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Painters as Envoys: Korean Inspiration in Eighteenth-Century Japanese Nanga discusses how diplomatic contact between Korea and Japan during the eighteenth century helped to shape a new Japanese landscape painting style. By examining possible Korean influences on the development of Nanga, or Japanese literati painting, the author sheds new light on China’s Southern school of painting with respect to its cross-cultural transmission in East Asia. Students of Chinese, Korean, and Japanese art histories will all find this book of interest. Divided into three parts with an introduction and conclusion, Burglind Jungmann’s book provides an in-depth discussion on the… Full Review

To the untrained eye, Thai paintings can be hard to decipher. They look confusing, crowded with colorful figures that appear similar in detail and character, leaving no place to focus one’s attention. For those who wish to study Thai painting in its various forms—murals, banners, and manuscript painting—guidance from a visually rich, scholarly book would be invaluable. Reading Thai Murals by David Wyatt, the distinguished American historian of Thailand, should be such a book but falls short of the mark. Attractively presented, Reading Thai Murals focuses on the distinctive Buddhist murals dating from the late nineteenth… Full Review

What do we mean when we attribute a painting to an artist in the Netherlands or consider it belonging to the “school of Florence”? These regional designations, the coupling of artworks with place, are central to Thomas DaCosta Kaufmann’s new book, which examines notions of cultural geography as they apply to art. Toward a Geography of Art offers the first concentrated consideration of the value of location in the definition of works of art and, as such, is a thoroughly useful endeavor. Only some twenty years ago, Karl Poma, vice president of the Flemish Government of Belgium, introduced a lavish… Full Review

To understand museums and art history, Foucauldians say, we need to understand the changing political roles of these institutions. Knowledge of the past is never neutral, for it always serves present goals. Tapati Guha-Thakurta’s very ambitious, splendidly achieved book, Monuments, Objects, Histories: Institutions of Art in Colonial and Postcolonial India, tells the story of the development of art history in India. Her study explains how English figures such as Alexander Cunningham developed their vision of Indian art’s history, contrasting the elegance of Buddhism with the degenerate excesses of Hinduism. The book also shows how the early colonial museums were… Full Review

El Greco (henceforth cited as Greco) constituted the first comprehensive North American exhibition of the work of Domenikos Theotokopolous (1541–1614) since El Greco of Toledo (henceforth cited as Toledo) of 1982–83, organized by the Toledo Museum of Art in Ohio and traveling to Madrid, Washington, D.C., and Dallas, Texas. A groundbreaking exhibition, Toledo brought together a substantial proportion of the artist’s most important paintings for the first time. The success of that exhibition in defining a corpus of recognized masterpieces is suggested by the inclusion of thirty-seven of the sixty-six paintings from Toledo in Greco. With eighty-three… Full Review

Of the dozen decorated biblical manuscripts that survive from late antiquity, the so-called Ashburnham Pentateuch in Paris (Bibliothèque nationale de France, MS lat. nouv. acq. 2334) is the most elaborate. Its eighteen (more or less) full-page illustrations contain some one hundred scenes set in detailed landscapes and rich architectural settings; and its ten chapter lists are adorned with decorated arches and ornamental fauna. Compared to the other surviving manuscripts, the Ashburnham Pentateuch is also relatively unstudied: even Kurt Weitzmann, who scavenged virtually every bit of evidence to support his concept of the evolution of the illustrated codex, all but completely… Full Review

Seurat and the Making of La Grande Jatte, a book that accompanied an exhibition at the Art Institute of Chicago, combines extensive art-historical analysis of the painting with detailed study by conservators. The most dramatic contribution is the “rejuvenated” image of La Grande Jatte, a full-scale reproduction created by Roy S. Berns using digital technology to replace Georges Seurat’s now-darkened zinc yellow with something close to the original color. An essay by Frank Zuccari and Allison Langley traces the compositional evolution of the picture by studying it with a variety of imaging techniques. Inge Fiedler analyzes Seurat’s materials and… Full Review

According to Rosemarie Mulcahy, the reputation of Philip II has suffered from bad press throughout the years. She writes, “The image [of Philip] that prevails is that of the severe assiduous defender of the Catholic Faith, a dry and mean-spirited personality” (xv). Indeed, the specter of the Inquisition, the harsh Spanish rule of the Netherlands, and the aloof late portraiture of the man in black have done little to counter negative impressions. In this book, composed of both previously published research and new material, Mulcahy aims to realign our perception of Philip through the examination of his artistic patronage. She… Full Review

In the past several decades, major art exhibitions and significant scholarly publications on seventeenth-century Dutch paintings and prints of daily life have manifested the enthusiastic scrutiny of such imagery by scholars and the public alike. The thousands of seventeenth-century Dutch genre paintings offer seemingly accurate views of daily life; however, as numerous scholars have addressed, the subject matter of such scenes has been selectively determined, resulting in the omission of many ordinary aspects of Dutch life. Scholars have posited various methodological approaches to recover the meaning and function of such images for their seventeenth-century middle- and upper-class viewers. In Dutch… Full Review

Building on recent scholarship that has revealed the degree to which the printmaker Marcantonio Raimondi was not a simple copyist but an independently minded artist, Lisa Pon’s book, Raphael, Dürer, and Marcantonio Raimondi: Copying and the Italian Renaissance Print, argues that his works are products of collaboration: among the engraver, the inventor, and the publisher on the one hand, and between the viewer and the image on the other. Pon situates Marcantonio’s engravings against the rise during the sixteenth century of what she describes as the “artist-author”—celebrated most memorably in Giorgio Vasari’s description of Michelangelo’s heroic single-handed paintings of… Full Review