Recently Published Reviews

Annibale Carracci spent most of the twentieth century in relative obscurity, his reputation overshadowed by that of other artists from his era. Though he was acknowledged by Caravaggio as a fellow “true painter” (Bellori) and served as inspiration to an awestruck adolescent Bernini (Baldinucci), Annibale’s fame has steadily dwindled since the nineteenth century, when illustrious visitors on the Grand Tour waxed rhapsodic over his work and made pilgrimages to Bologna and Parma to admire his altarpieces. Despite Dennis Mahon’s Herculean efforts to bring Annibale and his academy back into the spotlight and Charles Dempsey’s explorations of the technical and… Full Review

Since classical antiquity, Greek sculpture has occupied a premier position in the history of art. Pliny the Elder relied on earlier writers such as Xenokrates, Antigonos, and Pasiteles for his accounts of ancient Greek statues in marble and bronze, which appear in chapters of his Natural History devoted to stone and metals. Materials and techniques were of primary interest to Pliny, but his treatment—and those of many modern art historians until quite recently—nonetheless focused largely on stylistic development and the seemingly inevitable “progress” toward more naturalistic rendering of the human form, which is Greek sculpture’s principal subject. The past… Full Review

Besides dealing with objects and images, the art historian inevitably works also with stories. Some are “the facts” that place a piece of art within a context; some are the myths and legends that surround the art: stories about creation and origin or artistic intention and imagination, as well as stories about the history of a work, its influence and importance (or lack of such) over time. Clearly the stories about a work can be important; yet the dangers in selecting and interpreting these are numerous. Moreover, in a field like art history, in which coffee-table volumes and “general interest”… Full Review

From its first words, “Picture this,” Rebecca Zurier’s important new book offers readers vivid visual and intellectual insights into both Ashcan School images and the modern culture of urban New York in which they developed. Beginning with a lively evocation of the details in John Sloan’s Hairdresser’s Window (1907), Zurier analyzes the rapidly developing processes of representation, display, and active looking that shaped the city’s changing cultural milieu from the late nineteenth century into the first decades of the twentieth. What did it mean, she asks, to live in a culture of newly exciting visual spectacle provided by street advertising… Full Review

The sight of John Varriano’s Caravaggio: Art of Realism on the list of new literary offerings inevitably raises the question whether the art world really needs another treatise on Caravaggio. The provocative image of Victorious Love (1601–2) chosen for the book jacket, moreover, awakens the fear that Varriano’s contribution may be yet another wearisome exploration of the sexuality of the seventeenth-century artist. The recent literature on Caravaggio can be overwhelming. In the realm of biographies, readers can select anything from Helen Langdon’s brilliant Caravaggio: A Life (New York: Farrar, Straus and Giroux, 1999) to Peter Robb’s lamentable flight of… Full Review

On April 22, 2007, the Metropolitan Museum of Art sponsored a symposium to discuss issues surrounding the exhibition Venice and the Islamic World, 828–1797. The symposium brought together a group of experts on the interactions between Venice and Islam. In his introduction to the symposium, Stefano Carboni, curator of the exhibition and administrator of the Department of Islamic Art at the Metropolitan Museum, emphasized the three concepts governing the exhibition: to show the reasons why Venice had so many trade relationships with the Islamic world, to examine the relationship between trade and diplomacy, and to discuss Venice’s… Full Review

The Prado’s exhibition on Tintoretto, mounted by curator Miguel Falomir, meets the standard that a show is justified by its educational value to both the specialist and the public. Occupying the central wing of the primo piano of the Prado, the exhibit is mounted spaciously and offers judicious juxtapositions of paintings, drawings, and technical data. While presenting itself as the first monographic exhibition for the artist since 1937, the show also disclaims any pretension to be complete. (During the Tintoretto anniversary year of 1994, the Accademia in Venice provided an exhibition of Tintoretto’s portraiture, at which time an itinerary of… Full Review

