Recently Published Reviews

Painting on Light: Drawings and Stained Glass in the Age of Dürer and Holbein was a stunning exhibition of 152 drawings and examples of stained glass (see the exhibition review by Christiane Andersson in Burlington Magazine CXLII no. 1173, December 2000, pp. 801–803). The Los Angeles venue included a two-day international symposium (September 15–16, 2000). The exhibition was also seen at the Saint Louis Art Museum. Perhaps the single greatest achievement of this ambitious undertaking, including its handsome and fully-illustrated catalogue, is that it serves to remind us that stained glass played an enormously important role in Renaissance Germany and… Full Review

Milly Heyd's Mutual Reflections is a fascinating study of the ways that African Americans and Jewish Americans have depicted each other in the visual arts over the last century. While this distinctive, complex relationship has been explored in cultural, social, religious, and political areas, this book is the first to analyze that linkage through its visual dimension in a substantive way. Heyd investigates how these artists have viewed each other in ways ranging from symbiosis to disillusionment via painting, sculpture, cartoons, comics, and installations. Heyd weaves together thematic and chronological approaches in six chapters. She asserts that as… Full Review

Originally published—in print and entirely online—in 1995, William J. Mitchell's City of Bits: Space, Place, and the Infobahn resembles a relic of early cyberculture scholarship, going back and forth between visionary insight and embarrassing naiveté. As one of the earliest attempts to reimagine and reconceptualize architecture and urbanism in an age of digital information, City of Bits provides a thought-provoking and generous glimpse into the cities—and citizens—of tomorrow. At the same time, the vision, emanating from what may be the most privileged vantage point for the new millennium, MIT substitutes celebratory breadth for critical depth, and along the way all… Full Review

With each passing year, the geographic area of modernism seems to increase. Similar to the expansion of NATO, but lacking the political strife, modernism's boundary gradually moves eastward to include lands that were abandoned to their own sphere of influence following the Second World War. In recent years though, Western art and architectural historians have begun to rediscover what was, in fact, the heartland of modernism: Central Europe. However Central Europe is defined—whether geographically, by a history of shared monarchs, or overlapping spheres of influence centered on one or another capital city—the boundaries separating the West from this heartland, now… Full Review

With recent works such as Lucy Lippard's On the Beaten Track: Tourism, Art and Place (New York: The New Press, 1999), the intersection between the academic discipline of art history and the study of tourism has received increased attention from art historians and art critics. One of the roles of art history within the cultural practice of tourism is, for example, to establish and authenticate a canon of monuments that serves as a resource for tourism as well as to provide the etiquette of behavior that includes gazing and photographing. In the view of this, it is regrettable that the… Full Review

During his lifetime, Peter Behrens was able to enjoy a great deal of press--thanks to his extensive activity in typography, design, and architecture. In addition to the numerous articles that accompanied his published projects, Behrens became the subject of a monograph by Fritz Hoeber in 1913, while still in the midst of his career. Behrens died in 1940, but remained respected even after World War II, although his achievement was considered to be the work of an early proponent of modernism, rather than that of a designer independent of any group. Not until the sixties, when a more thorough investigation… Full Review

This century's second great period of artistic invention lasted from around 1944 to around 1972—from Abstract Expressionism, that is, to Conceptual art. Artists since then have basically been involved in digesting the implications of that earlier period—a serious task for work that remains unfinished. Art historians have been at it too, at least as far as revisiting the '40s and '50s. Now we're starting to see the '60s and early '70s in historical perspective as well, and part of the essential groundwork for this effort has been rediscovery and republication of significant early documents in anthologies like Pop Art: A… Full Review

For a series of six Andrew W. Mellon Lectures in the Fine Arts, Pierre Rosenberg chose as his subject the drawings of five French artists—Nicolas Poussin, Jean-Antoine Watteau, Jean-Honoré Fragonard, Jacques-Louis David, and Jean-Auguste-Dominique Ingres—who worked over the span of years when France was transformed politically and socially, but understood their contributions within an unbroken cultural lineage. Rosenberg, along with his collaborator, Louis-Antoine Prat, for years has been preparing definitive catalogues raisonnés of the drawings of these five masters. The first volumes on Poussin and Watteau have appeared and the others are forthcoming. The Mellon lectures gave him just the… Full Review

