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A stimulating read from start to finish, Lamia Balafrej’s The Making of the Artist in Late Timurid Painting is the first book-length analysis of one of the most important codices of Islamic art—the Cairo Bustan (The orchard). Currently preserved in Cairo, this fifteenth-century copy of Saʻdi’s (d. 1291) Persian book of poetry was produced in Herat (in today’s Afghanistan) for Husayn Bayqara (r. ca. 1470–1506), a ruler of the Timurid Empire, which dominated Central Asia and Iran from circa 1400 until 1507. The codex features an unsigned double-page frontispiece attributed to Miraq Naqqash—the head of the royal library in Herat—and… Full Review

Winslow Homer and Photography: A Reassessment Over the past decade, the Portland Museum of Art’s restoration of the Winslow Homer (1836–1910) studio on Prouts Neck in Scarborough, Maine, and the acquisition of his view camera by the Bowdoin College Museum of Art have spurred important new scholarship about Homer’s relationship to the visual culture of his day. The recent exhibition and catalog Winslow Homer and the Camera: Photography and the Art of Painting carefully reexamine Homer’s life and art in relation to the emergence of photography over the course of his prolific career. Period photographs in particular have expanded our… Full Review

Asma Naeem’s book starts with one of those “aha” moments that occur when, as an art historian, you recognize that you have been overlooking a simple but persistent phenomenon relevant to your subject. Vision, it turns out, is not the only sense relevant to the field—hearing matters too. Naeem’s first sentence will not surprise most art historians: “Museums weren’t always the hallowed spaces of reflection that they are today” (1). However, she builds on this straightforward observation to provide a wide range of novel insights. Ultimately, Out of Earshot is framed by a simple but potent question: what if we… Full Review

Virginia Woolf recalled seeing a small Cézanne still life of apples at the home of John Maynard Keynes, as Carol Armstrong recounts in Cézanne’s Gravity. “What can 6 apples not be? I began to wonder. There’s their relationship to each other, & their colour, & their solidity” (34). It was a dozen years after Paul Cézanne’s death, but the spirit of the painter was very much alive among the Bloomsbury circle of artists and intellectuals viewing the work. The assembled company, which included the painter Vanessa Bell (Woolf’s sister) and the critic Roger Fry, “carried it into the next… Full Review

Kathleen Giles Arthur’s concise study illuminates the intersection of visual culture and the spiritual lives of Observant Franciscan women in fifteenth-century Ferrara, Italy. Her book is an outstanding and much-needed contribution to scholarship on art and the Poor Clares. Historians of this topic have focused primarily on the visionary treatise Le sette armi spirituali, written by Caterina Vigri (1413–1463), founder of the convent now usually known as Corpus Domini in Bologna. Caterina spent much of her life in Ferrara, first at the d’Este court of Niccolò III, where she served as lady-in-waiting to his wife Parisina. In 1426… Full Review

In Art and Form: From Roger Fry to Global Modernism, Sam Rose contends with the discursive legacy of “formalist modernism,” a narrative contaminated by perpetuating misunderstandings. According to Rose, “formalist modernism” constitutes a narrow view that cleaves internal form from external meaning, separating art from life. Formalism itself, as an intellectual category, has suffered the same reductivist fate that it purports to drive in the orthodox trajectory of modern art, from representation to abstraction. To counter this narrative, Rose situates Roger Fry’s writings on form in an expansive intellectual nexus that includes connoisseurship, literary criticism, design theory, Marxist art… Full Review

The history of photography has long been written along geographic boundaries. Until recently nation-based narratives, especially those of Great Britain, France, and the United States, dominated the field, and when new studies representing long-neglected corners of the world appeared, they tended to replicate the well-established examples that preceded them. Within the past decade, however, scholars have begun to shift emphasis from individual photographers and nations to the circulation of images and transnational exchange, presenting local practices within a much wider context of global contact and dissemination. The Global Flows of Early Scottish Photography: Encounters in Scotland, Canada, and China is… Full Review

This book offers readers an in-depth study of one single object: the world map (mappa mundi) produced for Hereford Cathedral in England around 1300 CE. Rather than situating this work within the history of cartography, Marcia Kupfer treats it as an object of art. She convincingly argues that by exclusively considering the map as a repository of geographical knowledge, scholars have fundamentally misunderstood the mappa mundi and some of its puzzling visual characteristics. Tellingly, the interchange of the legends of Africa and Europe on the map has traditionally been interpreted as a failure on the part of a… Full Review

Art is autobiography in the nostalgic mode. This is the main lesson of Marisa Anne Bass’s Insect Artifice: Nature and Art in the Dutch Revolt. This learned and refined book examines the life and works of Joris Hoefnagel (1542–1601), the troubled Netherlandish artist who was forced to leave the Low Countries in the wake of the Dutch Revolt and spent his later years at the Bavarian court of Duke Albrecht V and then in Rudolf II’s Prague. In Bass’s telling, the determining event of Hoefnagel’s life was the revolt. Experiences of war and loss permeate his art and thinking, especially… Full Review

In Art and Form: From Roger Fry to Global Modernism, Sam Rose revisits British writing on art over the first four decades of the twentieth century so as to determine what can be retrieved from its formalisms. Rose asks in what way art historical formalisms can be made productive for today’s renewed interest in aesthetics and in light of an urgent, more inclusive turn in the discipline from Western modernism to global modernisms. The answer, in a nutshell, is a “more modest” formalism (10). Throughout the book, the counterpart to this modest formalism is a capacious “pure” formalism that… Full Review