Department of Art History

A New Medievalist Joins the FacultyInside:

HenryDrewalWinsTeachingAwardpage 5

JamesDennisRetirespage 6

Endowmentsfor GraduateStudypage 7

In Memoriam:JamesWatrouspage 8

LibraryDirector,WilliamBunceRetirespage 10

What’sHappeningThis Year

page 16

Professor Thomas E. A. Dale

Fall 1999

his autumn, Thomas E. A. Dale joins the Department as its new Assistant Professor inMedieval Art. Professor Dale earned his B.A. fromTrinity College at the University of Toronto, OntarioCanada and his M.A. and Ph.D. from the Johns

Romanesque body represented public models for so-cial behavior parallel to those promoted by contempo-rary treatises concerned with the ways in which thephysical body, its movements and gestures both re-flected and imposed virtue upon the soul. By focusing

Elvehjem Museum of Art, University of Wisconsin - Madison

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both nationally and internationally, has served as adju-dicator for several major fellowships, has organized twomajor conferences of international scope, and has co-edited a volume of essays in honor of Otto Demus, theleading specialist in Romanesque Italian painting andmosaics. Tom Dale will be accompanied by his wife, MariaFrancesca P. Saffiotti, who is completing her Ph.D. inArt History with a dissertation topic on sixteenth-cen-tury Italian manuscript illuminations commissioned byPope Paul III for the Sistine Chapel. She is workingunder the direction of one of the world’s leading expertsin manuscript illuminations, Jonathan J.G. Alexander ofNew York University’s Institute of Fine Arts. None of the above begins to capture the delightfulpersonalities and dedication of these two people whowill bring rich, new dimensions to the Department. Weare very pleased they have agreed to come to the Uni-versity of Wisconsin-Madison.

on selected case studies, he exploresthe meaning of the body as a site forpolitical and theological discourseswithin five different contexts the bodyof Christ as devotional model thefunerary portrait as ideal institutionalmatrix or glorified body anticipating theresurrection; the naked female bodyas site for the anticipation of vice; andthe monstrous and deformed bodiesas representations of spiritual defor-mity and demonic possession in thecollective religious imagination. Professor Dale has read numer-ous papers at professional meetings

jects of his research have been drawn bothfromthe arts for the ecclesiastical elites, such asmonumental painting, mosaics and sculpture, andfrom material culture represented by textiles andamulets. His first book, Relics, Prayer and Poli-tics in Medieval Venetia (Princeton, 1997) exam-ines four distinct functions of a rich program oflate twelfth-century, Romanesque frescoes in theburial crypt of Aquileia Cathedral. While at the Institute for Advanced Study atPrinceton last year, Professor Dale began work ona new, more synthetic study, “The RomanesqueBody: Form and Meaning in Twelfth-Century Art.”In this project he examines the cultural meaningsascribed to the physical body, its appearance,movement, gestures and functions in life and deathas envisaged in the visual arts of the Romanesque.Rather than imposing the modernist’s language of

Hopkins University in Balti-more, Maryland. Most imme-diately he comes to us fromColumbia University, wherehe has been teaching a widerange of courses includingEarly Christian art, Byzantineart and architecture, EarlyMedieval, Romanesque andGothic art. His research and publica-tions emphasize the powerof images to shape politics,theological ideas, and reli-gious experience. The ob-

NOTE FROM THE CHAIR, Gail L. Geiger

This splendid year for the Department has been cappedby the arrival of our new medievalist, Professor ThomasE.A. Dale, by a new director of the Kohler Art Library,Lynette Korenic, and by permission to search for a newfaculty member in 19th c. French art. We also have received very generous support for a newgraduate fellowship from the Chipstone Foundation for thestudy of American Decorative Arts and support for a gradu-ate student award from Douglas Schewe. Both gifts willgreatly implement much needed financial support for gradu-ate student studies in the History of Art. We have had, also, a major loss late this spring with thedeath of Jim Watrous, who carried on Oskar Hagen’s dreamsfor the Department. Professor Watrous raised the funds tobuild the Elvehjem Museum, opened many new venues forthe arts in Wisconsin, and remained a force even in hisretirement. Professor Hutchison’s essay (see page 8) cap-tures much of why he was so special. The faculty has been involved in many innovative schol-arly endeavors, as a perusal of the Newsletter will indicate.We also have invited a number of scholars to campus.While Barbara C. Buenger remained on leave, we invitedseveral who focused on her area of specialization: Profes-sor Buenger persuaded Professor Hannes Böhringer to jointhe Department for a five week seminar, and two UniversityLecturers this year spoke on European or specifically Ger-man subjects from the 1920s and 1930s. On behalf of ArtHistory and East Asian Studies, Professor Julia Murraybrought four notable Asian specialists to campus for lec-tures. The staff has been invaluable, as always. ThomasGombar, our Curator of Visual Resources, has continued tobe the Department’s mainstay: besides his basic curato-rial role, he also serves as our technology specialist, our

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Richard Etlin, Professor, School of Architecture, Univer-sity of Maryland at College Park: “Modern Architecture inFascist Italy.” His lecture was sponsored by the Univer-sity Lectures Committee. 12 April 1999

Alan Steinweis, the Hyman Rosenberg Professor ofModern European and Jewish History at the University ofNebraska-Lincoln: “Toward a Social History of the Arts inWeimar and Nazi Germany.” This lecture was sponsoredby the Art History Graduate Student Forum with thesupport of the University Lectures Committee. 30 April1999

Professor Julia K. Murray organized the followinglectures on behalf of Art History and East Asian Studies.All but the last were paid for by the Anonymous Fund (acampus fund for Arts and the Humanities, administered bythe College of Letters and Science).

Tamara Hamlish, Assistant Professor of Anthropology,Beloit College: “Unpacking the Palace: The Politics ofCulture in Taiwan’s National Palace Museum.” 5 Novem-ber 1998

Sarah E. Fraser, Assistant Professor of Art History,Northwestern University: “Sketching as an AestheticObject in China.” 25 February 1999

Alfreda J. Murck, Visiting Professor, Beijing University:“Poetic Painting and Spurious Learning in Twelfth-CenturyChina.” 7 April 1999

Raoul Birnbaum, Professor of Buddhist Studies, Univer-sity of California-Santa Cruz: “Mountain Retreats inBuddhist China: Fantasies, Representations, RealPractices.” This lecture was sponsored by the UniversityLecturers Committee. 12 April 1999

Guest Lectures

archivist, and our fulcrum. We celebrated his promotionthis year, though that hardly begins to account for his es-sential role in our midst. Congratulations to Tom, NickCahill, and Gene Phillips as the leaders of the Instruc-tional Technology team for work on the department website,cited in the New York Times’ “Screen Grab” column, onJanuary 14, 1999. Sandi Russell has become a Depart-ment favorite. Despite personal family losses during hersecond year with us, she has continued to be our sup-portive, positive force in the main office. We have a full and exciting year ahead anchored bytwo siginificant exhibitions curated by Art History faculty.In addition the distinguished author and curator of photog-raphy at the Museum of Modern Art from 1962 until hisrecent retirement, John Szarkowski (’48 L&S) will give apublic lecture at the Elvehjem Museum in late Septemberabout the failure of photography in the twentieth century.He will return to the University to be scholar in residenceSpring Semester 2000 and will teach AH 355, History ofPhotography. Sponsored by the Arts Institute’s Sesqui-centennial Grant from the Chancellor, Mr. Szarkowski willalso have an important connection to the Department ofArt and to the photography collection in the State Histori-cal Society. Many have contacted the Department as a result ofthe Newsletter last year. We are delighted to reconstitutethese links and to continue to hear from old friends. Someof you have surprised us, such as Douglas Schewe, withmost unexpected generosity that has sent us gratefully innew directions. Thank you to everyone. Please continueto stay in contact with us through our web site [http://www.wisc.edu/arth/], by telephone [608-263-2340], by mail,or by visiting us at the Elvehjem Museum of Art.

D E P A R T M E N T A L U P D A T E

Symposium“Shooting the West: Western Photographs as Art, Records, and Agents of Change”

Collaboration withthe Elvehjem Museum

up to the two earlier Michael [B.A. ’62]and Judith Goodman symposia inAmerican Western Art History: in1995, “Present at the Creation: TheFrontier in American Art/American Arton the Frontier,” and in 1996, “EastLooks West: The Institution of Land-scape & Visions of the AmericanFrontier.” These gatherings stimulateda wide interest in American Westernart and photography. This past year’ssymposium, sponsored by theAnonymous Fund, was more ambi-tious still, with the addition of a three-day seminar. Martha A. Sandweiss, AssociateProfessor of American Studies andHistory at Amherst College, con-ducted the seminar, “Imagining theWest: Visual Images as PrimarySource Historical Documents.”Fifteen graduate students from ArtHistory and departments acrosscampus attended three seminarsessions at the State HistoricalSociety the week of 18 January 1999,which Professor Sandweiss taught inconjunction with Nicolette Bromberg,Curator of the Visual MaterialsArchives SHS. On Saturday, 23 January, theSymposium lectures included:Martha A. Sandweiss: “‘Print theLegend’: Nineteenth-Century WesternPhotographs and the Illustrated Book,”introduced by William Cronon,Frederick Jackson Turner Professor ofHistory, UW-Madison.

