Articles and Essays
"Transience and Timelessness: The Origins and Afterlife of Augustus Saint-Gaudens’s Portrait of Robert Louis Stevenson". In Nineteenth-Century Art Worldwide 19:1
“Translating Dante: Isabella Stewart Gardner’s Museum as Paradiso.” Religion and the Arts 22:1-2 (2018), 194-217.
“Nocturnal Reflections: Images of the Moon in an Age of Electric Light.” In Night Vision: Nocturnes in American Art, 1860-1940. 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: Bowdoin 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.
"Original Copies: Gilbert Stuart's Companion Portraits of Thomas Jefferson
and James Madison." American Art 22/2 (Summer 2008), 85-97.
"Invitation to Wonder." In Threatened and Endangered:Artist's Books Created by Rebecca Goodale. Brunswick: Bowdoin 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,
"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 Bowdoin Portrait Collection.” In The Legacy of James Bowdoin III. Brunswick: Bowdoin 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.
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.
What Passing Voices Echo: Sites of History and Memory at Bowdoin College. blurb.com, 2010. Edited, in collaboration with Bowdoin students.