Article PDFs

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Roberto C. Ferrari, “‘Far too black’: Fanny Eaton, Simeon Solomon, and The Mother of Moses.”

Kedra Kearis, “‘Her Own Room Will Be a Picture’: Alva Vanderbilt’s Bedroom à la Pompadour at Marble House (1892) by Jules Allard et Fils.”

Carina Rech, “A City of One’s Own: The Parisian Letters of the Swedish Painter Hanna Hirsch-Pauli.”

Mark Sagona, “From Center to Periphery: International Collaboration in Mid-Nineteenth Century Rome and the Artistic Milieu for a Silver Commission for Malta.”

Stefania Corsini, Etta M. Madden, and Caterina Y. Pierre, “Augustus Saint-Gaudens, Antinous, 1874.”

Maureen Warren and Virginia Brilliant, “Mary Ann Flaxman, Portrait of Eleanor Anne Porden, ca. 1811.”

Kimberly Orcutt and Isabel L. Taube, organizers, “Reinstalling Nineteenth-Century American Art in US Museums”.

Michael J. Hatch, book review of Artful Subversion: Empress Dowager Cixi’s Image Making by Ying-chen Peng.

Jan Marsh, book review of Scented Visions: Smell in Art, 1850–1914 by Christina Bradstreet.

Isabelle Mattar, book review of Creole: Portraits of France’s Foreign Relations during the Long Nineteenth Century by Darcy Grimaldo Grigsby.

Neil McWilliam, book review of The Presence of the Past in French Art, 1870–1905: Modernity and Continuity by Richard Thomson.

Kim Orcutt, book review of Sculpture at the Ends of Slavery by Caitlin Meehye Beach.

Kelly Presutti, book review of Théodore Rousseau and the Rise of the Modern Art Market by Simon Kelly.

Lynne D. Ambrosini, exhibition review of Reckoning with Millet’s Man with a Hoe, 1863–1900.

Meaghan Clarke, exhibition review of The Rossettis.

Andrew Ginger, exhibition review of Francisco Pradilla (1848–1921): Más que un pintor de historia (Francisco Pradilla [1848–1921]: More than a History Painter).

Ruth E. Iskin and Andrea Wolk Rager, exhibition review of Degas and the Laundress: Women, Work, and Impressionism.

Jonathan P. Ribner, exhibition review of Louis Janmot: Le Poème de l’âme (Louis Janmot: The Poem of the Soul).

Gretchen Sinnett, exhibition review of Fashioned by Sargent.

Gregor Wedekind, exhibition review of Caspar David Friedrich und die Vorboten der Romantik (Caspar David Friedrich and the Precursors of Romanticism).

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Stephen T. Moskey and Isabel L. Taube, “From Zuni to Dupont Circle: Isabel and Larz Anderson’s Native American Collection.”

Stephen T. Moskey and Isabel L. Taube, “Interactive Feature,” in Stephen T. Moskey and Isabel L. Taube, “From Zuni to Dupont Circle: Isabel and Larz Anderson’s Native American Collection.”

Stephen T. Moskey and Isabel L. Taube, “Project Narrative,” in 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 Karrels, “The Dessins Denon: Reframing Art Spoliation and the Spoliator in Napoleonic France.”

Nancy Karrels, “The Dessins Denon: Reframing Art Spoliation and the Spoliator in Napoleonic France. Appendix: Complete List of Dessins Denon Images Portraying Looting.”

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.”

Gülru Çakmak, book review of Paul Delaroche: Painting and Popular Spectacle by Patricia Smyth.

Petra ten-Doesschate Chu, book review of Henryk Siemiradzki: Catalogue Raisonné of the Paintings by Jerzy Malinowski, ed. and Krzysztof Z. Cieszkowski, trans..

Lucien Midavaine, book review of Picturing Russia’s Men: Masculinity and Modernity in Nineteenth-Century Painting by Allison Leigh.

Kim Orcutt, book review of Painting the Inhabited Landscape: Fitz H. Lane and the Global Reach of Antebellum America by Margaretta M. Lovell.

Elizabeth A. Pergam, book review of Designing the V&A: The Museum as a Work of Art (1857–1909), Creating the V&A: Victoria and Albert’s Museum (1851–1861), and Enriching the V&A: A Collection of Collections (1862–1914) by Julius Bryant.

Todd Porterfield, book review of Napoleon’s Plunder and the Theft of Veronese’s Feast by Cynthia Saltzman.

Jonathan P. Ribner, book review of Narrative Painting in Nineteenth-Century Europe by Nina Lübbren.

Hannibal Taubes, book review of Chinese Traditional Religion and Temples in North America, 1849–1920: California by Chuimei Ho and Bennet Bronson.

Hollis Clayson, exhibition review of Van Gogh and the Avant-Garde: The Modern Landscape.

Laurinda S. Dixon, exhibition review of Reflections on Reality: Drawings and Paintings from the Weisberg Collection.

Simon Kelly, exhibition review of Léon Monet, frère de l’artiste et collectionneur (Léon Monet: The Artist’s Brother and Collector).

William H. Ma, exhibition review of China’s Hidden Century: 1796–1912.

David O’Brien, exhibition review of Monet / Mitchell: Painting the French Landscape.

Andrew Carrington Shelton, exhibition review of Ingres: L’Artiste et ses princes (Ingres: The Artist and His Princes).

Tonje Haugland Sørensen, exhibition review of Beyond the Light: Identity and Place in Nineteenth-Century Danish Art.

Alex Zivkovic, exhibition review of Near East to Far West: Fictions of French and American Colonialism.

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

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.”

Deborah Cherry, book review of The Woman in White: Joanna Hiffernan and James McNeill Whistler by Margaret F. MacDonald with Charles Brock, Patricia de Montfort, Joanna Dunn, Grischka Petri, Aileen Ribeiro and Joyce Townsend.

Alexis Clark, book review of Why Monet Matters: Meaning Amongst the Lily Pads by James Henry Rubin.

Deepali Dewan, book review of Empires of Light: Vision, Visibility and Power in Colonial India by Niharika Dinkar.

Rachel Esner, book review of Als Kunstgeschichte popular wurde: Illustrierte Kunstbuchserien 1860–1960 und der Kanon der westlichen Kunst (When Art History Became Popular: Illustrated Art Book Series 1860–1960 and the Canon of Western Art) by Friederike Kitschen.

Dina I. Murokh, book review of William Harnett’s Curious Objects: Still-Life Painting after the American Civil War by Nika Elder.

Kim Orcutt, book review of Speculative Landscapes: American Art and Real Estate in the Nineteenth Century by Ross Barrett.

Cécile Roudeau, book review of May Alcott Nieriker, Author and Advocate: Travel Writing and Transformation in the Late Nineteenth Century by Julia Dabbs.

Heidi A. Strobel, book review of A Revolution on Canvas: The Rise of Women Artists in Britain and France, 1760–1830 by Paris A. Spies-Gans.

Janet Whitmore, book review of Daniel Cottier: Designer, Decorator, Dealer by Petra ten-Doesschate Chu and Max Donnelly, with Andrew Montana and Suzanne Veldink.

Andrés Mario Zervigón, book review of Photography and the Arts: Essays on Nineteenth-Century Practices and Debates edited by Juliet Hacking and Joanne Lukitch.

Mary G. Morton, exhibition review of Léon Bonvin: Drawn to the Everyday, 1834–1866 and Dessins français du XIXe siècle (Nineteenth-century French Drawings).

Alyse Muller, exhibition review of Jacques Louis David: Radical Draftsman.

Caterina Y. Pierre, exhibition review of Fictions of Emancipation: Carpeaux Recast.

David Smith, exhibition review of Albert Edelfelt: Modern Artist Life in Fin-de-Siècle Europe.

Verónica Uribe Hanabergh, exhibition review of Rosa Bonheur (1822–1899).

Adrienne L. Childs and Nicola Jennings interviewed by Lynda Nead, The Colour of Anxiety: Race, Sexuality and Disorder in Victorian Sculpture.

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

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 Brussels.”

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.”

Tara Contractor, installation review of British Pre-Raphaelite Collection, Delaware Art Museum, Wilmington.

Mechthild Fend, installation review of Deutsches Romantik-Museum, Frankfurt.

Cordula Grewe, installation review of European Galleries, 1850-1900, Philadelphia Museum of Art, Philadelphia.

David O’Brien, installation review of Musée de Picardie, Amiens.

Elizabeth A. Pergam, installation review of British Decorative Arts Galleries, The Metropolitan Museum of Art, New York.

Daniella Berman, book review of Time, Media, & Visuality in Post-Revolutionary France edited by Iris Moon and Richard Taws.

M. Elizabeth Boone, book review of Madrid on the Move: Feeling Modern and Visually Aware in the Nineteenth Century by Vanesa Rodríguez-Galindo.

Elizabeth Carlson, book review of Dressing Up: The Women Who Influenced French Fashion by Elizabeth L. Block.

Véronique Chagnon-Burke, book review of Florence, Berlin and Beyond: Late Nineteenth-Century Art Markets and Their Social Networks edited by Lynn Catterson.

Carey Gibbons, book review of Picture World: Image, Aesthetics, and Victorian New Media by Rachel Teukolsky.

Berin Golonu, book review of Making Modernity in the Islamic Mediterranean edited by Margaret S. Graves and Alex Dika Seggerman.

Matthew C. Hunter, book review of Art, Science, and the Body in Early Romanticism by Stephanie O’Rourke.

Ellen Kenney, book review of Antique Dealing and Creative Reuse in Cairo and Damascus 1850–1890: Intercultural Engagements with Architecture and Craft in the Age of Travel and Reform by Mercedes Volait.

Delanie J. Linden, book review of Luxury After the Terror by Iris Moon.

David Misteli, book review of Modern Art and the Remaking of Human Disposition by Emmelyn Butterfield-Rosen.

Christiana Payne, book review of Winslow Homer and His Cullercoats Paintings: An American Artist in England’s North East by David Tatham.

Caterina Y. Pierre, book review of Sculptors Against the State: Anarchism and the Anglo-European Avant-Garde by Mark Antliff.

Oscar E. Vázquez, book review of The Prado: Spanish Culture and Leisure, 1819–1939 by Eugenia Afignoguénova.

Karen L. Carter, exhibition review of Always New: The Posters of Jules Chéret.

Ellen W. Lee, exhibition review of Private Lives: Home and Family in the Art of the Nabis, Paris, 1889–1900.

Javier Ortiz-Echagüe, exhibition review of Romantic Spain: David Roberts and Genaro Pérez Villaamil.

Jonathan P. Ribner, exhibition review of Rodin in the United States: Confronting the Modern.

Britany Salsbury, “Editor’s Introduction.”

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.”

Andrew Carrington Shelton, “The First Retrospective Exhibition of the Drawings of J.-A.-D. Ingres (1861)’.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Wendy Bellion, Lea C. Stephenson, and James Kelleher, with Allan McLeod and Kristen Nassif, “West on the Walls: The 1807 Exhibition of the Pennsylvania Academy of the Fine Arts.”

Wendy Bellion et al., “West on the Walls: Interactive Feature,” in Wendy Bellion, Lea C. Stephenson, and James Kelleher, with Allan McLeod and Kristen Nassif, “West on the Walls: The 1807 Exhibition of the Pennsylvania Academy of the Fine Arts.”

Wendy Bellion et al., “West on the Walls: Project Narrative,” in Wendy Bellion, Lea C. Stephenson, and James Kelleher, with Allan McLeod and Kristen Nassif, “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, “New Discoveries: Finding Florence Freeman.”

Elizabeth Mansfield, with Zhuomin Zhang, Jia Li, John Russell, George S. Young, Catherine Adams, and James Z. Wang, “Practicing Art History: Techniques of the Art Historical Observer.”

Samuel D. Albert, book review of “The Museum Age in Austria-Hungary: Art and Empire in the Long Nineteenth Century.”

Emily Eastgate Brink, book review of “Quaint, Exquisite: Victorian Aesthetics and the Idea of Japan.”

Julia K. Dabbs, book review of “Restless Enterprise: The Art and Life of Eliza Pratt Greatorex.”

Travis McDade, book review of “Circulation and Control: Artistic Culture and Intellectual Property in the Nineteenth Century.”

David O’Brien, book review of “Loss in French Romantic Art, Literature, and Politics.”

Suzie Oppenheimer, book review of “Visualizing Equality: African American Rights and Visual Culture in the Nineteenth Century.”

Julia A. Sienkewicz, book review of “Horatio Greenough and the Form Majestic: The Biography of the Nation’s First Washington Monument.”

Anne Wallentine, book review of “Lover’s Eyes: Eye Miniatures from the Skier Collection.”

Sally Woodcock, book review of “Making the Modern Artist: Culture, Class and Art-Educational Opportunities in Romantic Britain.”

Kaylee P. Alexander, exhibition review of “Alphonse Mucha: Art Nouveau Visionary.”

Rachel Epp Buller, exhibition review of “B.J.O. Nordfeldt: American Internationalist.”

Matthew Larking, exhibition review of “Modern Architecture in Kyoto.”

Edward Payne, exhibition review of “Théodule Ribot (1823–1891): Une délicieuse obscurité.”

