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A golden man clad in church vestments faced visitors as they entered Treasures of Heaven: Saints, Relics, and Devotion in Medieval Europe at the Walters Art Museum this spring. Refulgent against the deep blue walls of the entry room, the metallic statue extended his hands in a communicative gesture. His eyes of polished ivory and horn appeared to be alert, seeing. This was not an art installation so much as an interpersonal encounter. A text panel on his pedestal introduced him as the reliquary bust of St. Baudime, who, according to legend, was sent to Gaul by St. Peter… Full Review

“How various he is!” Thomas Gainsborough’s tribute to Joshua Reynolds applies equally well to their successor in grand-manner portraiture. It is one of the signal achievements of Thomas Lawrence: Regency Power and Brilliance that it removes any lingering traces of the negative stereotype: Lawrence the slick, formulaic sycophant who prostituted his gifts in the service of a decadent Regency elite. In its place this wide-ranging exhibition and thoughtful catalogue substitute a dynamic, probing, and inventive explorer of human psychology—one who is keenly attentive to the interplay of surface and depth, social mask and private self. Even Lawrence’s most public statements… Full Review

This is a big book in every sense. In seven long and detailed chapters Noble offers nothing less than a survey and analysis of Byzantine and Carolingian theology around the question of the place of images in religious worship, with a dash of historiography thrown in for good measure. It is a thought-provoking study which places the issues in historical, political, and social contexts, and raises crucial questions about the relationships between Byzantium and the West. It is a book that should change the ways that we think about issues concerning art in the eighth and ninth centuries. Images,… Full Review

From the onset of the world economic crisis in 1929 until the end of the Second World War in 1945, artists in Europe and the Americas took positions in the struggles between parliamentary democracies, fascist dictatorships, and left-wing regimes. The single best-known artistic product of that historical moment is undoubtedly Picasso’s Guernica, which was hung in the modernist pavilion of the embattled Spanish Republic at the World Exposition in Paris in the summer of 1937. However, the Spanish display was overshadowed at that time by the towering neoclassical pavilion of National Socialist Germany and the dynamic masses of its… Full Review

In her important work, Ravenna in Late Antiquity, Deborah Deliyannis provides a detailed synthesis of the available material on Ravenna from the Roman period through until AD 850. As she briefly mentions at the end of her review of earlier scholarship, “There has as yet been no sustained scholarly treatment of Ravenna, in English, and this book is intended to address that void” (13). Deliyannis does exactly this, combining textual, archaeological, and artistic evidence in a clear and sophisticated way for readers who were perhaps put off by the extensive German text of F. W. Deichmann’s earlier synthesis (F… Full Review

It is not a coincidence that these three recent publications on photography in China all begin with a lament on the obstacles involved with studying this subject. Indeed, since there is rarely a concentrated archive of photo studios or photographers in China, information can only be gleaned from newspaper advertisements, travel writing, correspondence, and ephemera. Actual photographs are not abundant either, as political chaos over the past century resulted in their significant loss and destruction. The extant photographic materials in Chinese public collections are generally inaccessible; those in private collections are increasingly visible, thanks to the popular Old Photographs series… Full Review

In my first Native art history class in the mid-1990s, my professor introduced the work of Carl Beam, theretofore unknown to me. She presented Self Portrait in My Christian Dior Bathing Suit (1978–1980), which depicts the artist in a Speedo-style swimsuit, standing legs apart with one hand on his hip and inscribed with a handwritten statement expressing his authority and claim to the work. It conveys humor, irony, incisiveness, and defiance. To my mind, then gripped by postcolonial and feminist cultural critiques, the painting crystallized issues of representation and refusal, and did so in beautifully executed washes of watercolor. I… Full Review

Two recent exhibitions, one in Boston and the other in New York City, highlighted the central role that printmaking has played in South African art for the past half century and provided an exciting introduction to its varied achievements. In South Africa, where art has frequently served as a vehicle for protesting political oppression, printmaking has been valued for producing multiples that can be widely disseminated by resistance organizations. In addition, in a country where the majority of the population has until recently been provided with a “bantu” education, certain processes, such as linocut, have provided an inexpensive vehicle for… Full Review

Among the most fanciful objects commissioned by the French monarchy is a pair of Sèvres porcelain pails designed for Marie-Antoinette’s pleasure dairy at the Château de Rambouillet. They are shaped like tinettes—wooden buckets used on ordinary dairy farms for making fresh cheese—and painted with wood grain to imitate their rustic models. Like Marie-Antoinette’s mock hamlet at Trianon, the Rambouillet pails are outlandish inventions of the pastoral movement in literature and art, which celebrated naturalness with contrived theatricality. As the ill-fated monarch so cruelly experienced, bourgeois sensibilities soon lashed out at this noble ostentation. To pre-Revolutionary critics of the society… Full Review

Sumptuous in format and timely, given recent attention to European-Ottoman exchanges, the four volumes considered here benefit from Erik Fischer’s lifelong engagement with Melchior Lorck (also Lorichs), the scholarship of Ernst Jonas Bencard and Mikael Bøgh Rasmussen, and a contribution by Marco Iuliano. Volume 1 consists of a complete survey of the artist’s oeuvre in the form of thumbnail images, a biographical essay, and documents. The second and third volumes consist of a facsimile of The Turkish Publication, published posthumously in 1626, and a catalogue raisonné, with woodcuts, engravings, drawings, and paintings generated from the artist’s sojourn in Istanbul… Full Review