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Cited by

• 2001"Manly Exercises": Post-Revolutionary Performances of Authority in the Theatrical Career of William Dunlap30 cited
• 1981Charles Willson Peale's Expressive Design: The Artist in His Museum28 cited
• 1935Amphi‐Atlantic English22 cited
• 2011Visualizing Early American Art Audiences: The Pennsylvania Academy of the Fine Arts and Allston's Dead Man Restored18 cited
• 1971Notes on John Joseph Holland, with a Design for the Balitmore Theatre, 180214 cited
• 1968Cole, Byron, and theCourse of Empire8 cited
• 1997Carpenter, Tailor, Shoemaker, Artist: Copley and Portrait Painting around 17707 cited
• 2002Paper Profiles: American Portrait Silhouettes6 cited
• 1990Plaster Casts after Antique Sculpture: Their Role in the Elevation of Public Taste and in American Art Instruction.6 cited
• 1987Early American museums From collection of curiosities to popular education4 cited
• 1985The “Intellectual and Moral Made Visible”: The 1839 Washington Allston Exhibition and Unitarian Taste in Boston4 cited
• 1982A Note on John Smibert's Italian Sojourn3 cited
• 2009A White Atlantic? The Idea of American Art in Nineteenth-Century Britain2 cited
• 2017Drawing after the Antique at the British Museum, 1809–1817: "Free" Art Education and the Advent of the Liberal State