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T. J. Clark's latest reflections on the complex topic of Modernism in the visual arts have been much anticipated. When he writes about a "retrospective" exhibition held by Pissarro late in his career, his words also apply to the appearance of this new book: "Pissarro knew only too well in 1892 that whatever he did in the present would be looked at comparatively, and put to the test of the 1870s" (56). The many self-reflexive comments that we find in these pages suggest that Clark, too, is aware that he must live up to his reputation as one of the… Full Review

The visual—whether extant or recorded, whether a work of art, a procession, or the body of a saint—is an essential primary source for the historian. In this study . . . we hope to have demonstrated the contribution such sources can make to an understanding of the Middle Ages. (8) In this meticulous and carefully researched book, over twenty years in the making, the team of an art historian and specialist in trecento Cortona, Joanna Cannon, and a historian known for his wide-ranging and seminal work on the canonization of saints, Andre Vauchez, work together to… Full Review

This most recent study of the painting technique of Gerard David is an admirable one with a considerable amount of new information on David's style, particularly as revealed by author Maryan W. Ainsworth's scientific investigations with infrared reflectography. As noted in Chapter One, "Designing Solutions: David's Drawings and Workshop Practice," no other painter working in fifteenth-century Bruges has left for posterity as many drawings as did Gerard David, native of the north Netherlandish town of Oudewater (born ca. 1455) and active in Bruges from 1484 to his death in 1523. The "Klinkosch sketchbook" and several other sheets give… Full Review

Cristelle Baskins has emerged as a leading scholar in the field of Italian Renaissance domestic art. She has authored a series of fascinating articles over the past decade that deal with the varied issues implicit in the function and appearance of cassone (marriage chest) and spalliera (wainscoting) panels. These articles have helped both to stimulate the field and to lead it in new and exciting directions, negating some of its earlier, marginalized, status in relation to more traditional studies of monumental Renaissance art. With this new book, Baskins expands on many of the issues examined in her previous articles; it… Full Review

This collection consists of fourteen papers presented at an international conference held in conjunction with an exhibit of drawings by Vasari and related artists at the Yale University Art Gallery in 1994. A companion catalogue by Maia Gahtan and Philip Jacks, bearing the same title as this volume (New Haven: Yale University Press, 1994) describes the role of disegno in Vasari's artistic production. Conference acts (often generated by exhibitions) have become a convenient way of circulating new ideas beyond the circle of scholars who attend the proceedings. This admirable goal, however, is frequently sabotaged by a long gestation period during… Full Review

Photographically illustrated books produced in nineteenth-century Britain are the objects of study of this ambitious volume, one part historical reflection and one part theoretical manifesto. The volumes examined here include the first widely produced book of photographs, William Henry Fox Talbot's The Pencil of Nature, as well as early publishing ventures in which photographs appeared, including Carpenter and Nasmyth's The Moon and Oskar Rejlander's photographs in Charles Darwin's Expression of the Emotions in Man and Animals. In addition, separate chapters are devoted to Anna Atkins's volume, Photographs of British Algae, Francis Frith's Egypt and Palestine Photographed and Observed as well… Full Review

It may be that Rosalind Krauss’s work has been subject to more disparate interpretations than any postwar art historian. In one reading, her work is methodologically scattered, moving from one theory to another without apparent connection; in another, it is curiously nonfeminist despite its repeated focus on women artists; in a third, it is restricted to major media (photography, sculpture, painting) and therefore out of touch with the current media expansion. The first makes her unreliable, the second and third irrelevant. It may be time to try to come to a more balanced and closer understanding of… Full Review

Hagia Sophia, what the Byzantines called the Great Church, has had many lives: imperial monument built by Justinian in 532–37 immediately following and in response to serious urban rioting; cathedral of the capital of the Byzantine Empire, principal setting for religious and political ceremonies to the end of the empire; Jami or chief mosque of the capital of the Ottoman Empire, ceremonial setting adjacent to another imperial palace, now that of the Sultan; and today, a state museum and major tourist attraction. Twice during the past 150 years, the grand medieval and early modern church/mosque met modernity. In 1847–49, and… Full Review

Two recent collection catalogues, both investigating early modern European paintings, provide an index of the state of the art for scholarship on individual museum objects. Both are splendidly produced and result from years of patient research. Both admirably adduce the latest technical investigation from the conservation laboratory and integrate it with other findings. In one case, London's National Gallery, the credited single curatorial author, Lorne Campbell, clearly builds on the splendid precedent of the former curator, Martin Davies (to whose memory the catalogue is dedicated). In the other case, a previously unsystematic and diverse but important collection has finally received… Full Review

How We Became Posthuman is at root a book about what it is to be human during our time of rapid and jarring technological change, a book about how selfhood and philosophies have been transformed in the wake of the societal and technological revolutions brought about by computers, artificial intelligence, and virtual reality. Everywhere, such phenomena as the Internet, the digitization of money, and the mapping of the genome are seen as destabilizing physicality and setting the stage for the posthuman era. Paradigmatic shifts in the conception of selfhood, society, and knowledge are shown to have broken… Full Review