Dissertation, Doctor of Philosophy
“The Drawings of Roelandt Savery, 1576‒1639” (PhD diss., Yale University, 1979).
Articles
“The ‘Naer Het Leven’ Drawings: By Pieter Bruegel or Roelandt Savery?” Master Drawings 8, no. 1 (1970): 3–82.
“Roelandt Savery’s Studies in Bohemia,” Umění 18 (1970): 270–75.
“The Defense of Prague 15 February 1611 by Roelandt Savery,” Umění 30 (1982): 454–62.
“‘De Koe voor d’aerde statt’: The Origins of the Dutch Cattle Piece,” in Anne-Marie Logan, ed., Essays in Northern European Art, Presented to Egbert Haverkamp-Begemann on his Sixtieth Birthday (Doornspijk: Davaco, 1983), 251–56.
“Unrecognized Studies for Van Dyck’s ‘Iconography’ in the Hermitage,” Master Drawings 23–24, no. 4 (1985): 537–94.
“An Experiment with Perspective by Gabriel Metsu,” Zeitschrift Für Kunstgeschichte 51, no. 4 (1988): 574–83.
“Topographical Drawings of Central Europe by Artists from the Netherlands: The Case of Peeter Houck,” Master Drawings 26, no. 4 (1988): 351–422.
“Adam and Eve after the Fall by Paulus van Vianen and the Interrelationship of the Arts,” in Eliška Fučíková, ed., Prag um 1600: Beiträge zur Kunst und Kultur am Hofe Rudolfs II. (Freren: Luca Verlag, 1988), 273‒83.
“A Drawing of ‘David with the Head of Goliath’ by Hendrick Goltzius,” The Burlington Magazine 131, no. 1035 (1989): 407–10.
“A Terracotta ‘Joseph’ Attributed to Civitale: Its Authenticity Vindicated,” The Journal of the Walters Art Gallery 48 (1990): 69–73.
“Nicolaus Braeu and Gillis van Breen: Two Printmakers or One?” Print Quarterly 8, no. 3 (1991): 275–80.
“The Renaissance Elbow,” in Jan Bremmer and Herman Roodenburgh, eds., A Cultural History of Gesture (Ithaca: Cornell University Press, 1992), 84–128.
“Anthony van Dyck’s Iconography: An Overview of Its Preparation,” Symposium Papers XXVI: Van Dyck 350 = Studies in the History of Art 46 (1994): 325–64.
“The Exhibition: Lecture or Conversation?” Curator Magazine 37, no. 3 (1994): 185–97.
“Criteria for Breast Reconstruction Surgery: Another Viewpoint,” Annals of Plastic Surgery 6 (1995): 1–9.
“The Star of David and Jewish Culture in Prague around 1600, Reflected in Drawings of Roelandt Savery and Paulus van Vianen,” Essays in Honor of Lilian M. C. Randall = The Journal of the Walters Art Gallery 54 (1996): 203–24.
“Roelandt Savery and the ‘Discovery’ of the Alpine Waterfall,” in Eliška Fučíková, ed., Rudolf II and Prague: The Court and the City (London: Thames and Hudson, 1997), 146–56; catalogue contributions: 401–402, nos. 1.60–72; 426, no. 1.176; 439–40, nos. 1.240–48; and 441–44, nos. 1.250–67.
“A Pictorial Vocabulary of Otherness: Roelandt Saverij, Adam Willarts, and the Representation of Foreign Coasts,” Nederlands Kunsthistorisch Jaarboek = Netherlands Yearbook for History of Art 48 (1997): 22–51.
“The Role of Printmaking in Utrecht during the First Half of the Seventeenth Century,” in Joaneath Spicer and Walter S. Melion, eds., Culture and Place in Northern Art = The Journal of the Walters Art Gallery 57 (1999): 105–32.
“Roelandt Saverij as an Etcher,” in Heinz Widauer, ed., Festschrift für Konrad Oberhuber (Milan: Electra, 2000), 294–301.
“Pontormo’s Maria Salviati with Giulia de’ Medici: Is This the Earliest Portrait of a Child of African Descent in European Art?” The Walters Members Magazine Summer 2001: 4–6.
“The Significance of Drawing naer het leven, or “From Life,” in Netherlandish Art in the Sixteenth and Seventeenth Centuries,” in National Gallery of Art, Center for Advanced Study in the Visual Arts, Center 21: Record of Activities and Research Reports June 2000–May 2001 (Washington, DC: National Gallery of Art, 2001), 160–63.