Published in conjunction with an exhibition organized by the Addison Gallery of American Art, Portraits of a People: Picturing African Americans in the Nineteenth Century is an important contribution to the growing literature on race and visual representation in American culture. The beautifully illustrated catalogue includes three essays by guest curator Gwendolyn DuBois Shaw (Associate Professor of History of Art at the University of Pennsylvania), two of which expand upon the ideas in her first book, Seeing the Unspeakable: The Art of Kara Walker (Durham, NC: Duke University Press, 2004). It also contains an introduction by Karen C. C. Dalton… Full Review

“If we try to enclose him in his own time and look into his works instead of outward from them,” John Summerson lamented with a distinct echo of William Kent more than 200 years before him, “we find ourselves gazing at something extremely hard to bring to focus” (Inigo Jones, London: Penguin, 1966, 13). They were both speaking about Inigo Jones, the first intellectually complex architect England has produced in its history of the built environment. John Webb, Jones’s son-in-law, actively promoted Jones as a heroic figure for English architecture; in his book on Stonehenge, Webb carefully edited… Full Review

In Bernardo Bertolucci’s The Last Emperor, there is a scene in the Forbidden City after the 1911 Republican Revolution in which the already abdicated last emperor P’u-i (John Lone) warned his two chief eunuchs with these words: “I’ve recently learned that many pieces from the imperial collections were on sale in the antique stores of Peking!” Palace eunuchs were notorious thieves of imperial treasures. The Forbidden City, first built from 1406 to 1420, was not only the world’s largest palace complex for the twenty-four successive emperors of the Ming and Qing dynasties, but also the home to the magnificent… Full Review

From the twelfth to the fifteenth century, a remarkable group of anthropomorphic and zoomorphic vessels for ceremonial hand washing were made in medieval Germany. Employed in the service of the Mass and at the noble table, aquamanilia ranged in shape from single animals such as dragons, lions, and peacocks to more complex compositions, including mounted knights and Samson fighting the lion. The appearance of these objects in Germany in the twelfth century is remarkable for a number of reasons. Perhaps most importantly, they mark the resurgence of the technology for casting hollow metal objects in medieval Europe, a skill that… Full Review

It is humbling to realize how much has been written, yet how much remains uncertain, about the art associated with the medieval Franciscan order. Considering the tremendous growth of mendicant orders—Franciscan, Dominican, and other—in the thirteenth and fourteenth centuries and the extravagant claims that have been made about their cultural influence, the attention given to the art of the Franciscans is not misplaced. Scholars have linked the Franciscan movement of the thirteenth century to the rise of naturalism and humanism in the visual arts, to the development of narrative painting and the vernacular lyric, to significant changes in Marian piety… Full Review

As she writes in her foreword, the goal of Anne-Orange Poilpré’s new book on the Maiestas Domini is to analyze the origin and development of this iconographical theme from its emergence in Early Christian Rome and Ravenna until the reign of Charles the Bald (14). It is the most comprehensive work on the subject since Frederick van der Meer’s pioneering book of 1938, and is thus considerably broader in scope than other studies that have dealt with the Maiestas in the Carolingian and Romanesque periods.[1] Conspicuously displayed in church apses, sculpted Romanesque and Gothic tympana, as well as… Full Review

“I myself have done sculpture as the complement of my studies. I did sculpture when I was tired of painting. For a change of medium. But I sculpted as a painter. I did not sculpt like a sculptor. Sculpture does not say what painting says. Painting does not say what music says. They are parallel ways, but you can’t confuse them.” —Henri Matisse Matisse’s statement, printed high on the wall in the Dallas Museum of Art foyer, sums up the motivation for Matisse: Painter as Sculptor, an ambitious exhibition jointly organized by the Dallas Museum of Art,… Full Review

Contemporary art from the Middle East has only begun to emerge from obscurity in the past decade. Its struggle for recognition by the mainstream art world stems from an indefinable hesitation, lack of understanding, and the absence of established standards by which to evaluate it. A handful of major museums have started to collect this art seriously, while others continue to resist such acquisitions, often dismissing them as derivative and of questionable quality. Two recent exhibitions that focused on contemporary art from the Middle East and helped to put it on the map were Without Boundary: Seventeen Ways of Looking… Full Review