| Art History

Mia M. Mochizuki

Associate Professor of the History of Art, New York University Abu Dhabi and Institute of Fine Arts

PhD Department of the History of Art, Yale University, 2001
BA Art History and German Studies, Vassar College, 1993

My research has drawn upon art, architecture and other visual sources — from masterpieces and material culture — to address problems in early modern intellectual history, with special attention to Renaissance, Reformation and Baroque art, especially those objects produced by contact with sixteenth- and seventeenth-century Portuguese and Dutch trading networks that situate European art in a world context. I would characterize my work as grounded in the object and original archival sources and leavened by a theoretical fluency across a range of humanist and social science disciplines.

Currently, I have been concerned with pressure points in cross-cultural contact and the challenges for a global art history with a single-authored monograph on the Jesuit Global Baroque and an edited anthology, with Prof. Christine Göttler (Universität Bern), dedicated to The Nomadic Object: Early Modern Religious Art in Global Contact (Brill, 2017). I am also overseeing the translation into Japanese of a selection of essays by myself and Prof. Yoriko Kobayashi-Sato (Mejiro University, Tokyo) for a volume entitled Dawn of the Global Age: Cultural Exchange between the West and Edo Japan (Koyo Shobo, 2017).

Recent articles have treated the importance of materials in religious art in Art History (Special Issue for the 500th Anniversary of the Lutheran Reformation, eds. Bridget Heal and Joseph Koerner, 2017); the role of place in cross-cultural interpretation in The Japan Review (vol. 29, 2016) in English and in The University of Tokyo Art History Journal (vol. 32, 2016) in Japanese; the changing status of copy and original initiated by the transmission of images overseas in Sacred and Profane in Early Modern Art (Kyoto University Press, 2016); a study of a “Republic of Images” along the Portuguese eastern trading network in Ellipsis. Journal of the American Portuguese Studies Association (vol. 12, 2014); and a summary essay on iconoclasm for the Oxford Handbook of Religion and the Arts (Oxford University Press, 2013).

My book, The Netherlandish Image after Iconoclasm, 1566-1672. Material Religion in the Dutch Golden Age (Ashgate, 2008), received the College Art Association Publication Award, the ACE/Mercers’ International Book Award for Religious Art and Architecture, and the Ashgate Editor’s Choice Award for a significant contribution to the field for its consideration of the delicate negotiation required to make art for a public hostile to imagery. I also edited, with Prof. Amy Golahny (Lycoming College) and Prof. Lisa Vergara (Hunter College, CUNY), In His Milieu. Essays on Netherlandish Art in Memory of John Michael Montias(Amsterdam University Press, 2006) on the archival and socio-economic study of art.

As part of my commitment to the importance of global perspectives, I have regularly participated in multi-year international workgroups, which include those sponsored by Yale University (New Haven, CT, USA), L’École des Hautes Études en Sciences Sociales (Paris, France) / L'École Française (Rome, Italy), the Institute for Reformation Studies at the University of St. Andrews (Scotland); the Universität Bern (Switzerland) / New York University Abu Dhabi (United Arab Emirates); and the International Research Center for Japanese Studies, Nichibunken (Kyoto, Japan).

Born in Tokyo and educated at Sacred Heart schools and Groton School, I trained as a historian of seventeenth-century Dutch art at Vassar College (BA), Yale University (PhD), and Leiden University. Prior to coming to NYU, I held previous appointments at the University of Chicago, Columbia University, the Jesuit School of Theology, the Graduate Theological Union, and the University of California Berkeley.

My engagement in the early modern culture of the Netherlands grew out of my abiding interest in other cultures. It was this same curiosity that shaped my commitment to a global art history of objects, ideas and audiences that takes the best of the traditional emphasis on depth of knowledge to help address the challenges that breadth and relevancy bring to the role of art history in the public square today.