Paul Hills's book deals with the aesthetics of color and its social history in Venice. These two ostensibly diverse agendas are interwoven through the author's examination of the cognitive skills of the patronal classes (Hills owes a great deal to Michael Baxandall's concept of the "period eye"), and the materials and processes involved in fashioning the visual environment of the city. As the title informs us, Hills deals with color in marble, mosaic, and glass in addition to painting. He also considers the role of color in architectural decoration, in textiles, and the significance of the restriction of color in… Full Review

Almost all post-War scholarship on Francisco Goya (1746-1828) has been concerned, in one way or another, with the artist's relation to the political, social, and cultural upheaval that wracked Spain from the 1780s through the 1820s. Over the past decade, the touchstone for thinking about these issues has been Goya and the Spirit of Enlightenment, organized by Eleanor A. Sayre and Alfonoso E. Pérez Sánchez (Madrid: Museo del Prado, Boston: Museum of Fine Arts, and New York: Metropolitan Museum of Art, 1988-89). Under the guise of a retrospective, this exhibition presented a highly selective assortment of paintings, drawings, and… Full Review

In a letter to the curator of the 5th Biennale de Lyon, held in the summer of 2000, Partage d'exotismes (Sharing of Exoticisms), artist Hassan Musa declined an invitation to join the exhibition, claiming that, "Personally, as an artist born in Africa, but with no urge to bear the burden of an African artist, I know that the only opportunities open to me to present my work in public outside Africa are of the 'ethnic' type, where people assign to me the role of 'the African other' in places designed for the kind of seasonal ritual where a certain… Full Review

Death and the Emperor is an important new book that treats several familiar landmarks of the Eternal City in unfamiliar, stimulating, and insightful ways. The focus of the author's inquiry is the series of tombs and other memorials erected to honor deceased Roman emperors from Augustus to Marcus Aurelius. Because some of these monuments were built to house the remains of entire dynasties, this elite class of buildings has very few members—in fact, only seven (for eighteen emperors). The first—and the one that established many of the leitmotifs of the group—was the Mausoleum of Augustus, the great tumulus-tomb that Augustus… Full Review

Amidst the massive tombs of later doges, often reaching the entire height of a church from floor to vaulting, the rather more modest memorials to 13th- and 14th-century leaders of Venice may escape the notice of the general public, and indeed have largely escaped the attention of scholars. Debra Pincus amply demonstrates that they are, on the contrary, of considerable interest and importance. Most obviously, the early ducal tombs set the stage for the "grand, wall-filling tombs of the second half of the fifteenth century" (1), which expanded upon but did not greatly deviate from the themes introduced early on… Full Review

In 1972, David Huntington published an engaging and thought-provoking work, his Art and the Excited Spirit: America in the Romantic Period, a study of antebellum culture that has as its thesis the idea that "the American of the Romantic age was wakeful and on the qui vive." "His world was fraught with religion," Huntington told us, "his was an excited spirit." Having had the benefit of the late professor's teaching on this subject, I believe that Huntington felt a kind of electricity emanating from this country's artistic productions of the 1830s and '40s. He saw in a vast… Full Review

William Merritt Chase has long been considered a major American artist, if not a New York artist. Brooklyn Museum curator Barbara Dayer Gallati shows how Chase's reputation first evolved, taking no aspect of his art or identity for granted. The catalogue for William Merritt Chase: Modern American Landscapes, 1886-1890 (which initiated at the Brooklyn Museum of Art in May 2000, and ends at the Museum of Fine Arts in Houston in March 2001) aims to reveal Chase's importance as a modern artist and as a "New York artist" by focusing on a group of urban landscapes with figures produced over… Full Review