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301A Old CollegeNewark, DE 19716<div class="ExternalClass62721BA64C37458C99F169B1C32B55FD"><p>Professor <strong>H. Perry Chapman</strong> received her B.A. in Art History and History from Swarthmore College and her Ph.D. from Princeton University. A specialist in seventeenth-century Dutch art, she teaches about early modern European art, with a concentration in Northern Baroque painting; the history of prints; the relation between artists and society; and research and methodology in art history. Recent seminar topics include "Dutch Art Rough and Smooth," "Dutch Painting and Technical Art History," "The Painter's Place: The Primacy of Painting in the Dutch Republic," "Art and Religion: The Netherlands after Iconoclasm," "Rembrandt and Dutch Art," "Approaches to Vermeer," "The Self-Portrait from Dürer to Rembrandt," "The Art Market in the Dutch Republic," and "The Artist's Studio." </p><p>Professor Chapman has published widely on Rembrandt, Vermeer, and Jan Steen, on self-portraiture, and on seventeenth-century art theory and artists' biographies. Her book <em>Rembrandt's Self-Portraits: A Study in Seventeenth-Century Identity</em> examines Rembrandt's representations of himself against the background of early modern notions of individuality. Professor Chapman was co-curator and co-catalogue author for the major exhibition <em>Jan Steen: Painter and Storyteller</em> at the National Gallery of Art, Washington, D.C., and the Rijksmuseum, Amsterdam. Her investigation of Rembrandt's house and collection has been published as "Rembrandt on Display: The Rembrandthuis as Portrait of an Artist" and "Rembrandt's House and the Making of an Artist." Her interest in the early modern artist's studio has led to articles on "The Imagined Studios of Rembrandt and Vermeer," "Cornelis Ketel: Fingerpainter and Poet-Painter," and "The Wooden Body: Representing the <em>Manikin</em> in Dutch Artists' Studios." Her research has been supported by fellowships from the Woodrow Wilson Center, the National Endowment for the Humanities, the Center for Advanced Study in the Visual Arts (National Gallery of Art), and the Guggenheim Foundation.</p><p>Professor Chapman served as editor-in-chief of <em>The Art Bulletin</em> from 2000 to 2004. She is currently a member of the editorial board of the <em>Nederlands Kunsthistorisch Jaarboek/Netherlands Yearbook for History of Art</em>, for which she co-edited volume 69 (2019), on the history and changing critical reception of connoisseurship in the Netherlands: <em>Connoisseurship and the Knowledge of Art / Kennerschap en kunst</em>.</p></div><div class="ExternalClass790F5B9C27214C0E816DA20B1877EF3D"><p>"Rembrandt's House and the Making of an Artist." In <em>Künstlerhäuser im Mittelalter und der Frühen Neuzeit</em>. Ed. Andreas Tacke, Thomas Schauerte, Danica Brenner. Petersberg: Imhof, 2018, 250-63.</p><p>"Curiosity and Desire: Rembrandt's Collection as Historiographic Barometer." In <em>Rembrandt and His Circle</em>. Ed. Stephanie Dickey. Amsterdam: Amsterdam University Press, 2017, 99-121.</p><p>"Rubens, Rembrandt, and the Spousal Model-Muse." In <em>Ut pictura amor: The Reflexive Imagery of Love in Artistic Theory and Practice, 1400-1700</em>. Ed. Walter Melion, Joanna Woodall and Michael Zell. Leiden: Brill, 2017, 439-82.</p><p>"Rembrandt on Display: The Rembrandthuis as Portrait of an Artist." In <em>Arts of Display</em>. Ed. H. Perry Chapman, Frits Scholten and Joanna Woodall. <em>Nederlands Kunsthistorisch Jaarboek</em> 65 (2015), 202-39.</p><p>“Rembrandt and Caravaggio: Imitation and Emulation.” In <em>Caravaggio: Reflections and Refractions.</em> Ed. Lorenzo Pericolo and David M. Stone. London: Ashgate, forthcoming 2014.</p><p>“The Problem with Artists,” review of Ernst Kris and Otto Kurz, <em>Legend, Myth and Magic in the Image of the Artist: A Historical Experiment</em> (1934); Rudolf Wittkower and Margot Wittkower, <em>Born under Saturn; The Character and Conduct of Artists: A Documented History from Antiquity to the French Revolution</em> (1963), commissioned for a centennial issue of <em>The Art Bulletin</em> 95 (2013): 484-88.</p><p>“Self-Portraiture, 1400-1700.” In <em>Blackwell Companion to Renaissance and Baroque Art.</em> Ed. Babette Bohn and James M. Saslow. Oxford: Wiley-Blackwell Publishing, 2013, 189-209.</p><p>“Inside Vermeer’s Women.” In <em>Vermeer’s Women: Secrets and Silence.