James Henry Rubin

Curriculum Vitae

Home (November to March):

455 East 86th Street, Apt. 24A
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European address (April through October):

Domaine du Rotland
16, rue Rotland
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Web Site: http://www.visualities.net

Professor of Art History, Emeritus, Department of Art, Stony Brook, State University of New York.
(Former affiliations: Departments of Philosophy and of European Languages.)


Phillips Academy, Andover, 1961. History prize.
Yale University, B.A., cum laude 1965. Freshman history prize. Major in history. Some art history.
Institut d’art et d’archéologie, Université de Paris, Sorbonne, Licence-ès-lettres, 1967.
Mentions bien et assez bien.
Graduate School of Arts and Sciences, Harvard University, PhD., Department of Fine Arts, Fogg Museum, 1972.
Ford Foundation Graduate Prize Fellow, 5 years.


Wrightsman Fellow (Institute of Fine Arts, New York University), 1969.
American Council of Learned Societies, Travel Grant to ICHA, 1989.
Visiting Fellow/Research Professor, Institut National d’Histoire de l’Art, Université de Paris I, 2008
National Endowment for the Humanities Public Scholar, calendar year 2016.


Teaching Fellow, Harvard University, 1968-69.
Assistant Professor of Humanities, Boston University, 1972-73.
Assistant Professor of Art History, Princeton University, 1973-79.
Associate Professor of Art History, Stony Brook, The State University of New York, 1979-1987.
Adjunct Professor of Art History, Division of Humanities and Social Sciences, The Cooper Union, New York, N.Y., 1979 to 2005.
Professor of Art History, Stony Brook, State University of New York, 1987 to 2020.
Director of Graduate Studies, 1980-1989; Department Chair, 1989 to 2005.
Professor of Art History, Emeritus, 2020 to present.


INVITED PUBLIC LECTURES: (most recent listed last)

