For best experience please turn on javascript and use a modern browser!

dr. R. (Rachel) Esner

Faculty of Humanities
Capaciteitsgroep Kunstgeschiedenis
Photographer: Jan Schilthuizen

Visiting address
  • Turfdraagsterpad 15
  • Room number: 2.01
Postal address
  • Postbus 94551
    1090 GN Amsterdam
  • Dr. Rachel Esner


    Rachel Esner studied at Columbia University, City University of New York and the Universität Hamburg, Germany. She received her Ph.D. in 1994 with a dissertation entitled Art Knows no Fatherland: The Reception of German Art in France, 1878-1900. Working as a freelance art historian, she published a number of articles over the years, participated in international symposia, and in 2000-2001 was a postdoctoral fellow at the Centre allemande d'histoire de l'art in Paris. In 2003 she joined the Faculty of Humanities at the University of Amsterdam, Department of Art History, where she is currently Associate Professor (UD1), Program Director of the MA Programs in Art and Cultural Studies, and Chair of the MA Museumconservator. From May 2008 to September 2009 Dr. Esner was also Assistant Professor and program chair of the Master's in Photographic Studies, Leiden University. 

    Current research

    Dr. Esner is a specialist in French art and photography of the late nineteenth century. Her current research project, The Image of the Artist in the Age of Mechanical Reproduction focuses on the emergence of the artist as a public figure and celebrity with the aid of nineteenth-century "new media" such as photography and the illustrated press. It explores the various images of the artist formed in the popular imagination by painters and sculptors themselves, their supporters and critics; the sociological and historical necessity of image-building at this crucial moment in the formation of (artistic) modernity; and the consequences of these processes for artists' self-understanding and identity, expressed in their creative works as well as in strategic uses of their newly spreading media image. The artist's studio plays a particularly important role within this research framework, and the last few years have seen the publication of a number of articles on this topic as well as an annotated anthology, co-edited with Sandra Kisters and Ann-Sophie Lehmann: Hiding Making-Showing Creation. The Studio from Turner to Tacita Dean (Amsterdam University Press 2013).

    Hiding Making-Showing Creation

    The Mediatization of the Artist

    In June 2014, renowned film scholars and art historians joined together for the international conference The Mediatization of the Artist. The aim of this event was to investigate the presence of the visual artist in a variety of (popular) media from the nineteenth century to today. With the rise of notions of artistic autonomy and the simultaneous demise of old systems of patronage, artists increasingly found themselves confronted with the necessity of developing a public image. Simultaneously, new audiences for art discovered their fascination for the life and work of the artist. The rise of new media – the illustrated press, photography and film – meant that the needs of both parties could be easily satisfied with both words and images. This led to a transformation of the artist from a mere producer of works of art into a widely recognized celebrity. The mechanisms of this transformation and its consequences for the both the popular image and self-understanding of the artist were the focus of the papers, discussions and screenings that took place over two days at two spectacular locations in Amsterdam.

    For more information and the program see the link below. A publication is currently in preparation.

    The Mediatization of the Artist

    Editorial Boards

    Dr. Esner is a member of the editorial boards of Van Gogh Studies, Rijksmuseum BulletinStedelijk Studies and Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft

    ESNA (European Society for Nineteenth-Century Art)

    Founding member and member of the steering committee. The European Society for Nineteenth-Century Art (ESNA) is a platform formed under the auspices of the Dutch Postgraduate School for Art History (Onderzoekschool Kunstgeschiedenis). ESNA was founded by a group of scholars, graduate students and museum professionals based in the Netherlands whose research focuses on European art of the long nineteenth century. ESNA’s aim is to provide a forum to promote the exchange of ideas in this field, to support and encourage graduate research, and to enhance networking opportunities for participants. ESNA seeks to contribute to, and foster debate on, nineteenth-century art through the organization of an annual symposium, workshops, excursions, the invitation of visiting speakers, and the co-ordination with other organizations and groups devoted to the study of the nineteenth century. Although originating in the Low Countries, ESNA aims to create a broad international network for the advancement of research into all aspects of nineteenth-century European art.

