Publications

RACAR - Canadian Art Review

In 2010 the Universities Art Association of Canada will publish two issues of RACAR.  The cost for an annual subscription is $85.00 CDN.

Current and past issues of RACAR are available on line free of charge for all Universities Art Association of Canada member.  Non members can also subscribe and download specific issues of RACAR.

To subscribe or for more information on how to log in and access the electronic versions of RACAR currently available, please contact Fran Pauzé at 613 622 5570 or by email

RACAR is published by the Universities Art Association of Canada with the assistance of the Social Sciences and Humanities Research Council of Canada.  As the one general art history journal in Canada, RACAR's scope reflects the range and diversity of art history practices in Canada.

View Journal | Current Issue | Register

The Managing Editor is Barbara Winters, Dept. of History in Art, University of Victoria, Victoria B.C. V8W 2Y2.

RACAR is distributed by the Universities Art Association of Canada, 189 Mill Ridge Rd. Arnprior, Ontario K7S 3G8.

Articles are listed in: ARTbibliographies, RILA, Répertoire d'art et d'archéologie, Canadian Periodical Index.

 

 

RACAR Archive

...

RACAR Vol XXVI, 1-2 1999

Published in August 2002/Publié en aout 2002)

 

Postures
et impostures de l'artiste moderne/Myths of the Modern Artist: Exposing the
Pose

 

Sous la
direction de/Guest Editors - Nicole Dubreuil et Johanne Lamoureux, Université
de Montréal

 

 

Contents/Sommaire

 

L'atelier institué en portrait de l'artiste moderne dans
la littérature du XIXe siècle

VERONIQUE RODRIGUEZ

 

Vaporization and/or Centralization: On the (Self)
Portraits of Manet and Degas

VICTOR I. STOICHITA

 

Artists and After-Lives

HEATHER DAWKINS

 

Renoir, susceptibilités épidermiques

NICOLE DUBREUIL

 

La mise en lumière des indépendants. Le mythe de
l'artiste isolé chez les écrivains symbolistes français

FRANÇOIS LUCBERT

 

Paradigme ou modèle: Les héritiers de Van Gogh et les
paradoxes de l'authenticité

NATHALIE HEINICH

 

"T'Other Emily:" Emily Carr, the Modern
Woman Artist and Dilemmas of Gender

GERTA MORAY

 

Virtual (Art) History 

DONALD PREZIOSI

 

In memoriam: Through Feminist Eyes: In Memory of
Natalie Luckyj

CYNTHIA HAMMOND

 

LIVRES/BOOKS

 

Nathalie Heinich Ce que l'art fait à la sociologie

Reviewed by Francine Couture

 

Kay Dian Kriz The Idea of the English Landscape
Painter: Genius as Alibi in the Early Nineteenth Century - Reviewed by
Adele Ernstrom

 

Catherine M. Soussloff, The Absolute Artist: The
Historiography of a Concept

Reviewed by Allister Neher

 

Kevin D. Murphy Memory and Modernity:
Viollet-le-Duc at Vézelay

Reviewed by Christopher Thomas

 

Kalman P. Bland, The Artless Jew: Medieval and
Modern Affirmations and Denials of the Visual

Reviewed by Carol Zemel

RACAR Vol XXIV, # 1 / 1997

RACAR Vol XXIV, # 1 / 1997

 

Published in December 1999/publié en
decembre 1999

 

Sommaire/Contents

 

The Santa Croce Drawings: A Re-examination

GILLIAN MACKIE

 

Images of Authority, Identity, Power: Facade Mosaic
Decoration in Rome during the Later Middle Ages

CATHERINE HARDING

 

From Woodblock to Textile: Images of Elite Culture in
the Blue-and-White Embroideries of Sichuan

CATHERINE PAGANI

 

Thinking Nation and Hybrid Belongings: The Aesthetics
of Negotiation in Recent Media Art

CHRISTINE ROSS

 

Livres/Books

 

Margot Coatts, ed., Pioneers of Modern Craft

Reviewed by Sandra Alfoldy

 

C. Jean Campbell, The Game of Courting and the Art
of the Commune of San Gimignano 1290 – 1320

Reviewed by Louise Bourdua

 

Clifford Brown and Guy Delmarcel, Tapestries for
the Courts of Federico II, Ercole, and Ferrante Gonzaga, 1522 – 63

Reviewed by Stephen J. Campbell

RACAR Vol XXIV, # 2 / 1997


Breaking the Boundaries: Intercultural Perspectives in
Medieval Art

/Entamer les frontières: perspectives interculturelles
dans l'art du Moyen-Age

 

