BOOKS
Mormonopolis: Imaginaire français du mormonisme 1830-1914. With Corry Cropper and Daryl Lee. Translated by Christine Raguet. Paris: Université Paris-Sorbonne, 2026.
Marianne Meets the Mormons: Representations of Mormonism in Nineteenth-Century France. With Corry Cropper and Daryl Lee. (Champaign: University of Illinois Press, 2022). Winner of John Whitmer Historical Association 2023 Best Book Award.
Women, Femininity, and Public Space in European Visual Culture, 1789-1914. Eds. Temma Balducci and Heather Belnap Jensen. New York: Routledge, 2014. .
Interior Portraiture and Masculine Identity in France, 1789-1914. Eds. Temma Balducci, Heather Belnap Jensen, and Pamela J. Warner. Burlington, VT: Ashgate, 2011.
EDITED SPECIAL JOURNAL ISSUES
JOURNAL ARTICLES, BOOK SECTIONS, CHAPTERS, ESSAYS
“Power Dressing: Military-Inspired Womenswear in the 19th Century,” Un vestiaire à soi. Féminités dissidentes au XIXe siècle, Marine Kiesel, ed. (Paris: Palais Galliera, 2026).
“The Visual and Material Culture of Religion in Enlightenment Europe,” A Cultural History of the Enlightenment, ed. Brett McInelly. A Cultural History of Religion series, ed. Brett McInelly (London: Bloomsbury, c. 2026).
“Pioneering Women: Lessons from Paris and the Making of an Art Scene in the American West, 1890-1940,” Proceedings from Faire oeuvre: La formation et la professionalisation des artistes femmes aux XIX et XXe siècles, colloque international, sponsored by AWARE (Archive of Women Artists, Research, and Exhibition), in partnership with the Musée d’Orsay and Centre Pompidou, September 2019. Paris: AWARE, 2023. 139-50.
“’Sure A Strong Devil’: Mabel Frazer, A.B. Wright, and the University of Utah Art Department’s 1937 Sexual Misconduct Case.” With Emily Larsen. Utah Historical Quarterly 90, no. 3 (Summer 2022): 196-214. Winner of the Mormon History Association’s 2023 Best Article on Mormon Women’s History Award.
“Aesthetic Evangelism, Artistic Sisterhood, and the Gospel of Beauty: Mormon Women Artists at Home and Abroad, c. 1890-1920” in Mormon Women’s History: Beyond Biography, eds. Rachel Cope, Amy Easton-Flake, Keith Erekson, and Lisa Olsen Tait. Madison, New Jersey: Fairleigh Dickenson University Press, 2017. 141-66.
“Parures, Pashminas, and Portraiture, or How Joséphine Bonaparte Fashioned the Napoleonic Empire.” Fashion in European Art: Dress and Identity, Politics and the Body, 1775-1925. Dress Cultures series. Ed. Justine De Young (London: I.B. Tauris, 2017), 15-30.
“Le privilège des femmes dans la critique d’art en France, 1785-1815.” Trans. Séverine Sofio. Sociétés & Répresentations. Special issue: Nouveaux regards sur la critique d’art au XIXe siècle. (Université I Paris/Sorbonne), no. 40 (October 2015): 145-61.
“Marketing the Maternal Body in the Public Spaces of Post-Revolutionary Paris.” Women, Femininity, and Public Space in European Visual Culture, 1789-1914. Eds. Heather Belnap Jensen and Temma Balducci. New York: Routledge, 2014. 17-33.
“Amélie-Julie Candeille’s Critical Enterprise and the Creation of ‘Girodet’.” Vanishing Acts: Women Art Critics in Nineteenth-Century France. Ed. Wendelin Guentner. Newark: University of Delaware Press, 2013. 73-116.
“’C.W., académicienne’: Caroline Wuiet and the Woman Art Critic in Post-revolutionary France.” Vanishing Acts: Women Art Critics in Nineteenth-Century France. Ed. Wendelin Gentler. Newark: University of Delaware Press, 2013. 53-72.
“Staël, Corinne, and the Women Art Collectors of Napoleonic Europe.” Staël’s Philosophy of the Passions: Sensibility, Society, and the Sister Arts. Eds. Tili Boon Cuillé and Karyna Szmurlo (Lewisburg, PA: Bucknell UP, 2012), 237-62.
“Modern Motherhood and Female Sociability in the Art of Marguerite Gérard.” Reconciling Art and Mothering. Ed. Rachel Epp Buller (Burlington, VT: Ashgate, 2012): 15-30.
“Quand la muse parle: Julie Candeille a propos de l’oeuvre de l’art de Girodet.” Plumes et Pinceaux: Discours de femmes sur l’art en Europe (1750-1850). Eds. Mechthild Fend, Melissa Hyde, and Anne Lafont (Paris: Les presses du Réel, 2012): 207-230.
“Women of Substance, or, The Women of the Weir Dynasty.” The Weir Family, 1820-1920: Expanding the Traditions of American Art, ed. Marian Wardle. Exh. cat., New Hampshire: University Press of New England, 2011. 131-56.
“Picturing Paternity: The Artist and Father-Daughter Portraiture in Post-Revolutionary France.” Interior Portraiture and Masculine Identity in France,1789-1914. Eds. Temma Balducci, Heather Belnap Jensen and Pamela J. Warner (Burlington, VT: Ashgate, 2011): 31-46.
“Diversionary Tactics: Art Criticism as Political Weapon in Staël’s Corinne, or Italy (1807),” Women Against Napoleon: Historical and Fictional Responses. Eds. Waltraud Maierhofer and Gertrud Roesch with Caroline Bland (Frankfurt: Campus, distributed by University of Chicago Press, 2007): 161-186.
“The Journal des Dames et des Modes: Fashioning Women in the Arts, c. 1800-1815.” Nineteenth-Century Art Worldwide 5.1 (March 2006).
DIGITAL PROJECTS
The Utah Women in the Arts, a digital database dedicated to the advancement of Utah women artists, past and present. This project is generously funded by BYU’s Redd Center for Western Studies and facilitated by the College of Humanities’ Digital Humanities department.
EXHIBITIONS
“Work and Wonder: Two Centuries of Latter-day Saint Art.” Organized by the Center for Latter-day Saint Arts, New York City. Co-curated with Ashlee Whitaker and Brontë Hebdon. Church History Museum, SLC, Utah, September 26, 2024—February 28, 2025.
“Materializing Mormonism: Contemporary Latter-day Saint Art.” Co-curated with Ashlee Whitaker and Brontë Hebdon, and organized by the Center for Latter-day Saint Arts, New York City. Mesa Center for the Arts, Mesa, Arizona, May 10—August 8, 2024.
HEATHER BELNAP, PH.D. 