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Assistant Professor
308 McCormick Hall
(609) 258-3732
19th Century European Art
Ph.D., University of California, Berkeley, 2008
Assistant Professor
309 McCormick Hall
(609) 258-1322
Classical Archaeology
Ph.D., University of California, Berkeley, 2010
404 McCormick Hall
(609) 258-3784
Early Chinese Art and Archaeology
Ph.D., Harvard University, 1981
372 McCormick Hall
(609) 258-0352
Early Christian, Byzantine and Post-Byzantine Art
Ph.D., Courtald Institute of Art, University of London, 1989
Professor, Director of Graduate Studies
403 McCormick Hall
(609) 258-3789
History of Modern Architecture
Ph.D., Yale University, 1987
Associate Professor
307 McCormick Hall
(609) 258-3774
American Art
Ph.D., Johns Hopkins University, 2001
Associate Professor
223 East Pyne
(609) 258-7258
20th Century Art
Ph.D., University of California, Berkeley, 1996
Townsend Martin '17 Professor of Art & Archaeology
314 McCormick Hall
(609) 258-3790
20th Century Art
Ph.D., City University of New York, 1990
Assistant Professor
315 McCormick Hall
(609) 258-5319
Northern Renaissance Art
Ph.D., University of California, Berkeley, 2003
Frederick Marquand Professor of Art and Archaeology
313 McCormick Hall
(609) 258-3760
European Art and Architecture 1500-1800 in its Global Context; World Art History; Geography and Historiography of Art
Ph.D., Harvard University, 1977; Doctor Philosophiae Honoris Causa, Technische Universität Dresden, 2010; Doctor Historiae Artium Honoris Causa, Masaryk University, Brno, 2013
401 McCormick Hall
(609) 258-9098
Roman Art and Architecture; Hellenistic Art; Renaissance Antiquarianism
Ph.D., Columbia University, 1991
David Hunter McAlpin Professor of the History of Photography and Modern Art
310 McCormick Hall
(609) 258-0914
History of Photography and Modern Art
Ph.D., Yale University, 1980
Associate Professor
305 McCormick Hall
(609) 258-7456
African and African Diaspora Art
Ph.D., Emory University, 2004
P. Y. & Kinmay W. Tang Professor of Chinese Art History
406 McCormick Hall
(609) 258-6249
Chinese Art and Archaeology
Ph.D., Stanford University, 1974
Assistant Professor
306 McCormick Hall
(609) 258-3771
Contemporary Art and Criticism
Ph.D., Yale University, 2008
316 McCormick Hall
(609) 258-9338
Japanese Art and Archaeology
Ph.D., Princeton University, 1994
Lecturer with Rank of Professor
Institute for Advanced Study
(609) 734-8000
Twentieth-century European and American Art
Director of the Art Museum
142 Art Museum
(609) 258-2870
18th-Century European Art
PhD, Oxford University, 1992
Perkins-Cotsen Postdoctoral Fellow in the Society of Fellows
304 McCormick Hall
European Art 1500-1800
Ph.D., University of Cambridge, 2012
Lecturer in the Council of the Humanities and Art and Archaeology
204 Scheide Caldwell House
(609) 258-8858
Classic Maya Art and Society
Ph.D., University of California, Berkeley, 2007
Peter Jay Sharp, *52, Curator and Lecturer
251 Art Museum
(609) 258-8805
Art of the Ancient Americas
Ph.D., Tulane University, 2006
Cotsen Postdoctoral Fellow in the Society of Fellows
205A Scheide Caldwell House
(609) 258-8860
Ph.D., University of Pennsylvania, 2012
311 McCormick Hall
(609) 258-3797
Italian Renaissance Art
Ph.D., University of Chicago, 2008
312 McCormick Hall
Medieval and/or Renaissance-Baroque Architecture
Ph.D., Princeton University, 2009
Associate Professional Specialist
302 McCormick Hall
(609) 258-1423
Eastern Mediterranean and Near Eastern Art and Archaeology
Ph.D., Bryn Mawr College, 1994
Research Staff
205 McCormick Hall
(609) 258-3798
Renaissance Art
Ph.D., University of California, Berkeley, 1983
205 McCormick Hall
(609) 258-3794
History of Photography and Modern Art
372 McCormick Hall
(609) 258-3778
Classical Art & Archaeology
Ph.D., Princeton University, 1971
(609) 258-3782
Early Christian/Byzantine Architecture and Monumental Decoration
Ph.D., New York University, 1971
(609) 258-3782
Chinese Art
Ph.D., Princeton, 1958
(609) 258-3782
20th-Century Art
(609) 258-3782
Northern Renaissance Art
Roman Art
Ph.D., Göttingen University, 1986
Howard Crosby Butler Memorial Professor of Art & Archaeology
205 McCormick Hall
(609) 258-3799
Renaissance and Baroque Architecture
Ph.D., Harvard University, 1976
205 McCormick Hall
(609) 258-3769
Classical Archaeology
Ph.D., Princeton University, 1966
Frederick Marquand Professor of Art and Archaeology
Japanese Art
Ph.D., Princeton University, 1974
Christopher B. Sarofim '86 Professor of American Art, Emeritus
205 McCormick Hall
(609) 258-3785
American Art
Ph.D., Harvard University, 1965
Anne McCauley
Anne McCauley
David Hunter McAlpin Professor
of the History of Photography and Modern Art
Anne McCauley
310 McCormick Hall
(609) 258-0914
History of Photography and Modern Art
Ph.D., Yale University, 1980

