CASVA publications include collections of essays based on symposia and seminars, reference works, special publications, and an annual report, Center.

CASVA’s symposia have been published in the series Studies in the History of Art since 1984. Approximately 60 volumes have appeared to date. The Seminar Papers series has been published since 2005. Subjects are in many cases related to National Gallery of Art exhibitions; in others they are chosen for their current scholarly interest.

Several CASVA research projects have resulted in major reference works. Some of these represent publishing collaborations between the National Gallery and outside academic presses: the multivolume series Carlo Cesare Malvasia’s Felsina pittrice: Lives of the Bolognese Painters, edited by Elizabeth Cropper, copublished with Harvey Miller Publishers (volume 1, 2012; volume 13, 2013); Keywords in American Landscape Design, edited by Therese O’Malley, copublished with Yale University Press (2010); and Guide to Documentary Sources for Andean Studies, 1530–1900, edited by Joanne Pillsbury, copublished with University of Oklahoma Press (2008; Spanish translation to be copublished with the Pontifica Universidad Católica del Perú). The Accademia Seminars: The Accademia di San Luca in Rome, c. 1590–1635 (2009), edited by Peter M. Lukehart, was published by the National Gallery of Art, which also hosts the accompanying website, The History of the Accademia di San Luca, c. 1590–1635: Documents from the Archivio di Stato di Roma.

Special publications include A Generous Vision: Samuel H. Kress Professors, 1965–1995 and The A. W. Mellon Lectures in the Fine Arts: Fifty Years.

CASVA’s annual report, Center, has been published since 1981. A complete archive of these volumes is available to browse online.

Publications News

Recently Published


Modernism and Landscape Architecture, 1890‒1940
Studies in the History of Art, Volume 78
Edited by Therese O’Malley and Joachim Wolschke-Bulmahn, 2015


After the End of Art: Contemporary Art and the Pale of History
Arthur C. Danto
First Princeton Classics edition, with a new foreword by Lydia Goehr, 2014


Carlo Cesare Malvasia’s Felsina pittrice: Lives of the Bolognese Painters
Volume 13, Lives of Domenichino and Francesco Gessi

Publication announcement (PDF 845KB)
Critical edition by Lorenzo Pericolo; translation by Anne Summerscale; essay by Elizabeth Cropper; historical notes by Anne Summerscale, Alexandra Hoare, Lorenzo Pericolo, and Elizabeth Cropper, 2013


The Civil War in Art and Memory
Studies in the History of Art, Volume 81
Edited by Kirk Savage

The Artist in Edo
Studies in the History of Art, Volume 80
Edited by Yukio Lippit

Hokusai, Fisherman

Katsushika Hokusai, Fisherman, 1849, ink and color on silk. Freer Gallery of Art, Smithsonian Institution, Washington, DC, Gift of Charles Lang Freer, F1904.181

For the centennial of Japan’s gift of three thousand cherry trees to the United States, the Center for Advanced Study in the Visual Arts, National Gallery of Art, and the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution, organized a symposium entitled “The Artist in Edo. Scholars presented research exploring the highly individualistic personas associated with artists of Japan’s Edo period (1615–1868). Three exhibitions provided the ideal occasion for a sustained reexamination of the figure of the artist: Colorful Realm: Japanese Bird and Flower Paintings by Itō Jakuchū (1716–1800), at the National Gallery of Art, was shown concurrently with Hokusai: Thirty-Six Views of Mount Fuji, works by Katsushika Hokusai (1760–1849), and Masters of Mercy: Buddha’s Amazing Disciples, works by Kano Kazunobu (1816–1863), both at the Freer and Sackler Galleries. The essays in the forthcoming Studies volume The Artist in Edo explore the multiple contexts in which the status of the Japanese artist and of art-making itself were conceptualized during the early modern era. The volume brings together an international, intergenerational, and interdisciplinary group of scholars to focus on a broad range of art-historical questions as a way of working toward a reimagination of the artist and of the body of work in early modern Japan. The symposium and publication were organized in collaboration with Yukio Lippit, professor of Japanese art at Harvard University, visiting curator for the National Gallery exhibition, and James Ulak, senior curator of Japanese art at the Freer and Sackler Galleries.

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