Member of the Graduate Group in the History of Art

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Adjunct Associate Professor in the History of Art, Graduate Group in the History of Art

Suzanne Glover Lindsay, a specialist in eighteenth and nineteenth century European art, culture, criticism, and theory, has bridged the academic domain, teaching at the University of Pennsylvania since 1983, and the museum world, particularly with the National Gallery of Art in
Washington, DC: She taught seminars at Penn while Acting Head of the National Gallery’s Sculpture Department in the early 1990s.

During and just after graduate school (PhD, History of Art, Bryn Mawr College, 1983) she curated groundbreaking exhibitions: co-curator of the sculpture section of Second Empire:Art in France under Napoleon III (Philadelphia Museum of Art; Grand Palais, Paris, 1978-9) and Mary Cassatt and Philadelphia (solo curator; Philadelphia Museum of Art, 1985), whose catalogue served as a pivotal symbol in Wendy Wasserstein’s The Heidi Chronicles (1988) that won the 1989 Pulitzer Prize for Drama. Her recent massive study of Edgar Degas’s sculpture, with a team of conservators and scientists (National Gallery of Art, 2010), was a finalist for the 2012 Alfred H. Barr, Jr. award for museum scholarship. Her articles for scholarly journals and volumes in English and French reveal the range of her interests. One, “Mummies and Tombs: Turenne, Napoléon, and Death Ritual” (Art Bulletin, September 2000), provided the springboard for her most recent book, Funerary Arts and Tomb Cult –Living with the Dead in France, 1750–1870 (Ashgate, UK, 2012).

Though Dr. Lindsay works with a variety of mediums, she focuses on sculpture, whose peculiar properties and effect have drawn increasing attention in studies of eroticism, idolatry, and effigy magic. Trained initially in the studio, then as a MesoAmericanist, she is especially concerned with art as a formal language within a particular culture and period, and issues surrounding formats, materials, and techniques, particularly within contemporary discussions of materiality, physicality, and response theory. Her preoccupation with three-dimensionality and embodiment pursues aspects of multisensory experience, a foundational element of environmental psychology that informs visual culture, architecture, design, and museum studies--all revisionist approaches to the dominance of ocularcentrism in Western culture.

She has taught lecture surveys and seminars on various topics at Penn and has supervised independent studies for both undergraduate and graduate students.

Field of Study