Published in November 2000/publié en
novembre 2000

 

 

Sommaire /Contents

 

Norwegian Stave Churches and their Pagan Antecedents

MICHAEL REED

 

Food for Thought in the Souillac Pillar: Devouring
Beasts, Pain and the Subversion of Heroic Codes of Violence

CAROL KNICELY

 

Shields of Faith: Apotropaic Images of the Virgin in
Alfonso X's Cantigas de Santa Maria

DEIRDRE JACKSON

 

Mamluks and Venetians: An Intercultural Perspective on
14th Century Material Culture in the Mediterranean

CATHERINE HARDING AND NANCY MICKLEWRIGHT

 

Livres/Books

 

Calvin B. Kendall, The Allegory of the Church:
Romanesque Portals and their Verse Inscriptions

Reviewed by James Bugslag

 

Elizabeth ten Grotenhuis, Japanese Mandalas:
Representation of Sacred Geography

Reviewed by Gail F. Chin

 

Gill Perry, ed., Gender and Art 

Reviewed by Catherine
Harding

 

Amelia Jones, Body Art: Performing the Subject

 Reviewed
by Jayne Wark

RACAR Vol XXV, 1-2 1998

Published in June 2001/publié en juin 2001

 

Producing Women/Ces femme qui produisent.....

 

Guest
Editors/Sous la direction de Janice Helland, Queen's University & Catherine
MacKenzie, Concordia University

 

Sommaire/Contents

 

Editorial
Introduction/Mot des rédacteurs

 

Elitekey: The
Artistic Production of Mi’Kmaq Women                               

JOAN ACLAND

 

Troubling
Presences: Body, Sound and Space in Installation Art

of the mid -
1990s                                                                                 

DEBORAH CHERRY     

 

Daughter in
Exile: The Painting Space of Christiane Pflug

CHRISTINE
CONLEY

 

The Industry
of Motherhood: Spring Hurlbut’s “L’ascension”

and Julia
Margaret Cameron’s Wings                                                      

CYNTHIA IMOGEN HAMMOND

 

Place Really
Does Matter: Marion Greenwood’s 1947 “China” Exhibition

CATHERINE
MACKENZIE         

 

How Many
Artists Are There in the Family?

The Career of
Montreal Painter Regina Seiden (1897 - 1991)         

BARBARA
MEADOWCROFT

 

Madonna/Mother/Death and Child: Laura Muntz and the Representation of
Maternity ELIZABETH MULLEY

 

The Viewer as
Producer: British and Canadian Feminists reading Prudence Heward’s “Women”

LYNN PEARCE

 

A Tale of
Three Women: The Visual Arts in Canada/A Current Accounting

JOYCE ZEMANS

 

Livres/Books

 

Ingrid
Bachmann and Ruth Scheuing, eds Material
Matters;The Art and Culture of
Contemporary Textiles                 

Reviewed by
Elaine Cheasley

 

Griselda
Pollock, Differencing the Canon:  Feminist Desire and

the Writing of Arts’ Histories      

Reviewed by Shannon Hunter Hurtado

 

Debra Pincus,  The
Tombs of the Doges of Venice          

Reviewed by John Osborne

 

Katheryn
Brush,  The Shaping of Art History. Wilhelm Vöge,
Adolph Goldschmidt, and the Study of Medieval Art                                         

Reviewed by Gwendolyn Trottein

RACAR Vol XXVII, 1-2 2000


Published in August 2003 (Publié en aout 2003)

 

 

Sommaire / Contents

 

Concerning the Origin of the Virgin of Humility Theme                               

JOSEPH POLZER

 

Le Problème de l’ornement chez Cellini : théorie, iconographie
et humanisme                    

GWENDOLYN TROTTEIN

 

“The Man with Three Feet” in Pieter Bruegel the
Elder’s Peasant Wedding

CLAUDINE MAJZELS

 

Images de Pompéi                    

BRIGITTE DESROCHERS

 

La Gloire du peintre de les errements de l’Academie. Des pistes
pour l’étude des marines de Claude-Joseph Vernet au Salon

NICOLAS GAUDREAU 

 

White Marble, Black Bodies and the Fear of the
Invisible Negro: Signifying Blackness in Mid-Nineteenth-Century Neoclassical
Sculpture CHARMAINE NELSON

 

The Commodification of William Morris: Emotive Links in a
Mass-Produced World

SANDRA ALFOLDY

 

Translating Music into Visual Form: The Influence of Music
in the Work of Bertram Brooker

GLENN WILLIAMS

 

