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Most Americans will know about Tilman Riemenschneider from the wonderful 1980 publication, Limewood Sculptors of Renaissance Germany, by Michael Baxandall, one of the rare discussions of German wood sculpture in English, or perhaps from the scattered fragments of the artist's works in American museums, such as Cleveland or Raleigh (an essay by William Wixom in the present catalogue chronicles "Riemenschneider in America" and offers a useful checklist). Now viewers have the opportunity to visit an unprecedented exhibition of the artist's works, first in Washington and then in New York, thanks to the remarkable organizational, curatorial, and editorial skills of Julien… Full Review

Most art historians seem to consider Genoa a quiet, provincial backwater that has little to offer to an inquisitive mind. One reason for this misconception may be that the Genoese purportedly guard their privacy and are said to keep their artistic treasures to themselves rather than sharing them with a wider public. However, as any visitor to this city can attest, there is more than just a glimpse to catch of the rich trove of artworks, many of which are readily accessible in churches, museums, and palaces--with many more still in private, often welcoming hands. But things may be changing… Full Review

The prevailing tone of Icons of the Left: Benjamin and Eisenstein, Picasso and Kafka After the Fall of Communism is exasperation. "The predicament of leftist intellectuals working in capitalist society, like myself," says Otto Karl Werckmeister, "has been that their principled critique of capitalism has nearly always been advanced in a hypothetical mode" (p. 5). Arguing for a solution to this problem, which--consistent with his Marxism--he believes to have been caused by the separation of theory from practice, he describes hypothesis flowering as delusion. Marx was right about how capitalism works, and his version of it, therefore, continues to be… Full Review

With A. E. Popham's publication in 1932 of Abraham Ortelius's epitaph on Pieter Bruegel the Elder, the traditional figure of Droll Bruegel, of Peasant Bruegel, was soon replaced by Bruegel the peintre philosophe, as Charles de Tolnay characterized him in his monograph of 1935. It is thus understandable that scholars have sought to locate Bruegel's "audience" among the intellectual circles of Antwerp, especially Ortelius and his colleagues, the classical scholars around Christophe Plantin, and the poets and dramatists associated with the rederijkers. Yet rather scant attention has been devoted to one of the most important groups of… Full Review

In his long-awaited monograph on the Tempietto del Clitunno, Judson Emerick seeks to dispel the myths surrounding this enigmatic building. The fifteenth- and sixteenth-century humanists who discovered the building saw it as a Roman temple converted to Christian purpose. Thus, Leon Battista Alberti observed, "I myself have seen in Umbria a small ancient temple..." (book 1, chapter 8). Modern scholars however, have concluded that the structure was built in the medieval period, principally because the carved tympana bear cross monograms unknown before the early fourth century. Subsequent debate has centered on the dating of the monument--with proposals from… Full Review

The reverberations of Saint Louis's oath to embark on his first crusade to the Holy Land were acutely felt throughout the royal domain. In examining this period, Daniel Weiss draws a connection between the iconographic program of the Ste-Chapelle in Paris (1244–48) and the Old Testament manuscript produced in Acre shortly after 1250, now in the Bibliothèque d'Arsenal in Paris (MS 5211) (8). This bold confederacy of monuments is based on the common themes of sacred kingship, holy war, wisdom, and piety that are underscored in both iconographic programs. The preeminence of David and Solomon, the importance of God's intervention… Full Review

In eighteenth-century Britain, expanding mercantile enterprise, supported through rapid colonial expansion, yielded broad cultural expectations concerning access not only to wealth, but also to the status traditionally accorded to the aristocratic elite. A burgeoning material economy confused the visual economy producing status. Customary signs of wealth and standing were devalued, awash in a flood of luxury goods. Simultaneously, these very markers, desired for their power to project an image of social standing, were criticized, seen as reflecting selfishness and personal gain, and therefore threatening the ideal of a public sphere of disinterested citizens. In this destabilizing of traditional… Full Review

As suggested by the title Pacific Arcadia: Images of California, 1600-1915, this exhibition and the book that accompanies it study the changing and inducible imagery of the "California Dream" as presented by Claire Perry, curator of American art at Stanford's Cantor Center for Visual Arts. Perry traces how, over a period of centuries, a variety of pictorial imagery was used to market California as the golden land of opportunity. Perry's text, based on her doctoral dissertation, not merely catalogues the exhibition, but stands on its own as an important resource on the cultural history of California. The scope and… Full Review

A recent profile of Jasper Johns finds the painter amid various projects in his studio ("A Master of Silence Who Speaks in Grays," New York Times, Sept. 5, 1999, Section 2, page 29, col. 1). On the wall is a work in progress that includes a string suspended from two points along the perimeter and forming a gentle curve as it arcs across the canvas. When told by a house guest that the resultant curve not only has a name but also a precise mathematical derivation, one frequently used by engineers, the artist is taken aback: "I'd never heard… Full Review

Ross Neher's recently published book, Blindfolding the Muse: The Plight of Painting in the Age of Conceptual Art, has all the makings of a curmudgeon's acerbic longing for the days when painting was the only game in town, before "ideas" were privileged over the visual. Not short on wit and one-liners, Neher's book envisions a solution for painting's return to the unique status it once held. But the author refrains from excessively condemning Conceptual art for bringing down painting. Not written in the dialectical fashion popular with many critics and historians, his is a lucid account of what does… Full Review