The Academy and
the Limits of Painting in Seventeenth-Century France, ‘Cambridge
Studies in New Art History and Criticism,’ 300pp. + 80 illustrations, Cambridge
University Press, 1997.
The Rhetoric of
the Frame: Essays on the Boundaries of the Artwork, edited with
an introduction and contributing essay, ‘Cambridge Studies in New Art History
and Criticism,’ 322pp. + 68 illustrations, Cambridge University Press, hardback
and soft cover, 1996.
Articles in Journals and Anthologies
‘A Disturbance of Memory: Travel,
Recollection, and the Experience of Place,’ in Anne Teresa Demo and Brad Vivian
(eds.), Rhetoric, Remembrance, and Visual
Form: Sighting Memory (Routledge, 2012), 49-66
‘Observations on the Burkean Sublime,’
Word and Image (forthcoming 2012/early 2013).
‘Great and Noble Ideas
of the Moral Kind: Joseph Wright of Derby and the Scientific Sublime,’ Art
History, 33/4 (2010), 660-679.
Authority: The Creation of the Academic Canon in French Art, 1648-1870,’ in
Anna Brzyski (ed.), Partisan Canons (Duke University Press, 2007),
‘Giving Up On History: The Hierarchy of Genres in Early
Nineteenth-Century French Painting,’ in About
Stephen Bann (London: Blackwell, 2006), 117-39.
John Bonehill and Geoff Quilley (eds.), Conflicting Visions: War and Visual Culture
in Britain and France 1700-1830 (Ashgate, 2005), and Nora M. Heimann, Joan of Arc in
French Art and Culture (1700-1855). From Satire to Sanctity (Ashgate,
2005), in Eighteenth-Century Current Bibliography, nos. 31 & 32, 2005/2006 (2009).
Thomas Puttfarken, Titian and Tragic Painting, in Art
Bulletin (December, 2006), vol. 88, no. 4, 777-9.
Paul Taylor and François Quiviger (eds), Pictorial Composition from Medieval to
Modern Art, and Thomas Puttfarken, The
Discovery of Pictorial Composition, in Oxford
Art Journal, 2003, vol. 26, no. 1, 153-6.
‘Diderot and the Paradox of History
Painting,’ Association of Art Historians Annual Conference, Reading (U.K.),
Speaker, ‘Patterns of Attention: Looking for Meaning in the Visual Arts,’ Art
History Association, SUNY, Geneseo, NY, April, 2011.
co-chair, ‘Imitation, Copy Reproduction, Replication, Repetition, and
Appropriation,’ two panels, College Art Association Annual Conference, NYC,
Bridging Fellow, Department of English, University of Rochester, Fall 2008. Summer Fellow, Clark Art Institute, Williamstown, Mass, 2002.
Visiting Fellow, Humanities Research Centre, Australian National University, 1998-99.
Getty Summer Institute, University of Rochester, NY, 1998.
Faculty Research Grant Scheme, Australian National University, 1996-99.
Association of Art Historians (U.K.)
College Art Association (USA)
Reader, Art History,
2010, 2011, 2012
Editorial Board, Art
Bulletin, 2007-11; chair 2010-11
Advisory Board, InVisible Culture,
University of Rochester
Theorizing Imitation in a Global Context, an anthology of essays edited with introduction; forthcoming from
Blackwell Publishing, approx. 208 pages, 2014-15