Name: Dr. Anne Bertrand-Dewsnap
Title: Teaching Associate, Art History
Office Location: Fontaine Annex
Extension: (845) 575-3000 ext. 6117
Degrees Held:

Ph.D. in Art History, University of Pittsburgh
M.A. in Art History, University of Pittsburgh
B.A. in Art History, Smith College (magna cum laude and Phi Beta Kappa)


Dr. Anne Bertrand-Dewsnap, who was born and raised in France, first came to Marist College in 2003 and started to teach full-time in the Fall 2007. She has previously taught at the University of Pittsburgh, Bard College, Vassar College, and at SUNY New Paltz. Her teaching interests include Renaissance Art, the History of Print Making, Baroque Art, 18th and 19th-century French painting, Art Criticism, Women Artists, and African Art. She lives in Hudson (NY) with her husband, Terence, who is also an art historian.



“ Philippe de Champaigne ou la figure du peintre janséniste: Lecture critique des rapports entre Port-Royal et les arts” [edited by Marianne Cojannot-Le Blanc, Paris, Nolin, 2011].  In online, March 2012 [Address:]

“Les portraits italiens de Vouet: le langage pictural de l’âme.”  In Simon Vouet (les années italiennes, 1613/1627), exhibition catalogue, Musée des Beaux-Arts, Nantes and Musée des Beaux-Arts et d’Archéologie, Besançon, Hazan, 2008.

 “Philippe de Champaigne (1602-1674): Entre politique et dévotion” [edited by Alain Tapié and Nicolas de Sainte Fare Garnot, exhibition catalogue, Palais des Beaux-Arts, Lille, 2007]. In online, October 2007 [Address:]

 “The Prints of Jacques Callot (1592-1635) at the University of Pittsburgh (1995)” [Exhibition catalogue online:]

“Bellezze di Firenze: 17th- and 18th-Century Florentine Drawings from the Musée des Beaux-Arts de Lille.” (translation; exhibition catalogue, The Frick Art and Historical Center, Pittsburgh, 1994)

“Dessins de Vouet by Barbara Brejon de Lavergnée in Vouet, “ Master Drawings 30-2 (1992):223-26.

Research Interests:

Professor Bertrand-Dewsnap works on seventeenth-century French and Italian paintings and prints. Her specific areas of scholarship are the paintings of Philippe de Champaigne, the portraits and self-portraits of Simon Vouet, and the prints of Jacques Callot.


“Vanitas or Veritas: The Self-Portraits of Renaissance and Baroque Women Painters,” 16th Annual Women and Society Conference, Marist College, Poughkeepsie (2007)

 “A Décor for Meditative Retreat and Political Subterfuge: Philippe de Champaigne’s Landscapes for Anne of Austria’s Val-de-Grâce,” College Art Association Annual Conference, Philadelphia (2002)

“Artistic Freedom in France’s Golden Age: Nicolas Poussin and Philippe de Champaigne,” New York Studio School of Drawing, Painting and Sculpture, New York City (2002)

“From Prince of the Roman Academy to First Painter to the French Crown: The Career of Simon Vouet (1590-1649),” Jack S. Blanton Museum of Art, University of Texas at Austin, Austin (2002)

“André Félibien on Philippe de Champaigne: When Moral Fortitude Replaces Artistic Genius,” Annual Conference of the Universities Art Association of Canada, Ontario College of Art and Design, Toronto, Canada (1999)

“Maria de’ Medici and Anne of Austria: The Politics of Religious Patronage and the Shaping of Female Regal Identity in Seventeenth-Century France,” 24th Annual Conference of the Association of Art Historians, University of Plymouth, Exeter, England (1998)

“Portraying the Soul: Michel de Montaigne’s Essais and Simon Vouet’s Roman Portraits,” 46th Annual Foreign Language Conference, University of Kentucky, Lexington (1993)