Concise, critical reviews of books, exhibitions, and projects in all areas and periods of art history and visual studies

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Barbara Butts, Lee Hendrix, and Scott Wolf
Getty Trust Publications, 2000. 330 pp.; 178 color ills.; 127 b/w ills. Cloth $125.00 (0892365781)
The J. Paul Getty Museum, July 11–September 24, 2000; The Saint Louis Art Museum, November 4, 2000–January 7, 2001
Painting on Light: Drawings and Stained Glass in the Age of Dürer and Holbein was a stunning exhibition of 152 drawings and examples of stained glass (see the exhibition review by Christiane Andersson in Burlington Magazine CXLII no. 1173, December 2000, pp. 801–803). The Los Angeles venue included a two-day international symposium (September 15–16, 2000). The exhibition was also seen at the Saint Louis Art Museum. Perhaps the single greatest achievement of this ambitious... Full Review
February 19, 2001
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Pierre Rosenberg
Exh. cat. Yale University Press, 1999. 360 pp.; 99 color ills.; 35 b/w ills. Cloth $65.00 (0300083483)
Royal Academy of the Arts, London, March 11–May 29, 2000; in collaboration with The Metropolitan Museum of Art, New York, June 27–September 3, 2000.
Emblazoned on the cover of the Louvre's new Chardin exhibition catalogue is the image of a girl child holding a racquet and shuttlecock but curiously made-up and dressed like an adult woman. Her cheeks are rouged, her hair is powdered and she wears a circlet of ribbon tied enticingly around a slim white neck. In contrast to the solemn abstract beauty of Basket of Wild Strawberries splashed on the Louvre's 1979 Chardin exhibition catalogue, this detail, taken from Girl with... Full Review
August 23, 2000
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Theodore Stebbins
Yale University Press, 2000. 496 pp.; 84 color ills.; 690 b/w ills. Cloth $75.00 (0300081839)
Theodore Stebbins
Yale University Press, 1999. 208 pp.; 112 color ills.; 30 b/w ills. Cloth $50.00 (0300081693)
Los Angeles County Museum of Art, May 28–August 13, 2000; National Gallery of Art, February 13–May 7, 2000; Museum of Fine Arts, Boston, September 29, 1999–January 17, 2000.
Martin Johnson Heade (1819–1904) marched to a different drum than his fellow American painters in the second half of the nineteenth century. When confreres explored mountain ranges, he discovered marshlands; when they settled in New York City to establish reputations, he continued a peripatetic existence; when others were repeating tired variations on a single theme, he struck out in new directions. His marsh scenes, storm paintings, orchid and hummingbird pictures, and late reclining floral... Full Review
August 23, 2000
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Maureen Hennessey
New York: Harry N. Abrams, 1999. Cloth (0810963922)
High Museum of Art, Atlanta, November 6, 1999–January 30, 2000; Chicago Historical Society, February 26–May 21, 2000; The Corcoran Gallery of Art, Washington, D.C., June 17–September 24, 2000; San Diego Museum of Art, October 28–December 31, 2000; Phoenix Art Museum, February 24-May 6, 2001; The Norman Rockwell Museum at Stockbridge, June 9–October 8, 2001; Solomon R. Guggenheim Museum, New York, November 7, 2001–February 11, 2002
Laurie Norton Moffatt, Director of the Norman Rockwell Museum at Stockbridge, forthrightly states her agenda in her essay "The People's Painter": "Norman Rockwell: Pictures for the American People invites reflection on Rockwell as a force in twentieth-century American art and culture" (24). Moffatt reorients the critical debate by emphasizing Rockwell's cultural influence, rather than dithering about his status as either an artist or an illustrator. The admixture of popular culture... Full Review
June 26, 2000
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Exhibition Schedule: Philadelphia Museum of Art, Philadelphia, PA, March 16-May 28, 2000; Museum of Fine Arts, Houston, TX, June 25-September 17, 2000
Cities as art centers have not always had the attention they deserve, especially in art exhibitions, because of the daunting problems of scale as well as the problems of representation of both the architectural environment and the unmovable monuments. There have been some truly notable exceptions, with particular relevance to this ambitious effort on Rome: Philadelphia's own Second Empire Paris exhibition as well as Detroit's 18th-Century Naples (1981). Once more Philadelphia has taken on a... Full Review
April 1, 2000
Jane R. Becker and Gabriel P. Weisberg, eds.
