Nathan J. Timpano



Associate Professor of Art History,

Director of Graduate Studies & Head of Art History

302B Merrick Building

Coral Gables, FL 33146






Modern Art in Europe & the Americas,

European Art in the Long 19th-Century,

Art Theory & Criticism





Nathan Timpano is currently associate professor and area head of art history within the Department of Art & Art History at the University of Miami. His research focuses on the history of modern art & visual culture in Europe and the Americas, with a specialty in German and Austrian modernism. He teaches courses on 19th- & 20th-century European art, Viennese modernism, Surrealism in Europe & the Americas, and Latin American modernism.


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).


Dr. Timpano will lead the ArtLab@Lowe student exhibition course, which will examine the Russian Avant-Garde, in Spring 2019.



Current Projects:


Professor Timpano is currently writing a second academic book on color theory and German modern art and literature.



Selected Publications:


Books & Catalogs:


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, exh. cat. (Coral

      Gables: Lowe Art Museum, 2017).


GER.MANIA!, ed. Nathan Timpano, exh. cat. (Coral Gables: Lowe Art Museum, 2015).


Pan American Modernism: Avant-Garde Art in Latin America and the United States, with contributions by Edward J.

      Sullivan and Heather Diack, exh. cat. (Coral Gables: Lowe Art Museum, 2013).



Forthcoming Essays:


“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 2019), 202-34.


“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,

      forthcoming November 2018), 138-57.



Articles & Essays:


“At Water’s Edge: Mermaids and Sea Snails in the Symbolist Art of Arnold Böcklin and Leo Putz,” in Underwater

      Worlds: Submerged Visions in Science and Culture, ed. Will Abberley (Newcastle: Cambridge Scholars

      Publishing, 2018), 22-51.


“Shades of Darkness: Sebastian Spreng’s DRESDEN Series,” in Sebastian Spreng: DRESDEN, exh. cat. (Coral

      Gables: Lowe Art Museum, 2018), 18-23.


"'His Wretched Hand': Aubrey Beardsley, the Grotesque Body, and Viennese Modern Art," Art History 40, no. 3

      (June 2017): 554-81.


“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,

      2012), 21-25.


"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

      (2007): 48-67.


“Misremembering Racial Histories: The Role of the Viewer in Kara Walker’s The Emancipation Approximation,”

      Athanor 23 (2005): 89–95.





“The Justification of Modernist Painting: A Review of Frank Stella: Experiment and Change,” NSU Art Museum, Fort

      Lauderdale, November 12, 2017–July 8, 2018, The Miami Rail (March 22, 2018):


"Sabato Rodia’s Towers in Watts: Art, Migrations, Development edited by Luisa Del Giudice," Italian Americana 35,

      no. 1 (Winter 2017): 96-97.


"Mona Hatoum," Tate Modern, London, May 4–August 21, 2016, (September 15, 2017):


“Barbara Hepworth: Sculpture for a Modern World,” Tate Britain, London, June 24–October 25, 2015,

      (May 12, 2016):


“Robert Farris Thompson, Aesthetic of the Cool: Afro-Atlantic Art and Music,” (October 15, 2015):


“Egon Schiele: Portraits,” Neue Galerie New York, October 9, 2014–January 19, 2015, (July 16, 2015):


"Peter Neusser: Constructing Urban Heterotopias in the Modern City," Chicago Art Journal 15 (2005): 107-11.





Ph.D. (2010), Florida State University

M.A. (2006), Florida State University

B.A. (2002), Whitworth University



Fellow, Harvard University (2009 - 2010)

Fellow, Universität Wien, Austria (2007 - 2008)

website © Nathan J. Timpano | 2018

photo © Juniette Fiore | 2018

image details by Gustav Klimt, Egon Schiele & Barbara Hepworth