Recently Published Reviews

After first poking around in The Noisy Renaissance, I found myself wondering when during the day Donatello worked most efficiently, where he stashed his ready cash, whom he spoke with on a regular basis, and how he responded when he heard a bell ring. After reading Atkinson’s book, I know that Donatello’s response to the ringing of a bell would have depended on where he was, on which bell was sounding, and on the time of day, the day of the week, and the moment in the cycle of the religious calendar. Atkinson makes it clear that Renaissance Florentines… Full Review

To a degree unparalleled in many other subfields of art history, twentieth-century Latin America has come into focus through exhibitions and accompanying catalogues. Indeed, these exhibitions often presage scholarly immersion in—or even assembly of—a related archive. Witness the dominance of selected institutions in establishing the canon for study of modern and contemporary Latin American art in the anglophone world: the Museum of Modern Art (MoMA) in New York; the Museum of Fine Arts, Houston (MFAH); and (to a lesser degree) the Tate Modern in London. These museums have built or acquired crucial collections, as with the MFAH’s stunning… Full Review

Reaching beyond sight has become a commonly stated aim of art history. For medievalists, interest in the connections between art and embodied sensation grows logically from the field’s long-standing and rich examination of vision and its particular attention to materiality. This legacy brings with it certain propensities—most notably a bias toward religious objects and the relationships they structure between bodily experience and the apprehension of God. The ambitious A Feast for the Senses: Art and Experience in Medieval Europe expands the scope of that inquiry significantly, joining current interdisciplinary efforts (such as the series of roundtables organized by Éric Palazzo… Full Review

The raison d’être for the publication of Leisure and Luxury in the Age of Nero: The Villas of Oplontis near Pompeii was the traveling exhibition of the same name organized by Elaine Gazda and John Clarke at the Kelsey Museum of Archaeology of the University of Michigan, with additional venues at Montana State University and Smith College Museum of Art (where this reviewer saw the exhibition in February 2017). Without the exhibition, it is unlikely that a new and lavishly illustrated book on the Oplontis villas would have been published (and certainly not at such an attractive price), and so… Full Review

Written from the perspective of visual culture studies, broadly speaking The Face of Medicine addresses “the entanglement of art, science, politics, and popular culture in the early Third Republic” (1). Knowledge of that political regime is assumed, and readers rusty on their French history may find themselves stymied. Of course such information is readily, and amply, available, whereas Mary Hunter’s examination of medical masculinities in late nineteenth-century Paris is unique, and a most welcome addition to the corpus of historical writings on art and medicine. Much of the book focuses on three paintings: a depiction of Louis Pasteur in his… Full Review

During the heyday of the Taos/Santa Fe School, which lasted from about 1915 to the mid-1930s, support came from two different kinds of patrons: those intrigued by an exotic and remote Indian civilization in the far Southwest, which somehow doubled as an early America; and those who looked on the same group of Indians as descendants of the ancient Anasazi tribes, with cultural attributes that merited preservation. Distinguishing between the two groups has never been easy; some patrons frequently crossed the line. Thus, constructing a historiography of the school—that is, a rough outline of how these different kinds of paintings… Full Review

Brian A. Brown and Marian H. Feldman’s volume, Critical Approaches to Ancient Near Eastern Art, is first an outstanding reflection, and stands at the leading edge, of ancient Near Eastern art history. Perfectly poised within current scholarship in the larger discipline of art history, the essays touch upon trends of interdisciplinarity, post-processual theory, materiality, and thing-theory, to name just a few. As the larger field of art history is beginning to embrace the turn to material culture, ancient Near Eastern art history is coming into its maturity in this respect. Driven in part by the work of Zainab Bahrani, today’s… Full Review

In the decades since Cindy Sherman established her photographic practice as part of the Pictures Generation of the 1970s and early 1980s, her work has provoked polarized opinions. Her relationship with feminism in particular has been hotly debated, with some insisting that her work reveals and subverts the patriarchal nature of the gaze, and others suggesting that Sherman’s use of masquerade merely reinforces the visual dynamics of fetishism. As Jui-Ch’i Liu has suggested, Sherman’s own ambiguous position regarding feminism has only added fuel to these debates (Jui-Ch’i Liu, “Female Spectatorship and the Masquerade: Cindy Sherman’s Untitled Film Stills,” History… Full Review