Caterina Y. Pierre, exhibition review of “Suzanne Valadon: Model, Painter, Rebel.”

Martin Schulz, exhibition review of “Manet und Astruc. Künstlerfreunde.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Carey Gibbons, “Editor’s Introduction,” in Emma Steinkraus, with Carey Gibbons and Allan McLeod, “Impossible Garden: A Contemporary Artist’s Digital Engagement with Women Artist-Naturalists of the Long Nineteenth Century and Beyond.”

Emma Steinkraus, with Carey Gibbons and Allan McLeod, “Impossible Garden: A Contemporary Artist’s Digital Engagement with Women Artist-Naturalists of the Long Nineteenth Century and Beyond.”

Carey Gibbons, “Interview with Emma Steinkraus,” in Emma Steinkraus, with Carey Gibbons and Allan McLeod, “Impossible Garden: A Contemporary Artist’s Digital Engagement with Women Artist-Naturalists of the Long Nineteenth Century and Beyond.”

Emma Steinkraus, “Project Narrative,” in Emma Steinkraus, with Carey Gibbons and Allan McLeod, “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, “New Discoveries: François Flameng, Grolier in the House of Aldus, 1889, Grolier Club, New York.”

Daniëlle Kisluk-Grosheide, “New Discoveries: 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, “Practicing Art History: Dealing with Historical Titles: The Case of the Eastman Johnson Catalogue Raisonné.”

Kaylee P. Alexander, book review of “Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art by Diana Seave Greenwald.”

Johanna Amos, book review of “Working Against the Grain: Women Sculptors in Britain c. 1885–1950 by Pauline Rose.”

Jane R. Becker, book review of “Finding Lost Wax: The Disappearance and Recovery of an Ancient Casting Technique and the Experiments of Medardo Rosso edited by Sharon Hecker.”

Deborah Cherry, book review of “Three Books about Elizabeth Siddall’s Poetry.”

Thomas Cooper, book review of “Young Poland: The Polish Arts and Crafts Movement, 1890–1918 edited by Julia Griffin and Andrzej Szczerski.”

Jo Labanyi, book review of “The End Again: Degeneration and Visual Culture in Modern Spain by Oscar E. Vázquez.”

Nancy Locke, book review of “Manet to Bracquemond: Newly Discovered Letters to an Artist and Friend edited by Jean-Paul Bouillon.”

Patricia Mainardi, book review of “Silent Witnesses: Trees in British Art, 1760–1870 by Christiana Payne.”

Elizabeth Mansfield, book review of “Five Books about Historiographic Scholarship and Art History.”

Alison J. Miller, book review of “Painting Edo: Selections from the Feinberg Collection of Japanese Art by Rachel Saunders and Yukio Lippit and Catalogue of the Feinberg Collection of Japanese Art edited by Rachel Saunders.”

Alice M. Rudy Price, book review of “Becoming Artists: Self-Portraits, Friendship Images and Studio Scenes by Nordic Women Painters in the 1880s by Carina Rech.”

Samuel Raybone, book review of “Globalizing Impressionism: Reception, Translation, and Transnationalism edited by Alexis Clark and Frances Fowle and Mapping Impressionist Painting in Transnational Contexts edited by Emily C. Burns and Alice M. Rudy Price.”

Catherine Roach, book review of “Iconoclasm in New York: Revolution to Reenactment by Wendy Bellion and Scenes and Traces of the English Civil War by Stephen Bann.”

Darius A. Spieth, book review of “Freemasonry and the Visual Arts from the Eighteenth Century Forward edited by Reva Wolf and Alisa Luxenberg.”

Marion Bélouard, exhibition review of “The Origins of the World: The Invention of Nature in the Nineteenth Century.”

Victor Claass, exhibition review of “Hippolyte, Paul, Auguste: les Flandrin, artistes et frères.”

Anna-Maria Hällgren, exhibition review of “Zorn: A Swedish Superstar.”

France Nerlich, exhibition review of “François-Auguste Biard peintre voyageur and The Life of Others.”

Jill Vaum Rothschild, exhibition review of “Joshua Johnson: Portraitist of Early American Baltimore.”

Julia A. Sienkewicz, exhibition review of “Thomas Jefferson, Architect: Palladian Models, Democratic Principals, and the Conflict of Ideas.”

Reva Wolf, exhibition review of “Goya’s Graphic Imagination.”

Isabel L. Taube, Editor, “Editor’s Introduction.”

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.”

Julia B. Rosenbaum, with Allan McLeod, “Outside In: Space, Light, and the Artful Interior at Frederic Church’s Olana: Project Narrative.”

Lea C. Stephenson, “Kingscote’s Dining Room and the Multisensorial Interior in the Late Nineteenth Century: Project Narrative.”

Anne Helmreich, Edward Sterrett, and Sandra van Ginhoven, with Elena Prado, “Purpose Built: Duveen and the Commercial Art Gallery: Project Narrative.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

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.”

Katherine Brion, book review of “Félix Fénéon: The Anarchist and the Avant-Garde edited by Starr Figura, Isabelle Cahn, and Phillipe Peltier.”

Alexis Clark, book review of “America’s Impressionism: Echoes of a Revolution edited by Amanda C. Burdan and Monet and Chicago edited by Gloria Groom.”

Maria Dorofeeva, book review of “‘The Spanish Element in Our Nationality:’ Spain and America at the World’s Fairs and Centennial Celebrations, 1876–1915 by M. Elizabeth Boone.”

Michelle Foa, book review of “The Letters of Edgar Degas edited by Theodore Reff.”

Kathleen A. Foster, book review of “Epic Landscapes: Benjamin Henry Latrobe and the Art of Watercolor by Julia A. Sienkewicz.”

Daniel Fulco, book review of “Caspar David Friedrich: Nature and the Self by Nina Amstutz.”

Dario Gamboni, book review of “A Forest of Symbols: Art, Science, and Truth in the Long Nineteenth Century by Andrei Pop.”

Lieske Tibbe, book review of “Mirror of Reality: Nineteenth-Century Painting in the Netherlands and Spiegel van de werkelijkheid. 19de-eeuwse schilderkunst in Nederland by Jenny Reynaerts.”

Stephanie Triplett, book review of “Precarious Partners: Horses and Their Humans in Nineteenth-Century France by Kari Weil.”

Theresa A. Cunningham, exhibition review of “Monet and Boston: Lasting Impression.”

Christopher Hunt, exhibition review of “Millet and Modern Art: From Van Gogh to Dalí and Jean-François Millet: Sowing the Seeds of Modern Art.”

Caterina Y. Pierre, exhibition review of “Sisters in Liberty: From Florence, Italy to New York, New York.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

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.”

Roberto C. Ferrari, book review of “The Classical Body in Romantic Britain by Cora Gilroy-Ware.”

Claudia Hattendorff, book review of “Der Salon und die Pariser Kunstszene unter Napoleon I. Kunstpolitik, künstlerische Strategien, internationale Resonanzen by Eva Knels.”

Patricia Mainardi, book review of “Aquatint Worlds: Travel, Print, and Empire, 1770–1820 by Douglas Fordham.”

Mary Morton, book review of “Savage Tales: The Writings of Paul Gauguin by Linda Goddard.”

Andrei Pop, book review of “Cézanne’s Gravity by Carol Armstrong.”

Alan Wallach, book review of “The End of Landscape in Nineteenth-Century America by Maggie M. Cao.”

Gillen D’Arcy Wood, book review of “Ecocriticism and the Anthropocene in Nineteenth-Century Art and Visual Culture edited by Maura Coughlin and Emily Gephart.”

Corrinne Chong, exhibition review of “Degas à l’Opéra.”

Kirstin Gotway, exhibition review of “Journey into Light: Travels with J.M.W. Turner.”

Caterina Y. Pierre, exhibition review of “Gemito: Le Sculpteur de l’âme napolitaine and Gemito. Dalla scultura al disegno.”

Erratum, “Toulouse-Lautrec: Resolutely Modern.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

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 (?).”

Vanessa Alayrac-Fielding, book review of “Beyond Chinoiserie: Artistic Exchange between China and the West during the Late Qing Dynasty (1796–1911) edited by Petra ten-Doesschate Chu and Jennifer Milam.”

Emily C. Burns, book review of “Expanding Nationalisms at World’s Fairs: Identity, Diversity, and Exchange, 1851–1915 edited by David Raizman and Ethan Robey.”

Ashley Dimmig, book review of “Germany and the Ottoman Railways: Art, Empire, and Infrastructure by Peter H. Christensen.”

Katie Hornstein, book review of “The Final Spectacle: Military Painting under the Second Empire, 1855–1867 by Julia Thoma.”

Patricia Mainardi, book review of “Graphic Culture: Illustration and Artistic Enterprise in Paris, 1830–1848 by Jillian Lerner.”

Belinda Thomson, book review of “Gauguin by June Hargrove.”

Beth S. Wright, book review of “Jules Michelet: Writing Art and History in Nineteenth-Century France by Michèle Hannoosh.”

Mariëlle Ekkelenkamp, exhibition review of “Pre-Raphaelite Sisters.”

Lauren Jimerson, exhibition review of “Toulouse-Lautrec: Resolutely Modern.”

Tyler E. Ostergaard, exhibition review of “Manet and Modern Beauty.”

Andrey Shabanov, exhibition review of “Ilya Repin: The 175th Anniversary of the Artist’s Birth.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Kristine K. Ronan, with Allan McLeod, “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.”

Ralph Body, book review of “British Art for Australia, 1860–1953: The Acquisition of Artworks from the United Kingdom by Australian National Galleries by Matthew C. Potter.”

M. Elizabeth Boone, book review of “New York: Art and Cultural Capital of the Gilded Age edited by Margaret R. Laster and Chelsea Bruner.”

Emma Clute, book review of “Elegy Landscapes: Constable and Turner and the Intimate Sublime by Stanley Plumly.”

Roberto C. Ferrari, book review of “Looking at Men: Art, Anatomy and the Modern Male Body by Anthea Callen.”

Mitchell B. Frank, book review of “Wilhelm Schadow: Werkverzeichnis der Gemälde mit einer Auswahl der dazugehörigen Zeichnungen und Druckgraphiken by Cordula Grewe, edited by Bettina Baumgärtel and Hans Paffrath.”

Kirstin Gotway, book review of “John Lockwood Kipling: Arts and Crafts in the Punjab and London by Julius Bryant, Susan Weber, et al..”

Margaret MacNamidhe, book review of “Illuminated Paris: Essays on Art and Lighting in the Belle Époque by Hollis Clayson.”

Elizabeth Mansfield, book review of “Restoration: The Fall of Napoleon in the Course of European Art, 1812–1820 by Thomas Crow.”

Christopher Newall, book review of “The Boyce Papers: The Letters and Diaries of Joanna Boyce, Henry Wells and George Price Boyce edited by Sue Bradbury.”

Jutta Sperling, book review of “Maternal Breast-Feeding and Its Substitutes in Nineteenth-Century French Art by Gal Ventura.”

S.T. Urchick, book review of “Art and Commerce in Late Imperial Russia by Andrei Shabanov.”

Adrienne L. Childs, exhibition review of “Le Modèle noir de Géricault à Matisse.”

Andrew Eschelbacher, exhibition review of “Impressionism in the Age of Industry: Monet, Pissarro and More.”

Sarah Gould, exhibition review of “Parabola of Pre-Raphaelitism: Turner, Ruskin, Rossetti, Burne-Jones and Morris.”

Caty Telfair, exhibition review of “Gauguin: A Spiritual Journey.”

Jane Van Nimmen, exhibition review of “Rudolf von Alt und seine Zeit: Aquarelle aus den Fürstlichen Sammlungen Liechtenstein (Rudolf von Alt and his Time: Watercolors from The Princely Collections of Liechtenstein).”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Kimberly Orcutt, with Allan McLeod, “Unintended Consequences: The American Art-Union and the Rise of a National Landscape School.”

Kimberly Orcutt, “The American Art-Union and the Rise of a National Landscape School: Scholarly Essay,” in Kimberly Orcutt, with Allan McLeod, “Unintended Consequences: The American Art-Union and the Rise of a National Landscape School.”

Kimberly Orcutt, with Allan McLeod, “The American Art-Union and the Rise of a National Landscape School: Project Narrative,” in Kimberly Orcutt, with Allan McLeod, “Unintended Consequences: The American Art-Union and the Rise of a National Landscape School.”

Samantha Burton, “‘For the California of Today’: 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.”

Theresa Leininger-Miller, book review of “John White Alexander: An American Artist in the Gilded Age by Mary Anne Goley.”

Gabriel P. Weisberg, book review of “Gerhard Munthe: Norwegian Pioneer of Modernism by Jan Kokkin.”

Petra ten-Doesschate Chu, exhibition review of “The Rockies and the Alps: Bierstadt, Calame, and the Romance of the Mountains.”

Patricia Mainardi, exhibition review of “Public Parks, Private Gardens: Paris to Provence.”

David O’Brien, exhibition review of “Delacroix Exhibitions in New York and Paris.”

Esmée Quodbach, exhibition review of “Frans Hals and the Moderns: Hals Meets Manet, Singer Sargent, Van Gogh.”

