Recently Published Reviews

In the past few decades, the global contemporary art world has witnessed a significant revival of interest in the question of art’s social dimensions, including awareness of the public sphere, civic engagement, and participation in politics. This “social turn” has manifested as a critique of institutionalized postmodernism and neoliberal capitalism. The rise of socially engaged art in China has echoed this international art phenomenon. Artists, critics, and researchers are harnessing the power of art to pursue publicness, social criticism, community reconstruction, bottom-up citizen participation, grassroots interests, and social justice. In so doing, they have abandoned a continuing faith in the… Full Review

Gülru Çakmak’s book on the French artist Jean-Léon Gérôme was a joy to read. It is the first monograph that I have read that engages seriously, thoroughly, and deeply with Gérôme’s academic paintings. It focuses on the artist’s most famous works from the 1850s, an early stage in what was to become a stellar career within the institutional framework of nineteenth-century Paris: Duel after the Masquerade (1857), Prayer in the House of an Arnaut Chief (1857), Ave Caesar! Morituri te salutant (1859), Death of Caesar (1867, extant in three versions) and César (the lost 1859 “close-up” version of Death of… Full Review

A stimulating read from start to finish, Lamia Balafrej’s The Making of the Artist in Late Timurid Painting is the first book-length analysis of one of the most important codices of Islamic art—the Cairo Bustan (The orchard). Currently preserved in Cairo, this fifteenth-century copy of Saʻdi’s (d. 1291) Persian book of poetry was produced in Herat (in today’s Afghanistan) for Husayn Bayqara (r. ca. 1470–1506), a ruler of the Timurid Empire, which dominated Central Asia and Iran from circa 1400 until 1507. The codex features an unsigned double-page frontispiece attributed to Miraq Naqqash—the head of the royal library in Herat—and… Full Review

The images from Venice that traveled around the world after the Biennale in November 2019 seemed almost tailor-made for the Instagram age: tourists wheeling their suitcases through a flooded Piazza San Marco, residents in hip waders made of trash bags slogging through the flood alongside wooden gangways that offered a labyrinthine refuge for dry feet. These photos were not created with art in mind, but rather as documentation of the impact of the annual acqua alta reaching a miserable new record of nearly two meters in depth. Unlike elsewhere, the cause of the flooding here was less climate change than… Full Review

Scenario: The three former field editors for theory and historiography reflect on the state of the field(s) and try to place reviewing in the theoretical life of art history as it has been practiced historically—and as it is practiced today. Andrei Pop: To start us off: theory and historiography strike some people, especially working art historians, as disembodied. Is there a vivid memory you have from your stint editing for caa.reviews, one that jumps out at you? Passionate exchanges with a reviewer or author? Or with a reader or book? David Carrier: In general, the biggest problem was getting… Full Review

Winslow Homer and Photography: A Reassessment Over the past decade, the Portland Museum of Art’s restoration of the Winslow Homer (1836–1910) studio on Prouts Neck in Scarborough, Maine, and the acquisition of his view camera by the Bowdoin College Museum of Art have spurred important new scholarship about Homer’s relationship to the visual culture of his day. The recent exhibition and catalog Winslow Homer and the Camera: Photography and the Art of Painting carefully reexamine Homer’s life and art in relation to the emergence of photography over the course of his prolific career. Period photographs in particular have expanded our… Full Review

The recent exhibition Through a Glass, Darkly at Emory University’s Michael C. Carlos Museum seeks, against the odds, to replicate the pleasure that the learned early modern viewer found in decoding complex religious allegorical prints. Cocurators James Clifton and Walter S. Melion admit that these joys can seem distant to us now. Clifton’s preface to the exhibition catalog opens with a quote from the BBC’s beloved art critic Sister Wendy Beckett, who conceded in one of her programs that “we don’t really like allegories” (6). Allegory can be challenging, as it inherently points away from its intended meaning, always signifying… Full Review