</em> Ed. Betsy Wieseman. Cambridge: Fitzwilliam Museum; London: Yale University Press, 2011, 64-123.</p><p>“Reclaiming the Inner Rembrandt: Passion and Rembrandt’s Earliest Self-Portraits.” In <em>The Passions in the Art of the Early Modern Netherlands.</em> Ed. Herman Roodenburg and Stephanie Dickey. <em>Nederlands Kunsthistorisch Jaarboek</em> 60 (2010): 188-215.</p><p>“Cornelis Ketel: Fingerpainter and Poet-Painter.” In <em>Envisioning the Artist in the Early Modern Netherlands.</em> Ed. H. Perry Chapman and Joanna Woodall. <em>Nederlands Kunsthistorisch Jaarboek</em> 59 (2009): 249-73.</p><p>“Art Fiction.” In <em>Art History: Contemporary Perspectives on Method.</em> Ed. Dana Arnold. <em>Art History</em> (special issue) 32 (2009): 785-805.</p><p>“The Imagined Studios of Rembrandt and Vermeer.” In <em>Inventions of the Studio, Renaissance to Romanticism.</em> Ed. Michael Cole and Mary Pardo. Chapel Hill: University of North Carolina Press, 2005, 108-46.​​​</p></div>Selected, H. Perry302-831-2243<img alt="H. Perry Chapman" src="/Images%20Bios/People/Faculty/Chapman-2020.jpg" width="513" style="BORDER:0px solid;" />Professor and Director of the CTPhD ProgramNorthern Baroque ArtPh.D. Princeton University



Connoisseurship and the Knowledge of Art / Kennerschap en kunstChapman, H. PerryThijs Weststeijn, and Dulcia Myers, eds.BrillLeiden2019<p>​Connoisseurship – once foundational, then controversial, and currently critically reconsidered – is fundamentally about knowledge. Focusing on the distinctive history of the connoisseurship of Netherlandish art, this volume investigates early modern connoisseurship as revealed through pictorial practice, texts, and pictures featuring art lovers. An interplay between possessing and knowing about art emerges in the collecting of Chinese porcelain in the eighteenth century. With the professionalization of art criticism in the nineteenth century, Rembrandt's art becomes a locus of scrutiny. In the twentieth century, the introduction of scientific data complicates the art historian's expertise, whereas the case of Mondrian shows how modernist criticism and connoisseurship are intricately interwoven. Finally, persisting tensions between connoisseurship, authorship, and the market are brought to the fore. </p>
Arts of Display/Het vertoon van de kunstChapman, H. PerryFrits Scholten, and Joanna Woodall, eds.BrillLeiden2015<p>The recent wave of renovations of Netherlandish museums inspired this volume of the <em>Nederlands Kunsthistorisch Jaarboek</em>, which focuses on display as a key approach to the visual culture of the Netherlands from the early modern period to the present. The volume opens with a critical discussion of the newly reinstalled Rijksmuseum. It includes analyses of the depiction of aggressive interactions with artworks, the ways in which meaning is mobilised by changing displays of paintings by Rubens, and the politics of display in a seventeenth-century palace and in Fascist and De Stijl exhibitions. Display in domestic spaces, including Rembrandt’s house and a museum of Asiatic art, is considered, as are the implications of plinths and curtains. Display emerges as a complex praxis that determines interpretation and implicates the beholder.<br></p>
Jan Steen: Painter and StorytellerChapman, H. PerryWouter Th. Kloek, and Arthur K. Wheelock, Jr.National Gallery of ArtWashington, DC1996<p> Jan Steen, one of the most admired and engaging of Dutch artists, stands apart for his wry and humorous view of the world. He is best known as a comic painter of dissolute households, quack doctors tending lovesick women, boisterous holiday gatherings, and rowdy tavern scenes. Yet Steen also produced genre paintings with a serious side, highly original portraits, and biblical and mythological histories that vary remarkably, from the quiet and intimate to the grand and melodramatic. The careful selection of paintings presented here surveys the breadth of this artist’s achievement and provides an overview of his career, from his early works painting in The Hague around 1650 to those executed in the mid-1670s in Leiden. These paintings also provide evidence of Steen’s genius as a compelling storyteller. The catalog includes essays by noted scholars in the field.<br></p>

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  • Department of Art History
  • University of Delaware
  • 318 Old College
  • Newark, DE 19716 USA
  • Phone: 302-831-8415