All Issues

Stephen T. Moskey and Isabel L. Taube, “From Zuni to Dupont Circle: Isabel and Larz Anderson’s Native American Collection”; Karen M. Fraser, “From Print to Photograph, Stage to Page, and East to West: Transmedial Narratives and Cross-Cultural Understanding in Ogawa Kazumasa’s Scenes from the Chiushingura and the Story of the Forty-Seven Rōnin”; Nina Athanassoglou-Kallmyer, “Cézanne nostalgique: Nostalgia, Memory, Illusion”; Nancy Caron Karrels, “The Dessins Denon: Reframing Art Spoliation and the Spoliator in Napoleonic France”; Alice C. M. Kwok, “Domesticating Robespierre: The Victorian Historical Imagination in William Henry Fisk’s French Revolution Paintings”; Megan McNally, “Myth and Meaning in Edward Burne-Jones’s The Flower Book (1882–98)”; Baptiste Henriot, “François-Auguste Biard, Bust-Length Study of a Man, ca. 1848” . . .

Maria Chukcheeva, “Hidden Histories and Historical ‘Truth’: Konstantin Flavitsky’s Princess Tarakanova of 1864 and How Art Helped Change the Understanding of Russian History”; Madeleine Dempster, “The fonds Desjardins and the Parisian Art Dealers of the Postrevolutionary Era”; Carter Jackson, “Turbulent Politics and a Stage for Democracy: Government and Governmentality in the Allegheny County Courthouse”; Agnès Penot, with Annette Bourrut Lacouture and Marie-Isabelle Pinet, “From Research to Publication: The Jules Breton Catalogue Raisonné, Forty Years in the Making” . . .

Lieske Huits, “At Once ‘Ancient’ and ‘Modern’: The Art-Journal’s Illustrated Catalogues and the Notion of Adaptation in Nineteenth-Century Historicism”; Ulrike Müller and Marjan Sterckx, “In the Picture: The Emergence of the Female Amateur in Fin-de-Siècle Exhibition Posters in Brussel”; Nick Parkinson, “Work of Art, Museum Trophy, Memorial Monument: The Ny Carlsberg Glyptotek’s Gloria Victis by Antonin Mercié”; Susan Waller, “Salem, the Prince of Tombouctou: A North African Model in Nineteenth-Century Paris”; Petra ten-Doesschate Chu, “Anthon van Rappard, Three Brushmakers and a Bookkeeper in the Institute for the Blind in Utrecht, 1891”; Allison Leigh, “Farewell to Russian Art: On Resistance, Complicity, and Decolonization in a Time of War”  . . .

Special Issue: Nineteenth-Century French Drawings. Edited by Britany Salsbury. Patricia Mainardi, “Learning to Draw Landscape in Nineteenth-Century France”; Ashley E. Dunn, “‘Only Artists Were Not Fooled’: Delacroix’s Preparatory Drawings on Tracing Paper”; Andrew Carrington Shelton, “The First Retrospective Exhibition of the Drawings of J.-A.-D. Ingres (1861)”; Danielle Hampton Cullen, “The Elusive Mr. Richard Owen: A Dealer’s Rise and Fall in the Art Market in the United States” Britany Salsbury, “The Early Collecting of Nineteenth-Century French Drawings at the Cleveland Museum of Art, 1914–34”  . . .

Wendy Bellion, Lea C. Stephenson, and James Kelleher, “West on the Walls: The 1807 Exhibition of the Pennsylvania Academy of the Fine Arts”; Katherine Brion, “Solidarity by Design: Legitimizing Jules Chéret’s Poster Aesthetic as Republican Civic Decoration”; Marsha Morton, “Max Klinger’s Brahmsphantasie: The Physiological Sublime, Embodiment, and Male Identity”; Jacqueline Marie Musacchio, “Finding Florence Freeman”; Elizabeth Mansfield, “Techniques of the Art Historical Observer” . . .

Emma Steinkraus, Impossible Garden: A Contemporary Artist’s Digital Engagement with Women Artist-Naturalists of the Long Nineteenth Century and Beyond“”; Stephen Mandravelis, “The American Agriculturist: Art and Agriculture in the United States’ First Illustrated Farming Journal, 1842–78”; Alia Nour, “Egyptian-French Encounters: Royal Monuments in Late Nineteenth-Century Egypt”; Eve M. Kahn, “François Flameng, Grolier in the House of Aldus, 1889, Grolier Club, New York”; Daniëlle Kisluk-Grosheide, “A Pair of Candelabra for the Surtout de Table of the Duc d’Orléans”; Petra ten-Doesschate Chu and Isabel Taube, “Practicing Art History: Introduction”; Abigael MacGibeny and Patricia Hills, “Dealing with Historical Titles: The Case of the Eastman Johnson Catalogue Raisonné”  . . .