    ESNA (European Society for Nineteenth-Century Art)

    Faculty Functions

    • Program Director, MA Programs in Art and Cultural Studies (2014- )
    • Program Chair "MA Museumconservator" (2011- )
    • Member "BA op de Spa" Committee (2008)
    • Chairperson Opleidingscommissie (2006-2008)
    • Chairperson "Propedeuse op de Schop" (2007-08) 

    MA Museumconservator


    • ASCA - Amsterdam School of Cultural Analysis
    • ESNA European Society for Nineteenth-Century Art
    • Association of Historians of Nineteenth-Century Art
    • Vereiniging Nederlandse Kunsthistorici
    • ICOM
  • Lectures and Conferences

    Conference papers and public lectures (selected)

    • "Le Figaro illustré in 1898. Selling the Artist to the Bourgeois Woman", L'Artiste en revue, Brussels (Université Libre), 20 October 2013
    • “Horace Vernet in the Popular Imagination”, Association of Art Historians Annual Conference, University of Reading, 10 April 2013
    • “Nos artistes chez eux. The Image of the Artist in the Illustrated Press”, 2nd Global Conference on Celebrity, Lisbon, 11 March 2013
    • “In the Artist’s Studio with L’Artiste”, L’Artiste: une revue pour l’art (1831-1870), Paris, 29 June 2012
    • "Snapshots of Intimacy. Artists Photograph Themselves and their Circles", Van Gogh Museum, 8 January 2012
    • "The Declaration of Autonomy and the Denial of Interest in Images of the Artists Studio", Nineteenth Century French Studies Association conference Law and Order, Philadelphia, Pennsylvania, 27-29 October 2011
    • "The Field Made Flesh. Deploying Cultural Capital in Images of the Artist's Studio", Association of Historians of Nineteenth-Century Art panel at the Nineteenth-Century Studies Association conference Money/Myths Albuquerque, New Mexico, 3-4 March 2011
    • "The Photograph in the Studio", Haarlem, Teylers Museum, 14 November 2010
    • "Collecting Photographs: From the Archive to the Museum Wall," FOAM - Fotografiemuseum Amsterdam, 25 November 2008
    • "Presence in Absence: The Empty Studio as Self-Portrait and Artistic Manifesto," AAH Conference: Location -The Museum, the Academy and the Studio , London, 2-4 April 2008
    • "Charcot/Pygmalion: Aesthetic Vision in the 'Iconographie photographique de la Salpêtrière,'" Kennis in beeld: illustraties tussen kunst en wetenschap , Amsterdam , 23 November 2007
    • "La peinture allemande au XIXe siècle von Antoine Rous, Marquis de laMazelière: Die deutsche Kunst und das Ende der romanischen Kultur," Médiateurs francophones sur l'Allemagne: 1870-1940 , Paris, November 2000
    • "Ein 'Preuße' in Paris: Wandlungen des Ruhmes und Nachruhmes Menzels, 1855-1905," Adolph von Menzel , Berlin, May 1997
    • "'Art Knows no Fatherland': The Reception of German Art in France, 1870-1900 - A Case of Unexpected Cosmopolitanism," The Mechanicsof Internationalism: Culture,Society and Politics from the 1840s to World War I , London, December 1996
    • "History Without Allegory: Genre, Narrative and the 'Reality Effect' in French Images of the Franco-Prussian War," Allegorie und Geschichte im Bild des 19. Jahrhunderts , Tübingen, May 1993
    • "Gloria victis: French Images of the Franco-Prussian War," Visionen zeitgenössischerGeschichte. Ereignisse der europäischen Politik in Malerei, Illustrationsgraphik und Photographie (1848-1871) , Mannheim, January 1993
    • "A Reencounter: German Art at the Paris Universal Exposition of 1878," Annual Meeting oft he College Art Association , Chicago, February 1992

