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Professor Homer's Resume

Welcome to my listing of publications.


Seurat and the Science of Painting. Cambridge (MA): MIT Press 1964, xvi+327 pp.; second printing, 197l; paperback edition, 1978; reprint ed., 1985.

Robert Henri and His Circle. Ithaca (NY) and London: Cornell University Press, 1969, xvii+308 pp.; second edition, 1988.

Alfred Stieglitz and the American Avant-Garde. Boston: Little, Brown and Co. (A New York Graphic Society Book), l977, xvi+335 pp.; paperback ed., 1979.

Alfred Stieglitz and the Photo-Secession. Boston: Little, Brown and Co. (A New York Graphic Society Book), 1983, xi+179 pp.

(With Lloyd Goodrich) Albert Pinkham Ryder: Painter of Dreams. New York: Harry N. Abrams, Inc., 1989, 256 pp.

Thomas Eakins: His Life and Art. New York, London, and Paris: Abbeville Press, 1992, 276pp.; second printing, 1993; second edition, 2002.

The Language of Contemporary Criticism Clarified. Madison, CT. Sound View Press, l999, 175 pp.

Stieglitz and the Photo-Secession, 1902.  New York, Viking Studio; 2002


Alfred Stieglitz, Photography, and the Two Cultures. Newark (DE): University of Delaware, College of Arts and Science, 1982, 17 pp.


Heart's Gate: Letters Between Marsden Hartley and Horace Traubel, 1906-1915. Highlands (NC): The Jargon Society, 1981, 87 pp.


Photography in the 1980s. New York (NY): The Photograph Collector Newsletter, Ltd., 1981.


(Editor and contributor) Avant-Garde Painting and Sculpture in America, 1910-25. Wilmington (DE): Delaware Art Museum, April 4-May 18, 1975.

(Editor and contributor) Symbolism of Light: The Photographs of Clarence H. White. Wilmington: Delaware Art Museum, April 15-May 22; New York (NY): International Center of Photography, July 7-September 11, 1977.

A Pictorial Heritage: The Photographs of Gertrude Käsebier. Wilmington: Delaware Art Museum, March 2-April 22; Brooklyn (NY): The Brooklyn Museum, May 12-July 8, 1979.

(Editor and contributor) Eakins in Avondale and Thomas Eakins: A Personal Collection. Chadds Ford (PA): Brandywine River Museum, March 15-May 8, 1980.

(Editor and contributor) Pictorial Photography in Philadelphia: The Pennsylvania Academy's Salons, 1898-1901. Philadelphia (PA): The Pennsylvania Academy of the Fine Arts, March 9-April 18, 1984.

(Editor and contributor) Selections from the Lloyd Goodrich--Albert Pinkham Ryder Archive. Newark (DE): University of Delaware Library, April 17-August 15, 1989.

(Editor and contributor) Brandywine Valley to the Bay: Art from Private Collections. Newark (DE): University Gallery, October 3-November 3, 1991.

(Editor and contributor) African-American Art: The Paul R. Jones Collection. Newark (DE): University Gallery, February 11 - April 4, 1993.

(Editor and contributor) The Gist of Drawing: Works on Paper by John Sloan. Wilmington (DE): Delaware Art Museum, October 3-November 30, 1997.


Clara Sipprell, Pictorialist. New York (NY): Marcuse Pfeifer Gallery, April 19-May 24, 1980.

Frank S. Herrmann (1866-1942), Paintings in Gouache. New York (NY): The Marbella Gallery, November 3-20, 1982.


"Carl Walters, Ceramic Sculptor," Art in America, vol. XCIV, no. 3 (Fall, 1956), pp. 42-47, 64-65.

"Seurat's 'Port-en-Bessin,'" Minneapolis Institute of Arts Bulletin, vol. XLVI, no. 2 (Summer 1957), pp. 17-41.