Special Issue: The Ambient Interior in the United States during the Long Nineteenth Century, sponsored by the Terra Foundation for American Art. Edited by Isabel L. Taube. Julia B. Rosenbaum, “Outside In: Space, Light, and the Artful Interior at Frederic Church’s Olana”; Lea C. Stephenson, “Kingscote’s Dining Room and the Multisensorial Interior in the Late Nineteenth Century”; Anne Helmreich, Edward Sterrett, and Sandra van Ginhoven, “Purpose Built: Duveen and the Commercial Art Gallery” . . .

Pascal Griener, “Rodin’s Family: The Intersection between Myth and Reality”; Joel Isaacson, “Monet: Le Boulevard des Capucines en Carnival”; Elisabeth L. Roark, “Mobility, Meaning, and the Monumental Body: The Italian Origin of Two North American Cemetery Motifs”; Nicole J. Williams, “Japan through the Looking Glass: Uchida Kuichi (attributed), Vermilioned Bridge, Nicco (ca. 1872) and the Russell Sturgis Photograph Collection” . . .

António Cota Fevereiro, “Technology Meets Art: The Wild & Wessel Lamp Factory in Berlin and the Wedgwood Entrepreneurial Model”; Baird Jarman, “Quick as a Flash: Victor Collodion and the Development of the Lightning Artist”; Léa Saint-Raymond and Hadrien Viraben, “The Virtual Collection of Alexandre Berthier, Prince of Wagram”; Alice Cooney Frelinghuysen, “Daniel Cottier, Cottier & Co., Flowers on a Latticework Trellis, ca. 1877–80” . . .

Jan Dirk Baetens, “Artist-Dealer Agreements and the Nineteenth-Century Art Market: The Case of Gustave Coûteaux”; Shana Cooperstein, “Putting Cultural Customs on the “Line”: Félix Régamey, Japonisme, and National Art Education”; Linda J. Docherty, “Transience and Timelessness: The Origins and Afterlife of Augustus Saint-Gaudens’s Portrait of Robert Louis Stevenson”; Philippe Cinquini, “Jean-Auguste-Dominique Ingres, attr., Seated Male Nude Seen from the Rear, first decade of the nineteenth century (?)” . . .

Kristine K. Ronan, “Káma-Kapúska! Making Marks in Indian Country, 1833–34”; Shira Gottlieb, “Aging and Urban Refuse in Édouard Manet’s The Ragpicker”; Claire Heidenreich, “Chiffonniers in the Periphery: Émile Bernard’s Ragpickers of Clichy and Nineteenth-Century Artificial Cranial Modification”; Joyce Bernstein Howell, “Strength and Fragility in Late Figure Drawings by Eugène Delacroix” Lucien Midavaine, “Music and the Convergence of the Arts in Symbolist Salons: From the Salons de la Rose†Croix to the Salons d’Art Idéaliste”; Petra ten-Doesschate Chu, “Ludwig Knaus, Peace, ca. 1878, and Gustav Richter, Victory, 1878” . . .

Kimberly Orcutt, “The American Art-Union and the Rise of a National Landscape School”; Samantha Burton, “Visual History and the Picturesque Landscape in Edwin Deakin’s Missions of California Series”; Claire Hendren, “French Impressionism in the United States’ Greater Midwest: The 1907–8 Traveling Exhibition”; Lynn Catterson, “Addendum: From Florence, to London, to New York: Mr. Morgan’s Bronze Doors”; Lisa Smit and Maite van Dijk, “Edvard Munch, Portrait of Felix Auerbach, 1906” . . .

Sally Webster and David Schwittek, “A Digital Recreation of the Lenox Library Picture Gallery”; Stephanie C. Leone, “The Biography of the McMullen Museum of Art’s Madonna and Child with John the Baptist”; Roberto C. Ferrari, “John Gibson’s Portrait Statue of the Hon. Mrs. Murray, Later Countess Beauchamp”; Elizabeth L. Block, “Virginie Amélie Avegno Gautreau”; Kathryn Brown, “Form and Fragment in the Late Bather Pastels”; Jennifer Johnson, “Fernand Pelez’s Grimaces et misère—Les Saltimbanques (1888)”; Kathleen Pierce, “Experimental Medicine and Picasso’s Les Demoiselles d’Avignon”; Robert Pontsioen, “The Alexander Graham Bell Collection of Japanese Masks at the Smithsonian” . . .

