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Jean-Auguste-Dominique Ingres’s paintings have seduced, repelled, and baffled viewers since the early nineteenth century—sometimes producing all three effects simultaneously. But if Ingres’s work has provoked strong feelings in his viewers, as Susan Siegfried argues in Ingres: Painting Reimagined, it has elicited curiously dull critical interpretations. For many years, Ingres was treated either as a tediously conservative classicist or a simple-minded realist. Feminists reviled him for his treatment of the female figure—nudes polished out of anatomical existence or portraits weighed down with the reified finery of the bourgeoisie—and social historians of art avoided him because his work could not be… Full Review

James M. Dennis, professor emeritus of Art History at the University of Wisconsin-Madison, tells the story of the “improbable” life of The Strike by Robert Koehler, one of the first American paintings to document the tensions between labor and management with detailed precision. “One of my aims in writing this book,” Dennis explains, “has been to provide a historic context to this discourse by restoring to contemporary awareness a quintessentially ‘socially engaged’ work of art produced more than 125 years ago—its origins, its admirers and detractors, its maltreatment, rediscovery, and ultimate transnational apotheosis” (6). Included in the series Studies in… Full Review

Judging by the number of books published in the last ten years or so with “frame” or “framing” in their title, to say nothing of those that include the terms “border,” “boundary,” or “margin,” the direction of scholarship is migrating toward the edges of the artwork. However, a fair number of these books are not about frames in the art-historical sense of the term at all. Leaving aside those clearly marginal to this review, such as house frames and the many histories of picture frames (often with their celebrated masterpieces blanked out), a vast number of studies use “framing” in… Full Review

Jane Mayo Roos’s beautifully illustrated new book, Auguste Rodin, surveys the key events of the sculptor’s career, focusing on his development as a professional sculptor, a journey that continued throughout his adult life. The thoughtful and well-conceived presentation delves into Rodin’s complicated family life and his cobbled-together education in the arts, and debunks some previously held myths about the sculptor. While it remains a challenge for any art historian to offer an original analysis of Rodin’s life and work, about which so much has been written, Roos covers familiar terrain with a fresh eye, and highlights aspects of his… Full Review

This ambitious book by Glenn Peers explores five case studies of framing. These frames delimit various aspects of Byzantine visual culture: pectoral crosses, manuscript illumination, church decoration, and icon revetments all figure here. “Frames” thus is not being used to signify the tidy border of an artwork, and not necessarily even a material or represented entity, but instead bespeaks a larger, conceptual paradigm. We have seen a wealth of studies in recent years looking at frames of both a literal and more notional sort, but less work in this vein has addressed the premodern era. Peers’s frames are heuristic devices… Full Review

If “the history of the modern artist is, in short, the story of artistic obsession,” as Paul Barolsky writes in A Brief History of the Artist from God to Picasso, then the author, whose long and distinguished scholarly career has focused on the artist and the early texts in which he has been represented, reveals a similar, and understandable, tendency. As Barolsky acknowledges, the book represents “a synthesis of a lifetime of thinking about the idea of the artist.” Here the idea of the artist retains its Eurocentric flavor, the expected result of the very historiography upon which Barolsky… Full Review

The last U.S. exhibition dedicated to the “three godless artists of Nuremberg”—Georg Pencz, Hans Sebald Beham, and Barthel Beham—was mounted by Stephen Goddard at the Spencer Museum of Art in 1988 as The World in Miniature: Engravings by the German Little Masters, 1500–1550; however, as its title indicated, that exhibition and its accompanying catalogue viewed these artists as “little masters,” both lesser followers of Albrecht Dürer and virtuoso miniaturist engravers. A delayed but opposite reaction, Grand Scale (by this reviewer with Elizabeth Wyckoff at the Davis Museum and Cultural Center, Wellesley College, 2008), involved staging another aspect of these… Full Review

Cynthea J. Bogel’s book With a Single Glance is a page-turner. As dedicated as I am to the topic of premodern Japanese religion, it is not often that I stay up later than I intended, engrossed in the unfolding story. That was my experience of Bogel’s book. Yes, it is erudite and, yes, the plates are gorgeous, but most of all it is a fun read. The book is at the same time deep and breezy. Bogel aims to show that Kûkai, the great Buddhist saint, imported a new language of visuality to Japan. Some of this he brought… Full Review

Contributions to Anglophone scholarship in the past decade have included more than a handful of narratives focused on Mexico’s post-Revolutionary artistic movements. Moreover, photography’s place in the general art-historical account has come to redefine the terms of discussion around what served as that emerging nation’s particular forms of modernism. Histories of photography in Mexico have been intellectually indebted to the persuasive writerly performances associated with the late Carlos Monsiváis and Olivier Debroise. They have gained also from publications like Andrea Noble’s Tina Modotti: Image, Texture, Photography (Albuquerque: University of New Mexico Press, 2000) and subsequent pioneering work by Esther Gabara… Full Review

In her short biographical work Father and Daughter: Jonathan and Maria Spilsbury (London: Epworth, 1952), Ruth Young, a descendant of Maria Spilsbury (Spilsbury-Taylor, after her marriage in 1808), recounts a delightful anecdote in which the future King George IV visited Spilsbury’s studio on St. George’s Row, London. Impatient with how slowly work was progressing on his commission which, to his judgment, seemed complete, he exclaimed, “Really, Mrs. Taylor, I swear that you can do no more to that! You’ve finished it and a damned good picture it is.” Unconvinced, Spilsbury sought a second opinion from her maid. Upon close inspection… Full Review