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In 1870, a North Adams, MA, shoe manufacturer named Calvin Sampson faced a labor crisis. His mostly French Canadian workforce had organized themselves into a union and had gone out on strike, demanding a closed shop and the right to tie their wages to Sampson’s profits. Sampson sent his superintendent to San Francisco to hire strikebreakers. On June 13, 1870, 12,000 local residents gathered at the North Adams train station to await the arrival of Sampson’s new recruits: seventy-five Chinese laborers, mostly under twenty years old. Miraculously, the newcomers made it to Sampson’s factory unscathed. Sampson’s first act, oddly enough… Full Review

The three volumes constituting The Grove Encyclopedia of Islamic Art and Architecture are based upon The Dictionary of Art, edited by Jane Turner (London: Macmillan, 1996). The entries from those sections dealing with Islamic art and architecture have been pulled out, and often rearranged under new titles. Notably, the long entry on “Islamic art” on pp. 94–561 of vol. 16 of the Dictionary has been divided into appropriate subtopics, and each listed alphabetically. Some new entries have been added, but the 1996 texts have in most cases remained as they were, although supplemented with additional bibliography. The illustrations are… Full Review

Classical mimesis, the privileged aesthetic model for antiquity, involved a combination of imitation, invention, and idealization. To paint the ideal beauty of Helen of Troy, for example, the fourth-century BCE Greek artist Zeuxis copied and combined the best features of five live female models. In Too Beautiful to Picture: Zeuxis, Myth, and Mimesis, Elizabeth C. Mansfield argues that the myth of Zeuxis selecting models is “about” classical mimesis itself, and the fundamental contradiction between its means, copying from the real, and its end, a visual rendering of the ideal. The story has held a preeminent place in Western art… Full Review

Cézanne and Beyond is the impressive catalogue published on the occasion of the eponymous exhibition held at the Philadelphia Museum of Art in 2009. Conceived as a companion to the catalogue of the 1995–96 Cézanne retrospective, also shown in Philadelphia, which spelled out the critical fortunes of Cézanne’s art during his lifetime, this volume focuses exclusively on the artistic reception of Cézanne’s art as seen in the work of sixteen artists ranging from Henri Matisse to Jeff Wall. Joseph Rishel and Katherine Sachs, the editors of Cézanne and Beyond (and the major organizers of the exhibition), make clear in the… Full Review

In 1661, in his mid-fifties, Rembrandt van Rijn painted himself as the Christian apostle Paul (Amsterdam, Rijksmuseum). Typical for the artist, this late work circled back to an interest that had occupied him since the beginning of his career (e.g., Two Old Men [Peter and Paul?] in Disputation [1628, Melbourne]). Typically, too, Rembrandt took the opportunity to transform this exotically garbed figure into an essay in unsparing self-reflection. Significantly, however, of nearly seventy self-portraits this is the only one in which the artist assumed the guise of an identifiable Biblical character. Thus, his self-identification with Paul is not to be… Full Review

Near the end of Seeing Mexico Photographed, Leonard Folgarait names the subject of inquiry that unfurls in his meticulously elaborated study of post-revolutionary Mexico: “photographic thinking” (180). We can say that this meditative book is itself an experiment in such thinking, which the author simultaneously describes and enacts in three distinctive chapters. While the historical period is more or less the same as his important study, Mural Painting and Social Revolution in Mexico, 1920–1940: Art of the New Order (New York: Cambridge University Press, 1998), the methodology and the knowledge produced here represent significant departures from this earlier work… Full Review

In her new book, Empire, Architecture and the City: French-Ottoman Encounters, 1830–1914, Zeynep Çelik has taken on a complex and ambitious task: the comparative examination of empire building in two different contexts, the French colonies of North Africa and the Arab provinces of the Ottoman Empire. This is a messy, even unruly comparison given the different political structures and geographies involved, complicated further by the uneven resources and disparate structures of the archives on which the project depends, as Çelik herself acknowledges (10). However, Çelik is uniquely positioned to write such a work, given her impressive earlier publications that… Full Review

Rabun Taylor, although he does not claim as much, provides us with a sort of cultural poetics of mirrors and reflection in the Roman world. In other words, he does not offer us another typology or iconography of ancient mirrors (we have those already); nor does he dwell long on ancient thinking about the optics of reflection. Instead, he investigates the place of mirrors and reflection in the Roman imagination—especially their metaphorical use as agents of transformation. The subject requires him to be conversant with both textual sources and artistic depictions of the theme, and Taylor moves back and forth… Full Review

This ambitious, two-volume catalogue of sixteenth-century drawings in Midwestern American collections is the second in a series sponsored by the Midwest Art History Society. The first installment in the series treated drawings datable before 1500 (Drawings in Midwestern Collections, Volume I, Early Works, A Corpus Compiled by the Midwest Art History Society, Burton L. Dunbar and Edward J. Olszewski, eds., Columbia: University of Missouri Press, 1996), and the final volume will consider drawings from the Carracci into the eighteenth century. The sixteenth-century catalogue provides a valuable resource for scholars by illustrating and cataloguing an impressive 471 drawings from… Full Review

Among cross-disciplinary connections, perhaps none is so elusive, so fraught with traps, as the boundary between history and art history. It is a boundary all the more striking for its invisibility. Art historians typically assume that they are partaking in historical study, that the tools they bring to cultural artifacts from the past illuminate an understanding comparable to that of their historian colleagues. All the greater their surprise, then, when they attend a history seminar or delve into historical journals and discover that their colleagues actually speak a different language and reach sometimes strikingly unfamiliar conclusions. Confusion and misunderstanding can… Full Review