Des Canadiennes exposent au Riverside Museum en 1947.
Ambiguïtés de la réception critique

EDITH –ANNE PAGEOT

 

Commentaire / Commentary

 

Hommage à Raymond
Klibansky / Tribute to Raymond Klibansky

Carol Doyon

 

Raymond
Klibansky and the Warburg Institute

Carol Gibson-Wood

 

Raymond Klibansky
et l’histoire de l’art du XXe siècle

Jean-Philippe Uzel

 

La Notion de Kulturwissenschaft

Raymond Klibansky

                                   

Livres / Books

 

Greg M. Thomas, Art and Ecology in
Nineteenth-Century France: The Landscapes of Théodore Rousseau - Reviewed
by Nicole Dubreuil

 

Barbara Fischer, Foodculture: Tasting Identities
and Geographies of Art

Reviewed by Martha Langford

 

Deborah Cherry,Beyond the Frame: Feminism and
Visual Culture 

Reviewed by Anne-Marie Link

 

Christine Stevenson, Medicine and Magnificence:
British Hospital and Asylum Architecture, 1600-1815 Reviewed by Sherry
McKay

 

Bernard Smith,Modernism’s History 

Reviewed by Ellen RAMSAY

RACAR Vol. XXIX 1-2 2004

Revue d’art
canadienne/Canadian Art Review

Published in August 2005

 

 

Sommaire/Contents

 

Riegl, Hegel, Kunstwollen,
and the Weltgeist

ALLISTER NEHER

 

Slippery Talk of Parliament’s Architecture: Canadian,
Canadian British, or Anglo-American?

CHRISTOPHER A. THOMAS

 

Exhibiting Ireland: The Donegal Industrial Fund in
London and Chicago

JANICE HELLAND

 

L’avènement de l’art naïf en Haïti:
La Portée instauratrice d’un jugement esthétique

CARLO AVIERL CÉLIUS

 

Le narrateur dans l’image. Analyse comparative d’une photographie
de Jeff Wall et d’un texte de Walter Benjamin

MARIE FRASER

 

Note/Note

 

Patronage at the Court of Burgundy around 1500: a Note
on the Death of St. Nicholas Window
in the Royal Ontario Museum

ARIANE ISLER-DE JONGH

 

Livres/Books

 

Andrew Hemingway, Artists
on the Left: American Artists and the Communist Movement

Reviewed by Pamela Allara

 

Joan B. Landes, Visualizing
the Nation: Gender, Representation, and the Revolution in Eighteenth-Century
France

Reviewed by Vivian Cameron

 

Rose Marie San Juan, Rome: a City Out of Print

Reviewed by Erin J. Campbell

 

Christopher A. Thomas, The Lincoln Memorial & American Life

Reviewed by Angela Carr

 

Kristina Huneault,  Difficult Subjects: Working Women and Visual
Culture, Britain 1880 – 1914

Reviewed by Julie F. Codell

 

Philip Jacks and William Caferro, The Spinelli of Florence: Fortunes of a Renaissance Merchant Family

Reviewed by Cathleen Hoeniger

 

J. Philip McAleer,
Rochester Cathedral, 604 – 1540: An Architectural History

Reviewed by Malcolm Thurlby

 

Carol Gibson-Wood, Jonathan
Richardson: Art Theorist of the English Enlightenment

Reviewed by Catherine Tite

 

Lawrence Gowing,  Vermeer  

Reviewed by Angela Vanhaelen

 

Kathy E. Zimon, Alberta
Society of Artists, the first Seventy Years

Reviewed by Anne Whitelaw

RACAR Vol. XXVII/2001-2003

Revue d’art canadienne/Canadian Art Review

Art History Inside and Outside the University/L’histoire de l’art à l’université et hors de l’université

 

Guest Editor/Sous la direction de Adele Ernstrom, Emerita, Bishop’s University

 

Published
June 2004

 

 

 

Sommaire/Contents

 

Editorial
Introduction: Art History Inside and Outside the University

ADELE ERNSTROM

 

Geroge
Turnbull and Art History at Scottish Universities in the Eighteenth Century

CAROL
GIBSON-WOOD

 

Art, History
and Discipline in the Eighteenth-Century German University

ANN-MARIE LINK

 

Entering Art
History in the Mid-Nineteenth Century: Félicie d’Ayzac, Anna Jameson and the
Legacy of Mme de Staël

ADELE ERNSTROM

 

L’Institutionnalisation
de l’histoire de l’art en France au XIX siècle

LYNE THERRIEN

 

The Academy,
the Market and the Art Museums in the Repositioning of Australian Aboriginal
Art

DAVID DOLAN

 

Commentaire/Commentary

New Art
Histories: Severing the Incestuous Relation Betweeen the Discipline and the
Museum?

