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In this well-illustrated and impressively documented volume, Patricia Fortini Brown presents a new kind of history of the Venetian Renaissance home. Unlike most prior studies of domestic architecture, furnishings, and the decorative arts (not often discussed together), this volume reunites architecture with lived experience, form with function, and aesthetic choices with their broader societal implications. Fortini Brown is a masterful social as well as art historian, and her analysis of what it meant to be noble in sixteenth-century Venice prepares the reader for a highly nuanced reading of the palaces that line the Grand Canal. Alert to the paradoxes inherent… Full Review

Hiroko Johnson has produced the first English-language monograph on the small group of elite men from Akita who, in the free and open days of Tanuma Okitsugu’s period as shogunal chief counselor, embarked on the challenge of integrating Western art practice into that of Japan. Her book is beautifully produced, with the lavish use of photographs and plates associated with Hotei Publishing. Johnson tells the story thoughtfully and intelligently, and even those who consider themselves informed on the subject will still find a great deal of new information here. Johnson has gone through all available publications, and examined all the… Full Review

Why did spectacular representations of recent history become all the rage in Paris during the first half of the nineteenth century? How did this new approach to picturing the past help the fractured French nation to forge a unified identity? And why did cultural critics of all political persuasions, including Realist novelists such as Balzac and Stendhal, find the trend so troubling? Maurice Samuels, Assistant Professor of Romance Languages at the University of Pennsylvania, offers persuasive answers to these and related questions in his compelling first book Although its subtitle emphasizes contributions to the field of French literature, The… Full Review

When Giorgio Vasari wrote in the 1568 edition of the Lives that Michelangelo had surpassed the ancients, art, and nature itself, he codified a familiar characterization that had already been current in critical commentaries and published letters for decades. Michelangelo was, of course, the hero of Vasari’s history, and it was therefore inevitable that in his construction of the progressive perfection of art, Michelangelo represented an exemplar of inimitable perfection. But, however politically and ideologically motivated Vasari’s Lives may be as a work of critical theory and literary biography, there is also a great deal of truth in what he… Full Review

For much of the last half-century, the few North Americans interested in the extraordinary ecclesiastical architecture erected during the 1500s south of the U.S. border had to depend on just two monumental tomes in English: George Kubler’s Mexican Architecture of the Sixteenth Century (New Haven: Yale University Press, 1948) and John McAndrew’s The Open-Air Churches of Sixteenth-Century Mexico (Cambridge, Mass: Harvard University Press, 1965). Perhaps because the scholarship of these works was so weighty, gringo aficionados didn’t deem it necessary to add anything further. Moreover, the colonial arts of Latin America were receiving little attention in general after World War… Full Review

The exhibition Spain in the Age of Exploration, 1492–1819 sprang from a collaborative enterprise between the co-curators Chiyo Ishikawa and Javier Morales Vallejo, with the support of three participating institutions: the Patrimonio Nacional of Spain, the Seattle Art Museum, and the Norton Museum of Art in West Palm Beach, Florida. Their efforts are sumptuously represented in the catalogue produced to accompany the exhibition. The catalogue’s seven essays each explore a different aspect of the exhibition's thematic interests, including the idea of Spain and its empire, Spanish spirituality, cross-cultural encounters, and the role played by science in the Americas and Spain… Full Review

On January 23, 1855, Dante Gabriel Rossetti wrote to his friend William Allingham with regard to illustrations for a new volume of Alfred Tennyson’s poems, explaining he would pick those verses “where one can allegorize on one’s own hook on the subject of the poem, without killing for oneself and every one a distinct idea of the poet’s” (George Birkbeck Hill, ed., Letters of Dante Gabriel Rossetti to William Allingham, 1854–1870, London: T. Fisher Unwin, 1897, 97). The desire on the part of the young Pre-Raphaelite Brotherhood members to stake out new territory for the illustrator—providing commentary rather than… Full Review

Euro-American modernity arrived in Japan during a precarious time. World War II had just ended, atomic bombs had devastated two major cities, land was barren following destruction by fire-storms, famine was widespread, and, for the first time in the country’s history, foreign soldiers occupied its land. Suddenly modern America, with its Coca-Cola, playing cards, and t-shirts, was everywhere, awkwardly overlying prewar Japanese aesthetics. Shomei Tomatsu, born in 1930, came of age during the occupation era and was keenly aware of the tension surrounding the transition from prewar aesthetics to American-style modernism. The photographs and essays collected for his first U.S… Full Review

This collection of essays is the record of a symposium held at the Bibliotheca Hertziana in Rome in July 2000. Organized by Giancarla Periti, the subject of that event was broad, covering both ecclesiastical and secular patronage in northern Italy (principally Emilia-Romagna, but also parts of current-day Lombardy) and Inventio—artistic invention—as it was conceived and practiced there. That many of the participants have long been interlocutors—either as students at Johns Hopkins University, working with Charles Dempsey, who wrote the book’s introduction, or as colleagues from other projects—provides another unifying component to the selection. Ashgate is to be commended for… Full Review

Perhaps the most worrying aspect of Marcia Brennan’s new book—and it is typical of revisionist accounts of modernist art and criticism on the 1950s and 1960s from the past two decades—is the assumed transparency of her own interpretations vis-à-vis the ideologically mediated nature of critical accounts from the period. Historical distance from an object of study does not permit an unadulterated account of that object, and neither does an enlightened methodology, especially when the theoretical perspective given voice is a very late and idiosyncratic response to the headway made in the discipline of art history by gender and cultural studies… Full Review