Abigail D. Newman

ADN WEBSITE

Abigail D. Newman

Renaissance/Baroque

Profile

Ph.D., 2016

Abigail D. Newman specializes in Early Modern European art, particularly the intersections between the art of the Low Countries and of the Iberian world. Her dissertation, “Flanders Abroad: The Flemish Artistic Presence in 17th-Century Madrid,” focuses on the role of Flemish painters and paintings in transforming Spanish tastes, collecting, and art production in the Spanish Golden Age. Her dissertation research in Madrid and Antwerp was supported by a Spears Travel Fund grant and a Donald and Mary Hyde Academic-Year Fellowship for Research Abroad in the Humanities (both from Princeton), a Fulbright grant, a Belgian American Educational Foundation Fellowship, and a Mellon-Council for European Studies Dissertation Completion Fellowship. 

She continues to study peripatetic artists, immigration, cultural mobility and exchange, the development of genre painting, and artistic reception across time and space. She received her B.A. in 2006 from Brown and her M.A. in 2011 and Ph.D. in 2016 from Princeton. She has worked at the RISD Museum in Providence, R.I., and at the Bruce Museum in Greenwich, CT, where her writing appeared in exhibition catalogues on art forgery, Nazi-looted paintings, and 20th-century Parisian portraiture. She has delivered papers at conferences in ’s-Hertogenbosch, New York, Prague, Rotterdam, San Diego, and Washington, D.C., and her articles have appeared in the Nederlands kunsthistorisch jaarboek and De Zeventiende eeuw, among other publications.

Publications

“Netherlandish Artists and the Marketing of ‘Flemishness’ in Madrid.” De zeventiende eeuw 31.1 (2015). 78-100. Edited by Karolien De Clippel, Eric Jan Sluijter, and Filip Vermeylen.

Review of Aneta Georgievska-Shine and Larry Silver, Rubens, Velázquez, and the King of Spain (2014) in Historians of Netherlandish Art Review of Books (2015): http://www.hnanews.org/hna/bookreview/current/vl_georgievska-shine0215.html

 “Bosch’s Disparates in Seventeenth-Century Spanish Collections.” Jheronimus Bosch. His Patrons and his Public (’s-Hertogenbosch: Jheronimus Bosch Art Center, 2014): 172-88. Edited by Jos Koldeweij and Jo Timmermans, et al.

 “Juan de la Corte: ‘Branding’ Flanders Abroad.” Nederlands kunsthistorisch jaarboek 63 (2014): Art and Migration. Netherlandish Artists on the Move, 1400-1750: 265-301. Edited by Frits Scholten, Joanna Woodall, and Dulcia Meijers.

 “‘Small Matters’: Painting and Perceiving Flemish and Spanish Figures and their Surroundings.” The Visual Arts in Early Modern Europe. Central European and American Perspectives (Brno: Masaryk University – Princeton University, 2013): 75-93. Edited by Ondřej Jakubec.

 “Revisiting Hans von Aachen’s Moses Parting the Red Sea in Princeton.” Hans von Aachen in Context: Proceedings of the International Conference, Prague, 22-25 September 2010 (Prague: Artefactum, 2012): 134-40. Edited by Lubomír Konečný and Štěpán Vácha.

With Kenneth E. Silver, Paris Portraits: Artists, Friends, and Lovers (London: Yale University Press, 2008).

Contributed to Peter C. Sutton, et al., Reclaimed: Paintings from the Collection of Jacques Goudstikker (London: Yale University Press, 2008).

With Peter C. Sutton, et al., Fakes and Forgeries: The Art of Deception (Greenwich, CT: Bruce Museum, 2007).

 “Witch Images: Collections of Knowledge, Moralizing Scenes and Depictions of Erotica.” The Collegiate Journal of Art, A Dartmouth Undergraduate Publication, Vol. II (Hanover, NH: fall 2005): 28-44.