Kathryn calley galitz biography of michaels

What do Taylor Swift and Vincent van Gogh have in common? Her reexamination of a deceptively familiar genre explores what portraits can tell us about the artist, the sitter, and ourselves.

Kathryn Calley Galitz is a frequent lecturer at museums and conferences worldwide on a wide range of topics in French and British art of the eighteenth and nineteenth centuries, as well as .

Rachel High: This book is part of a series published regularly by The Met since , but How to Read Portraits is somewhat of a new direction for the How to Read series. Could you explain how your volume carries on the spirit and mission of the series while also serving as a departure? It is true to the series in that it is meant to be accessible to a broad audience as an introduction to an important aspect of art history, using works in The Met collection to explore the topic.

While previous titles focused on a subject grounded in a specific collection area, time period, or type of art, portraiture invites a cross-cultural and cross-collection reading that sets this book apart from the others in the series. High: And of course, you have experience in this cross-cultural space with your best-selling book Masterpiece Paintings.

Galitz: I do—thank you! One of the rewards of working at a museum with such a diverse and wide-ranging collection is realizing that no work exists in a vacuum. The works of art are in fact talking with one another across time, place, and culture.

Follow Kathryn Calley Galitz and explore their bibliography from 's Kathryn Calley Galitz Author Page.

A project like this brings those conversations to the fore. How did you select the fifty-three Met works of art to feature in this book? It is why you see some unexpected choices mixed in with the more familiar works in the book—I wanted to tell the story of portraiture in all its different forms. Opening spreads of the publication showing details of Zhang Huan Chinese, b.

Family Tree , Three Studies for Self-Portrait ,