Ruth E. Iskin, exhibition review of “Mary Cassatt: Une Impressionniste Américaine à Paris.”

Janet Whitmore, exhibition review of “Berthe Morisot: Woman Impressionist.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Sally Webster and David Schwittek, with Carlo Diego, Cara Jordan, Lauren Ritz, Leonidas Maliokas, Bruce Weber, “A Digital Recreation of the Lenox Library Picture Gallery: A Contribution to the Early History of Public Art Museums in the United States.”

Sally Webster, “A Digital Recreation of the Lenox Library Picture Gallery: Scholarly Essay,” in Webster and Schwittek et al., “A Digital Recreation of the Lenox Library Picture Gallery: A Contribution to the Early History of Public Art Museums in the United States.”

Sally Webster and David Schwittek, “A Digital Recreation of the Lenox Library Picture Gallery: Project Narrative,” in Webster and Schwittek et al., “A Digital Recreation of the Lenox Library Picture Gallery: A Contribution to the Early History of Public Art Museums in the United States.”

Sally Webster, “A Digital Recreation of the Lenox Library Picture Gallery: Appendices,” in Webster and Schwittek et al., “A Digital Recreation of the Lenox Library Picture Gallery: A Contribution to the Early History of Public Art Museums in the United States.”

Stephanie C. Leone, “A ‘Raphael’ in Nineteenth-Century Boston: The Biography of the McMullen Museum of Art’s Madonna and Child with John the Baptist.”

Roberto C. Ferrari, “Between Venus and Victoria: John Gibson’s Portrait Statue of the Hon. Mrs. Murray, Later Countess Beauchamp.”

Elizabeth L. Block, “Virginie Amélie Avegno Gautreau: Living Statue.”

Kathryn Brown, “Degas in Pieces: Form and Fragment in the Late Bather Pastels.”

Jennifer Johnson, “The Sideshow at the Salon: Positioning the Spectator and Transforming Spectacle in Fernand Pelez’s Grimaces et misère—Les Saltimbanques (1888).”

Kathleen Pierce, “Scarified Skin and Simian Symptoms: Experimental Medicine and Picasso’s Les Demoiselles d’Avignon.”

Robert Pontsioen, “The Alexander Graham Bell Collection of Japanese Masks at the Smithsonian.”

Taylor J. Acosta, book review of “Misère: The Visual Representation of Misery in the 19th Century by Linda Nochlin.”

David O’Brien, book review of “Picturing War in France, 1792–1856 by Katie Hornstein.”

John P. Lambertson, book review of “Exiled in Modernity: Delacroix, Civilization, and Barbarism by David O’Brien.”

Sarah Sik, book review of “Women Artists in Paris, 1850–1900 by Laurence Madeline, with Bridget Alsdorf, Richard Kendall, Jane R. Becker, Vibeke Waallann Hansen, and Joëlle Bolloch.”

Gabriel P. Weisberg, book review of “Jules Adler, 1865–1952: Peindre Sous La Troisième République.”

Jo Briggs, book review of “A Paris Life, A Baltimore Treasure: The Remarkable Lives of George A. Lucas and His Art Collection by Stanley Mazaroff.”

Janet Whitmore, book review of “The Thannhauser Gallery: Marketing Van Gogh edited by Stefan Koldehoff and Chris Stolwijk.”

Alba Campo Rosillo, exhibition review of “Salazar: Portraits of Influence in Spanish New Orleans, 1785–1802.”

Jennifer W. Olmsted, exhibition review of “Samuel F. B. Morse’s “Gallery of the Louvre” and the Art of Invention.”

Trinita Kennedy, exhibition review of “The Real Beauty: The Artistic World of Eugenia Errázuriz.”

Corrinne Chong, exhibition review of “The Credit Suisse Exhibition: Monet and Architecture.”

Alexis Clark, exhibition review of “Cézanne Portraits.”

Elizabeth Mix, exhibition review of “Van Gogh & Japan.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Diana Seave Greenwald, with Allan McLeod, “Colleague Collectors: A Statistical Analysis of Artists’ Collecting Networks in Nineteenth-Century New York.”

Diana Seave Greenwald, “Colleague Collectors: Project Narrative,” in 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.”

Yasemin Gencer, book review of “Printing Arab Modernity: Book Culture and the American Press in Nineteenth-Century Beirut by Hala Auji.”

Heather McPherson, book review of “The Gamin de Paris in Nineteenth-Century Visual Culture: Delacroix, Hugo, and the French Social Imaginary by Marilyn Brown.”

Catherine Southwick, book review of “Renoir: An Intimate Biography by Barbara Ehrlich White.”

Katherine Brion, book review of “Georges Seurat: The Art of Vision by Michelle Foa.”

Gabriel P. Weisberg, book review of “The Great Nadar: The Man Behind the Camera by Adam Begley.”

Janet Whitmore, book review of “Nature and the Nation in Fin-de-Siècle France: The Art of Emile Gallé and the Ecole de Nancy by Jessica M. Dandona.”

Alexis Clark, exhibition review of “The EY Exhibition: Impressionists in London, French Artists in Exile (1870–1904).”

Gale Murray, exhibition review of “Her Paris: Women Artists in the Age of Impressionism.”

Alice M. Rudy Price, exhibition review of “Camille Pissarro: Meeting on St. Thomas.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

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).”

Andrew Eschelbacher, book review of “Les Bronzes Bardedienne: l’oeuvre d’une dynastie de fondeurs by Florence Rionnet.”

Margaret MacNamidhe, book review of “The Deaths of Henri Regnault by Marc Gotlieb.”

Alexis Clark, book review of “James McNeill Whistler and France: A Dialogue in Paint, Poetry, and Music by Suzanne M. Singletary.”

Maria P. Gindhart, exhibition review of “Camille Claudel Museum.”

Susan Waller, exhibition review of “Medardo Rosso: Experiments in Light and Form.”

Corrinne Chong, exhibition review of “Frederic Bazille and the Birth of Impressionism.”

Alexis Clark, exhibition review of “Australia’s Impressionists.”

Michelle Foa, exhibition review of “Degas: A New Vision and Seurat’s Circus Sideshow.”

Janet Whitmore, exhibition review of “Gauguin: Artist as Alchemist.”

Laurinda S. Dixon, exhibition review of “Mystical Symbolism: The Salon de la Rose+Croix in Paris, 1892–1897.”

Gabriel P. Weisberg, exhibition review of “Prints in Paris 1900: From Elite to the Street.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

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.”

Margaret MacNamidhe, book review of “Aloysius O’Kelly: Art, Nation, Empire by Niamh O’Sullivan.”

Gabriel P. Weisberg, book review of “Aubrey Beardsley: A Catalogue Raisonné by Linda Gertner Zatlin.”

Dennis Cate, exhibition review of “De La Caricature à L’Affiche, 1850–1918.”

Corrinne Chong, exhibition review of “Fantin-Latour: À Fleur de peau.”

Alexis Clark, exhibition review of “Unruly Nature: The Landscapes of Théodore Rousseau.”

Gabriel P. Weisberg, exhibition review of “Noir: The Romance of Black in 19th-Century French Drawings and Prints.”

Petra ten-Doesschate Chu, exhibition review of “Spectaculaire Second Empire, 1852–1870 (The Spectacular Second Empire, 1852–1870).”

Clarisse Fava-Piz, exhibition review of “Solidez y Belleza: Miguel Blay en el Museo Nacional del Prado.”

Roberto C. Ferrari, exhibition review of “Alma-Tadema, klassieke verleiding (Alma-Tadema: At Home in Antiquity).”

Lisa Smit, exhibition review of “Wilhelm Lehmbruck: Retrospective.”

Alba Campo Rosillo, exhibition review of “William Merritt Chase: A Modern Master.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Maria A. Dorofeeva, “‘Lombroso Transformed Into Painting’: Art, Criminology, and the Re-invention of the Spanish Gypsy.”

Julia K. Dabbs, “Empowering American Women Artists: The Travel Writings of May Alcott Nieriker.”

Naurice Frank Woods Jr., “Pink and the Fancy Gal: 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: The Neglected Role of Alphonse Legros.”

James H. Rubin, “Armand Guillaumin, Nature-morte à la marmite, Galerie de la Béraudière, Brussels, Belgium.”

Taylor Acosta, book review of “World History of Realism in Visual Arts, 1830–1990: Naturalism, Socialist Realism, Social Realism, Magic Realism, New Realism, and Documentary Photography by Boris Röhrl.”

Sonia Coman, book review of “Qing Encounters: Artistic Exchanges between China and the West edited by Petra ten-Doesschate Chu and Ning Ding, with Lidy Jane Chu.”

Sonia Coman, book review of “Foreign Artists and Communities in Modern Paris, 1870–1914: Strangers in Paradise edited by Karen L. Carter and Susan Waller.”

Janet Whitmore, book review of “Mapping Degas: Real Spaces, Symbolic Spaces and Invented Spaces in the Life and Work of Edgar Degas (1834–1917) by Roberta Crisci-Richardson.”

Nikki Otten, book review of “Designing the French Interior: The Modern Home and Mass Media edited by Anca I. Lasc, Georgina Downey, and Mark Taylor.”

Rashmi Viswanathan, book review of “Animateur d’art: marchand, collectionneur, critique, éditeur . . . L’animateur d’art et ses multiples rôles. Étude pluridisciplinaire de ces intermédiaires culturels méconnus des XIXe et XXe siècles edited by Ingrid Goddeeris and Noémie Goldman.”

Guy Tal, book review of “Goya: The Witches and Old Women Album edited by Juliet Wilson-Bareau and Stephanie Buck.”

Kelsey Brosnan, exhibition review of “Vigée Le Brun: Woman Artist in Revolutionary France.”

Gabriel P. Weisberg, exhibition review of “Easy Virtue: Prostitution in French Art 1850–1910.”

Alexis Clark, exhibition review of “Le Douanier Rousseau: L’innocence archaïque.”

Sujin Kim, exhibition review of “Van Gogh’s Bedrooms.”

Gabriel P. Weisberg (with Yvonne M. L. Weisberg), exhibition review of “Albert Maignan Décorateur du Paris Fin-de-Siècle and Les voix du Tocsin, genèse et résurrection d’un chef-d’oeuvre.”

Lisa Smit, exhibition review of “Jan Toorop.”

Etienne Tornier, exhibition review of “Japanomania in the Nordic Countries, 1875–1918.”

Gabriel P. Weisberg and Yvonne M. L. Weisberg, exhibition review of “1914–1918, Le Patrimoine s’en va-t-en guerre.”

Martina Droth and Michael Hatt, “The Greek Slave by Hiram Powers: A Transatlantic Object.”

Martina Droth, “Mapping The Greek Slave.”

Karen Lemmey, “From Skeleton to Skin: The Making of the Greek Slave(s).”

L. H. (Hugh) Shockey Jr., “Technical Evidence from a Greek Slave Intermediary.”

R. Tess Korobkin, “The Greek Slave and Materialities of Reproduction.”

Patrizia Di Bello, “The Greek Slave and Photography in Britain.”

Cybèle T. Gontar, “‘Robbed of his treasure’: Hiram Powers, James Robb of New Orleans, and the Greek Slave Controversy of 1848.”

Karen Lemmey, “Discovering the Lost Greek Slave in a Daguerreotype.”

Tim Barringer, “The Greek Slave Sings.”

Alex Potts and Lily Cox-Richard, “Alex Potts in Conversation with Lily Cox-Richard: The Stand (Possessing Powers).”

Tanya Pohrt, “The Greek Slave on Tour in America.”

Helen A. Cooper, “Prince Demidoff’s Greek Slave.”

Lisa Volpe, “Embodying the Octoroon: Abolitionist Performance at the London Crystal Palace, 1851.”

Michael Hatt, “Sculpture, Chains, and the Armstrong Gun: John Bell’s American Slave.”

Caitlin Beach, “John Bell’s American Slave in the Context of Production and Patronage.”

Joseph Roach, “The Octoroon by John Bell.”

Vivien Green Fryd, “Reflections on Hiram Powers’s Greek Slave.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Emily Pugh, “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.”

Kurt E. Rahmlow, “‘The admiration one feels for something strange and uncanny’: Impressionism, Symbolism, and Edward Steichen’s Submissions to the 1905 London Photographic Salon.”

Jonathan P. Ribner, “L’Année terrible Viewed by John Tenniel.”

Léa Saint-Raymond, “How to Get Rich as an Artist: The Case of Félix Ziem—Evidence from His Account Book from 1850 through 1883.”

Julia Thoma, “Panorama of War: The Salle de Crimée in Versailles.”

Matthew Turner, “Portrait of Emma Darwin by Charles Fairfax Murray.”

Catherine Southwick, book review of “The Representation of the Struggling Artist in America, 1800–1865 by Erika Schneider.”

Jane Van Nimmen, book review of “The First Smithsonian Collection: The European Engravings of George Perkins Marsh and the Role of Prints in the U.S. National Museum by Helena E. Wright.”

Laurinda S. Dixon, book review of “A Sisterhood of Sculptors, American Artists in Nineteenth-Century Rome by Melissa Dabakis.”

Catherine Southwick, book review of “The Work of Art: Plein-air Painting and Artistic Identity in Nineteenth-century France by Anthea Callen.”