Asma Naeem’s book starts with one of those “aha” moments that occur when, as an art historian, you recognize that you have been overlooking a simple but persistent phenomenon relevant to your subject. Vision, it turns out, is not the only sense relevant to the field—hearing matters too. Naeem’s first sentence will not surprise most art historians: “Museums weren’t always the hallowed spaces of reflection that they are today” (1). However, she builds on this straightforward observation to provide a wide range of novel insights. Ultimately, Out of Earshot is framed by a simple but potent question: what if we… Full Review

Virginia Woolf recalled seeing a small Cézanne still life of apples at the home of John Maynard Keynes, as Carol Armstrong recounts in Cézanne’s Gravity. “What can 6 apples not be? I began to wonder. There’s their relationship to each other, & their colour, & their solidity” (34). It was a dozen years after Paul Cézanne’s death, but the spirit of the painter was very much alive among the Bloomsbury circle of artists and intellectuals viewing the work. The assembled company, which included the painter Vanessa Bell (Woolf’s sister) and the critic Roger Fry, “carried it into the next… Full Review

After describing Luca della Robbia’s achievements in marble and bronze, Giorgio Vasari goes on to note how much time he spent in making them, [and upon recognizing] that he had gained very little and that the labour had been very great, he resolved to abandon marble and bronze and to see whether he could gather better fruits from another method. Wherefore, reflecting that clay could be worked easily and with little labour, and that it was only necessary to find a method whereby works made with it might be preserved for a long time . . . after having made… Full Review

Kathleen Giles Arthur’s concise study illuminates the intersection of visual culture and the spiritual lives of Observant Franciscan women in fifteenth-century Ferrara, Italy. Her book is an outstanding and much-needed contribution to scholarship on art and the Poor Clares. Historians of this topic have focused primarily on the visionary treatise Le sette armi spirituali, written by Caterina Vigri (1413–1463), founder of the convent now usually known as Corpus Domini in Bologna. Caterina spent much of her life in Ferrara, first at the d’Este court of Niccolò III, where she served as lady-in-waiting to his wife Parisina. In 1426… Full Review

In Art and Form: From Roger Fry to Global Modernism, Sam Rose contends with the discursive legacy of “formalist modernism,” a narrative contaminated by perpetuating misunderstandings. According to Rose, “formalist modernism” constitutes a narrow view that cleaves internal form from external meaning, separating art from life. Formalism itself, as an intellectual category, has suffered the same reductivist fate that it purports to drive in the orthodox trajectory of modern art, from representation to abstraction. To counter this narrative, Rose situates Roger Fry’s writings on form in an expansive intellectual nexus that includes connoisseurship, literary criticism, design theory, Marxist art… Full Review

The history of photography has long been written along geographic boundaries. Until recently nation-based narratives, especially those of Great Britain, France, and the United States, dominated the field, and when new studies representing long-neglected corners of the world appeared, they tended to replicate the well-established examples that preceded them. Within the past decade, however, scholars have begun to shift emphasis from individual photographers and nations to the circulation of images and transnational exchange, presenting local practices within a much wider context of global contact and dissemination. The Global Flows of Early Scottish Photography: Encounters in Scotland, Canada, and China is… Full Review

This book offers readers an in-depth study of one single object: the world map (mappa mundi) produced for Hereford Cathedral in England around 1300 CE. Rather than situating this work within the history of cartography, Marcia Kupfer treats it as an object of art. She convincingly argues that by exclusively considering the map as a repository of geographical knowledge, scholars have fundamentally misunderstood the mappa mundi and some of its puzzling visual characteristics. Tellingly, the interchange of the legends of Africa and Europe on the map has traditionally been interpreted as a failure on the part of a… Full Review

Art is autobiography in the nostalgic mode. This is the main lesson of Marisa Anne Bass’s Insect Artifice: Nature and Art in the Dutch Revolt. This learned and refined book examines the life and works of Joris Hoefnagel (1542–1601), the troubled Netherlandish artist who was forced to leave the Low Countries in the wake of the Dutch Revolt and spent his later years at the Bavarian court of Duke Albrecht V and then in Rudolf II’s Prague. In Bass’s telling, the determining event of Hoefnagel’s life was the revolt. Experiences of war and loss permeate his art and thinking, especially… Full Review