Diana Seave Greenwald, “Colleague Collectors: A Statistical Analysis of Artists’ Collecting Networks in Nineteenth-Century New York”; Émilie Oléron Evans, “Housing the Art of the Nation: The Home as Museum in Gustav F. Waagen’s Treasures of Art in Great Britain”; Paulina Banas, “From Picturesque Cairo to Abstract Islamic Designs: L’Art arabe and the Economy of Nineteenth-Century Book Publishing”; Martha MacLeod, “Paul Claude-Michel Carpentier, Self-Portrait of the Artist and His Family in His Studio” . . .

Gal Ventura, “A Melancholic Artist and a Choleric Publisher in Honoré Daumier's Print Series L'Imagination”; Alisa Luxenberg, “Originality and Freedom: The 1863 Reforms to the École des Beaux-Arts and the Involvement of Léon Bonnat”; Lynn Catterson, “From Florence, to London, to New York: Mr. Morgan’s Bronze Doors”; Jeroen van der Boon, “Nikolaĭ Gritsenko, Hollande (Holland)” . . .

María Isabel Baldasarre, “Buenos Aires: An Art Metropolis in the Late Nineteenth Century”; Claire Black McCoy, “Made to Measure: Eugène Guillaume’s Michelangelo”; Agnès Penot, “The Perils and Perks of Trading Art Overseas: Goupil’s New York Branch”; Dominique Morel, “Henry Cros, La Belle Viole and Circe, Flora, and Medea” . . .

Maria A. Dorofeeva, “Art, Criminology, and the Re-invention of the Spanish Gypsy”; Julia K. Dabbs, “The Travel Writings of May Alcott Nieriker”; Naurice Frank Woods Jr., “White Slavery, the Abolitionists’ Crusade, and the Painter’s Canvas”; Maura Lyons, “Landscape Imagery in Popular Representations of African American Soldiers during the Civil War”; Isabel L. Taube, “William Merritt Chase’s Cosmopolitan Eclecticism”; Tomoko Ando, “Rodin’s Reputation in Great Britain” . . .

Special issue on The Greek Slave by Hiram Powers, co-sponsored by the Terra Foundation for American Art and the Yale Center for British Art. Guest edited by Martina Droth and Michael Hatt.

Emily Pugh, with Elizabeth Buhe and Petra Chu, “Nineteenth-Century Art Worldwide’s ‘Digital Humanities and Art History’: Reflections on Our First Articles”; Peter Christensen, “Theodor Rocholl and the Time of a Reluctant Cosmopolite”; Jonathan P. Ribner, “L’Année terrible Viewed by John Tenniel”; Julia Thoma, “Panorama of War: The Salle de Crimée in Versailles” . . .

Dana E. Byrd, “Hilton Head Island’s Journey to Freedom, 1860–1865”; Mary Slavkin, “Central Exhibitors at the Salons of the Rose + Croix”; Asiel Sepúlveda, “Humor and Social Hygiene in Havana’s Nineteenth-Century Cigarette Marquillas”; Philippe Willems, “Léonce Petit’s Les bonnes gens de province & Histoires campagnardes”; Christopher Carlsmith, “Benjamin-Constant’s Murals in the Ames-Webster House, Boston” . . .

Special Issue: Change/Continuity: Writing About Art in Britain Before and After 1900, sponsored by the Marc Fitch Fund. Guest edited by Martina Droth and Peter Trippi. Julie Codell, “Modernism, Revisionism, and National Culture in the Writings of M. H. Spielmann”; Jason Edwards, “Edmund Gosse and Sculptural Modernity” . . .

Lindsay Harris, “Rome and the John Henry Parker Photography Collection, 1864–1879”; Francesco Freddolini, “Marketing Nineteenth-Century Italian Sculpture across the Atlantic”; Emily C. Burns, “The American Art Association of Paris in 1908”; Michael D. Garval, “French Belle Époque Pig Postcards”; Ulf Dingerdissen, “The Riepenhausen Brothers and Their Etchings for Life and Death of Saint Genevieve” . . .

Jacqueline Marie Musacchio, “Mapping the ‘White, Marmorean Flock’: Anne Whitney Abroad, 1867–1868”; William L. Coleman, “Sibelius, Gallen-Kallela, and the Symposium: Painting Music in Fin-de-Siècle Finland”; Lela Kerley, “Merriment, Medical Humor, and Masculinity at the Bal de l'Internat, 1897–1911”; Marni Reva Kessler, “Parsing Edgar Degas’s Le Pédicure” . . .