State University: “The Playful Frontier:Landscape and Photographic Construc-tion of Tourist Space in the WisconsinDells,” introduced by NicoletteBromberg. Alan Trachtenberg, Director of theAmerican Studies Program and Profes-sor of English, Yale University: “Land-scape as Theatre in Joseph K. Dixon’sThe Vanishing Race,” introduced byPaul S. Boyer, Merle Curti Professor ofHistory and Director of the HumanitiesInstitute, UW-Madison. The importance of photography forthe Department of Art History long hasbeen recognized but not implementedas fully as we should like. The valuablecollection of photographs at the StateHistorical Society, Dan Fuller’s offeringof an introductory survey of photogra-phy, the long-standing interest inphotography in the Art Department andin Communication Arts, and theElvehjem’s small but growing collectionof photographs provided a context inwhich the Seminar and Symposiumhave been very timely indeed for ourcurriculum and for the changing focusof our departmental interests. As aresult, the Department submitted aproposal to the Arts Institute which hadreceived one of the Chancellor’sSesquecentennial Awards. The ArtsInstitute has made possible a semesterresidency of the noted author andcurator for twenty years of the Museumof Modern Art’s photography collection,John Szarkowski (BA ’48) for SpringSemester 2000.

Mark Klett, AssociateProfessor of Photography,Arizona State University atTempe: “Rephotographingthe West: 20 Years ofRevisitation,” introduced byProfessor Cavalliere G.Ketchum, Art DepartmentUW-Madison. Steve Hoelscher, Assis-tant Professor of Geographyand Anthropology, Louisiana

Nah-Gu-Ze-YahAmong theWinnebago[Ho-Chunk], n.d.Photo H.H. BennettCollection/StateHistorical Society.

Students and faculty havehad a lively interaction withthe Museum this year.Preparation for two majorexhibitions—the “Makers andUsers: American DecorativeArts 1630-1820 from theChipstone Collection” and“Beads, Body, and Soul: Artand Light in the YorubaUniverse,” which were curatedby Art History Faculty, AnnSmart Martin and HenryDrewal, respectively. In thespring Professor GenePhillips’ class, “Arts ofJapan,” organized a smallexhibition, “Japanese Printson View,” a selection ofJapanese woodblock-printedsurimono (literally “printedthings,” originally applied tosingle-sheet prints) from theVan Fleck Collection. Professor Jane C.Hutchison served on theAcquisitions Committee, towhich Professor Barbara C.Buenger also belongs but didnot attend due to her leavefrom the University. RobertCozzolino, M.A. candidate,served as Student Represen-tative for the Council. Othergraduate students alsoworked at the museum:Joann Skrypzak and AndreaMorrill worked with PrintCurator, Andrew Stevens, inthe Print Room. Undergradu-ate Art History majors alsoworked on the Museum staff:Lori Dillon worked in theMuseum Shop, NicoleRichards worked with AnneLambert in Education, RyanGrover worked in the PrintRoom, and Jennifer Wetterauworked in the Museum Shopand for Pam Richardson inthe Registrar’s office.

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arbara C. Buenger organized thisscholarly symposium as a follow-

Five Week Seminar with Professor Hannes Böhringer1 October through 3 November 1998by Linda James

Six slides, six concepts, five weeks, andthousands of words...

...is a succinct description of “Con-cepts of Modern Art,” a seminar that wastaught by Professor Hannes Böhringerin the Art History Department Fall semes-ter (funded through the Anonymous Fundand the German Academic ExchangeService with additional support from theGerman and Philosophy Departments ofthe University of Wisconsin-Madison).During his brief stay, Professor Böhringer

nothing special." In all, the seminar hadsomething of a Deleuzean approach toit: organic and bifurcated in its breadthand structure where both style and syn-tax were tantamount to understanding arthistory and philosophical thought. Hannes Böhringer is currently a dis-tinguished Professor of Philosophy witha specialty in aesthetics at the Acad-emy of Fine Arts in Braunschweig. Hehas published extensively on a wide rangeof issues concerning modern and con-temporary art. Some notable articles

D E P A R T M E N T A L U P D A T E

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Eva-Maria Schön, Untitled, Ink on paper.Plaenert Endowment Fund 1992.130b.

include “The Discipline of Skepticism:Philosophy Using the Model of Art His-tory” (1985); “Compensation and Com-mon Sense: The Life Philosophy of AlfredAdlers” (1985); “Cage and Filliou in theSame Train Compartment withSchopenhauer: Art Crossing the Limits”(1991); “The Wooden Horse” (with JeanBaudrillard, among others; 1989); and “ToBecome Simple: An Afterword on CarlEinstein’s Negerplastik” (1992). Hisbook titles include Cash: From Art to Phi-losophy (1990); What is Philosophy?(1993); and On the Back of America: AMythology of the New World in theWestern and Gangsterfilm (1998). Pro-fessor Böhringer has taught at numer-ous universities in Germany including theFree University of Berlin; the Art Acad-emy of Düsseldorf; and the University atKassel. He has held visiting professor-ships at the School of Architecture inParis La Villette and the Budapest ArtAcademy. Prior to his Madison stay, heand his wife,artist Eva-Maria Schön,spent several weeks at the Carl Djerrasi(’46 Ph.D., L&S) Art Residency Programin Santa Barbara, California.

---Linda James is a Ph.D. candidate inthe Art History Department and is a Se-nior Lecturer at the University of Wiscon-sin - Platteville.

enthralled twenty four graduate and un-dergraduate students from various disci-plines. He presented the seminar as a “con-frontation of modern art with traditionalconcepts,” and focused on post-war mod-ernism as proscribed by the six ideas ofvortex, wit, simplicity, sentiment, fluxus,and the minimal. Throughout the course,Böhringer employed key philosophicalnotions which created a larger contextfor the six concepts and images. Stu-dents were receptive to Professor

Böhringers multivalent andplayful approach which alter-nated between lecture anddiscussion. Of particular in-terest to students wasBöhringer’s on-going etymo-logical explanation of wordsrelevant to contemporaryphilosophical concepts, manyof which have become natu-ralized in the English lan-guage. By presenting six im-ages - five artworks and thesixth, a W.W. II Bomberon a landing strip- in the con-text of six correspondingideas, Böhringer createdlarge platforms for philosophi-cal and art historical interpre-tation. His innovative ap-proach offered a different wayto think and see and feelabout modern art. Typical ofthe course was Böhringer'scharacterization of simplicityand the modern art movementof Fluxus: "... to be simple isto be 'not special,' not sepa-rate from other things. InFluxus, the artist is a per-son who makes something'not special,' the artist makes

Böhringer’s description of the work of Eva-Marie Schön echoes the spirit of his seminar:“Forms exist on the border of objectivity, but originate from the spirit of reduction and abstraction.”

Henry Drewal Wins Chancellor’s Distinguished Teaching Award

Henry John Drewal, Evjue Bascom ProfessorApplauding a Student PresentationPhoto: State Journal photo/CRAIG SCHREINER

Distinguished Teaching Awards for 1999.The nomination originated with Profes-sor Drewal’s graduate students, prima-rily Cynthia Becker with the help of Sh-annon Hill, Kim Miller, and Moyo Okediji[Ph.D. 95]. The Art History faculty en-thusiastically supported this effort andwas joined by the Department of Afro-American Studies, where ProfessorDrewal holds a one-quarter appointment. Henry Drewal has a remarkable abil-ity to engage all of us with his passion-ate knowledge of African and AfricanDiaspora art. He believes deeply thatemotional involvement as well as intel-lectual engagement with the art lies atthe core of being both a teacher and astudent. His own commitment reflectshis wide-ranging knowledge concerningtechnique in varied media, and the useof art for an array of purposes. He isparticularly interested in “artists’ interac-tions with patrons and society in generalin order to understand artists and art ascreators and creations of culture.” While art historians claim him as one

of their own, Professor Drewal’s approachencourages a methodology that crossesborders into a range of disciplines. Writ-ing from Bahia, Brazil, last year he noted,“The performing arts of music, dance,theatre, and the visual arts have playedcrucial roles in the Black ConsciousnessMovement of the last two decades—es-pecially in the Blocos Afros—carnivalgroups that celebrate the histories andcontributions of African peoples and theirdescendants wherever they are in theworld.” This year he created a section ofa new CD-Rom Project on the “Gelede:Masking for Our Mothers among Yoruba-Speaking Peoples.” Long before videobecame a technology ubiquitous in ourculture, he employed it to capture perfor-mance, ritual, and celebration. His fieldwork includes extensive filming, record-ing of both oral and music traditions,sometimes even training in the mediapreferred by the artists. He is not ananthropologist, however, but an art histo-rian as his curatorial work exemplifies. Although interested in theory, he hasnever strayed far from the object, and hisextensive curatorial experience has pro-

vided a wealth of opportunity for studentsand community alike. Most recently heco-curated the exhibition Beads, Body,and Soul: Art and Light in the YorubaUniverse (UCLA Fowler Museum of theCultural History, 1998), which demon-strates stunning beauty of material cul-ture brought to life spiritually and in ritual.When this show arrives in Madison in theSpring of 2000 he will use the opportunityto give his graduate students curatorial ex-perience in installation, docent training,and planning of music, dance, and perfor-mances to accompany the exhibition. Henry Drewal’s scholarship and love forhis field radiate from him to ignite excite-ment on multiple levels in both the aca-demic and the larger community. As Moyoexplained it, “Henry Drewal does not re-gard teaching as a job that begins and ter-minates in the classroom. Teaching, fromhis perspective, is a life calling, a way oflife....” This genuine passion for his workis clear and contagious. The Departmentis very proud that he received this muchdeserved Chancellor’s Distinguished Teach-ing Award.

