Recently Published Reviews

Mark Johnstone's book follows in the tradition of earlier California surveys such as Painting and Sculpture in California: The Modern Era (San Francisco: San Francisco Museum of Art, 1977) and 50 West Coast Artists: A Critical Selection of Painters and Sculptors Working in California (San Francisco: Chronicle Books, 1981) by Henry Hopkins. Focusing on Los Angeles, Contemporary Art in Southern California includes an introduction and individual entries on forty-three artists, each accompanied by several reproductions. The design of the entries and illustrations is somewhat repetitive, which means that the book is best consulted sporadically rather than read straight through. Many… Full Review

Most of the papers in Image and Belief were presented in 1997 at a conference entitled "Iconography at the Index," which celebrated the eightieth anniversary of the Index of Christian Art. It should be said from the outset that the theme of "image and belief" is sometimes tangential to the collected papers. This book is really about iconography, as the conference title makes plain. Part one constitutes a diverse and somewhat disparate range of case studies, while Part two attempts to address methodological issues that inform the ways scholars think about iconography and access images for research. Given… Full Review

The study of ukiyo-e, pictures of Edo Japan's "floating world" of pleasure and popular entertainment, has a long and very robust history in Europe and the United States owing to the enthusiastic formation of great print collections that began in the late nineteenth century. The continued passionate involvement of collectors has made ukiyo-e studies a stronghold of print connoisseurship and narrow factual research. Within the academic community, developing a tradition of broader contextual interpretation has taken longer, but the process has accelerated over the last two decades. Professor Screech's study of erotic images and sexuality in the Edo period adds… Full Review

This solidly researched book examines a diverse array of outdoor monuments, small sculptures, and other images that represent themes of U.S. labor between the 1880s and the mid-1930s. Author Melissa Dabakis concludes that the objects in this broadly defined group, ranging from Albert Weinert's sixteen-foot Haymarket Monument near Chicago to Saul Baizerman's five-inch Cement Man, constitute a significant U.S. visual art tradition on the subject of work that predates New Deal-era fanfares to American labor. The book focuses on the role they played in contemporary discourses about the work ethic, masculinity, immigration, and collective memory. While the… Full Review

Richard Spear's much-anticipated book on Guido Reni promises a new approach that would seriously treat this important artist's achievement conceptually and historically--in contrast to previous studies, which Spear contends are too narrowly focused on chronology and style. In this effort, Spear calls on insights from post-Foucauldian social history, feminism, and psychology in order to explain the artist's personality and its relation to societal norms. While Spear bravely admits that his own endeavor may fail and only contribute more to an understanding of the painter's life than his art, he is wrong. Indeed, though it is marked by unevenness and some… Full Review

In a painting by John Singleton Copley, rendered in Rome in 1775, Ralph and Alice Izard of Charleston, South Carolina, sit in the imaginary setting of a veranda that offers a perfect view of the Colosseum. Numerous objects frame this vista even as they compete with it for attention; such standard fare of Grand Manner portraits as a column and drapery augment particular items like a Greek krater, a contemporary Roman table, and a cast of an ancient Roman figure group. This double portrait graces the dust jacket of In Pursuit of Refinement: Charlestonians Abroad 1740–1860, the beautifully produced… Full Review

The goal of this volume, as Catherine Soussloff indicates in her introduction, is to introduce the subject of Jewish identity to art history and to explore its complexites. Compared to The Jew in the Text (London: Thames and Hudson, 1995), edited by Linda Nochlin and Tamar Garb, which examines Jewish identity through depictions of Jews in art and literature, this anthology has a greater scope, although fewer essays. The contributions cover issues ranging from the concept of Jewish art, aniconism, and anti-Semitism to the importance of Jewish identity to numerous artists, collectors, and art historians. While there are several themes… Full Review

