These invigorating reference volumes chart the influence of key ideas, discourses, and theories on art, and the way that it is taught, thought of, and talked about throughout the English‐speaking world. Each volume brings together a team of respected international scholars to debate the state of research within traditional subfields of art history as well as in more innovative, thematic configurations. Representing the best of the scholarship governing the field and pointing toward future trends and across disciplines, the Blackwell Companions to Art History series provides a magisterial, state‐of‐the‐art synthesis of art history.

1. A Companion to Contemporary Art since 1945,
   edited by Amelia Jones
2. A Companion to Medieval Art,
   edited by Conrad Rudolph
3. A Companion to Asian Art and Architecture,
   edited by Rebecca M. Brown and Deborah S. Hutton
4. A Companion to Renaissance and Baroque Art,
   edited by Babette Bohn and James M. Saslow
5. A Companion to British Art: 1600 to the Present,
   edited by Dana Arnold and David Peters Corbett
6. A Companion to Modern African Art,
   edited by Gitti Salami and Monica Blackmun Visonà
7. A Companion to Chinese Art,
   edited by Martin J. Powers and Katherine R. Tsiang
8. A Companion to American Art,
   edited by John Davis, Jennifer A. Greenhill, and Jason D. LaFountain
9. A Companion to Digital Art,
   edited by Christiane Paul
10. A Companion to Dada and Surrealism,
    edited by David Hopkins
11. A Companion to Public Art,
    edited by Cher Krause Knight and Harriet F. Senie
12. A Companion to Islamic Art and Architecture, Volume 1 and 2,
    edited by Finbarr Flood and Gulru Necipoglu
13. A Companion to Modern Art,
    edited by Pamela Meecham
14. A Companion to Nineteenth‐Century Art,
    edited by Michelle Facos

Forthcoming

1. A Companion to Contemporary Design since 1945,
   edited by Anne Massey
2. A Companion to Illustration,
   edited by Alan Male
3. A Companion to Modern and Contemporary Latin American and Latino Art,
   edited by Alejandro Anreus, Robin Greeley, and Megan Sullivan
4. A Companion to Australian Art,
   edited by Christopher Allen

