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University of DelawareNewark, DE 19716<div class="ExternalClass749B85C751414C97ADFB43CFC69A5FF1"><p>​Professor Athanassoglou-Kallmyer received a Licence ès Lettres from the University of Paris (Sorbonne), a Ph.D. from the School of Philosophy (University of Thessaloniki, Greece), and a Ph.D. in Art History (Department of Art and Archaeology, Princeton University).</p><p>She specializes in the history of eighteenth- and nineteenth-century European art with emphasis on the art and culture of France from the 1780s to the early 1900s. She is interested in the history of ideas and issues of political and social ideologies as they intersect with aesthetic and critical responses, and in the interaction between artistic production and popular, folkloric, and mass culture.</p><p>She is the recipient of the CAA's Arthur Kingsley Porter Prize for best article in <em>The Art Bulletin</em>, a John Simon Guggenheim Fellowship, a J. P. Getty Fellowship, a Mellon Fellowship at the University of Pennsylvania (declined), a fellowship at the Institute for Advanced Study, a Senior Ailsa Mellon Bruce Fellowship at the Center for Advanced Study in the Visual Arts (CASVA), a J. Stanley Seeger Fellowship at Princeton University, an ACLS grant, and an American Philosophical Society fellowship.</p><p>Her book <em>Cézanne and Provence: The Painter in His Culture</em> (Chicago, 2003) was a finalist for the CAA's Charles Rufus Morey Book Award. Her book <em>French Images from the Greek War of Independence, 1821-1830: Art and Politics under the Restoration</em> (Yale, 1989) was a runner-up for the CINOA book award.</p><p>She is the author of <em>French Images from the Greek War of Independence, 1821-1830: Art and Politics under the Restoration</em> (Yale, 1989); <em>Eugène Delacroix: Prints, Politics, and Satire</em> (Yale, 1991); <em>Cézanne and Provence: The Painter in His Culture</em> (Chicago, 2003); and <em>Théodore Géricault</em> (Phaidon, 2010). Along with numerous articles in scholarly journals, she has published essays in edited volumes, including <em>Frankreich, 1815-1830</em> (Franz Steiner Verlag, 1993); <em>The Cambridge Companion to Delacroix</em> (Cambridge, 2001); <em>Critical Terms in Art History</em> (2nd ed., Chicago, 2003); <em>The Grotesque in Art</em> (Cambridge, 2003); <em>Repenser la Restauration</em> (Nouveau Monde, 2005); <em>Paris 1820</em> (Peter Lang, 2006); and <em>L'impressionnisme: Du plein air au territoire</em> (Presses Universitaires de Rouen et du Havre, 2013).</p> <p>She was the guest editor of <em>The Art Journal's</em> issue on Romanticism (1993) and served as the Book Review Editor of <em>The Art Bulletin</em> from 1995 to 1998.</p><p>She served as Editor-in-Chief of <em>The Art Bulletin</em>, 2017-2020.</p><p>She has taught as visiting professor at Princeton University in 1993, 1995, and 2002.​​<br></p><p>In 2019, she was the Kirk Varnedoe Visiting Professor at the Institute of Fine Arts (NYU).<br></p></div>nina@udel.eduAthanassoglou-Kallmyer, Nina M.<img alt="Nina M. Athanassoglou-Kallmyer" src="/Images%20Bios/People/Faculty/athanassoglou-kallmyer-bio.jpg" style="BORDER:0px solid;" />Professor EmeritaEighteenth- and Nineteenth-Century European ArtPh.D. Princeton University

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Théodore Géricaulthttps://www.arthistory.udel.edu/Arth Bookshelf/kallmyer-theodore-gericault.jpgThéodore GéricaultAthanassoglou-Kallmyer, Nina M.PhaidonLondon2010https://www.amazon.com/Theodore-Gericault-Nina-Athanassoglou-Kallmyer/dp/0714844004<p>This monograph explores the life and works of Théodore Géricault (1791–1824), whose compelling career and legacy continue to captivate audiences, artists and critics alike. In her comprehensive survey, Nina Athanassoglou-Kallmyer pays tribute to established Géricault scholarship, but also reassesses the career of an artist too easily miscast as the archetypal ‘tortured soul’ of art-historical Romantic mythology. She examines Géricault’s career in the context of Restoration France, a society under the controversial rule of Louis XVIII, in which civic structures, political process and even aesthetic categories were the subject of vigorous popular debate. Géricault immersed himself in these polemics, taking an intense interest in the fait divers, or ‘daily happenings’, of his time. Athanassoglou-Kallmyer explores his interest in medical and psychiatric science (as exemplified by a series of portraits of monomaniacs), his empathy for the poor and dispossessed (the subject of numerous lithographs) and the entrepreneurial spirit that led him to exhibit his epic canvas, the <em>Raft of the Medusa</em>, in London as a commercial venture. Géricault is presented as an artist committed to capturing contemporary life with creative integrity and dramatic verve.<br></p>
Cézanne and Provence: The Painter in His Culturehttps://www.arthistory.udel.edu/Arth Bookshelf/kallmyer-cezanne-provence.jpgCézanne and Provence: The Painter in His CultureAthanassoglou-Kallmyer, Nina M.University of Chicago PressChicago2003http://press.uchicago.edu/ucp/books/book/chicago/C/bo3642144.html<p>In 1886 Paul Cézanne left Paris permanently to settle in his native Aix-en-Provence. Nina M. Athanassoglou-Kallmyer argues that, far from an escapist venture like Gauguin’s stay in Brittany or Monet’s visits to Normandy, Cézanne’s departure from Paris was a deliberate abandonment intimately connected with late-nineteenth-century French regionalist politics.<br></p>
Eugène Delacroix: Prints, Politics and Satire, 1814-1822https://www.arthistory.udel.edu/Arth Bookshelf/kallmyer-delacroix-satire.jpgEugène Delacroix: Prints, Politics and Satire, 1814-1822Athanassoglou-Kallmyer, Nina M.Yale University PressNew Haven, CT1991https://www.amazon.com/Eugene-Delacroix-Prints-Politics-1814-1822/dp/0300049315<p>In the years before Delacroix established his reputation as a major painter, he produced some political cartoons and caricatures unlike anything he was to create for the rest of his life. Until now these works have been dismissed as purely commercial undertakings unworthy of the great artist. This book by Nina Athanassoglou-Kallmyer demonstrates that Delacroix's interest in political cartooning was far more significant than has hitherto been assumed.<br></p>
French Images from the Greek War of Independence, 1821-1830https://www.arthistory.udel.edu/Arth Bookshelf/kallmyer-greek-independence.jpgFrench Images from the Greek War of Independence, 1821-1830Athanassoglou-Kallmyer, Nina M.Yale University PressNew Haven, CT1989https://www.amazon.com/French-Images-Greek-Independence-1821-1830/dp/0300045328<p>The Greek struggle against Ottoman rule was a crucial event in the history and politics of nineteenth-century Europe. In particular it had a strong impact on the political and cultural life of France during the Bourbon Restoration, where it was appropriated and promoted as the symbolic spearhead of liberal ideas and of the growing Romantic rebellion. This book by Nina Athanassoglou-Kallmyer examines the French paintings, prints, and sculptures inspired by the Greek War of Independence.<br></p>

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