Co-editor (with Anne Helmreich), The Rise of the Modern Art Market in London, 1850-1939. Manchester and New York: Manchester University Press, Fall 2011.
Narrating Modernity: The British Problem Picture, 1895-1914 (Ashgate, 2003).
London Gallery Project, co-authored with David N. Israel, 2007; Revised September 2012.
Articles and Chapters
“Reader, Viewer, Spectator, Beholder: Response,” Victorian Studies Volume 59, no. 3 (Spring 2017): 457-462.
“Reflections on Digital Art History,” caa.reviews. June 18, 2015. http://www.caareviews.org/reviews/2726Translated into Croatian: “Razmišljanja o digitalnoj povijesti umjetnosti” Život umjetnosti 99 (2016): 20-27 (https://zivotumjetnosti.ipu.hr/)
co-authored with Crystal Hall, “Digital Humanities and the Common Good.” Maine Policy Review 24.1 (2015): 124 -131.
“Human Character and Character-Reading at the Edwardian Royal Academy,” Visual Culture in Britain 14, no. 1 (2013): 21-35.
Pamela Fletcher and Anne Helmreich, with David N. Israel and Seth Erickson. “Local/Global: Mapping Nineteenth-Century London’s Art Market,” Nineteenth-Century Art Worldwide 11, no. 3 (Autumn 2012) [http://19thc-artworldwide.org/index.php/autumn12/fletcher-helmreich-mapping-the-london-art-market (The first article published in NCAW’s Digital Humanities and Art History series, funded by the A. W. Mellon Foundation.) 2014 Association of Research Institutes in Art History Online Publishing Prize.
“The Grand Tour on Bond Street: Cosmopolitanism and the Commercial Art Gallery in Victorian London,” Visual Culture in Britain, Summer 2011.
“Happiness Lost: William Powell Frith and the Painting of Modern Life,” Nineteenth-Century Contexts 33, no. 2 (June 2011).
“Narrative Painting and Visual Gossip at the Early-Twentieth-Century Royal Academy,” Oxford Art Journal, 2009 32(2):243-262
“‘To wipe a manly tear;’ The Aesthetics of Emotion in Victorian Narrative Painting,” Victorian Studies Volume 51, Number 3, Spring 2009
co-authored with Anne Helmreich, “The Periodical and the Art Market: Investigating the ‘Dealer-Critic System’ in Victorian England,” Victorian Periodicals Review 41, no. 4 (Winter 2008): 323-51.
"Virtue, Vice, Sex, and Gossip: Narratives of Gender in Late Victorian and Edwardian Painting," Remapping British Art and Architecture Editors Dana Arnold, and David Peters Corbett. Commissioned for Blackwell; forthcoming.
"Creating the French Gallery: Ernest Gambart and the Rise of the Commercial Art Gallery in Mid-Victorian London," Nineteenth-Century Art Worldwide, Volume 6, no. 1 (Spring 2007).
"Consuming Modern Art: Metaphors of Gender, Commerce and Value in Late Victorian and Edwardian Art Criticism." Visual Culture in Britain, Volume 6 Issue 2, Winter 2005, pp 157-170.
"Masculinity, Money, and Modern Art: The Sentence of Death by John Collier." English Art, 1860-1914: Modern Artists and Identity. Eds. David Peters Corbett and Lara Perry (Manchester University Press, 2000).
Exhibitions, Encyclopedia Entries and Reviews
“John Ruskin: The Porta Della Carta,” catalogue entry, Why Draw? Prestel and the Bowdoin College Museum of Art, 2017.
Review of The Camden Town Group in Context, eds. Helena Bonett, Ysanne Holt and Jennifer Mundy (Tate Research Publication, 2012, http://www.tate.org.uk/art/research-publications/camden-town-group). Art Bulletin, June 2017.
Review of John Paul M. Kanwit, Victorian Art Criticism and the Woman Writer (The Ohio State University Press, 2013). Victorian Studies 57/4 (Summer 2015): 706-708.
Review of Reading Victorian Illustration, 1855-1875: Spoils of the Lumber Room, Eds. Paul Goldman and Simon Cooke (Ashgate, 2012). The Journal of Pre-Raphaelite Studies 22 (Fall 2013): 107-110.
Review of Elizabeth A. Pergam, The Manchester Art Treasures Exhibition of 1857 (Ashgate, 2011). Nineteenth-Century Contexts 35, no. 1 (February 2013): 96-8.
