Recently Published Reviews

“Not for Beginners” would make an appropriate subtitle for Therese Dolan’s methodologically varied and critically diverse collection of essays on the master of French modernism, Édouard Manet. Noncommittally and appropriately entitled Perspectives on Manet, the volume presents a picture of Manet that is as thought-provoking and smart as it is fragmentary. Dolan makes no apologies for the sense of noncohesiveness among its nine distinct essays. Rather, she explains that it is a testament to Manet’s genius that such a heterogeneous collection of opinions and investigations could arise, and will continue to arise, from his paintings. Indeed, Manet’s… Full Review

For over a century, the history of Mantua and the Gonzaga family’s role in shaping the cultural heritage of early modern Italy has comprised the subject of numerous, often excellent, scholarly publications. Most have focused on specific members of the Gonzaga dynasty—Isabella d’Este in primis—or on their court artists, or on the impact of these individuals’ activities in the fields of architecture, literature, theater, music, and the visual arts. Only recently have scholars begun to explore the social and artistic networks formed beyond the innermost circles of the Gonzaga court; a notable example is Guido Rebecchini’s 2002 volume, Private… Full Review

Lisa N. Owen’s Carving Devotion in the Jain Caves at Ellora presents a thorough analysis of its subject. The expansive site at Ellora has been studied for a long time, but the Jain excavations have been considered a sort of footnote to the Hindu and Buddhist ones there. The site’s chronology has already been established, so Owen does not need to dwell on stylistic analysis to come up with relative dates but instead considers these caves in a much more focused way. Where Jain art has often been treated in a superficial manner, Owen considers from a Jain perspective the… Full Review

Walking through the Ken Price retrospective at the Nasher Sculpture Center in Dallas, a line from Clement Greenberg’s 1955 essay “‘American-Type’ Painting” ran persistently through my head. Discussing Hans Hofmann, the painter perhaps most responsible for the critic’s analytic apparatus, Greenberg writes: “The difficult in art usually announces itself with less sprightliness” (Clement Greenberg, “‘American-Type’ Painting,” in The Collected Essays and Criticism, Volume 3: Affirmations and Refusals, 1950–1956, ed., John O’Brian, Chicago: University of Chicago Press, 1993, 223). “Sprightly” certainly describes the ceramic sculptures that crowd the Nasher’s upper and lower galleries. Smallish (except for two late bronzes), with… Full Review

Published on the occasion of the El Greco und die Moderne exhibition at the Museum Kunstpalast in Düsseldorf, this catalogue examines how artists and writers responded to the figure who, after centuries of neglect, experienced acclaim in the decades around 1900. Historians already know the basic outline, for example, of how Julius Meier-Graefe and Roger Fry linked the work of the native of Crete with the concerns of early twentieth-century painters. Many implications of that development, however, remain largely unfamiliar to scholars and enthusiasts alike. The chief contribution of this book is its ambitious illustration of how international artists drew… Full Review

When, in The London Quarterly Review of April 1857, Lady Elizabeth Eastlake wrote that photography’s “business is to give evidence of facts, as minutely and as impartially as, to our shame, only an unreasoning machine can give” (466), she voiced a widely held desire that photography would do two things: first, tell the truth; and second, liberate painting. Eastlake imagined photography’s contribution to art in terms of class, noting that, where once painting had dutifully devoted itself to verisimilitude, photography’s arrival had freed it from that responsibility. “The field of delineation,” she wrote, “having two distinct spheres, requires two distinct… Full Review

War/Photography, the catalogue accompanying the exhibition by the same name at the Museum of Fine Arts, Houston (MFAH) (click here for review), is a massive and important book. Topping out at 606 pages with hundreds of photographs gathered from archives around the world, War/Photography is now and will be for many years a crucial resource for anyone working on war and photography. According to the authors, most notably Anne Wilkes Tucker, the chief curator and engineer of the project, “the primary goal . . . has been to expand the discourse about photographs of armed conflict and… Full Review