    Conference (co)organization

    • [Conference] The Mediatization of the Artist, Amsterdam (EYE Film Institute) and The Hague (RKD), 19-20 June 2014 
    • [Conference] The Turbulent Mind. Madness, Moods and Melancholy in the Art of the Nineteenth Century, Ghent (Museum voor Schone Kunsten), 16-17 May 2014
    • [Symposium} Museum en Universiteit. Samen de 19e eeuw opzoeken (ESNA), The Hague (RKD), 31 January 2013
    • [Conference] Hiding Making - Showing Creation. Strategies in Artistic Practice from the Nineteenth to the Twenty-First Centuries , Haarlem (Teylers Museum) and Amsterdam (Rijksakademie), 7-8 January 2011
    • [Conference] Visual Culture and National Identity , Amsterdam (Van Gogh Museum), 9-10 June 2010
    • [Symposium] Kennis in beeld: illustraties tussen kunst en wetenschap , Amsterdam (Artis Bibliotheek), 23 November 2007
    • [Symposium] TheoretischHolland: Reflectie op 30 jaar kunstgeschiedenis in Nederland . Amsterdam (Club 11, SMCS), 2 February 2007
    • [Conference]  Art and the City: A Conference on Postwar Interactions with the Urban Realm . Amsterdam (KNAW), 11-12 May 2006
  • Teaching


    Rachel Esner teaches in the following BA courses:

    • Inleiding in de Kunstgeschiedenis (Nieuwste Tijd)
    • Kunst in Nederland
    • Parijs-excursie


    The core curriculum of the MA program "Museumconservator" consists of two seminar-modules, Theorie en geschiedenis van het verzamelen en presenteren , and Museumproblematiek . For information please consult the UvA Studiegids and the site of the Graduate School for Humanities.

    MA Museumconservator

    Paris: Art Capital of the Nineteenth Century (Master)

    This seminar deals with the city of Paris as the capital of the nineteenth-century art and architectural world. A place of incredible nnovation, where, however - in the words of Walter Benjamin - the new always intermingled with the old, Paris may be said to be a symbol for this crucial period in cultural history: the crucible of what we now call "modernity". From the advent of the Romantic architecture of Henri Labrouste to the Belle Époque Opéra of Charles Garnier; from the conservative Salons of the Restoration to the struggles of the burgeoning avant-garde, from the revolutionary élan of Courbet to the religious fanaticism of the Symbolists, Paris and the art it gave rise to was contradictory and paradoxical. As the center of enormous technical innovation and urban transformation - The World's Fairs, Hausmannization, the invention of the department store and the mass spectacle - the city was the inventor of new ways of seeing and being.
    Taking as its starting point a variety of crucial themes, the seminar looks at the city and the art and architecture it produced from diverse perspectives, providing insight into the most important works and artists (painters, sculptors, architects, engineers, designers) and an in-depth examination of their meaning in the wider historical and social context of France in the nineteenth century.

    Facetten van de kunst van de 19e eeuw: Kunstenaarsimago (BA werkgroep)

    Kunstenaarsimago: Kunsenaars en kunstenaarschap verbeeld, 1820-1900 behandelt de verbeelding van kunstenaars en het kunstenaarschap gedurende de 19e eeuw. In een reeks thematische colleges met bijbehorende werkcolleges gaan we de vraag na hoe kunstenaars over zichzelf en hun beroep dachten in deze roerige periode in de (kunst)geschiedenis. Hoe vatten kunstenaars het kunstenaarschap op? Welke imago hebben ze voor zichzelf gecreëerd? Welke wordt hen toegedicht door anderen? Waarom was een (bepaald) imago van belang? En, niet minder belangrijk, hoe worden deze beelden vorm gegeven? Welke stijlfiguren kunnen we identificeren? In de module zullen allerlei genres en media aan bod komen, van zelfportretten en groepsportretten tot fotoreeksen en prentseries. De focus ligt op de Franse kunst omdat Frankrijk – en dan vooral Parijs – als bakermaat voor zowel de moderne kunst als het moderne kunstenaarschap kan worden gezien. Deze module biedt kennisverdieping op de colleges over de 19e eeuw gevolgd in de propedeuse (Inleiding, Parijs excursie). . 

