Nancy Rose Marshall

Position title: Professor of Nineteenth-Century Art and Visual Culture

Pronouns: she/her/hers


Phone: (608) 263.2342

224 Conrad A. Elvehjem Building
On Research Leave AY 2023–24.

Curriculum Vitae

B.A. Yale University, 1987
M.A. Courtauld Institute of Art, London, 1991
M.A. Yale University, 1992
Ph.D. Yale University, 1998

Research Interests
Nineteenth-century British Art and Visual Culture. Particular interests in the interrelationships of Victorian painting and literature; racial and gender issues; empire, history of science, theories of realism, and material culture.

Nancy Rose Marshall is from Wyoming, RI and loves cats and chocolate. She is thrilled to live in her adopted city of Madison, where she teaches widely in European and American art of the modern period and specializes in Victorian visual culture. Working both to understand art in its original contexts and to interrogate it from our own, Marshall draws on interdisciplinary tools and frameworks of literary criticism, history of science, gender studies, and critical race studies to illuminate ways images speak of, struggle against, or destabilize–sometimes inadvertently–the norms of their first moment of production. A principal prompt for her project is the articulation of an art historical method that is also a call for appreciating the relevance of the discipline and its capaciousness as a fertile and productive field of study. Art history can remind us in unique and vivid ways that matter matters. Most recently Marshall compiled a volume of essays entitled Victorian Science and Imagery: The Evolution of Form in Nineteenth Century Visual Culture (Pittsburgh Univ. Press, 2021), to which she also contributed an introduction and essay on the affordances of candle-light. An earlier book, City of Gold and Mud: Victorian Representations of London (Yale Univ. Press, 2012) explored images of the city in an effort to understand how realist genre painting participated in the imperial project.

Victorian Science and Imagery: The Evolution of Form in Nineteenth Century Visual Culture, edited collection. “Introduction” and “A Haunting Picture: John Everett Millais’ Speak! Speak! in Light of Psychology and Chemistry.” Other essays by Rebecca DeLue, Carey Gibbons, Barbara Larson, Keren Hammerschlag, Caitlin Silberman, Naomi Slipp, and Alison Syme. (Pittsburgh: Pittsburgh University Press, 2021).

“‘In Flaming Fire Shall Pass Away’: Victorian Imag(in)ing of the Pagan Pyre,” 19: Interdisciplinary Studies in the Long Nineteenth-Century (2017).

“‘Startling; Nay, Almost Repulsive’: Light Effects and Nascent Sensation in John Everett Millais’s The Rescue.” Journal of Victorian Culture 21, iss. 4 (December 2016):514–47.

“‘A Fully Consummated Sacrifice Upon her Altar’: Victorian Cremation as Metamorphosis.” Victorian Studies 56, no. 3 (Spring 2014):458–69.

City of Gold and Mud: Painting Victorian London, Paul Mellon Center for Studies in British Art (London: Yale University Press, 2012).

“The Many Shades of Shakespeare: Representations of Othello and Desdemona in Victorian Visual Culture,” in Transculturation in British Art 1770–1930, edited by Julie F. Codell, 73–92 (Farnham: Ashgate Press, 2012).

“James Tissot’s ‘Coloured Photographs of Vulgar Society,'” in Victorian Vulgarity: Taste in Verbal and Visual Culture, edited by Susan David Bernstein and Elsie B. Michie, 201–22 (London: Ashgate Press, 2009).

“‘A Dim World, Where Monsters Dwell’: The Spatial Time of the Sydenham Crystal Palace Dinosaur Park.” Victorian Studies 49, no.2 (Winter 2007):286–301.

“A Family Affair: Realism, Detection and the Family in William Powell Frith’s The Railway Station of 1862.” British Art Journal 8, no.1  (2007):3–14.

“History Illuminated: William Holman Hunt’s London Bridge.” Art History 29, iss. 5 (2006):827–59.

James Tissot: Victorian Life/Modern Love (New Haven: Yale Center for British Art, 1999).

“Image or Identity: Kathleen Newton and the London Pictures of James Tissot,” in Seductive Surfaces: The Art of Tissot, edited by Katharine A. Lochnan (London: Paul Mellon Centre and Yale University Press, 1999).

Works in Progress:
‘Ashes and Sparks’: Britons on Fire in the Nineteenth Century (book project).

SOUL/BODY: Dante Gabriel Rossetti, Pre-Raphaelitism, and the Victorian Animate Corpse (monograph).

FIG: Freshman Interest Group Seminar
– Painting Politics: Art and the Roots of Racism in Britain and America, 1700–2000
– Race, Class and Gender in Victorian Visual Culture
– Representing London
AH 103: Art Matters: The Body, Sex, and Health in Art
AH 104: The Art of Diversity: Race and Representation in the Art and Visual Culture of the United States
AH 202: Renaissance to Modern Art
AH 346: British Art and Society from the Eighteenth Century to the Present
AH 350: Nineteenth-Century Painting in Europe
AH 365: American Art Since 1945
AH 407: Topics in Nineteenth-Century Art
– Realisms in Nineteenth-Century Visual Culture
– Pre-Raphaelitism, Vision, and Desire
– From Fairies to Steampunk: The Victorian Imagination Then and Now in Art and Literature
AH 555: Proseminar in Nineteenth-Century European Art
– The Nineteenth-Century Body
– The City
– Victorian Networks: Themes Toward an Exhibition of British Watercolors
AH 701: Practicum in Art History: Bibliography, Historiography, Methods
AH 855: Seminar in Nineteenth-Century European Art
– Art of Empire in Nineteenth-Century Britain and France
– Representing the City in Nineteenth-Century French and British Visual Culture
– Victorian Networks: Themes Toward an Exhibition of British Watercolors
– Evolving Forms: Victorian Art and Science