Research Interests

Iconoclasms and the recycling of art
Material cultures of Renaissance and Reformation
Early modern art networks and the poetics of place
Global methods of art history
Constructions of the Baroque

Sample courses

Iconoclasm and the Image
Religious Rembrandt
Globalization and the Republic of Things
The Sensory Baroque

Selected publications


Book Cover The Jesuit Global Baroque (forthcoming 2017)
Alexander Nagel Book Cover The Netherlandish Image after Iconoclasm, 1566-1672. Material Religion in the Dutch Golden Age (Ashgate, 2008) [order online]
   -Ashgate Editor’s Choice Selection (2015)
   -Winner of the College Art Association Publication Award (2007)

   -Winner of the Art and Christian Enquiry/Mercers’ International Book Award (2009)
Alexander Nagel Book Cover In His Milieu. Essays on Netherlandish Art in Memory of John Michael Montias, eds with Amy Golahny and Lisa Vergara (Amsterdam University Press, 2006) [order online]


[link to articles on Academia.edu]

A Global Eye: The Perception of Place in a Pair of Tokugawa World Map Screens,” The Japan Review 29 (forthcoming 2016).

Japanese version: 望月みや「グローバルな眼:徳川家《万国絵図屏風》におけ

る場所の認識」『美術史論叢』第 32 号、2016 年 3 (Mia M. Mochizuki, “Global na Me: Tokugawa-ke Bankoku Ezu Byobu ni okeru Basyo no Ninshiki,”  Bijutsushi Ronsō: Tōkyō Daigaku Bungakubu Bijutsushi Kenkyūshitsu [The University of Tokyo Studies in Art History] kiyō32 (March 2016), 100-52.

“Sacred Art in an Age of Mechanical Reproduction: The Salus Populi Romani Madonna in the World,” in Toshiharu Nakamura and Kayo Hirakawa, eds., Sacred and Profane in Early Modern Art, Kyoto Studies in Art History Vol. 1 (Kyoto: Kyoto University Press, 2016), 129-44.

“The Luso-Baroque Republic of Things and the Contingency of Contact,” Ellipsis. Journal of the American Portuguese Studies Association, Vincent Barletta, ed., The Lusophone Baroque [Special issue] 12 (2014): 143-71.

“The Diaspora of a Jesuit Press: Mimetic Imitation on the World Stage,” in Feike Dietz, Adam Morton, Lien Roggen, Els Stronks and Marc van Vaeck, eds, Crosscurrents in Illustrated Religious Texts in the North of Europe, 1500-1800 (Ashgate, 2014), 113-34.

“Shock Value: The Jesuit Martyrs of Japan and the Ethics of Sight,” in Sally M. Promey, ed., Sensational Religion: Sense and Contention in Material Practice (Yale University Press, 2014), 640-81+.

“Iconoclasm,” in Frank Burch Brown, ed., The Oxford Handbook of Religion and the Arts (Oxford University Press, 2013), 450-68.

With Yoriko Kobayashi-Sato, “Perspective and Its Discontents or St. Lucy’s Eyes,” in Dana Leibsohn and Jeanette Favrot Peterson, eds, Seeing Across Cultures in the Early Modern Period (Ashgate, 2012), 21-48+.

“Seductress of Site: The Nagasaski Madonna of the Snow,” in Anton W.A. Boschloo, Jacquelyn N. Coutré, Stephanie S. Dickey, Nicolette C. Sluijter-Seijffert, eds, Aemulatio. Imitation, Emulation and Invention in Netherlandish Art 1500 to 1800. Essays in Honor of Eric Jan Sluijter (Waanders, 2011), 76-88+.

“The Movable Center: The Netherlandish Map in Japan,” in Michael North, ed., Artistic and Cultural Exchanges between Europe and Asia, 1400-1900: Rethinking Markets, Workshops and Collections (Ashgate, 2010), 109-33+.

“Ignatius de Loyola, S.J., Geestelycke oeffeninghen van den H. Vader Ignativs van Loyola...(Antwerp: Michiel Cnobbaert, 1673),” in Paul Begheyn, S.J., Bernard Deprez, Rob Faesen, S.J., and Leo Kenis, eds, Jesuit Books in the Low Countries 1540-1773. A Selection from the Maurits Sabbe Library (Peeters, 2009), 196-201.

“Rembrandt’s Ten Commandments. The Impact of Pluralism on the Religious Imagination,” in Olga Z. Pugliese and Ethan Matt Kavaler, eds, Faith and Fantasy in the Renaissance: Texts, Images and Religious Practices (Centre for Reformation and Renaissance Studies, University of Toronto Press, 2009), 229-46.

“The Bible on the Wall,” in Wim François and August den Hollander, eds, Infant Milk or Hardy Nourishment? The Bible for Lay People and Theologians in the Early Modern Period, Bibliotheca ephemeridum theologicarum Lovaniensium Peeters and Leuven University Press, 2009), 337-66.

