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The attractive exhibition catalogue under review here shines a bright light on the rich and diverse collection of Egyptian art that is the Myers Collection at Eton College in Windsor, UK, with the added benefit of a chapter featuring coins and other post-pharaonic artifacts from the University of Birmingham. It is not only a welcome addition to previous publications of artifacts from the Myers Collection (e.g., Stephen Spurr, Nicholas Reeves, and Stephen Quirke, Egyptian Art at Eton College: Selections from the Myers Museum, New York: Metropolitan Museum of Art, 1999), but also a prime example of the kind of… Full Review

This impressive, generously illustrated collection of essays edited by Claire Farago developed from a symposium held in London in 2001 that focused on the historical reception of Leonardo da Vinci’s Trattato della pittura. Twenty-three studies, including introductory remarks and an annotated bibliography, by twenty authors (three scholars make multiple contributions) examine the transnational fortune of the treatise and consider Leonardo’s influence on the institutionalization of artistic production in early modern Europe. The focus on reception leads to consideration of fundamental issues regarding Leonardo’s legacy, such as the development of the modern conception of artistic genius, as well as broader… Full Review

Jacob Lawrence is best known for his multi-panel series The Migration of the Negro (1940–41), with the Philips Collection in Washington, DC, owning the odd-numbered panels, and the Museum of Modern Art, the even-numbered ones. In November 1941, Fortune magazine published twenty-six of the works, and in December of the same year Edith Halpert showed the entire series at her Downtown Gallery. With this exposure, Lawrence became, at the age of twenty-four, a nationally recognized artist. The sixty small paintings that document the wave of black migrants from the rural South to the urban North have been widely reproduced and… Full Review

Sequestered in the darkness of storage more often than not, a consequence of the friability of the light-sensitive, powdery medium, pastels are rarely exhibited on a regular basis by museums. It was an unusual and welcome happening, then, when the Musée d’Orsay staged in the fall of 2009 what must have been a visually sumptuous installation of nineteenth- and early twentieth-century pastels drawn from its unparalleled permanent collection. The project was initiated by Serge Lemoine, the outgoing former director of the Musée d’Orsay, and seen to completion under the direction of his successor, Guy Cogéval. It was accompanied by a… Full Review

Burial Assemblages of Dynasty 21–25 is an impressive, comprehensive work dealing with the development of funerary customs in the Third Intermediate Period (ca. 1100–650 BCE), one of the most misunderstood time periods in ancient Egyptian history. The work precedes the founding of “TiMe, Transformation in the Mediterranean: 1200–500 BC,” an international study group, and is incorporated into the Austrian Academy of Sciences’s series Contributions to the Chronology of the Eastern Mediterranean. The major focus of this book, a reworking of David A. Aston’s doctoral dissertation awarded in 1987 from the University of Birmingham, is the analysis of the… Full Review

Susan Sidlauskas’s fascinating, well-researched, and important new book, Cézanne’s Other: The Portraits of Hortense, analyzes nearly thirty paintings Paul Cézanne made of his wife, Hortense Fiquet Cézanne, between 1883 and 1894. In this ambitious undertaking, Sidlauskas advances new and provocative perspectives on Cézanne and his art. Crucial is Sidlauskas’s presentation of a Fiquet Cézanne distinct from the historical image of the uncooperative spouse (the counter-muse), a largely misogynist view that has dominated the Cézanne literature for more than a century. Sidlauskas draws on an impressive array of sources and methodologies, ranging from nineteenth-century philosophical and scientific texts through the… Full Review

Refracted Visions is a substantial and well-researched study of contemporary popular photography in Indonesia, a result of anthropologist Karen Strassler’s extensive fieldwork in Java since the mid-1990s, which covers a period when analog photography was still dominant. While the book provides adequate historical background into the consolidation of popular photography since the colonial era, its focus is on six genres, each given a separate chapter treatment: amateur photography (chapter 1), studio portraiture (chapter 2), identity photographs (chapter 3), family ritual photography (chapter 4), student photographs of demonstrations (chapter 5), and photographs of charismatic political leaders (chapter 6). Strassler draws from… Full Review

If the observation that modern conceptions of homosexuality were deeply interwoven with the forms and experiences of the modern city is now a commonplace, queer London has emerged as a privileged site of analysis. Cultural and social historians have mapped its contours in impressive detail, drawing on the extensive police documentation of sodomy arrests from the late nineteenth century onward, the numerous high-profile court cases inaugurated by the notorious trial of Oscar Wilde, and the popular press’s apparently unlimited appetite for sexual scandal. The latest contribution to this textured historiography is The Spiv and the Architect: Unruly Life in Postwar… Full Review

Clive Getty's scholarship has long held a central place within the secondary literature on the French caricaturist and illustrator Grandville (Jean Ignace Isidore Gerard, 1803–1847). Alongside important studies in French by Annie Renonciat and Philippe Kaenel, Getty's work has served as a necessary corrective to the ahistorical, Surrealistic, and Freudian interpretations of Grandville's art that dominated study of the artist for much of the twentieth century. While the art historian and painter Laure Garcin together with the artist Max Ernst revived interest in Grandville, whose reputation was neglected for nearly a century after his death, they also perpetuated the myth… Full Review

Jan Gossart has long been overdue a thorough modern reassessment. A decisive figure in the transformation of South Netherlandish art in the 1510s and 1520s, famous since his day for bringing knowledge of Antiquity and the rendering of mythological nudes from Italy to the Netherlands, Gossart—the spelling of his name here rightly restored to the way he signed it—is far less well-known today than his position and achievement deserve. The last comprehensive exhibition of his work was held forty-six years ago in Rotterdam and Bruges, and he has never been the subject of a U.S. exhibition. For this… Full Review