Katie Hornstein

Assistant 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, Leonine Encounters 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
Ph.D. University of Michigan

Selected Publications


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

"Introduction," and "Horace Vernet and the Problem of Facilité," in 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).


"From Museum to Menagerie: Théodore Géricault and the Leonine Subject," The Art Bulletin, forthcoming early 2019. 

“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.


"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: 

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

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

Commissioned book review: 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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