本書目次

Foreword  Michael Conforti

Introduction  Charles W. Haxthausen

Part One : The Two Art Histories : Perspectives

Whose Art History? Chrators, Academics, and the Museum Visitor in Britaion in the 1980s and 1990s  Stephen Deuchar

Magnanimity and Paranois in the Big Bad Art World  Ivan Gaskell

Between Academic and Exhibition Practice: The case of Renaissance Studies  Andreas Beyer

Constructing Histories of Latin American Art  Dawn Ades

Art History and Its Audience: A Matter of Gaps and Bridges  Sybille Eber-Schifferer

www.display: Complicating the Formats of Art History  Barbara Maia Stafford

Part Two: The Exhibition as Dsicursive Medium

Eloquent Walls and Argumentative Spaces:

Displaying Late Works of Degas  Richard Kendall

Telling Stories Museum Style  Mark Rosenthal

Repetition and Novelty: Exhibitions Tell Tales  Particia Mainarli

German Art-National Expression or World Language?

Two Visual Essays  EckhartGillen

A Case for Active Viewing  William H. Truettner

Part Three: Impressionism: The Blockbuster and Revisionst Scholarship

Murder, Autopsy, or Dissection? Art History Divides Artists into Parts: The Cases of Edgar Degas and Claude Monet  Richard R. Brettell

A History of Absence Belatedly Addressed: Impressionism with and without Mary Cassatt  Griselda Pollock

The Blockbuster, Art History, and the Public: The Case of Origins of Impressionism  Gary Tinterow

Possibilities for a Revisionist Blockbuster: Landscapes/Impression of France  John House

A Tormented Friendship: French Impressionism inGermany  Michael F. Zimmermann

Afterword  Richard Brilliant