Alexis Clark, book review of “The Symbolist Roots of Modern Art edited by Michelle Facos and Thor J. Mednick.”

Janet Whitmore, exhibition review of “Delacroix and the Rise of Modern Art.”

Eric Anderson, exhibition review of “Der Ring: Pionierjahre einer Prachtstrasse / Vienna’s Ringstrasse: The Making of a Grand Boulevard.”

Theresa Leininger-Miller, exhibition review of “Art of the American West: The Haub Family Collection.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Dana E. Byrd with Tyler DeAngelis, “Tracing Transformations: Hilton Head Island’s Journey to Freedom, 1860–1865.”

Dana E. Byrd, “Tracing Transformations: Scholarly Essay,” in Dana E. Byrd with Tyler DeAngelis, “Tracing Transformations: Hilton Head Island’s Journey to Freedom, 1860–1865.”

Dana E. Byrd with Tyler DeAngelis, “Tracing Transformations: Project Narrative,” in Dana E. Byrd with Tyler DeAngelis, “Tracing Transformations: Hilton Head Island’s Journey to Freedom, 1860–1865.”

Christopher Carlsmith, “A Venetian Doge in a Yankee Court: Benjamin-Constant’s Murals of Venice and Byzantium in the Ames-Webster House, Boston.”

Asiel Sepúlveda, “Humor and Social Hygiene in Havana’s Nineteenth-Century Cigarette Marquillas.”

Mary Slavkin, “Statistically Speaking: Central Exhibitors at the Salons of the Rose + Croix.”

Philippe Willems, “Cartooning in the Age of Realism: Léonce Petit’s Les bonnes gens de province and Histoires campagnardes.”

Roberto C. Ferrari, “Portraits, Landscapes, and Genre Scenes: New Discoveries in the 19th-Century Paintings Collection at Columbia University.”

Scott Allan, book review of “Academic Splendor: 101 Masterpieces from the Dahesh Museum of Art by Alia Nour.”

Katherine Faulkner, book review of “Greece and Rome at the Crystal Palace: Classical Sculpture and Modern Britain, 1854–1936 by Kate Nichols.”

Gabriel P. Weisberg, book review of “Le Mythe du Retour: Les Artistes Scandinaves en France de 1889 à 1908 by Vibeke Röstorp.”

Jan Dirk Baetens, exhibition review of “Paul Durand-Ruel. Le pari de l’impressionisme.”

Thijs Dekeukeleire, exhibition review of “Constantin Meunier (1831–1905) Retrospective.”

Erik Denker, exhibition review of “Félix Bracquemond: Impressionist Innovator—Selections from the Frank Raysor Collection.”

Elizabeth W. Doe, exhibition review of “Sargent: Portraits of Artists and Friends.”

Marc Fehlmann, exhibition review of “History Regained: New Aspects to the Provenance of a Painting by Carl Blechen.”

Theresa Leininger-Miller, exhibition review of “Kongo Across the Waters.”

Daisuke Miyao, exhibition review of “Lumière!: Le Cinéma Inventé.”

Lisa Smit, exhibition review of “Musée Fin-de-Siècle Museum, Brussels, Permanent Installation.”

Janet Whitmore, exhibition review of “Ireland: Crossroads of Art and Design, 1690–1840.”

Martina Droth and Peter Trippi, “Change/Continuity: Writing About Art in Britain Before and After 1900.”

Julie Codell, “From English School to British School: Modernism, Revisionism, and National Culture in the Writings of M. H. Spielmann.”

Jason Edwards, “Generations of Modernism, or, A Queer Variety of Natural History: Edmund Gosse and Sculptural Modernity.”

Sarah Victoria Turner, “‘Reuniting What Never Should Have Been Separated’: The Arts and Crafts Movement, Modernism, and Sculpture in Britain 1890–1914.”

Adrianne Rubin, “From Impressionism to Post-Impressionism: Continuities in Roger Fry’s Concept of Aesthetic Perception.”

Dana Garvey, “Cosmo Monkhouse: A Conservative Reconsidered.”

Imogen Hart, “History Painting and Its Critics, ca. 1870–1910.”

Colette Crossman, “Seeing the Sacred: Burne-Jones’s Reception as a ‘Great Religious Painter’.”

Lene Østermark-Johansen, “Enshrined in a Library Edition, and an Incubus to Get Rid of: Walter Pater’s Renaissance around 1910.”

Jane Hawkes, “W. G. Collingwood: Artist, Art Historian, Critic, Archaeologist, and Anglo-Saxonist.”

Anthony Burton, “Cultivating the First Generation of Scholars at the Victoria and Albert Museum.”

Amy Von Lintel, “Nancy Bell’s Elementary History of Art and the British Origins of Popular Art History.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Lindsay Harris and Luke Hollis, with Emily Pugh, Lavinia Ciuffa, Maria Sole Fabri, “Imagining a Nation’s Capital: Rome and the John Henry Parker Photography Collection, 1864–1879.”

Lindsay Harris, “Imagining a Nation’s Capital in the Digital Age,” in Lindsay Harris and Luke Hollis et al., “Imagining a Nation’s Capital: Rome and the John Henry Parker Photography Collection, 1864–1879.”

Lindsay Harris, “Imagining a Nation’s Capital: Project Narrative,” in Lindsay Harris and Luke Hollis et al., “Imagining a Nation’s Capital: Rome and the John Henry Parker Photography Collection, 1864–1879.”

Francesco Freddolini, “Marketing Nineteenth-Century Italian Sculpture across the Atlantic: Artists, Dealers, and Auctioneers, ca. 1800–1840.”

Emily C. Burns, “‘Of a Kind Hitherto Unknown’: The American Art Association of Paris in 1908.”

Michael D. Garval, “Visions of Pork Production, Past and Future, on French Belle Époque Pig Postcards.”

Ulf Dingerdissen, “A Visual Realization of Romantic Art Theory: The Riepenhausen Brothers and Their Etchings for Life and Death of Saint Genevieve.”

Petra ten-Doesschate Chu, “An Orphan in Church by Pascal-Adolphe-Jean Dagnan-Bouveret.”

Taylor J. Acosta, book review of “The Camera as Historian: Amateur Photographs and Historical Imagination, 1885–1918 by Elizabeth Edwards.”

Laurinda Dixon, book review of “Of Elephants and Roses: French Natural History 1790–1830 edited by Sue Ann Prince.”

Elizabeth Mix, book review of “Having It All in the Belle Epoque: How French Women’s Magazines Invented the Modern Woman by Rachel Mesch.”

Gabriel P. Weisberg, book review of “The Poster, Art, Advertising, Design, and Collecting, 1860s–1900s by Ruth E. Iskin.”

Sally Webster, exhibition review of “The American West in Bronze, 1850–1925.”

Roberto C. Ferrari, exhibition review of “Sculpture Victorious: Art in an Age of Invention, 1837–1901.”

Caterina Y. Pierre, exhibition review of “Carrier-Belleuse, Le maître de Rodin.”

Theresa Leininger-Miller, exhibition review of “Peace Breaks Out! London and Paris in the Summer of 1814.”

Emily W. Gephart, exhibition review of “Turner and the Sea.”

Theresa Leininger-Miller, exhibition review of “Sibelius and the World of Art.”

Ricard Bru i Turull, exhibition review of “Casagemas: The Artist Beneath the Myth.”

Gregory C. Seltzer, exhibition review of “Été 14: Les derniers jours de l’ancien monde.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Jacqueline Marie Musacchio, with Jenifer Bartle, David McClure, Kalyani Bhatt, “Mapping the ‘White, Marmorean Flock’: Anne Whitney Abroad, 1867–1868.”

Jacqueline Marie Musacchio, “Anne Whitney Abroad, 1867–1868,” in Jacqueline Marie Musacchio et al., “Mapping the ‘White, Marmorean Flock’: Anne Whitney Abroad, 1867–1868.”

Jacqueline Marie Musacchio, “Mapping the ‘White, Marmorean Flock’: Primary Sources,” in Jacqueline Marie Musacchio et al., “Mapping the ‘White, Marmorean Flock’: Anne Whitney Abroad, 1867–1868.”

Jacqueline Marie Musacchio, with Jenifer Bartle, David McClure, Kalyani Bhatt, “Mapping the ‘White, Marmorean Flock’: Project Narrative,” in Jacqueline Marie Musacchio et al., “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.”

Katlijne Van der Stighelen, “A Self-Portrait by Francesco Mezzara (1774–1845), the Italian Painter Who Changed New York State Constitutional Law with a Pair of Ass’s Ears.”

Sabine Wieber, “The Battle for ‘the Mack’.”

Sabine Wieber, “Interview with Dr Robyne E. Calvert, Researcher, History of Architecture and Design at the Mackintosh School of Architecture, The Glasgow School of Art.”

Sarah Sik, exhibition review of “Mackintosh Architecture: Context, Making, and Meaning.”

Robert Silberman, book review of “Carleton Watkins: The Complete Mammoth Photographs by Weston Naef and Christine Hult-Lewis.”

Gabriel P. Weisberg, book review of “Charles Marville, Photographer of Paris by Sarah Kennell, with Anne de Mondenard, Peter Barberie, Françoise Reynaud, and Joke de Wolf.”

Kathryn Trittipo, book review of “Playing with Pictures: The Art of Victorian Photocollage by Elizabeth Siegel.”

Janalee Emmer, book review of “Fellow Men: Fantin-Latour and the Problem of the Group in Nineteenth-Century French Painting by Bridget Alsdorf.”

Andrea Truitt, book review of “Symbolist Art in Context by Michelle Facos.”

Andrew Eschelbacher, book review of “Rodin by Antoinette Le Normand-Romain.”

Paul A. Ranogajec, book review of “The Arts and Crafts Movement in Scotland: A History by Annette Carruthers.”

Janet Whitmore, book review of “Forging Authenticity: Bastianini and the Neo-Renaissance in Nineteenth-century Florence, Arte e Archeologia Studi e Documenti 32 by Anita Fiderer Moskowitz.”

Petra ten-Doesschate Chu, exhibition review of “Goddess, Heroine, Beast: Anna Hyatt Huntington’s New York Sculpture, 1902–1936.”

Kylynn Jasinski, exhibition review of “Il était une fois l’Orient Express.”

Etienne Tornier, exhibition review of “Clémenceau, le Tigre et l'Asie.”

Jane Van Nimmen, exhibition review of “Joseph Vitta: Passion de collection.”

Gabriel P. Weisberg, exhibition review of “Gustave Doré (1832–1883): Master of Imagination.”

Keri Yousif, exhibition review of “Face to Face: The Neo-Impressionist Portrait, 1886–1904.”

Jon Whiteley, exhibition review of “Max Liebermann und die Schweiz.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Elizabeth Buhe, with David Eisenberg, Nicholas Fischer, Daniel Suo, “Sculpted Glyphs: Egypt and the Musée Charles X.”

Elizabeth Buhe, “Sculpted Glyphs: Egypt and the Musée Charles X,” in Elizabeth Buhe et al., “Sculpted Glyphs: Egypt and the Musée Charles X.”

Elizabeth Buhe, “Sculpted Glyphs: Egypt and the Musée Charles X: Primary Sources,” in Elizabeth Buhe et al., “Sculpted Glyphs: Egypt and the Musée Charles X.”

Elizabeth Buhe, with David Eisenberg, Nicholas Fischer, Daniel Suo, “Sculpted Glyphs: Egypt and the Musée Charles X: Project Narrative,” in Elizabeth Buhe et al., “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, “‘From the Smallest Fragment’: The Archaeology of the Doré Bible.”

Erin Dusza, “Pan-Slavism in Alphonse Mucha’s Slav Epic.”

Susan Waller, “Jean-Léon Gérôme’s Nude (Emma Dupont): The Pose as Praxis.”

Leslie Anne Anderson-Perkins, “The Forgotten Pendant of Christian August Lorentzen’s Model School at the Academy.”

Barry Shifman, “Letter to the Editor.”

Jane Van Nimmen, “Henry van de Velde Year in Germany and Belgium: Part Two.”

Bridget Alsdorf, book review of “The Liberation of Painting: Modernism and Anarchism in Avant-Guerre Paris by Patricia Leighten.”

Annika Johnson, book review of “Illusions in Motion: Media Archaeology of the Moving Panorama and Related Spectacles by Erkki Huhtamo.”

Marjorie Munsterberg, book review of “Mr. Collier's Letter Racks: A Tale of Art and Illusion at the Threshold of the Modern Information Age by Dror Wahrman.”

Caterina Y. Pierre, book review of “Funerary Arts and Tomb Cult, Living with the Dead in France, 1750–1870 by Susanne Glover Lindsay.”

Gabriel P. Weisberg, book review of “Travel, Collecting, and Museums of Asian Art in Nineteenth-Century Paris by Ting Chang.”

Deborah Ultan Boudewyn, book review of “Brush & Shutter: Early Photography in China by Jeffrey W. Cody and Frances Terpak, eds..”

Elizabeth K. Mix, book review of “Doctored: the Medicine of Photography in Nineteenth-Century America by Tanya Sheehan.”

