OOIR: Observatory of International Research

Papers

(The TQCC of Source-Notes in the History of Art is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2022-08-01 to 2026-08-01.)

Article	Citations
Contributors	2
The Hanging of Judas in Chicago and the End of an Image	1
Raphael’s Two Uncles	0
Marcantonio Michiel and the Vault of “Our Celestial Hemisphere” in Cremona	0
A Modern Pietà: Hugh Auchincloss Steers’s Hospital Bed and Reconceiving a Holy Family	0
The Bianchi of 1399 at Empoli: A Tuscan Visual Commemoration	0
Ut tela tela : Canvas in Titian’s The Rape of Europa	0
Adriana de Mila and the Decorative Program in the Orsini Castle at Vasanello	0
Unraveling a Myth: A Misidentified Portrait by Marie-Victoire Lemoine	0
In Praise of a Fly	0
On the Border in a Belgian Comic	0
Front Matter	0
Front Matter	0
Marco Zoppo’s Lascivious Drawings and the Erotic Lexicon	0
Collaboration in Donatello’s Jeremiah	0
Sacred Ritual, Secular Power: Nikolaos Koutouzis’s Procession of Saint Dionysius in the Venetian Stato da Màr	0
Refuged Images: Abraham, Jacob, and the Nachleben of the Forefathers in Michelangelo’s Last Judgment	0
Dwarfs, Puns, and Foolish Characters: Satirical Intentions in The Night Watch	0
Grassroots Histories: Plants as Storytellers in Karolina Grzywnowicz’s Weeds	0
Editor’s Note: Of Weeds and Witches, the Moon and the Sphinx	0
Galatea’s Mirror: Queer Metamorphosis in Pontormo’s Portrait of a Halberdier	0
Editor’s Note: Formalism avant la Lettre	0
Reading Evaristo Baschenis’s Agliardi Triptych as Religious Allegory	0
Contributors	0
A Source for William Welles Bosworth’s Pen-and-Ink Sphinx	0

Heaven Official’s Blessing: BL Culture and the Integration of Chinese Traditional Art Style in Web Comics	0
William Holbrook Beard’s The Witches’ Convention and Popular Culture	0
A Vital National Expression? The Covering of New Deal–Era Post Office Murals	0
Editor’s Note: Glorious and Inglorious Companies	0
Editor’s Note: Of Kunzle, Kids, and Komix	0
Recycling as Reinvention in Early American Sunday Comics: Rudolph Dirks, R. F. Outcault, and the European Masters	0
Editor’s Note: Six New Lenses for the Phoropter	0
Oscar White Muscarella (1931–2022)	0
In Memoriam: Richard Brilliant (1929–2024)	0
Philip Guston and the Professionalization of Artists under the New Deal Art Projects	0
The French Connection in Thomas Cole’s Course of Empire	0
Front Matter	0
Editor’s Note: Cherchez la Femme	0
“Women Do All the Work”: Artistic Demonstration at the End of the New Deal	0
Rembrandt’s Artemisia Revisited	0
Front Matter	0
Contributors	0
The Dead Weight of Christ: Deposition Cloths and the Mechanics of Performance in the Italian Renaissance	0
Jackson Pollock’s Mask , Peyote, and the “Americanization” of Art	0
The Critique of the Modern Art Museum in Four Colors: Anna Haifisch’s The Artist x MoMA	0
Front Matter	0
Adolphe Valette and the Firefly	0
The Allegorical from the Literal: An Underappreciated Sixteenth-Century Comment on Michelangelo’s Last Judgment	0
Editor’s Note: Of Actuaries, Iconographers, and Gangsters	0
Editor’s Note: Creative Anachronisms	0
The Batman TV Series (1966–68) and Its Impact on Batman Comic Books	0
Disavowing Segregation: Elsa Ulbricht and the WPA Milwaukee Handicraft Project’s Toy Dolls	0
Erasmus’s Nose	0
Elisabeth Louise Vigée Le Brun’s Portrait of Marie Rose Sanlot (1776)	0
Contributors	0
Rising from Troubled Waters: Cy Twombly’s Anadyomene (1981)	0
Monumental Cipher: Reading the Medici Column in Paris	0
Toward a Critical New Deal Legacy: The Performance of Colcha Embroidery in New Mexico	0
Guido Cagnacci’s Alias in Venetian Legal Documentation	0
Folk as Queer: Naturalization and Endurance in the Papercuts of Xiyadie	0
Front Matter	0
A Spanish Painter in the White House: Joaquín Sorolla’s Portrait of President William Howard Taft (1909)	0
Front Matter	0
Contributors	0
From Boat to Bisellium: Narrative Commemoration at the Tomb of Naevoleia Tyche in Pompeii	0
Contributors	0
The Grotesque Provocations of the Palazzo di Bianca Cappello	0
Contributors	0
“Cosas desta tierra”: An Indigenous Silversmith from Mexico in Peru, ca. 1550	0
Seeing Bierstadt’s Invisible Shoshones in The Rocky Mountains, Lander’s Peak	0
Editor’s Note: You Must Remember This	0
Front Matter	0
Raphael, the Farnesina, and the Angels: A Seventeenth-Century Urban Landscape Rediscovered	0
Editors’ Note: Confronting the Legacy of New Deal Art in the Twenty-First Century	0
Mantegna’s Black Magus and Prester John	0