    Het Kunstenaarsatelier (BA Onderzoekswerkgroep)

    Het atelier van de kunstenaar is niet alleen een werkplek. Het heeft grote symbolische betekenis; rond het atelier zijn taalloze mythes zowel ontstaan als geproduceerd. Het atelier is dus smeltkroes van creativiteit en tegelijkertijd een probleem. Hoe kunstenaars het atelier afbeelden,welke relatie ze met hun ruimtes aangaan, welke mensen er toegelaten worden, hoe het atelier ingericht wordt, etc. kan ons veel vertellen over hoe ze hun kunstenaarschap opvatten en over het begrip kunstenaarschap in de moderne tijd. Zelfs het (blijkbare) verdwenen van het atelier in onze postmoderne tijdperk zegt iets over hoe kunstenaars vandaag de dag zich zelf en hun werk concipiëren. In deze werkgroep wordt het fenomeen "kunstenaarsatelier" van alle kanten belicht - in kunstwerken, in de literatuur, en in film en video.

    Van Gogh Museum Visiting Fellow in Nineteenth-Century Art

    The aim of the annual Van Gogh Museum Visiting Scholar in the History of Nineteenth-Century Art Seminaris to provide Master's students with the opportunity to study a single yet wide-ranging subject in nineteenth-century art through an intensive one-week workshop taught by a leading scholar in the field and supported by the Van Gogh Museum. The seminar will introduce students to important issues in the study of nineteenth-century art and provide an impulse for further research. Its aim is to encourage interest in various aspects of the discipline, and to provide students not only with factual information, but more importantly with new methodological and theoretical perspectives on this important period in the history of art.

    Since 2013, the seminar may followed as a tutorial for 6 EC within the various MA programs. For more information see the UvA Studiegids or contact Dr. Rachel Esner (

  • Books and Exhibitions

    The artist, at least according to Honoré de Balzac, is at work when he seems to be at rest; his labor is not labor but repose; it is above all conceptual, and not something done with the hand. This observation provides a model for understanding modern artists and their relationship to their place of work - the studio - what they do there, and (above all) their representations of it. Hiding Making – Showing Creation investigates the complex visual strategies artists have developed in such images to foreground certain aspects of creation while carefully hiding others from view: although often appearing to reveal all in their depictions, artists are never entirely open about their practice, and habitually hide their manual labor in order to present an image of almost magical creative genius. Taking a transhistorical, transnational and multi-medial perspective, the volume seeks to addresses possible continuities in artists’ own understanding of their working spaces from the nineteenth century to today, and to sketch the contours of what the editors view as the emerging field of studio studies.


    The book is the result of the international two-day conference Hiding Making – Showing Creation, which took place in January 2011 in collaboration with Teylers Museum in Haarlem and the Rijksakademie in Amsterdam. 


    AUP: Hiding Making-Showing Creation

    Rachel Esner + Sandra Kisters op "Springvossen" - 7 januari 2014

    Vincent Everywhere. Van Gogh's (Inter)National Identities

    International research project, book publication, and symposium, in cooperation with Dr. Margriet Schavemaker (Stedelijk Museum), Hendrik Folkerts (Stedelijk Museum) and Shailloh Philips.

    The project was funded by, among others, the Mondriaan Foundation, Prince Bernhard Cultuurfonds, and SNS Reaalfonds.