Caren Yglesias, book review of “The Best Planned City in the World: Olmsted, Vaux, and the Buffalo Park System by Francis R. Kowsky.”

Thijs Dekeukeleire, exhibition review of “Masculine / Masculine: The Nude Man in Art from 1800 to the Present Day.”

Caterina Y. Pierre, exhibition review of “David d’Angers: Making The Modern Monument.”

Marjan Sterckx, exhibition review of “Félicie de Fauveau. L’amazone de la sculpture (1801–1886).”

Jane Van Nimmen, exhibition review of “Japonismo: La fascinación por el arte japonés.”

Janet Whitmore, exhibition review of “Impressionism, Fashion, and Modernity.”

Isabel L. Taube, exhibition review of “The Armory Show at 100: Modern Art and Revolution.”

Theresa Leininger-Miller, exhibition review of “Daguerre’s Sole Extant Diorama, Recently Restored.”

Micheline Nilsen, exhibition review of “Reinstallation of the Nineteenth-Century Gallery: Snite Museum of Art.”

Sarah Sik, “Mackintosh Architecture website at The Hunterian.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Elizabeth Melanson, “The Influence of Jewish Patrons on Renoir’s Stylistic Transformation in the Mid-1880s.”

Steven R. Adams, “‘Noising things abroad’: Art, Commodity, and Commerce in Post-Revolutionary Paris.”

J. H. Lesher, “The Philosophical Aspects of Jean Delville’s L’Ecole de Platon.”

Jessica Dallow, “Antebellum Sports Illustrated: Representing African Americans in Edward Troye’s Equine Paintings.”

Denise-Chloe Alevizou, “‘Improved Byzantine Art’ in Crete and the Cretan Question: A Case Study.”

Corina Weidinger, “Fatigue, Machinisme, and Visual Spectacle in Maximilien Luce’s L’Aciérie.”

Kirsten M. Jensen, “Seeing in Stereo: Albert Bierstadt and the Stereographic Landscape.”

Emily M. Weeks, “Oil and Water: (Re)Discovering John Frederick Lewis (1804–76).”

Nikki Otten, book review of “Picasso and the Mysteries of Life: La Vie by William H. Robinson.”

Brittany M. Hudak, book review of “Painted Men in Britain, 1868–1918: Royal Academicians and Masculinities by Jongwoo Jeremy Kim.”

Jessica L. Fripp, book review of “The Perfect Foil: François-André Vincent and the Revolution in French Painting by Elizabeth C. Mansfield.”

Gabriel P. Weisberg, book review of “Cléo de Mérode and the Rise of Modern Celebrity Culture by Michael D. Garval.”

Isabel L. Taube, book review of “Shipwreck!: Winslow Homer and ‘The Life Line’ by Kathleen A. Foster.”

Taylor J. Acosta, book review of “Thomas Eakins and the Uses of History by Akela Reason.”

Elizabeth K. Mix, book review of “Citizen Spectator: Art, Illusion & Visual Perception in Early National America by Wendy Bellion.”

Edward J. Olszewski, exhibition review of “Picasso and the Mysteries of Life: La Vie.”

Peter Clericuzio, exhibition review of “Henri Labrouste: Structure Brought to Light.”

Laurinda S. Dixon, exhibition review of “Pre-Raphaelites:Victorian Art and Design, 1848–1900.”

Alice M. Rudy Price, exhibition review of “A World Apart: Anna Ancher and the Skagen Art Colony.”

Janet Whitmore, exhibition review of “L’Art Nouveau: La Révolution Décorative.”

Gretchen Sinnett, exhibition review of “Angels and Tomboys: Girlhood in 19th-Century American Art.”

Caterina Y. Pierre, exhibition review of “Nel segno della Libertà, Gli artisti François (1784-1855) e Sophie (1797-1867) Rude.”

Caterina Y. Pierre, exhibition review of “Dalou: Le sculpteur de la République.”

Jane Van Nimmen, “Henry van de Velde Year in Germany and Belgium: Part One.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Therese O’Malley and Kathryn R. Barush, with Emily Pugh, Jessica Ruse, Courtney Tompkins, “‘In the Park’: Lewis Miller’s Chronicle of American Landscape at Mid-Century.”

Maya Jiménez, “Modernism and the Nude in Colombian Art.”

Nancy M. Thompson, “The Immaculate Conception Window in Santa Croce and the Catholic Revival in Nineteenth-Century Florence.”

Lauren S. Weingarden, “Imaging and Imagining the French Peasant: Gustave Courbet and Rural Physiologies.”

Mey-Yen Moriuchi, “From ‘Les types populaires’ to ‘Los tipos populares’: Nineteenth-Century Mexican Costumbrismo.”

Marguerite V. Hodge, “Enigmatic Bodies: Dolls and the Making of Japanese Modernity.”

Clive F. Getty, “Author’s response to review of The Diary of J. J. Grandville and the Missouri Album: The Life of an Opposition Caricaturist and Romantic Book Illustrator in Paris under the July Monarchy.”

Jennifer Jane Marshall, book review of “Henry Ossawa Tanner: Modern Spirit (catalogue) by Anna O. Marley, ed..”

Gabriel P. Weisberg, book review of “Alfred Jarry: A Pataphysical Life by Alastair Brotchie.”

Christina Michelon, book review of “American Painters on Technique: The Colonial Period to 1860 by Lance Mayer and Gay Myers.”

Gabriel P. Weisberg, book review of “Jacques-Emile Blanche by Jane Roberts.”

Elizabeth Mansfield, book review of “David to Delacroix: The Rise of Romantic Mythology by Dorothy Johnson.”

Sarah Schaefer, exhibition review of “Max Klinger – Le théâtre de l’étrange, Les suites gravées, 1879–1915.”

Alison McQueen, exhibition review of “Il était une fois...l'impressionisme: Chefs d'œuvre de la peinture française du Clark / Once Upon a Time...Impressionism: Great French Paintings from the Clark.”

Marjorie Schreiber Kinsey, exhibition review of “Breaking the Mold.”

Rachel Esner, exhibition review of “Vincent: The Van Gogh Museum in the Hermitage Amsterdam.”

Debra J. DeWitte, exhibition review of “Misia: Queen of Paris.”

Jane Van Nimmen, exhibition review of “Hammershoi and Europe.”

Janet Whitmore, exhibition review of “Impressions of Interiors: Gilded Age Paintings by Walter Gay.”

Janet Whitmore, exhibition review of “Inventing the Modern World: Decorative Arts at the World’s Fairs, 1851–1939.”

Theresa Leininger-Miller, exhibition review of “Henry Ossawa Tanner: Modern Spirit (exhibition).”

Jane Van Nimmen, “Klimt Year in Vienna, Part Two.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Pamela Fletcher and Anne Helmreich, with David Israel, Seth Erickson, “Local/Global: Mapping Nineteenth-Century London's Art Market.”

Jo Briggs, “‘The Old Feelings of Men in a New Garment’: John Everett Millais’s A Huguenot and Masculine Audiences in the Mid-Nineteenth Century.”

Chelsea Foxwell, “Crossings and Dislocations: Toshio Aoki (1854–1912), A Japanese Artist in California.”

Gry Hedin, “Representing Evolution: Jens Ferdinand Willumsen’s Fertility and the Natural Sciences.”

Nancy Locke, “The Radical Style and Local Context of Cézanne’s Mary Magdalen (Sorrow).”

Romita Ray, “Misty Mediations: Spectral Imaginings and the Himalayan Picturesque.”

Philippe Willems, “Between Panoramic and Sequential: Nadar and the Serial Image.”

Jan Dirk Baetens , “An Unknown Flemish Interior in the Fourteenth Century by Lawrence Alma-Tadema.”

Camelia Errouane, book review of “Empress Eugénie and the Arts: Politics and Visual Culture in the Nineteenth Century by Alison McQueen.”

Gabriel P. Weisberg, book review of “Robert Koehler's The Strike by James M. Dennis.”

Theresa Leininger-Miller, book review of “In Search of Julien Hudson: Free Artist of Color in Pre-Civil War New Orleans by William Keyse Rudolph and Patricia Brady, eds..”

Sarah Sik, book review of “The Brush and the Pen Odilon Redon and Literature by Dario Gamboni.”

Caterina Y. Pierre, book review of “Remaking Race and History: The Sculpture of Meta Warrick Fuller by Renée Ater.”

David J. O'Brien, book review of “Eugène Delacroix, Journal by Michèle Hannoosh, ed..”

Isabel Taube, exhibition review of “The American Wing Galleries at the Metropolitan Museum of Art.”

Jana Wijnsouw, exhibition review of “Ford Madox Brown Pre-Raphaelite Pioneer.”

Inessa Kouteinikova, exhibition review of “The Peredvizhniki Pioneers of Russian Painting.”

Alba Campo Rosillo, exhibition review of “Snapshot: Painters and Photography, 1888-1915.”

Alba Campo Rosillo, exhibition review of “George Hendrik Breitner: Pioneer of Street Photography.”

Caterina Y. Pierre, exhibition review of “Lorenzo Bartolini scultore del bello naturale.”

Gabriel P. Weisberg, exhibition review of “Milcendeau le maitre des regards.”

Lisa Smit, exhibition review of “Minne-Maeterlinck The World of George Minne and Maurice Maeterlinck.”

Patricia Mainardi, exhibition review of “Infinite Jest Caricature from Leonardo to Levine.”

Annika K. Johnson, exhibition review of “Osman Hamdi Bey and the Americans: Archaeology, Diplomacy, Art.”

Jane Van Nimmen, “Klimt Year in Vienna, Part One.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Katie Hanson, “Jean-Baptiste Regnault’s Three Graces and the Winckelmannian Female Nude.”

Christian Huemer, “‘Une exposition (in)complète’: Courbet in Vienna, 1873.”

Véronique Chagnon-Burke, “Rue Laffitte: Looking at and Buying Contemporary Art in Mid-Nineteenth- Century Paris.”

Craig Houser, “Disharmony and Discontent: Reviving the American Art-Union and the Market for United States Art in the Gilded Age.”

Nora M. Heimann, “Spinner or Saint: Context and Meaning in Gauguin’s First Fresco.”

Rachel Esner, “Visiting Delaroche and Diaz with L'Illustration.”

Joyce C. Polistena, “The Image of Mary of the Miraculous Medal: A Valiant Woman.”

Derin Tanyol, “‘Stone, the Most Perfect of Surfaces’: Bolton Brown in the Sierra and Woodstock.”

Caterina Y. Pierre, “Louis-Ernest Barrias and Modern Allegories of Technology.”

Leanne Zalewski, “Art for the Public: William Henry Vanderbilt’s Cultural Legacy.”

Heather Lemonedes, “‘Graceful in the Extreme’: A Neoclassical drawing by John Flaxman.”

Sally Webster, “Patricia Mainardi, Mentor and Educator: Her Years at the CUNY Graduate Center.”

Elizabeth Mansfield, “Patricia Mainardi, Founder of AHNCA.”

Amira Zahid, “Patricia Mainardi and the Dahesh Museum of Art.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Tania Woloshyn, “Aesthetic and Therapeutic Imprints: Artists and Invalids­­ on the Côte d'Azur, ca. 1890–1910.”

Joan E. Greer, “Johan Thorn Prikker’s Mural for De Zeemeeuw: Community Art, Mysticism, and the Socio-Religious Role of the Dutch Artist/Designer.”

Andrea Korda, “‘The Streets as Art Galleries’: Hubert Herkomer, William Powell Frith, and the Artistic Advertisement.”

Karl Whittington, “Caspar David Friedrich's Medieval Burials.”

Chloé Pirson, “Auguste Rodin’s Bust of the Belgian Physician Jules-Adrien Thiriar (1846–1913).”

Casey Trittipo, book review of “Cultural Contact and the Making of European Art since the Age of Exploration edited by Mary D. Sheriff.”

Petra ten-Doesschate Chu, book review of “Correspondance entre Henri Fantin-Latour et Otto Scholderer (1858–1902) edited by Mathilde Arnoux, Thomas W. Gaehtgens, and Anne Tempelaere-Panzani.”

Jason Vrooman, book review of “The Nabis and Intimate Modernism: Painting and the Decorative at the Fin-de-Siècle by Katherine M. Kuenzli.”

Mary Dailey Pattee, book review of “Monet by Ségolène Le Men.”

Séverine Sofio, book review of “Le Suicide de Gros: Les peintres de l’Empire et la génération romantique by Sébastien Allard and Marie-Claude Chaudonneret.”

Erica Morawski, book review of “Hotel Dreams: Luxury, Technology, and Urban Ambition in America, 1829–1929 by Molly W. Berger.”

Anne Helmreich, book review of “The Development of the Art Market in England: Money as Muse, 1730–1900 by Thomas M. Bayer and John R. Page.”

Jane Van Nimmen, exhibition review of “Portraits of the Belle Epoque.”

Alba Campo Rosillo, exhibition review of “Russia's Unknown Orient: Orientalist Painting 1850–1920.”

Gabriel P. Weisberg, exhibition review of “Toulouse-Lautrec and Jane Avril, Beyond the Moulin Rouge.”

Jane Van Nimmen, exhibition review of “Makart: Painter of the Senses.”

