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Until recently, the printed image in early modern England—the period 1500–1700 covered by Malcolm Jones’s The Print in Early Modern England: An Historical Oversight—has been the victim of neglect by scholars, leading to the false impression that early modern English culture was predominantly a textual instead of a visual one. It has been accepted as conventional wisdom that there were very few English prints from this era, and those that do exist are crude when compared to the staggering developments in other Northern European regions such as the German-speaking territories, France, and the Netherlands. Furthermore, English trained art historians… Full Review

Who really was Camille Silvy? This is one of the thorny questions that remains after reading Mark Haworth-Booth’s enthusiastic biography, Photography of Modern Life: Camille Silvy. Like most commercial photographers who set up portrait studios in the 1850s, Silvy combined elements of entrepreneur, charlatan, genius, and hack. French by birth, Silvy lived in London during most of his ten years of photographic activity where he carved out a reputation based on the hundreds of cartes de visite that he successfully marketed to London’s fashionable world and on a couple of landscapes that he exhibited to much acclaim in 1859… Full Review

This is a big book in every sense. In seven long and detailed chapters Noble offers nothing less than a survey and analysis of Byzantine and Carolingian theology around the question of the place of images in religious worship, with a dash of historiography thrown in for good measure. It is a thought-provoking study which places the issues in historical, political, and social contexts, and raises crucial questions about the relationships between Byzantium and the West. It is a book that should change the ways that we think about issues concerning art in the eighth and ninth centuries. Images,… Full Review

From the onset of the world economic crisis in 1929 until the end of the Second World War in 1945, artists in Europe and the Americas took positions in the struggles between parliamentary democracies, fascist dictatorships, and left-wing regimes. The single best-known artistic product of that historical moment is undoubtedly Picasso’s Guernica, which was hung in the modernist pavilion of the embattled Spanish Republic at the World Exposition in Paris in the summer of 1937. However, the Spanish display was overshadowed at that time by the towering neoclassical pavilion of National Socialist Germany and the dynamic masses of its… Full Review

In her important work, Ravenna in Late Antiquity, Deborah Deliyannis provides a detailed synthesis of the available material on Ravenna from the Roman period through until AD 850. As she briefly mentions at the end of her review of earlier scholarship, “There has as yet been no sustained scholarly treatment of Ravenna, in English, and this book is intended to address that void” (13). Deliyannis does exactly this, combining textual, archaeological, and artistic evidence in a clear and sophisticated way for readers who were perhaps put off by the extensive German text of F. W. Deichmann’s earlier synthesis (F… Full Review

It is not a coincidence that these three recent publications on photography in China all begin with a lament on the obstacles involved with studying this subject. Indeed, since there is rarely a concentrated archive of photo studios or photographers in China, information can only be gleaned from newspaper advertisements, travel writing, correspondence, and ephemera. Actual photographs are not abundant either, as political chaos over the past century resulted in their significant loss and destruction. The extant photographic materials in Chinese public collections are generally inaccessible; those in private collections are increasingly visible, thanks to the popular Old Photographs series… Full Review

In my first Native art history class in the mid-1990s, my professor introduced the work of Carl Beam, theretofore unknown to me. She presented Self Portrait in My Christian Dior Bathing Suit (1978–1980), which depicts the artist in a Speedo-style swimsuit, standing legs apart with one hand on his hip and inscribed with a handwritten statement expressing his authority and claim to the work. It conveys humor, irony, incisiveness, and defiance. To my mind, then gripped by postcolonial and feminist cultural critiques, the painting crystallized issues of representation and refusal, and did so in beautifully executed washes of watercolor. I… Full Review

Among the most fanciful objects commissioned by the French monarchy is a pair of Sèvres porcelain pails designed for Marie-Antoinette’s pleasure dairy at the Château de Rambouillet. They are shaped like tinettes—wooden buckets used on ordinary dairy farms for making fresh cheese—and painted with wood grain to imitate their rustic models. Like Marie-Antoinette’s mock hamlet at Trianon, the Rambouillet pails are outlandish inventions of the pastoral movement in literature and art, which celebrated naturalness with contrived theatricality. As the ill-fated monarch so cruelly experienced, bourgeois sensibilities soon lashed out at this noble ostentation. To pre-Revolutionary critics of the society… Full Review

Sumptuous in format and timely, given recent attention to European-Ottoman exchanges, the four volumes considered here benefit from Erik Fischer’s lifelong engagement with Melchior Lorck (also Lorichs), the scholarship of Ernst Jonas Bencard and Mikael Bøgh Rasmussen, and a contribution by Marco Iuliano. Volume 1 consists of a complete survey of the artist’s oeuvre in the form of thumbnail images, a biographical essay, and documents. The second and third volumes consist of a facsimile of The Turkish Publication, published posthumously in 1626, and a catalogue raisonné, with woodcuts, engravings, drawings, and paintings generated from the artist’s sojourn in Istanbul… Full Review

The title of Elizabeth Siegel’s Galleries of Friendship and Fame: A History of Nineteenth-Century American Photograph Albums derives from an unsigned article, “Photomania,” published in Harper’s Weekly (February 16, 1861), and cited by Siegel as evidence of the popular appeal of the carte de visite album in the United States. As the article crowed, the album sold by savvy “makers of fancy goods” was allowing collectors of cartes de visite “to create their own ‘gallery of friendship and fame.’” The mania for albums was widespread, “making them ‘quite universal, and as fast as they are brought to us are taken… Full Review