Emmelyn Butterfield-Rosen teaches in the Williams Graduate Program in the History of Art at the Clark Art Institute, where she has been appointed Post-Doctoral Fellow for the years 2016-2019.
She specializes in 19th- and early-20-century European art, and has also published occasional essays and criticism on modern and contemporary art. Her current research interests include theories of genre, the history of art history and archaeology, the reception of antiquity in the modern era, artistic pedagogy and academies, the impact of art criticism and journalism on artistic practice in the 19th century, interactions between the visual and performing arts, early film, and psychology and psychoanalysis.
At Princeton, her doctoral research was supervised by Professor Brigid Doherty, and supported by a three-year David E. Finley Fellowship from the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. Until September 2015, she was a Jane and Morgan Whitney Fellow in the Department of European Paintings at the Metropolitan Museum of Art.
Emmelyn is currently at work on a book manuscript adapted from her dissertation, titled “The Disposition of Persons: Posture and the Modernization of Figural Art in Turn-of-the-Century Europe.”
“Un Dimanche à la Grande Jatte/Île de la Grande Jatte: George Seurat's Hierarchy of Genres” (article in manuscript).
“Mannequin and Monkey in Seurat's Grande Jatte,” in Fashion in European Art: Dress and Identity, Politics and the Body, 1775–1925, ed. Justine de Young (I. B. Tauris, forthcoming).
“Qu'est-ce qui se passe “sous nos paupières closes”? L’Après-midi d’un faune as a revision of Le spectre de la rose.” In Designing Dreams: A Celebration of Leon Bakst, edited by John Bowlt and Celia Bernasconi. Monaco: Nouveau Musée National de Monaco, forthcoming 2016.
“From the Vault: Lust in Translation,” review of “Fragonard amoureux. Galant et libertin” (Musée du Luxembourg) and “Splendeurs et misères. Images de la prostitution, 1850-1910” (Musée d’Orsay). Artforum 54, no. 8 (April 2016): 127-132.
“Gorgeous Surroundings: Florine Stettheimer’s Art of Installation,” in Florine Stettheimer, ed. Matthias Mühling and Karin Althaus (Hirmer and Städtische Galerie im Lenbachhaus und Kunstbau München, 2014).
“La Vitrine/ L’éponge: The École de Nice and the ‘Hygiene of Vision,’” in New Realisms, 1957–1962: Object Strategies Between Readymade and Spectacle, ed. Julia Robinson (Museo Nacional Centro de Arte Reina Sofía, Madrid, and MIT Press, 2010).
“Chic of the New—The Ballets Russes Centennial,” Artforum International 47.9 (May 2009).