2011 Annual Report - National Gallery of Art

Ruth Fine, “Prelude: To Paint Disorder
under a Big Order,” in John Marin’s
Watercolors: A Medium for Modernism,
by Martha Tedeschi and Kristi Dahm
(New Haven and London: Yale
University Press in association with
The Art Institute of Chicago).
>———, “Wonders without End: Look
Closely,” in The Allure of Paper:
Watercolors and Drawings from the Amon
Carter Museum of American Art, by
Jane Myers (Fort Worth: The Amon
Carter Museum of American Art).
>———, preface to Romare Bearden:
Southern Recollections (London: D.
Giles, Ltd. in association with the Mint
Museum of Art, Charlotte, NC).
>E. Melanie Gifford, “Material As
Metaphor: Non-Conscious Thinking in
Seventeenth-Century Painting
Practice,” in Studying Old Master
Paintings—Technology and Practice, ed.
Marika Spring (London: Archetype
Press in association with The National
Gallery of Art, London, 2011), 165–172.
>———, “Fine Painting and Eloquent
Imprecision: Gabriel Metsu’s Painting
Technique,” in Gabriel Metsu, ed.
Adriaan E. Waiboer (Dublin, 2010),
154–179.
>Sarah Greenough, My Faraway One:
Selected Letters of Georgia O’Keeffe and
Alfred Stieglitz, Volume One, 1915–
1933 (New Haven: Yale University Press
in association with Beinecke Rare Book
and Manuscript Library, 2011).
>———, “Toccare il centro: il rapporto
tra Georgia O’Keeffe e Alfred
Stieglitz,” in Georgia O’Keeffe (Rome:
Fondazione Roma and Skira, 2011),
22–33.
>Ksenya Gurshtein, “When Film and
Author Made Love: Reconsidering
OHO’s Film Legacy,” Kino! 11–12
(2010).
>———, “Komar i Melamid:
tvorcheskiy soyuz vne i posle Soyuza
(Komar and Melamid: the artistic
union outside and after the Soviet
Union),” in Russian Art Abroad: Second
Half of the 20th–early 21st century
(Moscow: National Center for
Contemporary Art, 2010).
>John Hand, catalogue entry in Van
Eyck to Dürer. Early Netherlandish
Painting & Central Europe 1430–1530
(Bruges: Groeningemuseum, 2011),
407–408.
>———, “Der Künstler und seine
Kundschaft. Die Altarretabel Joos van
Cleves und ihr Handel in Europe,” in
Leonardo des Nordens—Joos vann Cleve
(Aachen: Suermondt-Ludwig Museum,
2011).
>John Hand and Micha Leeflang, “Das
Leben Joos van Cleves. Warum er in
Vergessenheit geriet und wie er
wiederentdeckt wurde,” in Leonardo
des Nordens—Joos vann Cleve (Aachen:
Suermondt-Ludwig Museum, 2011).
NATIONAL GALLERY OF ART 85
>Lindsay Harris, “A New Kind of Ruin:
Postwar Sicily through the Camera
Lens,” in Milton Gendel: A Surreal Life
(Rome: Museo Carlo Bilotti, 2011).
>Arlen Heginbotham, Aniko Bezur,
Michel Bouchard, Jeffrey M. Davis,
Katherine Eremin, James H. Frantz,
Lisha Glinsman, Lee-Ann Hayek,
Duncan Hook, Vicky Kantarelou,
Andreas Germanos Karydas, Lynn Lee,
Jennifer Mass, Catherine Matsen,
Blythe McCarthy, Molly McGath, Aaron
Shugar, Jane Sirois, Dylan Smith, and
Robert J. Speakman, “An Evaluation
of Inter-Laboratory Reproducibility for
Quantitative XRF of Historic Copper
Alloys,” in Metal 2010: proceedings of the
interim meeting of the ICOM-CC Metal
Working Group, October 11–15,
Charleston, SC (Clemson University,
2011).
>Jennifer Henel, four catalogue entries
in Human Connections in the Age of
Vermeer, by Arthur K. Wheelock Jr.
(London: Scala Publishers, 2011).
>Ann Hoenigswald, “Manipulating Paint:
The Shorthand of Plein Air Technique,”
in Studying Nature: Oil Sketches (New
York: The Morgan Library, 2011).
>Henriette de Bruyn Kops, eight
catalogue entries in Human
Connections in the Age of Vermeer, by
Arthur K. Wheelock Jr. (London: Scala
Publishers, 2011).
>Alexandra Libby, five catalogue entries
in Human Connections in the Age of
Vermeer, by Arthur K. Wheelock Jr.
(London: Scala Publishers, 2011).
>Eleonora Luciano, eleven catalogue
entries in The Renaissance Portrait from
Donatello to Bellini, ed. Keith
Christiansen and Stefan Weppelmann
(New Haven: Yale University Press,
2011). Also published as Gesichter der
Renaissance. Mesiterwerke der italienischen
Portait-Kunst (Munich, 2011).
>Christopher A. Maines, Dawn Rogala,
Susan Lake, and Marion Mecklenburg,
“Deterioration in Abstract Expressionist
Paintings: Analysis of Zinc Oxide Paint
Layers in Works from the Collection of
the Hirshhorn Museum and Sculpture
Garden, Smithsonian Institution,” in
Materials Issues in Art and Archaeology
IX, vol. 1319, ed. Pamela B. Vandiver,
Chandra L. Reedy, Weidong Li, and
Jose Luis Ruvalcaba-Sil (Boston:
Materials Research Society, 2011).
>Louisa C. Matthew and Barbara H.
Berrie, “Memoria de colori che
bisognino torre a Vinetia” (Venice as a
centre for the purchase of painters’
colours), in Trade in Artists’ Materials:
Markets and Commerce in Europe to
1700, ed. Jo Kirby, Susan Nash, and
Joanna Cannon (London: Archetype
Publications, 2010).