  1. Bryn Mawr College, Pennsylvania.
  2. The University of Pennsylvania.
  3. Temple University, Philadelphia.
  4. Department of Romance Languages, Princeton University.
  5. Williams College.
  6. Tulane University.
  7. Courbet Colloquium, Frankfurt.
  8. Rutgers Symposium on the Narrative.
  9. Yale University.
  10. Consortium on Revolutionary Europe, Florida State University, Tallahassee.
  11. The University of Rhode Island, Providence, Year of the Humanities.
  12. Columbia University.
  13. The Walters Art Gallery, Baltimore.
  14. The University of Maryland, College Park.
  15. L’Ecole des Hautes Etudes en Sciences Sociales, Paris.
  16. The Courtauld Institute, London.
  17. The Royal Academy of Art, London.
  18. Colloque Proudhon, Paris and Besançon, France.
  19. Colloque INTER (Inter-arts/ Inter-signes/ Interfaces) Collège International de Philosophie, Paris.
  20. Symposium Culture et Révolution, Washington, D.C..
  21. The Royal Ontario Museum, Toronto, Canada.
  22. The University of Toronto, Canada.
  23. The Brooklyn Museum, New York.
  24. International Congress on the History of the French Revolution, Georgetown University.
  25. The Metropolitan Museum, New York.
  26. International Congress of the History of Art, University of Strasbourg, France.
  27. Ecole Nationale des Beaux-Arts et des Arts Appliqués, Bourges.
  28. Colloque: David Contre David, Musée du Louvre, Paris.
  29. The Kimball Art Museum, Fort Worth.
  30. “Artists Talk on Art” Panel, New York City.
  31. University of Delaware.
  32. Columbia University.
  33. The Hecksher Museum Symposium “Baudelaire and his Painters,” Huntington, L.I.
  34. Nineteenth-Century French Studies Conference, Wilmington, DE.
  35. University of California at Santa Cruz.
  36. Nineteenth-Century French Studies Conference, Toronto, Canada.
  37. The Cleveland Museum of Art.
  38. Rice University, Houston.
  39. SUNY New Paltz.
  40. Colloque Paul Cézanne, Aix-en-Provence, France
  1. Third Annual Conference of the Mediterranean Society of Aesthetics, Portoroz, Slovenia.
  2. The National Gallery of Canada, Ottawa.
  3. Temple University, Philadelphia.
  4. Musée d’Orsay, Paris.
  5. Centre Allemand d’Histoire de l’Art, Paris.
  6. Musée Fabre, Montpellier, France
  7. University of Loughborough, England (International Anarchism Conference)
  8. Museums at Stony Brook.
  9. Courtauld Institute of Art, London.
  10. Musée des Impressionnismes, Giverny, France.
  11. Hill Stead Museum, Farmington, CT.
  12. Courbet and Politics Symposium, Arc-en-Senans, France.
  13. Université de Besançon, France (pre-concert lecture).
  14. Musée du Petit-Palais, Paris (pre-concert lecture).
  15. Musée des Beaux-Arts de Rouen, Rouen, France.
  16. Folkwang Museum, Essen, Germany.
  17. Nineteenth-Century French Studies Association, Philadelphia.
  18. The Cincinnati Art Museum, Ohio.
  19. University of Amsterdam, Art History Institute, The Netherlands.
  20. University of Massachusetts, Amherst.
  21. Musée du Luxembourg (Sénat), Paris.
  22. British-Ukrainian Chamber of Commerce, Kiev, Ukraine.
  23. Musée d’Art et d’Histoire, Evreux, France.
  24. Musée d’Art Moderne André Malraux, Le Havre, France.
  25. Graduate Institute of Art Studies, National Central University, Chungli, Taiwan (Keynote Speaker).
  26. Graduate Institute of Art History, National Taiwan Normal University, Taipei.
  27. University of Hong Kong.
  28. Saint Louis Museum of Art.
  29. Frankoromanistenkongress, Schnitstellen/Inerfaces: Dialogishe Kunst im Werk Charles Baudelaires, Univesity of Münster, Germany, (Keynote Speaker)
  30. Flint Institute of Art, University of Michigan (Keynote Speaker)
  31. Aros Museum of Art, Aarhus, Denmark
  32. University of British Columbia, Vancouver, CA (Seminar)
  33. Kunstfestivaldesarts, Brussels, Belgium
  34. French Institute, Tokyo (Seminar)
  35. Sophia University, Tokyo
  36. Kyoto Institute of Technology, Kyoto
  37. Fondation Beyeler, Riehen-Basel, Switzerland
  38. Museum Barberini, Potsdam, Germany
  39. Tulane University, New Orleans
  40. Museum Barberini, Potsdam (second invitation)
  41. Université d’Aix-en-Provence, France
  42. Denver Art Museum, two lectures

College Art Association (Juried papers):
L.A., 1977; Washington, 1979; Boston, 2006; L.A. 2009.
Respondent, Philadelphia, 1997; Discussant, Chicago, 2010.



Session Chair, CAA., New Orleans, 1980.
Session Chair, International Congress on the History of the French Revolution, 1989. Session Chair, Colloque: David Contre David, Musée du Louvre, Paris, 1989.
Session Chair, Nineteenth-Century French Studies Conference, Athens, GA, 1997. Co-Chair, CAA, the U.N. and UNESCO, CAA, New York, 2003.
Session Chair, CAA, “Art and Music in 19th c. Art,” New York, 2011.


Rival Sisters: Art and Music at the Birth of Modernity, 1815-1915, Manhattan Campus, Stony Brook University, March 25-26, 2011.


International Committee, The College Art Association. College Art Association representative to the United Nations.

Outside Program Reviewer or Tenure/Promotion Referee:
Graduate Center CUNY; Columbia University; Queens College; Emory University; Stanford University; University of California, Los Angeles; University of Texas at Austin; University of Toronto; University of Toledo; University of California at Berkeley; University of Illinois at Urbana-Champaign; University of Alabama at Birmingham; University of Michigan; University of Rochester; Catholic University; Vassar College; University of Hong Kong; University of Missouri, Saint-Louis; Wayne State University; Rutgers University; University of Delaware; University of Rhode Island; University of Kentucky; Tulane University; Smith College.