Katie Hornstein, exhibition review of “Dans l'intimité des frères Caillebotte, peintre et photographe.”

André Dombrowski, exhibition review of “Manet, inventeur du Moderne.”

James H. Rubin, exhibition review of “The New Courbet Museum Opening and Exhibition, Courbet/Clésinger.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Jacqueline Marie Musacchio, “Infesting the Galleries of Europe: The Copyist Emma Conant Church in Paris and Rome.”

Anne Leonard, Gilles Genty, Petra ten-Doesschate Chu, “Responses to ‘Young Woman Lying on a Meadow Looking at Swans: A Riddle for NCAW Readers’.”

Paolo Tortonese, “A Nineteenth-Century Copy of Giovanni Bellini’s Madonna degli alberetti: from the Collection of Théophile Gautier.”

Sylvain Cordier, “Two Parisian Porcelain-mounted Tables by Louis-François Bellangé.”

Gloria Groom, “Henri de Toulouse-Lautrec’s Au Cirque: Ecuyère (At the Circus: The Bareback Rider).”

Anja Butenschön, “Remembering the Past in Restoration France: An Expiatory Chapel for Marie-Antoinette.”

Scott C. Allan, book review of “William Bouguereau by Damien Bartoli, with Frederick C. Ross.”

John P. Lambertson, book review of “Le Salon de 1827: Classique ou romantique? by Eva Bouillo.”

Marjorie Munsterberg, book review of “The Hare with Amber Eyes: A Family's Century of Art and Loss by Edmund de Waal.”

Cheryl K. Snay, book review of “The Diary of J. J. Grandville and the Missouri Album: The Life of an Opposition Caricaturist and Romantic Book Illustrator in Paris under the July Monarchy by Clive F. Getty.”

Philip Walsh, book review of “Pierre Puvis de Chavannes by Aimee Brown Price.”

Laurinda Dixon, book review of “A Touch of Blossom: John Singer Sargent and the Queer Flora of Fin-de-Siècle Art by Alison Syme.”

Sally Webster, exhibition review of “The Art of the Americas Wing, Museum of Fine Arts, Boston.”

Caterina Y. Pierre, exhibition review of “Degas, Sculpteur (1834–1917): Un exceptionnel Orsay hors les murs.”

Alba Campo Rosillo, exhibition review of “Johan Thorn Prikker, De Jugendstil voorbij (Beyond Art Nouveau).”

Gabriel P. Weisberg, exhibition review of “Jean-Louis Forain (1852–1931), ‘La Comédie parisienne’.”

Theresa Leininger-Miller, exhibition review of “An American Journey: The Life and Photography of James Presley Ball.”

Marjorie Schreiber Kinsey, exhibition review of “Nineteenth-Century Landscape Photographers in the Americas: Artists, Journeymen or Entrepreneurs?.”

Yvonne M.L. and Gabriel P. Weisberg, exhibition review of “Japanese Cloisonne: The Seven Treasures, Enamels from the V & A and the Edwin Davies Gift.”

Karen Pope, exhibition review of “The Orient Expressed: Japan's Influence on Western Art: 1854–1918.”

Jane Van Nimmen, exhibition review of “De Delacroix a Kandinsky: L’Orientalisme en Europe.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Chris Coltrin, “Picturing Political Deliverance: Three Paintings of the Exodus by John Martin, Francis Danby, and David Roberts.”

Kirk Ambrose, “Viollet-le-Duc's Judith at Vézelay: Romanesque Sculpture Restoration as (Nationalist) Art.”

Peter Clericuzio, “Modernity, Regionalism, and Art Nouveau at the Exposition Internationale de l'Est de la France, 1909.”

Thor J. Mednick, “Danish Internationalism: Peder Severin Krøyer in Copenhagen and Paris.”

Patricia Mainardi, “From Popular Prints to Comics.”

Will South, “Response: Reply to George Dimock and Naurice Frank Woods' ‘Affirming Blackness: A Rebuttal to Will South's 'A Missing Question Mark: The Unknown Henry Ossawa Tanner'’.”

Petra ten-Doesschate Chu, “Young Woman Lying on a Meadow Looking at Swans: A Riddle for NCAW Readers.”

Marjorie Munsterberg, book review of “Vistas de Espana: American Views of Art and Life in Spain, 1860–1914 by M. Elizabeth Boone.”

Taylor J. Acosta, book review of “Victoria & Albert: Art & Love edited by Jonathan Marsden.”

Rachel Esner, book review of “Vincent van Gogh. Die Gemälde, 1886-1890. Händler, Sammler, Ausstellungen. Frühe Provenienzen by Walter Feilchenfeldt; Erinnerungen an Vincent van Gogh, En face – Texte von Augenzeugen edited by Malte Lohmann.”

Petra ten-Doesschate Chu, book review of “The Poetic Home: Designing the 19^th-Century Domestic Interior by Stefan Muthesius.”

Janet Whitmore, book review of “Monet and His Muse: Camille Monet in the Artist’s Life by Mary Mathews Gedo.”

Elizabeth Fowler, book review of “The Influence of Japanese Art on Design by Hannah Sigur.”

Jane Van Nimmen, book review of “Illusions of Reality: Naturalist Painting, Photography, Theatre and Cinema, 1875–1918 by Gabriel P. Weisberg.”

Elizabeth Mix, book review of “Accessories to Modernity: Fashion and the Feminine in Nineteenth-Century France by Susan Hiner.”

Katie Hornstein and Caty Telfair, exhibition review of “Claude Monet, 1840–1926.”

Fred Leeman, exhibition review of “Dutch Utopia: American Artists in Holland, 1880–1914.”

Sietske Roorda, exhibition review of “Menzel’s Extreme Realism.”

Caterina Y. Pierre, exhibition review of “Illusions of Reality: Naturalist Painting, Photography and Cinema, 1875–1918.”

Marc Fehlmann, exhibition review of “Corot en Suisse.”

Alison McQuenn, exhibition review of “Alexandre Cabanel: La Tradition du Beau.”

James Rubin, “Normandie impressionniste: An Art-Historical Travelogue.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Lela Graybill, “A Proximate Violence: Madame Tussaud's Chamber of Horrors.”

Aileen Tsui, “Whistler's La Princesse du pays de la porcelaine: Painting Re-Oriented.”

Lauren M. O'Connell, “Layered Encounters in the Cross-Cultural Text: Demidov's Voyage dans la Russie méridionale.”

Keren Rosa Hammerschlag, “‘Nature straight from God’ or ‘galvanised mummy’?: Resurrecting Classicism in Frederic Leighton's And the Sea Gave Up the Dead Which Were In It.”

Marijke Jonker, “‘Crowned, and Discrowned and Decapitated’: Delacroix's The Execution of the Doge Marino Faliero and its Critics.”

Naurice Frank Woods and George Dimock, “Affirming Blackness: A Rebuttal to Will South's ‘A Missing Question Mark꞉ The Unknown Henry Ossawa Tanner’.”

Sjraar van Heugten, “Vincent van Gogh's The Blute-fin Mill.”

Marilyn R. Brown, book review of “Cézanne's Other: The Portraits of Hortense by Susan Sidlauskas.”

Laurinda S. Dixon, book review of “The Gargoyles of Notre-Dame: Medievalism and the Monsters of Modernity by Michael Camille.”

Laura Morowitz, book review of “Symbolist Objects: Symbolism and Subjectivity in the Fin de Siècle edited by Claire I. R. O'Mahoney.”

Marc Fehlmann, book review of “James Pradier (1790–1852) et la sculpture française de la génération romantique: Catalogue Raisonné by Claude Lapaire.”

Petra ten-Doesschate Chu, book review of “Vincent van Gogh, The Letters: the Complete Illustrated and Annotated Edition edited by Leo Jansen, Hans Luijten, and Nienke Bakker.”

Marsha Morton, exhibition review of “Edvard Munch und das Unheimliche (Edvard Munch and the Uncanny).”

Jane Van Nimmen, exhibition review of “Fernand Pelez (1848–1913): La parade des humbles.”

Gabriel P. Weisberg, exhibition review of “La Belle Époque de Jules Chéret: de l'Affiche au décor.”

Randy Innes, exhibition review of “Nineteenth-Century French Photographs from the National Gallery of Canada.”

Caterina Y. Pierre, exhibition review of “Matisse & Rodin.”

Gabriel P. Weisberg, exhibition review of “The Spectacular Art of Jean-Léon Gérôme (1824–1904).”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Susan Waller, “Fin de partie: A Group of Self-Portraits by Jean-Léon Gérôme.”

Annah Kellogg-Krieg, “‘The Fresh Breeze of a Modern Attitude towards Building’: Christoph Hehl's Neo-Romanesque Rosary Church in Berlin Steglitz (1899–1900).”

Robert Machado, “The Politics of Applied Color in Early Photography.”

Thomas M. Bayer and John Page, “Arthur Tooth: A London Art Dealer in the Spotlight, 1870–71.”

Ray Hernández-Durán, “Modern Museum Practice in Nineteenth-Century Mexico: The Academy of San Carlos and la antigua escuela mexicana.”

Petra ten-Doesschate Chu, “Eduard Charlemont's Artist in his Studio.”

Anthony White, book review of “Avant-Garde Fascism: The Mobilisation of Myth, Art, and Culture in France, 1909–1939 by Mark Antliff.”

Theresa Leininger-Miller, book review of “Bessie Potter Vonnoh: Sculptor of Women by Julie Aronson, with an essay by Janis Conner.”

James H. Rubin, exhibition review of “Armand Guillaumin (1841–1927).”

Sura Levine, exhibition review of “James Ensor.”

Caterina Y. Pierre, exhibition review of “Dalou in England: Portraits of Womanhood, 1871–1879.”

Marjan Sterckx, exhibition review of “Alfred Stevens.”

Rachel Esner, exhibition review of “Van Gogh's Letters. The Artist Speaks.”

Simon Kelly, exhibition review of “The Lens of Impressionism: Photography and Painting along the Normandy Coast, 1850–1874.”

Petra ten-Doesschate Chu, exhibition review of “James Tissot: ‘The Life of Christ’.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Scott Allan, “Gustave Moreau's ‘Archeological Allegory’.”

Ann Elias, “Fantin-Latour in Australia.”

Will South, “A Missing Question Mark: The Unknown Henry Ossawa Tanner.”

Andrew Eschelbacher, “Environment of Memory: Paris and Post-Commune Angst.”

Serena Keshavjee, “Natural History, Cultural History, and the Art History of Elie Faure.”

Patrick Noon, “A Reduced Version of Ary Scheffer's Christ Consolator.”

Paige A. Conley, exhibition review of “Catesby, Audubon, and the Discovery of a New World: Prints of the Flora and Fauna of America.”

Marc Fehlmann, book review of “Ferdinand Hodler: Catalogue Raisonné der Gemälde, Die Landschaften by Oskar Bätschmann and Paul Müller, with contributions by Regula Bolleter.”

Gabriel P. Weisberg, book review of “George de Forest Brush, The Indian Paintings by Nancy K. Anderson.”

Alison McQueen, book review of “L’Empereur et les arts: La liste civile de Napoléon III by Catherine Granger.”

Elizabeth Mansfield, book review of “Painting the Difference: Sex and Spectator in Modern Art by Charles Harrison.”

Patricia Mainardi, exhibition review of “Endless Forms: Charles Darwin, Natural Science and the Visual Arts.”

Philippa Kaina, exhibition review of “Edgar Degas: Intimität und Pose.”

Jane Van Nimmen, exhibition review of “Alfons Mucha.”

Jennifer Jane Marshall, exhibition review of “Noble Dreams & Simple Pleasures: American Masterworks from Minnesota Collections.”

Theresa Leininger-Miller, exhibition review of “Bessie Potter Vonnoh: Sculptor of Women.”

Janet Whitmore, exhibition review of “Becoming Edvard Munch: Influence, Anxiety, and Myth.”

Caroline Boyle-Turner, exhibition review of “Henri Rivière: Entre impressionisme et japonisme.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Pamela J. Warner, “Compare and Contrast: Rhetorical Strategies in Edmond de Goncourt's Japonisme.”

Joni Spigler, “Making Matter Make Sense in Cézanne’s Still Lifes with Plaster Cupid.”

Ruth E. Iskin, “Identity and Interpretation: Receptions of Toulouse-Lautrec’s Reine de joie Poster in the 1890s.”

Simon Kelly, “Théodore Rousseau’s View of Mont Blanc, Seen from La Faucille .”

Marnin Young, book review of “Impressionism and the Modern Landscape: Productivity, Technology, and Urbanization from Manet to Van Gogh by James H. Rubin.”

Francesca Bavuso, book review of “Modern Women and Parisian Consumer Culture in Impressionist Painting by Ruth E. Iskin.”

Elizabeth Mix, book review of “The New Bibliopolis: French Book Collectors and the Culture of Print, 1880-1914 by Willa Z. Silverman.”

Elizabeth Mansfield, book review of “Courbet by Ségolène Le Men.”

Elizabeth Mansfield, book review of “Art in an Age of Civil Struggle, 1848-1871; and Revelation of Modernism: Responses to Cultural Crises in Fin-de-Siècle Painting, both by Albert Boime.”

