Daniel HarkettChercheur invité

Juin - août 2017

Daniel Harkett is Associate Professor in the Department of History of Art and Visual Culture at the Rhode Island School of Design. His research focuses on early nineteenth-century French art and visual culture. He is the co-editor, with Katie Hornstein, of Horace Vernet and the Thresholds of Nineteenth-Century Visual Culture (2017) and has published essays on topics including Jacques-Louis David’s exhibition practice, Louis Daguerre’s Diorama, Juliette Récamier’s salon, and Delphine Gay’s self-fashioning. His work has been supported by fellowships from the Society of Fellows in the Humanities at Columbia University, the Institut Français de Washington, and the Samuel H. Kress Foundation.


  • Horace Vernet and the Thresholds of Nineteenth-Century Visual Culture. Co-editor, with Katie Hornstein. Hanover, NH: Dartmouth College Press, 2017.
  • “Revisiting Horace Vernet’s Studio Exhibition.” In Horace Vernet and the Thresholds of Nineteenth-Century Visual Culture, edited by Daniel Harkett and Katie Hornstein. Hanover, NH: Dartmouth College Press, 2017.
  • “Delphine Gay and the Paris Salon.” In Painting for the Salon/Peindre pour le Salon, 1791-1881, edited by James Kearns and Alister Mill. 73-92.Oxford and Berne: Peter Lang, 2015.
  • “Mediating Private and Public: Juliette Récamier’s Salon at L’Abbaye-aux-Bois.” In Women, Femininity, and Public Space in European Visual Culture, 1789-1914, edited by Temma Balducci and Heather Belnap Jensen. 47-64. Farnham: Ashgate, 2014.
  • “‘To my friend’: Hyacinthe Aubry-Lecomte’s Madame Récamier  (1827).” Manual 2 (Spring 2014): 22-34.
  • “The Giraffe’s Keepers and the (Dis)play of Difference.” In Of Elephants and Roses: French Natural History, 1790-1830, edited by Sue Ann Prince. 149-58. Philadelphia: American Philosophical Society, 2013.
  • “Revelation, Narrative, Rupture: Viewing David in Restoration Paris.” In David After David: Essays on the Later Work, edited by Mark Ledbury. 314-25. Williamstown: Clark Art Institute in association with Yale University Press, 2007.
  • “Illusions of Power: The Diorama and the Royalist Press in Restoration Paris.” Visual Resources 22, no. 1 (March 2006): 33-52.

 Projet de recherche

Tableaux Vivants: Salons, Sociability and Visual Culture in Post-Revolutionary France (book project).

Tableaux Vivants explores relationships between visual culture and the institution of sociability known as the salon. It argues that early nineteenth-century artists, such as François Gérard, Horace Vernet, and Virginie Ancelot, took on important roles in the revitalized salon culture of the period, that visual imagery framed salons and articulated their identities, and that art-making and viewing were practices linked to the cultivation of selfhood within elite sociable environments. Tableaux Vivants further shows that images became catalysts for the discussion of salon culture as they circulated through public spaces. By demonstrating that images shaped public debates concerning the intersection of politics, gender, and sociability, Tableaux Vivants offers a new perspective on attempts by French men and women living in the aftermath of the Revolution to come to terms with its consequences and to imagine what a post-revolutionary society might look like.