Grant or Manuscript Reviewer:
The MacArthur Foundation; The Institute for Advanced Study; The National Endowment for the Humanities; The American Council of Learned Societies; The Howard Foundation, Brown University; J.Paul Getty Grant Program; Prentice- Hall; M.I.T. Press; Oxford University Press; Ashgate Lund-Humphries Press, Princeton University Press; University of California Press, Berkeley and L.A.; Yale University Press (several); University of Minnesota Press; The Art Bulletin; University of Chicago Press; Stanford University Press; Utopian Studies; Art History (Journal of the Association of British Art Historians); Oxford Journal of Art History; Penn State University Press; University of Minnesota Press; Taylor and Francis.



  1. Eighteenth-Century French Life Drawing, Princeton University Press, 1977, 104pp., 72 figs.
  2. Realism and Social Vision in Courbet and Proudhon, (Princeton Essays on the Arts, 10), Princeton University Press, 1981, 177 pp., 36 figs.
  3. Eugène Delacroix, ‘Die Dantebarke’: Idealismus und Modernität, (Kunst Stück, 3938), Fischer Verlag, Frankfurt, 1987, 89 pp., 43 figs.
  4. Manet’s Silence and the Poetics of Bouquets, (Essays in Art and Culture), London and Cambridge, Mass., Harvard University Press, 1994, 246 pp., 96 figs.
  5. Courbet, (Art and Ideas), London, Phaidon Press, 1997, 351 pp., 214 figs.
  6. Impressionism, (Art and Ideas), London, Phaidon Press, 1999, 447 pp., 269 figs.
  7. Nadar, (Photo 55” series), Phaidon Press, London, 2001, 128 pp., 55 figs.
  8. Impressionist Cats and Dogs: Pets in the Painting of Modern Life, Yale University Press, London and New Haven, 2003, 144 pp., 97 figs., mostly color with many details.
  9. Impressionism and the Modern Landscape: Productivity, Technology and Urbanization from Manet to Van Gogh, Berkeley, University of California Press, 2008, 230 pp., 149 figures.
  10. Manet: Initial M, Hand and Eye, (English edition), Paris, Flammarion, 2010 (distributed in U.S. by Rizzoli/Random House), 413 pp., 298 figs, mostly color with many details.
  11. How to Read Impressionism: Ways of Looking, New York, Abrams, 2013, 407 pp. approximately 500 illustrations, mostly color. (U.K. edition: How to Read an Impressionist Painting, London, Thames and Hudson, 2013)
  12. (Editor and contributing author) Rival Sisters: Art and Music at the Birth of Modernism, 1815-1915, London, Ashgate-Lund Humphries, 2014, 390 pp., 50 ills.
  13. Monet (World of Art), London, Thames and Hudson, 2020, 223 pp., 159 ills.
  14. Why Monet Matters: Meanings Among the Lily Pads, Pennsylvania, The Pennsylvania State University Press, 2021, 378 pp. 161 figs.
  15. Cezanne A to Z, Berlin, Hatje Cantz, 2021, 144 pp. 45 figs. (English and German editions.


Réalisme et vision sociale chez Courbet et Proudhon, Editions du Regard, Paris, 1999, 222 pp., 38 figs.

Impressionism (Greek), 1999; Impressionism (Korean), 2001; Impressionism (Japanese), 2002, Impressionisme (French), 2008. (Chinese forthcoming)

Nadar (French, German), 2001.

Courbet (French), 2003; Courbet (Japanese), 2004. (Chinese forthcoming)

Manet : lettre M, l’oeil, une main, (French edition), Paris, Flammarion, 2011, 415 pp., 298 figs, mostly color with many details.

Het verhaal van het impressionisme (De kunst van het kijken), Antwerp, Ludion, 2013. Les tableaux impressionnistes vus de près, Paris, Hazan, 2014.

Cezanne A-Z, German, 2021

How to Read Impressionism, Japanese, 2015. (Chinese rights sold.)


Bernard Aptekar: Art and Politics, Fine Arts Center Art Gallery, State University of New York at Stony Brook, 1984.