Rutgers University Press in association with Dahesh Museum of Art, 1999. 170 pp.; 31 color ills.; 61 b/w ills. Paper $35.00 (0813527562)
The Sterling and Francine Clark Art Institute, Williamstown, MA, October 2, 1999-January 2, 2000; The Dahesh Museum, New York, January 18-May 13, 2000;
"Our studio now enjoys the same advantages as the studio of the men, that is to say, we draw from the nude every day from the same model in the same pose as they do; consequently we can now paint compositions of more importance than before." So wrote the Ukrainian painter Marie Bashkirtseff in November 1880. The studio to which she referred was one of the ateliers of the Académie Julian, located in the center of Paris, where she had been studying since 1877. That the women of the Académie... Full Review
March 27, 2000
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Elizabeth Hutton Turner
New Haven and Washington, D.C.: Yale University Press in association with The Phillips Collection, 1999. 160 pp.; 80 color ills.; 69 b/w ills. Cloth $35.00
Phillips Collection, Washington, D.C., April 17–July 18, 1999; Georgia O'Keeffe Museum, Santa Fe, New Mexico, August 7–October 17, 1999; Dallas Museum of Art, Dallas, Texas, November 7, 1999–January 30, 2000; Fine Arts Museum of San Francisco at the California Palace of the Legion of Honor, February 19–May 14, 2000.
This catalogue accompanies the exhibition of the same title, organized as "the first to focus in-depth on O'Keeffe's aesthetics through an examination of her paintings of objects" (vii). This formalist approach might seem a curiously retardataire method to employ nowadays, but those familiar with O'Keeffe scholarship will relish the focus on the artist's work rather than her self. The first museum to purchase work from Georgia O'Keeffe was the Phillips Collection, in 1926. At the... Full Review
February 11, 2000
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Petra ten-Doesschate Chu, Jürg Zutter, Patricia Mainardi, and Michael Clarke
Exh. cat. Paris: Editions Flammarion, 1998. 167 pp.; many color ills.; few b/w ills. (2080107879)
Musée Cantonal des Beaux-Arts, Lausanne, France, November 21, 1998–March 7, 1999; Nationalmuseum, Stockholm, Sweden, March 25–May 30 1999
The most substantial exhibition devoted to Gustave Courbet's paintings since the Brooklyn Museum of Art's Courbet Reconsidered a decade ago was presented at the Musée Cantonal des Beaux-Arts in Lausanne last winter from November through March. It then traveled to the Nationalmuseum in Stockholm, where it closed on May 30. Titled Courbet: Artiste et Promoteur de Son Oeuvre, it was organized by Lausanne's director, Jürg Zutter, in collaboration with the noted Courbet scholar Petra... Full Review
December 27, 1999
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William H. Truettner and Roger Stein, eds.
Exh. cat. Yale University Press in association with National Museum of American Art, Smithsonian Institution, 1999. 272 pp.; 100 color ills.; 120 b/w ills. $45.00 (0300079389)
National Museum of American Art, April 2–August 22, 1999
Shortly before the Federal Security Administration photographer Jack Delano set out for New England in the early 1940s, the program director, Roy Stryker, provided him with a shooting script. Stryker encouraged Delano to "pour maple syrup" on his subjects and "mix [them] well with white clouds." If this script corrupted Delano's "photographic soul," Stryker did not give "a damn . . . with Hitler at our doorstep" (quoted, 137). One of Delano's photographs, Picknickers along Highway 12A... Full Review
August 2, 1999
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Steven Kossak, Jane Singer, and Robert Bruce-Gardner
Exh. cat. Metropolitan Museum of Art in association with Harry N. Abrams, 1997. 224 pp.; 134 color ills.; 15 b/w ills. Cloth $70.00 (0810965275)
Metropolitan Museum of Art, New York, October 1998; Rietberg Museum, Zurich, February 1999
Identifying the sources of Tibetan Buddhist painting has been the object of much scholarship in recent years, a pursuit that has often been frustrated by the scarcity of materials. While almost nothing except a few Dunhuang paintings in Tibetan style remains from the period of the First Conversion in the eighth century, about 500 works have survived from the years between the eleventh-twelfth century chidar, or Second Conversion under the guidance of the Indian sage Atisha, and... Full Review
June 24, 1999
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