Recently Published Reviews

This seminal exhibition, which opened at the Metropolitan Museum of Art before traveling to the National Gallery, London, was the first devoted to Jan Gossart in the United States and the first major monographic exhibition anywhere since 1965. The accompanying catalogue, which serves as a catalogue raisonné of the entire oeuvre, re-shapes the contours of this important early sixteenth-century artist and illuminates key questions about his working habits, patronage, and the themes and functions of his art. The exhaustive catalogue entries are prefaced by eight richly informative essays devoted to Gossart’s historical and cultural milieu, his work as an architectural… Full Review

The architecture of the Amun temple holds an exceptional significance in the study of ancient Nubia. As in Egypt, kingship in Nubia was strongly associated with the Amun cult; yet, unlike their counterparts in Egypt, the Amun temples of Nubia were consistently built of friable sandstone, frequently located in regions of much higher rainfall, and often inscribed in a Meroitic language not yet intelligible to modern scholarship. As a result, deductions about a given Nubian locale’s political and economic role within the state have often been based heavily upon its public architecture, and the function of that architecture has in… Full Review

It is customary to think of European art between the First and Second World Wars in the plural—as defined by competing forms of abstraction, divergent realisms, and assorted returns to tradition. The principal goal of Chaos and Classicism: Art in France, Italy, and Germany, 1918–1936 was to assert an underlying unity to the period between the Armistice of 1918 and the Berlin Olympics of 1936. The chaos and mechanized destruction of World War I, the exhibition and its catalogue affirmed, generated a yearning for the timeless stability embodied by classical art. This provoked a widespread rejection of the formal innovations… Full Review

With the Culture of Diagram, John Bender and Michael Marrinan have written a complex and ambitious study examining the transformation of perception and cognition over the past two hundred and fifty years. How do we describe our world, they ask, and how has that process of description changed since the mid-eighteenth century? While Diderot and d’Alembert’s celebrated Encyclopédie, published between 1751 and 1772, provides the starting point for their investigation, Bender and Marrinan examine subjects including the development of French history painting, theater design, linguistics, descriptive geometry, Cubist drawings, and quantum mechanics. This partial list of their dizzying… Full Review

The opening of the new Art of the Americas Wing at the Museum of Fine Arts (MFA), Boston, was one of the major—if not the major—museum events in the United States in 2010. Accompanied by a tidal wave of publicity at the regional and national levels, the new wing expands the museum’s previous display space by over one-third; it showcases art from both South and North America, offering a more expansive definition of “America” than has been standard in museum collections; and it includes works of art ranging from 500 BCE (an Olmec mask) to the twenty-first century (“By the… Full Review

Copious accolades and impressive numerical figures fed into the hype surrounding the opening, in November 2010, of the Art of the Americas Wing at the Museum of Fine Arts (MFA), Boston. One can read in the mainstream media sensational descriptions of the elegant four-floor, 121,307-square-foot glass rectangle (designed by the London firm Foster + Partners) that houses the wing and many plaudits of its fifty-three galleries (which showcase over five thousand objects, more than double the number previously on view), nine period rooms, and four “Behind the Scenes” exhibits that explain the wing’s collecting and conservation practices. And one can… Full Review

The European tradition in the graphic arts began in the fifteenth century, and early prints are notable for a bold and rapid exploration of new subjects and themes. Given the much expanded degree of interaction between Christian Europeans and black Africans that developed during the 1400s, one might imagine that printmakers would have been eager to depict persons of color. Yet the first attempts to do so were halting, and for a paradoxical reason: graphic artists had a hard time showing dark skin because light and dark were rigorously employed as chiaroscuro elements to evoke form, rather than the hue… Full Review

Sargent’s Daughters: The Biography of a Painting is a thoroughly researched biography of John Singer Sargent’s The Daughters of Edward Darley Boit (1882), now in the collection of the Museum of Fine Arts, Boston, and featured in the recently opened Art of the Americas wing. This canonical American painting portrays the four daughters of Sargent’s friends Edward (Ned) and Mary Louisa (Isa) Boit in the front hall of the family’s apartment in Paris. This book, presented as a biography, traces the life of the painting, from conception and production to exhibition and reception, and provides a detailed account of its… Full Review

