Please join us on Thursday, May 19 at 1PM EST for the May Virtual Salon co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art. This online event is free and open to the public, but registration is required: https://tinyurl.com/printculture.

In this Salon, Britany Salsbury (Cleveland Museum of Art) will moderate a conversation with Fleur Roos Rosa de Carvalho (Van Gogh Museum), Allison Rudnick (Metropolitan Museum of Art), and Juliet Sperling (University of Washington), who will discuss their current research in the field of 19th-century prints and ephemera, followed by a Q&A.

Britany Salsbury is associate curator of prints and drawings at the Cleveland Museum of Art and a specialist in 19th-century European works on paper. Her exhibitions and publications include Altered States: Etching in Late 19th-Century Paris (2016); and the forthcoming Nineteenth-Century French Drawings from the Cleveland Museum of Art (2023) and Degas and the Laundress: Women, Work, and Impressionism (2023). With Ruth E. Iskin, she co-edited the book Collecting Prints, Posters, and Ephemera: Perspectives in a Global World (2019) and contributed a chapter on the collector and scholar Loys Delteil. Her dissertation on print portfolios in fin-de-siècle Paris, completed in 2015 at the Graduate Center of the City University of New York, was supported by funding from the Getty Research Institute and the Andrew W. Mellon Foundation.

Fleur Roos Rosa de Carvalho is Senior Curator of Prints and Drawings at the Van Gogh Museum Amsterdam. She has exhibited and published widely on fin-de-siècle printmaking and print collecting, focusing in particular on the art of the Nabis, Odilon Redon and Henri de Toulouse-Lautrec. In 2017 she published her overview of the period: Prints in Paris 1900: From Elite to the Street.​​​ She is currently preparing the catalogue “Souvenirs d’une opération laborieuse”: reconstructing the genesis of the Vollard suites by the Nabis artists and the printer Clot (1896–1900). Her research is generously supported by the Vincent van Gogh Foundation, The Getty Paper Project, The Elise Wessels Foundation, the Institut national d’histoire de l’art (INHA) and the IFPDA.

Allison Rudnick is Associate Curator of Drawings and Prints at the Metropolitan Museum of Art where she oversees the collection of printed ephemera. Rudnick’s research interests include the visual culture of the United States in the nineteenth and twentieth centuries, uses of printmaking in activist practices, and the sociopolitical effects of developments in modern print technologies. She is currently organizing an exhibition and related publication on art and politics in the U.S. in the 1930s, which explores the transmission of political ideas and propaganda through the material culture of the period. She received her B.A. in Art History and Museum Studies from Connecticut College and her M.Phil. in Art History at the Graduate Center of the City University of New York (CUNY), where she is currently completing a Ph.D.

Juliet Sperling is an Assistant Professor of Art History and Kollar Endowed Chair in American Art in the School of Art + Art History + Design at the University of Washington. Her current book project, Tactile Encounter and the Moving Image in American Art, offers a new account of ways of seeing in the United States by charting a history of how, and to what ends, vision and touch converged on the surfaces of interactive prints during the transformative period between c. 1776–1910. Sperling is Chair of the Association of Historians of American Art and a senior fellow and founding member of the Andrew W. Mellon Society of Fellows in Critical Bibliography.