"A Drawing for Trumbull's 'The Battle of Princeton,'" Princeton University Library Chronicle, vol. XIX, no. 3-4 (Spring-Summer 1958), pp. 212-214.

"Seurat's Formative Period: 1880-1884," The Connoisseur, vol. CXLII, no. 57l (August-September, 1958), pp. 58-62.

"Notes on Seurat's Palette," The Burlington Magazine, vol. CI, no. 674 (May, 1959), pp. 192-193.

"A Group of Paintings and Drawings by Ryder," Record of the Art Museum, Princeton University, vol. XVIII, no. 1 (1959), pp. 17-33.

"Thomas Cole and Field's 'Chromatography,'" Record of the Art Museum, Princeton University, vol. 19 (1960), pp. 26-30.

"Ryder in Washington," The Burlington Magazine, vol. CIII, no. 699 (June, 1961), pp. 280-283.

(With David M. Robb, Jr.) "Paintings by George Fuller in American Museums and Public Collections," The Art Quarterly, vol. XXIV, no.3 (Autumn, 1961), pp. 286-294.

"Eakins, Muybridge, and the Motion Picture Process," The Art Quarterly, vol. XXVI, no. 2 (Summer, 1963), pp. 194-1l6.

"Stuart Davis, 1894-1964: Last Interview," Art News, vol. LXIII, no. 5 (September, 1964), pp. 43, 56.

"Pierre Puvis de Chavannes," "Henri Rousseau," "Theodore Rousseau." In Encyclopedia of World Art, Istituto per la Collaborazione Culturale, Rome, and McGraw-Hill Book Co., New York (1966).

"The Exhibition of `The Eight': Its History and Significance," American Art Journal, vol. I, no. 1 (May, 1969), pp. 53-64.

"Robert Henri and The Eight," in Robert Henri (1865-1929): Paintings and Drawings. Lincoln: Sheldon Memorial Art Gallery, 1971, pp. 11-19.

"The Art of Impressionism: Vision and Technique." In French Impressionists Influence American Artists (exhibition catalogue). Coral Gables: Lowe Art Museum, University of Miami, March 19-April 25, 1971, pp. 9-10.

"Stieglitz and 29l," Art in America, vol. LXI, no. 4 (July-August, 1973), pp. 50-57.

"Alfred Stieglitz and an American Aesthetic," Arts, vol. XLIX, no. 1 (September, 1974), pp. 25-28.

"Eduard Steichen as Painter and Photographer, 1897-1908," American Art Journal, vol. VI, no. 2 (November, 1974), pp. 45-55.

"Alfred Stieglitz," Dictionary of American Biography, Supplement Four. New York: Charles S Scribner's Sons, 1974, pp. 778-781.

"Picabia's Jeune fille américaine dans l'état de nudité and Her Friends," The Art Bulletin, vol. LVII, no. l (March, 1975), pp. 110-115.

"Progressives vs. the Academy at the Turn of the Century," "Alfred Stieglitz and `291,'" "The Armory Show and Its Aftermath," "Mabel Dodge and Her Salon." In Avant-Garde Painting and Sculpture in America, 1910-25 (exhibition catalogue). Wilmington: Delaware Art Museum, April 4-May 18, 1975, pp. 10-20.

"Preface." In Melinda Boyd Parsons, To All Believers--The Art of Pamela Colman Smith (exhibition catalogue). Wilmington: Delaware Art Museum, September 11-October 19; Princeton: The Art Museum, Princeton University, November 4-December 7, 1975.

"Judy Dater: le nu," Arles 76, 7e Recontres Internationales de la Photographie, Arles (France), 1976, pp. 68-7l.

"Stieglitz, 291, and Paul Strand's Early Photography." Image, vol. XIX, no. 2 (June 1976), pp. 10-19.

(With Cathleen A. Branciaroli) "The Artistry of Clarence H. White" in Symbolism of Light: The Photographs of Clarence H. White (exhibition catalogue). Wilmington: Delaware Art Museum, April 15-May 22; New York: International Center of Photography, July 7-September 11, 1977, pp. 34-37.