>Neal McCabe and Constance McCabe,
The Big Show: Charles M. Conlon’s
Golden Age Baseball Photographs (New
York: Harry N. Abrams, 2011).
>Catherine A. Metzger, Christopher A.
Maines, and Joanna Dunn, ed.,
Inpainting, vol. 3 of Paintings Conservation
Catalog (Washington, DC: American
Institute for Conservation, 2011).
>James Meyer, “Focus: Glenn Ligon,
Whitney Museum of American Art,”
Artforum (June 2011).
>———, “Focus: Francis Alÿs, Tate
Modern,” Artforum (November 2010).
>Debra Pincus, “The Humanist and the
Poet: Bernardo Bembo’s Portrait of
Dante,” in Patronage and Italian
Renaissance Sculpture, ed. David J.
Drogin and Kathleen Wren Christian
(Farnham, Surrey, England and
Burlington, VT: Ashgate Publishing
Limited, 2010), 61–94.
>———, “Venice and Its Doge in the
Grand Design: Andrea Dandolo and
the Fourteenth-Century Mosaics of
the Baptistery,” in San Marco,
Byzantium, and the Myths of Venice, ed.
Henry Maguire and Robert S. Nelson
(Dumbarton Oaks Research Library
and Collection, 2010).
>R. Ploeger, O. Chiantore, D.
Scalarone, and T. Poli, “Mid-infrared
Fiber Optic Reflection Spectroscopy
Analysis of Artists’ Alkyd Paints on
Different Supports,” Applied
Spectroscopy 65 (2011): 429–435.
>Rachel Pollack, seven catalogue
entries in Human Connections in the
Age of Vermeer, by Arthur K. Wheelock
Jr. (London: Scala Publishers, 2011).
>Paola Ricciardi and John K. Delaney,
“New Trends in the Study of Medieval
Illuminated Manuscripts: Combining
Visible and Infrared Imaging
Spectroscopy with Site Specific,
In-Situ Techniques for Material
Identification and Mapping,” Revista
de História da Arte (2011): 255–263.
>Mervin Richard, “Further Studies on
the Benefit of Adding Silica Gel to
Microclimate Packages for Panel
Paintings,” in Facing the Challenges of
Panel Paintings Conservation: Trends,
Treatments, and Training: Proceedings of a
Symposium at the Getty Center, May
17–18, 2009, ed. Alan Phenix and Sue
Ann Chui (Los Angeles: The Getty
Conservation Institute, 2011).
>Andrew Robison, “Rembrandt’s Light
in His Religious Etchings,” The Oxford
Theologian, Issue 2 (Spring 2011):
16–18.
>Dawn Rogala, Susan Lake,
Christopher A. Maines, and Marion
Mecklenburg, “Condition Issues in
Abstract Expressionist Ground Layers:
Analysis of Paintings from the
Collection of the Hirshhorn Museum
and Sculpture Garden,” Journal of the
American Institute for Conservation 49,
no. 2 (2010): 96–113.
>Anne Simmons, “Maintenance
Recommendations for Artist Files,” in
Artists’ Files Revealed: Documentation
and Access, ed. ARLIS/NA Artist Files
Working Group (Art Libraries Society
of America, 2010), 12–19, http://www.
arlisna.org/pubs/onlinepubs/artist_
files_revealed.pdf.
>———, review of Styles, Schools and
Movements: the Essential Encyclopedic
Guide to Modern Art, by Amy
Dempsey, Choice (August 2010).
>———, review of Historical Dictionary
of Surrealism, by Keith Aspley, Choice
(April 2011).
>Lionel Simonot, Mathieu Thoury, and
John Delaney, “Extension of the
Kubelka-Munk Theory for Fluorescent
Turbid Media to a Non-Opaque Layer
on a Background,” Journal of the
Optical Society of America 28, no. 7,
(2011): 1349–1357.
>Dylan Smith, “The Application of
Alloy Analysis to Questions of
Attribution: Giovanni Francesco
Susini and the Workshop of
Giambologna,” in Metal 2010:
proceedings of the interim meeting of
the ICOM-CC Metal Working Group,
October 11–15, Charleston, SC
(Clemson University, 2011).
>Shelley Sturman, review of The
Craftsman Revealed: Adriaen de Vries,
Sculptor in Bronze, by Jane Bassett,
Peggy Fogelman, David A. Scott, and
Ronald C. Schmidtling, Studies in
Conservation 55 (2010).
>D. Dodge Thompson, “Nelson
Shanks: A Personal View,”
introduction to The State Russian
Museum Presents: Nelson Shanks (Saint
Petersburg, Russia: Palace Editions,
State Russian Museum, 2011), 11–13.
>Mathieu Thoury, John K. Delaney, E.
René de la Rie, Michael Palmer,
Kathryn Morales, and Jay Krueger,
“Near Infrared Luminescence of
Cadmium Pigments: In-Situ
Identification and Mapping in
Paintings,” Applied Spectroscopy 65
(2011): 939–951.
>Mathieu Thoury, Jean-Philippe
Echard, Matthieu Réfrégiers, Barbara
H. Berrie, Austin Nevin, Frédéric
Jamme, and Loïc Bertrand,
“Synchrotron UV-Visible Multispectral
Luminescence Microimaging of
Historical Samples,” Analytical
Chemistry (2011).
>Arthur K. Wheelock Jr., Human
Connections in the Age of Vermeer
(London: Scala Publishers, 2011).
>Nancy H. Yeide, “Not a Moment
Too Soon: A New Research Tool
Untangles ERR Records,” International
Foundation for Art Research Journal 12,
no. 2 (Fall 2011): 22–26.