Freedom Within: Alfredo Jaar and Juan Sanchez, Fine Arts Center Art Gallery, State University of New York at Stony Brook, 1985.

Co-curator, Sur la même longueur d’onde : Louis Aston Knight, Alain Fleischer, Musée d’Art, Histoire et Archéologie, Evreux, France, 2013.


In 1985-86, some short articles for the French newspaper, La Croix.: “Les migrations de l’art moderne,” “Deux expositions à New York: Le Primitivisme et Van Gogh,” “Los Angeles, Nouvelle frontière de l’art?,” “Deux expressionistes et leurs réputations,” “L’art public et l’opinion du public à New York.”

Dictionary articles, including “Realism” for Oxford’s Dictionary of Art and “Realism” and “Impressionism” for Scribner’s Dictionary of the History of Ideas, “Impressionism” and “Painting, 1789-1914” for Scribner’s Encyclopedia of Europe 1789-1914.


  1. “Seurat and Theory: The Near-Identical Drawings of the Café-Concert,” Gazette des Beaux-Arts, October 1970, pp. 237-246.
  2. “An Early Romantic Polemic: Girodet and Milton,” Art Quarterly, 35, Fall 1972, pp. 210-238.
  3. “Oedipus, Antigone, and Exiles in Post-Revolutionary French Painting,” Art Quarterly, 36, Fall 1973, pp.141-171.
  4. “La Sépulture romantique de Christine Boyer et son portrait par Antoine-Jean Gros,” La Revue du Louvre et des Musées de France, 1975, No. 1, pp. 17-22.
  5. “Notes on Princeton Drawings, 11:Victorian Academics:Leighton, Poynter and Waterhouse,” Record of the Art Museum, Princeton University, 34, No.1, pp. 17-22.
  6. “New Documents on the Méditateurs: Baron Gérard, Mantegna, and French Romanticism circa 1800,” Burlington Magazine, 117, Dec.1975, pp. 785-791.
  7. “Roger de Piles and Antiquity,” The Journal of Aesthetics and Art Criticism, Winter 1976, pp. 157-163.
  8. “Gérard’s Painting of Ossian as an Allegory of Inspired Art,” Studies in Romanticism15, No.3, Summer 1976, pp. 382-394.
  9. “J.-L.David’s Patriotism, or the Conspiracy of Gracchus Babeuf and the Legacy of Topino-Lebrun,” Art Bulletin, 58, No.4, Dec.1976, pp. 547-568.
  10. “Guérin’s Painting of Phèdre and the Post-Revolutionary Revival of Racine,” Art Bulletin, 59, No.4, Dec.1977, pp. 601-618.
  11. “Endymion’s Dream as a Myth of Romantic Inspiration,” Art Quarterly, New Series, 1, Spring 1978, pp.47-84.
  12. “Eighteenth-Century French Life-Drawing: Addenda and Corrigenda,” Record of the Art Museum, Princeton University, 37, No.1, 1978, pp. 26-27.
  13. “Ingres’s Vision of Oedipus and the Sphinx: The Riddle Resolved?” Arts MagazineOctober 1979, pp.130-133.
  14. “Gros and Girodet,” Burlington Magazine, 121, Nov. 1979, pp. 716-721.
  15. “Pierre-Auguste Cot’s The Storm,” Metropolitan Museum Journal, 14, 1979, pp.191-200.
  16. “Le poète inspiré: Le portrait de Lebrun-Pindare par Jean-Bernard Restout,” La Revue du Louvre et des Musées de France, April 1980, No. 2, pp.77-79.
  17. “Who was Pierre-Auguste Cot?,” Nineteenth Century, 6, No.1, Spring 1980, pp.36-39.
  18. “Courbet and Proudhon in The Atelier of the Painter,” in K. Gallwitz and K.Herding, eds., Malerei und Theorie; Das Courbet Colloquium 1979, Frankfurt, 1980, pp.175-186.
  19. “Aesthetic Subversion of Politics in Girodet’s Riots at Cairo,” The Consortium on Revolutionary Europe, Proceedings, 1980, II, pp.95-105.
  20. “Bernard Aptekar: Art and Politics,” Arts Magazine, February 1984, pp.66-68.
