Emmelyn Butterfield-Rosen teaches in the Williams Graduate Program in the History of Art at the Clark Art Institute. 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 2016, she was a Jane and Morgan Whitney Fellow in the Department of European Paintings at the Metropolitan Museum of Art.
Emmelyn specializes in modern art and cultural history, primarily in Europe. Her research interests include the history of art history and archaeology, artistic pedagogy and academies, philosophical and scientific theories of the aesthetic, the reception of antiquity in the modern era, archaism and primitivisms, interactions between visual and linguistic modes of expression, and between the visual and performing arts, the history of early film, theories of gesture and corporeal expression, and the history of biology, psychology and psychoanalysis, especially with reference to the history of sexuality.
Emmelyn is currently completing a book adapted from her dissertation, titled “The Disposition of Persons: Posture and the Modernization of Figural Art in Turn-of-the-Century Europe.”
“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, 2017).
“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, ed. John Bowlt and Celia Bernasconi. (Nouveau Musée National de Monaco, 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).