    It resulted in a book publication (Amsterdam University Press), a two-day international conference (Visual Culture and National Identity, June 2010), several book presentations in the Netherlands (Spui25) and abroad (Rome, KNIR), and a radio interview (see link below)

    Rachel Esner in De Avonden


    • Versneden en verbeeld: Anatomie in geneeskundeen kunst ,UB Singel and SMART ProjectSpace, 9 July-7 September 2007
    • Hellas: Visies op Griekenland in de 19e eeuw , Allard Pierson Museum, 7 July-18 September 2006
    • Spiegel van het geheugen: De fotografische verbeelding van de Romeinse oudheid in de negentiende ee uw, Allard Pierson Museum, 24 June-25 September 2005
    • Het lichaam blootgegeven: Tekeningen uit de collectie van de Rijksakademie, 1766-1900 , Allard PiersonMuseum, 24 June-12 September 2004
  • Publications


    • Esner, R. (2019). ’Ateliers d'Artistes’ (1898): An Advertorial for the 'Lady Readers' of the Figaro illustré. Early Popular Visual Culture. [details]
    • Esner, R. (Accepted/In press). Jean-Léon Gérôme – The Artist in Word and Image. In L. Dixon, & G. P. Weisberg (Eds.), Making Waves: Crosscurrents in the Study of Nineteenth-Century Art Brepols Publishers.



    • Esner, R. (2017). Horace Vernet in the Pubic Imagination. In D. Harkett, & K. Hornstein (Eds.), Horace Vernet and the thresholds of nineteenth-century visual culture (pp. 57-72). Hanover, New Hampshire: Dartmouth College Press. [details]
    • Esner, R. (2017). Making the Truth with Images. Some Visual Context for The Fall of the Roman Empire. In J. Helmrath, E. M. Hausteiner, & U. Jensen (Eds.), Antike als Transformation: Konzepte zur Beschreibung kulturellen Wandels (pp. 71-80). (Transformationen der Antike; Vol. 49). Berlin: De Gruyter.
    • Esner, R. (Accepted/In press). Le Figaro illustré en 1898 : vendre de l’artiste aux bourgeoises. In L. Brogniez, & C. Dessy (Eds.), L'Artiste En Revues - Arts Et Discours En Mode Periodique (Interférences). Rennes: Presses Universitaires de Rennes.


    • Esner, R. (2013). In the Artist’s Studio with "L’Illustration". RIHA Journal, 69, [0069]. [details]
    • Esner, R. (2013). Introduction: Forms and Functions of the Studio from the Twentieth Century to Today. In R. Esner, S. Kisters, & A-S. Lehmann (Eds.), Hiding making - showing creation: the studio from Turner to Tacita Dean (pp. 121-135). Amsterdam: Amsterdam University Press. [details]
    • Esner, R., Kisters, S., & Lehmann, A-S. (2013). Hiding making - showing creation: the studio from Turner to Tacita Dean. Amsterdam: Amsterdam University Press. [details]


    • Esner, R. (2012). Visiting Delaroche and Diaz with L'Illustration. Nineteenth-Century Art Worldwide, 11(2). [details]


    • Esner, R. (2011). Presence in absence: the empty studio as self-portrait. Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft, 56(2), 241-262. [details]


    • Esner, R. (2010). Van Gogh’s letters: the artist speaks. Nineteenth-Century Art Worldwide, 9(1). [details]
    • Esner, R., & Schavemaker, M. (2010). Vincent everywhere: Van Gogh's (inter)national identities. Amsterdam: Amsterdam University Press. [details]
    • Esner, R., & Schavemaker, M. (Eds.) (2010). Overal Vincent: de (inter)nationale identiteiten van Van Gogh. Amsterdam: Amsterdam University Press. [details]


    • Esner, R. (2012). The gift: Cezanne's "The Artist's Studio" (1866) in Zola's "The Masterpiece" (1886). Kunstlicht, 33(2/3), 41-51. [details]


    • Esner, R. (2011). Ateliers d'artistes aux XXe et XXIe siècles, du lieu à l'oeuvre [Review of: G. Waterfield (2009) The artist's studio; W. Davidts, K. Paice (2009) The fall of the studio: artists at work; M. Diers, M. Wagner (2010) Topos Atelier: Werkstatt und Wissensform; M.J. Jacob, M. Grabner (2010) The studio reader: on the space of artists]. Perspective : la revue de l’INHA, 2010/2011(3), 599-604. [details]