Ellen McBreen, exhibition review of “Matisse: Painter as Sculptor.”

Marjan Sterckx, exhibition review of “Constantin Meunier in Sevilla. De andalusische ouverture.”

Kathryn Brown, exhibition review of “Échappées nordiques: Scandinavian and Finnish Artists in France, 1870-1914.”

Caterina Y. Pierre, exhibition review of “Henry de Triqueti (1803-1874), scultore dei Principi.”

Janet Whitmore, exhibition review of “Art in the Age of Steam: Europe, America and the Railway, 1830-1960.”

Jane Van Nimmen, exhibition review of “Van Gogh: Heartfelt Lines.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Nina Athanassoglou-Kallmyer, “Excavating Greece: Classicism between Empire and Nation in Nineteenth-Century Europe.”

Greg M. Thomas, “The Looting of Yuanming and the Translation of Chinese Art in Europe.”

Maria P. Gindhart, “Fleshing Out the Museum: Fernand Cormon’s Painting Cycle for the New Galleries of Comparative Anatomy, Paleontology, and Anthropology.”

Annette Stott, “The Baby-in-a-Half-Shell: A Case Study in Child Memorial Art of the Late Nineteenth Century.”

Marjan Sterckx, “The Invisible ‘Sculpteuse’: Sculptures by Women in the Nineteenth-century Urban Public Space—London, Paris, Brussels.”

Frances Van Keuren, “Unpublished Drawings by Thomas Hope and Henry Moses in the Gennadius Library, Athens.”

Rachel Esner, book review of “Nationalism and French Visual Culture, 1870-1914 by June Hargrove and Neil McWilliam, eds..”

Joel Hollander, book review of “Victor Regnault and the Advance of Photography: The Art of Avoiding Errors by Laurie Dahlberg.”

Michael Marlais, book review of “Current Issues in 19th-Century Art: Van Gogh Studies 1 by Dr. Chris Stolwijk, editor.”

Mary Morton, exhibition review of “Gustave Courbet.”

Gabriel P. Weisberg, exhibition review of “Barcelona 1900.”

Adrian R. Duran, exhibition review of “Ottocento: da Canova al Quarto Stato.”

Sabina Fogle, with Gabriel P. Weisberg and Janet Whitmore, exhibition review of “Goya Graveur.”

Theresa Leininger-Miller, exhibition review of “Vanishing Frontier: Rookwood, Farny, and the American Indian.”

Caterina Y. Pierre, exhibition review of “La matière de l’étrange, Jean Carriès (1855-1894).”

Isabel Valverde, exhibition review of “El siglo XIX en el Prado.”

Sabina Fogle, with Gabriel P. Weisberg and Janet Whitmore, exhibition review of “Daumier: L’écriture du lithographe.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Michael Garval, “Cléo de Mérode's Postcard Stardom.”

Robin Nicholson, “Lochaber No More—Landscape, Emigration and the Scottish Artist 1849–1895.”

Scott C. Allan, “Interrogating Gustave Moreau's Sphinx: Myth as Artistic Metaphor in the 1864 Salon.”

Sally Webster, “Pierre-Charles L'Enfant and the Iconography of Independence.”

Gina Greene, “Reflections of Desire: Masculinity and Fantasy in the Fin-de-Siècle Luxury Brothel.”

Mary G. Morton, exhibition review of “New Discoveries: Théodore Rousseau's Forest of Fontainebleau.”

Caterina Pierre, exhibition review of “Elegant // Expressiv: Von Houdon bis Rodin, Französische Plastik des 19. Jahrhunderts.”

Gabriel P. Weisberg, exhibition review of “Jean-Jacque Henner Face à l'Impressionnisme, Le dernier des romantiques.”

Theresa Leininger-Miller, exhibition review of “Hiram Powers: Genius in Marble.”

Marjan Sterckx, exhibition review of “Helene Schjerfbeck: Het geheim van Finland.”

Michael Dorsch, exhibition review of “Georges Seurat: The Drawings.”

Patricia Mainardi, exhibition review of “Déjà Vu? Revealing Repetition in French Masterpieces.”

Amy Freund, book review of “The Painted Face: Portraits of Women in France, 1814–1914 by Tamar Garb.”

Susan Waller, book review of “Model and Supermodel: The Artist's Model in British Art and Culture by Jane Desmarais, Martin Postle, and William Vaughan, eds..”

Radha Dalal, book review of “Odalisques and Arabesques: Orientalist Photography, 1839–1925 by Ken Jacobson.”

Joel Hollander, book review of “Victorian and Edwardian Responses to the Italian Renaissance by John E. Law and Lene Østermark-Johansen, eds..”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Alastair Ian Wright, “Ford Madox Brown's The Body of Harold: Representing England at Mid-Century.”

Anna Brzyski, “What's in a Name? Artist-Run Exhibition Societies and the Branding of Modern Art in Fin-de-Siècle Europe.”

Regina Freyberger, “Moritz von Schwind's Cinderella (1852–1854): The Beginning of Fairy Tale Painting and Aspects of Marketing Strategies in Germany's Art Scene.”

Dominique Morel, “The Cabinet of Alessandri and Son at the Paris Universal Exhibition of 1867.”

Brooks Beaulieu, exhibition review of “Portraits publics, portraits privés.”

Isabel Taube, exhibition review of “A New Light on Tiffany; and Louis Comfort Tiffany and Laurelton Hall.”

Leanne Zalewski, exhibition review of “Jules Bastien-Lepage (1848-1884).”

D.C. Rose, exhibition review of “René Lalique: Bijoux d'exception, 1890-1912.”

Janet Whitmore, exhibition review of “Biedermeier, The Invention of Simplicity.”

Jennifer Olmsted, book review of “After the Revolution: Antoine-Jean Gros, Painting and Propaganda by David O'Brien.”

Astrid Liverman, book review of “Der Moderne Stil / The Modern Style: Jugendstil / Art Nouveau, 1899-1905 by Julius Hoffmann, ed..”

Alison McQueen, book review of “La Collection La Caze: Chefs-d'oeuvre des peintures des XVII et XVIII siècles du musée du Louvre by Guillaume Faroult and Sophie Eloy et al.”

Janis Bergman-Carton, book review of “The Most Arrogant Man in France: Gustave Courbet and the Nineteenth-Century Media Culture by Petra ten-Doesschate Chu.”

Robert Goldstein, “New sources on nineteenth-century caricature.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Patricia Mainardi, “The Invention of Comics.”

Christina Bradstreet, “‘Wicked with Roses’: Floral Femininity and the Erotics of Scent.”

Pamela M. Fletcher, “Creating the French Gallery: Ernest Gambart and the Rise of the Commercial Art Gallery in Mid-Victorian London .”

Margaret A. Oppenheimer, “‘The Charming Spectacle of a Cadaver’: Anatomical and Life Study by Women Artists in Paris, 1775–1815.”

Rachel Rossner, “‘The secessionists are the Croats. They've been given their own pavilion. . .’: Vlaho Bukovac's Battle for Croatian Autonomy at the 1896 Millennial Exhibition in Budapest.”

Nina Athanassoglou-Kallmyer, “An American Copy of Géricault's Raft of the Medusa?.”

John Sillevis, “Auguste Bonheur's La Sortie du pâturage (The Return from the Pasture), 1861.”

Rachel Esner, book review of “The Troubled Republic: Visual Culture and Social Debate in France, 1889–1900 by Richard Thomson.”

Sarah Sik, book review of “Evil by Design: The Creation and Marketing of the Femme Fatale by Elizabeth K. Menon.”

Erica Warren, book review of “The Invisible Flâneuse?: Gender, Public Space, and Visual Culture in Nineteenth-Century Paris by Aruna D'Souza and Tom McDonough, eds..”

Martha Lucy, exhibition review of “Henri Rousseau: Jungles in Paris.”

Alison McQueen, exhibition review of “Rebels and Martyrs: The Image of the Artist in the Nineteenth Century.”

Caterina Pierre, exhibition review of “An American in Switzerland: Augustus Saint-Gaudens (1848 – 1907): scultore Americano dell'Età d'Oro at the Museo Vincenzo Vela.”

Isabel Taube, exhibition review of “Americans in Paris, 1860–1900.”

Jane Block, exhibition review of “Théo Van Rysselberghe.”

D. C. Rose, exhibition review of “Pierre Loti, Fantômes d'Orient.”

Gabriel P. Weisberg, exhibition review of “Roger Marx: un critique aux côtés de Gallé, Monet, Rodin, Gauguin. . ..”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Marni Reva Kessler, “Ocular Anxiety and the Pink Tea Cup: Edgar Degas's Woman with Bandage.”

Laura Morowitz, “A Home is a Woman's Castle: Ladies' Journals and Do-It-Yourself Medievalism in Fin-de-Siècle France.”

Paige A. Conley, “Fumeuse de Haschisch: Emile Bernard in Egypt.”

Catherine McNickle Chastain, “Louis Eilshemius's ‘Svengali-Like Stare’: Mesmerism and the Artist's Figurative Paintings.”

Pierre-Lin Renié, “The Image on the Wall: Prints as Decoration in Nineteenth-Century Interiors.”

Petra ten-Doesschate Chu, “Léon Fréderic's Le Grand-Père (The Grandfather), 1883.”

Julie L'Enfant, book review of “French Art in Nineteenth-Century Britain by Edward Morris.”

Janet Whitmore, book review of “Symbolism by Rodolphe Rapetti.”

Willa Z. Silverman, exhibition review of “Sarah Bernhardt: The Art of High Drama.”

Karen Kurczynski, exhibition review of “Edvard Munch: The Modern Life of the Soul and Edvard Munch: Symbolism in Print.”

Natasha Ruiz-Gómez, exhibition review of “Rodin. La main révèle l'homme.”

Adrienne Childs, exhibition review of “Portraits of a People: Picturing African Americans in the Nineteenth Century.”

Gabriel P. Weisberg, exhibition review of “Meunier and Bing.”

Marc Fehlmann, exhibition review of “Géricault. La Folie d'un Monde.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Therese Dolan, “En garde: Manet's Portrait of Emilie Ambre in the Role of Bizet's Carmen.”

Claire Black McCoy, “‘This man is Michelangelo’: Octave Mirbeau, Auguste Rodin and the Image of the Modern Sculptor.”

Heather Belnap Jensen, “The Journal des Dames et des Modes: Fashioning Women in the Arts, c. 1800-1815.”

Adrienne Kochman, “Ambiguity of Home: Identity and Reminiscence in Marianne Werefkin's Return Home, c. 1909.”

James H. Rubin, “  Eugène Delacroix's Portrait of Charles de Verninac, 1825-26  .”

Petra ten-Doesschate Chu, book review of “The Essence of Line: French Drawings from Ingres to Degas [exh cat] by William R. Johnston et al..”

Nancy Scott, book review of “Italian Memorial Sculpture, 1820-1940: A Legacy of Love by Sandra Berresford et al..”

Charles Stuckey, book review of “Cézanne and Provence: The Painter in His Culture by Nina Maria Athanassoglou-Kallmyer.”

Amy Von Lintel, book review of “The Rise of the Cult of Rembrandt: Reinventing an Old Master in Nineteenth-Century France by Alison McQueen.”

Gabriel P. Weisberg, exhibition review of “Gustave Doré, oeuvres de la collection du Musée d'Art Moderne et Contemporain de Strasbourg.”

Brooks Beaulieu, exhibition review of “Girodet (1767-1824).”

John Zarobell, exhibition review of “Jean Charles Langlois 1789-1870. Le Spectacle de l'histoire.”

Aimée Brown Price, exhibition review of “Gauguin's Vision.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Marc Fehlmann, “A Building from which Derived ‘All that is Good’: Observations on the Intended Reconstruction of the Parthenon on Calton Hill.”

Julie M. Johnson, “Writing, Erasing, Silencing: Tina Blau and the (Woman) Artist's Biography.”

Marijke Jonker, “‘This Deep, Great, and Religious Feeling’: Delécluze on History Painting and David.”

Nancy Siegel, “‘I never had so difficult a picture to paint’: Albert Bierstadt's White Mountain Scenery and The Emerald Pool.”

Sarah Burns, book review of “Eve's Daughter/Modern Woman: A Mural by Mary Cassatt by Sally Webster.”

Frances S. Connelly, book review of “Orientalism and Visual Culture: Imagining Mesopotamia in Nineteenth- Century Europe by Frederick N. Bohrer.”

Sarah Sik, book review of “The Arts and Crafts Movement in Europe and America: Design for the Modern World, 1880-1920 by Wendy Kaplan.”

Linda Gertner Zatlin, book review of “Japonisme in Britain: Whistler, Menpes, Henry, Hornel and nineteenth-century Japan by Ayako Ono.”

Jason T. Busch, exhibition review of “International Arts and Crafts.”

Phillip Dennis Cate, exhibition review of “The Origins of L'Art Nouveau: The Bing Empire.”

Daniel Harkett, exhibition review of “The Power of Conversation: Jewish Women and Their Salons.”

Janet Whitmore, exhibition review of “Toulouse-Lautrec and Montmartre.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Gabriel P. Weisberg, “Introduction: Tastemaking in the Age of Art Nouveau: The Role of Siegfried Bing.”

