17th-century Dutch Art; Visual Culture & History of Science (16th - 18th centuries); Early Modern Gender Studies; Portraiture.
B.A. Radcliffe College
Ph.D. Harvard University
Ann Jensen Adams received her Ph.D. from Harvard University. Her approaches to her field of 17th-century Dutch art and visual culture has been shaped in part by her undergraduate degree from Radcliffe College in Government, and several years making stained glass windows as a practicing artist. Her primary areas of research are in the areas of the history of science, portraiture, and the role of images in constructing gender identities.
Professor Adams has received fellowships from the National Science Foundation, the Ministry of Education and Science, The Netherlands, the Metropolitan Museum of Art, New York, the Mrs. Giles Whiting Foundation, and the J. Paul Getty Trust; she was a Visiting Scholar at the Getty Research Institute in 2005. Her publications include Public Faces and Private Identities in Seventeenth-Century Holland: Portraiture and the Production of Community (2009); editor of New Approaches to Rembrandt: Rembrandt's Bathsheba Reading King David's Letter (1998); and, curator and catalogue author of the exhibition Seventeenth-Century Dutch and Flemish Paintings in New York Private Collections, National Academy of Design, New York (1988). In addition to essays for exhibition catalogues and anthologies, articles have appeared in The Art Bulletin, and Nederlands Kunsthistorisch Jaarboek.
Her current research includes an historiography of the seventeenth-century Dutch portrait, and monograph with catalogue raisonné on the 17th-century Dutch painter Thomas de Keyser. Before coming to UCSB, Ann Jensen Adams taught at the University of Chicago.
Ann Jensen Adams. “Competing Communities in the ‘Great Bog of Europe.’ Identity and Seventeenth Century Dutch Landscape Painting.” In Landscape and Power, edited by W.J.T. Mitchell, 35-76. Chicago: The University of Chicago Press, 1994.
Ann Jensen Adams. “The Three-Quarter Length Life-Sized Portrait in 17th-century Holland: The Ideological Function of ‘Tranquillitas’.” In Looking at Seventeenth-Century Dutch Painting. Realism Reconsidered, edited by Wayne Franits, 158-174. New York: Cambridge University Press, 1997.
Ann Jensen Adams. “Money and the Regulation of Desire: The Prostitute and the Marketplace in Seventeenth-Century Holland.” In Renaissance Culture and the Everyday, edited by Patricia Fumerton and Simon Hunt, 229-253. Philadelphia: University of Pennsylvania Press, 1999.
Ann Jensen Adams. “Reproduction and Authenticity in Bernard Picart’s Impostures Innocentes.” In The First Global Vision of Religion: Bernard Picart’s Religious Ceremonies and Customs of All the Peoples of the World, edited by Lynn Hunt, Margaret Jacob, and Wijnand Mijnhardt, 74-104. Los Angeles: The J. Paul Getty Trust, 2010.
Ann Jensen Adams. “The Rijksbureau voor Kunsthistorische Documentatie and the Iconographic Turn in Dutch Art History.” In Photo Archives and the Photographic Memory of Art History, edited by Costanza Caraffa, 253-263. Florence: Kunsthistorischen Institutes in Florenz/ Berlin: Max-Planck-Institut, Deutscher Kunstverlag, 2011.
111B Dutch Art in the Age of Rembrandt
111C Dutch Art in the Age of Vermeer
111E Gender and Power in the Early Modern Period
111F Rethinking Rembrandt
INT 94HG Freshman Seminar: Close Looking. Examining Works of Art
2015-2016 Facing Identity: The Early Modern Netherlandish Portrait
2014-2015 History, Memory and the uses of Images
2013-2014 Vision and Knowledge
2012-2013 The Second Look: Anachronism and Temporailty in 17th-century Netherlandish Painting
2011-2012 Early modern image making: theory and practice
2010-2011 Facing Identity: The Early Modern Netherlandish Portrait
2007-2008 Reproductions & Authenticity: Honest copy, Faithful reproductions, Fiendish forgery
2006-2007 Time and Ways of Knowing in Early Modern Art and Culture
2005-2006 Visuality and Text in Early Modern Europe and the Americas (co-taught with Jeanette F. Peterson)
2004-2005 Proseminar: Introduction to Art Historical Methods
2003-2004 Vermeer: The Sphinx of Delft. The Man, The Work, The Myth
2002-2003 Identity, Representation, and Facticity in the Early Modern Period
2001-2002 Vision, Knowledge, and the Scientific Revolution
2000-2001 The Natures of Nature