New Books in Art

Naturalism's Imaginary Museum, French Art, and the Eclectic Nineteenth Century (University of Toronto Press, 2024) examines one of the most revered art historical narratives of Western
art: the famous turning point for painting and sculpture usually
emblematized by the works of Édouard Manet and then the Impressionists.
Instead of the usual revaluation of this turning point, Sara Pappas
argues for the importance of the failure to find a cohesive story for
the art world in the period itself, a difficulty that carries forward to
galleries today. In order to demonstrate the importance of incongruity
and disorder, Pappas brings together two worlds that may seem
incompatible: nineteenth-century literary writers involved in naturalism
and the organization of permanent collections of later
nineteenth-century French art in today's museums. Drawing on the art
novels and art criticism of these writers, the book provides optimal
access to the questions that continue to haunt the categorization and
display of nineteenth-century art.

Guest Sara Pappas is Associate Professor of French and Visual Culture
at the University of Richmond. In addition to this volume, she has
published articles on topics from 19th century art criticism by literary figures such as Baudelaire and Zola to the Expositions universelles
to contemporary artist Kehinde Wiley’s influence on French art, as well
as co-curating an exhibit of Nineteenth Century French and Russian Art
at the Harnett Museum of Art.

Host Gina Stamm is Associate Professor of French at The University of
Alabama, with research concentrated on the environmental humanities and
speculative literatures of the 20th and 21st centuries, from Surrealism
to contemporary science fiction and feminist utopias, in Metropolitan
France and the francophone Caribbean, with a book manuscript under
review on posthumanist ecological engagement in the surrealist movement.
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Following Napoleon Bonaparte’s 1798 campaign in Egypt, new possibilities of travel and improvements in printing technology saw an emergence of publishing ventures in France and Britain dedicated to the production of albums and travel accounts featuring images of Muslim Egypt and Islamic architecture and catering to a growing European fascination with the East. In her debut book, Visualizing Egypt: European Travel, Book Publishing, and the Commercialization of the Middle East in the Nineteenth Century (American University in Cairo Press, 2025) Paulina Banas analyzes the context and process of production of these highly illustrated publications, from their conceptualization to the finished product and its afterlife, from marketing to the sales of these books, and from circulation to their reception by nineteenth-century audiences. By tracing the long, arduous, and often risky publishing journeys of the makers of these books, including publishers, writers, and artists, such as the Frenchman Émile Prisse d’Avennes, Banas reveals a complex terrain of changing market demands, collaborations, and conflicting views, and the unsettled authorship of these works, prompting us to think more profoundly about artistic and intellectual exchange in the world of nineteenth-century Orientalist book production. Visualizing Egypt considers nineteenth-century book illustrations on Egypt and the “Orient” not merely as expressions of enduring ideology and colonial propaganda, but as representations shaped by the often-overlooked commercial exigencies of the growing publishing industry and the reckless competition within it.

Paulina Banas is an Assistant Professor of Art History at The University of Alabama at Birmingham, where she teaches course on Islamic world arts, 19th century European visual culture, and cross-cultural encounters between Europe and the Middle East.

Saman Nasser holds an M.A. in history from James Madison University, where he currently works as an educational staff.
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City of the Gallows: Art and Execution in Eighteenth-Century London (Yale UP, 2026) uncovers the complex and often unexpected connections between eighteenth-century London’s sites of punishment and its spaces of art-making, instruction, and display. Drawing together a wide range of images, objects, and texts – from popular woodcuts and anatomical sculptures to moral tracts and dictionaries of slang – it offers new readings of works by major artists, such as William Hogarth, Johan Zoffany, and Joseph Wright of Derby, and shines a light on others that traditional accounts of the period have overlooked or ignored. In doing so, this book shows how state violence shaped the art and visual culture of this era, whose legacies persist to this day.

Kelsey Brosnan is an art historian specializing in eighteenth- and nineteenth-century French art. Her book on the still-life painter Anne Vallayer-Coster was published by Lund Humphries and Getty Publications in 2026. kb2348@gmail.com
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Life in Spite of Everything: Tales from the Ukrainian East (Daunt Books Publishing, 2025) is
a unique reflection on the much-mythologised Donetsk and Luhansk
regions of the Ukrainian east, the old and recent history of the region
as seen by an esteemed academic multi-disciplinary scholar Victoria
Donovan in her numerous travels to the region prior to the full-scale
invasion. Seen through a deeply empathetic lens of conversations with
local curators, historians, museum workers, and artists, the region is
shown in its complexity, with the uniqueness of its landscapes,
endangered biodiversity, entangled colonialisms of its past and a
threatened future.

Since start of Russia’s war against Ukraine in
2014, its eastern region—Donbas—has been synonymous with conflict. With
the escalation of that war in 2022, its, cities such as Bakhmut and
Lysychansk have become familiar to us through the images and reports of
brutal devastation. Victoria Donovan excavates a rich, multicultural
history of this area, and paints a radically different picture.

Travelling
from the dramatic, jagged peaks of Bilokuzmynivka to the marshland of
Mariupol, from a warehouse rave to an abandoned gypsum mine, the
physical world and its importance to this region’s identity is brought
to vivid life. But above all else, by speaking to those whose lives are
embedded there now—curators, artists, railway workers, young people who
have grown up amidst instability and destruction—Donovan amplifies local
voices and reveals the intensely personal lived reality of Putin’s war.

Victoria
Donovan is Professor of Ukrainian and East European Studies and
Director of the Centre for Global (Post)socialisms, Southeast, Central
and East European Studies at the University of St Andrews.

Viktoriia
Grivina is an independent anthropologist and writer, author of Kharkiv,
a War City (Ibidem, 2025), and Kharkiv is a Dream: Public Art and
Activism, 2013–2023 (Ibidem, 2025).
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What made a generation of Jewish artists and intellectuals transform
American culture? In this episode, Rabbi Marc Katz sits down with
acclaimed cultural critic David Denby to discuss his book Eminent Jews: Bernstein, Brooks, Friedan, Mailer (Henry Holt, 2025), a vibrant portrait of four extraordinary Americans whose Jewish identities helped shape the modern United States.

Though
they worked in vastly different fields, Leonard Bernstein, Mel Brooks,
Betty Friedan, and Norman Mailer shared a remarkable historical moment.
Coming of age after World War II, they entered an America where Jewish
opportunity was expanding and antisemitism was beginning to recede.
Their Jewish heritage, energized by the freedoms of American life,
fueled bold, unconventional careers that reshaped music, comedy,
literature, feminism, and public debate.

Denby paints these figures in all their complexity: ambitious,
difficult, generous, provocative, and endlessly creative. Rather than
offering simple hero worship, he explores how their outsized
personalities and relentless drive allowed them to challenge old
assumptions about art, politics, gender, humor, and what it meant to be
both fully Jewish and fully American.

Together, Denby and Katz
explore why this particular generation produced so many cultural
revolutionaries, how Jewish identity informed their work without
defining it, and what their legacies reveal about the changing place of
Jews in postwar America.
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