Art History articles

Volume 37 (2)

Mantegna the Grammarian
Guillaume Cassegrain, vol. 37 (2): 276-292
Changing Forms: Mantegna's Poietics in the Camera Picta
Jérémie Koering, vol. 37 (2): 294-312
Mantegna's Camera Picta: Visuality and Pathos
Stephen J. Campbell, vol. 37 (2): 314-332
The Griffin's Gaze and the Mask of Medusa: Self-Referential Motifs in Andrea Mantegna's Trial of St James
Andreas Hauser, vol. 37 (2): 334-351
Artifice and Stability in Late Mantegna
Andrea Bolland, vol. 37 (2): 352-375
Mantegna's Fictive Bronze Judith and Dido: Beyond Exemplarity
Francis Fletcher, vol. 37 (2): 376-399

Volume 37 (1)

Abstracts & Authors’ Biographies
vol. 37 (1): 4-7
Editorial
Gavin Parkinson, vol. 37 (1): 9-9
Ladies-in-Waiting in Waiting: Picturing Adolescence in Dmitry Levitsky's Smolny Portraits, 1772–76
Rosalind P. Blakesley, vol. 37 (1): 10-37
The Motionless Look of a Painting: Jules Bastien-Lepage, Les Foins, and the End of Realism
Marnin Young, vol. 37 (1): 38-67
Second Only to the Original: Rhetoric and Practice in the Photographic Reproduction of Art in Early Twentieth-Century China
Yu-jen Liu, vol. 37 (1): 68-95
Hands on the Table: Ernst Ludwig Kirchner and the Expressionist Still Life
William Sherwin Simmons, vol. 37 (1): 96-125
‘With an almost pathetic fatality doing what is right’: Late Sickert and his Critics
Sam Rose, vol. 37 (1): 126-147
The Branding of the Museum
Julian Stallabrass, vol. 37 (1): 148-165
Water Worlds: Examining Mobility, Power and Civilization in the Islamic World
Zainab Cheema, vol. 37 (1): 166-169
Fragonard's Reverse Whodunnit and Other Tales of Relocation
Melissa Percival, vol. 37 (1): 169-174
Victorian Shock Value
Ayla Lepine, vol. 37 (1): 175-180
Documents of American Art
David Peters Corbett, vol. 37 (1): 180-183
Sladey Ladies and Femmes Modernes
Brian Foss, vol. 37 (1): 184-188
Pop Art and Subjectivity: Diversification of Narrative Frameworks and Expansion of the Field's Scope
Elisa Schaar, vol. 37 (1): 189-194
Touched Photographs
Jane Blocker, vol. 37 (1): 195-199
Abstracts & Authors’ Biographies
vol. 37 (1): 600-605
Why Imitation, and Why Global?
Paul Duro, vol. 37 (1): 606-627
Post-Western Poetics: Postmodern Appropriation Art in Australia
Ian McLean, vol. 37 (1): 628-647
Essentially the Same: Eduardo Costa's Minimal Differences and Latin American Conceptualism
Patrick Greaney, vol. 37 (1): 648-665
Like Father, Like Son: Bernini's Filial Imitation of Michelangelo
Carolina Mangone, vol. 37 (1): 666-687
Navajo Sandpainting in the Age of Cross-Cultural Replication
Janet Catherine Berlo, vol. 37 (1): 688-707
Copying and Theory in Edo-Period Japan (1615–1868)
Kazuko Kameda-Madar, vol. 37 (1): 708-727
Original Imitations for Sale: Dafen and Artistic Commodification
Vivian Li, vol. 37 (1): 728-743
The Temporal Logic of Citation in Chinese Painting
Martin J. Powers, vol. 37 (1): 744-763
Ingemination
Richard Shiff, vol. 37 (1): 764-783
The Image Valued ‘As Found’ and the Reconfiguring of Mimesis in Post-War Art
Alex Potts, vol. 37 (1): 784-805
History Lessons: Imitation, Work and the Temporality of Contemporary Art
Jonathan Bordo, vol. 37 (1): 806-825

Volume 36 (5)

Abstracts & Authors’ Biographies
vol. 36 (5): 892-896
Framing the Miraculous: The Devotional Functions of Perspective in Italian Renaissance Tabernacle Design
Paul Davies, vol. 36 (5): 898-921
‘Sweet in the Mouth, Bitter in the Belly’: Seeing Double in an Eccentric French Renaissance Book of Hours
Rebecca Zorach, vol. 36 (5): 922-943
Salvator Rosa's Allegory of Philosophy as Ut Pictura Rhetorica: Eloquent Gesture and the Pursuit of Artistic Decorum
Alexandra Hoare, vol. 36 (5): 944-967
Shopping in St Petersburg: Lewis Carroll's Photographs and Icons
Lindsay Smith, vol. 36 (5): 968-993
A Hysterical Reading of Rodin's Gates of Hell
Natasha Ruiz-Gómez, vol. 36 (5): 994-1017
Heterogeneity, the City, and Cinema in Alberto Cavalcanti's Rien que les heures
Margaret Werth, vol. 36 (5): 1018-1041