"On the Connoisseurship of Photographs," The Print Collector's Newsletter, vol. VIII, no. 5 (November-December 1977), pp. 137-138.

(With Cathleen A. Branciaroli) "Clarence White," American Art Review, vol. IV, no. 4 (January 1978), pp. 82-93.

"Dissertations and Theses in American Art." In Arts in America, a Bibliography, vol. 3, ed. by Bernard Karpel. Washington: Smithsonian Institution Press, 1979, n.p. (43 pp.).

"Gertrude Käsebier, American Pictorial Photographer," Art & Antiques, vol. III, no. 1 (January-February 1980), pp. 78-85.

"Thomas Eakins and the Avondale Experience," Arts, vol. LIV, no. 6 (February 1980), pp. 150-153.

"Identifying Arthur Dove's `The Ten Commandments,'" The American Art Journal, vol. XII, no. 3 (Summer 1980), pp. 21-32.

"Eakins, the Crowells, and the Avondale Experience." In Eakins in Avondale (exhibition catalogue). Chadds Ford (PA): Brandywine River Museum, March 15-May 8, 1980, pp. 9-13.

"Robert Henri: Derricks on the North River." In The Preston Morton Collection of American Art, ed. by Katherine Harper Mead. Santa Barbara: Santa Barbara Museum of Art, 1981. pp. 202-203.

"Revolution in Art: Robert Henri and The Eight." In Seven/Eight: a Comparative Exhibition of the Canadian Group of Seven and the American Painters The Eight, ed. by Katherine Lochridge. Huntington, (NY): The Heckscher Museum, June 20-August 1, 1982 pp. 6-8.

"The Rose Valley Press and The Artsman." In A Poor Sort of Heaven, a Good Sort of Earth: The Rose Valley Arts and Crafts Experiment, ed. by William Ayres. Chadds Ford (PA): Brandywine River Museum, January 22-March 20, 1983, pp. 67-71.

(With Robert M. Doty, Jr.) "Stieglitz, Pictorial Photography and the Photo-Secession." In The Photo-Secession: The Golden Age of Pictorial Photography in America. Manchester (NH): The Currier Gallery of Art, 1983.

"Who Took Eakins' Photographs?" Art News, vol. LXXXII, no. 5 (May 1983), pp. 112-119.

"American Illustration and Poster Design: An Overview." In Drexel's Great School of American Illustration: Violet Oakley and Her Contemporaries, ed. by Jean Henry. Philadelphia: Drexel University Museum, November 15, 1984-May 31, 1985, p. 5.

"Moses Jacob Ezekiel and the Stieglitz Family." In Ezekiel's Vision: Moses Jacob Ezekiel and the Classical Tradition. Philadelphia: National Museum of American Jewish History, February 3-April 23, 1985, pp. 44-45.

"Foreword." In A Collective Vision: Clarence H. White and His Students, ed. by Lucinda Barnes. Long Beach, CA: University Art Museum, California State University, Long Beach: November 5-December 8, 1985, p. 9.

"A Group of Photographs by Thomas Eakins," The J. Paul Getty Museum Journal, vol. XIII (1985), pp. 151-56.

"The New Society of American Artists in Paris: Style and Sources". In The New Society of American Artists in Paris, 1908-1912. Flushing, NY: The Queens Museum, February 1-April 6; Evanston, IL: Terra Museum of American Art, May 2-June 20, 1986, n.p. (16 pp.).

"The Rediscovery of George Seeley." In George Dimock and Joanne Hardy, Intimations & Imaginings: The Photographs of George H. Seeley. Pittsfield, MA: The Berkshire Museum, 1986, n.p.

"The Flying Dutchman, a Drawing by Albert Pinkham Ryder," Porticus, vol. IX (1986), pp. 10-15.