“Poelenburch’s Changes to His Portraits of Jan Pellicorne and Susanna van Collen,” The Journal of the Walters Art Museum 63 (2005): 117–18.
“An ‘Antique’ Brass ‘Candlestick in the Shape of Hercules’ by Peter Vischer the Younger and Workshop,” The Journal of the Walters Art Museum 63 (2005): 65–71.
“The Role of Invention in Art and Science at the Court of Rudolf II in Prague,” Studia Rudolphina: Bulletin of the Research Center for Visual Arts in the Age of Rudolf II 5 (2005): 7–16.
“Heemskerck’s Rainbow: Symbol or Narrative?” in Beket Bukovinská and Lubomir Slavíček, eds., Pictura Verba Cupit: Essays in Honor of Lubomir Konečný (Prague: Artefactum, 2006), 145–51.
“The Shifting Identity of a Thai Buddha in Seventeenth-Century Europe,” in Henry Ginsburg and Will Noel, eds., A Curator’s Choice: Essays in Honor of Hiram Woodward = The Journal of the Walters Art Museum 64–65 (2006): 207–10.
“Representations of Heliodorus’ Aethiopica in Seventeenth-Century European Art,” in Henry Louis Gates, Jr. and David Bindman, eds., The Image of the Black in Western Art, Volume 3: From the “Age of Discovery” to the Age of Abolition, Part 1: Artists of the Renaissance and Baroque (Cambridge, MA: Harvard University Press, 2010), 307–35.
“Roelandt Savery’s Unprecedented Drawings of Prague,” in Olga Kotkova and Stefan Bartilla, eds., Roelandt Savery: A Painter in the Services of Emperor Rudolf II (Prague: National Gallery of Prague, 2010), 85–102.
“Referencing Invention and Novelty in Art and Science at the Court of Rudolf II in Prague,” in Ulrich Pfister and Gabriele Wimböck, eds., Novita: Neuheitskonzepte in den Bildkünsten um 1600 (Munich: Diaphanes, 2011), 401–24.
“What’s Behind the Mona Lisa (in the Walters Art Museum)?” The Journal of the Walters Art Museum 70–71 (2012): 39–42.
“The White Rose in the Burgundian Netherlands of Charles the Bold and Margaret of York,” in Till-Holger Borchert et al., eds., Staging the Court of Burgundy: Proceedings of the Conference “The Splendour of Burgundy” = Studies in Medieval and Early Renaissance Art History 69 (2013): 137–45.
“Activating the Digital Humanities: Visiting the Walters’ Chamber of Wonders Online,” in C. Hourihane, ed., Digital World of Art History 2013: From Theory to Practice (Princeton University, Index of Christian Art, digital book), https://ima.princeton.edu/pubs/2013Spicer.pdf.
“The Adaptation of Arias Montano’s Emblem Book ‘David’ . . . (1575) for an Extraordinary Table-Cabinet by Peter Opel in The Walters Art Museum,” The Journal of the Walters Art Museum 72 (2014): 55–78.
“The Personification of Africa with an Elephant-Head Crest in Cesare Ripa’s Iconologia (1603),” in Walter S. Melion and Bart Ramakers, eds., Personification: Embodying Meaning and Emotion (Leiden: Brill, 2016), 677–715.
“Miniature Mysteries: New Proposals on the Handling, Creation, and Authentication of Late Medieval Prayer Nuts,” The Journal of the Walters Art Museum 73 (2018): 79–86.
“Epilogue: Some Curatorial Thoughts on the Monographic Exhibition,” in Maia Wellington Ghatan and Donatella Pegazzano, eds., Monographic Exhibitions and the History of Art (London: Routledge, 2018), 302–308.
“The Abduction of Helen: A Monumental Series Celebrating the Wedding of Caterina Corner in 1468,” The Journal of the Walters Art Museum 74 (2019).
“Painting on Stone for the Decoration of Table Cabinets, Featuring Those by Philipp Hainhofer,” in Judith W. Mann, ed., Paintings on Stone: Science and the Sacred 1530–1800 (Munich: Hirmer Publishers, 2020), 66–75.
“Donatello’s Reliefs of Adam and Eve, c. 1405: Mixing Inexperience with the Adaptation of a Roman Statuette Belonging to Ghiberti,” Proceedings of the Conference Donatello: Workshops, Patronage, Revival, 19–20 May 2023, forthcoming.