“Idolatry and Western-inspired Painting in Japan,” in Michael W. Cole and Rebecca Zorach, eds, Idols in the Age of Art. Objects, Devotions and the Early Modern World (Ashgate, 2009), 239-66.

“Deciphering the Dutch in Deshima,” in Benjamin Kaplan, Marybeth Carlson and Laura Cruz, eds, Boundaries and Their Meanings in the History of the Netherlands (Brill, 2009), 63- 94.

“The Dutch Text Painting,” Word and Image 23 (2007): 72-88.

“At Home with the Ten Commandments: Domestic Text Paintings in Seventeenth-century Amsterdam,” in Amy Golahny, Mia M. Mochizuki and Lisa Vergara, eds, In His Milieu. Essays on Netherlandish Art in Memory of John Michael Montias (Amsterdam University Press, 2006), 287-300.

“Supplanting the Devotional Image after Netherlandish Iconoclasm,” in Anne McClanan and Jeff Johnson, eds, Negating the Image: Case Studies in Iconoclasm (Ashgate, 2005), 137-62.

Chinese edition: Nanjing: Jiangsu Fine Arts Publishing House/Jiangsu meishu chubanshe, 2009), 192-220+.

“An Overlooked Still Life by Jacob Saverij,” Source. Notes in the History of Art 23, no. 4 (Summer 2004): 25-37. “The Quandary of the Dutch Reformed Church Masters,” in Arie-Jan Gelderblom, Jan L. de Jong and Marc van Vaeck, eds, The Low Countries as a Crossroads of Religious Belief. Intersections. Yearbook for Early Modern Studies 3 (2003): 141-63+.

Review Articles

“John W. O’Malley, S.J., ed., Art, Controversy and the Jesuits. The Imago primi saeculi Societatis Iesu,” Journal of Jesuit Studies 3 (2016): 488-91, doi: booksandjournals.brillonline.com/content/journals/22141332/3/3.

“Marcia B. Hall and Tracy E. Cooper, eds, The Sensuous in the Counter-Reformation Church,” Archivum Historicum Societatis Iesu 83 (2015): 550-53.

“Iconoclasms: Koenraad Jonckheere, Antwerp after Iconoclasm. Experiments in Decorum, 1566-1585, and Angela Vanhaelen, The Wake of Iconoclasm. Painting the Church in the Dutch Republic,” Oxford Art Journal 37/1 (March 2014): 99-103, doi: 10.1093/oxartj/kct038.

“Rose Marie San Juan, Vertiginous Mirrors. The Animation of the Visual Image and Early Modern Travel,” The Journal of Early Modern History 18/4 (2014): 612-13, doi: 10.1163/15700658-12342430.

“Els Stronks, Negotiating Differences. Word, Image and Religion in the Dutch Republic,” The Low Countries Historical Review 127/4 (2012): URN:NBN:NL:UI:10-1-10986 or http://www.bmgn-lchr.nl/index.php/bmgn/article/view/8171.

“Ann Adams, Public Faces and Private Identities in Seventeenth-Century Holland: Portraiture and the Production of Community,Sixteenth Century Journal 43 (Summer 2012): 543-45.

“Larry Silver and Shelley Perlove, Rembrandt’s Faith. Church and Temple in the Dutch Golden Age,” The Catholic Historical Review 96 (Winter 2010): 824-26.

“Julie Berger Hochstrasser, Still Life and Dutch Trade,” Renaissance Quarterly 61 (Winter 2008): 222-223.

“Eric Jan Sluijter, Rembrandt and the Female Nude,” Sixteenth Century Journal 38 (Fall 2007): 749- 50.

Selected honors

Ashgate Editor’s Choice Selection for The Netherlandish Image after Iconoclasm, 2015
Research Fellowship, International Research Center for Japanese Studies (Nichibunken), 2014
Sarlo Excellence in Teaching Award, Graduate Theological Union, 2013
Charles A. Ryskamp Research Fellowship, American Council of Learned Societies (ACLS), 2009
Henry Luce III Fellowship in Theology, Association of Theological Schools (ATS), 2009
ACE/Mercers’ International Book Award for Religious Art and Architecture for The Netherlandish Image after Iconoclasm, 2009
College Art Association Publication Award for The Netherlandish Image after Iconoclasm, 2007
Theron Rockwell Field Prize (Best Dissertation in the Humanities), Yale University, 2001