"The Return to Figuration: American Art after World War II." In The National Sculpture Society Celebrates the Figure, ed. by Jean Henry. Philadelphia: Port of History Museum and Drexel University Museum: September 17-November 15, 1987, pp. 29-42.

"Observations on Ryder Forgeries," The American Art Journal, vol. XX, no. 2 (1988), pp. 35-52.

"Albert Pinkham Ryder, The Barnyard"; "Robert Henri, Dutch Soldier"; Arthur Dove, "Summer Orchard." In Masterworks of American Art from the Munson-Williams-Proctor Institute, ed. by Paul D. Schweizer. New York (NY): Harry N. Abrams, Inc., 1989.

"Foreword." In Tom Beck, An American Vision: John G. Bullock and the Photo-Secession." Aperture in association with University of Maryland, Baltimore County, 1989.

"The Ryder Cover-Up," Art News, vol. LXXXIII, no. 8 (Oct. 1989), pp. 158-161.

"New Documentation on Thomas Eakins and Walt Whitman in Camden," The Mickle Street Review, vol. XII (Special issue on Walt Whitman and the Visual Arts) (1990), pp. 74-82.

"Albert Pinkham Ryder" (exhibition review), Art Journal, vol. L, no. 1 (Spring 1991), pp. 86-89.

"New Light on Thomas Eakins and Walt Whitman in Camden." In Walt Whitman and the Visual Arts, ed. by Geoffrey M. Sill and Roberta K. Tarbell. New Brunswick (NJ): Rutgers University Press, 1992, pp. 85-98.

"Thomas Eakins and the Heart of American Life," American Art Review, vol. V, no. 5 (Fall 1993), pp. 96-97.

"Sketch for The Gross Clinic" and "A May Morning in the Park." In Thomas Eakins (1844-1916) and the Heart of American Life, ed. by John Wilmerding. London: National Portrait Gallery, 1993.

"Preface." In Randall C. Griffin, Thomas Anshutz: Artist and Teacher. Huntington, NY: The Heckscher Museum in association with the University of Washington Press, Seattle, 1994, pp. 19-22.

"Robert Henri as a Portrait Painter." In Valerie Leeds, My People: The Portraits of Robert Henri. Orlando, FL: Orlando Museum of Art, October 22, 1994 - January 8, 1995, pp. 12-14.

"The Watercolors of Abraham Walkowitz." In Abraham Walkowitz (1878-1965): Watercolors from 1905 through 1920 and Other Works on Paper. New York: Zabriskie Gallery, November 30, 1994 - January 7, 1995, pp. 8-13.

"Unheralded Genius: Karl Struss, Photographer." In New York to Hollywood: The Photography of Karl Struss. Fort Worth, TX: Amon Carter Museum and Albuquerque, NM: University of New Mexico Press, 1995, pp. 9-11.

"Karl Struss, Photographer: Unheralded Genius," American Art Review, vol. VII, no. 2 (April-May 1995), pp. 90-91.

"Charles Demuth: Flowers." In 150 Years of Philadelphia Still-Life Painting, Robert Schwarz, ed. Philadelphia, The Schwarz Gallery, 1997, pp. 106-108.

"Collaborative Efforts: Genesis and Fulfillment." In The Gist of Drawing, William Innes Homer, ed. Wilmington (DE), Delaware Art Museum, October 3-November 30, 1997. n.p.

Whitman, Eakins, and The Naked Truth” Walt Whitman Quarterly Review,  vo. XV, no. 1 (Summer 1997), pp. 29-32

“Visual Culture: A New Paradigm.” American Art, vol. XII, no. 1 (Sprint 1998), pp 6-9

“Paul Strand: Circa 1916.” American Art Review, vol X no. 3 (May-June 1998)

“A Rolling Snowball” (the history of American art history). American Art, vol. XIV, no. 3 (Fall 2000), pp 4-6

“Eakins as a Writer,” In Darrel Sewell, et al., Thomas Eakins. Philadelphia: Philadelphia Museum of Art, 2001, pp. 377-384


Review of Seurat; l'oeuvre peint; biographie et catalogue critique by Henri Dorra and John Rewald (Paris, 1959), The Art Bulletin, vol. XLIII, no. 3 (September, 1960), pp. 228-233.

