Book

Taws, R., Moon, I. (Eds.), (2021). Time, Media, and Visuality in Post-Revolutionary France. London and New York: Bloomsbury.
Multigraph Collective, -., Taws, R. (2018). Interacting with Print: Elements of Reading in the Era of Print Saturation. Chicago: University of Chicago Press.
Taws, R., Warwick, G. (Eds.), (2016). Art and Technology in Early Modern Europe. Oxford: Wiley-Blackwell.
Taws, R. (2013). The Politics of the Provisional: Art and Ephemera in Revolutionary France. University Park, PA: Pennsylvania State University Press.
Taws, R., Milman, M., Philippe, M., Rosen, J. (2005). Le Trompe-L'Oeil: Plus Vrai Que Nature?. Versailles: Art Lys.

Chapter

Taws, R. (2023). Catalogue entries on three works. In Bell, E., Grandin, S., Leonard, A., Le Bitouzé, C. (Eds.), Promenades on Paper: Eighteenth-Century French Drawings from the Bibliothèque nationale de France. (pp. 210-215-245-246). New Haven and Williamstown: Yale University Press/Clark Art Institute [forthcoming].
Taws, R. (2023). Der Resonanzkörper der Französischen Revolution. In Lange-Berndt, P., Lindermann, I., Rübel, D. (Eds.), Kunst um 1800: Ausstellen als wissenschaftliche Praxis. [forthcoming].
Taws, R. (2023). L'Historiographie de l'art de la Révolution française, 1890-1950. In McWilliam, N., Passini, M. (Eds.), Faire l’histoire de l’art en France, 1890-1950: Pratiques, écritures, enjeux. Strasbourg: Presses universitaires de Strasbourg/INHA [forthcoming].
Taws, R. (2022). The Portrayal of Heroism. In Forrest, A., Hicks, P. (Eds.), The Cambridge History of the Napoleonic Wars. (pp. 279-301). Cambridge: Cambridge University Press.
Taws, R. (2021). A Storm is Coming: Georges Michel in the Wind. In Moon, I., Taws, R. (Eds.), Time, Media, and Visuality in Post-Revolutionary France. (pp. 221-246). London and New York: Bloomsbury.
Moon, I., Taws, R. (2021). Introduction. In Moon, I., Taws, R. (Eds.), Time, Media, and Visuality in Post-Revolutionary France. (pp. 1-26). Bloomsbury.
Taws, R. (2021). Pasilalinic-Sympathetic Compass. In Penner, B., Forty, A., Critchley, M., Horsfall Turner, O. (Eds.), Extinct: A Compendium of Obsolete Objects. (pp. 240-243). London: Reaktion.
Taws, R. (2021). Telling Artisanal Time. In Cannady, L., Ferng, J. (Eds.), Crafting Enlightenment: Artisanal Histories and Transnational Networks. (pp. 87-91). Oxford: Voltaire Foundation.
Taws, R. (2019). Building Codes: Infrastructural Politics in Étienne Bouhot's Restoration Paris. In Broers, M., Caiani, A., Bann, S. (Eds.), A History of the European Restorations. Vol 2: Culture, Society, and Religion. (pp. 232-246). London: Bloomsbury.
Taws, R. (2018). Silhouette. In Hvattum, M., Hultzsch, A. (Eds.), The Printed and the Built: Architecture, Print Culture, and Public Debate in the Nineteenth Century. (pp. 283-288). London: Bloomsbury.
Taws, R. (2018). The Telegraph of the Past: Nadar and the Time of Photography. In Leonardi, N., Natale, S. (Eds.), Photography and Other Media in the Nineteenth Century. (pp. 59-73). University Park: Penn State University Press.
Taws, R. (2017). Skelett [Skeleton]. In Reichardt, R., Cillessen, W., Miersch, M. (Eds.), Lexikon der Revolutions-Ikonographie in der europaïschen Druckgraphik, 1789-1899. (pp. 1793-1806). Münster: Rhema Verlag.
Taws, R. (2016). Wargaming: Visualising Conflict in French Printed Boardgames. In Padiyar, S., Shaw, P., Simpson, P. (Eds.), Visual Culture and the Revolutionary and Napoleonic Wars. (pp. 56-70). London and New York: Routledge.
Taws, R. (2015). Infernal Machines in Nineteenth-Century France. In Dethloff, D., Elam, C., Murdoch, T., Sloan, K. (Eds.), Burning Bright: Essays in Honour of David Bindman. (pp. 215-223). London: UCL Press.
Taws, R. (2012). The Precariousness of Things. In Jones, C., Carey, J., Richardson, E. (Eds.), The Saint-Aubin Livre de caricatures: Drawing Satire in Eighteenth-Century Paris. (pp. 327-347). Oxford: Voltaire Foundation.
Taws, R. (2011). The Currency of Caricature in Revolutionary France. In Porterfield, T. (Ed.), The Efflorescence of Caricature, 1759-1838. (pp. 95-115). Burlington, VT: Ashgate.
Taws, R. (2010). Nineteenth-Century Revolutions and Strategies of Visual Persuasion. In Bakewell, S., Kromm, J. (Eds.), A History of Visual Culture: Western Civilization from the Eighteenth to the Twenty-First Century. (pp. 30-41). Oxford: Berg.
Taws, R. (2007). 'L’Autel de la Patrie', 'The Fall of the Bastille', 'Armand Gaston Camus', 'Fête de l’Être Suprême', 'Journées' and 'French Revolutionary Symbols'. In Fremont-Barnes, G. (Ed.), Encyclopedia of the Age of Political Revolutions and New Ideologies, 1760-1815. (pp. 52-53, 65-67, 108-109, 23-). Westport: Greenwood Press.
Taws, R. (2006). 'Antonio Canova' and 'Le Moniteur'. In Fremont-Barnes, G. (Ed.), Encyclopedia of the French Revolutionary and Napoleonic wars. (pp. 207-208, 649-). Santa-Barbara: ABC:CLIO.
Taws, R. (2005). Entries on eight works. In Milman, M., Philippe, M., Rosen, J. (Eds.), Le Trompe-l’œil: plus vrai que nature?. (pp. 84-85-116-121). Versailles: Art Lys.
Taws, R. (2005). L’Usage politique du trompe-l’oeil à l’époque révolutionnaire et post-révolutionnaire. In Milman, M., Philippe, M., Rosen, J., Taws, R. (Eds.), Le Trompe-l’œil: plus vrai que nature?. (pp. 32-40). Versailles: Art Lys.

