Margaret Kuntz, Professor of Art History, is a specialist in Italian Renaissance and Baroque painting, sculpture and architecture. At Drew she teaches a variety of courses, including Renaissance Art and Architecture, European Baroque Art and Architecture and the history of architecture.

Her scholarly research concerns the decoration and ceremonial functions of the Vatican Palace and St. Peter’s Basilica and the late work of Michelangelo. She is a recipient of the Rome Prize of the American Academy in Rome and a past Kress Fellow of the Bibliotheca Hertziana (Max-Planck-Institut), Rome.

Her M.A. in art history is from Rutgers University and her Ph.D. is from The Institute of Fine Arts, New York University.

Recent Publications

“Michelangelo the ‘Lefty’: The Cappella Paolina, the Expulsion Drawings and Marcello Venusti,” in Michelangelo in the New Millennium. Conversations About Artistic Practice, Patronage and Christianity, ed. Tamara Smithers, series editor Walter Melion, Brill Studies on Arts, Art History and Intellectual History, vol. 14, 2016, pp. 179-209.

“Celebrating the Surrender of La Rochelle in Rome: Urban VIII, The French National Churches and Bernini’s Barcaccia Fountain,” in La Chiesa e il convento della Trinità dei Monti. Ricerche, Nuove letture, Restauri, eds. Colette Di Matteo and Sebastiano Roberto, De Luca Editori D’Arte, 2016, pp. 57-67.

“Questions of Identity: The Temporary Facade at Palazzo Farnese for Queen Christina of Sweden,” Memoirs of the American Academy in Rome (MAAR), vol. 58, 2013, pp. 143-179.

“Mimesis, Ceremony, Praxis: Gregory XIII and the Cappella Paolina,” Memoirs of the American Academy in Rome, 2009, pp. 61-81 (appeared 2010, backdated to 2009)

Kimberly Rhodes writes and teaches about modern and contemporary visual culture and has worked as an art historian in both museum and academic settings. Her research is on Victorian and neo-Victorian art, with a focus on gender and Shakespeare studies. She has published on representations of Ophelia in the nineteenth century and contemporary art and Victorian themes in contemporary feminist art, among other topics.

She has an M.A. and a PhD in art history from Columbia University. At Drew, she teaches the New York Semester on Contemporary Art and courses on modern and contemporary European and American art. Prof. Rhodes also serves as Co-Director of the Andrew W. Mellon Arts and the Common Good Grant, Director of Specialized Honors and Associate Director of the Baldwin Honors Program. She can be reached at [email protected].

Recent Publications

“Archetypes and Icons: Materialising Victorian Womanhood in 1970s Feminist Art” in Neo-Victorian Studies, Volume 6, no. 2 (2013), pp. 152-180

“Double Take: Tom Hunter’s The Way Home (2000),” in Kaara Peterson and Deanne Williams, eds. The Afterlife of Ophelia. Hampshire and New York: Palgrave Macmillan, 2012, pp. 213-229.

Ophelia and Victorian Visual Culture: Representing Body Politics in the Nineteenth Century. Aldershot and Burlington: Ashgate Publishing, May 2008.

“Degenerate Detail: John Everett Millais and Ophelia’s Muddy Death,” in Debra N. Mancoff, ed. John Everett Millais: Beyond the Pre-Raphaelite Brotherhood. London and New Haven: Paul Mellon Centre/Yale University Press, 2001, pp. 43-68.

Marguerite Keane is a specialist in medieval art. Her research is on the material culture of the fourteenth century in France, with particular focus on manuscript painting, ideology and gender studies. She has published on fourteenth-century French manuscript painting, on the object collection of the French queen Blanche of Navarre (c. 1331-1398) and on the tomb chapel of Blanche of Navarre at Saint-Denis. Her current project is a book-length study of the patronage of Blanche of Navarre.

She has an M.A. in art history from Williams College, and her doctorate in art history was earned at the University of California, Santa Barbara. At Drew she teaches medieval, Islamic and classical art. She can be reached at [email protected].

Recent Publications

Material Culture and queenship in fourteenth-century France: The Testament of Blanche of Navarre (1331-1398) (Leiden: Brill, 2016)

“Memory and identity in the chapel of Blanche of Navarre at Saint-Denis,” in Citation, Intertextuality and Memory in the Middle Ages and Renaissance vol 2: Cross-Disciplinary Perspectives on Medieval Culture, eds. Yolanda Plumley and Giuliano di Bacco, Liverpool, 2013, 123-136.

“Collaboration in the Hours of Jeanne de Navarre,” in Jean Pucelle: Innovation and Collaboration in Manuscript Painting, eds. Anna Russakoff and Kyunghee Pyun, Turnhout, 2013, 131-148.

“Most beautiful and next best: value in the collection of a medieval queen,” Journal of Medieval History 34 (December 2008): 360-73.

“Louis IX, Louis X, Louis of Navarre: Family Ties and Political Ideology in the Hours of Jeanne of Navarre,” Visual Resources XX (March 2004).