  21. “Les Casseurs de Pierres de Gustave Courbet,” Photographies, VI, December, 1984, pp.12 and 122.
  22. “Pygmalion and Galatea: Girodet and Rousseau,” 127, Burlington Magazine, August, 1985, pp.517-520.
  23. “Allegory versus Narrative in Quatremère de Quincy,” Journal of Aesthetics and Art Criticism, Summer 1986, pp. 43-52.
  1. Review of Helen Osterman Borowitz, The Impact of Art on French Literature from De Scudéry to Proust, in Burlington Magazine, April 1986, pp. 298-299.
  2. “Disorder/Order: Revolutionary Art as Performative Representation,” in Sandy Petrey, ed., The French Revolution, 1789-1989: Two Hundred Years of Rethinking, a special issue of The Eighteenth Century: Theory and Interpretation, Texas, 1989, pp. 83-111.
  3. L’Atelier du Peintre de Courbet et les idées proudhoniennes,” in P.-J. Proudhon,Pouvoirs et Libertés: Actes du Colloque (1987), Paris and Besançon, 1989, pp. 131-136.
  4. “Gustave Courbet’s Early Philosophy Notebooks,” in Festshrift zu Klaus Herdings 50. Geburtstag, Hamburg, 1989.
  5. “The Politics of Quatremère de Quincy’s Romantic Classicism,” in George Levitine, ed., Culture and Revolution: Cultural Ramifications of the French Revolution, University of Maryland at College Park, 1989.
  6. “Eugene Tulchin’s Deconstructions of the Photographic,” in Eugene Tulchin Photographs, exh. cat., Witkin Gallery, New York, April 1990.
  7. “Concepts and Consequences in Eighteenth-Century French Life-Drawing,” in Diana Dethloff, ed., Drawing: Masters and Methods, Raphael to Redon, Papers presented to the Ian Woodner Master Drawings Symposium, London, The Royal Academy, 1992.
  8. “The People’s Hand: Jacques-Louis David’s ‘Unfinished’ Backgrounds and Paradigms of Revolutionary Representation,” in Actes du XXVIIe Congrès international d’histoire de l’art, Strasbourg, 1992, section 1, “L’Art et les révolutions.”
  9. “Delacroix’s Barque as a Romantic Manifesto: Politics and Theory in the Early 1820s,” in Art Journal, 52, no. 2 (Summer,1993) pp. 48-58. (Special issue on Romanticism)
  10. “Jacques-Louis David et la main du peuple: saisir le site de la représentation,” in David Contre David, Actes du Colloque du Musée du Louvre, Paris, La Documentation Française, 1993, II, pp. 783-803.
  11. Review Essay: Alex Potts, Flesh and the Ideal: Winckelmann and the Origins of Art History, in The Art Bulletin, LXXVII, 2 (June 1996), pp. 358-361.
  12. Catalogue entries on Delacroix drawings in: Agnes Mongan, David to Corot French Drawings in the Fogg Art Museum, Cambridge MA, 1996, pp. 127-128 and p. 157.
  13. “Croquer le croquet: le jeu de jardin de Manet/ Croquer le croquet: Manets Gartenpartie,” in Impressionistes: 6 chef-d’oeuvres français/ Impressionisten: 6 Französiche Meisterwerke, exh. cat., Musée d’Orsay, 16 February – 30 May 1999, Frankfurt, Städelsches Kunstinstitut, 1999, pp. 66-83.
  14. “Delacroix and Romanticism,” in Beth S. Wright, ed., The Cambridge Companion to Delacroix, Cambridge University Press, Cambridge, 2001, pp. 26-47.
  15. “Eugène Delacroix’s Portrait of Charles de Verninac, 1825-26,” in New Discoveries, Nineteenth-Century Art Worldwide, v. 5, n. 1, Spring 2006, http://www.19thc- artworldwide.org/spring_06
  16. “Painting as Interface: Manet’s Olympia as Signature and Interactive Self,” in Claudia Hart, ed., Can We Fall in Love with a Machine?, exh. cat., Wood Street Galleries, The Pittsburgh Cultural Trust, Pittsburgh PA, 2006, pp. 81-84.
