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This book examines the all too unusual case of the sculptor Luisa Roldán (1652–1706), who successfully navigated the challenges of being a woman artist in early modern Spain. The role of women in art throughout Europe during the seventeenth and eighteenth centuries has been under-researched until recently. Spanish art too, has remained less well known or studied in the Anglophone world, compared with Italian art. Sculpture in Spain, which in this period was generally polychromed, has only lately begun to attract the attention it deserves. Catherine Hall’s book provides a welcome new contribution to all these fields. In it, she… Full Review

Author’s note: Historical terminologies of racial classification, including “Black” and “Coloured,” which were instantiated by the Population Registration Act of 1950, in South Africa, are used throughout Berger’s book so as not to erase the violence of policies enacted under apartheid. Maid in Uniform, a 1955 portrait of a Black South African domestic worker, is arguably one of the strongest works by painter Irma Stern (1894–1966). Dressed in the uniform typical of her profession, Stern’s defiantly unwilling subject purses her lips and crosses her arms; her eyes demur from the viewer. The maid’s expression signals the complex social relations… Full Review

What happens after the initial creative act? In her introduction to The Long Lives of Medieval Art and Architecture, Jennifer Feltman calls attention to the fact that art historical writing since Vasari’s Lives of the Most Excellent Painters, Sculptors, and Architects has typically prioritized the time of a work’s creation, and instead situates the case studies included in the edited volume in the time between then and now. The book makes the case that works we now label “medieval” are never exclusively so, as they have been transformed in later years, whether materially, semantically, or both. Overall, the collection… Full Review

David Ekserdjian describes his new and important book, The Italian Renaissance Altarpiece: Between Icon and Narrative, as a work of “almost demented ambition” (6). The description is apt. A thorough introduction, seven chapters, a conclusion, two appendices, and the usual scholarly apparatus adds up to just over 400 pages of tightly-packed, double-columned text. And that text sets out to provide an almost encyclopedic account of the most frequently produced type of art object in Renaissance Italy. Accordingly, the author references “well over a thousand” (61) works of art. These involve the whole of the Italian peninsula, date from circa… Full Review

Rivaled only by Mexico as a center of artistic modernism in the Americas, Brazil, with its wealth of innovative architecture, landscape design, urbanism, painting, sculpture, and performance art, has long attracted the attention of Anglophone scholars and curators. Apart from survey texts, architecture and the other arts have generally been treated separately, in both exhibitions and monographs, which have typically focused on a single person or phenomenon, or positioned Brazilian examples as part of a geographically broader study. Adrian Anagnost, however, brings the country’s arts into dialogue during the pivotal decades from the mid-1920s through the 1960s in Spatial Orders,… Full Review

Adele Nelson’s new book is a significant contribution to the literature on twentieth-century Brazilian art and culture. Brazil has been central to art historical research in the last two decades, and numerous scholars, both international and Brazilian, have turned their attention to the art produced in the immediate postwar period, a moment when the foundation of the São Paulo Bienal and a surge of museum building transformed the artistic landscape in the country. Nelson’s study is groundbreaking in several ways: it challenges the dominant narrative that the emergence and evolution of abstraction in Brazil was tied primarily to a quest… Full Review

Although architectural drawings were made before the Renaissance, the increasing availability of paper in late fifteenth- and early sixteenth-century Europe had a profound influence on the tools and processes of architectural design. Paper was economical, flexible, portable, and an efficient medium for capturing ideas quickly and for conveying elaborate and complex ideas about masses and volumes in visual terms. But architects did not abandon centuries-old tools overnight, and throughout the Renaissance, drawings continued to be made with a variety of media and for diverse purposes. Generations of modern historians, however, have given primacy to drawings on paper and have studied… Full Review

This volume, featuring nine essays and an extensive introduction by its editors, stems from scholarly discussions hosted by the Marco Institute for Medieval and Renaissance Studies at the University of Tennessee, Knoxville. Written by a multidisciplinary group of established scholars affiliated with universities across the United States and Canada, this book attempts to shift the scholarly debate about postclassical Rome from the concepts of decline and renewal to those of continuity, adaptation, reuse, reconstruction, memory, and (creative) resilience—a concept highlighted in the introduction (25–26). In this endeavor, the volume is successful and should be of interest to those engaged with… Full Review

The typical monographic treatment of a building or a community begins with a discussion of the patron’s plan and then traces the construction and development of the site to completion. In some cases, the history of the building or community is traced through subsequent changes and adaptations, concluding with its present state—or its destruction. This book takes a somewhat different course, as it starts with the founding of a utopian community in 1814 by George Rapp and  a group of disaffected Lutherans from Württemberg in Germany who applied the name New Harmony (after their earlier Pennsylvania settlement) to their new… Full Review

The artful protagonists of The Moving Statues of Seventeenth-Century Amsterdam are witty enchantments, products of active imaginations whose disappearance requires further imaginative action. Angela Vanhaelen brings to life the Amsterdam doolhoven, labyrinths attached to an array of entertaining displays that sprang up in the prosperous Dutch city beginning in the seventeenth century. This unprecedented study of a phenomenon unique to Amsterdam reveals a landscape of innovation, foreign-sourced artisanal knowledge, and moral edification pivoting around unexpected sites: early modern amusement parks that, along with taverns and inns, functioned as spaces for a cosmopolitan range of visitors to encounter astonishing works… Full Review