B.A., Wellesley College, 1994
Sarah Betzer's research examines eighteenth and nineteenth-century European art with particular emphasis on the intersections of art theoretical debates and artistic process in French painting. Her book, Ingres and the Studio: Women, Painting, History (Penn State University Press, 2012), focuses on J.-A.-D. Ingres, a critical figure of the modern era and an artist celebrated in his lifetime and beyond as one of the most esteemed portraitists of all time. Ingres and the Studio situates this essential aspect of Ingres's oeuvre in the context of his studio practice and his training of students, positing that female portraiture functioned for these artists as a privileged model of ambitious painting itself.
Ms. Betzer joined the University of Virginia faculty in 2007. The recipient of grants from the Kress Foundation and the Getty Research Institute, her work has appeared in Art History, The Art Bulletin, and caa.reviews. At UVa, her undergraduate teaching has included lecture courses on modern European art, on Paris in the nineteenth century, and seminars on such topics as Art History's Feminisms and Ingres. Her graduate seminars have included the Modernity of Ancient Sculpture, Theory and Methods in the Visual Arts and Manet and the Modern.
Ms. Betzer spent the 2010-11 academic year as an Ailsa Mellon Bruce Senior Fellow at the Center for Advanced Study in the Visual Arts at the National Gallery of Art. Her current book project, Picturing Antiquity and the Body after Archaeology, takes as its point of departure the relationship powerfully forged in the eighteenth century between the authority of antique sculpture and the theorization of aesthetic experience. Organized around artists' encounters with and pictorial responses to antique figural sculpture in painting, engraving, and photography, the book spans roughly a century and a half: from the Bay of Naples, Rome, and Florence in the age of the Grand Tour to fin-de-siècle Pompeiian archaeological metaphors.
McIntire Department of Art