"The Literature of Art: Seurat's Paintings and Drawings" (review of C. M. de Hauke, Seurat et son oeuvre, Paris, 1961), The Burlington Magazine, vol. CV, no. 723 (June, 1963), pp. 282-284.

Review of The Arts in Early American History, Needs and Opportunities for Study. A Bibliography by Wendell D. Garrett and Jane N. Garrett, with an Essay by Walter Muir Whitehill (Chapel Hill, 1965). In New York History, vol. XLVIII, no. 1 (January 1967), pp. 111-112.

Review of Slave to Beauty by Estelle Jussim (Boston, 1981), History of Photography, vol. V, no. 3 (July, 1981), pp. 271-273.

Review of Stieglitz: A Memoir/Biography by Sue Davidson Lowe (New York, 1983), History of Photography, vol. VIII, no. 2 (April-June 1984), pp. 155-156.


"Aspects of Seurat's Chromo-luminarist Technique and Method: Les Poseuses and La Parade and Notes on Seurat's Palette." In Seurat in Perspective, ed. by Norma Broude. Englewood Cliffs, N.J.: Prentice-Hall, Inc., 1978.

"Stieglitz and 291." In American Art: Readings from the Colonial Era to the Present, ed. by Harold Spencer. New York: Charles Scribner's Sons, 1980, pp. 229-238.

"Progressives vs. the Academy at the Turn of the Century," in American Modernism, 1910-1945. Santa Barbara: Santa Barbara Museum of Art, April 4-26, 1981, n.p. (7 pp.)

"Gertrude Käsebier," in Prints and Photographs, ed. by Mary Jean Madigan and Susan Colgan. New York: Art & Antiques, 1983, pp. 138-145.


Baltimore, "Sources of Seurat's Theory of Art," January 23, 1963.

Chairman, Session on American Art, New York, January 27, 1966.

St. Louis, "The Art and Science of the First Motion Pictures," January 26, 1968.

Chairman, Session on Art and Technology, Boston, January 30, 1969.

Chicago, "Hardesty Maratta, Pseudo-Science, and the Art of Painting," January 28, 1971.

Detroit, "Eduard Steichen: The Painter as Photographer, the Photographer as Painter, 1897-1908," January 25, 1974.

Detroit, "Picabia's Portrait d'une Jeune Fille Americaine dans l'Etat de Nudité" and Her Friends," January 26, 1974.

New York, "Picasso, Stieglitz, and the 291 Circle: New Light on the Paris-New York Axis," January 27, 1978.

New Orleans, "Thomas Eakins and Women: A Psychosexual Profile," February 26, 1981.

New York, "The Ascendancy of Women Photographers in the Pictorial Movement, 1895-1910," February 25, 1982. (Women's Caucus for Art)

Philadelphia, "Attributing and Reattributing Thomas Eakins' Photographs," February 17, 1983.

New York, "Marsden Hartley, Albert Pinkham Ryder, and the Mystical Tradition," February 13, 1986.

Houston, "Will the Real Mr. Ryder Please Stand Up?" February 11, 1988.

New York, "Popular Culture and the Postmodern Sensibility: Camp, Punk, and the Nostalgic Revivals," February 16, 1990.

Seattle, "The Catalogue Raisonne' in an Age of Critical Theory", February 4, 1993 (discussant).  "American Drawings," February 6, 1993 (discussant).

Los Angeles, “Clouds Over the Moon: Ryder’s Fading Reputation,” February 12, 1999


National Gallery of Art, "The Significance of Seurat's Art," January 3, 1965.

Metropolitan Museum of Art, New York, "Robert Henri and the Ash Can School," October 10, 1965.

Johns Hopkins University, "The Armory Show of 1913," November 18, 1968.

