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 2020-05-01 to 2024-05-01.)

Article	Citations
How Did Caravaggio Light His Subjects?	1
Ropes and Knots: Architectural Emulation in Fifteenth- and Early Sixteenth-Century Central Europe and the Origins of Architecture	1
Libbali-sharrat in the Garden: An Assyrian Queen Holding Court	1
Race Matters: Black Andromeda in the Renaissance and in Contemporary Whitewashing	0
Contributors	0
“Cosas desta tierra”: An Indigenous Silversmith from Mexico in Peru, ca. 1550	0
The Missing Telescope in Vermeer’s The Astronomer	0
Olimpia Maidalchini Pamphilj as Patron of Pietro da Cortona’s Galleria Frescoes in Palazzo Pamphilj	0
Visual Documentation for Barnett Newman’s Curatorial Projects, 1944–1946:	0
Editor’s Note: A Serving of Salmagundi	0
Contributors	0
Botticelli Interprets Petrarch’s Triumph of Love: An Overlooked Drawing in Ravenna	0
Antonio Rossellino, the Eros of Praxiteles, and Michelangelo’s David	0
Major Malcolm Wheeler-Nicholson and the Origins of DC Comics	0
Visual Documentation for Barnett Newman’s Curatorial Projects, 1944–1946: Part II: Commentary and Assessment	0
Front Matter	0
Contributors	0
A Childbirth Tray with the Trial of Moses	0
Contributors	0
Front Matter	0
Maximiliaan de Hase’s Story of Cyrus Tapestry Series (1771–76) for Empress Maria Theresa	0
Movement and Interaction at Santa Maria in Binda	0
Odysseus and Ino in Apollonio di Giovanni’s Early Renaissance Cassone Narratives	0
Contributors	0
Pierre Bonnard’s Books: A Catalogue with an Introduction	0

The Wise and Foolish Virgins of Nicosia Cathedral	0
Mantegna’s Black Magus and Prester John	0
Front Matter	0
Marco Zoppo’s Lascivious Drawings and the Erotic Lexicon	0
German Brass Basins as a Source for Late Fifteenth- and Early Sixteenth-Century Valencian Lusterware Forms	0
Editor’s Note: Six New Lenses for the Phoropter	0
Luca Riva, a Deaf Painter in Spanish Milan	0
Choreographer Trisha Brown’s It’s a Draw (2002–3)	0
The Last Judgment of Savonarola	0
Editorial Note: Transformations	0
Death Nag: Altdorfer’s 1506 Delilah and the Real Power of Women	0
Plague!	0
Caravaggio’s John the Baptist with a Ram: Iconography and Source	0
“Covered with Thick Marble”: Uncovering Yoko Ono’s Marble Works from 1961 to 1966	0
The French Connection in Thomas Cole’s Course of Empire	0
Adolphe Valette and the Firefly	0
Marian Demotion: An Engraving of the Virgin and Child in Early Modern China and Problems of Cross-Cultural Translation	0
Michelangelo’s Moses in the 1540s	0
Women Artists in Sixteenth-Century Antwerp: The Missing Case of Anna Coblegers (ca. 1545/50?–66)	0
Front Matter	0
Hierarchies of Value: The Medallist’s Work in Sixteenth-Century Art	0
Contributors	0
Editor’s Note: Thank You, Dan Brown, for Improving the Stereotype	0
Revisiting the Dundee Caracciolo	0
On the Separation of the Arts in Venice: A Neglected Passage from the Statutes of the Stonemasons’ Guild	0
Contributors	0
Short Notes and Some News on the Master SB: A Newly Discovered Still-Life Painting	0
“A Noise that Decorum Does Not Allow”: A New Interpretation of a Work by Suzanne Duchamp	0
Memento Mordant: Etching Bubbles and Biting Time	0
Addendum: Roxana or Not?	0
In Praise of a Fly	0
Nitidissima solis imago: Pontormo, Vertumnus, and the Sun	0
Keeping, Saving, and Remembering: Manuel Doroteo Carvajal’s Trompe l’Oeil Autograph Drawings as Elements of Rhetorical Visual Strategy during the Colombian Civil Wars of the 1850s and 1860s	0
Tintoretto’s Big Books	0
Front Matter	0
Editor’s Note: Of Jesus and Judas	0
Finding Time: The Evidence for the Pennsylvania State House Eastern Clock Dial	0
Oscar White Muscarella (1931–2022)	0
On Roger de La Fresnaye’s Lost Étude pour le portrait de l’artiste and Its Corbeille de fleurs Motif	0
Adriana de Mila and the Decorative Program in the Orsini Castle at Vasanello	0
Erasmus’s Nose	0
Pierre Bonnard’s Books: An Interpretation	0
Christina Robertson’s Children with a Parrot: Identification of the Sitters	0
Summoned by Bells: The Soundscape of Leonardo da Vinci’s Battle of Anghiari	0
“’Twas Steve’s Idea”: Steve Ditko and the Problem of Collaborative Production	0
Front Matter	0
“Stain’d with divers sorts of Paints”: Transatlantic Slavery in John Smibert’s Boston Studio, 1737	0
Raphael’s Two Uncles	0
Famous but Unknown: An Introduction to J. Howard Miller	0
Editor’s Note: Restoring the Director’s Cut	0