NICOLE
DUBREUIL

 

Livres/Books

Ellen Easton
McLeod, In Good Hands: The Women of the Canadian Handicrafts Guild

Reviewed by
Sandra Alfoldy

 

Dennis Reid
and Matthew Teitelbaum, eds., Greg Curnoe: Life and Stuff

Reviewed by
Katie Cholette

 

Martha
Langford, Suspended Conversations: The Afterlife of Memory in Photographic
Albums

Reviewed by
Susan Close

 

Michael Fried,
Menzel’s Realism: Art and Ebodiment in Nineteenth-Century Berlin

Reviewed by
Mitchell Frank

 

Serge
Trottein, ed., L’estétique naît-elle au XVIIIe siècle?

Reviewed by
Nicolas Gaudreau

 

Jeffry Abt,  A Museum on the Verge: A Socioeconomic History
of the Detroit Institute of Arts 1882 – 2000  

Reviewed by
Reesa Greenberg

 

Philip Sohm  Style in the Art Theory of Early Modern Italy

 Reviewed by Sharon Gregory

 

Eckhart
Marchand and Alison Wright, eds., With and Without the Medici: Studies in
Tuscan Art and Patronage 1434 – 1530

 Reviewed by Corinne Mandel

 

Janice
Helland, Professional Women Painters in the Nineteenth-Century Scotland:
Commitment, Friendship, Pleasure

 Reviewed by Juliette Peers

 

Robert J.
Belton, Signs of Resistance: Approaches to Canadian Visual Culture

Reviewed by
Ron Shuebrook

 

Dominic
Marner, St. Cuthbert: His Life and Cult in Medieval Durham

 Reviewed by Malcolm Thurlby

RACAR Vol. XXX 1-2 2005

Revue d’art
canadienne/Canadian Art Review

The Portrait Issue/La
question du portrait

Published in July 2006

 

 

Sommaire/Contents

 

Editors’ Introduction/Mot des rédacteurs

 

A New Portrait Gallery for Canada: Stacking or
Unpacking a National Narrative

LILLY KOLTUN

 

Sur/Rendering Her Image: The Unknowable Harriet Tubman

CHANTAL N. GIBSON and MONIQUE SILVERMAN

 

Portrait of a Globalized Canadian: Ken Lum’s There Is No Place Like Home

CYNTHIA FOO

 

Catherine de Médicis (1519-1589) et le portrait: esquisse
d’une collection royale au féminin

CHANTAL TURBIDE

 

L’Intéret et les limites de la recherche sur l’art de
la miniature au Canada. La collection de Bibliothèque et Archives Canada

ANNE-ELISABETH VALLÉE

 

(Re)viewing Whistler and Sargent: portraiture at the fin-de-siècle

MEAGHAN CLARKE

 

Miniature objects of Cultural Covenant: Portraits and
First Nations Sitters in British North America

KRISTINA HUNEAULT

 

Leaders, Legends and Felons: negotiating portraiture,
from veneration to vandalism

ANGELA CARR

 

Collaboration spéciale/Keynote Paper

 

What Lies Beyond the Slide Library?  Facing the Digital Future of Art History

SARAH PARSONS

 

Livres/Books

 

Lori Pauli, Manufactured
Landscapes: The Photographs of Edward Burtynsky, with essays by Mark
Haworth-Booth and Kenneth Baker and an interview by Michael Torosian

Reviewed by SARAH BASSNETT

 

Sylvia Lavin, Form
Follows Libido: Architecture and Richard Neutra in a Psychoanalytic Culture

Reviewed by KEITH BRESNAHAN

 

Heather Dawkins, The
Nude in French Art and Culture, 1870-1910

Reviewed by JOHN POTVIN

 

Steven Harris, Surrealist
Art and Thought in the 1930s: Art, Politics, and the Psyche; and Johanna
Malt, Obscure Objects of Desire:
Surrealism, Fetishism, and Politics

Reviewed by LINDA STEER

 

Michael W. Cole, Cellini
and the Principles of Sculpture; Margaret A. Gallucci, Benvenuto Cellini, Sexuality, Masculinity and Artistic Identiry in
Renaissance Italy;  and Alessandro
Nova and Anna Schreurs, eds, Benvenuto
Cellini. Kunst and Kunsttheorie im 16 Jahrhundert

Reviewed by GWENDOLYN TROTTEIN

 

Tanya Mars and Johanna Householder, eds. Caught in the Act: an anthology of
performance art by Canadian women.

