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, Myth and Menagerie: Seeing Lions 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.   

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 Saint-Gobain Grande Glace: Transparency and Display Culture at the Exposition Universelle of 1855,” Oxford Art Journal 45:1 (2022). 

“The Lion of Belfort, Max Ernst’s Une semaine de bonté, and the Uses of the Past,” Nineteenth-Century French Studies 49 (3/4: Spring-Summer 2021): 282-304.  

"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 and exhibition reviews: 

Les animaux du roi, Château de Versailles, Versailles, France, October 12, 2021 – February 13, 2022. Curated by Alexandre Maral and Nicolas Milovanovic. Scenography: Guicciardini & Magni Architetti. Lighting: Lionel Coutou.  Exhibition review, Journal18. Spring 2022.  

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

Myth and Menagerie, Seeing Lions in France, 1793-1900, book manuscript in progress, under contract with Yale University Press, expected Fall 2022.  

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