Associate and Visiting

Margaret Grasseli - Profile Picture

Margaret Grasselli

Visiting Lecturer on History of Art and Architecture
Visiting Senior Scholar for Drawings, Harvard Art Museums
Margaret Morgan Grasselli is Visiting Lecturer in the department of History of Art and Architecture and Visiting Senior Scholar for Drawings in the Harvard Art Museums. Having been introduced to drawings as an undergraduate at Harvard, she has had the great good fortune to have been able to place them at the center of her studies and profession ever since. A pre-doctoral Samuel H. Kress fellowship took her to the National Gallery in Washington in 1980, where she then stayed for the next forty years, thirty as curator of old master drawings. Although her specialty is French drawings, and especially those of the eighteenth century, she was responsible for all European drawings in the NGA collections, from the Middle Ages to 1900. During her tenure there she organized or co-organized numerous exhibitions, including among others, Watteau,1684-1721 (1984; with the Louvre, Paris, and Charlottenburg Palace, Berlin); The Touch of the Artist: Master Drawings from the Woodner Collection (1995); The Drawings of Annibale Carracci (1999); Private Treasures: Four Centuries of European Master Drawings (2007; with the Morgan Library & Museum, New York); Renaissance to Revolution: French Drawings from the National Gallery of Art (2009); Italian Master Drawings from the Wolfgang Ratjen Collection, 1525-1835 (2011); The McCrindle Gift: A Distinguished Collection of Drawings and Watercolors (2012); Color, Line, Light: French Drawings, Watercolors, and Pastels from Delacroix to Signac (2012; with the Musée des impressionismes, Giverny); and Hubert Robert (2016, with the Louvre, Paris). She edited, co-edited, wrote, or co-wrote the accompanying catalogues for all these shows. She has also published numerous articles and reviews.

A collateral field of interest for Meg is French color printmaking of the eighteenth century, and in 2003 she organized a comprehensive exhibition, with catalogue, on these under-appreciated works at the National Gallery of Art: Colorful Impressions: The Print Revolution in Eighteenth-Century France. She is currently in the process of serving as co-editor of a forthcoming volume, Printing Colour, 1700-1830 (Proceedings of the British Academy). Meg is also an associate editor of the scholarly journal Master Drawings, a position she has held since 2005.
Hanneke Grootenboer Profile Picture

Hanneke Grootenboer

Erasmus Lecturer on the History and Civilization of the Netherlands and Flanders
Professor Hanneke Grootenboer is the Chair of the History of Art Department at Radboud University. Prior to her appointment, she was a Professor of the History of Art and a Fellow of St Peter's College at the University of Oxford, where from 2014 to 2016 she served as the Head of the Ruskin School of Art. She also taught at Tulane University, the University of Amsterdam and the Jan van Eyck Academy in Maastricht.

Grootenboer is the recipient of numerous awards, including from the Leverhulm Trust, the Getty Institute, the Clark Art Institute, the Andrew Mellon Foundation and the Netherlands Institute for Advanced Study (NIAS). In the Spring of 2019, she was a visiting professor at the Free University in Berlin. Het book The Rhetoric of Perspective: Realism and Illusionism in Seventeenth-Century Dutch Still Life Painting (UP Chicago, 2005) was the winner of the ASCA Book Prize, while Treasuring the Gaze: Intimate Vision in Eighteenth-Century British Eye Miniatures (UP Chicago, 2012) was awarded the Kenshur Prize for best interdisciplinary study.

Grootenboer’s research is transhistorical. She approaches early modern visual culture through the lens of contemporary theory and art practice. Her research critically engages with philosophy, theory, literature, and material culture. She has published articles on the semiotics of still life, intimate vision in portrait miniatures, the phenomenology of portraiture in The Art Bulletin and Art History, among other venues. An article on early modern dollhouses as art cabinets came out in a volume on Women and the Art and Science of Collecting in Eighteenth-Century Europe (Routledge, 2020).

Her third monograph, The Pensive Image: Art as a Form of Thinking (Chicago UP) came out in January 2021. Recently, she co-edited (together with Anne Goldgar, Marisa Bass and Claudia Swan) a volume on Conchophilia: Shells, Art and Curiosity in the Early Modern Period (Princeton UP, 2021). Grootenboer is a member of the Editorial Board of the Oxford Art Journal.