F A C U L T Y N E W S

“’Teaching, from hisperspective, is a life

calling, a way of life...’”-Moyo Okediji

P rofessor Henry Drewal has beenawarded one of six Chancellor’s

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James M. Dennis Retires

Professor James M. DennisPhoto by Sarah Nee

his past December, Professor Dennis retired after serving onthe faculty for thirty-four years. Hisaffiliation with Wisconsin has beenstill longer, because he graduatedfrom the University of Wisconsin-Madison in 1963 with a Ph.D. in ArtHistory and a minor in History. Hetaught at both the University of Pitts-burgh and Kent State University whilecompleting his dissertation on theViennese-American architecturalsculptor, Karl Bitter, who created thearchitectural sculpture for the Wis-consin state capitol building. Hisbook, Karl Bitter; architectural sculp-tor, was published in 1967. In 1964Jim Dennis returned to the Univer-sity of Wisconsin-Madison and waspromoted to full Professor in 1974.He served as Department Chair be-tween 1980 and 1984 and for manyyears was the Department’s del-egate to the University Faculty Sen-ate. The focus of Jim Dennis’ researchhas been American art and culture,with an emphasis on the Regionalistpainters, particularly Grant Wood onwhom he is a nationally recognizedexpert. His major study, GrantWood: A Study in American Art andCulture was first published by VikingPress in 1975, and a revised editionby the University of Missouri Pressin 1986 and a paperback version in1987. In 1998 he published Ren-egade Regionalists, The Modern In-dependence of Grant Wood, Tho-mas Hart Benton, and John SteuartCurry (Madison: UW Press). Hisspecial concern for the cultural andsocial content of American art, how-ever, spans a much broader areaand includes architecture and thehistory of printmaking, as well as thesculpture and painting of Bitter andWood respectively. He

the creative artist. His relationshipwith the Art Department at the Uni-versity of Wisconsin-Madison hasbeen a strong and continuous onethroughout his career. His under-standing of printmaking, in particu-lar, has brought him again and againinto dialogue with the ArtDepartment’s outstanding print-mak-ers. Perhaps his most notable rolewithin the world of the creative art-ist, however, has been his work onthe architecture of Frank LloydWright. He restored Wright’s FirstJacobs’ House, Usonia I, originallybuilt between 1936-37. As he notes“In addition to buying the house, Iserved as contractor, carpenter, fore-man and Jack-of-all-trades.” For hisefforts, in 1990 he received the Wis-consin Trust for Historic Preserva-tion Award, and in 1991 the awardfor restoration from the American In-stitute of Architects, Chicago Chap-ter. He advised numerous M.A. the-ses and Ph.D. dissertations in hisarea of specialty. He became oneof the first to stress the use of a the-matic outline by his students whooften showed the benefits of his care-ful concern for writing coherent, force-ful work. His students have gone onto become successful faculty andmuseum directors throughout thecountry. The Department will miss JimDennis on the faculty, though welook forward to his partial return thiscoming academic year to teach onecourse in both the Fall and SpringSemesters.

has delivered papers and lecturedwidely throughout the country includ-ing participation in the Whitney Mu-seum Colloquium on “William CarlosWilliams and the American Scene inNew York” in 1979, delivery of the sec-ond annual Colin Ruagh ThomasO’Fallon Memorial Lecture on Art and

American Culture in 1989 at the Uni-versity of Oregon, the keynote lec-ture for the exhibition, Thomas HartBenton, An American Original at theNelson-Atkins Museum of Art in Kan-sas City in 1989, and participation inthe “Breakers Centennial” in 1995 atNewport Rhode Island. His focus onregionalism has meant a regular lec-ture circuit throughout the Mid-West,and PBS interviews and professionaltalks of a variety of sorts. All the above exemplifies a suc-cessful academic career in the Hu-manities on a national level. Lessusual in Jim’s career is his under-standing of and communication with

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News from the Chipstone Foundation for American Decorative Arts

Elvehjem Museum and the wide commu-nity here working on issues related toAmerican material culture. From 21 August to 24 October 1999the Elvehjem will exhibit nearly 100pieces from the Chipstone Foundation inMakers and Users: American Decora-tive Arts, 1630-1810, from theChipstone Collection.

As part of the University’s Sesquicen-tennial Celebration, this exhibition willdemonstrate the breadth and quality ofthe Chipstone collection and theFoundation’s mission to promote schol-arship and education through its new af-filiation with the University. Ann SmartMartin, Assistant Professor of theChipstone American Decorative Arts,curated the exhibition and wrote thecatalogue’s leading essay. Her studentshelped to select and write catalogue en-tries on the exhibition pieces.

At the conclusion of the first year ofthe Chipstone Professorship of AmericanDecorative Arts, we are delighted to an-nounce further developments in this newresearch area for the Department. In Junethe Chipstone Foundation established andendowed a graduate fellowship within theWisconsin Distinguished Graduate Fel-lowship Program. The Fellowship willbear the name not only of Chipstone, butalso of the late Professor James S.

Watrous, in whose honor the Fellowshiphas been established. The tentative namefor the Fellowship will be Chipstone andJames Watrous Wisconsin DistinguishedGraduate Fellowship in the AmericanDecorative Arts. Professor Watrous andStanley Stone together worked out theways in which the Chipstone collectionmight be used as a resource in an edu-cational program at Wisconsin and Pro-fessor Watrous continued to be involvedas plans emerged into the full scale rel-

ationship between the Chipstone Foun-dation and the University of Wisconsin.This Fellowship will be available for theacademic year 2000-2001. Professor Jules Prown, Paul MellonProfessor Emeritus of the History ofAmerican Art at Yale, has given his li-brary of American Decorative Arts andMaterial Culture to the Kohler Art Library.Prown attended summer school at theUniversity of Wisconsin-Madison and thelate James Watrous introduced and con-verted him to the study of art history.Although already engaged with his dis-sertation in English literature, Prownchanged disciplines. Much of ProfessorPrown’s library will reside at ChipstoneFoundation in Milwaukee. Jonathan Prown (M.A. College of Wil-liam and Mary), Jules Prown’s son, hasjoined the Chipstone Foundation as itsExecutive Director and chief curator.Formerly curator of furniture for the Colo-nial Williamsburg Foundation, he is co-author of Southern Furniture: 1680-1830(1997) and has published widely on furni-ture topics. He and Ann Smart Martinwill develop educational programs, a lec-ture series, and projects of joint interestconcerning scholarly research on Ameri-can Decorative Arts and Material Culturebetween the Chipstone Foundation andthe University of Wisconsin’s Departmentof Art History, the Kohler Art Library, the

British Teapot, ca. 1770. Creamcolored earthenware, lead glaze.Chipstone Collection.

E N D O W M E N T S

Massachu-settscardtable,1755-1775.Mahogany,maple, pine,embroideredtextile.ChipstoneCollection.

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“In appreciation for work done....” This past year Mr. Douglas H. Schewe(B.S. and M.S. L&S ’66; M.S. School ofEducation ’69) surprised us with a mostgenerous gift and the inspiration to beginan annual award for excellence in gradu-ate student work. In November he gaveto the Department of Art History a “checkto seed an endowment for the best gradu-ate seminar paper of the year in the ArtHistory Department by a student.” Mr.Schewe went on to specify that he “wouldlike the paper to be selected by a com-mit tee chosen by the Department andawarded for, among other factors, being

based upon a plausible premise, sup-ported by reason and logic, open to evi-dence and willingly discussing, with aca-demic objectivity, criticism with thosehaving differing points of view.” He con-cluded by remarking that “In the future Iwould like to make additional contribu-tions to the fund, which will be open toothers wanting to encourage excellencein the history of art.” On 9 September 1999, Thursday, at4pm in Elvehjem L140, the Departmentof Art History will present the first Dou-glas H. Schewe Award for the best sem-

inar paper of the preceeding academicyear. The selection committee shall rotateannually and consist of faculty membersconducting the graduate seminars plusthe Department Chair. We anticipate thisaward will set the standard for other pa-pers to be presented regularly during aseries of workshops throughout the year.We are exceedingly grateful to Mr.Schewe for this opportunity and look for-ward to his joining us on the occasion ofthe award and at other gatherings.