The Andean Science of Weaving: Structures and Techniques of Warp-Faced Weaves is a monumental volume that contributes an important perspective to the study of Andean textiles: “a world view perceived from a weaver’s ‘fingertips’” (18). This tremendous undertaking by authors Denise Y. Arnold and Elvira Espejo represents years of research and fieldwork experience, as well as extensive and creative thought not only about the way in which weavers of the Andean highlands construct textiles—particularly in Bolivia, and also in parts of Peru—but how this process of making textiles is inextricably integrated into the mindset (and language) of the cultures of… Full Review

What art can do in relation to historical trauma has been discussed most thoroughly through the Holocaust. After (the misreading of) Adorno’s famous dictum on the impossibility of using art to work through a trauma of such scale, art has, from the distance of several decades, more or less successfully returned to the question. Claude Lanzmann’s filmic monument to the catastrophe, Shoah (1985), can stand as an emblem for this aesthetic return. It leveraged a monumental time frame (over nine hours) and the then-current turn to oral testimony on the presumption that the truth-value lay in direct access to history… Full Review

The Institute of Classical Architecture and Art (ICAA), a nonprofit institution located in midtown Manhattan that is devoted to “advancing the practice and appreciation of the classical tradition in architecture, urbanism, and the allied arts,” has recently opened a plaster-cast gallery. A selection of highlights from 120 plaster casts donated by the Metropolitan Museum of Art, as well as casts and wood moldings from the ICAA’s Dick Reid Teaching Collection, are on display in a single room on the building’s top floor. The casts re-create freestanding sculptures, reliefs, and architectural elements that date from the fifth century BCE… Full Review

Traditionally a Romanesque cathedral (ca. 1000–1200 CE) is distinguished from other Romanesque churches because it includes one extra piece of furniture: the cathedra, or bishop’s throne. Since today no single cathedral built between the fourth and the twelfth centuries is preserved in its original shape, it is perhaps difficult to refine this definition of Romanesque cathedrals. Even if the exterior shell of the Romanesque cathedral remains intact, very little is known about the original liturgical furnishings or even the interior decoration. This new collection of essays edited by Gerardo Boto Verala and Justin E. A. Kroesen reveals, however, that… Full Review

Scholarly interest in the enigmatically alluring art of Sargent, galvanized by the 1998–9 retrospective and numerous exhibitions since, is still thriving. In the most recent monograph on the artist, John Singer Sargent and the Art of Allusion, Bruce Redford contends that “no portrait painter in the Anglo-American tradition is more consistently and inventively allusive than Sargent” (15). Redford suggests that Sargent’s sustained childhood exposure to the old masters, his desires to create an elite portrait practice and to craft his own artistic genealogy, and reticence about his sexuality inclined the painter to the adoption of a complex pictorial code… Full Review

Historians of eighteenth-century art, architecture, science, and engineering will undoubtedly have typed out the name “Jombert” many times in their footnotes, for this family was the publisher of nearly a thousand titles between the late 1680s and early 1810s. In a remarkable gift not only to the history of the book, but also to the story of how a pan-European public sphere was formed in which artistic and architectural information was debated, Greta Kaucher has produced a comprehensive study of the Jombert publishing dynasty. Her expansive text is comprised of a rich biography of the family that outlines their professional… Full Review

Installed at the Menil Collection’s Byzantine Fresco Chapel in Houston, Texas, more than four hundred handmade images of the fourth-century saint Fabiola comprise Francis Alÿs’s latest version of The Fabiola Project. Except for a few small objects displayed in an adjoining room, the pictures are hung on a single wall 24 feet tall by 40.5 feet wide. The lower one-third of the works can be inspected closely, but the rest reside too high for such pursuits and are subsequently absorbed into a field of color dominated by the figures’ red veils. Adorning the left-facing profile of a woman, the… Full Review