Recently Published Reviews

René Magritte’s art has attracted much attention in the past few years. Following 1999’s Magritte in Edinburgh, Scotland, and Humlebaek, Denmark, and the monumental exhibition in the Jeu de Paume in Paris in 2003, a new series of Magritte exhibitions attempts to place the Belgian artist into the spotlight of public interest, responding to new developments in art theory and to new ways of thinking about Surrealism. René Magritte: Der Schlüssel der Träume (The Key of Dreams), the first-ever retrospective of Magritte’s art in Austria, presents more than seventy of his paintings and is staged concurrently with the… Full Review

“Encounter”—the operative word, to my mind, of the title under review—has transformed, in a relatively brief period of time, from a strikingly innovative and promising concept to a somewhat enigmatic, if not altogether elusive, scholarly term of choice, which is increasingly, perhaps even blandly, invoked to describe the meeting between Europe and the wider world in the early modern period. Which is to say, the relatively fresh field of “encounter studies” is already—don’t blink!—ripe for revision. A bit of backstory: The study of Europe’s engagement with the non-European world—particularly during the pivotal moment of global expansion… Full Review

At the outset of her study on Soyer and Jewish identity, Samantha Baskind acknowledges the knotty complications of her venture: “Raphael Soyer did not want to be known as a Jewish artist…. So why am I … writing a book on Soyer and Jewish art” (1–2)? Despite the urban realist’s persistent denial that his religious and cultural heritage influenced his art, this book makes a compelling case for its primacy. While the artist preferred and promoted the labels “American” and “New York” in association with himself and his art, Baskind digs deeper to show how Soyer’s works were informed by… Full Review

Peter Paul Rubens acted on an international stage of grand proportions. His journeys, together with his massive output and universal interests, reflect a life of exceptional scope. Born in Germany and raised in the Southern Netherlands, Rubens traveled throughout the continent and England as both artist and diplomat. A life so rich in variety and achievement is not easily encompassed in a monograph. A catalogue raisonnée of Rubens’s works has required twenty-seven volumes of the Corpus Rubenianum Ludwig Burchard, categorized by series, subjects, and commissions and written by a small army of scholars. Rubens’s life and work have also been… Full Review

A strong interest in the ancient Olympics on the part of both scholars and the general public has led several museums abroad to mount exhibitions exploring the artistic and archaeological evidence for Greek sports. The return of the Olympics to Greece in summer 2004 provided the impetus for the Museum of Fine Arts, Boston (MFA), to present Games for the Gods: The Greek Athlete and the Olympic Spirit, the first exhibition in the United States to rival shows such as Mind and Body: Athletic Contests in Ancient Greece at the National Archaeological Museum in Athens, Greece, in 1989 or… Full Review

In the middle years of the fifteenth century, the Florentine-born Tommaso Spinelli (1398–1472) became a prominent banker in Rome and sponsored numerous building projects and other artistic enterprises, especially in Florence. This book gives an overview of the Spinelli family, concentrating on Tommaso and discussing in detail his business activities and his donations to the church of Santa Croce, the cloister and infirmary that he built there, the palace nearby, and his villa in the hills east of the city. Some of these matters had already been touched upon by Filippo Moisè (Santa Croce di Firenze: Illustrazione storico-artistica [Florence… Full Review

No one would mistake an artist with a name like Hans Holbein for an Englishman. Yet, as Susan Foister’s new book sets out to demonstrate, Holbein the Younger not only flourished during his tenure in England but also produced works integrally connected to the artistic context of the Tudor period. In Holbein and England, Foister hopes to revise common assumptions by reframing the artist geographically, arguing that Holbein’s experiences in Germany informed his English work and that early-sixteenth-century England was no backwater for the visual arts Misconceptions and unfamiliarity have assured a dearth of literature about English art of… Full Review