Reviewed by JESSICA WYMAN

RACAR Vol. XXXI 1-2 2006

Revue d’art
canadienne/Canadian Art Review

Papers from
the 31st International Congress of the Comité international
d’histoire de l’art (CIHA) August 23 – 27 2004 Montréal / Communications
présentées au XXXI ième Congrès international du Comité international
d’histoire de l’art (CIHA) à Montréal, du 23 – 27 août 2004

 

Published in April 2007

 

 

Sommaire/Contents

 

Editors’ Introduction/Mot des rédacteurs

 

Béton et utopie avant 1914: architecture et
<<moule social>>                               

LAURENT BARIDON

 

Law or Independence
– What Does the Frame Stand For ?

VERA BEYER

 

Archéologie de l’oeuvre Net art: une esthétique du
fragment

JEAN-PAUL FOURMENTRAUX

 

From Flatness to Space and Back Again: Concepts of
Representation in the Work of Gerhard Richter and Sigmar Polke

JULIE GELSHORN

 

The Virtual Memorial: Temporality, Interactivity and
the Internet

ANNIE GÉRIN

 

Photographie et cinéma chez Henri Focillon: illustrer,
sérier, diffuser et enseigner.  Le
renouvellement d’une discipline

COLIN LEMOINE

 

Modernist Ultimate Thule

RHODRI WINDSOR
LISCOMBE

 

Le corps sans limites ou l’acéphalité; le personnage
d’Acéphale, secret et équivoque, dans les oeuvres des artistes autour du
Collège de Sociologie

CAMILLE MORANDO    

 

Mirror Reflections: Robert Smithson’s Dialectical
Concept of Space

JOHANNES STŰCKELBERGER

 

Livres/Books

 

Indri Kais McEwen, Vitruvius:
Writing the Body of Architecture

Reviewed by BARBARA ARCISZEWSKA

 

Louis Kaplan, American
Exposures; and Martha Langford, ed., Image
and Imagination

Reviewed by MATTHEW BROWER

 

Alice Goldfarb Marquis, Art Czar, The Rise and Fall of Clement Greenberg

Reviewed by KEN CARPENTER

 

Stephen J. Campbell and Stephen J. Milner, eds, Artistic Exchange and Cultural Translation
in the Italian Renaissance City

Reviewed by CATHERINE HARDING

 

Kristen Frederickson and Sarah E. Webb, eds,  Singular Women: Writing the Artist

Reviewed by JANICE HELLAND

 

Glenn Peers, Sacred
Shock, Framing Visual Experience in Byzantium

Reviewed by LESLEY JESSOP

 

Virginia Nixon, Mary’s
Mother: St Anne in Late Medieval Europe

Reviewed by CHRISTINE KRALIK

 

Madeleine Landry et Robert Derome, L’art sacré en Amérique française.  Le trésor de la Côte-de-Beaupré

Reviewed by JEAN TRUDEL

RACAR Vol. XXXII 1-2 2007

Revue d’art
canadienne/Canadian Art Review


Published in December
2007

 

Sommaire/Contents

 

A “Lost” Ivory Casket in the Gort Collection at the Winnipeg Art Gallery

JAMES BUGSLAG

 

Who Was that Masked Man ?  An Alexandrian Bronze

ALAN HUGHES

 

Art and the Gregorian Reform: Saints Peter and Clement
in the Church of San
Marco at Venice

LESLEY JESSOP

 

Grace Pailthorpe et Reuben Mednikoff à Vancouver.  La transmission du surréalisme au Canada anglais,
1942-1946

YVES M. LAROCQUE

 

Theodulf of Orléans and the Ark of the Covenant:  A New Allegorical Interpretation at
Germigny-des-Près

GILLIAN MACKIE

 

Jacques Villon and the Tovell Family:  A Canadian Connection with Modernism

MICHAEL PARKE-TAYLOR

 

Body Politics and the Art of Norval Morrsseau

CARMEN ROBERTSON

 

The Wound on Christ’s Back in New
Spain

ALENA ROBIN

 

Un Canadian
errant: Charles Smeaton and the earliest photographs of the
Roman Catacombs

ANDREA TERRY AND JOHN OSBORNE

 

Livres/Books

 

Ihor Holubizky, Walter Klepac and Christopher Cuts, Kazuo Nakamura: The Method of Nature/La
Méthode de la nature;  Bryce Kanbara,
Tashme2: Early Work of Kazuo
Nakamura;  and Richard William Hill,  Kazuo
Nakamura: A Human Measure

Reviewed by BRIAN
GRISON AND BRETT STEVENS

 

Malcolm Thurlby, Romanesque
Architecture and Sculpture in Wales

Reviewed by STUART HARRISON

 

Jayne Wark, Radical
Gestures: Feminism and Performance Art in North America

Reviewed by LAURA LEVIN

 

Laurier Lacroix, Suzor-Coté,
lumièreet matière

Reviewed by DIDIER
PRIOUL 

RACAR Style Guide

Manuscripts which do not conform to the following guidelines may be returned to the author for corrections before the start of the editorial process.