1. 1.1 Moses Jacob Ezekiel, Religious Liberty, 1876.
2. 1.2 Moses Jacob Ezekiel, Religious Liberty, 1876.
3. 1.3 Moses J. Ezekiel, Eve Hearing the Voice, 1876.
4. 1.4 Priestly blessing gesture depicted on the gravestone of Rabbi Meschullam Kohn (1739–1819).
5. 2.1 Domenico Cunego, engraving after Gavin Hamilton, Achilles Dragging the Body of Hector around the Walls of Troy, 1766.
6. 2.2 Pietro Testa, Achilles Dragging the Body of Hector around the Walls of Troy, c.1648.
7. 2.3 Domenico Cunego (engraving after Gavin Hamilton), Achilles Mourning the Death of Patroclus, 1767.
8. 2.4 Sandro Botticelli, Lamentation over the Dead Christ, 1490–92.
9. 3.1 Jan Luyken, Kuiper (Cooper), 1694.
10. 3.2 Jean‐François Millet, Cooper Tightening Staves on a Barrel, c.1848–1850.
11. 4.1 Sir Edward Coley Burne‐Jones, King Cophetua and the Beggar Maid, 1884.
12. 4.2 Emery Walker, Photograph of King Cophetua and the Beggar Maid by Edward Burne‐Jones.
13. 4.3 Giovanni Bellini, Frari Altarpiece (Madonna between Saints Mark, Benedict, Nicholas and Peter).
14. 4.4 Sandro Botticelli, Venus and Mars, c.1485.
15. 6.1 “Dowdeswell & Dowdeswells, Limited, 160, New Bond Street.”
16. 6.2 “Intended Façade of the Grosvenor Gallery, New Bond Street—Mr. William Thomas Sams, Architect, Doorway by Palladio.”
17. 6.3 “The Grosvenor Gallery New Bond Street, London, Built for Sir Coutts Lindsay, Bart.—Mr. William Thomas Sams, Architect.”
18. 6.4 Thomas Rowlandson, Italian Picture Dealers Humbugging My Lord Anglaise, 30 May 1812.
19. 7.1 Carl Friedrich Lessing. Gorge with Ruins, 1830.
20. 7.2 Johann Friedrich Vogel. Seni before the Corpse of Wallenstein (painting by Karl Piloty).
21. 7.3 Olaf Gulbransson. Bound by Medals!
22. 7.4 Anton von Werner. Proclamation of the German Emperor in Versailles, 1882 (second version).
23. 8.1 John Frederick Lewis. A Lady Receiving Visitors (The Reception), 1873.
24. 8.2 John Frederick Lewis. A Frank Encampment in the Desert of Mount Sinai. 1842—The Convent of St. Catherine in the Distance, 1856.
25. 8.3 Eugène Delacroix. Women of Algiers in Their Apartment, 1834.
26. 8.4 Henriette Browne. The Visit in the Harem/The Arrival in the Harem at Constantinople, 1861.
27. 9.1 “Art Gallery.”
28. 9.2 Alexander H. Wyant, A New England Landscape.
29. 9.3 “The Art Gallery of the Union League Club as Illuminated by the United States Electric Lighting Company.”
30. 9.4 G.A. Davis, “Work of the University Settlement Society of New York City—An Art Exhibition in the Tenement District.”
31. 11.1 Franz Pforr, Raphael, Fra Angelico and Michelangelo on a Cloud above Rome, 1810.
32. 11.2 Samuel Amsler, after Johann Friedrich Overbeck, Triumph of Religion in the Arts, 1841.
33. 11.3 Carl Hoff, after Franz Pforr, Dürer and Raphael before the Throne of Art, 1832.
34. 11.4 Sketch after Johann Friedrich Overbeck, Raphael and Dürer Kneeling Before the Enthroned Church, 1817.
35. 12.1 Vasily Grigorevich Perov, Easter Procession in a Village, 1861.
36. 12.2 Ilya Yefimovich Repin, They Did Not Expect Him, 1884–1888.
37. 12.3 Vasily Ivanovich Surikov, Boyarinia Morozova, 1883–1887.
38. 13.1 Thomas Cole, Landscape, the Seat of Mr. Featherstonhaugh in the Distance, 1826.
39. 13.2 Thomas Cole, View of Monte Video, the Seat of Daniel Wadsworth, Esq., 1828.
40. 13.3 Thomas Cole, Gardens of the Van Rensselaer Manor House, 1840.
41. 13.4 Thomas Cole, The Van Rensselaer Manor House, 1841.
42. 14.1 Aimé‐Jules Dalou, Tomb of Victor Noir, 1889–1891.
43. 14.2 John Quincy Adams Ward, George Washington, 1883.
44. 14.3 Henry Kirke Brown, Equestrian Monument to George Washington, 1853–1856.
45. 14.4 Vincenzo Vela, Monument to Giuseppe Garibaldi and the Como Days of March 1848, 1889.
46. 15.1 Pierre Aristide André Brouillet, A Clinical Lesson at the Salpêtrière, 1887.
47. 15.2 Paul Richer, Phase des contorsions (Art de cercle), 1881.
48. 15.3 Albert Londe, Attaque d’hystérie chez l’homme, Guinin, Salle No. 3, 1 January 1885, twelve‐frame black and white chronophotography; Labor des Hôpital de la Salpêtrière, Paris. Public Domain.