In Memoriam: James S. WatrousProfessor Jane Campbell Hutchison

meritus Professor James Scales Watrous, past President oftheCollege Art Association (1962-1963)and a former member of its Board of Di-rectors (1960-1962), died in Madison onTuesday, May 25, 1999, aged ninety, butstill in demand as a public speaker, andmost recently as a member of the advi-sory Committee for the Elvehjem exhi-bition, “150 Years of WisconsinPrintmaking” (1998). A long-time chair-man of the Department of Art History,who oversaw its expansion from threeto eight faculty members plus a museumstaff, he held the Oskar Hagen Chair atthe time of his retirement in 1976. Oneof the early doctoral students trained atWisconsin by Hagen and by WolfgangStechow, whom Hagen brought fromGöttingen to Madison in 1936, Jim joinedthe departmental faculty in 1939 whenStechow accepted a position at OberlinCollege. Jim was born in Winfield, Kansason 3 August 1908, and moved to Madi-son in 1925 as a high school student.He received his B.S. (1931), M.A. (1933),and Ph.D degrees (1939) all from Wis-consin, and after his appointment to thefaculty took time out to serve as a Navylieutenant in the South Pacific duringWorld War II. After the war Jim resumed his ca-reer at Wisconsin, leaving for a year inthe early 1950s to study mosaic tech-niques in Italy on a grant from the FordFoundation. In years to come this train-ing led to a number of commissions forwall mosaics in various academic build-ings —one of the first of them at Wash-ington University in St. Louis, where aburly representative from the Tile-Setters’Union suggested pointedly that he mightwish to join that venerable organization.The invitation was withdrawn when Jimwas able to prove permanent residenceand gainful employment elsewhere,and he went on to fulfill a number ofother mosaic commissions in Madi-son—for the old Dean Clinic; the formerDemocrat Printing Company (now

Webcrafters); and on campus, theformer Commerce building (nowIngraham Hall), Vilas Hall, and Memo-rial Library. His experience as a muralist had be-gun in 1933 in the Wisconsin StudentUnion where, for the princely sum of$18.75 a week, he had frescoed the PaulBunyan Room under the auspices ofPresident Roosevelt’s Public Works ArtProject, later going on to create muralsfor federal buildings in Park Falls, Wis-consin (1938) and Grand Rapids, Minne-sota (1940). Although like Peter PaulRubens he preferred large projects tosmall, Jim also exhibited paintings andwatercolors at the Walker Art Gallery inMinneapolis, the Carnegie Institute andthe Pennsylvania Academy of Fine Arts. Having been first the student cartoon-ist (and editor) of the campus humormagazine, and then a drawing instructorin Wisconsin’s Art Department (1935-39),Watrous became a specialist in the his-tory of graphic arts, and created several

innovative courses in this field— a gen-eral survey of arts on paper; a course inmodern prints; and one on satire in thegraphic arts. Together with Stechow’sgeneral history of graphic art at Oberlin,Jim’s were among the first such coursesoffered in the United States. The twobooks for which he is best known inter-nationally were outgrowths of thosecourses—The Craft of Old Master Draw-ings (c1957), and A Century of Ameri-can Printmaking: 1880-1980 (1984),both published by the University of Wis-consin Press. The earlier book was a pioneeringstudy bringing microphotographic en-largements to bear on the physical char-acteristics of line work drawn in the vari-ous media used by European artists be-tween the Renaissance and the late eigh-teenth century — silverpoint, charcoal,natural chalks, pastels, bistre, iron gallink, and sepia — and revealing the differ-ing physical properties of both goose quilland reed pens, in contrast to moderngraphite pencils and steel penpoints. Thisstudy, inspired by Josef Meder’s DieHandzeichnung (Vienna, 1923), was un-dertaken with the help of the students inhis seminar, who were set to work fabri-cating chalks and knocking on doors offaculty homes in order to scrape thechimneys of their wood-burning fireplacesfor the proper soot to boil up for the goldenbistre so favored by Rembrandt. Thisbook details the processes and ingredi-ents used in making the drawing materi-als of former times, explaining on the basisof availability and stylistic possibilitieswhy, for example, Michelangelo favorednatural red chalk, and Rembrandt andVincent van Gogh made almost exclu-sive use of reed pens. A valuable tool foruse in recognizing forgeries, his book isfound in the working library of every ma-jor print room, and its initial publicationin 1957 resulted in the invitation fromOberlin College to present the two-weekBaldwin Seminar lectures in that year.His Oberlin experience led him threeyears later to secure a grant from the Marc

Professor James S. WatrousPhoto: University News Service

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Rojtman Foundation for a series ofsimilar two-week seminars to be offeredat Wisconsin by distinguished visi-tors— a series that brought Sir JohnSummerson, Sir Anthony Blunt,Wolfgang Stechow, Carl Nordenfalk,Lloyd Goodrich and Jan Bialostocki tothe campus. A similar series was madepossible by funds collected by the De-partment in honor of Jim’s retirementin 1976, when Charles Parkhurst, JohnRupert Martin and Willibald Sauerländercame to Madison. Jim’s book on Americanprintmaking, written after his retirement,dwells in less detail on technique, forby 1976 this had become a subjectamply treated by others, but insteadplaces the past century’s individualprintmakers in the context of culturalhistory. His research in American mu-seums, newspaper and academy filescame together in a compelling narra-tive of American taste, featuring not onlythe major figures of lasting importancebut long-forgotten winners of prizes. Hisaccount of the architect Cass Gilbert’sreaction on first seeing John Marin’sexplosive depiction of the WoolworthBuilding is but one of the deliciousmoments to be savored. In 1987 Jim published A Century ofCapricious Collecting, a history of theUniversity’s art collection from its ori-gins in Science Hall to its establish-ment in the Elvehjem Museum. Al-though it had been Oskar Hagen’sdream to have a university museum asa working environment for art historystudents, and it had been WolfgangStechow’s dedication to connoisseur-ship that led him to leave a tenuredposition at Wisconsin for Oberlin, itwas Watrous who was finally respon-sible for the planning and constructionof Wisconsin’s museum. On theUniversity’s behalf he had quietly beencollecting master prints by Dürer,Bellange, Goltzius, Callot, Goya,Barlach, Dix and others, and signingthe invoices “Educational Materials” foryears, but Jim was keenly aware of theunlikelihood of obtaining state funding

for building an art museum. Consequently,he aimed from the beginning for a buildingfunded entirely by means of private andcorporate donations, and was off to a prom-ising start in 1962 with a $1,000,000 grantfrom the Thomas Brittingham Trusts. Hespearheaded the UW Foundation’sfundraising drive to raise the remaining$2,500,000 by agreeing to name the mu-seum in honor of President ConradElvehjem, who had just died unexpectedlyin his Bascom Hall office. Elvehjem was abiochemist internationally honored for thediscovery of the antidote for pellagra, nico-tinic acid, a part of the vitamin B complex,and thus a man whose many former gradu-ate students could be expected to be bothfinancially secure and, at this point, feelinggenerous. Most importantly, as Jim laterrecalled, President Elvehjem was the firstadministrator who had not actually stood inhis way when he proposed collecting moneyfor a university museum. As chairman of the building committee,Watrous, whose powers of persuasion werelegendary, had an architect’s model of ahypothetical museum constructed by a fac-ulty colleague, the Finnish-born urban plan-ner Leo Jakobsen. He traveled far and widewith it lecturing to alumni groups and re-union classes, a gratifying number of whomsoon reached for their checkbooks. He nextmade a flying tour of college and universitymuseums, taking careful note of both suc-cessful and unsuccessful features of each.He returned to Madison a trifle pale andshaken after his travels, but nonethelessgrateful to another obliging colleague for theride — Professor Robert Grilley of the ArtDepartment, a still enthusiastic ex-fighterpilot from World War II. The Chicago architect Harry Weese wasduly selected to design both the museumand the state-funded Humanities Buildingnext door, and the Elvehjem was opened inthe Fall of 1970 with Millard Rogers, Jr. asits first director, and with a loan exhibitionof works from alumni and friends of the Uni-versity, some of whom were so taken withthe new building that they donated impor-tant objects on the spot. Jim was blessedwith a truly Ciceronian ability to get alongwith people, as well as to see unerringly

through the political smog to the real is-sue in any given disagreement. This wasone of the reasons for his election asPresident of the College Art Associationin 1962 — he was uniquely capable ofunderstanding, and mediating between,the German emigrés and the American-born art historians, as well as betweenthe art historians and the artists. He wasa past president of the Mid-America Col-lege Art Association (1959), and a direc-tor and founding member of the MidwestArt History Society. He was the recipi-ent of an Award of Merit from the Wis-consin chapter of the American Instituteof Architects (1962), and was elected anHonorary Fellow of the Wisconsin Acad-emy of Arts and Sciences in 1982. His gifts as conciliator and residentrealist were in such demand on the Madi-son campus that at one time he was amember and/or chairman of thirty (30)faculty committees, from the UniversityCommittee to the tenure-granting Hu-manities Divisional Committee, theSpace-Allocating Committee and a se-lect committee to revise the curriculumfor the College of Letters and Science. Itis perhaps not entirely coincidental thatArt History— which starts with “A”—headed the all-course list that resulted,and our departmental enrollment bal-looned—an average of 1,300 students peryear were taking the two survey coursesalone— making it necessary to createnew faculty and T.A. positions. Peg (Modie) Watrous, Jim’s bride ofsixty-six years ( whom he had wedagainst the advice of that well-knownmarriage counselor, Frank Lloyd Wright)survives him, together with their threechildren—a historian, an arts administra-tor and a professional cellist— as wellas six grandchildren, and three great-grandchildren. Colleagues and teachers like JamesWatrous are few indeed, and he will begreatly missed. At his request, therewere no services. Memorials may bemade to the Elvehjem Museum of Art.

