Craig Harbison attended Oberlin
College and Princeton
University where he received his PhD. in 1972. Craig taught
at the University
of California, Davis; Oberlin College; and since 1974, at
of Massachusetts. In the spring of 1998 Craig was awarded a College
of Humanities and Fine Arts Outstanding Teacher Award. He was active professionally by chairing sessions at the College
Art Association Annual Meeting, lecturing at various colleges
and universities, reviewing manuscripts for publishers and periodicals,
serving as an officer or advisor for various professional organizations
(such as the Historians of Netherlandish Art) and faculty seminars. He also enjoyed serving as a committee member for several
PhD. dissertations at other universities.
Craig Harbison was trained (by Erwin Panofsky, Wolfgang Stechow,
and Robert A. Koch) in classic iconographic methodology. Today
he would probably consider himself above all a social historian
of art. His current research interests and projects include: a
study of the social origins and functions of sixteenth century
Flemish still life painting (Pieter Aertsen); the history of the
iconographic method as it has been applied to early Netherlandish
art; sixteen century northern artists in Italy; and sexuality
and gender issues in northern Renaissance art. He is also engaged
in researching and writing a major new survey (textbook) for the
The Last Judgment in Sixteenth Century Northern
Europe, A Study in the Relation between Art and the Reformation
(Outstanding Dissertations in the Fine Arts, First Series),
New York, 1976.
"Some Artistic Anticipations of Theological
Thought," Art Quarterly, n.s. 2 (1979), pp. 67-89.
"Lucas van Leyden, the Magdalen and the
Problem of Secularization in Early Sixteenth Century Northern
Art," Oud-Holland 93 (1984), pp. 117-129.
"Realism and Symbolism in Early Flemish
Painting," Art Bulletin 66 (1984), pp. 588602.
"Visions and Meditations in Early Flemish
Painting," Simiolus 15 (1985), pp. 87-118.
"Sexuality and Social Standing in Jan van
Eyck's Arnolfini Double Portrait, " Renaissance Quarterly
43 (1990), pp. 249-291.
Jan van Eyck, The Play of Realism,
London: Reaktion Books, 1991 (paperback edition with corrections,
"Meaning in Venetian Renaissance art: the
issues of artistic ingenuity and oral tradition," Art
History 15 (1992), pp. 19-37.
"Miracles Happen: Image and Experience
in Jan van Eyck's Madonna in a Church," in Brendan Cassidy,
ea., Iconography at the Crossroads, Princeton, 1993,
"The Sexuality of Christ in the Early Sixteenth
Century in Germany," in A Tribute to Robert A. Koch:
Studies in the Northern Renaissance, Princeton, 1994, pp.
The Mirror of the Artist: Northern Renaissance
Art in its Historical Context, New York: Abrams, 1995.
Cutting cake at the celebration
for his receipt of the
Outstanding Teacher Award
of Art History
Art History Program
Department of Art, Architecture & Art History
Bartlett Hall, UMass
130 Hicks Way
Amherst, MA 0l003-9269