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This book focuses on the fundamental philosophical issues of art and the actual problems of modern art history. It unfurls a polyphonic tapestry of the development of art from antiquity to the twentieth century in relation to various stages in the development of European culture. However, the chief purpose of O. A. Krivtsun's work appears to be not so much the reproduction of historical and artistic factual details as raising, and finding answers for, questions of the art process theory. The book includes eight sections and thirty-five chapters. The sections include: "Philosophy of Art History," "General Theory of Art," "Sociology… Full Review

As the author notes in his introduction, The Sculptures of Andrea del Verrocchio is preceded by nine major monographs on the artist. Without question, Butterfield's reconsideration of the sculptural production of Verrocchio adds considerably to what remains a surprisingly uncertain chronology—despite the earlier monographs and countless other articles on individual works (including the essays published in 1992, Verrocchio and Late Quattrocento Italian Sculpture, ed. Steven Bule et al., Florence: Le Lettere). Andrea del Verrocchio was born between 1434 and 1437 in Florence and died in 1488 in Venice. He produced some of the most important large-scale,… Full Review

Erwin Panofsky is said to have been particularly pleased with the fact that he possessed one near-sighted and one-far sighted eye. Using his optical inheritance as a model for how one should write the history of art—paying attention to detail and description, while never neglecting the panoramic view—he provided successive generations of art historians with a powerful challenge to disciplinary blindspots. Michael Podro, one of Panofsky's most insightful readers (as witnessed in his much reprinted The Critical Historians of Art [Yale University Press, 1982]) has put this visual lesson to stunning work in his recent writing. Nevertheless, Podro's lavish and… Full Review

This book offers undergraduates and lay enthusiasts who have not had the good fortune of attending one of Professor Ames-Lewis's courses at Birbeck College in London an opportunity to see and understand key monuments of Italian Gothic sculpture through his sensitive and insightful eyes. It offers many insights for more sophisticated readers, as well. Patiently introducing readers to the historical circumstances in which Tuscan sculptors worked, Ames-Lewis cites intriguing examples of how economics, the growth of cities, improvements in roads and communications (including a general concern for improving and beautifying civic infrastructure), and local patriotism led to the production of… Full Review

Epigraphy has long been a subject of tremendous fascination and prodigious investigation within Islamic studies, and has inspired a number of ambitious scholarly undertakings, such as the Materiaux pour un Corpus Inscriptionum Arabicarum (11 vols., 1894–1985), the Repertoire chronologique d'epigraphie arabe (21 vols., 1931–91) and the Corpus Inscriptionum Iranicarum (30 vols., 1955–90). As their titles suggest, the genesis of these multivolume, multidecade compendia was largely archaeological and taxonomic. The thrill was in collecting and ordering (whether by region, language, chronology or media) as many inscriptions as possible, with the aim of using the material thus amassed to explicate aspects (historical… Full Review

The picture painted in Florence sometime in the second quarter of the 16th century by Jacopo Carucci da Pontormo, and known for most of the 20th century as The Halberdier, burst out of the comfortable obscurity of the Frick Collection in New York, where it had been on indefinite loan when Christie's sold it at auction in the winter of 1989 to the J. Paul Getty Museum for more than $35 million. Since very few 16th-century paintings of secure provenance by major masters come on the art market now, specialists found the sale of The Halberdier by the private foundation… Full Review

Looking at Italian Renaissance Sculpture brings together under one cover a series of essays written over a thirty-year period. The earliest articles, first published in 1970 and 1971 respectively, are H. W. Janson's "The Revival of Antiquity in Early Renaissance Sculpture" and Irving Lavin's "On the Renaissance Portrait Bust." Also reprinted here are Christiane Klapisch-Zuber's "Holy Dolls: Play and Piety in Florence in the Quattrocento," (first published in French in 1983) and Claudia Lazzaro's "Gendered Nature and Its Representation in Sixteenth-Century Garden Sculpture" (first published in 1991). The remaining seven essays—by G. M. Helms, John T. Paoletti, Joy Kenseth, Sarah… Full Review

Some of the underlying tensions—I hesitate to use the word conflicts—in this ambitious book are expressed even before it is opened, in the juxtaposition of the name of the great Florentine artist, Giotto, with a detail of the Virgin and Child from the Rucellai Madonna painted by the Sienese master Duccio on the cover. Is the point that the era belongs (or has belonged) verbally or nominally to Giotto (i.e., Florence), but, in fact, visually to Duccio (i.e., Siena)? This would seem to be the sense, at least in part, of the author's dual preoccupation with words and images—with the… Full Review

The Anxiety of Interdisciplinarity is the second volume in the De-, Dis-, Ex- series from BACKless Books. The volume features interviews with Julia Kristeva and Hal Foster, essays from Rosalind Krauss, Louis Martin, Timothy Martin, Beatriz Colomina, and Howard Caygill, and photographs of Candida Höfer, all of whom focus on the intermingling and friction between the schools of art, architecture, and theory. The anxiety develops when poststructuralist theory, born of literary and political discourse, enters the hardest, most crystallized science, architecture. The anxiety ferments, because the physical nature of architecture resists relativism. The anxiety fills the proponents of interdisciplinarity, because… Full Review

At a session on the historiography of illuminated manuscripts held during the recent annual CAA conference in New York, it was generally agreed that the publication of catalogues was of particular importance to the advancement of scholarship in manuscript studies. Exhibitions, exhibition catalogues, and catalogues of collections are essential instruments in manuscript studies, because they bring illuminated manuscripts out of the sequestered environment of rare book libraries and into public view. Of course, the Lehman Collection of the Metropolitan Museum of Art hardly needs publicity. Only a few of the manuscript illuminations belonging to this celebrated group of objects, however… Full Review