BOOKS, EXHIBITION CATALOGUES:
Pursuit of Faith. Etchings by Rembrandt in the Thrivent Financial Collection of Religious Art. Dearborn: University of Michigan-Dearborn, 2010.
Co-authored with Larry Silver. Rembrandt’s Faith: Church and Temple in the Dutch
Golden Age. University Park, PA: Penn State University Press, 2009. Bainton Book Prize; Brown-Weiss Newberry Library Humanities Award; Finalist in CAA Charles Rufus Morey Book Award. Read more here.
Renaissance, Reform, Reflections in the Age of Dürer, Bruegel and Rembrandt. Dearborn, MI: University of Michigan-Dearborn, 1994.
Bernini and the Idealization of Death: Study of the Ludovica Albertoni and the Altieri Chapel. University Park, PA: Penn State University Press, 1990. Gustav Arlst book award
Impressions of Faith: Rembrandt's Biblical Etchings. Dearborn, MI: University of Michigan-Dearborn, 1989.
Piranesi's Views of Rome. Dearborn, MI: University of Michigan-Dearborn, 1986.
ARTICLES, ESSAYS, REVIEWS:
Perlove, Shelley. “Judaism and the Arts in the Early Modern Period: Jewish-Christian Encounters,” 44-64. In A Companion to Renaissance and Baroque Art, James Saslow and Babette Bohn, eds.. Hoboken, New Jersey: Wiley-Blackwells, 2013.
_________. “The Glory of the Last House” (Haggai 2:9): Rembrandt and the Prophets Malachi and Haggai.” In ‘Imago Exegetica: Visual Images as Exegetical Instruments, 1400-1600’, edited by Walter S. Melion, James Clifton, and Michel Weemans. Leiden, the Netherlands: Brill Publications, 2014, 609-31.
______ “The Ferocious Dragon and the Docile Elephant: the Unleashing of Sin in Rembrandt’s Garden of Eden.” In Religion, the Supernatural and Visual Culture in Early Modern Europe. Turnhout, Belgium: Brepols, 2014, in press.
_______“Rembrandt and the Bible,” article of 8000 words. In Oxford Encyclopedia of the Bible and the Arts, edited by Timothy Beal, in press.
Perlove, Shelley and Larry Silver. "Rembrandt's Jesus." (Philadelphia: Philadelphia Museum of Art. 2011: 73-105. In Rembrandt’s Faces of Jesus, exhibition catalogue: Louvre, Philadelphia Museum of Art, Detroit Institute of Arts, 2011 (appeared April 18, 2011 at Louvre).
Perlove, Shelley and Larry Silver. “Rembrandt’s Protestant Joseph.” Book chapter in Joseph of Nazaret Through the Centuries, Joseph F. Chorpenning, ed. (Philadelphia: Saint Joseph’s University Press, 2011): 173-212.
Perlove, Shelley. Review of two books: Seymour Slive, Rembrandt Drawings and Holm Bevers
et al.Drawings by Rembrandt and his Pupils, in Historians of Netherlandish Art Reviews, 28. no. 1, April 2011, 37-38.
________. “Judaism and the Arts in the Early Modern Period: Jewish-Christian Encounters.” In A Companion to Renaissance and Baroque Art, James Saslow and Babette Bohn, eds.. Hoboken, New Jersey: Wiley-Blackwells, (2011), in press.
________. “The Jerusalem Temple: Rembrandt’s Faith and Fantasy,” Faith
and Fantasy in the Renaissance: Texts, Images, and Religious Practices. Edited by Olga Pugliese and Matt Kavaler. Toronto: Centre for Renaissance and Reformation, University of Toronto, (2009): 291-313.
_______Book reviews of “Marieke de Winkel, Fashion and Fancy. Dress and Meaningin Rembrandt’s Paintings, and Eric Jan Sluijter, Rembrandt and the Female Nude,”Historians of Netherlandish Art Newsletter and Review of Books (April 2009), vol. 26, no.1, p. 35.
_______“Rembrandt and the Dutch Catholics,” with Larry Silver, The Canadian Journal Of Netherlandic Studies (December 2007), 53-71.
_______Book review of Gary Schwartz’s The Rembrandt Book, Mirjam Alexander-
Knotter’s The Myth of the Jewish Rembrandt, and Laurence Sigal-Klagsbad’s Rembrandt et la Nouvelle Jérusalem. Historians of Netherlandish Art Newsletter, November 2008.
_______"Scorched in the Wilderness: A Portrait of the Venetian Rabbi Leone Modena," in Multi-Cultural Europe and Cultural Exchange, ed. James Helfers, vol. 12, Turnout, Belgium: Brepols Publications (2005), 49-66.
_______Book review of Alison McQueen’s The Rise of the Cult of Rembrandt.
Reinventing an Old Master in Nineteenth-Century France and Catherine Scallen’s
Rembrandt, Reputation, and the Practice of Connoisseurship, Historians of
Netherlandish Art Newsletter, November 2004.
_____"Identity and Exile in Seventeenth-Century Amsterdam: A Portrait of Menasseh ben Israel by Salom Italia," in The Low Countries: Crossroads of Cultures. edited by Ton Broos, Margriet Lacy, and Tom Shannon. Münster, Nodus, (2006), 11-32.
______“Ecstasy of St. Teresa: Gianlorenzo Bernini,” in The Encyclopedia of Sculpture, I, ed. Antonia Bostrőm. New York, London: Fitzroy Dearborn (2003), 158-60.
_____Book review of Michael Zell's Reframing Rembrandt, Historians of Netherlandish Art Newsletter, vol. 19, no. 2 (November 2002): 32-35.
______“Perceptions of Otherness: Critical Responses to the Jews of Rembrandt's Art
and Milieu (1836-1945),” Dutch Crossing, vol. 26, (2002), 243-90.
