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Spirits Embodied: Art of the Congo; Selections from the Helmut F. Stern Collection was published in conjunction with an exhibition of the same title held in 1999 at the Minneapolis Institute of Arts. All the works came from the Congo. Helmut Stern purchased most of them from Marc Léo Félix, the Belgian connoisseur and African art dealer. The core of the collection, twenty-two out of seventy-one pieces, formerly belonged to the late Belgian artist Joseph Henrion; the rest came from French, Belgian, and Portuguese collectors. The quality of the works varies considerably: some are quite remarkable for their forms and… Full Review

For much of the twentieth century, the study of medieval Bible illustration was focused on the problem of origins. In the most systematic theory of the genre, Kurt Weitzmann argued in Roll and Codex (Princeton, 1947) that the earliest biblical manuscripts followed the conventions of ancient papyrus rolls in which narrative images were embedded within narrow columns of text, providing a dense sequence of pictorial equivalents to the principal episodes of the text. Establishing a rigorous method of "picture criticism," Weitzmann argued that one could detect in later cycles the different phases of adjustment that resulted from the gradual emancipation… Full Review

Mary Bergstein's The Sculpture of Nanni di Banco follows in the tradition of the great monographs like Sculpture of Donatello by H.W. Janson and Lorenzo Ghiberti by Richard Krautheimer, but on a more modest scale. Although Nanni di Banco (ca. 1374-1421) accomplished only six major works in his career, he, with Brunelleschi, Ghiberti and Donatello, "self-consciously and deliberately set into motion the issues that would occupy painters, sculptors, and architects through out the fifteenth and sixteenth centuries in Italy" (3). This book finally revives Nanni from scholarly neglect, though Brunetti, Lanyi, Vaccarino, Janson, Wundram, and Bellosi previously had made attempts… Full Review

The Psalter of Robert de Lisle (London, British Library Arundel MS 83 II) has been mentioned in every major publication on the masterpieces of English manuscript illumination. Lucy Freeman Sandler's The Psalter of Robert de Lisle in the British Library, first published in 1983, is the first focused study of the Psalter, and condenses material from her 1964 doctoral dissertation. Scholarly reviews in the mid-1980s, such as those by Walter Cahn in the Art Bulletin (September 1987, 472-473) and Adelaide Bennett in Speculum (October 1987, 985-989), were positive and acted as venues for yet more useful material about the… Full Review

E. W. Godwin (1833-86) was a Victorian architect-designer who balanced historical precedent with innovation, "high" with "low" art, and exotic with vernacular to become the master of "judicious eclecticism." Two recent books on his practice, E. W. Godwin: Aesthetic Movement Architect and Designer and The Secular Furniture of E. W. Godwin, should be read as a pair. Undoubtedly, Susan Soros—editor of the first and author of the second—agrees, as she often refers the reader of one to the other. The former was published in conjunction with an exhibition of the same title held at the Bard Graduate Center for… Full Review

In this fascinating book, John W. O'Malley, the eminent church historian, analyzes scholarship on Roman Catholicism from about 1517 until the French Revolution in order to problematize the "names," or terms, we use for religious developments of that time. As he notes, although the term "Reformation" is generally accepted for Protestantism of the era, consensus is lacking on what to term coeval Catholicism (1). O'Malley examines the biases revealed by the competing names for Catholicism—such as "Counter-Reformation," "Catholic Reformation," and "Catholic Restoration"—and suggests that we use a new term instead: "early modern Catholicism." In making this suggestion, O'Malley aims to… Full Review

Art history is a revelatory discipline. Seeking to recover meaning from the past, we uncover pictures only to cover them once again with a veil of our own words. This instinct of turning pictures into puzzles, James Elkins argues, has led to an explosion, since at least the late-nineteenth century, in essays and articles about images (Why Are Our Pictures Puzzles? On the Modern Origins of Pictorial Complexity, London and New York: Routledge, 1999). Whereas ancient or even early modern authors were satisfied with a brief sentence, stretched occasionally into a long paragraph—and very rarely into a few… Full Review

For most of the twentieth century, prints—especially reproductive prints—have been relegated to secondary status in the art world, if they have been mentioned at all. Painting and sculpture received the most attention; prints definitely were the "Other" and beyond the pale of the discourse. In the nineteenth century, however, prints carried more weight. Their role in disseminating art and culture was recognized and valued; a good print was considered worthier than a bad painting. Moreover, artists often earned more money from the sale of a copyright than for a single canvas, and they achieved greater critical and popular notice from… Full Review

David Batchelor's Chromophobia is a concise book on a large topic: the problem of color in the Western cultural imaginary of the last two centuries. The argument is anchored by, though not limited to, a consideration of color in the discourse of aesthetics and art history. Batchelor also considers literature, Hollywood cinema, television advertising, and architecture in order to bring color's extremely paradoxical and checkered history to light. Generations of cultural producers, art theorists, and philosophers, claims Batchelor, have treated color as an object of fear and loathing, as an alien invader within the cultural organism. Chromophobia's extremely eye-catching… Full Review

The explosion of visual images in seventeenth-century Holland was accompanied by an equally rich outpouring of critical dialogue on their benefits and dangers. Lifelike portraits could be praised in ekphrastic poems or disparaged in moralizing pamphlets for their capacity to fill the heart with "love's poison." Pictorial artifice could be both extolled for the pleasure it served upon the beholder and condemned as a "food of evil lust." As the poet Jacob Cats would succinctly state, "the higher the painter flies . . . the deeper he can wound," adding that "the best of minds . . . cause the… Full Review