Mia M. Mochizuki

Ph.D. Mia M. Mochizuki

Address2400 Ridge Road
Berkeley, CA 94709

Assistant Professor, Graduate Theological Union
Assistant Professor of Art History and Religion, Jesuit School of Theology at Berkeley

Ph.D., Yale University, 2001
B.A., Vassar College, 1993
M.Phil., Yale University,
Ph.D., Yale University,

Dr. Mochizuki joined the faculties of the Jesuit School of Theology and Graduate Theological Union in 2005 after teaching in the art history departments of Columbia University and the University of Chicago. She is Affiliated Faculty in the Department of the History of Art at the University of California, Berkeley.

As the holder of the Thomas E. Bertelsen, Jr. Chair of Art History and Religion she teaches courses that encourage the interdisciplinary exploration of visual resources for research and ministry. Her introductory level courses include Masterpieces of Religious Art and Visual Theology, and she has led advanced research seminars on Iconoclasm and the Image, Religious Rembrandt, the Baroque Spirit, the Art of the Jesuit Missions and the Jesuits and the Arts.

Dr. Mochizuki specializes in Northern European art with an emphasis on reformation, seventeenth-century Dutch and the Baroque. She is the author of The Netherlandish Image after Iconoclasm, 1566-1672 (Aldershot: Ashgate, 2008), which addresses the challenges for church decoration in the first century after iconoclasm and was awarded the College Art Association Publication Award for 2007. With Amy Golahny and Lisa Vergara, she edited In His Milieu. Essays on Netherlandish Art in Honor of John Michael Montias (Amsterdam: Amsterdam University Press, 2006) on the use of archives and economic history for the study of art history.

Selected publications:

  • The Netherlandish Image after Iconoclasm, 1566-1672. Material Religion in the Dutch Golden Age (Aldershot: Ashgate, 2008).
  • With Amy Golahny and Lisa Vergara, eds, In His Milieu. Essays on Netherlandish Art in Memory of John Michael Montias (Amsterdam: Amsterdam University Press, 2006).
  • “Rembrandt’s Ten Commandments. The Impact of Pluralism on the Religious Imagination,” in Matt Kavaler and Olga Pugliese, eds, Faith and Fantasy in the Early Modern World (Toronto: Centre for Reformation and Renaissance Studies, University of Toronto Press, 2009).
  • “The Bible on the Wall,” in Wim François and August den Hollander, eds, Biblia Sacra. The Early Modern Bible, Bibliotheca ephemeridum theologicarum Lovaniensium ( Leuven : Peeters and Leuven University Press, 2008).
  • “Idolatry and Western-inspired Painting in Japan,” in Michael Cole and Rebecca Zorach, eds, Idols in the Age of Art: Objects, Devotions and the Early Modern World (Aldershot: Ashgate, 2008), 241-71+.
  • “The Dutch in Deshima and the Visual Vocabulary of Exploration,” in Marybeth Carlson, Laura Cruz and Benjamin J. Kaplan, eds, The Boundaries of the Netherlands. Real and Imagined ( Leiden : Brill, 2008).
  • “The Dutch Text Painting,” Word and Image 23 (2007): 72-88.
  • “At Home with the Ten Commandments: Domestic Text Paintings in Seventeenth-century Amsterdam,” in Amy Golahny, Mia M. Mochizuki and Lisa Vergara, eds, In His Milieu: Essays on Netherlandish Art in Memory of John Michael Montias (Amsterdam: Amsterdam University Press, 2006), 285-99.
  • “Supplanting the Devotional Image after Netherlandish Iconoclasm” in Anne McClanan and Jeffrey Johnson, eds, Negating the Image: Case Studies of Past Iconoclasms (Aldershot: Ashgate, 2005), pp. 137-62.
  • “An Overlooked Still Life by Jacob Saverij” Source. Notes in the History of Art 23, no. 4 (Summer 2004): 25-37.
  • “The Quandary of the Dutch Reformed Church Masters,” in Arie-Jan Gelderblom, Jan L. de Jong and Marc Van Vaeck, eds, The Low Countries as Crossroads of Religious Belief. Intersections. Yearbook for Early Modern Studies 3 (2003): 141-63+.

Logos Almanac of the Christian World

Welcome, Guest! (sign in)