Chapters in this book

1. Front Matter i
2. Contents vii
3. Introduction: What Was History Painting and What Is It Now? 3
4. Human Figures and Human Viewers
5. Figuring History at the End of the Renaissance: Notes on Agnolo Bronzino’s Martyrdom of San Lorenzo 29
6. A Rococo Aesthetic: History Painting and the Self's Embodiment 50
7. History Painting Redistanced: From Benjamin West to David Wilkie 67
8. History Painting in the Marketplace
9. James Gillray's The Death of the Great Wolf and the Satiric Alternative to History Painting 90
10. Historical Distance and Historic Doubts: Representing Napoleon in Exile 111
11. Landscape and the Problem of History: Thomas Cole and Anglo-Atlantic Modernity 131
12. History Painting after Modernism
13. Myth, Melancholy, and History: Figural Dialectics and José Clemente Orozco's Epic of American Civilization 160
14. History Painting after Conceptual Art 182
15. What Is the History in Contemporary History Painting? 204
16. Unwritten History: William Kentridge's Triumphs and Laments, Piazza Tevere, Rome, 2016 215
17. Reimagining Global Modernity in the Age of Neo-Liberal Patronage: The History Paintings of Julie Mehretu 234
18. “Earth Death Pictures” as Contemporary History Painting 254
19. Bibliography 273
20. Contributors 295
21. Index 299