‘An arm support for the Nile: the sphinx’s liaison with old Father Nile’ in: Pious Ex Expressions: Devotion in Art and Literature. Cambridge Press (in press)
Presented on SECAC congress, Sarasota FL, ‘Forging Art Historical Connections in Egyptology’, Emory University, Atlanta GA, October 2014
‘4000 years of art history is looking down on the small painter: Jean Léon Gérôme’s desperate battle in favor of academic painting.’ Presented on congress ‘Paragone: Rivalry in the Arts’, Paragone Studies Conference, Québec, Flint Institute of Arts, Flint MI September 2014
‘Lying in the arms…: the origins and reception of Luc Olivier Merson’s ‘The rest on the flight to Egypt’.’ In: Visual Past: A Journal for the Study of Past Visual Cultures. 2015 University of Hamburg
Read the article online
‘Isis’ Fingertips: a Symbolist reading of Lucien Lévy-Dhurmer’s “Le Silence”.’ in: The Symbolist Movement: Its Origins and Its Consequences’, (Cambridge Scholars Publishing) Newcastle upon Tyne, (in press)
Presented on the congress: ‘The Symbolist Movement: Its Origins and Its Consequences’, University of Illinois, Urbana-Champaign April 2012
‘Even Sphinxes Strip: Mythological Monsters as Canon for Feline Females in Popular Culture.’
Presented on the congress: ‘Classical representations in Popular Culture’ Southwest Texas Popular Culture Association/American Culture Association Albuquerque by Department of Classics Augustana College, Rock Island IL February 2010
‘What is Tempting Anthony: the beauty of Evil depicted in Symbolism.‘
Presented on the congress: ‘Perspectives on Evil’, Inter-Disciplinary.Net, Prague March 2011
‘The Eloquence of Line: or what Dutch Symbolists learnt from Egypt’ in: The Symbolist Movement: Its Origins and Its Consequences. Newcastle upon Tyne: Cambridge Scholars Publishing 2010, 33-57
Presented on the congress: ‘The Symbolist Movement: Its Origins and Its Consequences’, University of Illinois, Champaign-Urbana, April 2009
Eloquence of Line Liesbeth Grotenhuis
‘Achtergronden van het kwaad: symbolisme in Frankrijk, België-Nederland en Duitsland’ (Background of Evil’, pp.10-14 en ‘Hintergründe des Bösen’, pp.9-13) In: Groninger Museum Magazine. 16, nr.1, (2003).
Achtergronden van het kwaad
‘Waar gehakt wordt, rollen koppen: bijbelse ‘choppers’ Delila, Judith en Salomé’ (‘Biblical choppers: Salomé, Judith and Delilah.’ pp.36-40 en ‘Biblische “Chopper”: Salomé, Judith und Delilah.’ pp.37-39. In: Groninger Museum Magazine. 16, nr.1, (2003).
Bijbelse choppers
English/German version:
Biblical Choppers
‘In Egyptische klauwen: de sfinx en Cleopatra’ (‘The sphinx and Cleopatra: in Egyptian Claws’ pp.32-34 en ‘Die Sphinx: in Ägyptischen Krallen’ pp.30-35.) In: Groninger Museum Magazine. 16, nr.3, (2003).
In Egyptische klauwen de sfinx en Cleopatra
English/German version:
In Egyptian Claws, the Sphinx and Cleopatra
‘Cleopatra’s kattige karakter‘ (Cleopatra’s catty character) in: Kunsthistorisch Jaarboek Koninklijk Museum van Schone Kunsten, Antwerpen 1998, pp.419-439, en op de begeleidende CD met achtergronden bij de expositie Fatale Vrouwen, Groninger Museum, 2003.
Cleopatra’s kattige karakter, Jaarboek Museum Schone Kunsten, Antwerpen
‘De verboden vrucht: een interpretatie van Giovanni Segantini’s ‘Le cattive madri‘. in: Akt: over kunst. 18, nr.4 (december 1994), pp.14-20, en op de begeleidende CD met achtergronden bij de expositie Fatale Vrouwen, Groninger Museum, 2003.
Verboden vrucht, een interpretatie van Giovanni Segantini’s Le cattive madri
English version:
Forbidden Fruit an interpretation of Giovanni Segantini’s Le cattive madri’
‘Té vuur en geen zwaard: moedwil en misverstand omtrent de duiding van Gustav Klimts ‘Judith und Holofernes‘. in: Akt: over kunst. 17, nr.2 (juli 1993), pp.26-29, en op de begeleidende CD met achtergronden bij de expositie Fatale Vrouwen, Groninger Museum, 2003.
Akt – Te vuur en geen zwaard, Klimts Judith
English version:
By fire and without sword