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William C. Bunce, Director of Kohler Art Library, Retires

andy Pfahler, Associate Director for Member Libraries, General LibrarySystem spoke at the retirement party forBill Bunce on 18 May at the Pyle Cen-ter. The following are a portion of herremarks she has kindly agreed to sharein the Newsletter: Bill Bunce’s career as a librarian atUW-Madison started in 1961 when hebecame director of the Music Library, aposition he held until 1970. In 1966 healso assumed the position of director ofthe Art Library, well before the construc-tion of the Elvehjem Museum and loca-tion of the Kohler Art Library, whichopened in 1970. Its primary clintele arethe faculty, students and staff of the De-partment of Art, the Department of ArtHistory and the Elvehjem Museum of Art,but it also serves a wide range of peopleacross campus. In fact, the Kohler is oneof the largest public university art librar-ies in North America. Bill developed the UW-Madison art li-brary collection from a regional tool intoa national resource (from 11,000 to140,000 volumes today) and his influenceon the collection is apparent to all whouse it. His succinct development policyfor Kohler deserves quotation: ‘The pur-pose of collection development for theKohler Art Library is to build a premieruniversity art library in which no topic is,in some degree, unresearchable, andwhere inspiration, as well as information,is part of the daily fare.’ The collection is particularly strongin German art of the first half of the nine-teenth century and includes many raretitles. Another strength is in its facsimi-les of medieval manuscripts. Perhapsmost notable, however, is the wonderfulteaching collection of artists’ books hehas brought to the library. Bill has beenable to build on the strength of these col-lections with the help of grants and gifts

from generous donors, some of whomare here to celebrate with him today. The Kohler Art Library is one of themost comfortable and welcoming librar-ies on campus and not only because Billgives access to the artists’ books. Heprovided the design and layout, includingthe furnishings, lighting system, and bookstacks, to create the physical Kohler ArtLibrary. Many may not know that BillBunce is the father of moveable compactshelving on the Madison campus, a sig-nificant innovation for the space problemat Kohler. He raised over $67,000 to pri-vately fund the first moveable compactstorage book stack system (originally for15,000 volumes). Those private fundswere very much appreciated, particularlyby the contrasting situation when theadministration requested additional com-pact shelving several years later and theprocess took ten years to implement! Service has always been a large partof Bill’s professional life. He has beenan officer and/or a consultant to institu-

tions such as the University of Minne-sota, UW-Parkside, and the MinnesotaCen-ter for the Book Arts. He has served aseditor of and writer for publications on anannual basis. He has taught the UW-Madison School of Library and Informa-tion Studies and has team-taughtcourses with Art and Art History Depart-ment faculty and with the director of theGeneral Library System, Ken Frazier. Billregularly has given presentations on andoff campus highlighting the artists’ books.He also has had great fun showing chil-dren from elementary to high school thejoys of the world of art books. Bill Bunce has brought national dis-tinction to the University of Wisconsin-Madison because of his library skills,knowledge of the fields of art and art his-tory, understanding of the scholarly pro-cess, and strong commitment to serviceand resource sharing. We congratulate Bill, for an outstand-ing academic career and a job well done.We will miss him.

William C. Bunce at Retirement Reception.Photo by Don Johnson, 1999.

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New Director of Kohler, Lynette M. KorenicA Welcome by William Bunce

t’s a dynasty. I will retire as the dir- ector of the Kohler Art Library almostexactly 29 years from when the doorsfirst opened, and my good friend and veryrespected colleague, Lyn Korenic, willtake over my slightly worn chair behindthe director’s desk. This delights me noend, not only because she might be thebest technical art librarian (there arescholar librarians out there too) practic-ing today but also because I feel I broughther into the profession. She was a won-derful library assistant, taking her job farmore seriously than most, and after herMLS (1981), the best and most thought-ful colleague I have ever had. She lungedinto our Art Libraries Society of NorthAmerica, became the most active andimportant member of its Standards Com-mittee, and was off into a whirl wind ca-reer of professionalism and service that,mid-career, brought her back home. (Thewhirl wind includes a B.S., M.F.A. andan M.A. in Art History from Wisconsin.She is an ABD Ph.D. candidate from UC-Santa Barbara; served two years as In-diana University’s art reference librarian,

four years as UC-Santa Barbara’s assis-tant art librarian and eleven years as thehead of UC-Santa Barbara’s Arts Library.She is past president of the Art LibrariesSociety of North America, chaired elevenof its committees and has served as Co-ordinator of the Art Research Libraries inCalifornia group. Not to mention her roleas a thoughtful and loving wife.) We havea treasure in Lyn. My library could notbe in better hands nor I more contented.Be thou welcomed, Lyn!

Lynette M. Korenic

Linda S. Duychak,Reference Librarian Linda Duychak (MA ‘89, MLS‘97) has been reappointed for an ad-ditional year as half-time referencelibrarian at the Kohler Art Library.She encourages researchers new tocampus or those having problemsfinding information to contact her.As she notes, with the recent modi-fications to MadCat, with online da-tabases switching interfaces on aregular basis, with new and revisedprint references becoming available,we are all having difficulties keepingcurrent. She is always happy toshare what she knows, and isequally delighted to learn tips fromothers or hear what referencesources they are finding useful. Linda will be conducting work-shops this fall on “Finding Art Re-sources” (a review of the features ofthe three major art journal indexes)and a session on searching the Bib-liography of the History of Art data-base. She works mornings, Mon-day through Thursdays, as well asWednesday afternoons. Reach herin person, by phone (263-2257) dur-ing her work hours, or via email at:askart@macc.wisc.edu

Graduating ArtHistory SeniorsCongratulations to all graduating seniors, manyof whom with their families joined the facultyfor a reception in Paige Court of the Elvehjemon Saturday morning 15 May before gradua-tion ceremonies.

Amanda Louise Colin, Teresa Ann De Voe,Sarah Faith Dobke, Caroline Ann Estok, Timo-thy James Finnegan, Kaylee Michelle Hansen,Dane Jensen, Kim Ann Johnson, SvanhildurKaradottir, Jennifer Lyn Kozinn, Ursula AimeeLarson, Miranda B. Leed, Emily Anne Liolin,Jocelyn Anne McCanles, Rosa Marina Mor-row, Elizabeth Bronne Root Nathan, Reid AllanPederson, David H. Plotkin, Lisa AnnRabinowitz, Lauren Wendy Reichbach, SigridE. Steiger, Christina Marie Stross, JenniferGlenn Vance, Jennifer Emily Vosz

Class NotesSvanhildur Karadottir will be attending gradu-ate school at Tufts University.

Undergraduates Teresa DeVoe and UrsulaLarson received awards from the Letters andScience Faculty Honors Committee for theirSenior Honors Thesis research projects.Teresa received the Mark Mensink Award toresearch “The Beata Colomba: Manifestationsof Female Power in Quattrocento andCinquecento Italy.” She completed it under thedirection of her thesis advisor, Professor GailL. Geiger. Ursula received a Trewartha Grantto examine “Walter Burley Griffin and the RockCrest/Rock Glen Development: The Actualiza-tion of an Architect’s Personal Utopia.” Ursula’sthesis advisor was Professor Narciso G.Menocal.

Teri DeVoe received a Margaret & Allard SmithScholarship and a Helen C. White Award foroutstanding senior women. This award is forthose who exemplify “the sterling qualities ofmind and character of Helen C. White, a greatpast teacher at the University: high academicstanding; sound judgement and balance; aconstructive life outlook; and a deep interestin the life of the community.” [Helen C. Whitewas Professor of English between 1936 and1967, a novelist and scholar of 17th c. verse

and prose, and recipient of more thanfifteen honorary degrees between 1939and 1962.] Teri was the co-captain of theUW-Dance team, triple major, and member ofPhi Beta Kappa honor society. She has re-ceived full scholarship to attend graduateschool at the University of North Carolina atChapel Hill.

Teri De Voe,Co-Captainof the UWDanceTeam at theRosebowl,1 January1999.

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Faculty

BARBARA C. BUENGER continued to be on leavethis year. She is nearing completion of her mono-graph on �Max Beckmann in Germany, 1884-1937.� To that end she has been doing newresearch in Germany and Switzerland. Twomajor exhibitions in Hamburg and in St. Louis onMax Beckman have given her access to manypaintings she had not seen before. She wasone of seven distinguished speakers, thoughonly one of two Beckmann scholars, to speak atthe major symposium organized by the St. LouisArt Museum in February in connection with the�Beckmann and Paris� show. As an outgrowthof her Beckmann work and her semester in Flo-rence she has begun research into modern Ital-ian art of the 1920s and 1930s, particularly intothe politics, background and criticism of the VeniceBiennale of 1930.