______“Power and Religious Authority in Papal Ferrara: Cardinal Serra and
Guercino,”Konsthistorisk Tidskrift (Scandinavian University Press), vol. 67, (1999): 19-30.
_______ “Witnessing the Crucifixion; Rembrandt and Donne.” John Donne Journal, vol. 17 (Spring 1998): 89-106.
________“Awaiting the Messiah; Christians, Jews and Muslims in the Late Work of Rembrandt.” University of Michigan Museums of Art and Archaeology, vol. 11 (1997): 84-113.
________"Templum Christianum: Rembrandt's Jeremiah Lamenting the Destruction of
Jerusalem (1630).” Gazette des Beaux Arts, vol.126, nr.1523 (November 1995): 159-70.
_______“Images and Ideas in the Age of Luther and Erasmus.” In Renaissance, Reform, Reflections in the Age of Dürer, Bruegel and Rembrandt. Dearborn, MI: University of Michigan-Dearborn, 1994, 12-29.
_______"An Irenic Vision of Utopia: Rembrandt's Triumph of Mordecai and the New Jerusalem." Zeitschrift für Kunstgeschichte, vol. 56 (1993): 38-60.
_____"Guercino's Esther before Ahasuerus and Cardinal Lorenzo Magalotti, Bishop of Ferrara." Artibus et Historiae, nr.19 (1989): 133-47.
_______"Piranesi's Tomb of the Scipios of Le Antichità Romane and Marc Antoine Laugier's Primitive Hut." Gazette des Beaux Arts, vol.112 (1989): 115-120.
_______"Visual Exegesis: Rembrandt's Etchings of the Life of Abraham." In Images of
Faith: Rembrandt's Biblical Etchings, Dearborn, MI: University of Michigan-Dearborn, (1989): 11-22.
______"An Unpublished Medici Gamepiece by Justus Sustermans." The Burlington Magazine, vol.131 (1989): 411-414.
________"Unearthing the Past: Piranesi's Ruins of Rome," in Piranesi's Views of Rome. Dearborn, MI: University of Michigan-Dearborn, 1986: 11-14.
________“Androcles and the Lion.” In Whitman, Nathan. Roma Resurgens: Papal Medals in the Age of the Baroque. Ann Arbor, MI: University of Michigan Museum of Art Press, 1983, 98-99. This book includes a lengthy discussion of the stylistic characteristics and historical context of 172 medals representing the output of 24 papacies.
_______"Bernini's Androclus and the Lion: a Papal Emblem of Alexandrine Rome." Zeitschrift für Kunstgeschichte, vol. 45 (1982): 287-296.
_______Fifteen essays in Whitman, Nathan. Papal Medals in the Age of the Baroque.
Ann Arbor, MI: University of Michigan Museum of Art Press, 1981. A sixty-two page handbook of the exhibition (not to be confused with the book published in 1983).
________"Dwarf-Performed Entertainment in the Reign of Cosimo II." In Il Teatro
Italiano del Rinascimento. Edited by de Panizza Lorch, Maristella. Milan: Edizioni di Communità, 1980, 459-469.
_______"Callot's Admiral Inghirami Presenting Barbary Prisoners to Ferdinand I." Bulletin of the Detroit Institute of Arts, vol.58 (1980): 93-101.
_________Religious Drawings by Rembrandt and his School: Inside and Outside the Studio. Book project for Penn State Press.
___________Jacob van Ruisdael’s Jewish Cemetery and the Ruins of Egmont. Exhibition and catalogue with the Milwaukee Art Museum. Under negotiation by Laurie Winters.
____________ co-editor with George Keyes. Drawings in Midwest Collections. The Age of Bernini, Rembrandt, and Poussin. Under contract with Notre Dame University Press, recipient of Kress Foundation grant.
__________ co-editor with Dagmar Eichberger, “Visual Typology in early Modern Europe: Continuity and Expansion”, Brepols, in progress.
________“The theme of Esther in Sixteenth-Century Art” in “Visual Typology in early Modern Europe: Continuity and Expansion”, eds. Shelley Perlove and Dagmar Eichberger, Brepols. Due August 14.
___________“The Prophet Haggai and the Jerusalem Temple in the Art of Rembrandt.” Article for an anthology to be published by Brepols. Due September 1, 2012
HONORS, AWARDS, OFFICES:
Awarded Plenary Address, “Rembrandt’s Staging of Biblical Narratives,” Sixteenth Century Society Conference. Fort Worth, Texas, October 27, 2011.
Winner of Roland H. Bainton Book Prize for the most outstanding art history book of
2009, Rembrandt’s Faith, awarded by Sixteenth Century Society, October 15, 2010.
Winner of Brown-Weiss Humanities Book Award for the most outstanding book
in the Humanities in 2009, for Rembrandt’s Faith. Church and Temple in the Dutch Golden Age
Finalist for Charles Rufus Morey College Art Association Book Award in 2009, Chicago,
for the most outstanding book in art history in any field and any language, February 2009. For Rembrandt’s Faith.
Finalist for Gustav Arlt Humanities Book Award, for the book, Bernini and the
Idealization of Death: Study of the Ludovica Albertoni and the Alitieri Chapel. University Park, PA: Pennsylvania State University Press, 1990.
Winner of the Campus Distinguished Research Award, 2010, UM-Dearborn, March 22, 2011.
Distinguished Teaching Campus Award, University of Michigan-Dearborn. Awarded at Honors Convocation, December 1989.
Distinguished Faculty Teaching and Research Award, State Association of Governing Boards, State of Michigan. Awarded in East Lansing, Michigan State University, May 1990.
Chancellor's Best in Class Award for Service to the University. Awarded for four years of service to the Scholars Incentive Program, 1989.