Department of Art and Design

Faculty and Staff



Sherry Lindquist


Professor, Art History
PhD, Northwestern University
Office: 36 Garwood Hall


About the Art Historian

Sherry C.M. Lindquist has taught at WIU since 2012, with a two-year hiatus as the Dorothy Kayser Hohenberg Chair of Excellence in Art History at the University of Memphis (2017-19). She specializes in medieval and Renaissance visual culture with teaching and research interests in artistic identity, cultural exchange, gender, sexuality, monsters, theories of perception, illuminated manuscripts, late medieval Burgundy, Islamic art, early printing, medievalism, the social history of art, art historical method, and the history of museums.

At WIU, she teaches courses on Medieval Art (ARTH 392); Gender and Embodiment in the Visual Arts (ARTH 393); Islamic Art and Architecture (ARTH 389); Pre-Modern Visual Culture (ARTH 488); and surveys of world art up to the year 1400 (ARTH 282 & 284), as well as Introduction to Art (ARTH 180). She has also taught courses in the Centennial Honors College on Media Revolutions in the Age Before Print, and on Museums & Society. 

Sherry C.M. Lindquist is author of Agency, Visuality and Society at the Chartreuse de Champmol (Ashgate/Routledge, 2008); and editor of The Meanings of Nudity in Medieval Art (Ashgate/Routledge, 2012). She is co-author with Asa Simon Mittman of Medieval Monsters: Terrors, Aliens, Wonders (The Morgan Library & Museum in Association with D Giles Limited, 2018), which accompanied the exhibit they co-curated at the Morgan Library & Museum (June 8 – Sept 23, 2018); the Cleveland Museum of Art (July 7 – October 13, 2019); and the Blanton Museum, Austin (October 27, 2019 – January 12, 2020). She has also curated and written the online catalog for Monster Marks (Art Museum of the University of Memphis, March 25 - July 23, 2018) and Medieval Monsters (Figge Art Museum, October 12 – December 15, 2013). With Mittamn, she has also co-authored a “scholarly” coloring book, M is for Monster, with illustrations adapted from medieval manuscripts  (Arizona Center for Medieval and Renaissance Studies, 2018). She is currently completing The Book of Hours and the Body: Somaesthetics, Posthumanism, and the Uncanny (Routledge, forthcoming); and The Ends of Images: Jean Gerson and Art.

Lindquist’s work has been recognized by fellowships and grants from the British Academy, the U.S. Fulbright Commission, the Getty Research Institute, the Samuel S. Kress Foundation, the Andrew W. Mellon Foundation, the National Endowment for the Arts, the Newberry Library, and the Yale Center for British Art, among others.


Select publications:

2020.    “Culture’s Monsters: Monster Marks,” in Monsters: A Companion, ed. Simon Bacon, xi- xix. London, Peter Lang, Ltd

2018.    Monster Marks. Online catalog for Monster Marks, exhibition at            the Art Museum of the University of Memphis (3/25-7/28, 2018):

2018.    Medieval Monsters: Terrors, Aliens, Wonders. With Asa Mittman and a preface by China Miéville. The Morgan Library and D. Giles Ltd

2017.     “Introduction.” In Gender, Otherness and Culture in Medieval and Early Modern Visual Culture, ed. Michelle Moseley-Christian and Carlee Bradbury, 1-9. Palgrave.

2017.     “The Iconography of Gender.” In The Routledge Companion to Medieval Iconography, ed. Colum Hourihane, 412-424. London and New York: Routledge.

2017.     "Masculinist Devotion: Flaying and Flagellation in the Belles Heures." In Down to the Skin: Images of Flaying in the Middle Ages, ed. Larissa Tracy, 173-207. New York: Boydell and Brewer, 2017.

2014.    "Visualizing Female Sexuality in Medieval Cultures." Different Visions 5 (2014): 1-24. Part of a special issue edited by Sherry C.M. Lindquist and Mati Meyer.

2013.    “Luxuriating in Poverty and Philosophy: Some Unusual Nudes in the Manuscripts of Louis of Bruges.” In Staging the Court of Burgundy, ed. Ann van Oosterwijk, 325-334. Turnhout: Brepols.

2012     The Meanings of Nudity in Medieval Art (Ashgate).

2012.     “Gender.” In “Medieval Art History Today - Critical Terms,” special issue of Studies in Iconography, ed. Nina Rowe, 33: 113-30.

2012.    “Memorializing Knute Rockne at the University of Notre Dame: Collegiate Gothic Architecture and Institutional Identity.” Winterthur Portfolio, 46/1:1-24.

2008.    Agency, Visuality and Society at the Chartreuse de Champmol (Ashgate).

2008.     “A Sympathetic Setting for Medieval Art in St. Louis.” In To Inspire and Instruct: A History of Medieval Art in Midwestern Museums, ed. Christina Nielsen, 99-116. Newcastle: Cambridge Scholars Press.

2006     “Le Sacré circonscrit: le corps du Christ à la Chartreuse de Champmol.” In Rencontres del’Ecole du Louvre, 395-408. Paris: Ecole du Louvre.

2004.     “‘The Will of a Princely Patron’ and Artists at the Burgundian Court.” In The Artist at Court, ed. Stephen J. Campbell, 46-56. Chicago: University of Chicago Press for the Isabella Stewart Gardner Museum.

2004.    “L’organization du chantier de Champmol/The Organization of the Construction Site at the Chartreuse de Champmol.” In  L’Art à la cour de Bourgogne: Le mécenat de Philippe le Hardi et de Jean sans Peur/Art from the Court of Burgundy, 1364-1419, 171 -74. Paris: Réunion de Musées Nationaux/Cleveland Museum of Art.

2004.    “‘Parlant de Moy’: Manuscripts of La Coche by Marguerite of Navarre.” In Excavating the Medieval Image: Manuscripts, Artists, Audiences: Essays in Honor of Sandra Hindman, ed. Nina Rowe and David Areford, 197-221. London: Ashgate.

2003.    “Women in the Charterhouse: The Liminality of Cloistered Spaces.” In Architecture and the Politics of Gender in Early Modern Europe, ed. Helen Hills, 177-192. London: Ashgate.

2002.    “Accounting for the Status of Artists at the Chartreuse de Champmol.” Gesta 41/1: 15-28. Part of a special issue edited by Sherry C.M. Lindquist and Stephen Perkinson.