NICHOLAS CAHILL completed his book manu-script and submitted it for consideration and alsodelivered a number of professional papers, in-cluding �Lydian Houses and Domestic Assem-blages,� for the International Symposium on�Settlement and Housing in Anatolia through theAges,� Institute of Archaeology, Istanbul Univer-sity. In May he presented a brown-bag talk on�Households and Gender in Ancient Greece� tothe Department. He continues to serve as Asso-ciate Director of the Sardis Expedition, SardisTurkey during the summer months and has beeninvited to participate in the International Colloquiumon Early Ionia to be held in Güzelçamli, Turkey inlate September. He has served as Delegate-at-large for the American Research Institute in Tur-key; Fellowship Committee and Nominations Com-mittee, as reviewer for NEH, Archeology division.In Madison he was this year�s chapter presidentof the Archaeological Institute of America andserved on its Publications Committee and Lec-tures Committee. He also has continued to servethe Department on its Instructional Technologyand Space Committee. He spoke at the Milwau-kee Public Museum in February and in March gavea scholarly lecture at Appleton on Sardis.

HENRY J. DREWAL, Evjue Bascom Professor,gave a slide and video presentation entitled �ANoite de Beleza Negra: Choosing the CarnivalQueen of Bloco Afro Ile Aiye� at the 1998 Semi-nar on �African-Amerindian Performances fromBrazil,� held at the Department of PerformanceStudies, New York University, in November. Heand co-author John Mason held a book signingfor their new exhibition catalog Beads, Body, andSoul: Art and Light in the Yoruba Universe at theRobertson African Arts Gallery in New York Cityin November. Together with Nicholas Cahill hepresented lectures at the Milwaukee Public Mu-seum in February, as part of the UW�s �On theRoad� Sesquicentennial celebration. In April hespoke at the R.L. Shep Symposium at the LosAngeles County Museum of Art on �Dress asTransformation.� His talk was entitled �Whirling

JANE C. HUTCHISON has in press an entry for�Albrecht Dürer� for Historia Universal de la Pinturaed. Don Joan Sureda, 10 vols. (Barcelona:Plawerg Editores, S.A.); Albrecht Dürer: A Guideto Research, Artists Resource Manuals Series,general ed. Wolfgang Freitag (New York: Taylor& Francis, 1999). She published a review ofJohn Roger Paas, The Political Broadsheet 1600-1700, Vol. 5: 1630 and 1631 (Wiesbaden:Harrassowitz, 1996) in Sixteenth Century Journal29 (1998):860-862. She attended the SixteenthCentury Studies Conference, Toronto, in Octoberwhere she is a member of the Executive Counciland the Editorial Board for Sixteenth Century Es-says and Studies; the College Art AssociationAnnual Meeting, Los Angeles where she is amember of the Board of Directors for the Histori-ans of Netherlandish Art; and the Midwest Art His-tory Society at Detroit and Toledo in March. Sheis also a member of the Editorial Board of Stud-ies in Iconography and on the Board of Directorsfor The Illustrated Bartsch Series.

ANN SMART MARTIN presented a lecture on�Remembering Things Past: The Decorative Artsand Material Culture of Early America� in theElvehjem Museum in October and she traveled toCharleston, South Carolina in March for a bian-nual meeting of the Society of Early Americanists,where she presented a plenary paper �All theWorld(s) of Goods: Furniture and Fashion, Raceand Gender.� She also gave a presentation tothe Group for Material Culture Studies at the StateHistorical Society in March and spoke to theBascom Hill Society at the UW Foundation�s 1999Spring Showcase. She served as a commenta-tor for the panel �Furnishings and Fashions: Ma-terial Culture in the Early Americas� at the Ameri-can Society for Eighteenth-Century Studies An-nual Meeting in Milwaukee, and was a discus-sant in the session �Frontier Landscapes andArtifacts� at the conference �Eighteenth-CenturyFrontiers in North America: Recent Scholarshipand Future Opportunities� in April in Winchester,Virginia. She is on the selection committee forthe Charles F. Montgomery Prize and Award givenby the Decorative Arts Society.

NARCISO G. MENOCAL gave a paper on �Losmitos en la arquitectura cubana� at the Sympo-sium on �Havana, XXI Century� that was spon-sored by the Cuban National Heritage Society atthe San Carlos Institute, Key West, Florida, inNovember. He delivered the paper in an Englishtranslation to the Department as a whole in thespring. He also attended the annual meeting ofthe Society of Architectural Historians in Hous-ton, Texas, where he delivered his paper �Nation-alism and Cultural Integration in Cuban Architec-ture from the 1950�s, and participated in the ses-sion on �Identity and Place in Latin American andUrban History.�

JULIA K. MURRAY published �What is �ChineseNarrative Illustration�� in the Art Bulletin 80 (1998):602-15, and gave a 3-hour seminar at PrincetonUniversity in February, on �Early Narrative Illus-tration in China.� In early March she chaired thepanel on �Individual Papers: Traditional Cultureand Practices in Middle-Period China� at the An-nual Meeting of the Association for Asian Studiesin Boston and she participated in the �Sympo-sium on Visual Dimensions of Chinese Culture� atthe Institute for Advanced Studies, Princeton Uni-versity in late March. She also attended a sym-posium on Chinese calligraphy at the PrincetonUniversity Art Museum, which accompanied theopening of the exhibition, �The Embodied Image.�She has received a grant from the MetropolitanCenter for Far Eastern Art Studies to support herresearch on a memorial to Confucius at Qingpu,near Shanghai and will be working on this projectnext year while on leave. She also participated ina symposium, �Global Perspectives on Contem-porary Chinese Art� at the University of Chicagoin April, in connection with the exhibition �Tran-sience: Chinese Experimental Art at the End ofthe 20th Century.� She gave the Joan HerriedDocent Memorial Lecture at the Minneapolis Insti-tute of Arts in April, in conjunction with themuseum�s new installation of galleries and pe-riod rooms for Chinese Art. (A videotape of herlecture was made for instructional use.)

GAUTAMA VAJARCHARYA serves as lecturerin South Asian Studies and also lectures for ArtHistory. On September 24, 1998, he presented alecture on �An Art Historical Study of HarappanSeals� in conjunction with the Elvehjem Museumexhibition �Great Cities, Small Treasures: TheAncient World of the Indus Valley.� He continuesto work on his catalogue, �Continuity and Changein Indic Miniature Painting from the Watson Col-lection, Elvehjem Museum of Art� and on his mono-graph, �Reigning in the Rain: A Study of Art andIconography of Estivation Culture.�

QUITMAN (GENE) PHILLIPS attended the An-nual Meeting of the Association for Asian Stud-ies, which took place in March. He received aJapan Foundation Fellowship to fund a twelve-month leave, beginning in July of 1999. He willbe based in Kyoto, at Kyoto National University,where he plans to work on fifteenth-centuryBuddhist icons.

Cloth, Breeze of Blessing: Ancestral Masquer-ade Performances among the Yoruba.� He wasthe invited speaker for the 1999 Luther S. andCecilia Cressman Memorial Lecture in the Humani-ties at the University of Oregon in April where helectured on �Celebrating Ancestors, Shaping Com-munity: Yoruba Egungun Masquerades in Africaand Brazil.� He received a Chancellor�s Distin-guished Teaching Award (see story on page 5).

DAN FULLER taught an introductory survey ofphotography for the first time in the DepartmentSpring Semester, enrolling nearly 100 students.He also participated in the Symposium �Shootingthe West� in January.

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D E P A R T M E N T N O T E S

Graduate Students

M.A. Candidates

Sarah Cloud, Andrea Morrill, Lori Dumm, RobertCozzolino, Leah Goelz Purisch, Catherine Cooney

M.A. Degrees Awarded

GUIFFRIDA, NOELLE. 1999 August. “In the Ser-vice of the Tangut Xia: Conscious Heterogeneityin the Buddhist Murals of Cave 3 at Yulin.”(Murray)

GREENLEAF, MEGAN. 1999 May. “The Use ofthe Face in Jasper John’s Art.” (Buenger)

19th- and Early 20th-Century European andAmerican ArtFUNKENSTEIN, SUSAN L. “Images of WomenDancers in Weimar Germany: The Case of HannahHoech, Otto Dix, and Paul Klee.” (Buenger)GREVSTAD-NORDBROCK, ANNE, “Ilse Bing inFrankfurt and Paris: Inter-War Photography ofModern Architecture and the City.” (Buenger)HOECKEL, RENATA WILK, “Images and Identity:German Jewish Artists in Berlin, 1888-1918."(Buenger)KINNECOME, MARY, “Personal and Cultural Ico-nography in the Art of Grace Hartigan.” (Dennis)PALUCH-MISHUR, MICHELLE, “The Mutable Per-spectives of Flight: Futurist Aeropittura Under Ital-ian Fascism.” (Buenger)WALKER, ELIZABETH A., “Kay Sekimachi, PattiWarashina, and Kristine Yuki Aono: A Compara-tive Study of Identity and Cross-Cultural ArtisticProduction.” (Buenger)

Master’s Program

Ph.D. CandidatesRuth Ruege, Linda James, Lee Spurgeon,Joann Skrypzak, James Bryan, Soo-Yeon Park,Jennifer Smith

Ph.D. Program

PARK, SOO-YEON. 1999 May. “Use of Imagesfor Religious Practice in the Seventeenth-Cen-tury Dutch Republic: The Crucifixion with the Vir-gin and Saint John by HendrickTerbrugghen.” (Hutchison)

TAKASAKI, IZUMI. 1998 August. “A New Trendin Japanese Lacquer Decoration during the Early17th Century.” (Phillips)

VAN DYKE, AARON. 1999 May. “The FluxusSubject and the International Development of aConceptual Art.” (Phillips)

WARREN, GABRIELLE. 1999 August. “Tradi-tional Imagery and the Identity of Eleanora of To-ledo, Duchess of Florence.” (Geiger)

Emeriti

James M. Dennis retired in December and cur-rently is traveling to his favorite German cities.He will teach one course for the Department Falland Spring semesters for 1999/2000.

