Dr. Alisa Luxenberg, Professor Emerita of Art History, retired from UGA in July 2022. Her most recent research projects include an exhibition and catalogue of masonic materials from the Special Collections Libraries at UGA, on view from January to July 2023, and an essay for the exhibition catalogue Imaged and Imagined: Representations of Spain in Prints (National Museum of Western Art, Tokyo), forthcoming in Japanese and English editions.

SELECTED PUBLICATIONS

Catalogue of Masonic Materials associated with the exhibition “Freemasonry in 
Georgia: Ideals, Imagery, and Impact.” 2023. Not illustrated, 258 pages. 

“Impressions of Velázquez: Nature and Nobility, Intelligence and Magic.” Essay in Imaged and Imagined: Representations of Spain in Prints, 40-54. Edited by Yusuke Kawase and Uta Inaba, translated into Japanese. Tokyo: National Museum of Western Art; Nagasaki: Prefectural Art Museum, 2023. An English edition of the catalogue will be published by Centro de Estudios Europa Hispánica, Madrid.

co-edited with Reva Wolf. Freemasonry and the Visual Arts from the Eighteenth Century Forward: Historical and Global Perspectives (Bloomsbury, 2020).

"Knowledge by Design: Celedonio de Arce's Nature Prints, between Evidence and Representation," Journal of Illustration, II: 1 (Fall 2015): 7-29.JoI_Luxenberg.pdf

"Printing Plants: The Technology of Nature Printing in Eighteenth-Century Spain,” chapter in Art, Nature, and Technology: Renaissance to Postmodernity, edited by Camilla Skovberg Paldam and Jacob Wamberg (Farnham, UK and Burlington, VT: Ashgate Publishing, 2015). pp. 133-146. Printing Plants.pdf

Secrets and Glory: Baron Taylor and his 'Voyage picturesque en Espagne,' (Centre de Estudios Europea Hispánica, 2013)

The Galerie Espagnole and the Museo Nacional, 1835-1853: Saving Spanish Art, or The Politics of Patrimony (Ashgate, 2008)

“Patrimony and Museum Politics in the 19th Century: The Louvre’s Galerie Espagnole,” International Foundation for Art Research Journal, 9; 3/4 (2007): 19-28. http://www.ifar.org/publication_detail.php?docid=1210707506

"The Aura of a Masterpiece: Responses to italics Las Meninas end italics in Nineteenth-Century Spain and France, 8-46. Velázquez's Las Meninas, ed. S. Stratton-Pruitt (Cambridge, 2003).

“’The art of correctly painting the expressive lines of the human face’: Duchenne de Boulogne’s Photographs of Human Expressions and the École des Beaux-Arts,” History of Photography 25; 2 (Summer 2001): 201-212. http://www.tandfonline.com/doi/pdf/10.1080/03087298.2001.10443457

"Kunst unde Nationaldgefühl im Spanien des späten 18.Jahrhunderts," 389-99, and 163-81. Mehr Licht: Europa um 1770 (Städelsches Kunstinstitut, Frankfurt, 1999).

"Regenerating Velázquez in Spain and France in the 1890s," Boletín del Museo del Prado 17; 35 (1999): 125-49. http://www.museodelprado.es/uploads/tx_gbboletinobras/numero_35_07.pdf

"Creating Désastres: J. Andrieu's photographs of urban ruins in the Paris of 1871," The Art Bulletin 80; 1 (March 1998): 113-137.  http://www.jstor.org/stable/3051256?seq=1#page_scan_tab_contents

"Figaros and Free Agents: Some Perspectives on French Painters in Eighteenth-Century Spain, 39-64, and 136-43, 151-4, 223-4, and 262-3. Painting in Spain in the Age of Enlightenment: Goya and his Contemporaries, ed. R. Kasl and S.L. Stratton (Indianapolis Museum of Art, 1996).

"Over the Pyrenees and Through the Looking-Glass: French Culture Reflected in its Imagery of Spain," 10-31, and 86, 89-90, 92-94, 100-11, 117, and 119-23. Spain, Espagne, Spanien: Foreign Artists Discover Spain 1800-1900 (Equitable Gallery and Spanish Institute, 1993).