MANUSCRIPT
  1. Authors must submit to the Managing Editor three (3) copies of their manuscript, along with photocopies of the illustrations and a list of captions for the illustrations. These will not normally be returned. Disks will eventually be required for articles which are accepted (WordPerfect or Microsoft Word are preferred), but please do not send them in initially. Authors will also be required eventually to submit a résumé of their article in French (250 words or less).
  2. All manuscripts must be typed double-spaced on one side of the page only. This includes not only the text, but also the quotations, notes, résumé and list of captions.
  3. The manuscript should begin with the title, name of author and academic affiliation of the author, all in upper and lower case type (no italics or boldface); text which is to be printed in italics should all be underlined. All pages of the manuscript should be paginated consecutively. The notes should be contained in a separate section, after the main text.
  4. Manuscripts should normally be no longer than 30 pages, including apparatus, and should contain no more than 12 illustrations.
  5. Authors should retain the original copy and disk of their manuscript and their photographs, sending only photocopies of the latter.
  6. Changes in the galley proofs will be charged to the author at the rate of $3.25 each. When possible, authors will be alerted as to the approximate date when their manuscript will be sent to press, and they will, therefore, have ample time to attend to any last-minute changes.
  7. The Editors of RACAR retain the right to make such editorial revisions as may be necessary to render the finished work suitable for publication.
COPYRIGHT
  1. The author, and not RACAR or its press, is solely responsible for the entire contents of his/her contribution.
  2. Manuscripts accepted for publication will not be printed until the author provides the Managing Editor with documentation showing that copyright laws for reproductive material and/or for extensive quotations have been satisfied.
TEXT STYLE
  1. The spelling and hyphenation of words should conform to Canadian English usage. RACAR prefers -re rather than -er word endings (e.g. centre, not center), -our rather than -or endings (e.g. labour, not labor), and -mme rather than -m endings (e.g. programme, not program). Where both are possible, use -ize endings, not -ise endings (but note that there are words where 's' is essential: e.g. advertise, supervise, analyse, etc.). For further clarification, see the Gage Canadian Dictionary, the Houghton-Mifflin Canadian Dictionary, the Penguin Canadian Dictionary, etc. Underline all foreign words and all other words to be italicized. Foreign words which have been absorbed into the language, particularly art terms (e.g. chiaroscuro) need not be underlined, and accents can normally be omitted. Place names should generally conform to the spelling of the native country or region (e.g. Regensburg, not Ratisbonne; Livorno, not Leghorn); Anglicizations of long standing (e.g. Rome, Florence) are, however, acceptable.
  2. For quotations, and for single words picked out in the text, use double quotation marks. Use single quotation marks only for quotations within quotations. Final quotation marks should always follow sense stops, such as commas or periods. Longer quotations, of more than roughly 40 words, should be differentiated from the text by indentation, and set out as extracts, without quotation marks. All shorter quotations, however, should be incorporated in the text and set within quotation marks.
  3. Dates. Use nineteenth century, or nineteenth-century [art] (written in full), not 19th century, or 19th-century [art]. Use 1930s, not '30s or thirties. Use 19 July 1992, not July 19, 1992 or July 19th, 1992. For approximate dates, use ca. 1203, rather than circa 1203, c.1203 or c. 1203.