  17. Review essay: John House, Impressionism: Paint and Politics, Yale University Press, New Haven and London, 2004 and Joachim Pissarro, Pioneering Modern Painting: Cézanne and Pissarro, exh. cat., Museum of Modern Art, New York, 2005 in The Art Bulletin, LXXXVIII, 2 (June 2006,), pp. 399-402.
  1. “Armand Guillaumin (1841-1927): The Industrial Impressionist,” in Minsoo Kang and Amy Woodson-Boulton, eds., Visions of the Industrial Age: Modernity and the Anxiety of Representation in European Culture, 1830-1914, Ashgate Press, London, 2008, pp. 43-51.
  2. “Courbet and the Music of his Times,” presentation text for Le Temps des Cerises, Ana-Maria Bell, voice and violin, with Paul Staicu, piano; Music CD, Paris: Arthemus Records, 2009. (French and English text)
  3. “Des cadavres heroiques : Manet, Daumier, Delacroix et la politique de leur temps,” in Naissance de la modernité : Mélanges offerts à Jacques Vilain, Henry-Claude Cousseau , Christina Buley-Uribe, Véronique Mattiussi, eds., Paris: Editions du Relief, 2009, pp. 140-146.
  4. “Courbet et Berlioz : La Nature comme Performance,” in Courbet à Neuf, Actes du Colloque Courbet, December, 2007, Mathilde Arnoux, Dominique de Font-Réaulx, Laurence des Cars, eds., Musée d’Orsay, Paris: Maison des sciences de l’homme, 2010, pp. 133-143.
  5. “Armand Guillaumin (1841–1927),” Review article in Nineteenth Century Art Worldwide, v. 9, no. 1 (Spring 2010), http://www.19thc- artworldwide.org/index.php/spring10/armand-guillaumin
  6. “Rouen’s Industrial Sublime: Monet, Pissarro and Modernity,” in Rouen, une ville pour l’impressionnisme, exh. cat., Musée des Beaux-Arts de Rouen, June-September 2010, pp. 96-123. (separate English and French editions)
  7. “The Impressionist Cityscape as Emblem of Modernity,” in Bilder einer Metropole: Die Impressionisten in Paris, exh. cat. Folkwang Museum, Essen, Germany, October- January, 2010-2011, pp. 69-82. (German and English versions)
  8. “Courbet, Wagner and Popular Song,” in Klaus Herding and Max Hollein, eds., Courbet, A Dream of Modern Art, exh. cat., Schirn Kunsthalle, Frankfurt, Germany, October-January, 2010-11, pp. 52-57. (German and English editions)
  9. “Near to Far: Monet’s World of Water Lilies,” in Monet’s Water Lilies: An Artist’s Obsession, exh. cat., The Wadsworth Athenaeum Museum of Art, Hartford, CT, 2011, pp. 30-49.
  10. “Normandie impressionniste: An Art Historical Travelogue,” in Nineteenth Century Art Worldwide, Spring 2011, http://www.19thc- artworldwide.org/index.php/spring11/normandie-impressionniste-an-art- historical-travelogue-james-h-rubin
  11. “Courbet, Wagner and the Total Work of Art,” in Music and Modernism, c. 1849- 1950, Charlotte de Mille, ed., Cambridge Scholars Publishing, 2011, pp. 108-118.
  12. “Armand Guillaumin and Paul Cezanne in Ile-de-France,” in Cézanne à Paris, exh. cat., Musée National du Palais du Luxembourg, Paris, 2011, pp. 64-71. (English and French editions]
  13. “The New Courbet Museum Opening and Exhibition: Courbet/Clésinger,” in Nineteenth Century Art Worldwide, Spring 2011, http://19thc- artworldwide.org/index.php/spring12/the-new-courbet-museum-opening-and- exhibition-courbetclesinger
