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Japanese Painting and National Identity: Okakura Tenshin and His Circle describes the efforts of art theorist and educator Okakura Tenshin (1862–1913) to develop a national painting style in Japan during the Meiji era (1868–1912). It focuses on the ways in which that goal manifested itself in the educational institutions and painting themes and styles he was involved in creating in association with his collaborator Ernest Fenollosa (1853–1908). Victoria Weston’s extensive research, coupled with her concise writing style, places Okakura and his group within the heightened consciousness of national identity that defines the Meiji era and adds depth to an understanding… Full Review

The image world of the Kennedy era is so ripe for critical reexamination that after reading David Lubin’s innovative study I kept wondering why it took this long to be tackled. Between JFK’s orchestrated rise to the limelight in the early 1950s and unexpected yet captured-on-camera murder in November 1963, could one find a better turning point in modern U.S. history than the second, neo-Camelot decade of Cold War America? In the tradition of Fitzgerald, many eulogize the period as the end of American innocence, while a disenchanted minority leans toward Malcolm X’s judgment of “the chickens coming home to… Full Review

Elizabeth Childs’s Daumier and Exoticism: Satirizing the French and the Foreign should appeal to a wide variety of readers, from the Honoré Daumier specialist to the undergraduate student of nineteenth-century art. Supplementing previous scholarly work on Daumier and on mid-nineteenth-century caricature and press censorship, including Judith Wechsler’s consideration of the significance and interpretation of physical characteristics in A Human Comedy: Physiognomy and Caricature in 19th Century Paris (Chicago: University of Chicago Press, 1982) and Childs’s own case study of the suppression of freedom of expression in “Big Trouble: Daumier, Gargantua, and the Censorship of Political Caricature” (Art Journal… Full Review

At the beginning of the twenty-first century it seems that history might be repeating itself with a call to a return to aesthetics. Not so much the aesthetics of the philosophers as the domain of the aesthetic itself. At the beginning of the twentieth century philosophical aesthetics had run out of steam: the German idealists had made themselves too remote from the practice of art to be of any use to art history. Alois Riegl felt that aesthetics had to be done again, this time from art. Max Dessoir felt that a united effort had to be made by psychologists… Full Review

As an inherently heterogeneous practice, installation art presents a challenge to those who would define it and write its history. The task is both to determine its consistent attributes without being too exclusive and to parse the expanding number of works described as “installation art” into categories coherent enough to provide a critical framework. To complicate matters, these generally ephemeral pieces have often been only poorly documented in photographs and first-hand accounts. Given these challenges, it is not surprising that the approaches and potential audiences for the four books under review are so varied: they range from broad surveys to… Full Review

The concluding dozen pages of The World in Paint: Modern Art and Visuality in England, 1848–1914, spell out two concerns or commitments that underpin, but are not allowed to dominate, the preceding text. First of these is an assertion of the fundamental value of attention to the physical properties of the work of art, to what we actually see, and a renunciation of approaches, notably the social history of art, that tend to look elsewhere. The second is an attack on widespread acceptance of Virginia Woolf’s famous response to Roger Fry’s first Post-Impressionist exhibition that “on or about December… Full Review

This book is a distinguished addition to a distinguished body of work and an important contribution to studies of the Ming period. By looking at Wen Zhengming’s calligraphy and painting as objects embedded in complex networks of obligation, patronage, and reciprocity, Craig Clunas provides richly detailed new perspectives on familiar events and questions of the period. Although good English-language studies of Wen have been done in the past, this one is a significant advance. It incorporates much recent scholarship in Chinese, including letters and other materials assembled by the contemporary scholar Zhou Daozhen that were not included in the official… Full Review

This deluxe catalogue featuring Islamic ceramics from the al-Sabah Collection in Kuwait is a welcome addition to the literature on the subject. Although a few catalogues of Islamic ceramics collections have been published in the twenty-first century (for example, Géza Fehérvári’s Ceramics of the Islamic World in the Tareq Rajab Museum, London: I.B.Tauris, 2000), the exceptional quality and range of the al-Sabah collection set it apart. In the introductory chapters of Ceramics from Islamic Lands, Oliver Watson broaches questions that other cataloguers of private collections might have avoided, namely fashions in collecting, the gulf between the types of… Full Review

One of the joys of archival research is making a discovery. Would that everyone’s could be as significant as the recovery by Felipe Pereda and Fernando Marías of a manuscript atlas of maps and bird’s-eye views of the entire coast of Spain assembled between 1622 and 1634 by the Portuguese cartographer, Pedro Teixeira (alternately, Texeira as used in the volume under review). The atlas survives at the Österreichische Nationalbibliothek in Vienna, home also to the impressive collection of views of Spanish cities made for Philip II between 1562 and 1570 by another foreign subject of the Spanish… Full Review

Elisabeth Fraser’s fine study of the French painter Eugène Delacroix’s early career is as much a work of inventive cultural history as of art history. Reading the paintings that made the artist’s reputation in the 1820s as part of the wider visual culture of post-revolutionary France, she challenges a standard view that equates Romanticism with liberalism and links Delacroix with political opposition to the Bourbon monarchy restored after the fall of Napoleon in 1814. Instead, she highlights his success under royal patronage, and suggests that “Delacroix’s art was as much formed by monarchical rule as it was part of the… Full Review