  4. Other numbers. Spell out numbers less than 100, other than dates and measures, that occur in isolation in the text (arabic numerals may be used, however, when several numbers are being mentioned or for comparisons). Write all numbers of three digits or more in arabic numerals (volume numbers in notes should be in Roman numerals). When specifying a hyphenated range of numbers, include the last two digits of the final number, thus: 152-55, 1980-88.
  5. Capitalization. Historical movements and generally accepted historico-stylistic categories should be capitalized (e.g. Gothic architecture, Expressionist movement, Classical art). More generally
    used stylistic descriptors should not be capitalized (e.g.
    expressionist tendencies, classic moment).
  6. Abbreviations. Only abbreviations which do not end in the last letter
    of the word should be followed by a period, thus: cont. and Ont. but St
    Stephen and Dr Gachet.
  7. Wherever possible, use metric rather than imperial units. Abbreviated units do not change in the plural, e.g. 3 km (not 3 kms).
  8. For other points of style, consult the Chicago Manual of Style. Please
    note, however, that RACAR style differs from theirs in two areas: we do
    not endorse American spellings, as they do; and our note format also
    differs from theirs.
NOTE STYLE
  1. Notes
    should be used sparingly. Where lengthy notes are deemed essential by
    the author, consideration should be given either to adjusting the text
    or to the addition of an addendum or addenda.
  2. Acknowledgements should be made in an unnumbered note at the beginning of the Notes section.
  3. In all references, the choice between given name(s) and/or initial(s)
    for authors should follow the author's own practice, as reflected in
    their published works. Titles of published books and periodicals should
    be underlined. All important words, both in titles and subtitles,
    should be capitalized. If a book is part of a series, the series name
    should not be underlined. All volume numbers should be in Roman
    numerals. Where both exist, the volume number and the date of
    periodicals are required; however, individual issue numbers should not
    be included, unless they are particularly germane. Note that quotation
    marks always follow sense stops. Page numbers are not preceded by p. or
    pp. See below for detailed exemplars. If a reference is not covered in
    this list, adapt it as closely as possible to the most similar exemplar.
  4. A full reference should be given initially. All subsequent note
    references to the same work should be in standard shortened title form:
    author's last name, the key word(s) of the title, page number(s). In
    particular, shortened titles should be used in place of ibid., op.
    cit., etc. See examples below.
  5. In exceptional cases
    where a single work is discussed at length or cited repeatedly,
    bracketed page references may be inserted directly in the text, once
    the full citation has been made in a note.
Monograph
  • François Souchal, Les Slodtz, sculpteurs et décorateurs du Roi (1685-1764) (Paris, 1967), 172-74, 650-51.
  • Lucy Freeman Sandler, Gothic Manuscripts 1285-1385, A Survey of
    Manuscripts Illuminated in the British Isles V, ed. J.J.G. Alexander, 2
    vols (London, 1986), I, 30-32, fig. 32.
Multi-Authored Work
  • John Blair and Nigel Ramsey, eds, English Medieval Industries: Craftsmen, Techniques, Products (London, 1991), 78.
  • Ernst Cassirer, Paul Oskar Kristeller and John Herman Randall, Jr.,
    eds, The Renaissance Philosophy of Man (Chicago, 1948), 112-22.
  • [where there are more than three authors or editors, list the first, followed by "et al.,"]
Exhibition Catalogue
  • Joan Murray, The Art of Tom Thomson, exh. cat., Toronto, Art Gallery of Ontario (Toronto, 1971), 51.
  • Jean Clair, ed., The 1920s: Age of the Metropolis, exh. cat., Montreal Museum of Fine Arts (Montreal, 1991), 450-71.
  • The Romantics to Rodin: French Nineteenth-Century Sculpture from North
    American Collections, exh. cat., Los Angeles County Museum of Art (Los
    Angeles, 1980), 246.
  • [exhibition locations are not required for travelling exhibitions]

