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Articles and Essays

". In Nineteenth-Century Art Worldwide 19:1
(Spring 2020).

“Translating Dante: Isabella Stewart Gardner’s Museum as Paradiso.” Religion and the Arts 22:1-2 (2018), 194-217.

New York: Delmonico Books/Prestel, 2015, 21-31.

"Learning to Paint: American Artists and European Art, 1876-1893." In Methods for Modernism: American Art, 1876-1925. Brunswick: ºÚÁϳԹÏÍø±¬ÍøÕ¾ College Museum of Art, 2010, 10-29.

"Creative Connections: James MacNeill Whistler and Isabella Stewart Gardner." In
James McNeill Whistler in Context, Freer Gallery of Art Occasional Papers, n.s. 2. Washington, D.C.: Smithsonian Institution, 2008, 183-203.

"" American Art 22/2 (Summer 2008), 85-97.

"Invitation to Wonder." In Threatened and Endangered:Artist's Books Created by Rebecca Goodale. Brunswick: ºÚÁϳԹÏÍø±¬ÍøÕ¾ College, 2004.

"Portraits as Documents: Historical and Humanistic Reflections." In Portraits in the Collection of the American Antiquarian Society. By Lauren B. Hewes. Worcester: American Antiquarian Society, 2004, 45-58. Also published in Proceedings of the American Antiquarian Society 111, part 1 (2001), 45-58.

"The Making of an Artist: Edmund C. Tarbell's Early Influences and Career." In Impressionism Transformed: The Paintings of Edmund C. Tarbell. Manchester: Currier Gallery of Art, 2001, 29-70.

“Family Pictures: The Impressionist Art of Edmund C. Tarbell,” Antiques (November. 2001), 660-69 (with Erica E. Hirshler and Susan Strickler).

"Collection as Creation: Isabella Stewart Gardner's Fenway Court." In Memory and Oblivion: Proceedings of the XXIXth International Congress of the History of Art. Eds. Wessel Reinink and Jeroen Stumpel. Dordrecht: Kluwer Academic Publishers, 1999,
217-21.

"Why Not a National Art? Affirmative Responses in the 1890s." In Paris 1900: The 'American School' at the Universal Exposition. New Brunswick, NJ: Rutgers University Press, 1999, 95-117.

"Women as Readers: Visual Interpretations." Proceedings of the American Antiquarian Society, 107/2 (1998), 335-388.

“Model-Families: The Domesticated Studio Pictures of William Merritt Chase and Edmund C.Tarbell.” In Not at Home: The Suppression of Domesticity in Modern Art and Architecture. Ed. Christopher Reed. London: Thames and Hudson, 1996, 48-64.

“Preserving Our Ancestors: The ºÚÁϳԹÏÍø±¬ÍøÕ¾ Portrait Collection.” In The Legacy of James ºÚÁϳԹÏÍø±¬ÍøÕ¾ III. Brunswick: ºÚÁϳԹÏÍø±¬ÍøÕ¾ College Museum of Art, 1994, 55-83.

“A Problem of Perspective: Winslow Homer, John H. Sherwood, and Weaning the Calf.” North Carolina Museum of Art Bulletin 16 (1993), 32-48.

"Winslow Homer: Master of the Wood Engraving". Chapel Hill: Ackland Art Museum, University of North Carolina at Chapel Hill, 1979.

Book Reviews

Review of Winslow Homer and the Critics: Forging a National Art in the 1870s by Margaret C. Conrads. Archives of American Art Journal 41/1-4 (2001), 47-50.

Review of Inventing Acadia: Artists and Tourists at Mount Desert by Pamela J. Belanger. CAA.Reviews (2000).

Review of Franklin and His Friends: Portraying the Man of Science in Eighteenth-Century America by Brandon Brame Fortune with Deborah J. Warner. Archives of American Art Journal 39/1&2 (1999), 46-48.

Review of Bernard Berenson and the Twentieth Century by Mary Ann Calo. New England Quarterly 67 (December 1994), 654-57.

Book

What Passing Voices Echo: Sites of History and Memory at ºÚÁϳԹÏÍø±¬ÍøÕ¾ College. blurb.com, 2010. Edited, in collaboration with ºÚÁϳԹÏÍø±¬ÍøÕ¾ students.

Exhibitions

ºÚÁϳԹÏÍø±¬ÍøÕ¾ College Museum of Art

• “Methods for Modernism.” Spring 2010 (with Diana Tuite).
• “Winslow Homer in Black and White.” Spring 2004.
• “Focus on Nature: American Photographic Views.” Fall 2002.
• “Art, Religion, and American Culture.” Fall 2001.
• “Medieval Art and the Modern Imagination.” Spring 2000.
• “Impressionists on Paper.” Spring 1999.
• “Wilderness Transformed.” Fall 1998.
• “Photography and Identity: American Views.” Summer 1996.
• “The Art of Portraiture.” Spring 1993.
• “Mixing the Elements: Science and the Arts in American Culture.” Fall 1991.
• “Isolationism and Internationalism: American Art 1917-1941.” Fall 1988.

Curated with ºÚÁϳԹÏÍø±¬ÍøÕ¾ Students

• “Insight Out: Exploring Gifts of Art from Private Collectors.” Spring 2012.
• “Representing America: Ties that Bind and Lines that Divide.” Fall 2007.
• “Face It! A New Approach to Portraiture.” Spring 1998.
• “Context Considered: Perspectives on American Art.” Spring 1996.
• “Other Places, Other Times: The Photographer’s View.” Fall 1993.
• "Focus on Nature: American Photographic Views." ºÚÁϳԹÏÍø±¬ÍøÕ¾ College Museum of Art, Fall 2002.
• "Art, Religion, and American Culture." ºÚÁϳԹÏÍø±¬ÍøÕ¾ College Museum of Art, Fall 2000.

Other Museums

• "Impressionism Transformed: The Paintings of Edmund C. Tarbell." The Currier Gallery of Art, 2001(with Erica E. Hirshler and Susan Strickler).
• “Winslow Homer: Master of the Wood Engraving.” Ackland Art Museum, 1979. 

American Philosophical Society Sabbatical Fellowship, 2001-2002.

American Council of Learned Societies Fellowship, 1990-1991.

National Endowment for the Humanities Summer Seminar for College Teachers, Harvard University, 1990.

Lawrence and Barbara Fleischman Fellowship, Center for Advanced Study in the Visual Arts, National Gallery of Art, 1983-1985.