Guidelines for Article Submissions

1. General Information

The editors’ overriding objective is to publish articles that shed new light on the visual culture of the nineteenth century. (Please see Vision Statement for details.) Articles should be written in a clear and engaging style accessible to a range of interested readers. Submissions in languages other than English are welcome, as long as they are accompanied by an abstract written in English, 250-300 words long. (Please see Translations for details.)

2. How to Submit an Initial Manuscript

Manuscripts are to be in finished form at the time of submission and submitted by email as a Microsoft Word file and as a PDF file. Images, in the submission stage, shall be submitted embedded in the article in a Microsoft Word document or as a separate PowerPoint file. Together with the manuscript, submit a separate file with an abstract. Give all files the same main name (preferably a shortened title of the article) and then a qualifier, i.e., “Delacroix odalisque, article”; “Delacroix odalisque, abstract”; “Delacroix odalisque, images,” etc. Do not put your name on any of these files but submit (1) a Microsoft Word document with your name, address, and title of your article and (2) a CV. These materials are to be sent to the Managing Editor: petra.chu[at]shu.edu. Please contact her with any questions about submissions. Please note: acknowledgement of the receipt of your submission may take up to a few weeks. We appreciate your patience.

Submission checklist:

a. Article as Microsoft Word file
b. Article as PDF
c. PowerPoint file with images (unless embedded in article file)
d. Illustration list as Microsoft Word file in the format described in the Style Sheet
e. 250-300 word abstract as Microsoft Word file
f. Microsoft Word document with your name, address, and title of your article
g. CV

3. Peer Review

a. Peer Review for Standard Articles
The Managing Editor and/or the Executive Editor will review each submitted manuscript as soon as possible and forward it to one or two peer reviewers (unless they feel the manuscript has serious problems, in which case they will return it to the author before peer review).

If, after peer review, the article is accepted, the author will receive comments and suggestions for any changes. In all cases, the editors will attempt to inform the author of the article’s status within two months of receipt. NCAW’s acceptance rate is 40-50% of all manuscripts submitted.

b. Peer Review for Digital Humanities Projects
NCAW uses a two-tier peer review process for digital humanities projects. A digital humanities project consists of a scholarly article accompanied by a digital tool (e.g. an interactive map, an annotated facsimile, a three-dimensional reconstruction of an exhibition).

First, the Managing Editor and/or Digital Humanities Editor will review a submitted project or project proposal as soon as possible. Unless they feel the submission has serious problems, in which case they will return it to the author before peer review, they will send it out for two types of peer review: to one or more art history content specialists for input on the submission’s scholarly content, and to one or more digital humanities specialists for input on the feasibility and contribution of the submission’s digital tool.

Second, after a digital humanities project or project proposal has been accepted, the NCAW editorial team will work closely with authors during the development of the project, a back-and-forth process of decision making that constitutes another form of peer review.

4. Final Manuscripts

Once the author has received comments and suggestions for changes, he or she is expected to make those changes and to copyedit the work in accordance with the Style Sheet. To be included in the journal, final manuscripts must reach the Managing Editor at least three months before the date of publication in October or March. The author should also provide (a) a revised two- to three-sentence abstract of his or her article to be posted on the site’s table of contents; (b) a condensed biography of 3-4 lines, indicating his or her institutional affiliation and 2-3 achievements of note; and (c) permission to publish his or her email address.

5. Final Illustrations

At the time the final article is submitted, the author should also email ready-to-publish images and a list of illustrations to NCAW’s Executive Editor. All images should be clearly marked with their orientation, as well as the author’s name and a figure number keyed to the text. A correspondingly numbered list of illustrations should provide artist’s name (if available), title of the work, date, medium, and the work’s whereabouts, in addition to any special wording required by the museum/collector that has provided the reproduction. Please refer to the Style Sheet for specific formatting information.

6. Obtaining Images

Digital images may be obtained in various ways. While they may be bought from museums, the licensing is often expensive as well as restrictive. Therefore, we recommend that authors either make high-resolution scans from books, or take advantage of open-access image banks that offer unrestricted, free use. Following are a number of sites that provide free images.

Many museums and libraries offer good-quality images of objects in their own collections under an open-access policy, so always consult the institution’s website first.

Examples of such institutions include:
The British Museum
The J. Paul Getty Museum
Library of Congress, Prints & Photographs Online Catalog
The Metropolitan Museum of Art
National Gallery of Art, NGA Images
New York Public Library Digital Gallery
Victoria & Albert Museum
Yale University Collections

Other sources for freely accessible digital images of good quality include:
Wikimedia Commons, which also includes contributions from institutions such as the Walters Art Museum, the Archives of American Art, and the German National Archive
ARTstor, Images for Academic Publishing. Participating museums are listed on this page, and include the Metropolitan Museum of Art, the Indianapolis Museum of Art, and the Dallas Museum of Art
Prometheus, The Distributed Digital Image Archive for Research and Studies, supported by several German universities