Foreword / Michael Conforti -- Introduction / Charles W. Haxthausen -- Part 1. The Two Art Histories: Perspectives -- Whose Art History? Curators, Academics, and the: Museum Visitor in Britain in the 1980s and 1990s / Stephen Dduchar -- Magnanimity and Paranoia in the Big Bad Art World / Ivan Gaskell -- Between Academic and Exhibition Practice: The Case of Renaissance Studies / Andreas Beyer -- Constructing Histories of Latin American Art / Dawn Ades -- Art History and Its Audience: A Matter of Gaps and Bridges / Sybille Ebert-Schifferer -- www.display: Complicating the Formats of Art History / Barbara Maria Stafford -- Part 2. The Exhibition as Discursive Medium -- Eloquent Walls and Argumentative Spaces: Displaying Late Works of Degas / Richard Kendall -- Telling Stories Museum Style / Mark Rosenthal -- Repetition and Novelty: Exhibitions Tell Tales / Patricia Mainardi -- German Art--National Expression or World Language? Two Visual Essays / Eckhart Gillen -- A Case for Active Viewing / William H. Truettner -- Part 3. Impressionism: The Blockbuster and Revisionist Scholarship -- Murder, Autopsy, or Dissection? Art History Divides Artists into Parts: The Cases of Edgar Degas and Claude Monet / Richard R. Brettell -- A History of Absence Belatedly Addressed: Impressionism with and without Mary Cassatt / Griselda Pollock -- The Blockbuster, Art History, and the Public: The Case of Origins of Impressionism / Gary Tinterow -- Possibilities for a Revisionist Blockbuster: Landscapes/Impressions of France / John House -- A Tormented Friendship: French Impressionism in Germany / Michael F. Zimmermann -- Afterword / Richard Brilliant
Notes
Based on the proceedings of the Clark Conference "The Two Art Histories : the Museum and the University," held Apr. 9-10, 1999, at the Sterling and Francine Clark Art Institute, Williamstown, Mass