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Christine Guth’s Hokusai’s Great Wave: Biography of a Global Icon is a landmark in multidisciplinary scholarly sophistication. It examines the long and storied history of one Japanese artwork as it has circulated around the world being imagined, reimagined, and reimaged, thereby fusing the local and global across time. Methodologically, the book offers the field of art history dynamic intersecting modes of critical inquiry for revisiting questions of global flow and cultural appropriation using the varied lenses of visual culture, material culture, design history, and the anthropological model of the social life of things. Under the Wave off Kanagawa… Full Review

Miriam M. Basilio’s excellent monograph, Visual Propaganda, Exhibitions, and the Spanish Civil War, provides an in-depth study of images that were in visual circulation both during and immediately after the conflict that tore Spain apart. That Basilio concludes her work with a broad look at how different artists have engaged with historical memory through the interrogation of museums, archives, and testimony shows how the Spanish Civil War continues to influence the collective imaginary and underlines the timeliness of an exhaustive study such as hers. The argument at the core of the book is that the visual-propaganda campaigns and… Full Review

Art historians have long known Daniel Nijs (or Nys) as the merchant who arranged the sale of a large part of the collection of the dukes of Mantua to Charles I of England in the single “greatest art deal of the seventeenth century” (1). Although documents relating to the transaction were published long ago by Noel Sainsbury and Alessandro Luzio, Nijs himself has remained a fairly obscure figure. Based on a fresh examination of manuscript sources, Christina M. Anderson’s The Flemish Merchant of Venice: Daniel Nijs and the Sale of the Gonzaga Art Collection is the first to examine his… Full Review

Alexa Sand’s study of owner portraits in Francophone women’s devotional manuscripts, primarily from 1200 to 1350, presents a theoretically aware discussion of essential themes associated with illuminated Books of Hours: individual and family, public and private, space and time. Visual cues for devotion, defined as “striving for transformation through vision” (81), inspire Sand’s analysis of the spaces activated while performing prayer with self-reflexive images and texts. These devotional scenes in manuscripts for women and, in selected case studies, men typically feature kneeling supplicants. Pictured with a manuscript and prayer stand before a spiritually charged image, the figures are posed in… Full Review

Corita Kent is having a moment. Someday Is Now: The Art of Corita Kent, the 2013 exhibition organized by Skidmore College’s Frances Young Tang Teaching Museum and Art Gallery, was followed in 2015 by Corita Kent and the Language of Pop at Harvard Art Museums; Sister Corita’s Summer of Love at the Govett-Brewster Art Gallery in New Plymouth, New Zealand; and love is here to stay (and that’s enough): Prints by Sister Corita Kent at the University of San Diego’s Robert and Karen Hoehn Family Galleries in 2016. Her work was also featured in major group exhibitions such as… Full Review

In Worlds Within: Opening the Medieval Shrine Madonna, a group of about forty sculptures known as Shrine Madonnas are the device for Elina Gertsman’s ambitious exploration of late medieval devotion. Also known as Vierges ouvrantes, most Shrine Madonnas are carved from wood and dated to between 1270 and 1500. Some are small enough to fit in a person’s hands, while others are almost life size. All depict the Virgin Mary seated on a throne and holding the Christ child. The exterior opens up to reveal an interior cavity, which usually houses a sculpted Trinity and is decorated with… Full Review

Juliet B. Wiersema’s Architectural Vessels of the Moche: Ceramic Diagrams of Sacred Space in Ancient Peru is a significant contribution to the field of art history for two reasons. The first is the subject matter: she addresses the relationship between architecture and its representation through an examination and comparison of ceramic vessels that represent architectural spaces and archaeologically recovered architectural remains from the Moche culture of the Peruvian north coast (ca. 100–900 CE), a topic that has not been closely researched prior to this volume. The second is how she confronts the complications that come from studying objects without provenience… Full Review

Erik Thunø’s The Apse Mosaic in Early Medieval Rome: Time, Network, and Repetition presents an alternative “non-diachronic” art-historical interpretation of Roman apse decoration from the sixth through ninth centuries. He identifies a core set of examples that share key visual and textual features, including: SS. Cosmas and Damian (526–30); S. Agnese (625–38); S. Venanzio (640–42); the apses of Paschal I (817–24)—S. Prassede, S. Cecelia, S. Maria in Domnica; and S. Marco (827–44). While he believes that scholarship to date has produced compelling studies of the individual monuments, Thunø chooses to deliberately ignore, disregard, and overlook (his terms) various disciplinary assumptions… Full Review

The current obsessive fixation on children, childhood, and parenting has relegated the notion of “other people’s children” to a position of indifference and even mild disdain on the part of many middle- and upper-middle-class citizens. Yet the history of philanthropy and the preoccupation with the care of poor children was a central purpose of wealthy and middle-class women for a century and a half. In her book A City for Children: Women, Architecture, and the Charitable Landscapes of Oakland, 1850–1950, Marta Gutman explores the long tradition of benevolent concern for the poorest children in the rapidly urbanizing context of… Full Review

Blind spots help define a period eye. That is, what one period seems to lack is precisely what distinguishes its conventions from those of other periods. Yet the blind spots are unstable. Given that examining textual documentation of a period for its conventional visual terms remains central to art-historical practice, such documents require interpretation and reinterpretation. Even the most self-conscious or straightforward document writers, announcing their own biases, are unaware of all the implications of their sociocultural conditioning. These implications themselves change with the sociocultural responsibilities of future readers. If art historiography charts this shift, wise art historians might as… Full Review