Professor H. Perry Chapman received her B.A. in Art History and History from Swarthmore College and her Ph.D. from Princeton University. A specialist in seventeenth-century Dutch art, she teaches about early modern European art, with a concentration in Northern Baroque painting; the history of prints; the relation between artists and society; and research and methodology in art history. Recent seminar topics include “Dutch Painting and Technical Art History,” “The Painter’s Place: The Primacy of Painting in the Dutch Republic,” “Art and Religion: The Netherlands after Iconoclasm,” “Rembrandt and Dutch Art,” “Approaches to Vermeer,” “The Self-Portrait from Dürer to Rembrandt,” “The Art Market in the Dutch Republic,” and “The Artist’s Studio.”
Professor Chapman has published widely on Rembrandt, Vermeer, and Jan Steen, on self-portraiture, and on seventeenth-century art theory and artists’ biographies. Her book Rembrandt's Self-Portraits: A Study in Seventeenth-Century Identity examines Rembrandt's representations of himself against the background of early modern notions of individuality. Professor Chapman was co-curator and co-catalogue author for the major exhibition Jan Steen: Painter and Storyteller at the National Gallery of Art, Washington, D.C., and the Rijksmuseum, Amsterdam. Her current area of interest and research is the artist’s studio, which has led to articles on “The Imagined Studios of Rembrandt and Vermeer,” “Cornelis Ketel: Fingerpainter and Poet-Painter,” and “The Wooden Body: Representing the Manikin in Dutch Artists’ Studios.” Her research has been supported by fellowships from the Woodrow Wilson Center, the National Endowment for the Humanities, the Center for Advanced Study in the Visual Arts (National Gallery of Art), and the Guggenheim Foundation.
Professor Chapman served as editor-in-chief of The Art Bulletin from 2000 to 2004. She is currently chair of the editorial board of the Nederlands Kunsthistorisch Jaarboek/Netherlands Yearbook for History of Art.
“Rembrandt and Caravaggio: Imitation and Emulation.” In Caravaggio: Reflections and Refractions. Ed. Lorenzo Pericolo and David M. Stone. London: Ashgate, forthcoming 2014.
“The Problem with Artists,” review of Ernst Kris and Otto Kurz, Legend, Myth and Magic in the Image of the Artist: A Historical Experiment (1934); Rudolf Wittkower and Margot Wittkower, Born under Saturn; The Character and Conduct of Artists: A Documented History from Antiquity to the French Revolution (1963), commissioned for a centennial issue of The Art Bulletin 95 (2013): 484-88.
“Self-Portraiture, 1400-1700.” In Blackwell Companion to Renaissance and Baroque Art. Ed. Babette Bohn and James M. Saslow. Oxford: Wiley-Blackwell Publishing, 2013, 189-209.
“Inside Vermeer’s Women.” In Vermeer’s Women: Secrets and Silence. Ed. Betsy Wieseman. Cambridge: Fitzwilliam Museum; London: Yale University Press, 2011, 64-123.
“Reclaiming the Inner Rembrandt: Passion and Rembrandt’s Earliest Self-Portraits.” In The Passions in the Art of the Early Modern Netherlands. Ed. Herman Roodenburg and Stephanie Dickey. Nederlands Kunsthistorisch Jaarboek 60 (2010): 188-215.
“Cornelis Ketel: Fingerpainter and Poet-Painter.” In Envisioning the Artist in the Early Modern Netherlands. Ed. H. Perry Chapman and Joanna Woodall. Nederlands Kunsthistorisch Jaarboek 59 (2009): 249-73.
“Art Fiction.” In Art History: Contemporary Perspectives on Method. Ed. Dana Arnold. Art History (special issue) 32 (2009): 785-805.
“The Imagined Studios of Rembrandt and Vermeer.” In Inventions of the Studio, Renaissance to Romanticism. Ed. Michael Cole and Mary Pardo. Chapel Hill: University of North Carolina Press, 2005, 108-46.