Robert Beetem successfully underwent heartsurgery this past year and is recovering well.He reports that his dual program of Cardiac Re-habilitation Exercise and of a diet excluding icecream and omlettes is helping his heart reconsti-tute itself into a stronger condition than before.He also has been working on an early Cezanneiconographical problem.

Frank Horlbeck is currently traveling in Europe.He will deliver two public lectures in the Depart-ment Fall semester.

AsianHUANG, YUN-JU MICHELLE, “The Changed andthe Unchanged, Shih-t’ao’s (1642-1707)paintings after Shen Chou (1427-1509).”(Murray)

Ph.D. Degrees Awarded:INCE, JULIA C. 1998 December. “The CriticalReception of Robert Henri’s Portraiture: Rejuve-nation in an Overly-Civilized Nation.” (Dennis)JARLING, SAVANNAH. 1998 May. “ThePersistence of the Romantic Paradigm inPopular Art in the LAte Twentieth Century.”(Mirzoeff)NICOLETTI, LISA J. “Drowning Women: TheGendering of Suicide in Victorian VisualCulture.” (Mirzoeff)

News from Current StudentsThe 33rd Annual Art Institute of Chicago Gradu-ate Student Seminar was held on Saturday, 17April 1999. One of twelve participants, JenniferSmith presented a paper on “Bruno Taut: Radi-calism, Reform, and Romanticism.”

Several Art History graduate students participatedin the UW Department of German’s Graduate Stu-dent Colloquium on Saturday, 20 March. In thearea of German Arts, Jennifer Smith presentedher paper on “Bruno Taut: Radicalism, Reform,and Romanticism,” while Kiki Gilderhus presentedone on “Allegory, Ideology, and Exhibition: AdolfZiegler and the Dissemination of Nazi Style.” Inthe area of German Literature and Philosophy,Aaron Van Dyke presented a paper on “Aura inthe City.”

The Art History Graduate Forum also presentedan ART HISTORY SPRING SYMPOSIUM on Fri-day 7 May. Their program consisted of CynthiaBecker, “The Afro-Islamic Arts of Possession-Trance and Healing: The Ismxan of Morocco”;Laurentia Cincoski, “Titian’s Venus of Urbino andthe Theme of Beautiful Women in Venetian Re-naissance Painting”; Robert Cozzolino, “IvanAlbright and the Window beyond the Door”; KikiGilderhus, “Hitler’s State Painter: Adolf Ziegler andthe Exhibition of The Four Elements.”

Paul Bacon - Ph.D. candidate, received a DAADGrant for summer language study at the Univer-sity of Leipzig, Germany.

Dissertations in Progress

Early Christian, Byzantine, and Medieval ArtMC MANAMY, KEVIN W., “Fourteenth CenturySculpture in Westphalia Germany: The Choir Fig-ures of the Wiesenkirche in Soest.” (Hutchison)

RenaissanceBACON, PAUL, “A Catholic Prince and a Human-ist Cardinal: Frederick the Wise and CardinalGranvelle as Patrons and Collectors of Art.”(Hutchison)CINCOSKI, LAURENTIA, “Maria van Oosterwyck:17th c. Dutch Still Life Painter.” (Hutchison).DUYCHAK, LINDA S., “Images and Absences: AStudy of Illustrations in Printed Books Dealing withthe Americas Published Between 1492 and 1550."(Hutchison)SHIN, JUNHYOUNG, “A Narrative for Private De-votion: Albrecht Dürer’s Marienleben 1502-1511."(Hutchison)

AfricanBECKER, CYNTHIA J., “Art as Identity: BodyAdornment in the Tafilalet of Southeastern Mo-rocco.” (Drewal)CAMPBELL, BOLAJI, “Yoruba Shrine Painting Tra-ditions.” (Drewal)HILL, SHANNEN L., “Visualizing a Tradition ofResistance: Appeals to Identity in South AfricanStreet Arts of the 1980’s.” (Drewal)MILLER, KIMBERLY ANNE, “Women, Violence, andRepresentation in the Recent History of SouthAfrica.” (Drewal)

Pre-1945 North American and SouthAmerican ArtMASON, PAUL, “The Light of Progress: ElectricLight at Chicago’s 1933-34 Century of ProgressInternational Exposition. A Symbol of AmericanModernity.” (Menocal)

Post-1945 North American, South American, andEuropean ArtBUBENZER, BRIAN, “The Reevaluaion of H.H.Richardson in Contemporary American Scholar-ship.” (Menocal)

Cynthia Becker - Ph.D. candidate, wasawarded a University Fellowship for one semes-ter of the 1999-2000 school year. She was alsoawarded an AIMS (American Institute for MaghribStudies) Award to study in Morocco this August- September. The title of her project is “Descen-dants of Enslaved Sub-Saharan Africans Livingin Tafilalet, Morocco.” On 1 May 1999, Cynthiapresented a paper on “The Afro-Islamic Arts ofPossession-Trance and Healing: The Ismxan ofMorocco” at a workshop at Northwestern Uni-versity in Evanston, Illinois. She has an article inpress in the journal, Ars Textrina. Together withBolaji Campbell she has been designing a WebSite for Afro-American Studies 241: Introductionto African Art and Architecture.

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D E P A R T M E N T N O T E S

Alumni

Symposium in Evanston, Illinois in May. This yearshe has been a Project Assistant with the EastAsian Studies Program. For 1999/2000she will be studying Japanese at the prestigiousInter-University Center for Japanese LanguageStudies in Yokohama, Japan.

Lisa Nicoletti - (Ph.D. 99) will be a VisitingAssistant Professor at Centenary College of Loui-siana in Shreveport, LA in Fall 1999. She gave alecture on “Photography and Death” at the Mil-waukee Institute of Art and Design on 1 Decem-ber. On 9 February she presented a paper en-titled “Reframing Female Insanity: Medical Illus-trations of Women on the Edge” at the nationalconference of Women’s Caucus for Art.

Michelle Paluch-Mishur - Ph.D. candidate, re-ceived a Graduate School Foreign Travel Fel-lowship and a Department of Art History “Marga-ret Davison Schorger Fellowship,” for her re-search in Italy.

Leah Goelz Purisch - M.A. candidate, has re-turned from her year in Ireland and will serve ashead of the Graduate Student Forum for 1999/2000.

Junhyoung Shin - Ph.D. candidate has receiveda DAAD Grant to conduct research for his dis-sertation in Germany.

Joann Skrypzak - Ph.D. candidate, held theChipstone Project Assistantship this year. Herdissertation topic is "Sporting Culture:German Artists' Views of the Modern Body, 1918-1933.”

Jennifer Smith - Ph.D. candidate, received aVilas Graduate Fellowship from the UW Gradu-ate School for the next school year. She spokeat the Chicago Art Institute Graduate Student Semi-nar in April and received a DAAD scholarship forher predissertation research on the theme ofnational identity and history in the art of theWeimar and post-World War II periods.

Lee Spurgeon - Ph.D. candidate, was awardeda FLAS (Foreign Language & Area Studies) Fel-lowship to study Japanese this fall at the UW.She will also teach Art History 372 this Fall.

Brian Bubenzer- Ph.D. candidate, was hiredas a Project Assistant with the College of Lettersand Science. He is assisting Dean Judy Craigwith Teaching Assistant Training over the nextyear.

Bolaji Campbell - Ph.D. candidate, has re-viewed Roslyn Walker’s Olowé of Ise:YorubaSculptor to Kings for African Arts. Together withCynthia Becker he is designing a Web Site forAfro-American Studies 241: Introduction to Afri-can Art and Architecture. For the second year,he has been awarded from the Richard A.Horovitz fund for Professional Development, afellowship for African artists and scholars in thehumanities and social sciences.

Laurentia Cincoski - Ph.D. candidate, receiveda Professional Women’s Philanthropic EducationalOrganization Scholars Award which she will useto travel to the Netherlands for research over thenext year.

Catherine Cooney - M.A. candidate, receivedher M.A. in Library Information Studies in May.She has been working in the Kohler Art Libraryon the student staff in Reference. She also hasbeen doing the bibliographic listing for the JulesPrown gift to the Kohler.