Exhibition Catalogues and Booklets
co-editor with Lisa G. Corrin, Going for Baroque: 18 ContemporaryFedito Artists Fascinated with the Baroque and Rococo (Baltimore: The Contemporary and The Walters Art Museum, 1995).
author, The Allure of Bronze: Masterpieces from the Walters Art Gallery (Baltimore: The Walters Art Museum, 1995).
editor and contributor, Bernardo Strozzi: Master Painter of the Italian Baroque (Baltimore: The Walters Art Museum, 1995).
co-editor with Lynn Federle Orr, Masters of Light: Dutch Painters in Utrecht During the Golden Age (New Haven: Yale University Press, 1997).
co-author with Nancy Minty, An Eye for Detail: 17th-Century Dutch and Flemish Paintings from the Collection of Henry T. Weldon (Baltimore: The Walters Art Museum, 1999).
author with Arthur Wheelock, Small Northern European Portraits from the Walters Art Gallery, Baltimore (Washington, DC: National Gallery of Art, 2000).
author with Odilia Bonebakker and David Franklin, Dutch and Flemish Drawings from the National Gallery of Canada (Ottawa: National Gallery of Canada, 2004).
co-editor and contributor with Morten Steen Hansen, Masterpieces of Italian Painting: The Walters Art Museum (Baltimore: The Walters Art Museum, 2005).
editor and contributor, Revealing the African Presence in Renaissance Europe (Baltimore: The Walters Art Museum, 2012).
Review Articles
Review of Essays on Dürer, edited by Charles R. Dodwell, Renaissance and Reformation 11, no. 2 (1975): 137–38.
Review of Pieter Aertsen, Joachim Beuckelaer, and the Rise of Secular Painting in the Context of the Reformation, by Keith P. G. Moxey, Renaissance and Reformation = Renaissance et Réforme 18, no. 1 (1982): 63–66.
Review of A Short History of the Beginnings and Origins of These Present Wars in Moscow under the Reign of Various Sovereigns Down to the Year 1610, by Isaac Abrahamszoon Massa, Canadian Journal of Netherlandic Studies = Revue Canadienne d’Études Néerlandaises 4, no. 2 (1983): 95.
Review of Dutch Painting of the Golden Age from the Royal Picture Gallery, The Hague, by Hans R. Hoetink, Canadian Journal of Netherlandic Studies = Revue Canadienne d’Études Néerlandaises 4, no. 2 (1983): 96.
Review of Drawings from the Holy Roman Empire, 1540–1680: A Selection from North American Collections, by Thomas D. Kaufmann, Master Drawings 22, no. 3 (1984): 320–28.
Review of Pictures from the Age of Rembrandt: Selections from the Personal Collection of Dr. and Mrs. Alfred Bader, by David McTavish, University of Toronto Quarterly 54, no. 4 (1985): 511–13.
Review of Six Subjects of Reformation Art: A Preface to Rembrandt, by William H. Halewood, RACAR: Revue d’art Canadienne = Canadian Art Review 12, no. 1 (1985): 75–78.
Exhibition Review of Roelant Savery in seiner Zeit (1576–1639), Centraal Museum, Utrecht, The Burlington Magazine 128, no. 995 (1986): 166–68.
Review of The Collections of the Detroit Institute of Arts, Dutch and Flemish Drawings and Watercolors, by Anne-Marie S. Logan, Master Drawings 27, no. 1 (1989): 70–73.
Review of The School of Prague, Painting at the Court of Rudolf II, by Thomas DaCosta Kaufmann, Renaissance Quarterly 43, no. 1 (1990): 189–92.
Review of Pictura et scriptura: Textes, images et herméneutique des “mappae mundi” (XIIIe–XVIe siècle). Terrarum Orbis: Historie des représentations de l’espace: texts, images = History of the Representation of Space in Text and Image, by Margriet Hoogvliet, The Sixteenth Century Journal 41, no. 3 (2010): 834–35.
Review of The Religious Paintings of Hendrick ter Brugghen: Reinventing Christian Painting after the Reformation in Utrecht, by Natasha T. Seaman, Renaissance Quarterly 66, no. 3 (2013): 991–93.
Review of Black in Rembrandt’s Time, by Elmer Kolfin and Epco Runia, Historians of Netherlandish Art Reviews 2020: https://hnanews.org/hnar/reviews/black-in-rembrandts-time/.