Professor McCauley is interested in the history of photography as a constantly changing series of processes that can be directed to multiple uses, only one of which is the “aesthetic.” Her early work dealt with the institutional formation of commercial photography during the first generation of negative-positive prints in the 1850s-60s, and she remains concerned with the ways that economic and political forces shape the social status and ideological messages of the photographic. While advocating close looking at original prints and a fundamental understanding of the limits placed on imagery by the techniques used (she has sponsored workshops on Talbot’s calotype process and collodion-on-glass positives for various seminars), she also probes the societal conditions that make possible the shooting, publishing and dissemination of photographs. She welcomes students working outside the Western canon of art photographs as well as those who want to reconsider major figures who have not received critical treatment.

Her most recent research concerns American modernist photography during World War I, particularly members of the Stieglitz circle, and the role of the war in forcing stylistic innovations and the collapse of pictorialism. In The Steerage and Alfred Stieglitz (co-authored with Jason Francisco, 2012), she reconsiders Stieglitz as a writer and mythmaker, the subsequent reception of what became a seminal modernist photograph, and the repression of immigration as its motivating subject. Another recent essay on Francis Bruguiere’s abstract illustrations for Lance Sieveking’s Beyond this Point (1929) recovers the spiritualist (and theosophical) roots of photographic abstraction and considers the impact that early concepts of medium specificity (inspired by the arrival of talking films) had on Bruguiere’s radical rethinking of book illustration.

Professor McCauley is the author of A.A.E. Disdéri and the Carte de Visite Portrait Photograph; Industrial Madness: Commercial Photography in Paris,1848-1871; The Museum and the Photograph (co-authored with Mark Haworth-Booth), as well as numerous studies on the historiography of photography, the cultural contexts of the medium's invention, and the careers of Thomas Eakins, the Aguado brothers, and the Bisson frères, among others. She co-curated an exhibition on Isabella Stewart Gardner in Venice (including her travel photographs) and was a co-author of the catalogue, Gondola Days: Isabella Stewart Gardner and the Palazzo Barbaro Circle (Isabella Stewart Gardner Museum, 2004). At Princeton, she has taught seminars on the Stieglitz circle; the invention of photography; American museum history and theory; photography and World War I; the photographic nude; photography during the collodion era; French and British caricature from 1776 to 1914; abstraction and photography; and Pre-Raphaelite painting and photography.

Recent Publications:

The Steerage and Alfred Stieglitz (co-authored with Jason Francisco) (Berkeley: University of California Press, 2012).

“Secret Seraglios: Tracking the Female Nude in the History of Nineteenth-Century Photography.” In Histoire de l’art du XIXe siècle (1848-1914): Bilans et perspectives, eds. Claire Barbillon, C. Chevillot, F.R. Martin, 575-589 (Paris: Ecole du Louvre, 2012).

“Sneak Previews: Nude Photographs by Pierre Bonnard and George Henrik Breitner.” In Snapshot: Painters and Photography, Bonnard to Vuillard, ed. Elizabeth Easton, 46-57 (Yale University Press, 2011).

“Epouses des hommes et épouses de l’art: la ‘question de la femme’ dans les années 1860 et la photographie de Julia Margaret Cameron”/“Brides of Men and Brides of Art: The ‘Woman Question’ of the 1860s and the Photographs of Julia Margaret Cameron,” Etudes photographiques (November 2011): 7-50 (French); 51-75 (English).

“Fawning over Marbles: Robert and Gerardine Macpherson’s Vatican Sculptures and the Role of Photographs in the Reception of the Antique.” In Art and the Early Photographic Album, ed. Stephen Bann, 94-122 (Yale University Press, CASVA Studies in the History of Art, Vol. 77, 2011).

“Francis Bruguiere and Lance Sieveking’s Beyond This Point (1929): An Experiment in Abstract Photography, Synaesthesia, and the Cinematic Book.” In More Than One: Photographs in Sequence, ed. Joel Smith, 46-65 (New Haven: Yale University Press, 2009).

“`Merely Mechanical’: On the Origins of Photographic Copyright in France and England,” Art History (February 2008): 57-78.

“Overexposure: Thoughts on the Triumph of Photography.” In The Meaning of Photography, eds. Robin Kelsey and Blake Stimson, 159-162 (New Haven: Yale University Press, 2008).

“The Trouble with Photography.” In Photography Theory, ed. James Elkins, 403-30 (London: Routledge, 2007).