Nathan J. Timpano
Assistant Professor of Art History
1540 Levante Avenue
Coral Gables, FL 33146
Modern Art in Europe & the Americas
19th-century European Art
Art Theory & Criticism
Nathan Timpano joined the art history faculty at the University of Miami in 2010. His research focuses on the history and historiography of modern art and visual culture in Europe and the Americas, with a specialty in German and Austrian modernism. He teaches courses on 19th-century and 20th-century European art, Viennese modernism, and Surrealism. He additionally teaches a lecture on Latin American modernism within the Department of Art & Art History.
Prior to his work at UM, Dr. Timpano was the 2009-2010 Stefan Engelhorn Curatorial Fellow at the Harvard Art Museums/Busch-Reisinger Museum at Harvard University, where his research focused on the photographic works of the German-American artist Lyonel Feininger. He has additionally held professional positions at the National Gallery of Art in Washington, DC.
Among his various awards, Dr. Timpano was a Getty Research Institute Summer Fellow (2015), a Faculty Research Fellow at the Center for the Humanities at UM (2013 - 2014), a Rifkind Center Scholar-in-Residence at LACMA (2013), a Fulbright Fellow to Vienna, Austria (2007 - 2008), and a DAAD Scholar to Munich, Germany (2007).
Professor Timpano's exhibition Pan American Modernism: Avant-Garde Art in Latin America and the United States, which opened in June 2013 at the Lowe Art Museum, is on tour at various US art museums.
Professor Timpano is currently writing a second academic book on the German Expressionist artist Franz Marc and color theory.
Books & Catalogues:
Constructing the Viennese Modern Body: Art, Hysteria, and the Puppet (New York and London: Routledge, 2017).
Emilio Sanchez in South Florida Collections, eds. Jill Deupi, Victor Deupi, and Nathan Timpano (Coral Gables: Lowe
Art Museum, 2017).
GER.MANIA!, ed. Nathan Timpano (Coral Gables: Lowe Art Museum, 2015).
Pan American Modernism: Avant-Garde Art in Latin America and the United States, with contributions by Heather
Diack and Edward J. Sullivan (Coral Gables: Lowe Art Museum, 2013).
Articles & Essays:
"'His Wretched Hand': Aubrey Beardsley, the Grotesque Body, and Viennese Modern Art," Art History (online version
December 2016): 1-28; hardcopy volume still in press.
“Body Doubles: The Puppe as Doppelgänger in Fin-de-Siècle Viennese Visual Culture,” in The Doppelgänger, ed.
Deborah Ascher Barnstone, vol. 3, German Visual Culture (Oxford and New York: Peter Lang, 2016), 119-46.
“Nazi vs Niebelung: Satirising National Socialism at Harvard’s Germanic Museum," Oxford Art Journal 35, no. 3
(December 2012): 389-411.
“Los Once & Los Cinco: Cuban Responses to Abstract Expressionism,” in From the Vault, Building a Legacy: Sixty
Years of Collecting at the Lowe Art Museum, University of Miami (Coral Gables: Lowe Art Museum,
"The dialectics of vision: Oskar Kokoschka and the historiography of expressionistic sight," Journal of Art
Historiography 1, no. 5 (December 2011): 1-13.
"Afterward: Lyonel Feininger at Harvard," in Lyonel Feininger: Photographs, 1928-1939 (Ostfildern and
Cambridge: Hatje Cantz and Harvard Art Museums, 2011), 149-51.
"Marketing the European-American: William Merritt Chase, Munich and the Märchenkönig," in American Artists in
Munich: Artistic Migration and Cultural Exchange Processes, ed. Christian Fuhrmeister (Munich: Deutscher
Kunstverlag, 2009), 179-92.
"Translating Vanguardia: Wifredo Lam, Transculturation, and the Crux of Avant-gardism," Rutgers Art Review 23
“Misremembering Racial Histories: The Role of the Viewer in Kara Walker’s The Emancipation Approximation,”
Athanor 23 (2005): 89–95.
"Sabato Rodia’s Towers in Watts: Art, Migrations, Development (edited by Luisa Del Giudice)," Italian Americana 34,
no. 1 (forthcoming Summer 2017).
"Mona Hatoum," Tate Modern, London, May 4–August 21, 2016, caa.reviews (forthcoming Summer 2017).
“Barbara Hepworth: Sculpture for a Modern World,” Tate Britain, London, June 24–October 25, 2015, caa.reviews
(May 12, 2016): http://www.caareviews.org/reviews/2784#.V9sli5MrLVo.
“Robert Farris Thompson, Aesthetic of the Cool: Afro-Atlantic Art and Music,” caa.reviews (October 15, 2015):
“Egon Schiele: Portraits,” Neue Galerie New York, October 9, 2014–January 19, 2015, caa.reviews (July 16, 2015):
"Peter Neusser: Constructing Urban Heterotopias in the Modern City," Chicago Art Journal 15 (2005): 107-11.
“Feeling Blue: Der Blaue Reiter, Francophilia and the Tate Gallery, 1960," in German Expressionism: Der Blaue
Reiter and its Legacies (Manchester: Manchester University Press, forthcoming 2018).
“The Magician, the Mermaid, and the Ouroboros: Franz von Stuck and the Iconography of Alchemy,” in Visions of
Enchantment: Occultism, Spirituality & Visual Culture, eds. Daniel Zamani and Judith Noble (London: Fulgur,
“At Water’s Edge: Mermaids, Sea Snails, and Germanic Symbolist Art,” in Underwater Worlds, ed. Will Abberley
(Basingstoke: Palgrave Macmillan, forthcoming 2017).
Ph.D. (2010), Florida State University
M.A. (2006), Florida State University
B.A. (2002), Whitworth University
Post-doctoral curatorial fellow (2009 - 2010), Harvard University
Fulbright doctoral fellow (2007 - 2008), Universität Wien
website © Nathan J. Timpano | 2017
photo © Jose M. Cabrera | 2013
image details by Gustav Klimt, Egon Schiele & Barbara Hepworth