  14. “Manet’s Heroic Corpses and the Politics of their Time,” in Perspectives on Manet, Therese Dolan, ed., Ashgate Press, England, 2012, pp. 119-138.
  15. “Van Gogh and Cézanne: Overlooked Affinities,” in Reflections on the Collection of the Stedelijk Museum, Amsterdam, 2012, pp. 57-68.
  1. “L’impressionnisme et le régime du visuel,” Introduction to Yvan Leclerc, ed., L’impressionnisme et la littérature, Presses universitaires de Rouen et du Havre, 2012, pp. 7-14.
  2. “L’«autre » territoire impressionniste et la modernité, ou l’est parisien, berceau de l’impressionnisme,” in Frédéric Cousinié, ed., L’impressionnisme : du plein air au territoire, Presses universitaires de Rouen et du Havre, 2013, pp. 159-174.
  3. “Courbet, Wagner et Proudhon : peinture, musique et utopie, ou Courbet et la chanson populaire,” in Nöel Barbe and Hervé Touboul, eds., Courbet, peinture et politique, (Actes du Colloque de la Faculté de Besançon à la Saline Royale d’Arc-en- Senans, September, 2009), Editions du Sekoya, 2013, pp. 103-117.
  4. “Les Ports impressionnistes et la moralité du moderne” in Pissarro dans les Ports : Rouen, Dieppe, Le Havre, exh. cat., Musée d’Art Moderne André Malraux, Le Havre, 2013, pp. 36-49.
  5. “Reflets normands,” in Une même longueur d’onde : Louis Aston Knight, Alain Fleischer, exh. cat., Musée d’Art, Histoire et Archéologie – Evreux, France, 2013, pp. 71-105.
  6. “Amitiés et théories : Courbet/Proudhon, Cézanne/Zola, ou comment Cézanne a connu Courbet” in exh. cat., Courbet/Cézanne : la vérite en peinture, Musée Gustave Courbet, Ornans, France, 2013, pp. 42-61.
  7. “Le dernier impressionniste : Armand Guillaumin (1841-1927), lumière et couleur,” in Parler d’impressionnisme après 1900, Rouen/Le Havre University Press, 2014 (?) pp.
  8. “Paysage et politique : de L’Atelier du peintre au Grand panorama des Alpes, in exh. cat., Gustave Courbet, les années suisses, Musée Rath, Musées d’art et d’histoire de la ville de Genève, Geneva, 2014, pp. 25-29.
  9. “Courbet’s Materialism and Positive Metaphysics,” in exh. cat., Gustave Courbet, The Beyeler Foundation, Basel, 2014, pp. 60-69.
  10. “Monet’s Painted Gardens,” in exh. cat, Monet: Lost in Translation, Aros Museum, Aarhus, Denmark, 2015, pp. 173-199 (English and Danish).
  11. “Armand Guillaumin, Nature-morte à la marmite, Galerie de la Béraudière, Brussels, Belgium, ” Nineteenth Century Art Worldwide, v. 15, no. 3 (August 2016), http://www.19thc-artworldwide.org/index.php/autumn16/new-discovery-rubin- on-armand-guillaumin-nature-morte-a-la-marmite
  12. “Monet and the Decorative,” in exh. cat., Light, Shadows, Reflections, The Beyeler Foundation, Basel, 2017, pp. 18-33.
  13. “Courbet in Love and Productive Disappointment,” for Gustave Courbet, Mathiessen Gallery, London, 2017.
  14. “Monet, Bergson, and Proust: Observations on Place, Displacement, and Poetry,” in exh. cat., Monet: The Truth of Nature, The Denver Art Museum and The Barberini Museum, Potsdam, 2019, pp. 68-77.
  15. “L’Impressionnisme et le nouveau pittoresque moderne,” in exh. cat., Les villes ardentes : Art, travail, révolte, 1870-1914, Musée des Beaux-Arts de Caen, 2020, pp. 12-23.
  16. “La Modernité ambiguë de Caillebotte : Urbanisme et perspectives humaines,” in exh. cat., Gustave Caillebotte, Fondation Gianadda, Martigny, 2021, pp. 41-46.

Updated Nov. 20, 23