Caravaggio’s John the Baptist with a Ram: Iconography and Source	0
Front Matter	0
Self-Defined Man: Chéri Samba through Self-Portraits	0
Editor’s Note: Another Glorious Company	0
Colleen Doran Illustrates Neil Gaiman	0
Turks of the Passion: The Antagonists of Christ in Passion Scenes of Transylvanian Wooden Churches	0
Contributors	0
New Documentation: Cosmo Alexander and Early Gilbert Stuart	0
German Brass Basins as a Source for Late Fifteenth- and Early Sixteenth-Century Valencian Lusterware Forms	0
Chisao Shigemori’s Zuien (2010): Innovation and Tradition in a Contemporary Japanese Rock Garden	0
Chastity’s Knight: Allegory and Chivalry in Assisi	0
Contributors	0
Contributors	0
Michelangelo’s Serpent	0
Editorial Note: Transformations	0
Odysseus and Ino in Apollonio di Giovanni’s Early Renaissance Cassone Narratives	0
Front Matter	0
The “Hyacinthian Madonnas”: On Medieval Works of Art as Historical Evidence in the Early Modern Period	0
Contributors	0
Carlo Crivelli’s Madonna of the Passion and the Lost Church of San Sebastiano, Venice	0
Gender and Facezia : Giovanna Garzoni’s Self-Portrait as Apollo	0
Sebastian Vrancx’s Overlooked Series of the Children of the Planets	0
Front Matter	0
Comics, Polyrepresentation, and the Limits of Representation	0
“In Topsy-Turvy Land”: The Combat of Cats and Rats in the Lima Procession of 1659	0
Contributors	0
Charles Deas’s The Death Struggle and the Fall of the Rebel Angels	0
Illustrating Illicit Miscegenation: Max Fröhlich’s The Honeymoon (1907)	0
Three Angels in One in Michelangelo’s Last Judgment	0
Zombie Formalism and Working Aesthetics	0
“There’s a name for you!”: Françoise Gallandat de Rovray, Baroness Luchaire Chastel d’Oriocourt (1829–1906), the Countess de Luchaire of the First Impressionist Exhibition	0
After Others: Imitatio and Jasper Johns’s Tracings on Plastic	0
Summoned by Bells: The Soundscape of Leonardo da Vinci’s Battle of Anghiari	0
Editor’s Note: I See Something You Don’t See	0
Battista Lorenzi’s Statue of Painting on Michelangelo’s Tomb	0
Front Matter	0
A “Well-Known Painter”: The Woman Artist Whose Work Was Appropriated by Marcel Duchamp (and No, It’s Not the Baroness)	0
A Quack in Stockholm: Establishing the Oeuvre of Joachim van den Heuvel	0
Publishing the Index of American Design	0
Back to Fumetti?	0
Finding Time: The Evidence for the Pennsylvania State House Eastern Clock Dial	0
(I’ve Got the) Magic Stick: The Virgus and Vitis in Roman Imperial and Early Christian Art	0
Giorgio Cornaro and the Cloth of Gold	0
Editor’s Note: Our Current Lineup of Diversity, Equity, and Inclusion	0
Cultural Property: Lost and Found	0
Italian Art and the Black Man in John Singleton Copley’s Watson and the Shark	0
Front Matter	0
On the Possibility of a Postmodernist/Postnationalist Philippine Art History	0
Bruegel at Cumae: Locating The Fall of Icarus	0
“Stain’d with divers sorts of Paints”: Transatlantic Slavery in John Smibert’s Boston Studio, 1737	0
The Corinthian Maid and Napoleon: A New Origin of Art at the Dawn of July-Monarchy France	0
Lavinia Fontana’s Birth of the Virgin	0
Contributors	0
Destined to Rule: The Symbolism of the Jade-Colored Throne in the Yongle Emperor’s Portrait	0
Contributors	0
Front Matter	0
The Wise and Foolish Virgins of Nicosia Cathedral	0
Christina Robertson’s Children with a Parrot: Identification of the Sitters	0