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The star of colonial Latin American art is ascendant. Though some museums, like the Denver Art Museum and the San Antonio Museum of Art, have long had important collections in this area, others have recently begun to take more than a passing interest in the period and region. Just last year the Louvre and the Philadelphia Museum of Art held major colonial Latin American exhibitions. This was the second show of such scale at Philadelphia in recent history. Their 2006 exhibition, Tesoros/Treasures/Tesouros: The Arts in Latin America, 1492–1820, after traveling to Mexico City, went on to the Los Angeles… Full Review

Renata Ago’s Gusto for Things: A History of Objects in Seventeenth-Century Rome is an English translation of Il gusto delle cose. Una storia degli oggetti nella Roma del Seicento, first published in Rome in 2006 (Donzelli Editore). The translation is by Bradford Bouley and Corey Tazzara with Paula Findlen. Findlen also contributes an important foreword that analyzes in detail the Nota delli musei, librerie, galerie et ornamenti di statue e pitture, ne’ palazzi, nelle case, e ne’ giardini di Roma, a list of collections in the houses, palaces, and gardens of Rome that was published in 1664 and… Full Review

Roman Architecture in Provence, by James C. Anderson, Jr., is a welcome contribution to the literature on architecture in the Roman provinces. Anderson focuses on the ancient cities of modern Provence, Roman Gallia Narbonensis, surveying urban development and offering detailed studies of monumental types and individual structures. The book is divided into a brief introductory chapter and still briefer conclusions framing two longer, substantive chapters. In chapter 1, “Historical Overview: Roman Provence, ‘Provincia Nostra,’” Anderson begins with a brief account of history and geography, highlighting the early and close relationship between Rome and Gallia Narbonensis, or… Full Review

Though it is a far-reaching critique of the kind of historicism that contents itself with studying the past without regard for the present, Keith Moxey’s Visual Time: The Image in History is not an attempt to liberate us from history. On the contrary, it is a critique of historicism in the name of history, and it never loses sight of the urgent issues that have fueled historicism, especially in the last century. In the final chapter of the book, for example, Moxey argues that art historians adopted historicist distance after the Second World War as a means of guarding against… Full Review

Beginning with the title—Moche Art and Visual Culture in Ancient Peru—Margaret A. Jackson frames her first book as a comprehensive new approach to Moche visual arts. She proposes to address the corpus of Moche visual culture from an innovative theoretical perspective that “challenges conventional opinions” and “tests operative paradigms” about incipient writing systems in the Americas (10–11). Jackson argues that the perceived visual complexity of Moche iconography may be understood as “neither strictly linguistically informed nor purely pictorial” (149), but rather as an intermediate category, which she describes variously as “semasiographic,” “systematized notation,” and “hybrid presentational syntax.” The… Full Review

Tom Henry’s The Life and Art of Luca Signorelli looks to the past and the future. The product of the author’s decades-long engagement with the artist, the book is unabashedly an artist’s biography that aims “to embrace Signorelli’s humanity” (xiv). When Henry writes, “A man's work is, after all, the most satisfactory and reliable document for those who take the pains to decipher it—the autobiography which every man of genius bequeaths to posterity” (17), he echoes the first book in English on Signorelli, written by Maud Cruttwell and published in 1899, Luca Signorelli (London: Bell), a volume in the “Great… Full Review

Alex Potts’s ambitious new book, Experiments in Modern Realism, attempts to decenter and reconfigure dominant notions concerning the nature of art production in one of the liveliest periods in the history of art, roughly 1945–1968. At nearly five hundred pages and with numerous chapters and subheads, the book has the broad scope and episodic feel of a textbook, but it also has some of the rich texture and nuance of a volume with more specialist concerns. If Potts’s last book, the brilliant The Sculptural Imagination: Figurative, Modernist, Minimalist (New Haven: Yale University Press, 2001) (click here for review… Full Review

The subject of this collection of eleven essays (plus two introductions) is exceedingly broad: in the words of co-editor Marcia B. Hall, it is "the promotion of the sensuous as part of religious experience in the Roman Catholic Church of the early modern period" (1). Broadening the subject even more is her immediate qualification that "here 'sensuous' refers to the dictionary definition of the term: of, related to, or derived from the senses, usually the senses involved in aesthetic enjoyment" (1). In other words, this is not merely the "sensual"—that is, the sexually titillating—whose problematic presence in early modern religious… Full Review

Acting on Faith: The Confraternity of the Gonfalone in Renaissance Rome by Barbara Wisch and Nerida Newbigin is a rich, interdisciplinary study of the visual and material culture of the Confraternity of the Gonfalone, the largest and most prestigious lay brotherhood of Renaissance Rome. Focusing on the confraternity’s lavish art and architectural patronage, Wisch and Newbigin bring the spectacular public ceremonies, liturgical devotions, and broad charitable initiatives of the community vividly to life. Their study spans a tumultuous century for both church and city (1495–1584) and illuminates the sodality’s resilience and phenomenal growth in the wake of urban renewal, papal… Full Review

The concept of interdisciplinarity seems increasingly unavoidable in modern academia—but then, who would want to avoid it? As the relevance of the humanities is more and more frequently questioned, and cash-strapped universities are creatively reorganizing liberal arts departments in ways that might indeed encourage a widespread unification of intellectually contiguous disciplines such as art history, literature, and history, one has everything to gain in joining forces with colleagues across the disciplines. Art historians (especially in the field of Renaissance art) have of course been engaged for more than a century with interdisciplinary inquiry involving an integration of sources, contexts, and… Full Review