Elizabeth Buhe, “Sculpted Glyphs: Egypt and the Musée Charles X”; Jonathan P. Ribner, “On a Repainting by Millet”; Allison Morehead, “Understanding and Translating: Gauguin and Strindberg in 1895”; Sarah C. Schaefer, “The Archaeology of the Doré Bible”; Erin Dusza, “Pan-Slavism in Alphonse Mucha’s Slav Epic” . . .

Elizabeth Melanson, “Melanson, Renoir and the Influence of Jewish Patrons”; Steven R. Adams, “Art, Commodity, and Commerce in Post-Revolutionary Paris”; Emily M. Weeks, “(Re)Discovering John Frederick Lewis (1804–76)”; Taylor J. Acosta reviews Thomas Eakins and the Uses of History; Gretchen Sinnett reviews Angels and Tomboys: Girlhood in 19th-Century American Art . . .

Therese O’Malley and Kathryn R. Barush, “‘In the Park’: Lewis Miller's Chronicle of American Landscape at Mid-Century”; Maya Jiménez, “Modernism and the Nude in Colombian Art”; Jane Van Nimmen reviews Klimt Year in Vienna: Part Two; Marjorie Schreiber Kinsey reviews Breaking the Mold: The Legacy of the Noah L. and Muriel S. Butkin Collection of Nineteenth-Century French Art . . .

Anne Helmreich and Pamela Fletcher, “Local/Global: Mapping Nineteenth-Century London’s Art Market”; Chelsea Foxwell, “Toshio Aoki, a Japanese Artist in California”; Camelia Erroune reviews Empress Eugénie and the Arts: Politics and Visual Culture in the Nineteenth Century by Alison McQueen; Alba Campo Rosillo reviews Snapshot: Painters and Photography, 1888–1915 . . .

Special Issue in Honor of Patricia Mainardi.
Heather Lemonedes, “A Neoclassical Drawing by John Flaxman”; Caterina Y. Pierre, “Louis-Ernest Barrias and Modern Allegories of Technology”; Craig Houser, “Reviving the American Art-Union and the Market for United States Art in the Gilded Age” . . .

Tania Woloshyn, “Aesthetic and Therapeutic Imprints: Artists and Invalids on the Côte d’Azur, ca. 1890–1910”; Karl Whittington, “Caspar David Friedrich’s Medieval Burials”; James H. Rubin reviews The New Courbet Museum Opening and Exhibition, Courbet/Clésinger; Alba Campo Rosillo reviews Russia’s Unknown Orient: Orientalist Painting 1850–1920 . . .

Anja Butenschön, “An Expiatory Chapel for Marie-Antoinette”; Jacqueline Marie Musacchio, “The Copyist Emma Conant Church in Paris and Rome”; Cheryl K. Snay reviews reviews The Diary of J.J. Grandville and the Missouri Album by Clive F. Getty; Marjorie Schreiber Kinsey reviews Nineteenth-Century Landscape Photographers in the Americas: Artists, Journeymen or Entrepreneurs? . . .

Chris Coltrin on Three Paintings of the Exodus by John Martin, Francis Danby, and David Roberts; Thor J. Mednick on Danish Internationalism; Taylor J. Acosta reviews Victoria & Albert: Art & Love edited by Jonathan Marsden; Sietske Roorda reviews Menzel’s Extreme Realism; Normandie impressionniste: An Art Historical Travelogue by James Rubin . . .

Lela Graybill on Madame Tussaud’s Chamber of Horrors; Keren Rosa Hammerschlag on Frederic Leighton’s And the Sea Gave Up the Dead Which Were In It; Laurinda S. Dixon reviews The Gargoyles of Notre-Dame: Medievalism and the Monsters of Modernity by Michael Camille; Marsha Morton reviews Edvard Munch and the Uncanny; Caterina Y. Pierre reviews Matisse & Rodin . . .

Susan Waller on A Group of Self-Portraits by Jean-Léon Gérôme; Robert Machado on The Politics of Applied Color in Early Photography; Theresa Leininger-Miller reviews Bessie Potter Vonnoh: Sculptor of Women by Julie Aronson, with an essay by Janis Conner; Sura Levine reviews James Ensor; Rachel Esner reviews Van Gogh’s Letters. The Artist Speaks . . .

Scott Allan on Gustave Moreau’s “Archaeological Allegory”; Ann Elias on Fantin-Latour in Australia; Marc Fehlmann reviews Ferdinand Hodler. Catalogue Raisonné by Oskar Bätschmann and Paul Müller; Philippa Kaina reviews Edgar Degas: Intimität und Pose . . .