Courts and Courtly Arts in Renaissance Italy, an Italian edition of which was published in 2010, draws together the work of twenty-four recognized Italian scholars into an ambitious examination of the historical context and artistic production of the best-known courts across Italy from the end of the fourteenth century, a critical period of consolidation, to 1530, the year Charles V’s coronation in Bologna effectively rearranged the power structures across the peninsula. Although explorations of individual Italian courts such as those of Milan or Florence abound and have been followed by regional investigations, Courts and Courtly Arts provides a broader… Full Review

Walter Melion’s The Meditative Art: Studies in the Northern Devotional Print, 1550–1625, like the early modern works it studies, calls for a disciplined eye and close reading. Although the text is quite lengthy and includes numerous Latin references, it is neither dry nor tedious to read. Nonetheless, it is demanding. For readers willing to face the challenge, Melion’s book reveals the complexities and nuances of early modern visual piety in a fresh and powerful manner. Not only does it provide a new interpretation of prints seldom studied, it also encourages readers to examine artistic and devotional practices linked to… Full Review

The exhibition catalogue Felice Beato: A Photographer on the Eastern Road celebrates a 2007 gift from the Wilson Centre for Photography to the J. Paul Getty Museum of more than eight hundred photographs by the Italian-born photographer Felice Beato. The gift tripled the size of the Getty’s Beato holdings, making it the world’s largest institutional collection of his photographs, which almost exclusively depict subjects in Asia and the Near East. The exhibition catalogue features 120 of these photographs, organized chronologically to showcase Beato’s long and productive career. Framing this work are informed and thoughtful commentary by Anne Lacoste, assistant curator… Full Review

Walter Gibson’s latest book investigates aspects of the relationship between word and image in early modern Netherlandish art. Although his subject is the depiction of proverbs, he does not dwell on Pieter Bruegel the Elder’s famous painting in Berlin that depicts more than one hundred proverbs set in a human landscape. Rather, he discusses the general phenomenon of the reliance on proverbs in Netherlandish culture, charting the rise of proverb books and the use of proverbs in several literary genres. Gibson then introduces a series of case studies, some drawn from earlier publications but revised for this venue. The… Full Review

With Mapping Ethnography in Early Modern Germany, Stephanie Leitch adds her distinct voice to the vast literature locating a critical epistemic shift in Europe ca. 1500. That she chooses the words “early modern” for her title is certainly deliberate in viewing this period as one of nascent modernity in its self-consciousness, broadening awareness of cultural relativity, use of the printing press, and emphasis on empirical observation (whether actual or feigned) for truth-claims. Leitch’s great contribution begins with the observation that although early modern Germany at the turn of the sixteenth century was not among the first European powers to… Full Review

Michael Marrinan’s Romantic Paris: Histories of a Cultural Landscape, 1800–1850 is an extraordinary book: highly interpretive and synthetic, sprawling in the breadth of visual culture it surveys, yet very readable and entertaining. Those familiar with Marrinan’s previous publications might expect an emphasis on Romantic painting, and there is plenty of that; but this book integrates painting and the pictorial arts into a sweeping narrative that includes museums, collecting, urban planning, architecture, sculpture, artisanal and industrial objects, dioramas, arcades, and more. It relates visual culture to politics, memory, emerging forms of public and private life, and new modes of commerce, industrial… Full Review

Paul Crowther’s Phenomenology of the Visual Arts (even the frame) is quite useful in facilitating a cooperation between art history and aesthetics. The book expounds not just an aesthetic theory but one that seeks to enable art historians to compose a definitive art history. Crowther’s approach might be called the “phenomenological depth theory” in so far as “depth” is a word with which he appears fascinated. The main theoretical issues are addressed in the second chapter, whereas the first turns present-day art history into two phantom camps—the one defined as “reductionist” as against the other, Crowther’s, which focuses on a… Full Review