Book Review Fall 2022 (8.2) “The Spanish Element in Our Nationality”: Spain and America at the World’s Fairs and Centennial Celebrations, 1876–1915 Reviewed by Vanesa Rodríguez-Galindo
Feature Article Fall 2022 (8.2) From Center to Periphery: The Lifespan of New York City’s Tenth Street Studio Building and the Canon of American Art Mary Okin with Celie Mitchard
In the Round Fall 2022 (8.2) Pendant Across Time: John Singleton Copley and John Singer Sargent Caroline Culp
Exhibition Review Spring 2022 (8.1) Whistler to Cassatt: American Painters in France Reviewed by Annette Stott
Research Note Spring 2022 (8.1) Iconoclasm on Paper: Resistance in the Pages of Narrative of the Life and Adventures of Henry Bibb, an American Slave, 1849 Ellery E. Foutch
Feature Article Spring 2022 (8.1) “The Sunflower’s Bloom of Women’s Equality”: New Contexts for Mary Cassatt’s La Femme au tournesol Nicole Georgopulos
Book Review Spring 2022 (8.1) Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art Reviewed by Elizabeth L. Block
Feature Article Spring 2022 (8.1) Seeing Flora’s Profile as Portrait Phillip Troutman, Jennifer Van Horn
Research Note Fall 2021 (7.2) Views of Chicago: Picturing the Ruins of the Great Fire Christina Michelon
Exhibition Review Fall 2021 (7.2) Virginia Arcadia: The Natural Bridge in American Art Reviewed by Debra Hanson
Exhibition Review Fall 2021 (7.2) Joshua Johnson: Portraitist of Early American Baltimore Reviewed by Anne Verplanck
Book Review Fall 2021 (7.2) Aesthetic Painting in Britain and America: Collectors, Art Worlds, Networks Reviewed by Adrienne Baxter Bell
Research Note Spring 2021 (7.1) “The Most Perfect Manner”: Paul Weber and the Transnationalism of US Landscapes Thomas Busciglio-Ritter
Research Note Spring 2021 (7.1) New Discovery: Robert S. Duncanson’s Ruins of Carthage (1845) Theresa Leininger-Miller
Exhibition Review Spring 2021 (7.1) Mythmakers: The Art of Winslow Homer and Frederic Remington Reviewed by Mark Thistlethwaite
Book Review Spring 2021 (7.1) Moved to Tears: Rethinking the Art of the Sentimental in the United States Reviewed by Elizabeth Bacon Eager
Book Review Spring 2021 (7.1) Restless Enterprise: The Art and Life of Eliza Pratt Greatorex Reviewed by Andrea Pappas
Research Note Spring 2021 (7.1) A Research Portal for American Watercolors, Prints, and Drawings 1850–1925: A Source for Obscure Catalogues, Artists’ Societies, and Women Artists Kathleen A. Foster
In the Round Spring 2021 (7.1) In the Presence of Archival Fugitives: Chinese Women, Souvenir Images, and the 1893 Chicago World’s Fair Z. Serena Qiu
Exhibition Review Spring 2021 (7.1) Alexander von Humboldt and the United States: Art, Nature, and Culture Reviewed by Tara Kaufman
Special Section Spring 2021 (7.1) White Supremacy, Lynchings, and Thomas Crawford’s Statue of Freedom Vivien Green Fryd
Research Note Spring 2021 (7.1) Nature: A Nineteenth-Century Engraving Linking Charles Willson Peale, James Akin, and Peale’s Mastodon Allison M. Stagg
In the Round Fall 2020 (6.2) Apsáalooke Bacheeítuuk in Washington, DC: A Case Study in Re-Reading Nineteenth-Century Delegation Photography Wendy Red Star, Shannon Vittoria
In the Round Fall 2020 (6.2) “Photographic Weather”: A Posthumanist Approach to Western Survey Photography Elizabeth Hutchinson
In the Round Fall 2020 (6.2) Daguerreotypes and Humbugs: Pwan-Ye-Koo, Racial Science, and the Circulation of Ethnographic Images around 1850 Michelle Smiley
In the Round Fall 2020 (6.2) Material Matters: The Transatlantic Trade in Photographic Materials during the Nineteenth Century Katherine Mintie
Research Note Fall 2020 (6.2) “The Time Has Now Gone by When Things of This Nature Are to Be Hidden from the Public”: Mediating Bodily and Archival Violence Anne Strachan Cross
In the Round Spring 2020 (6.1) The Architects of Reconstruction: Alcès Family Portraits as Emblems of Afro-Creole Leadership Wendy Castenell
In the Round Spring 2020 (6.1) “Whatever is un-Virginian is Wrong!”: The Loyal Slave Trope in Civil War Richmond and the Origins of the Lost Cause Rachel Stephens
Bully Pulpit Spring 2020 (6.1) Be Fruitful and Multiply: Food, National Expansion, and the Art of Empire Shana Klein
Exhibition Review Spring 2020 (6.1) Rufus Porter’s Curious World: Art and Invention in America, 1815–1860 Reviewed by Diana Jocelyn Greenwold
Book Review Spring 2020 (6.1) The Commerce of Vision: Optical Culture and Perception in Antebellum America Reviewed by Catherine Holochwost
Book Review Fall 2019 (5.2) The Trans-Mississippi and International Expositions of 1898–1899: Art, Anthropology, and Popular Culture at the Fin de Siècle Reviewed by Kimberly Orcutt
Book Review Fall 2019 (5.2) Selling Andrew Jackson: Ralph E. W. Earl and the Politics of Portraiture Reviewed by Alba Campo Rosillo, University of Delaware
Book Review Fall 2019 (5.2) The End of Landscape in Nineteenth-Century America Reviewed by Melissa Geisler Trafton
In the Round Fall 2019 (5.2) Artistic Journeys: Assignments Engaging Primary Source Materials Janice Simon
Feature Article Fall 2018 (4.2) “A Kind of Traveling Gazette”: Edward Lamson Henry’s The Latest Village Scandal, Gossip, and History at the Dawn of Sensational Journalism Nicole J. Williams
Book Review Fall 2018 (4.2) Lust on Trial: Censorship and the Rise of American Obscenity in the Age of Anthony Comstock Reviewed by Mary Campbell
Exhibition Review Fall 2018 (4.2) Thomas Cole: Eden to Empire and Ed Ruscha: Course of Empire Reviewed by David Brody
Exhibition Review Fall 2018 (4.2) Frederic Church: A Painter’s Pilgrimage and Costume & Custom: Middle Eastern Threads at Olana Reviewed by Katherine Manthorne
Research Note Fall 2018 (4.2) The Paintings Left Behind: Two New Paintings by Mary Cassatt from Seville M. Elizabeth Boone