Metropolitan Museum of Art, New York, "Thomas Eakins: His Life, His Art, and His World," May 4, 1969.

Philadelphia Museum of Art, "Alfred Stieglitz and Vanguard Painting in America," March 2, 1970.

Art Gallery of Ontario, "Vuillard, The Nabis, and the Symbolist Theory of Painting," October 7, 1971.

National Gallery of Art, "Alfred Stieglitz and the Birth of Modern Art in America," November 12, 1972.

International Museum of Photography, George Eastman House, Rochester, "Stieglitz's Credo of Modernism: Its Manifestation in Paul Strand's Early Photographs," February 20, 1975.

Society for Photographic Education Conference, University of Delaware, "The Death of Painting and The Mystique of Contemporary Photography," April 15, 1978.

Tufts University, Symposium on the Stieglitz Circle, "Käsebier, Pictorialism, and the Symbolist Aesthetic," February 24, 1979.

University of Delaware, Symposium on American Art, "Thomas Eakins: Science, the Academy, and the Rationalization of Sight," April 20, 1979.

Haverford College, Symposium on Lewis Hine, "The American Artist and the Urban Scene: the Rise of the Ash-Can School," November 17, 1979.

National Gallery of Art, Center for Advanced Studies in the Visual Arts, "The Stieglitz Photographs at the National Gallery of Art: An Undiscovered Resource," January 8, 1981.

Terra Museum of American Art and Northwestern University, Symposium on Three American Masters of Watercolor, "Pendergrast, Marin, and Burchfield," May 30, 1981.

Museum of Fine Arts, Boston, "Thomas Eakins and the Scientific Tradition." October 7, 1982.

Pennsylvania Academy of the Fine Arts, Philadelphia, "Alfred Stieglitz and the Photo-Secession," Juned 23, 1983.

University of Southern California, Los Angeles (Getty Lectures in the Fine Arts).   Four lectures on "The Changing Concept of the Avant-Garde," March-April, 1985.

Memorial Art Gallery, University of Rochester, "The Maturing of the Avant-Garde: Native Tendencies and European Influences in the 1920's," October 23, 1985.

The J. Paul Getty Musemum, "Karl Struss and Pictorial Photography in California," December 11, 1986.

Walker Art Center, Minneapolis, "The Stieglitz Circle and the Skyscraper," October 20, 1987.

Rutgers University (Camden), Symposium on Whitman and the Visual Arts, "Thomas Eakins and Walt Whitman in Camden," April 28, 1989.

Los Angeles County Museum of Art, "Partners in Art: Alfred Stieglitz and Georgia O'Keeffe," May 7, 1989.

National Museum of American Art and Conservation Analytical Laboratory, Smithsonian Institution, "A Deconstructive View of Albert Pinkham Ryder," June 11, 1990.

The Brooklyn Museum, "Ryder, True and False: Adventures in Art Forgery," October 13, 1990.

National Portrait gallery and the Courtauld Institute of Art, London, "Feminist or Chauvinist?  Thomas Eakins and His Women." October 9, 1993.

Heckscher Museum, "Proto-Modernism in the Art of Thomas Anshutz," October 22, 1994.

University of Paris (Sorbonne), "Postmodernism and American Popular Culture," March 28, 1996.

New York University, Symposium on Expanding Horizons: American Painting, 1865-1930, "Homer, Eakins, and Ryder: Public Taste and The Shaping of an American Canon," April 25, 1996.

Corcoran Gallery of Art, "Homer on Eakins," June 19, 1996.

Delaware Art Museum, "John Sloan, Draughtsman," October 22, 1997.

Metropolitan Museum of Art, “Paul Strand, Alfred Stieglitz, and the Birth of Modernist Photography,”  March 30, 1998

New York University, Symposium on Radical Departures: Aspects of the Modern in American Painting, 1876-1939, “What Does Modernism Mean? American Painting, 1835-1915,” May 7, 1998