Pamela Warner on Rhetorical Strategies in Edmond de Goncourt’s Japonisme; Joni Spigler on Cézanne’s Still Lifes with Plaster Cupid; Francesca Bavuso reviews Ruth E. Iskin’s Modern Women and Parisian Consumer Culture in Impressionist Painting; Jane Van Nimmen reviews Van Gogh: Heartflelt Lines . . .

Nina Athanassoglou-Kallmyer on Classicism Between Empire and Nation in Nineteenth-Century Europe; Annette Stott on child memorial art of the late nineteenth century; Joel Hollander reviews Laurie Dahlberg’s Victor Regnault and the Advance of Photography; Gabriel P. Weisberg reviews Barcelona 1900 . . .

Michael Garval on the postcard stardom of Cléo de Mérode; Scott C. Allan on Gustave Moreau’s Sphinx; Theresa Leininger-Miller reviews Hiram Powers: Genius in Marble; Radha Dalal reviews Ken Jacobson’s Odalisques and Arabesques . . .

Alastair Ian Wright on Ford Madox Brown; Anna Brzyski on artist-run exhibition societies; Isabel Taube reviews two Tiffany exhibitions; Janis Bergman-Carton reviews The Most Arrogant Man in France . . .

Patricia Mainardi on The Invention of Comics; Pamela M. Fletcher on Creating the French Gallery; Sarah Sik reviews Evil by Design by Elizabeth Menon; Caterina Pierre reviews Augustus Saint-Gaudens (1848–1907). Scultore americano dell’Età d’Oro . . .

Marni Reva Kessler on Degas’s Woman with a Bandage; Paige A. Conley on Bernard’s Fumeuse de Haschisch; Willa Z. Silverman reviews Sarah Bernhardt: The Art of High Drama; Adrienne Childs reviews Portraits of a People: Picturing African Americans in the Nineteenth Century . . .

Therese Dolan on Manet’s portrait of Emilie Ambre as Carmen; Heather Belnap Jensen on the Journal des Dames et des Modes; New Discoveries:Eugène Delacroix’s Portrait of Charles de Verninac, 1825-26; Nancy Scott reviews Italian Memorial Sculpture; Brooks Beaulieu reviews Girodet . . .

Marc Fehlmann on the intended reconstruction of the Parthenon on Calton Hill; Nancy Siegel on Albert Bierstadt; Sarah Burns reviews Eve’s Daughter/Modern Woman; Daniel Harkett reviews The Power of Conversation: Jewish Women and Their Salons . . .

Special issue on Art Nouveau and Siegfried Bing, co-sponsored by the Van Gogh Museum Amsterdam. Guest edited by Gabriel P. Wiesberg.

Nancy Locke on Manet’s Oceanic Feeling; Sarah Sik on John Scott Bradstreet and the Decorative Arts Revival in America; Elizabeth Guffey reviews A History of Modern Design; Alan C. Braddock reviews From Homer to the Harem . . .

Susan Sidlauskas on Emotion, Color, Cézanne (The Portraits of Hortense; Alan C. Braddock’s Painting the World’s Christ; Greg M. Thomas reviews Orientalist Aesthetics; Amy Ogata reviews Shock of the Old: Christopher Dresser . . .

James Smalls’ Slavery is a Woman; Phylis A. Floyd on The Puzzle of Olympia; Julie L’Enfant reviews The Rescue of Romanticism; Katherine Kuenzli reviews Édouard Vuillard . . .

Dario Gamboni on Gauguin’s Genesis of a Picture; Lionel Gossman on the Nazarenes; William Hauptmann reviews Carolus Duran, 1837–1917; Kristi Holden reviews J.W. Waterhouse by Peter Trippi . . .

Special issue exploring the influence of evolution on nineteenth-century visual culture, edited by Linda Nochlin and Martha Lucy.

Maura Coughlin on “Millet’s Milkmaids”; Paul A. Manoguerra on Albert Bierstadt’s Roman Fish Market; Janet Whitmore reviews American Sublime; Alan C. Braddock reviews Thomas Eakins: An American Realist . . .

Annette Leduc Beaulieu and Brooks Beaulieu on The Thadée Natanson Panels; Sébastien Clerbois “In Search of the Forme-Pensée”; Karal Ann Marling reviews Candace Wheeler: The Art and Enterprise of American Design, 1875-1900 . . .

Commentaries on the future of nineteenth-century art by Annette Blaugrund, Werner Busch and others; Joy Sperling on the Art Union in the U.S. and Britain; William Hauptman reviews Louise Breslau: De l’impressionnisme aux années folles . . .