Annette Leduc Beaulieu and Brooks Beaulieu, “Crisis and Resolution in Vuillard's Search for Art Nouveau Unity in Modern Decoration: Sources for 'The Public Gardens'.”

Marjan Groot, “Siegfried Bing's Salon de L'Art Nouveau and the Dutch Gallery Arts and Crafts.”

Martin Eidelberg, “S. Bing and L.C. Tiffany: Entrepreneurs of Style.”

Elizabeth K. Menon, “The Functional Print in Commercial Culture: Henry Somm's Women in the Marketplace.”

Gabriel P. Weisberg, “Lost and Found: S. Bing's Merchandising of Japonisme and Art Nouveau.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Nancy Locke, “Manet's Oceanic Feeling.”

Robyn Roslak, “Symphonic Seas, Oceans of Liberty: Paul Signac's La Mer: Les Barques (Concarneau).”

Sarah Sik, “John Scott Bradstreet: the Minneapolis Crafthouse and the Decorative Arts Revival in the American Northwest.”

Leanne Zalewski, “Alexandre Cabanel's Portraits of the American 'Aristocracy' of the Early Gilded Age.”

Elizabeth Guffey, book review of “A History of Modern Design by David Raizman.”

Sarah Newman, book review of “Painting the Dark Side: Art and the Gothic Imagination in Nineteenth-Century America by Sarah Burns.”

Pamela J. Warner, book review of “De Grünewald à Menzel: L'Image de l'art allemand en France au XIXe siècle by Uwe Fleckner and Thomas W. Gaehtgens, eds..”

Marnin Young, book review of “Soil and Stone: Impressionism, Urbanism, Environment by Frances Fowle and Richard Thomson, eds..”

Brooks Beaulieu, exhibition review of “Dieux et Mortels: Les thèmes homériques dans les collections de l'École nationale supérieure des beaux-arts de Paris.”

Alan C. Braddock, exhibition review of “From Homer to the Harem: The Art of Jean Lecomte du Nouÿ.”

Sura Levine, exhibition review of “Fernand Khnopff (1858-1921).”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Susan Sidlauskas, “Emotion, Color, Cézanne (The Portraits of Hortense).”

Alan C. Braddock, “Painting the World's Christ: Tanner, Hybridity, and the Blood of the Holy Land.”

Carol Adlam, “The ‘Frisky Pencil’: Aesthetic Vision in Russian Graphic Satire of the Period of the Great Reforms.”

Mishoe Brennecke, “Double Début: Édouard Manet and The Execution of Maximilian in New York and Boston, 1879-80.”

Aruna D'Souza, “Paul Cézanne, Claude Lantier and Artistic Impotence.”

Janet Whitmore, “Presentation Strategies in the American Gilded Age: One Case Study.”

Alison McQueen, book review of “Paris in Despair: Art and Everyday Life under Siege (1870-71) by Hollis Clayson.”

Raymond Jonas, book review of “Husbands, Wives, and Lovers: Marriage and Its Discontents in Nineteenth-Century France by Patricia Mainardi.”

Greg M. Thomas, book review of “Orientalist Aesthetics: Art, Colonialism, and French North Africa, 1880–1930 by Roger Benjamin.”

Gabriel Weisberg, book review of “Eugène Burnand (1850–1921), peintre naturaliste by Philippe Kaenel.”

Amy Ogata, exhibition review of “Shock of the Old: Christopher Dresser's Design Revolution.”

Sarah Sik, exhibition review of “The 1904 World's Fair: Looking Back at Looking Forward.”

Lynsi Spaulding, exhibition review of “Currents of Change: Art and Life Along the Mississippi.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

James Smalls, “Slavery is a Woman: ‘Race,’ Gender, and Visuality in Marie Benoist's Portrait d'une négresse (1800).”

Phylis A. Floyd, “The Puzzle of Olympia.”

Anna Brzyski, “Constructing the Canon: The Album Polish Art and the Writing of Modernist Art History of Polish 19th-Century Painting.”

Elizabeth K. Menon, “Anatomy of a Motif: The Fetus in Late 19th-Century Graphic Art.”

Deborah van der Plaat, “The Significance of the ‘temple idea’ in William Lethaby's Architecture, Mysticism and Myth (1891).”

Alisa Luxenberg, exhibition review of “Manet/Velázquez: The French Taste for Spanish Painting [exhibition].”

Alisa Luxenberg, book review of “Manet/Velázquez: The French Taste for Spanish Painting by Gary Tinterow and Geneviève Lacambre, with Deborah L. Roldán and Juliet Wilson-Bareau.”

Julie L'Enfant, book review of “The Rescue of Romanticism, Walter Pater and John Ruskin by Kenneth Daley.”

Julie L'Enfant, book review of “The Victorian Illustrated Book by Richard Maxwell, ed..”

Maria Gindhart, exhibition review of “Vénus et Caïn: Figures de la Préhistoire, 1830-1930.”

Katherine Kuenzli, exhibition review of “Édouard Vuillard.”

Petra ten-Doesschate Chu, exhibition review of “Charles Conder.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Dario Gamboni, “Paul Gauguin's Genesis of a Picture: A Painter's Manifesto and Self-Analysis.”

Lionel Gossman, “Unwilling Moderns: The Nazarene Painters of the Nineteenth Century.”

Walther K. Lang, “The ‘Atheism’ of Jesus in Russian Art: Representations of Christ by Ivan Kramskoy, Vasily Polenov, and Nikolai Ghe.”

Caterina Pierre, “‘A New Formula for High Art’: The Genesis and Reception of Marcello's Pythia.”

William Hauptman, exhibition review of “Carolus-Duran, 1837-1917.”

William Hauptman, exhibition review of “Constable to Delacroix: British Art and the French Romantics.”

Cheryl K. Snay, exhibition review of “Drawn Toward the Avant-Garde: Nineteenth- and Twentieth-Century French Drawings from the Royal Museum of Fine Arts, Copenhagen.”

Kristi Holden, book review of “J. W. Waterhouse by Peter Trippi.”

Rachel Esner, book review of “Menzel's Realism: Art and Embodiment in Nineteenth-Century Berlin by Michael Fried.”

Anthony Janson, book review of “Nineteenth-Century European Art by Petra ten-Doesschate Chu.”

David O'Brien, book review of “Picturing Children: Constructions of Childhood Between Rousseau and Freud by Marilyn R. Brown, ed..”

Elizabeth Fowler, book review of “Rookwood and the Industry of Art: Women, Culture, and Commerce, 1880–1913 by Nancy E. Owen.”

Isabelle Schaffner, exhibition review of “Zola, historien et poète de la modernité.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Linda Nochlin, “Introduction: The Darwin Effect.”

Elliot Bostwick Davis, “Life Drawing from Ape to Human: Charles Darwin's Theories of Evolution and William Rimmer's Art Anatomy.”

Barbara Larson, “Evolution and Degeneration in the Early Work of Odilon Redon.”

Michael Leja, “Progress and Evolution at the U. S. World's Fairs, 1893–1915.”

Martha Lucy, “Reading the Animal in Degas's Young Spartans.”

Marsha Morton, “‘Impulses and Desires’: Klinger's Darwinism in Nature and Society.”

Alexander Nemerov, “Haunted Supermasculinity: Strength and Death in Carl Rungius's Wary Game.”

Kathleen Pyne, “On Women and Ambivalence in the Evolutionary Topos.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Maura Coughlin, “Millet's Milkmaids.”

Nicholas Frankel, “The Ecstasy of Decoration: The Grammar of Ornament as Embodied Experience.”

Paul A. Manoguerra, “Anti-Catholicism in Albert Bierstadt's Roman Fish Market, Arch of Octavius.”

Alison McQueen, “Empress Eugénie's Quest for a Napoleonic Mausoleum.”

Camilla Murgia, “The Rouillet Process and Drawing Education in Mid-Nineteenth-Century France.”

Janet Whitmore, exhibition review of “American Sublime: Landscape Painting in the United States, 1820-1880.”

Colleen Denney, book review of “Beyond the Frame: Feminism and Visual Culture, Britain, 1850–1900 by Deborah Cherry.”

Gabriel P. Weisberg, book review of “Bodies of Art, French Literary Realism, and the Artist's Model by Marie Lathers.”

Janis Bergman-Carton, exhibition review of “The Emergence of Jewish Artists in Nineteenth-Century Europe.”

Gabriel P. Weisberg, exhibition review of “La Belle Époque de la Pub.”

Michelle C. Montgomery, exhibition review of “Against the Modern: Dagnan-Bouveret and the Transformation of the Academic Tradition.”

Julie L'Enfant, book review of “The Modern Portrait in Nineteenth-Century France by Heather McPherson.”

Alan C. Braddock, exhibition review of “Thomas Eakins: American Realist.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Temma Balducci, “Negotiating Identity: Mary Ellen Best and The Status of Female Victorian Artists.”

Annette Leduc Beaulieu and Brooks Beaulieu, “The Thadée Natanson Panels: A Vuillard Decoration for S. Bing's Maison de l'Art Nouveau.”

Sébastien Clerbois, “In Search of the Forme-Pensée: The Influence of Theosophy on Belgian Artists, Between Symbolism and the Avant-Garde (1890–1910) [A la recherche d'une forme-pensée. L'influence de la théosophie sur les artistes en Belgique, entre symbolisme et avant-garde (1890-1910)].”

Antonis Danos, “Nikolaos Gyzis's The Secret School and an Ongoing National Discourse.”

Marijke Jonker, “Gustave Planche, or The Romantic Side of Classicism.”

Carola Muysers, “Physiology and Photography: The Evolution of Franz von Lenbach's Portraiture.”

Carol Forman Tabler, “Antoine Vollon and His Smashing Pumpkin: On Media Hype and the Meanings of Still Life.”

Gabriel P. Weisberg, book review of “Art Nouveau and the Social Vision of Modern Living: Belgian Artists in a European Context by Amy Fumiko Ogata.”

Karal Ann Marling, exhibition review of “Candace Wheeler: The Art and Enterprise of American Design, 1875-1900.”

Juliet Hacking, exhibition review of “Exposed: The Victorian Nude.”

Jan Dewilde, exhibition review of “Jules Breton: La Chanson des Blés.”

Marilyn Brown, exhibition review of “Light! The Industrial Age 1750-1900: Art & Science, Technology & Society.”

Irena Kossowska, book review of “Out Looking In: Early Modern Polish Art, 1890–1918 by Jan Cavanaugh.”

Jane Kristof, book review of “Polish Art Nouveau by Stefania Krzysztofowicz-Kozakowska.”

Gabriel P. Weisberg, book review of “The Scandinavian Pupils of the Atelier Bonnat, 1867–1894 by Siulolovao Challons-Lipton.”

Petra ten-Doesschate Chu et al., “Editors’ Welcome.”

Annette Blaugrund, Werner Busch, Henri Dorra, Lynda Nead, and Linda Nochlin, “Whither the Field of Nineteenth-Century Art History?.”

Walther K. Lang, “The Legendary Cossacks: Anarchy and Nationalism in the Conceptions of Ilya Repin and Nikolai Gogol.”

Julia Ballerini, “Young Women in Old Clothes: The Politics of Adolphe Braun's Personifications of Alsace and Lorraine.”

Judith Meighan, “In Praise of Motherhood: The Promise and Failure of Painting for Social Reform in Late-Nineteenth-Century Italy.”

Stephen C. Pinson, “Trompe l'oeil: Photography's Illusion Reconsidered.”

Joy Sperling, “‘Art, Cheap and Good:’ The Art Union in England and the United States, 1840–60.”

Greg M. Thomas, “The Topographical Aesthetic in French Tourism and Landscape.”

Michelle Tolini, “‘Beetle Abominations’ and Birds on Bonnets: Zoological Fantasy in Late-Nineteenth-Century Dress.”

Victoria M. Young, “A. W. N. Pugin's Mount Saint Bernard Abbey: The International Character of England's Nineteenth-Century Monastic Revival.”

William Hauptman, exhibition review of “Louise Breslau: De l'impressionnisme aux années folles, exhibition and catalogue.”

Sura Levine, exhibition review of “Between Street and Mirror: The Drawings of James Ensor, exhibition and catalogue.”

Elizabeth Mansfield, book review of “Victorian Babylon: People, Streets, and Images in Nineteenth-Century London by Lynda Nead and Body, Place, and Self in Nineteenth-Century Painting by Susan Sidlauskas.”

Elizabeth Menon, book review of “Manet and the Family Romance by Nancy Locke and Passionate Discontent: Creativity, Gender and French Symbolist Art by Patricia Mathews.”

Pamela Gerrish Nunn, book review of “John Brett: A Pre-Raphaelite on the Shores of Wales; Frederick Sandys and the Pre-Raphaelites; Frederick Sandys, 1829–1904; and Professional Women Painters in 19th-Century Scotland: Commitment, Friendship, Pleasure by Janice Helland.”

Jane Mayo Roos, exhibition review of “Beyond the Easel: Decorative Painting by Bonnard, Vuillard, Denis, and Roussel, 1890–1930, exhibition and catalogue.”

Gabriel P. Weisberg, “Review Editor’s Welcome.”