Document 6568568

Dept. of History of Art, University of Oxford
October 2014
Geraldine A. Johnson: Publications
Note: some publications can be downloaded from: http://oxford.academia.edu/GeraldineJohnson
Books
A Very Short Introduction to Renaissance Art (Oxford University Press, 2005; translated into
Chinese, Greek, Turkish and Thai; rev. ed. published as Renaissance Art: A Brief Insight by
Sterling Publishing/Barnes & Noble, 2010).
Reza Aramesh: ‘Them Who Dwell on the Earth’ (Exhibition catalogue: Mottahedan
Projects/Canvas Magazine, 2011).
The Sound of Marble: The Materiality and Immateriality of Italian Renaissance Art (Cambridge
University Press): forthcoming.
Photography and Sculpture: book in progress.
De-Facing the Portrait: The Early Modern Body in Parts: future project (co-authored with Tatiana
C. String).
Art History’s Images: future project.
Edited Volumes
Picturing Women in Renaissance and Baroque Italy, (Cambridge University Press, 1997): co-edited
with Sara Matthews Grieco. [Awarded Best Edited Book Prize from the Society for the Study of
Early Modern Women.]
Sculpture and Photography: Envisioning the Third Dimension, (Cambridge University Press,
1998): editor.
Crossing Continents: Exile and Expatriate Histories of Art: edited volume in progress.
Articles, Chapters and Catalogue Essays
“Pictures fit for a Queen: Peter Paul Rubens and the Marie de’ Medici Cycle,” Art History, vol. 16
(1993): 447-69. [Republished in Reclaiming Female Agency: Feminist Art History in the
Postmodern Era, ed. N.Broude and M.Garrard, (University of California Press, 2005), pp. 100-19.]
“Activating the Effigy: Donatello’s Pecci Tomb in Siena Cathedral,” The Art Bulletin, vol. 77
(1995): 445-59. [Republished in Memory and the Medieval Tomb, ed. E. Valdez del Alamo and
C. Stamatis Pendergast, (Ashgate, 2000), pp. 99-127.]
‘The Very Impress of the Object’: Photographing Sculpture from Fox Talbot to the Present Day,
Catalogue and essay (University College London and the Leeds City Art Gallery, 1995).
Geraldine A. Johnson: Publications - page 2
Catalogue essay on photographing Etruscan sculpture in Marco Delogu: Ritratti Etruschi,
(Millelira Stampa Alternativa, Rome, 1996).
“Art or Artefact? Madonna and Child Reliefs in the Early Renaissance,” in The Sculpted Object
1400-1700, ed. S. Currie and P. Motture, (Scolar Press/Ashgate, 1997), pp. 1-24.
“The original placement of Donatello’s bronze Crucifix in the Santo in Padua,” The Burlington
Magazine, vol. 139 (1997): 860-62.
“Imagining Images of Powerful Women: Maria de’ Medici’s Patronage of Art and Architecture,”
in Women and Art in Early Modern Europe: Patrons, Collectors and Connoisseurs, ed. C.
Lawrence, (Penn State Press, 1997), pp. 126-53.
“Approaching the Altar: Donatello’s Sculpture in the Santo,” Renaissance Quarterly, vol. 52
(1999): 624-66. [Awarded Nelson Prize for Best Article of the Year by the Renaissance Society
of America]
“Marie de Médicis: mariée, mère, méduse,” in ‘Royaume de fémynie’: Pouvoirs, contraintes,
espaces de liberté des femmes, de la Renaissance à la Fronde, ed. K. Wilson-Chevalier and E.
Viennot, (Honoré Champion, 1999), pp. 103-20.
“Family Values: Sculpture and the Family in Fifteenth-Century Florence,” in Art, Memory and
Family in Early Renaissance Florence, ed. G. Ciappelli and P. Rubin (Cambridge University
Press, 2000): pp. 215-33.
“The Lion on the Piazza: Patrician Politics and Public Statuary in Central Florence,” in Secular
Sculpture, 1300-1550, ed. T. Frangenberg and P. Linley, (Shaun Tyas Press, 2000), pp. 55-73.
“Beautiful Brides and Model Mothers: The Devotional and Talismanic Functions of Early
Modern Marian Reliefs,” in The Material Culture of Sex, Procreation and Marriage in PreModern Europe, ed. A.L. McClanan and K.R. Encarnación, (Palgrave Press, 2002), pp. 135-61.
“Michelangelo, Canon Formation and Fortune Telling in Fanti’s Triompho di Fortuna,” in
Coming About: A Festschrift for John Shearman, ed. L. Jones and L. Matthew, (Harvard
University Art Museums, 2002), pp. 199-205.
