dels
mercats Europa, segles XIX i XX, eds.
Manuel Guàrdia and José Luis Oyón
(Barcelona: Museu d’historia de
Barcelona and Ajuntament de
Barcelona, Institut de Cultura, 2010),
435–468.
>———, “Provisioning Everyday Meals:
Wholesale Produce Markets and
the Ethics of Food Distribution,” in
Time for Food: Everyday Food and
Changing Meal Habits in a Global
Perspective, ed. Patricia Lysaght, 18th
Conference of the International
Commission For Ethnological Food
Research (Åbo: Åbo Akademi
University Press, 2012), 305–318.
>M. von der Goltz, R. Proctor, J. Whitten,
L. Mayer, G. Myers, Ann Hoenigswald,
and Michael Swicklik, “Varnishing
as a Part of the Conservation of Easel
Paintings,” in Conservation of Easel
Paintings (London: Routledge, 2012).
>Arthur K. Wheelock Jr., Vermeer. Il secolo
d’oro dell’arte olandese (Milan: Skira, 2012).
>———, “An Art Historian’s Journey
and Rembrandt’s forgotten Portrait of
a Bearded Old Man wearing a Beret
revisited,” in Een Kroniek voor Jeroen
Giltaij, eds. Jaap van der Veen and Friso
Lammertse (Nijmegen: The Rembrandt
House Museum, 2012), 13–20.
>Arthur K. Wheelock Jr. and Walter
Liedtke, entry in Vermeer. Il secolo d’oro
dell’arte olandese (Milan: Skira, 2012).
>Nancy H. Yeide, “The Spirit of France:
The 1940–1946 exhibition of French
art in the United States,” Burlington
Magazine 154, no. 1313 (August 2012):
564–569.
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