Katie Hornstein

Academic Appointments

Associate Professor of Art History

Professor Hornstein is a specialist of nineteenth-century French art and visual culture.  Her teaching and research interests include the history of war imagery, nineteenth-century technologies of visual reproduction (print media and photography) and their interaction with more established media, such as painting, the rise of early mass culture, reception theory and history, nineteenth-century material culture, and most recently, the representation of animals.  Professor Hornstein's current book project, Between Menagerie and Myth: The Lion Imaginary in Nineteenth-Century France, examines how visual representations of lions provided the basis for approaching a very human set of questions, including most notably issues related to sovereignty, empire and spectacle.   

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Professor Hornstein is on leave for Fall 2020 and Winter 2021.

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206 Carpenter Hall
HB 6033
Art History
B.A. University of California, Berkeley, 2001
Ph.D. University of Michigan, 2010

Selected Publications


Picturing War in France, 1792-1856, Yale University Press, 2018.

Horace Vernet and the Thresholds of Nineteenth-Century Visual Culture, eds. Daniel Harkett and Katie Hornstein (Hanover, N.H: University Press of New England, 2017).


“The Lion of Belfort, Max Ernst’s Une semaine de bonté, and the Uses of the Past,” for a special issue of Nineteenth-Century French Studies entitled “La Commune n’est pas morte…,” edited by Robert St. Clair and Seth Whidden, in press, expected 2021.

"From Museum to Menagerie: Théodore Géricault and the Leonine Subject," The Art Bulletin, 2019 101:1, 26-47.  

“Suspended Collectivity: Horace Vernet’s The Crossing the Arcole Bridge (1826),” Art History 72:3 (June: 2014): 429-453. (Official Commendation, Malcolm Bowie Prize, French Historical Studies)

« Le Diagraphe et Pantographe de Charles Gavard et l’âge de la reproduction mécanique visuelle en France, » Revue histoire de l’art 71 (2012): 73-83.

“Just Violence? Jacques Callot’s Grandes Misères et Malheurs de la Guerre,” University of Michigan Museums of Art and Archaeology Bulletin, Volume XVI (2005-2006): 29-48.


“Jean-Baptiste Huet’s Lions and the Look of the Captive in Post-Revolutionary France,” Time, Media, and Visuality in Post-Revolutionary France, edited by Richard Taws and Iris Moon (London: Bloomsbury, 2021), 103-124 (invited and peer-reviewed). 

“Henri Durand-Brager and the Question of the Panoramic,” to appear in L’art de la bataille. Stratégies visuelles de la scène de bataille de la Renaissance à nos jours, ed. Pauline Lafille and Jerome Delaplanche, L’Académie de France à Rome – Villa Médicis, in press, expected 2022. 

Editor of ANIMAL (issue 7: Spring 2018) Journal 18.  

"The Territorial Imaginary of the Revolutionary and Napoleonic Wars," in Visual Culture of the Revolutionary and Napoleonic Wars, eds. Satish Padiyar, Philip Shaw, Philippa Simpson (London: Routlege, 2016), 13-24. 

“Horace Vernet’s Capture of the Smahla (1845): Reportage and Actuality in the Early French Illustrated Press,” in Getting the Picture: The History and Visual Culture of the News, edited by Jason Hill and Vanessa Schwartz (London: Bloomsbury, 2015), 246-251. 

 “An Unhappy Rivalry: Art and Industry at the Exposition Universelle of 1855 in Paris,” in Meet Me at the Fair: A World’s Fair Reader, edited by Celia Pearce and Laura Hollengreen (Pittsburgh: Carnegie-Mellon ETC University Press, 2014), 169-174.  

Book reviews: 

Julia Thoma, The Final Spectacle. Military Painting under the Second Empire, 1855-1867 (Berlin/Boston: Walter de Gruyter, 2019). Nineteenth-Century Art Worldwide 19:1 (Spring 2020).  

Bette W. Oliver, Jean-Baptiste-Pierre Le Brun: In Pursuit of Art (1748-1813) (Landham, MI: Hamilton Books, 2018). H-France, 2019.

Rome, Travel and the Sculpture Capital, c.1770–1825, ed. Tomas Macsotay (London and New York: Routledge, 2017). Sculpture Journal, 2019. 

Of Elephants & Roses: French Natural History, 1790-1830, Memoirs of the American Philosophical Society held at Philadelphia for Promoting Useful Knowledge, vol. 267, edited by Sue Anne Prince (Philadelphia: The American Philosophical Society, 2013). CAA Reviews, 2017.

Stephen Bann, Distinguished Images: Prints and the Visual Economy in Nineteenth-Century France. New Haven and London: Yale University Press, 2013. H-France, 2014.

Richard Taws, The Politics of the Provisional: Art and Ephemera in Revolutionary France. University Park: Pennsylvania State University Press, 2013. CAA Reviews, 2014.

Conflicting Visions: War and Visual Culture in Britain and France, c. 1700-1830. Edited by John Bonehill and Geoff Quilley.  Ashgate: London, 2005. Montage, 2008: http://www.uiowa.edu/~montage/issues/2008/

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Works in progress

Between Myth and Menagerie, The Lion Imaginary in France, 1793-1900, book manuscript in progress, under contract with Yale University Press, expected Fall 2022.  

“The Saint-Gobain Grande Glace: Transparency and Display Culture at the Exposition Universelle of 1855,” under review. 

Selected works and activities

Professor Arthur M. Wilson and Mary Tolford Wilson Faculty Fellowship/ Senior Faculty Grant, Dartmouth College, 2020-2021

ACLS Fellowship, 2018-2019

Chercheur accueillie, Centre Alexandre Koyré, EHESS/CNRS/MNHN, Paris, France, 2018-2019

John M. Manley Huntington Award for Newly Tenured Faculty, 2018 

Jacobus Family Award, 2018

Millard Meiss Publication Fund Grant for Picturing War in France, 1792-1856, College Art Association, 2017

Runner-up, Malcolm Bowie Prize, French Historical Studies, “Suspended Collectivity: Horace Vernet’s The Crossing of the Arcole Bridge (1826),” 2015