Robert Cozzolino - MA candidate, was cura-torial assistant for the Elvehjem Museum of Art's“Wildeworld: The Art of John Wilde” and contrib-uted to the exhibition catalogue; his essay, "IvanAlbright 1897-1983" was accepted for publica-tion in the book "A History of Illinois Painters 1850-1950" (Soundview Press, in preparation) and heassisted with the editing of biographical time-lines;has been a contributing writer for Isthmus; per-formed at The Arts Club of Chicago, Summer1998; and served on the Elvehjem Council for1998-99.

Kirsten Gilderhaus - Ph.D. candidate, servedas head of the Graduate Student Forum this pastyear.

Susan Funkenstein - Ph.D. candidate,wasawarded a University Fellowship for one se-mester of the 1999-2000 school year.

Anne Grevstad-Nordbrock - Ph.D. candidate,was awarded a DAAD Grant to do research inGermany next year.

Shannen Hill - Ph.D. candidate received a grantfrom the UW Graduate School ResearchCommitttee for travel to South Africa to completeher dissertation research.

Linda James - Ph.D. candidate, gave a lectureat the Madison Art Center on the work of Britishartist, Tacita Dean and also on the American sculp-tor, Peter Shelton. Linda contributed several ar-ticles on censorship and the visual arts to anencyclopedic work titled Ready Reference Cen-sorship, published by Salem Press in 1997. In1998 this work received an Outstanding Refer-ence Source Award from the American LibraryAssociation. In 1999/2000 she will be SeniorLecturer at UW-Plattville in Art History.

Kevin McManamy - Ph.D. candidate, has beenhired as an assistant professor in Medieval Stud-ies at the University of Idaho at Moscow. Hereviewed Kathryn Brush, The Shaping of Art His-tory: Wilhelm Vöge, Adolph Goldschmidt, andthe Study of Medieval Art (Cambridge UniversityPress, 1996) for Monatshefte #3, 1998. He alsoattended “Ausstattung und Architektur in derBauzeit des gotischen Domes zu Köln” (Decora-tive Furnishing and Architecture During the Con-struction of the Gothic Cathedral of Cologne). Hecontinues his appointment (1998-2003) asReader for Art and Art History tests for the Edu-cational Testing Service of Princeton, NJ.

Kimberly Miller - Ph.D. candidate, received aWoodrow Wilson Dissertation Grant in Women’sStudies, for her research while in Africa. Shewas also awarded a Summer FLAS (ForeignLanguage & Area Studies) Fellowship to studyXhosa, and a prestigious American Associationof University Women fellowship for 1999-2000.

Laura Mueller- Ph.D. candidate, presented apaper on “Modern Contradictions: Images ofMoga (‘Modern Girl’) in the Spectacle of UrbanJapan” at Northwestern University’s Graduate

James Bryan - Ph.D. candidate in the field ofAmerican Decorative Arts, has participated in theMuseum of Early Southern Decorative Arts Sum-mer Institute: Early Southern History and Decora-tive Arts, at the University of North Carolina atGreensboro.

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Ben L. Bassham (MA ‘66, Ph.D. ’72) has published Conrad Wise Chapman:Artist and Soldier of the Confederacy (Kent State University Press, 1998).

Adelia Bussey (BA ‘98) has accepted a position as assistant to the regis-trar at the Museum of Fine Arts in Boston, MA.

Amy Chung (BA ‘96, Art History with Asian option) has completed her MAat Sotheby’s Institute. Her Master’s thesis was titled “A Collective Aesthetic:The Japanese-Inspired Silverwares of Christopher Dresser (1834-1904)and Edward C. Moore (1827-1891).”

Richard Cleary (MA ‘77) is now an Associate Professor with tenure in theSchool of Architecture, University of Texas at Austin. He completed a Ph.D.at Columbia University, and his book, The Place Royale andUrban Design in the Ancien Regime, has just been published by CambridgeUniversity Press.

Jacqueline Francis (MA ‘93) is completing her dissertation project, “Mod-ern Art, ‘Racial Art’: The Work of Malvin Gray Johnson and the Challengesof Painting, 1928-1934.” She has received a dissertation fellowship at theCenter for Advanced Study in the Visual Arts, National Gallery of Art,Washington D.C.

Daniel Guernesy (Ph.D. ’95) will be Visiting Assistant Professor of ArtHistory, University of Kentucky, Lexington. His article “Childhood and Aes-thetic Education: The Role of Emile in the Formation of Gustave Courbet’s‘The Artist’s Studio’” has been accepted for publication in Between Rousseauand Freud: Visual Representations of Children and the Construction of Child-hood in the Nineteenth Century for Ashgate/Scholar Press, London (forth-coming).

D E P A R T M E N T N O T E S

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Alan Pizer (BA ‘90) earned an MA in Art History at the University of Texasat Austin. Since 1995 he has been a lecturer in art history at SouthwestTexas State University. He is also a project facilitator for the Departmentof Art & Design in preparation for the construction of a new art facility.

Pam Richardson (MA ’94), continues as the Registrar for the ElvehjemMuseum. During the past year, she mentored nine art history undergradu-ates on museum careers during a two-day (October 15-16, 1998) work-shop at her alma mater, Mary Washington College in Fredericksburg, VA.She was also an evaluator for the Upper Midwest Conservation Associa-tion in Minneapolis, MN in January 1999. The results will be used for anNEH grant proposal and for UMCA?s internal planning. Pam was also the1999 Wisconsin State Representative for the Midwest Registrar?s Com-mittee. In June she co-hosted the Upper Midwest Conservation Associa-tion and participated in the workshops for “Preservation Planning forMuseums” and “Care of Library and Archival Materials”. She has ac-cepted a position as an assistant Registrar at the Hirshhorn Museum andSculpture Garden in Washington D.C. beginning in late September.

Tanya Tiffany (B.A. 95) is currently a Ph.D. candidate at Johns Hopkins.She has received a Metropolitan Museum of Art Travel Grant to continueher dissertation research on Velazquez.

Gretchen Wagner (B.A. 98) is an assistant curator at the Madison ArtCenter, where she has been working on the 1999 Wisconsin Triennial.Gretchen is also employed as a research assistant for Isthmus Architec-ture, in which capacity she has worked on the State Capitol’s East WingRestoration.

Heather Winter (BA ’94), will enter the University of Wisconsin-Milwau-kee to take Master degrees in History and in Library and InformationStudies.

My thanks to Margo Baxter (BS ‘98) for her help with theNewsletter, to those who provided text and photos, and tocolleagues who corrected it. GLG

Christopher Henige (Ph.D ’97) taught AH 319 “Gothic Architecture” inthe Department during the spring semester of 1999. He has been hiredat UW-Stevens Point to teach survey courses for the 1999-2000 schoolyear.

Melanie Herzog (Ph.D. ’95), Associate Professor of Art History andDirector of the DeRicci Gallery, Edgewood College, Madison, co-chaireda College Art Association session in Los Angeles titled “Exile, Expatria-tion, and Relocation: Artists and Writers in Mexico, 1930-1950.”

Karen Kettering (BA’ 89) [PhD Northwestern] is Associate Curator ofRussian Art at Hillwood Museum and Gardens in Washington, D.C. Shereceived a Rakow Grant for Glass Research from the Corning Museumof Glass, and is currently preparing a survey of Russian glass in themodern era.

Karen Levitov (MA ‘96) is currently a dissertator at SUNY-Stonybrook.Her topic will concern issues of race and identity in contemporaryphotography. .

Nathan Marshak (MA ‘93) is a production designer in Hollywood. Themost recent movie he worked on is Treasure Island, a WWII homefrontstory set in 1945.

Paula Nameth (BA ’96) is currently a Registrar’s Assistant at theMilwaukee Institute of Art & Design.

Thomas O’Brien (Ph.D. ‘98) was lecturer for AH 350, “19th CenturyEurope,” in the Department Fall semester of 1998 and will do so again inFall Semester 1999. He will present a paper at the February College ArtAssociation annual meeting.

Moyo Okediji (Ph.D. ‘95) has been appointed Assistant Curator (Africa,Native America, Oceania) at the Denver Art Museum and Assistant Profes-sor of Art History at the University of Colorado, Denver.

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D E P A R T M E N T N O T E S

Department of Art HistoryUniversity of Wisconsin-MadisonElvehjem Museum of Art800 University AvenueMadison, WI 53706-1479 USA

Coming This Year in the Art History Department

Makers and Users: American Decorative Arts, 1630-1820,from the Chipstone Collection.21 August to 24 October 1999.

Beads, Body, and Soul: Art and Light in the Yoruba Universe29 January to 21 May 2000.

John Szarkowski,Lecture: 30 September 1999, 7:30 pm:“The Failure of Photography in the Twentieth Century”Elvehjem Room L160.

Art History 355, History of PhotographySpring Semester 2000Elvehjem Room L140Tuesday and Thursdays, 2:30-4:30.

Sponsored by the Arts Institute Sesquisentennial Award.

José Rodríiguez, Great Crown, 1977. Fowler Museum of Cultural History.

Nonprofit Org.U.S. Postage

PAIDPermit No. 658

Madison, WI