This important survey of sixteenth-century Italian painting following Raphael's death in 1520 treats one of the most popular and stimulating periods for recent art historical enquiry. Authoritative and provocative, the author shows a close awareness of previous art historical scholarship and incorporates the latest research into a text covering art from the Sistine Chapel ceiling to the Farnese Gallery. This type of survey of Italian painting, while remaining consistently popular in Italy, is particularly needed for an English readership as nothing has been attempted on this scale for the Renaissance since the 1960s. The book originated in the… Full Review

In this fine work, Hungarian art-philosopher Sándor Radnóti uses the concept of forgery to explore important issues in art theory. It is an insightful strategy. Like the image of the Japanese novelty game in the recollection scene of Marcel Proust's Remembrance of Things Past, the topic of forgery unfolds to reveal an entire landscape of aesthetics. In the game, tightly wrapped paper placed in a water-filled bowl opens up to display a flower or a town; so, too, the topic of forgery opens up discussions of authenticity, originality, value, and even the current status of the art world itself. … Full Review

Without question, among scholars of Italian Baroque art, no one was better positioned to write the "definitive" monograph on Artemisia Gentileschi than R. Ward Bissell, the author of the fundamental archival study of the artist, "Artemisia Gentileschi: A New Documented Chronology," Art Bulletin 50, 1968,153-68, and of the only monographic study of her painter-father, Orazio Gentileschi and the Poetic Tradition in Caravaggesque Painting (University Park and London: The Pennsylvania State University Press, 1981). And, by any measure, the book under review is that "definitive" monograph, an impressive study comprising a broad, principally chronological exploration of Artemisia's career in a terse… Full Review

To tell the story of Aby Warburg is a daunting task, even if one just tries to restrict oneself to the essays, lecture notes, aperçus, and secondhand testimonials collected in the weighty Aby Warburg: The Renewal of Pagan Antiquity. Yet even this unwieldy tome does not represent the full and wondrous scope of Warburg's thought, since it is a 1999 translation of the original 1932 edition, with the essays thematically grouped and edited by Gertrud Bing. Indeed, Bing had planned to edit the complete works, but time and circumstance curtailed the project. Notably absent in this new Getty edition… Full Review

Neil Harris's Building Lives is an informative and informed introduction to the rites and rituals surrounding the design, construction, and life cycle of buildings. Harris's book amplifies earlier research for a series of lectures commissioned by the Buell Center for the History of American Architecture at Columbia University. In published form, those lectures have been recast as three chapters focused sequentially on the birth, life, and death of buildings. The purpose of those chapters, stated in the closing pages, is to apply "a life cycle metaphor to buildings," to identify associated rituals, to "understand objects by attributes that do not… Full Review

Three hundred years ago, in August 1699, royal and municipal officials in Paris dedicated François Girardon's gilded bronze equestrian statue of Louis XIV in the city's newest place royale, the Place de Nos Conquêtes, later called Place Louis-le-Grand, now Place Vendôme. The grandeur of the colossal statue and its architectural setting proclaimed the square a monument to the king's gloire, a theme that was to have been amplified by the royal library, learned academies, mint, and accommodations for extraordinary ambassadors that were to have been housed there. Financial exigencies and shifting political priorities prevented the realization of this vision, and… Full Review

In the preface, Gill Perry poses the questions, "Who decides which artists and works of art will be more highly valued than others? What political, economic and historical factors might govern those decisions?" (15) and "What are some of the "aesthetic, cultural and political beliefs which underpin canonical values?" (258) These questions are not asked with the intention of finding final answers. This book neither attempts to rewrite the history of Western art under the consideration of its canonical formation, nor advocate the elimination of the canon altogether. Its primary goals, more didactic than academically groundbreaking, are first, to alert… Full Review

Artists have concerned themselves with conventionalized pictorial genres since the early sixteenth century, when our conventional categories of landscape, still life, daily scenes ("genre" in the narrower sense), and even portraits developed their separate identities. In a training environment increasingly occupied by academies, genres were placed lower on the scale of value, within a hierarchy dominated by "history painting," serious narratives from the Bible or myth. The task of theorizing genres, however, has largely been the prerogative of literary scholars, again beginning with the critics of the later sixteenth century and their separation of "kinds" as well as… Full Review