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In the preface, Gill Perry poses the questions, "Who decides which artists and works of art will be more highly valued than others? What political, economic and historical factors might govern those decisions?" (15) and "What are some of the "aesthetic, cultural and political beliefs which underpin canonical values?" (258) These questions are not asked with the intention of finding final answers. This book neither attempts to rewrite the history of Western art under the consideration of its canonical formation, nor advocate the elimination of the canon altogether. Its primary goals, more didactic than academically groundbreaking, are first, to alert… Full Review

Artists have concerned themselves with conventionalized pictorial genres since the early sixteenth century, when our conventional categories of landscape, still life, daily scenes ("genre" in the narrower sense), and even portraits developed their separate identities. In a training environment increasingly occupied by academies, genres were placed lower on the scale of value, within a hierarchy dominated by "history painting," serious narratives from the Bible or myth. The task of theorizing genres, however, has largely been the prerogative of literary scholars, again beginning with the critics of the later sixteenth century and their separation of "kinds" as well as… Full Review

Each of these slender, beautifully produced catalogues accompanied exhibitions focusing on landscapes painted by one American artist during the first decades of the twentieth century. Prompted by the desire to highlight the paintings in their collections, both museums chose to showcase a small number of related works. Each catalogue contains contextual essays and full-page color reproductions of every painting in the exhibition. No doubt owing to the contingencies of resources and audiences, however, the curators made different decisions about the scope of works presented, the questions asked, and the issues explored The Isabella Stewart Gardner Museum wisely capitalized on the… Full Review

Jacqueline Marie Musacchio's book on Renaissance childbirth and its imagery joins a growing bibliography on the domestic setting and function of art in Renaissance Italy. Peter Thornton's survey of Renaissance interiors, Dora Thornton's monograph on scholars' studies, Cristelle Baskin's analysis of heroine imagery on painted chests, Anne Barriault's discussion of style in Tuscan painted wall panels, and other efforts have enriched our knowledge of the domestic environment, and of the place and function of art in homes. Much of this work is based on Florentine sources. Because Florentines were so meticulous in their record keeping, and because art had such… Full Review

This brief but handsome study offers the reader a detailed account of the close correlation of art and liturgy in medieval Byzantium. In pursuing this end, the book privileges evidence from the sanctuary programs of twenty-seven churches in Byzantine Macedonia, whose decorations date from the early eleventh century to the early fourteenth century (the final section of the book, 80-111, offers a useful catalogue of these programs). In addition to this core material evidence, a number of other churches from Cyprus and the Peloponnesos are discussed in some detail. Discussion of these works is framed by wide-ranging reference to liturgical… Full Review

Franklin & His Friends: Portraying the Man of Science in Eighteenth-Century America is an ambitious exhibition and catalogue that examines the role of portraiture in the world of natural and physical science in the eighteenth and early nineteenth centuries. The selection of Franklin as a focal point for the study was a meaningful way to focus a considerable body of artistic and archival material. In one way or another Franklin's life intersected with that of each of the other figures represented in the portraits selected for examination individually and collectively. Perhaps the most interesting assertion made by the authors is… Full Review

John Wood's edited book is an engaging volume that links theoretical and artistic explorations of information technology. Although the two are currently not as complementary as I would desire, the book suggests the great potential for such collaborations. The five sections of the book contain high-caliber work covering a sweeping range of topics, including virtual reality, knowledge production, ethics, and performance art. The first two sections of the book are theoretical. The other three sections describing artistic projects are strong in their own right, but do not sufficiently complement the theoretical chapters. The main impetus for the book… Full Review

Historians of South Asian art and culture often use models of dynastic patronage and stylistic influence as tools to evaluate the wealth of artistic material that populates India's countryside and museums. In his new book, Andrew L. Cohen critically wrestles with these models, revealing their weaknesses in addressing material that defies their pre-conceived frameworks. Cohen's examination of the southern Nolamba kingdom published in Temple Architecture and Sculpture of the Nolambas: Ninth-Tenth Centuries provides an excellent case study to challenge the appropriateness of categories like regional and dynastic style. The Nolambas were a relatively small South Indian kingdom whose… Full Review

Orientalism Transposed takes on two formidable tasks: to connect the methodologies of art history with the insights of postcolonial scholarship on Orientalism, and at the same time to shift the perspective from which Orientalism has traditionally been formulated. I say formidable, because incorporating both of these elements in a volume accessible and useful for both art historians and postcolonial culture scholars is a difficult balancing act. It requires that one combine theoretical apparati from Saidian Orientalism to Bhabha's "sly civility" while discussing works of art--something neither of those theorists did. Each essay in the volume approaches the colonial encounter and… Full Review

The Restoration has probably received less attention than any other period in nineteenth-century French art history. Long identified with a repressive political regime, it has long been ignored as a discrete period, although many artists, such as Ingres and Delacroix, produced their most memorable work at this time. Marie-Claude Chaudonneret, one of the most eminent French art historians, has now filled this gap with a thorough history of the period. Her previous work on the Troubadour painters was notable for its solid research and she has now brought the same approach to this period. As the title implies, … Full Review