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Uniquely, this book, according to its jacket copy, “presents the hypothesis that the Bayeux Tapestry, long believed to have been made in England, came from the Loire valley in France, from the abbey of St. Florent of Saumur.” For those with more than just a general knowledge of the Tapestry (the assumed audience of this book), this claim will seem bizarre, if not mad! Beech, somewhat like Charles Darwin, “anticipated reactions of stupor and disbelief” (ix) before he put pen to paper, but preferred not to discuss his theory with friends and colleagues until after he had finished the book… Full Review

Pamela Patton’s Pictorial Narrative in the Romanesque Cloister addresses some large, wide-ranging questions that are of interest to all who work on the function and imagery of cloisters or indeed on medieval pictorial narrative in other contexts. The central question is one that has exercised medievalists for a long time: were there any Romanesque cloisters with coherent iconographic programmes? As Patton’s contenders have narrative imagery, she also asks what was the function of that kind of imagery and how was it viewed by the resident monks or canons. Both Ilene Forsyth (“The Vita Apostolica and Romanesque Sculpture: Some Preliminary Observations,”… Full Review

The Art of the Picts marks a lifetime’s collaboration between George and Isabel Henderson, not least on the scholarly front. Isabel became the leading scholar of Pictish art, while her husband George frequently returned to the same subject in his own more wide-ranging studies. Having retired from Cambridge, the Hendersons now live within walking distance of the greatest Pictish cross slab at Nigg, Ross and Cromarty, where they continue to wrestle with the originality and frustrations of Pictish art. For those long steeped in Pictish studies, this joint effort is remarkable for what it does not do. The maps… Full Review

The Brooklyn Museum’s scholarly catalogue documenting its entire collection of eighteenth-, nineteenth-, and twentieth-century American paintings is a landmark contribution to American art scholarship. Its elegant, clean, and user-friendly design belies the impressive breadth and depth of its content. It is fortuitous—though surely not originally foreseen—that the publication of the book, begun twenty years ago in response to the Luce Foundation’s grants program to support major museum catalogues of American paintings, coincides with the completion of the Brooklyn Museum’s Luce Center for American Art. The publication’s extensive entries and data on nearly 700 American paintings by 360 artists make a… Full Review

Architect, historian, and television presenter Ptolemy Dean’s latest book on the work of Sir John Soane (1753–1837) constitutes a significant, intensely researched, and sumptuously illustrated contribution to the study of the late-Georgian British architect. Yet, as with many recent works on Soane, it also emanates something of the incense-filled air of a many-chambered and well-attended shrine wherein every scrap of paper, masonry, woodwork, or glazing that the great man might possibly have laid eyes on is consecrated for the reader’s study and admiration. Its value to Soane scholars and admirers is very tangible; its meaning to a wider public engaged… Full Review

The monumental exhibition The Colonial Andes: Tapestries and Silverwork, 1530–1830, held in the fall of 2004 at the Metropolitan Museum of Art, signaled recognition of the tapestry and silverwork masterpieces produced during the viceregal period in the Andes. One of the achievements of the exhibition’s curators, Elena Phipps and Johanna Hecht, and consulting curator, Cristina Esteras Martín, was their ability to obtain from both private collectors and institutions vital objects that had rarely, if ever, been exhibited. The result was a remarkable collection of many of the most significant artistic treasures from the late pre-Hispanic Inca and colonial periods… Full Review

Rumors of a tight relationship between photography and memory have been circulating since the nineteenth century, despite the many objections raised in both scholarly and fanciful works. A feature of these attacks is the prosecutor’s reluctance to produce evidence. Roland Barthes writes a long meditation on photography as a form of counter-memory that ultimately rests on a portrait of his mother that he allows no one to see. Siegfried Kracauer launches his skeptical study of photography and memory by evoking a magazine illustration of the “demonic diva,” whose image lures consumers into the memory-vacuum of an eternal present. And who… Full Review

In the last fifteen years, scholarship on indigenous imagery from colonial Latin America has grown substantially in breadth and sophistication. Across the 1990s, as scholars rejected the dichotomy of resistance to colonial rule versus acquiescence, studies of indigenous agency and creativity became prominent, as did analyses of visual culture and ethnic identity. Recently, as more nuanced understandings of colonial processes have developed (especially in the fields of anthropology and history), interpretive frameworks have again begun to shift. Less crucial is indigenous agency, pure and simple; more pressing questions now concern indigenous practices as constituent of, and pivotal to, colonial society… Full Review

Studies of Venice, including surveys of art, architecture, politics, and business, often hinge on an author’s understanding or characterization of Venezianità, or the concept of being Venetian. Bronwen Wilson directly addresses this facet of early modern Venetian studies in her erudite explication of the evolution of Venetian identity in an era featuring the dynamic growth of the printing industry and the increasing use of prints by illustrators and artists. For Wilson, Venetians learned to read images of Venice and Venetians themselves, as did the outside world, and, indeed, “may have come to see themselves as they were seen by… Full Review

In her exemplary book, which began as a doctoral dissertation in 1992, Alison Wright provides a comprehensive examination of the Pollaiuolo brothers’ substantial artistic productivity in Florence and Rome during the second half of the quattrocento, contextualizing their working lives and era. Although she adopts a traditional monographic approach to her subject, the author seeks to reveal the professional reputations of these artists and the innovative characteristics of their works of art. Wright implements a roughly chronological arrangement for her ambitious project, examining Antonio’s and Piero’s works categorically, by medium or project. In fourteen chapters, she explores the iconography, reception… Full Review