Exhibition

Taws, R., Bindman, D. (1900). Revolution Under a King: French Prints, 1789-1792. (No of pieces: 42). [Exhibition]. UCL Art Museum.
Taws, R., Bindman, D., Jones, C. (1900). Witnessing Terror: French Revolutionary Prints, 1792-1794. (No of pieces: 47). [Exhibition]. UCL Art Museum.

Journal (Full / Special issue)

Taws, R., Warwick, G. (Eds.), (2016). Art and Technology in Early Modern Europe. Art History, 39 (2), 192-427.

Journal article

Taws, R. (2022). 'What! Not You Too?' Review of Jules Renard, 'Journal, 1887-1910'. London Review of Books, 44 (15), 27-28.
Taws, R. (2021). At Tate Modern: 'The Making of Rodin'. London Review of Books, 43 (22), 41.
Taws, R. (2021). At the Musée des arts et métiers: Madame de Genlis’s Models. London Review of Books, 43 (6), 16-17.
Taws, R. (2021). Death from Above in Minard's Napoleon Map. Grey Room, 83 82-111. doi:10.1162/grey_a_00321
Taws, R. (2021). Review of Amy Concannon and Martin Myrone ed., 'William Blake', Tate Britain. Print Quarterly, 38 (4), 438-440.
Taws, R. (2020). Bones of Contention - What does the discovery of human remains at the Chapelle Expiatoire mean?. Apollo,
Taws, R. (2019). Against Ephemera. H-France Salon, 11 (18), 1-13.
Taws, R. (2019). At King's Cross Amalia Pica’s ‘Semaphores’. London Review of Books, 41 (20), 16.
Taws, R. (2019). At the National Gallery. London Review of Books, 41 (9), 26-27.
Taws, R. (2019). The Architecture of Percier and Fontaine and the Struggle for Sovereignty in Revolutionary France London: Routledge, 2017, 186 pp., 10 color and 40 b/w illus. $160 (cloth), ISBN 9781472480163. Journal of the Society of Architectural Historians, 78 (2), 234-236. doi:10.1525/jsah.2019.78.2.234
Warwick, G., Taws, R. (2016). After Prometheus: Art and Technology in Early Modern Europe. Art History, 39 (2), 198-209.
Taws, R. (2016). Conté's Machines: Drawing, Atmosphere, Erasure. Oxford Art Journal, 39 (2), 243-266.
Taws, R. (2016). Telegraphic Images in Post-Revolutionary France. Art History, 39 (2), 400-421.
Taws, R. (2016). The Dauphin and his Doubles: Visualizing Royal Imposture after the French Revolution. The Art Bulletin, 98 (1), 72-100. doi:10.1080/00043079.2015.1074848
Taws, R. (2015). Review of 'Ian Hamilton Finlay, 1789/1794', Victoria Miro, London. Artforum, 54 (2), 330-331.
Taws, R. (2014). Review of 'Disobedient Objects', Victoria and Albert Museum. West 86th, 21 (2), 297-300.
Taws, R. (2014). Review of Richard Clay, 'Iconoclasm in Revolutionary Paris: The Transformation of Signs'. French Studies, 68 (2), 253-254.
Taws, R. (2014). Review of Stéphane Roy, 'Making the News in Eighteenth-Century France', Carleton University Art Gallery. Print Quarterly, 31 (1), 71-73.
Taws, R. (2014). Review of Stephen Bann, 'Distinguished Images: Prints and the Visual Economy in Nineteenth-Century France'. CAA.Reviews, Online at: http://www.caareviews.org/reviews/2173
Taws, R. (2014). When I was a Telegrapher. Nonsite.org, 14 1.
Taws, R., Bauchner, J. (2014). Writing at a Distance: An Interview with Richard Taws. Cabinet, (55), 45-52.
Taws, R., Mazeau, G., Dupuy, P., Guichard, C., Griener, P. (2013). Cultures visuelles et révolutions : enjeux et nouvelles problématiques. Annales historiques de la Révolution française, (372), 143-160.