Books in a Series

  • Francis Muel, et al., La Tenture de l'Apocalypse d'Angers, Cahiers de l'Inventaire IV (Paris, 1987), 45.
  • E.H. Gombrich, Art and Illusion, Bollingen Series XXXV, 5, 2nd edn (Princeton, 1961), 223-28.
Translations
]
  • Edmond and Jules de Goncourt, French Eighteenth Century Painters, trans. Robin Ironside (London, 1948), 32.
  • Incunabula
  • H. Badesius, De Sacello Sixti. V. Pont. Max. In Exquiliis ad praesepe Domini extructo (Rome, 1588), 6, 8, 11.
  • I. Castalionus in H. Badesius, De ... Sacello Sixti V. Pont. Max. (n.p., n.d.), 17.
Re-Edition
  • P. Fabricio, Delle allusioni, imprese, et emblemi ... sopra la vita,
    opere, et attioni di Gregorio XIII ... Libri VI (1st edn, 1585; Rome,
    1588), 331, Emblem CCXXII.
  • Martin Shaw Briggs, Baroque Architecture (1913; repr. New York, 1967), 33-52.
  • Dissertation
  • M.L. Shapiro, "Studies in the Iconology of the Sculptures in the Tempio
    Malatestiano," Ph.D. diss., New York University, 1958, 196.
Article in a Periodical
  • Norman D. Ziff, "Jeanne d'Arc and French Restoration Art," Gazette des Beaux-Arts, series 6, XCIII (January 1979), 38.
  • Maureen Ryan, "Picturing Canada's Native Landscape: Colonial Expansion,
    National Identity, and the Image of a 'Dying Race,' " RACAR (Revue
    d'art canadienne/Canadian Art Review), XVII, 2 (1990), 150-57, fig.
    85-91.
Article in a Multi-Authored Work
  • Wyly Grier, "Canadian Art: A Résumé," The Year Book of Canadian Art, 1913, ed. Alan Sullivan (Toronto, 1914), 243.
  • Claude Blair and John Blair, "Copper Alloys," English Medieval
    Industries: Craftsmen, Techniques, Products, eds John Blair and Nigel
    Ramsay (London, 1991), 81-106, esp. 93-95.
  • Millard
    Meiss, "Jan van Eyck and the Italian Renaissance" in Meiss, The
    Painter's Choice: Problems in the Interpretation of Renaissance Art
    (New York, 1976), 19-35
Sales Catalogue
  • Sotheby Parke Bernet and Co., London, The Thomas F. Flannery, Jr.,
    Collection: Medieval and Later Works of Art (1 Dec. 1983: lot 5; 2 Dec.
    1983: lot 403).
Newspaper Article
  • Mario Proth, "Voyage au pays des peintres," Le Réveil, 1 May 1885, 1.
Shortened Titles
  • After a source has been cited in full, subsequent references consist of
    the author's last name and a shortened form of the title, usually (but
    not necessarily) consisting of the first words of the title. RACAR does
    not make use of "ibid." or "op. cit." in its notes. Some shortened
    titles from the above examples are listed below:
  • Souchal, Les Slodtz, 172-74.
  • Blair and Ramsay, eds, English Medieval Industries, 145.
  • Murray, The Art of Tom Thomson, 45.
  • Ziff, "Jeanne d'Arc," 38.
CAPTION STYLE
  • Text references to illustrations should take the form
    (fig. 2). For all captions, appropriate photographic credits and/or
    permissions must be included. It is the contributor's responsibility to
    obtain such permissions. Only actual titles of works, not descriptions
    (such as the names of buildings), are to be italicized. Please check
    that titles and/or descriptions used in captions exactly match the
    relevant reference in the text of the article. Exemplars for the main
    sorts of captions are listed below:
  • Figure 1. Lucius
    O'Brien, Lords of the Forest, 1874. Watercolour on paper, 67.2 x 46.6
    cm. Toronto, Art Gallery of Ontario, The Bert and Barbara Stitt Family
    Collection (Photo: Art Gallery of Ontario).
  • Figure
    2. Jusepe de Ribera, Saint Jerome, 1629. Oil on canvas, 125 x 100 cm.
    Rome, Galleria Doria Pamphili (Photo: reproduced from Jonathan Brown,
    Jusepe de Ribera: Prints and Drawings, Princeton, 1973).
  • Figure 3. Anonymous, Die Wittenbergisch Nachtigall, 1st edn, 1523, title-page (Photo: Göttingen, Universitätsbibliothek).
  • Figure 4. Henry II entering a church. Pontifical of Henry II, ca.
    1007-24. Bamberg, Staatsbibliothek, Lit. 53, fol. 2v (Photo: Hirmer
    Fotoarchiv, Munich).
  • Figure 5. Mainz Cathedral. Tomb
    slab of Archbishop Siegfried III von Eppstein, ca. 1250 (Photo:
    Marburg/Art Resource, New York).
  • Figure 6. Bishop
    Sigebert of Minden accompanied by two priests and two deacons, ca.
    1030. Ivory plaque, 14 x 7 cm. Berlin, Staatsbibliothek Preußischer
    Kulturbesitz, Ms. germ. qu. 42, bookcover (Photo: Rheinisches
    Bildarchiv, Cologne).
  • Figure 7. St. Paul's, Halifax. The interior as it appeared in 1987 [chancel of 1872] (Photo: T.U.N.S./ P. Toman).
  • Figure 8. St Paul's, Halifax. Reconstruction of the ground plan as built in 1750 (Photo: author).
  • Figure 9. James Gibbs, Mary'bone Chapell [St. Peter, Vere Street].
    Engraving: The North Side, with the plan in small (Photo: reproduced
    from A Book of Architecture, London, 1728, pl. XXIV).
OFFPRINTS
  1. Authors of articles and extended review articles will receive ten (10) offprints free of charge.
  2. Authors of standard book reviews will receive five (5) offprints free of charge.
  3. Additional offprints are available at a nominal charge. They may be ordered from the Managing Editor prior to publication.