Review of Renaissance Encyclopaedism: Studies in Curiosity and Ambition, edited by W. Scott Blanchard and Andrea Severi, Sixteenth Century Journal: The Journal of Early Modern Studies 51, no. 1 (2020): 237–38.
Review of Household Servants and Slaves: A Visual History, 1300–1700, by Diane Wolfthal, Historians of Netherlandish Art Reviews 2024: https://hnanews.org/hnar/reviews/household-servants-and-slaves-a-visual-history-1300-1700.
Contributor
Prag um 1600: Kunst und Kultur am Hofe Rudolfs II. (Freren: Luca Verlag, 1988), 1:258‒74, nos. 142‒51; 377‒87, nos. 240‒56; and 418‒19, nos. 309‒11; 2:165‒70, nos. 631‒39.
Sheila Campbell, ed., The Malcove Collection: A Catalogue of the Objects in the Lillian Malcove Collection of the University of Toronto (Toronto: University of Toronto Press, 1997), 363‒76, nos. 467‒73.
Oxford Art Online: Grove Art Online | Benezit Dictionary of Artists (2003): “Hondecoutre, Gillis [Jelis] (Claesz.) de,” “Hondecoeter, d’ (family),” “Frankenthal school,” and “Savery Family,” https://www.oxfordartonline.com/.
Sophie Jugie and Stephen Fliegel, eds., Art at the Court of Burgundy 1364–1419 (Cleveland: Cleveland Museum of Art, 2004), 49, no. 14; and 206–207, no. 74.
“Jacob Saverÿ, Winterlandschaft bei Amsterdam,” in Klaus Albrecht Schröder and Marian Bisanz-Prakken, eds., Das Zeitalter Rembrandts (Vienna: Albertina, 2009), 40–43.
“Bartolomeo Passarotti, Portrait of Pope Pius V,” in David Franklin, ed., From Raphael to Carracci: The Art of Papal Rome (Ottawa: National Gallery of Canada, 2009), 282–84, no. 83.
Martina Bagnoli, ed., A Feast for the Senses: Art and Experience in Medieval Europe (Baltimore: The Walters Art Museum, 2016), 195, no. 58.
The Walters Art Museum, Excursions Through the Collection (Baltimore: The Walters Art Museum, 2020), 16–17, 24–27, 52–53, 64–65, 85, 110–11, 114–15, 128–29, 145, 152–53, 156–57, 170–72, 174, 194, 216–17, 232–33, and 281.
Eve Straussman-Pflanzer and Oliver Tostmann, eds., By Her Hand: Artemisia Gentileschi and Women Artists in Italy, 1500–1800 (New Haven: Yale University Press, 2021), 64–65, no. 6.
Exhibitions Curated
Going for Baroque: 18 Contemporary Artists Fascinated with the Baroque and Rococo, The Walters Art Museum, 1995, with Lisa G. Corrin
A Renaissance Puzzle: Heemskerck’s Panoramic Landscape with the Abduction of Helen, The Walters Art Museum, 1995
The Allure of Bronze, The Walters Art Museum, 1995
Masters of Light: Dutch Painters in Utrecht During the Golden Age, Fine Arts Museums of San Francisco, The Walters Art Museum, and the National Gallery, London, 1997–1998, with Lynn Federle Orr
An Eye for Detail: Dutch and Flemish Paintings of the 17th Century from the Collection of Henry H. Weldon, New Orleans Museum of Art and the Walters Art Museum, 1997–1998
Small Northern European Portraits from the Walters Art Gallery, Baltimore, National Gallery of Art, Washington, DC, 2000, with Arthur Wheelock
Permanent Galleries of Renaissance and Baroque Art, including the Chamber of Wonders, 2005
• Editorial Review: “Wonders at the Walters,” The Burlington Magazine 148, no. 1234 (2006): 3.
Touch and the Enjoyment of Sculpture: Exploring the Appeal of Renaissance Statuettes, The Walters Art Museum, 2012, with Steven Hsiao
Revealing the African Presence in Renaissance Europe, The Walters Art Museum and Princeton University Art Museum, 2012–2013
• Review: Holland Cotter, “A Spectrum from Slaves to Saints,” The New York Times, 8 November 2012
Paintings for a Venetian Palace, The Walters Art Museum, 2019
Activating the Renaissance, The Walters Art Museum, 2022–2023, with Chandi Kelley