    • Esner, R. (2010). Beyond Dutch: Van Gogh's early critical reception 1890-1915. In R. Esner, & M. Schavemaker (Eds.), Vincent everywhere: Van Gogh's (inter)national identities (pp. 137-145, 180-182). Amsterdam: Amsterdam University Press. [details]
    • Esner, R. (2010). De kunstenaar en zijn gereedschappen: een panorama van de negentiende eeuw. In M. Jonkman, & E. Geudeker (Eds.), Mythen van het atelier: werkplaats en schilderpraktijk van de negentiende-eeuwse Nederlandse kunstenaar (pp. 79-91). Zwolle: D'jonge Hond. [details]
    • Esner, R. (2010). Het Nederlandse voorbij: de kritische receptie van Van Gogh tussen 1890 en 1915. In R. Esner, & M. Schavemaker (Eds.), Overal Vincent: de (inter)nationale identiteiten van Van Gogh (pp. 143-152, 188-190). Amsterdam: Amsterdam University Press. [details]
    • Esner, R., & Schavemaker, M. (2010). Epilogue. In R. Esner, & M. Schavemaker (Eds.), Vincent everywhere: Van Gogh's (inter)national identities (pp. 163-165, 183). Amsterdam: Amsterdam University Press. [details]
    • Esner, R., & Schavemaker, M. (2010). Introduction. In R. Esner, & M. Schavemaker (Eds.), Vincent everywhere: Van Gogh's (inter)national identities (pp. 7-11, 167). Amsterdam: Amsterdam University Press. [details]


    • Esner, R. (2007). Contributions. In F. Kitschen, & K. Helms (Eds.), Deutsche Kunst - Französische Perspektiven, 1870-1940 Berlijn. [details]


    • Esner, R. (2006). 'Right About Now... And then?'. Jong Holland, 22(4). [details]
    • Esner, R. (2006). Review of Barbara Wittmann [Review of: B. Wittmann. Gesichter geben. Édouard Manet und die Poetik des portraits]. Sehepunkte, 6.
    • Esner, R. (2006). Review of Richard Thomson [Review of: R. Thomson. The troubled Republic. Visual culture and social debate in France, 1889-1900]. Nineteenth-Century Art Worldwide, 6.
    • Esner, R. (2006). Right about now... and then? Jong Holland, 22(4). [details]


    • Esner, R. (2004). Die deutsche Kunst und das Ende der romanischen Kultur. Antoine Rous, Marquis de la Mazelières Buch La peinture allemande au XIXe siècle von 1900. In A. Kostka, & F. Lucbert (Eds.), Distanz und Aneignung: Kunstbeziehungen zwischen Deutschland und Frankreich, 1870-1945 (pp. 177-188). Parijs & Berlijn: Akademie Verlag. [details]
    • Esner, R. (2004). Ein Preuße in Paris: Wandlungen des Ruhmes und Nachruhmes Menzels, 1855-1905. In Jahrbuch der Berliner Museen (Beiheft, 1999) (pp. 303-308). Berlin. [details]


    • Esner, R. (2003). Sincérité et sentiments: L'oeuvre religieux de Fritz von Uhde aux Salons parisiens. In U. Fleckner, & T. W. Gaehtgens (Eds.), De Grünewald à Menzel: L'image de l'art allemand en France au XIXe siècle (pp. 307-320). Parijs: Editions de la Maison des sciences de l'homme. [details]



    • Esner, R. (2012). Nos artistes chez eux: l ’image des artistes dans la presse illustrée. In A. Bonnet (Ed.), L’artiste en représentation: images des artistes dans l'art du XIXe siècle (pp. 139-149). Lyon: Fage. [details]


    • Esner, R. (2010). The early years of Dutch photography [Review of: H. Rooseboom (2008) De schaduw van de fotograaf: positie en status van een nieuw beroep, 1839-1889]. Tijdschrift voor Geschiedenis, 123(4), 622-623. [details]


