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Simon Schama: Selected Bibliography

Books

Patriots and Liberators:  Revolution in the Netherlands, 1780-1813. New York: Alfred A. Knopf, 1977.

Two Rothschilds and the Land of Israel. New York: Alfred A. Knopf, 1978.

The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age.  New York: Alfred A. Knopf, 1987. Excerpt

 

Patriots and Liberators book cover
The Embarrasment of Riches book cover
Citizens book cover

 

Citizens: A Chronicle of the French Revolution. New York: Alfred A. Knopf, 1989. Excerpt

Dead Certainties (Unwarranted Speculations).  New York: Alfred A. Knopf, 1991. Excerpt

Landscape and Memory.  New York: Alfred A. Knopf, 1995. Excerpt

Rembrandt’s Eyes.   New York: Alfred A. Knopf, 1999.

 

Dead Certainties book cover
Landscape and Memory book cover
Rembrandt's Eyes book cover

 

A History of Britain, Volume 1: At the Edge of the World? 3000 BC-AD 1603.  London: BBC, 2000.

A History of Britain, Volume 2: The Wars of the British, 1603-1776.  London: BBC, 2000.

A History of Britain, Volume 3:  The Fate of Empire, 1776-2000.  London: BBC, 2000.

 

A History of Britain book cover
Hang-Ups: Essays on Art book cover
Rough Crossings book cover

 

Hang-Ups:  A Collection of Essays on Art (mostly).   London: BBC, 2004.

Rough Crossings: Britain, the Slaves, and the American Revolution.  London: BBC, 2005. Excerpt

The Power of ArtNew York: Ecco, 2006.

 

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Television Documentaries

Rembrandt: The Public Eye and the Private Gaze, BBC, 1992 (two films)

Landscape and Memory, BBC Two, 1995 (five episodes)

A History of Britain, BBC One, 2000-2002 (fifteen episodes)

Simon Schama’s Power of Art, BBC Two, 2006 (eight episodes)

Simon Schama’s Rough Crossings, BBC Two, 2007

The Power of Art cover
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Selected Essays and Articles

“Rembrandt's Ghost: What Picasso Took from the Earlier Master.” The New Yorker (26 March 2007): 36.

“George Stubbs at the Frick.” The New Yorker (5 March 2007): 90.

“Sail Away - A Voyage on the Queen Mary 2.” The New Yorker (31 March 2004): 39.

“Fine-Cutting Clio,” The Public Historian, 25:3 (Summer, 2003).  Excerpt

“Goltzius at the Met, Tetrode at the Frick.” The New Yorker (14 July 2003): 100.

“The Unloved American - Two Centuries of Europe's Displeasure.” The New Yorker (10 March 2003): 34.

“Another Dimension - A Seventeenth-Century Master Rediscovered.” The New Yorker (28 October 2002): 84.

“Mourning in America; A Whiff of Dread for the Land of Hope.” The New York Times (15 September 2002): C1

“Eloquence in the Age of the Osbournes: The High Cost of the Degradation of Political Speech in America.” The New Republic (22 July 2002): 31.

“Rescuing Churchill.” The New York Review of Books (28 February 2002): 16.

“Egyptiana at the Met.” The New Yorker (8 October 2001): 81.

“John Adams, the American Cicero.” The New Yorker (21 May 2001): 99.

“Readings: Visualizing History.” Harper's (February 2000): 17.

“The Naked Rembrandt - Why the Artist's Portraits Got Him in so Much Trouble.” The New Yorker (11 October 1999): 60.

“The Dutch Aren't Who You Think They Are.” The New Yorker (22 March 1999): 94.

“Visualizing History.” Culturefront (Winter 1998): 5.

“Fantasy Armor at the Met.” The New Yorker (21 December 1998): 92.

“Present-Tense History?” The New York Times (11 December 1998): A34

“Chaim Soutine at the Jewish Museum.” The New Yorker (25 May 1998): 112.

“The Art World Chuck Close at MOMA.” The New Yorker (23 March 1998): 91.

“Clio at the Multiplex: Why When It Comes to Making Historical Movies Is Hollywood Condemned to Repeat Itself? ” The New Yorker (19 January 1998): 38.

“Tunnel Vision.” The New Yorker (10 November 1997): 98.

“The Problem Princess.” The New Yorker (15 September 1997): 62.

“Peter Paul Rubens's Europe.” The New Yorker (5 May 1997): 206.

“The Church of Me.” The New Yorker (17 February 1997): 50.

“Charles Rennie Mackintosh at the Met.” The New Yorker (16 December 1996): 110.

“Ellsworth Kelly at the Guggenheim.” The New Yorker (4 November 1996): 112.

“Two Shows at the Jewish Museum.” The New Yorker (23 September 1996): 96.

“Homer's Odyssey.” The New Yorker (15 July 1996): 60.

“Cezanne in Philadelphia.” The New Yorker (17 June 1996): 90. (June 17)

“Mad Cows and Englishmen.” The New Yorker (8 April 1996): 61.

“A David Hockney Retrospective.” The New Yorker (18 March 1996): 98.

“Royal Flesh.” The New Yorker (26 February 1996): 142.

“Through a Glass Brightly: Vermeer in His Time, and Timeless.” The New Republic (8 January 1996): 39.

“Haute Couture at the Met.” The New Yorker (18 December 1995): 100.

“Rembrandt/Not Rembrandt.” The New Yorker (13 November 1995): 114.

“The Art World: True Grid.” The New Yorker (9 October 1995): 42.

“Rembrandt Would Savor Portrait on Bill.” The New York Times (13 July 1995): A22

“The Princess of Eco-Kitsch.” The New York Times (14 June 1995): A21

“From Egypt to the Vatican: Giving Old Art a New Cast.” The New York Times (16 April 1995): H38

“America's Verdant Cross.” The Wilson Quarterly 19.2 (1995): 32.

“Henry Kissinger's Diplomacy.” The New Yorker (2 May 1994): 92.

“Memories of a Polish Landscape: a Mound in the Northeastern Corner of the Country Opens Vistas Onto the Past.”The New Republic (26 October 1992): 31.

“Feelgood America: A Tragicomedy In Four Scenes — Yes, Friends, the Era of Couch Potato Democracy Is at Hand.” Forbes (14 September 1992): 160.

“Whose Tree is it Anyway? The Greening of the Tannebaum.” TheNew York Times (24 December 1991): A19.

“Clio Has a Problem,” The New York Times Magazine, September 8, 1991. Excerpt

“Homelands.” Social Research 58.1 (Spring, 1991): 11.

“‘Wolfe Must Not Die Like a Common Soldier’: How a poetic inventor fashioned an image of a fallen warrior.” The New York Times (12 May 1991): H37.

“The Bastille and the Kremlin: Uncanny, unhappy parallels between 1789 and 1991.” The New York Times (5 September 1991): A25

“PBS Storms the Barricades.” The New York Times (10 September 1989): SMA 50.


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