Telephone: (302) 831-8416
Professor Athanassoglou-Kallmyer teaches the history of eighteenth- and nineteenth-century European art with special emphasis on the art and culture of France from the 1780s to the early 1900s. She is interested in the history of ideas and issues of political and social ideologies as they intersect with aesthetic and critical responses, and in the interaction between artistic production and popular, folkloric and mass culture. Her work tackles three areas primarily, French Romanticism, late Impressionism, and the revival of a Classical aesthetic in France, England, Germany, Italy and Greece in the context of emerging nationalist identities, international imperialist expansion and transnational exchanges.
She is the author of four books. French Images from the Greek War of Independence, 1821-1830: Art and Politics under the Restoration (Yale, 1989) studies the interaction between art and ideology in the reception, in France, of the events related to the Greek struggle for independence from Ottoman rule in the 1820s. Eugène Delacroix: Prints, Politics and Satire (Yale, 1991) looks at the young Delacroix’s involvement with political graphic satire as evidence of both his Liberal, oppositional politics and his search for a non-academic expressive vocabulary suited to his progressive modernism. Cézanne and Provence. The Painter in his Culture (Chicago, 2003) considers Cézanne's paintings as fashioned largely by his effort to address Parisian modernism from the angle of his provincial and Provençal loyalties at a time of regionalist affirmation in France. In Théodore Géricault (Phaidon, Fall 2010), she considers the painter's groundbreaking work as one of the early examples of modernist integration of art, ideology, popular culture and a middle-class sense of identity in post-revolutionary France. Along with numerous articles in scholarly journals, she has published essays in edited volumes, including Frankreich 1815-1830 (Franz Steiner Verlag, 1993); The Cambridge Companion to Delacroix (Cambridge, 2001); Critical Terms in Art History (2nd ed., Chicago, 2003); The Grotesque in Art (Cambridge, 2003); Repenser La Restauration (Nouveau Monde, 2005); and Paris 1820 (Peter Lang, 2006).
She is the recipient of awards, such as the CAA's Arthur Kingsley Porter Prize; the C.I.N.O.A book award (runner up); and the CAA's Charles Rufus Morey Book Award (finalist). She has held fellowships including a John Simon Guggenheim Fellowship; a J. P. Getty Fellowship; an ACLS fellowship; a fellowship at the Institute for Advanced Study; a Senior Ailsa Mellon Bruce Fellowship at the Center for Advanced Study in the Visual Arts (CASVA); a J. Stanley Seeger Fellowship at Princeton University; and an American Philosophical Society fellowship.
She was the guest editor of The Art Journal's issue on Romanticism (1993) and served as the Book Review Editor of The Art Bulletin from 1995 to 1998.
She has taught as visiting professor at Princeton University in 1993, 1995 and 2002.