Turks: A Journey of a Thousand Years, 600–1600 is an ambitious and highly informative exhibition. With 376 items on display from 53 lending institutions—such is the wealth of material that it is hard to believe it took barely fifteen months to assemble—the show constitutes an important part of a program of all things Turkish in London. The aim is to unravel the cultural origins of the Ottomans (or the Turks, as Ottomans were commonly known in the West), but soon it becomes clear that this is no easy task. Thus Turks skillfully unfolds before our eyes as the widest possible… Full Review

The sacrament of baptism is the most fundamental initiation rite of Christianity. In the earliest centuries of Christian worship, it was a lustration that welcomed new converts into the church. During the Middle Ages baptism was typically performed only on Easter and Pentecost; rules that the rite should be performed during these two feasts held sway until the twelfth century. Baptism, like most rituals, evolved gradually over time, and eventually it assumed a new significance linked to the notion of salvation rather than conversion. By the eleventh century, the ritual was performed not only on Easter or Pentecost, but also… Full Review

Much history penned by the American generation that came of age during (and since) the 1960s deploys the narrative mode of a struggle between two binaries. Anthony Alofsin’s new history of design education at Harvard University goes so far as to include the word in its title. For Alofsin, the study of what is one of America’s leading institutions for architecture, landscape, and planning education revolves around a struggle for modernism. Importantly, the ultimate outcome of that skirmish was not the various attitudes that followed modernism, sundry posts, and their ilk, but instead an essential hijacking of America’s inevitable professional… Full Review

Hal Foster’s Prosthetic Gods is a Lacanian-driven contribution to art history and theory. The book does not address problems in the writing of art history, for example, why such writing is prone to monumentalizing artifacts or is crucial in canon formation. Instead, it uses theories of Sigmund Freud and Jacques Lacan to quarantine modern art and art history by taking the special interpretive codes of Freud, and then Lacan, and transferring them to a general code of interpretation. Prosthetic Gods historicizes art history through Lacanian theory. This strategy produces a circularity in which an object, an interpretation thereof, and institutional… Full Review

A mysterious illness spread throughout the United States following the end of the Civil War. Symptoms varied from person to person but generally included diminished powers of concentration, decreased appetite, and overall decline in the level of physical energy. The Boston medical doctor George Beard identified the disease as neurasthenia, or nervous exhaustion, in 1869 and attributed its sudden appearance to rapid urbanization and industrialization. In the decades following Beard’s diagnosis, the American medical establishment refined the list of symptoms associated with neurasthenia and established a variety of treatments for it, from patent medicines to bedrest to vigorous exercise. Although… Full Review

Manuals and instructional handbooks for artists have been in existence at least since Pliny the Elder’s discussion, in Book 35 of his Natural History, of the history of painting and its materials. Their numbers increased in the twentieth century, as shown by the volumes now in print and by the large number of instructional articles in “popular” artists’ magazines—as opposed to the academic or “serious” artists’ press, where there is either no instruction or, if I may say so, disdain for such a thing. As Leslie Carlyle points out in The Artist’s Assistant: Oil Painting Instruction… Full Review

The medallions on the monumental facade of the Metropolitan Museum of Art contain the names of, among other great artists, Rembrandt and Diego Velázquez. But if one looks for the name of the greatest master of the Flemish Baroque, Peter Paul Rubens, one will have searched in vain. Although Ruben’s paintings, oil sketches, and drawings lay within reach of the most important American collectors of the late nineteenth and early twentieth centuries, they apparently avoided buying them. For example, Rubens is the only major seventeenth-century painter whose work is not represented in the Frick Collection in New York. This seems… Full Review

Edward Dimendberg’s Film Noir and the Spaces of Modernity analyzes the logic and history of the modern metropolis through the eyes of its most faithful disciple and staunchest critic, the postwar noir film, especially its B variation, where “[t]he loss of public space, the homogenization of everyday life, the intensification of surveillance, and the eradication of older neighborhoods by urban renewal and redevelopment projects are seldom absent” (7). In the tradition of Siegfried Kracauer, Dimendberg is interested in the common, the everyday, and the epiphenomenal, expressions of mass culture that lend us insight into the unconscious logic of late-capitalist reason… Full Review