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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

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

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

Charles McClendon’s recent book sets forth, perhaps for the first time in English, a substantial prehistory of medieval architecture from late Roman Antiquity through the “Dark Ages” and the Carolingian Renaissance. Ranging over nearly a half-millennium, he focuses on the period between 600 and 900 in explaining the roots of Romanesque architecture. A lavish scholarly apparatus includes a plethora of carefully placed photographic illustrations, many line drawings, and numerous measured ground plans that closely support the meticulously documented, well-written text. An eloquent celebration of a little-known era of architectural history that is plainly meant for the enjoyment and edification of… Full Review

Many of us have had the experience of walking into a little-known church in a quaint European town where we were so intrigued that we considered conducting research on the church’s elaborate decorations. Unlike most of us, who recognize the daunting nature of such an undertaking, Véronique Plesch has spent the last decade documenting, investigating, and analyzing the extensive fresco cycle by Giovanni Canavesio in the church of Notre-Dame des Fontaines at La Brigue. This church, located about eighty kilometers north of Nice, is home to the most well-preserved of four extant fresco cycles completed by Canavesio in the 1480s… Full Review

The theme of cultural intersection in Ptolemaic and Roman-period Egypt has recently captured scholarly attention, particularly that of philologists and historians. Jacco Dieleman’s Priests, Tongues, and Rites: The London-Leiden Magical Manuscripts and Translation in Egyptian Ritual (100–300 CE) (Leiden: Brill, 2005), for example, and Susan Stephens’s Seeing Double: Intercultural Poetics in Ptolemaic Alexandria (Berkeley: University of California Press, 2003) underscore the interlaced debt of Greeks and Egyptians. And with scarce exception, the articles in the often-cited Life in a Multi-cultural Society: Egypt from Cambyses to Constantine and Beyond (edited by Janet H. Johnson; Chicago: The Oriental Institute, 1992) also rely… Full Review

Alice Donohue’s new book examines descriptions of ancient Greek sculpture written in the eighteenth to twentieth centuries and the light they shed on the intellectual history of classical archaeology. She argues that the practice common in archaeological publication of isolating description from interpretation was instrumental in perpetuating a false empiricism, characterized by the denial of the subjective nature of vision. Her inquiry focuses on the historiography of early Greek sculpture, a category that she maintains was evaluated through misguided comparisons with Classical and Hellenistic works, and conceptualized in accordance with theories of stylistic development which inappropriately applied evolutionary models to… Full Review