49. 15.4 Gustave Courtois, Le supplice de Saint Sébastien, 1895, oil on canvas, Église Saint‐Georges, Vesoul, France; permission of Église Saint‐Georges de Vesoul, France.
50. 16.1 Mary Cassatt, Woman with a Pearl Necklace in a Loge, 1879. Oil on canvas. Philadelphia Museum of Art. Bequest of Charlotte Dorrance Wright, 1978‐1‐5.
51. 16.2 Edgar Degas, Madame Jeantaud in the Mirror, c.1875.
52. 16.3 Édouard Manet, A Bar at the Folies‐Bergère, 1882.
53. 16.4 Edgar Degas, At the Cafe‐Concert: The Song of the Dog, c.1876–1877.
54. 17.1 Louis Haghe, Abbaye de Saint Guilhem, Languedoc, 1834.
55. 17.2 Emmanuel Lansyer, Château of Pierrefonds, c.1868.
56. 17.3 Camille Pissarro, The Banks of the Oise, Near Pontoise, 1876.
57. 17.4 Hansi, from Mon Village. Ceux qui n’oublient pas. Images et commentaires par l’oncle Hansi, Paris, H. Floury, 1913.
58. 18.1 John William Lewin, Fish Catch and Dawes Point, Sydney Harbour, c.1813.
59. 18.2 John Glover, A corroboree of natives in Mills Plains, 1832, Deddington, Tasmania.
60. 18.3 Tom Roberts, A break away!, 1891.
61. 18.4 William Barak, Ceremony, 1899.
62. 19.1 Lluís Domènech i Montaner, Palace of Catalan Music (Palau de la música catalana, Barcelona), 1906–1908.
63. 19.2 Santiago Rusiñol, Courtyard on l’Île de la Cité, Paris (Pawn shop), 1889.
64. 19.3 Joaquim Mir, The Cathedral of the Poor, 1898.
65. 19.4 Isidre Nonell, Young Gypsy Woman, 1903.
66. 20.1 Johan Thomas Lundbye, A Croft at Lodskov near Vognserup Manor, 1847.
67. 20.2 Ejnar Nielsen, Landscape from Gjern, 1896–1897.
68. 20.3 Dankvart Dreyer, Barrow on the Island of Brandsø, c.1842.
69. 20.4 René Magritte, The Human Condition, 1933.
70. 21.1 Janis Rozentāls, After the Service (From the Church), 1894.
71. 21.2 Nikolai Triik, Battle, 1910.
72. 21.3 Bernhard Borchert, Flight, 1911.
73. 22.1 Béla Iványi Grünwald, The Warlord’s Sword (A Hadúr kardja), 1890.
74. 22.2 J. Allen St. John, The Hun—His mark—Blot it out with Liberty Bonds, 1917–1918.
75. 22.3 Mór Than, Feast of Attila, 1870.
76. 22.4 Bertalan Székely, Blood Contract (Blood Treaty), 1896.
77. 23.1 Piotr Michałowski, Battle of Somosierra, c.1837.
78. 23.2 Teofil Kwiatkowski, Chopin’s Polonaise—a Ball in Hôtel Lambert in Paris.
79. 23.3 Maksymilian Gierymski, Insurrectionary Patrol, 1872–1873.
80. 23.4 Józef Brandt, Czarniecki at Kolding, 1870.
81. 23.5 Jan Matejko, Rejtan, or the Fall of Poland, 1866.
82. 24.1 Jean‐Antoine Houdon, Voltaire, 1778.
83. 24.2 Jean‐Antoine Houdon, Sabine Houdon Aged Ten Months, 1788.
84. 24.3 Carl Christian Vogel von Vogelstein, Ludwig Tieck, von David d’Angers porträtiert (David d’Angers Modeling the Bust of Ludwig Tieck), 1834.
85. 24.4 Louis‐Léopold Boilly, L’atelier de Houdon (Houdon's studio), c.1803.
86. 25.1 Unknown studio photographer, Jacob Berman, c.1890.
87. 25.2 Stud Marie Høeg, Self Portrait, c.1895.
88. 25.3 Sojourner Truth, “I Sell the Shadow to Support the Substance,” c.1864.
89. 25.4 Studio of Bobette Berg and Marie Høeg, Untitled, c.1895.
90. 27.1 Mary Cassatt, Reading Le Figaro, c.1878.
91. 27.2 Honoré Daumier, I beg your pardon sir, if I am getting in your way…, Le Charivari, March 8, 1844.
92. 27.3 Pierre‐Auguste Renoir, Madame Eugene Fould, née Délphine Marchand, 1880.
93. 28.1 Théodore Géricault, Boxers, 1818.
94. 28.2 Achille Devéria, The Hearth, 1829.
95. 28.3 Achille Devéria, Carnevale, 1830.
96. 28.4 Achille Devéria, Portrait of Camille Roqueplan, 1829.
97. 29.1 Edgar Degas. Young Spartans Exercising, 1860–1862.
98. 29.2 Edgar Degas, Interior, also called The Rape, 1868–1869.
99. 29.3 Edgar Degas, The Orchestra of the Opera, c.1870.
100. 29.4 Edgar Degas, Dance Class, 1871.

Michelle Facos is Professor of Art History at Indiana University, Bloomington. A specialist in European art and culture in the long nineteenth century, especially the relationship of individuals to nature and to habitus, her books include: Nationalism and the Nordic Imagination: Swedish Art in the 1890s (1998), Symbolist Art in Context (2009), An Introduction to Nineteenth‐Century Art (2011), and the edited volumes Culture and National Identity in Fin‐de‐Siècle Europe (2003) with Sharon Hirsh and Symbolist Roots of Modern Art (2015) with Thor J. Mednick.