Taws, R. (2013). Review of Philippe de Carbonnières, 'Les gravures historiques de Janinet: Collections du Musée Carnavalet'. Print Quarterly, 30 (2), 66-68.
Taws, R. (2013). Review of Suzanne Glover Lindsay, 'Funerary Art and Tomb Cult: Living with the Dead in France, 1750-1870'. French History, 27 (3), 474-476.
Taws, R. (2013). 'Ruins and Reputations' review of Nina L. Dubin, 'Futures and Ruins: Eighteenth-Century Paris and the Art of Hubert Robert' and Elizabeth C. Mansfield, 'The Perfect Foil: François-André Vincent and the Revolution in French Painting'. Oxford Art Journal, 36 (3), 467-470.
Taws, R. (2011). Review of Slavoj Žižek, 'Robespierre: Virtue and Terror'. Journal for Eighteenth-Century Studies, 34 (3), 419-420.
Taws, R. (2010). Comment. Response in special issue 'Capturing the Moment: Images and Eyewitnessing in History', eds. Lynn Hunt and Vanessa Schwartz. Journal of Visual Culture, 9 (3), 365-369.
Taws, R. (2010). Material Futures: Reproducing Revolution in P.-L. Debucourt’s Almanach National. The Art Bulletin, 92 (3), 169-187.
Taws, R. (2010). The Guillotine as Antimonument. Sculpture Journal, 19 (1), 33-48.
Taws, R. (2009). Ivory Towers: Obscuring Obsolescence in the Revolutionary Museum. RES: Anthropology and Aesthetics, (55), 252-266.
Taws, R., Porterfield, T., Davis, P., Lafont, A., Pantazzi, M. (2009). Les études canadiennes sur l’art en Europe autour de 1800. Perspective, (3-2008), 527-534.
Taws, R. (2008). 'Rebel Without a Cause?' review of Sylvain Bellenger ed., 'Girodet, 1767-1824'. Art History, 31 (2), 259-263.
Taws, R. (2007). 'Facing the Enlightenment' review of 'Citizens and Kings: Portraits in the Age of Revolution, 1760-1830', The Royal Academy of Arts, London. The Art Book, 14 (4), 9-11.
Taws, R. (2007). 'On the Record' review of Francis X. Blouin Jr and William G. Rosenberg eds., 'Archives, Documentation, and Institutions of Social Memory: Essays from the Sawyer Seminar' and Margaret Proctor, Michael G. Cook and Caroline Williams eds., 'Political Pressure and the Archival Record'. History Workshop Journal, (64), 439-445.
Taws, R. (2007). Review of Martin Myrone, 'Bodybuilding: Reforming Masculinities in British Art, 1750-1810'. Burlington Magazine, 149 (1252), 499.
Taws, R. (2007). Trompe-l’Oeil and Trauma: Money and Memory after the Terror. Oxford Art Journal, 30 (3), 353-376.
Taws, R. (2006). 'Sex sells' review of Sophie Carter, 'Purchasing Power: Representing Prostitution in Eighteenth-Century English Popular Print Culture'. Oxford Art Journal, 29 (1), 142-144.
Taws, R. (2005). Review of Gregory S. Brown, 'Cultures in Conflict: The French Revolution'. French History, 19 (3), 408.
Taws, R. (2002). Review of Warren Roberts, 'J.-L. David and J.-L. Prieur, Revolutionary Artists: The Public, The Populace and Images of the French Revolution' and Alain Chevalier, Claudette Hould et. al., 'La Révolution par la gravure'. Object, (5), 96-102.
Taws, R. (2002). The 1790 Paris Federation and the Visual Reconstitution of an Idea. Object, (4), 73-92.
Taws, R. (2000). Review of 'Carnivalesque', Hayward Gallery. Object, (3), 126-129.