Michael Gaudio

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Art History
364 Heller Hall

271 19th Ave S

Michael Gaudio studies the visual arts and print culture of the early modern Atlantic world. His research has explored the visual arts in relation to early modern science, religion, and cultural encounter, and he has written on such topics as visual ethnography, landscape representation, natural history illustration, and cartographic practices. His first book, Engraving the Savage: The New World and Techniques of Civilization, examines how the early modern technology of engraving helped shape notions of the “civil“ and the “savage.“ Recently he has completed a study of the hand-made bible concordances created by the seventeenth-century English Protestant community at Little Gidding, The Bible and the Printed Image in Early Modern England: Little Gidding and the Pursuit of Scriptural Harmony. His current project is an investigation of art and aurality in the Atlantic world.

Educational Background & Specialties

Educational Background

  • Ph.D.: Art History, Stanford University, 2001.


  • Early Modern Atlantic World
  • print history
  • landscape
  • art and religion
  • art and sensory perception
  • historiography
Courses Taught
  • ArtH 3309 - Renaissance Art
  • ArtH 3315 - The Age of Curiosity: Art, Science and Technology in Europe, 1400-1800
  • ArtH 3930 - Junior-Senior Seminar
  • ArtH 5301 - The Visual Culture of the Atlantic World
  • ArtH 5302 - Prints and Print Culture
  • ArtH 8001 - Art History: Theory and Methods
  • ArtH 8320: Issues in Early Modern Visual Culture
  • Gaudio, Michael. The Bible and the Printed Image in Early Modern England: Little Gidding and the Pursuit of Scriptural Harmony. Routledge, 2017. Link
  • Gaudio, Michael. Engraving the Savage: The New World and Techniques of Civilization. University of Minnesota Press, 2008. Link
  • “Magical Pictures, or, Observations on Lightning and Thunder, Occasion’d by a Portrait of Dr. Franklin,“ in Rachael Z. DeLue, ed., Picturing (University of Chicago Press for the Terra Foundation for American Art, 2016)
  • "Looking as a Scholar, Thinking like a Rattle Head: On William Laud, Little Gidding, the Law, and the Gospel," Oxford Art Journal 36:3 (2013)
  • “Cutting and Pasting at Little Gidding: Bible Illustration and Protestant Belief in Seventeenth-Century England,“ in Ralph Dekoninck, Agní¨s Guiderdoni-Bruslé, and Walter Melion, eds., Ut pictura meditatio: The Meditative Image in Northern Art, 1500-1700 (Brepols, 2012)
  • "At the Mouth of the Cave: Listening to Thomas Cole's Kaaterskill Falls," Art History 33.3 (2010)
  • “The Elements of Botanical Art: William Bartram, Benjamin Smith Barton, and the Scientific Imagination,“ in Thomas Hallock and Nancy E. Hoffmann, eds., William Bartram: The Search for Nature’s Design (University of Georgia Press, 2010)
  • “The Truth in Clothing: The Costume Studies of John White and Lucas de Heere,“ in Kim Sloan, ed., European Visions; American Voices (British Museum Research Publication 172, 2009)
  • “1585: “˜Counterfeited according to the truth:’ John White depicts the New World,“ in Greil Marcus and Werner Sollors, eds., A New Literary History of America (Harvard University Press, 2009)
  • “Surface and Depth: The Art of Early American Natural History,“ in Sue Ann Prince, ed., Stuffing Birds, Pressing Plants, Shaping Knowledge: Natural History in North America 1730-1860 (Transactions of the American Philosophical Society 93:4, 2003)
  • “Swallowing the Evidence: William Bartram and the Limits of Enlightenment,“Winterthur Portfolio 36.1 (2001)
  • "Matthew Paris and the Cartography of the Margins,“Gesta 39.1 (2000)
  • Tyson Scholar, Crystal Bridges Museum of American Art, Spring 2017
  • Paul Mellon Visiting Senior Fellow, Center for Advanced Study in the Visual Arts, Washington, DC, Summer 2012
  • McKnight Presidential Fellow, 2008 - 2011