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These three recent books explore an eighteenth-century British engagement with classical archaeology during a time when the practice was transforming from an early modern antiquarianism into a modern scientific discipline. Two of the books are monographic studies of the Society of the Dilettanti, an organization that became known for its support of unprecedented archaeological activity in Greece, while a third outlines how British subjects, some of whom were Dilettanti, undertook archaeological excavations on Italian soil and refurbished, sold, and bought the antiquities found there. In some measure, all the authors note this engagement as integral to shaping British cultural identity… Full Review

The opening of Lynda Benglis at the New Museum marked a surprising milestone in the artist’s career: despite having been a fixture of the New York art world since her arrival from New Orleans in 1964, it was her first solo museum exhibition in New York. What took so long? The story behind Contraband (1968), installed in the New Museum’s glassed-in lobby gallery and the first piece encountered by visitors to the show, hints at reasons for Benglis’s absence. It is a prime example of her “fallen paintings,” the vast “spills” of pigmented latex for which Benglis is best known… Full Review

This sumptuously produced and lavishly illustrated volume celebrates the reopening of the Victoria and Albert Museum’s Medieval and Renaissance galleries. It is not a traditional catalogue; readers in search of entries on specific objects are referred to the museum’s website. The director’s forward mentions several aims for the book, among them “to provide a stimulating introduction to the material culture of medieval and renaissance Europe” and to stand as a “new and original contribution to the literature on the art of the Middle Ages and Renaissance.” In these ambitious goals, presumably addressing the casual visitor and the specialist respectively, Glyn… Full Review

Until recently, the printed image in early modern England—the period 1500–1700 covered by Malcolm Jones’s The Print in Early Modern England: An Historical Oversight—has been the victim of neglect by scholars, leading to the false impression that early modern English culture was predominantly a textual instead of a visual one. It has been accepted as conventional wisdom that there were very few English prints from this era, and those that do exist are crude when compared to the staggering developments in other Northern European regions such as the German-speaking territories, France, and the Netherlands. Furthermore, English trained art historians… Full Review

Who really was Camille Silvy? This is one of the thorny questions that remains after reading Mark Haworth-Booth’s enthusiastic biography, Photography of Modern Life: Camille Silvy. Like most commercial photographers who set up portrait studios in the 1850s, Silvy combined elements of entrepreneur, charlatan, genius, and hack. French by birth, Silvy lived in London during most of his ten years of photographic activity where he carved out a reputation based on the hundreds of cartes de visite that he successfully marketed to London’s fashionable world and on a couple of landscapes that he exhibited to much acclaim in 1859… Full Review

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