    • Esner, R. (2008). [Review of: J. Hargrove, N. McWilliam (2005) Nationalism and French visual culture, 1870-1914]. Nineteenth-Century Art Worldwide, 7(2), 1-3. [details]


    • Esner, R. (2006). [Review of: B. Wittmann (2004) Gesichter geben: Édouard Manet und die Poetik des Portraits]. Sehepunkte, 6(12). [details]
    • Esner, R. (2006). [Review of: R. Thomson (2004) The Troubled Republic: Visual Culture and Social Debate in France, 1889-1900]. Nineteenth-Century Art Worldwide, 6(1).


    • Esner, R. (2005). [Review of: H. Foster, e.a (2004) Art since 1900: modernism, antimodernism, postmodernism]. Jong Holland, 21(4).
    • Esner, R. (2005). [Review of: M. Biele-Wrunsch (2004) Die Künstlerfreundschaft zwischen Édouard Manet und Émile Zola: Ästhetische und gattungsspezifische Berührungen und Differenzen]. Sehepunkte, 5(3).


    • Esner, R. (2003). [Review of: Michael Fried (2002) Menzel's Realism: Art and Embodiment in Nineteenth-century Berlin]. In Unknown Parijs & Berlijn: Akademie Verlag. [details]


    • Esner, R. (2018). NWO-KIEM "Documenting Curatorial Practices in Dutch Art Museums, 1945-Today.


    • Esner, R. (2011). Co-organizer Hiding Making/Showing Creation. Strategies in Artistic Practice from the Nineteenth to the Twenty-First Centuries, Universiteit van Amsterdam, Oude Turfmarkt 129, 1090 GK Amsterdam.

    Media appearance

    • Esner, R. (07-01-2014). Springvossen (AmsterdamFM) [Radio], Amsterdam. Springvossen (AmsterdamFM).

    Talk / presentation

    • Esner, R. (speaker) (29-10-2013). Le Figaro illustré in 1898. Selling the Artist to the Bourgeois Woman, L'Artiste en revue, Brussels.
    • Esner, R. (speaker) (12-4-2013). Horace Vernet in the Popular Imagination, AAH Annual Conference, Reading (UK).
    • Esner, R. (speaker) (11-3-2013). Nos artistes chez eux. The Image of the Artist in the Illustrated Press, 2nd Global Conference on Celebrity, Lisbon, Lisbon.
    • Esner, R. (speaker) (28-6-2012). In the Artist’s Studio with "L’Artiste", L’Artiste: une revue pour l’art (1831-1870), Paris, France.
    • Esner, R. (speaker) (8-1-2012). Snapshots of Intimacy. Artists Photograph Themselves and their Circles, Sunday Lecture Series, Van Gogh Museum, Amsterdam.
    • Esner, R. (invited speaker) (28-12-2011). The Declaration of Autonomy and the Denial of Interest in Images of the Artist's Studio, Nineteenth-Century French Studies Association Conference, Philadelphia, PA, United States.
    • Esner, R. (invited speaker) (4-3-2011). The Field Made Flesh. Deploying Cultural Capital in Images of the Artist's Studio, Nineteenth-Century Studies Association Conference, Albuquerque, NM, United States.


    • Esner, R. (organiser) (31-1-2014). Museum+Universiteit. Samen de 19e eeuw opzoeken, Den Haag (organising a conference, workshop, ...).


    • van Dijk, M. E. (2017). Foreign artists versus French critics: Exhibition strategies and critical reception at the Salon des Indépendants in Paris (1884-1914). [details]
    This list of publications is extracted from the UvA-Current Research Information System. Questions? Ask the library or the Pure staff of your faculty / institute. Log in to Pure to edit your publications. Log in to Personal Page Publication Selection tool to manage the visibility of your publications on this list.
  • Ancillary activities
    • No ancillary activities