“Touch, Tactility and the Reception of Sculpture in Early Modern Italy,” in A Companion to Art
Theory, ed. P. Smith and C. Wilde, (Blackwell Publishers, 2002), pp. 61-74.
“‘An Almost Immaterial Substance’: Photography and the Dematerialisation of Sculpture,” in
Immaterial: Brancusi, Gabo, Moholy-Nagy, ed. S. Barassi and M. Harrison (Kettle’s Yard,
Cambridge University, and Southampton City Art Gallery, 2004), pp. 70-87.
“‘All concrete shapes dissolve in light’: Photographing Sculpture from Rodin to Brancusi,” The
Sculpture Journal, vol. 15.2 (2006): 199-222.
“The Art of Touch in Early Modern Italy,” in Art and the Senses, ed. F. Bacci and D. Melcher,
(Oxford University Press, 2011; second ed. 2013), pp. 59-84.
Geraldine A. Johnson: Publications - page 3
“Using the Photographic Archive: On the Life (and Death) of Images,” in Photo Archives and the
Photographic Memory of Art History, ed. C. Caraffa (Deutscher Kunstverlag, 2011), pp. 145-56.
“In the Hand of the Beholder: Isabella d’Este and the Sensual Allure of Sculpture,” in Sense and
the Senses in Early Modern Art and Cultural Practice ed. A. Sanger and S.T. Kulbrandstad
Walker (Ashgate Press, 2012), pp. 183-97.
“(Un)richtige Aufnahme: Sculpture, Photography and the Visual Historiography of Art History,”
Art History, vol. 36 (2013): 12-51.
“Heinrich Wölfflin: ‘How One Should Photograph Sculpture,’” translation of Wölfflin’s articles
of 1896-97 and 1915 in Art History, vol. 36 (2013): 52-71.
“Beyond the Visual: The Multi-Sensory Reception and Display of Renaissance Sculpture,” in
The Challenge of the Object/Die Herausforderung des Objekts (Proceedings of 2012 CIHA
Congress), ed. G.U. Großmann and P. Krutisch (Germanisches National Museum, 2014), pp.
348-51.
“A Taxonomy of Touch: Tactile Encounters in Renaissance Italy,” in Sculpture and Touch, ed.
P. Dent (Ashgate Press, 2014), pp. 91-106.
“Sensing Devotion: Donatello’s Crucifix in S. Croce and the Embodied Devotee”: article
currently under review.
“‘In consequence of their whiteness’: Photographing Marble Sculpture from Talbot to Today,” in
Radical Marble, ed. W. Tronzo and N. Napoli: essay in progress.
“Re-Reading the ‘Reading Establishment’: Talbot, Henneman and the Early Photography of
Art”: article in progress.
“Weighing the Evidence: Why Heaviness Matters in the Study of Sculpture”: future project.
Book and Exhibition Reviews
Exhibition review of i Della Robbia e l’‘arte nuova’ della scultura invetriata in Renaissance
Studies, vol. 13, (1999): pp. 486-94.
Book review of Looking at Italian Renaissance Sculpture edited by Sarah Blake McHam in The
Burlington Magazine, vol. 141 (1999): p. 117.
Review of recent publications on Italian Renaissance sculpture by Mary Bergstein, Andrew
Butterfield, Thomas Martin and Debra Pincus in The Art Bulletin, vol. 84 (2002), pp. 526-28.
Book review of Michelangelo and the Reform of Art by Alexander Nagel in The Journal of
Ecclesiastical History, vol. 53 (2002), p. 365.
Book review of Lavinia Fontana: A Painter and her Patrons in Sixteenth-Century Bologna by
Caroline Murphy in The Burlington Magazine, vol. 145 (2003): pp. 862-63.
Geraldine A. Johnson: Publications - page 4
Book review of Attalos, Athens, and the Akropolis: The Pergamene “Little Barbarians” and
their Roman and Renaissance Legacy by Andrew Stewart in The Times Literary Supplement,
no. 5363 (January 13, 2006), p. 9.
Exhibition catalogue review of Italian Women Artists from Renaissance to Baroque in The
Burlington Magazine, vol. 150 (2008): 197-8.
Exhibition review of Sculpture and Touch (Courtauld Institute Library) in The Sculpture Journal
vol. 18 (2009): 268-69.
Review of special issue of History of Photography (Nov. 2013): The Sculptural Photograph in
the Nineteenth Century, ed. Patrizia Di Bello, in The Sculpture Journal: review in progress.