Contributors	0
Sainted Remains and Ordinary Bones	0
Contributors	0
Front Matter	0
Guest Editor’s Note: Superman’s Brother	0
Turks of the Passion: The Antagonists of Christ in Passion Scenes of Transylvanian Wooden Churches	0
The Grotesque Provocations of the Palazzo di Bianca Cappello	0
Front Matter	0
How to Destroy a Mural	0
Editor’s Note: Another Glorious Company	0
“Unjustly Tormented by Love”: Eros as a Source of Artistic Inspiration in an Epigram for Gian Giorgio Lascaris, Alias Pyrgoteles	0
A Quack in Stockholm: Establishing the Oeuvre of Joachim van den Heuvel	0
Editor’s Note: Of Amorous Dogs, Signatures on Sashes, and Drawing While Dancing	0
Fred Licht (1928–2019): An Appreciation	0
Contributors	0
Michelangelo’s O	0
Editor’s Note: The Persistence of Wallpaper	0
Contributors	0
A Spanish Painter in the White House: Joaquín Sorolla’s Portrait of President William Howard Taft (1909)	0
Talking Colors: Ercole Sarti and the Verses That Gave Voice to His Paintings	0
Perceptions of Michelangelo’s Letter of 1542	0
The Journey into the Mind of Bellini: Bonaventure and the Frick St. Francis	0
Charles Eliot Norton on Bernhard Berenson: Methodological Differences or Ethnic Bias?	0
Battista Lorenzi’s Statue of Painting on Michelangelo’s Tomb	0
Artifice and Reality in Caravaggio’s Lute Player	0
The Evolution of the Contemporary Graphic Novel: Gil Kane’s His Name Is … Savage! and Blackmark	0
Before the Babe and After: Counting Women Cartoonists in the Underground Comix	0
The Architectural Photography of Annette and Rudi Rada: Modernity and Tradition in Miami and Havana	0
The Bianchi of 1399 at Empoli: A Tuscan Visual Commemoration	0
Editor’s Note: The Spice of Life	0
Contributors	0
On the Significance of Saint Paul’s Sword in Raphael’s Saint Cecilia Altarpiece	0
Front Matter	0
The Misaligned Body: The Fourth Group and Performance Art in Authoritarian South Korea	0
Editor’s Note: What We See Doth Lie	0
Carlo Crivelli’s Madonna of the Passion and the Lost Church of San Sebastiano, Venice	0
Front Matter	0
Michelangelo in Motion: Carlo Ludovico Ragghianti’s Critofilm Michelangiolo (1964)	0
Front Matter	0
Editor’s Note: Our Current Lineup of Diversity, Equity, and Inclusion	0
Chastity’s Knight: Allegory and Chivalry in Assisi	0
The Darkest Knight: The Gothic Roots of Batman Comics	0
Rising from Troubled Waters: Cy Twombly’s Anadyomene (1981)	0
A Modern Pietà: Hugh Auchincloss Steers’s Hospital Bed and Reconceiving a Holy Family	0
Michelangelo’s Jonah: A Study in Multitasking	0
Patronage and Heraldry in the Tickhill Psalter (New York, NYPL, MS Spencer 26)	0
“In Topsy-Turvy Land”: The Combat of Cats and Rats in the Lima Procession of 1659	0
Destined to Rule: The Symbolism of the Jade-Colored Throne in the Yongle Emperor’s Portrait	0
Édouard Brandon: A Jewish Painter in Nineteenth-Century Rome	0
Unraveling a Myth: A Misidentified Portrait by Marie-Victoire Lemoine	0
Lavinia Fontana’s Birth of the Virgin	0
The Hanging of Judas in Chicago and the End of an Image	0
Front Matter	0
Taddeo Zuccaro and the Pucci Chapel in Santissima Trinità dei Monti, Rome	0
Konrad Peutinger, Jörg Breu, and Festina Lente: An Origin of the Early Modern Emblem in the Prayer Book of Maximilian I	0
Front Matter	0
Contributors	0
Contributors	0
Parmigianino’s Bitch	0
Editor’s Note: Creative Anachronisms	0
Front Matter	0