Hung Liu’s Offerings at the Mills College Art Museum and Summoning Ghosts at the Oakland Museum of California (OMCA) offer complementary but distinct selections of works, thus avoiding the potential redundancy of two closely timed exhibitions in Oakland, California. The more intimate exhibition Offerings showcases her explorations in installations that employ recurrent metaphors for journey. Contrastingly, Liu’s retrospective Summoning Ghosts nicely chronicles her evolving imagery and processes for more than twenty-five years. While Liu clearly possesses an affinity and dexterity with paint, more surprisingly, the exhibitions highlight her explorations in mixed media, shape, and installation. Additionally, the exhibitions’ complicated mix… Full Review

Originally published in Japanese in 1999, Modern Japanese Art and the Meiji State: The Politics of Beauty (Meiji Kokka to Kindai Bijutsu: Bi no Seijigaku) by Satō Dōshin was hailed as the culmination of the ongoing attempts by some Japanese art historians, including Satō himself, to adopt a more self-reflexive approach to their own discipline.[1] Throughout the book he argues that, although the narrative of Japanese art history was constructed as a "self-portrait" to be presented to the West, the implicit significance of its origin and reception were never arduously scrutinized almost fifty years into the postwar period. His study… Full Review

Japanese art historians spend a great deal of time analyzing subject matter and style in order to shed light on the significance and production contexts of ancient artifacts. In this regard, the format of a given work, its state of preservation, its setting or provenance, and its inscriptions can provide important information. So, too, can a comparison of works by the same artist, same subject matter, or same subjects and textual sources that document the environment in which these artifacts were created. But what if the object in question originally functioned with the accompaniment of written commentary, such as ritual… Full Review

Michelangelo is the best-documented person of the early modern period, including his more famous and more powerful contemporaries. Even before he died at the age of 89 on February 18, 1564, the artist boasted three published biographies, a short one by Paolo Giovio published in 1546, and the longer texts by Giorgio Vasari of 1550 and republished in expanded form in 1568, and one by Ascanio Condivi, published in 1553. There are about 1,400 letters to and from the artist, dating from 1496 to four days before his death, in addition to a large amount of ricordi, entries in… Full Review

In January 2006, the Portland Museum of Art acquired Winslow Homer’s studio from the painter’s great-grandnephew. The studio sits above the water on Prouts Neck, a peninsula ten miles south of Portland that separates the northern edge of Saco Bay from Homer’s muse—the rocky, wave-beaten, and occasionally deadly coast of the Atlantic Ocean. During the past six years, with the assistance of architectural historians, engineers, and designers, the museum restored the studio to pristine condition. To celebrate the achievement, this past fall and winter the museum exhibited Weatherbeaten: Winslow Homer and Maine. Weatherbeaten features paintings, watercolors, prints, and… Full Review

The contributors to the exhibition catalogue Carrie Mae Weems: Three Decades of Photography and Video agree: a mid-career retrospective of Weems’s work has been long deserved. Henry Louis Gates Jr. notes in the book’s foreword that Weems is best known as a visual and verbal rhetorician, a narrator of history, and one who uses photography and video to ask hard questions about identity and American culture. These aspects of Weems’s work provide the book’s contributors with an analytical foundation from which to explore the African American artist’s varied practice. Consequently, editor Kathryn E. Delmez and authors Gates, Franklin Sirmans, Robert… Full Review

To any student of art history for whom the painter Federico Barocci (ca. 1533–1612) had been relatively unknown—one of a shrinking demographic, perhaps, given the scholarly attention to post-Tridentine Italy and to Barocci specifically over the past twenty years—the Saint Louis Art Museum’s exhibition devoted to his artistic activity provided a thorough and visually splendid introduction. The exhibited works spanned almost his entire career, ranging from a compositional drawing (Staatsgalerie Stuttgart/Graphische Sammlung) for Barocci’s earliest extant painting, Saint Cecilia with Saints Mary Magdalen, John the Evangelist, Paul, and Catherine (ca. 1556) in the cathedral of Urbino, to late-career paintings of… Full Review

The Body Beautiful in Ancient Greece is an exhibition of about one hundred objects of Greco-Roman art drawn entirely from the collection of the British Museum. The show was in many ways welcome. Public displays of ancient art are in short supply on the West Coast north of Los Angeles, and the British Museum, of course, has one of the world’s great collections of this material. While most of the items included in The Body Beautiful are more often in the British Museum’s storerooms than their display vitrines, the exhibition was not without its stars, such as a red-figure kylix… Full Review