Review of Amy Woodson-Boulton, Transformative Beauty: Art Museums in Industrial Britain (Stanford University Press, 2012). The Journal of British Studies 52, no.2 (April 2013): 567-9.
“Victorians and Moderns” and four catalogue entries, Edwardian Opulence: British Art at the Dawn of the Twentieth Century. Exhibition catalogue. New Haven and London: Yale University Press for the Yale Center for British Art, 2013. 99-107, 346-7, 355-6, 358.
“On the Rise of the Commercial Art Gallery in London,” BRANCH: Britain, Representation, and Nineteenth-Century History Ed. Dino Franco Felluga. Extension of Romanticism and Victorianism on the Net. www. branchcollective.org. Posted February 27, 2012. [http://www.branchcollective.org/?ps_articles=pamela-fletcher-on-the-rise-of-the-commercial-art-gallery-in-london]
“William Maw Egley” and “Marcus Stone,” in Oxford Dictionary of National Biography.
Review of Katharine Lochnan and Carol Jacobi (eds.), Holman Hunt and the Pre-Raphaelite Vision (New Haven: Yale University Press, 2009), Victorian Studies, 52, no. 3 (Spring 2010): 476-8.
Review of Peter Trippi and Elizabeth Prettejohn (eds.), J. W. Waterhouse: The Modern Pre-Raphaelite (Royal Academy Publishing, 2009), caa.reviews.
Review of Kimberly Rhodes, Ophelia and Victorian Visual Culture: Representing Body Politics in the Nineteenth Century (Ashgate, 2008), Journal of Pre-Raphaelite Studies, Fall 2009.
Review of Lara Kriegel, Grand Designs: Labor, Empire and the Museum in Victorian Culture (Duke University Press, 2007), Historians of British Art Newsletter, 2008.
Review of Alexander Sturgis, Rupert Christiansen, Lois Oliver, and Michael Wilson, Rebels and Martyrs: The Image of the Artist in the Nineteenth Century (London: National Gallery, Distributed by Yale University Press, 2006), Victorian Studies 50, no. 2 (Winter 2008): 318-9.
“Claude Phillips” and “D.S. MacColl,” Entries in The Dictionary of Nineteenth-Century Journalism, ed. Laurel Brake and Marysa Demoor (Ghent and London: Academia Press and the British Library), 2008.
Review of Tim Barringer, Men at Work: Art and Labour in Victorian Britain (New Haven and London: Yale University Press, 2005). caa.reviews, April 2007.
"Edward Mitchell Bannister," in African American Lives. Eds. Henry Louis Gates, Jr. and Evelyn Brooks Higginbotham. (Oxford University Press, 2004).
"Painting, Genres of," in The Encyclopedia of the Victorian Era. Editor James Eli Adams. (Grolier Academic Press, 2004).
"Painting," and "The Politics of Representation," in The Routledge International Encyclopedia of Women. Editors Cheris Kramarae and Dale Spender. (Routledge, 2000.)
"Illustration" and 15 catalogue entries in The Post-Pre-Raphaelite Print: Etching, Illustration, Reproductive Engraving, and Photography in England in and around the 1860s. Exhibition catalogue. New York: Wallach Art Gallery, Columbia University, 1995.
"The Victorians," exhibition review, Historians of Nineteenth-Century Art Newsletter, 4/1 (April 1997).
Exhibitions Curated at the Bowdoin College Museum of Art
‘We Never See Anything Clearly’: John Ruskin and Landscape Painting 1840s-1870s, October-December 2012, Becker Gallery. Co-curated with Ursula Moreno-VanderLaan ‘13 and Benjamin Livingston ‘13, students in Art History 352: The Pre-Raphaelites.
Visual Conversations: A Study Gallery for Art History 100, Fall 2009, Shaw Ruddock Gallery. Co-curated with Professors Susan Wegner and De-nin Lee.
Becoming a (Woman) Artist, Fall 2007
Modernism and the Nude, Fall 2001.
Pablo Picasso - Spanish, 1881-1973
Still Life with Woman with Guitar (Nature Morte and Woman with a Guitar), 1921 - gouache on paper
Bequest of William H. Alexander, in memory of his friend, Howard Hoyt Shiras, M.D.
2003.11.61 Bowdoin College Museum of Art.
Julia Margaret Cameron - British, 1815-1879
Portrait of Maud. 1870-1872 - vintage albumen print from glass plate negative
Museum Purchase, Lloyd O. and Marjorie Strong Coulter Fund. Bowdoin College Museum of Art