Christopher Wood

Ph.D. 1991, Harvard University; A.B. 1983, Harvard University

Temporalities of art: anachronism, archaism, typology, primitivisms; history of scholarship, esp. the disciplines of art history and archeology; folk art and folk literature; Märchen and Sagen; portraiture and especially “embedded” portraits (donors, votaries); votive objects and images, pilgrimages, relics; drawing and studio practice in the Renaissance; European art and the New World; art and replication technologies; magic and witchcraft in early modern Europe; art and the Protestant Reformation; iconoclasm; German art and culture in the 19th century; art and poetry of Romanticism.

Jacob Wendell Scholarship; Society of Fellows, Harvard University; American Academy in Rome; John Simon Guggenheim Fellowship; American Academy in Berlin; Institute for Advanced Study, Princeton; Internationales Forschungszentrum für Kulturwissenschaften, Vienna; Susanne M. Glasscock Humanities Book Prize for Interdisciplinary Scholarship; American Academy of Arts and Sciences; Aby Warburg Professorship, Warburg-Haus, Hamburg; Wissenschaftskolleg, Berlin.

The Embedded Portrait: Giotto, Giottino, Angelico, Princeton University Press, 2023

A History of Art History, Princeton University Press, 2019

With Alexander Nagel. Anachronic Renaissance. ZONE Books, 2010. (French translation, in press, Presses du réel)

Forgery, Replica, Fiction: Temporalities of German Renaissance Art. Chicago, 2008.

Ed. The Vienna School Reader:  Politics and Art Historical Method in the 1930s. ZONE Books, 2000.

Albrecht Altdorfer and the Origins of Landscape. London and Chicago, 1993.  (Revised edition, in press, 2013)

"The Whisperers:  Invidious Perspectives in Trecento Painting," I Tatti Studies in the Italian Renaissance 26 (2023):  3-33

“Obituary: Hans Belting (1935-2023),” Burlington Magazine 165 (April 2023), pp. 486-88

Introduction to translation of Henri Focillon, “Art populaire,” in West 86th: A Journal of Decorative Arts, Design History, and Material Culture, vol. 29, no. 1 (2022):  97-105

“The Universal or Global Style, Past and Present,” in Selva: A Journal of the History of Art 3 (Fall 2021): 64-76

“Editorial” (with Marika Knowles) and “The dancer in and out of character: Tiepolo, Canova, Degas,” in La parade, special issue of Res: Anthropology and Aesthetics 73/74 (2020)

“Kubler, Spratling, and Quetzlcoatl,” in Latin American and Latinx Visual Culture, Volume 2, Issue 4, October 2020

“Formalismus und kein Ende. Die Einführung zu ‘The Vienna School Reader’ mit einem neuen Nachwort,” Politics and Art Historical Method in the 1930s (2000), in Formbildung und Formbegriff:  Das Formdenken der Moderne, ed. Markus Klammer, Malika Maskarinec, Ralph Ubl, and Rahel Villinger (Munich: Fink, 2019), pp. 93-132

“The Crime of Passion,” in Mariana Aguirre et al., eds. XXXIX Coloquio Internacional de Historia del Arte:  Historia del arte y estética, nudos y tramas, Universidad Nacional Autónoma de México-Instituto de Investigaciones Estéticas, Publicaciones Digitales, 2019, pp. 155-72 

"Landscapes by Wolf Huber and Domenico Campagnola, invented, copied, and replicated,” in Jenseits des Disegno: Die Entstehung selbständiger Zeichnungen in Deutschland und Italien im 15. und 16. Jahrhundert, ed. Daniela Bohde and Alessandro Nova, with Anna Christina Schütz (Petersberg: Michael Omhoff, 2018), pp. 312-31

“Public and Private Dimensions of the Votive Offering,” in exhibition catalogue Agents of Faith:  Votive Objects in Time and Place, ed. Ittai Weinryb, Bard Graduate Center (New York, 2018), 67-85

“Cats (and Creditors) Do Not Exist,” Yearbook of Comparative Literature 60 (2014):  252-73  (appeared 2017)

“Figure and Ground in Goethe’s Wilhelm Meisters Lehrjahre,” ELH 84 (2017):  399-422

“Under the Influence,” Res: Anthropology and Aesthetics 67/68 (2016-17): 290-98

“Panofsky in Munich, 1967,” Modern Language Notes 131 (2016): 1236-57 

“What Did the Savage Detectives Find?” (with Gabriele Guercio), Yearbook of Comparative Literature 59 (2013):  253-79 (appeared 2016)