Recently Published Reviews

In his historiographic essay “American Histories of Photography,” Anthony Lee claims that the photographic field is “mercurial and eclectic” in both “interests and methods.” This happens, he asserts, “partly because its subject has continually proved to be a moving target . . . and partly because the contours of photography’s multiple histories have touched on so many areas of inquiry—aesthetic, scientific, industrial, and more. For these and other reasons, the American history of photography is and always was a hybrid affair, pillaging its questions and attitudes from many sources in an effort to get hold of its subject” (Anthony W… Full Review

For decades, the art of the northern Netherlands has received far less attention than that of its southern counterpart. Even the study of early Netherlandish painting has focused almost exclusively on visual imagery produced in Flanders or by Flemish artists. A new trend, however, seems to be emerging. In 2008, the Museum Boijmans-van Beuningen in Rotterdam held a major exhibition, Vroege Hollanders, focusing on late fifteenth-century Dutch painting. The last exhibition devoted to this imagery, Middeleeuwse kunst der Noordelijke Nederlanden, had occurred in 1958. John Decker’s The Technology of Salvation and the Art of Geertgen tot… Full Review

The postcard reproduction of John William Waterhouse’s The Lady of Shalott (1888) is a perennial bestseller at the Tate Britain gift shop. This popularity mirrors Victorian public response to the artist’s work, which was greeted with acclaim at the Royal Academy throughout the late nineteenth century. In the intervening years, however, Waterhouse's popular appeal has become divorced from artistic and scholarly opinion, and there has been little academic attention paid to his painting or his continued popularity. It is now his turn to be rescued from this critical oblivion by the rising tide of scholarly reappraisal of Victorian and Academic… Full Review

The twenty-first-century visitor to the gardens of Versailles has at least one thing in common with Louis XIV, the Bourbon king of France responsible for their creation in the third and fourth quarters of the seventeenth century: Upon leaving the chateau and proceeding into the gardens, one is unclear which route along the alleés and through the bosquets is optimal for experiencing the essence of the park. As Robert W. Berger and Thomas F. Hedin establish in Diplomatic Tours in the Gardens of Versailles under Louis XIV, the king himself was of many minds regarding how best to visit… Full Review

Images in Spite of All is devoted to four images, specifically, the only four of the one-and-a-half million surviving photographs of the Nazi camps to depict the actual process of mass killing. Shot within and immediately outside the gas chambers at Auschwitz’s crematorium V, the images show naked women prisoners herded into the gas chambers and the mass cremation of corpses. Smuggled out of Auschwitz by the Polish resistance, the photographs were taken under the most extreme conditions of prohibition by members of the Sonderkommando, the special squad of prisoners compelled in the face of their own impending death to… Full Review

Early on in John Fowles’s novel The French Lieutenant’s Woman, protagonist and Victorian scientist Charles Smithson spends a solitary morning hunting fossils along the coast of southwest England. An avowed follower of Charles Darwin, Smithson extracts an exquisite fossil-specimen from the flinty rock, aiming to gift it to his fiancée. Yet, as Fowles’s narrator wryly suggests, what our scientist is unable to perceive in this small, attractive object is the menace it portends to the conditions of his own existence. In this beautiful relic of extinguished life, Smithson is incapable of discerning any connection to the revolutionary implosions that… Full Review

G. F. Watts: Victorian Visionary is not a catalogue raisonné of the work of Watts, the artist whose work was simultaneously both deeply eccentric from and superbly characteristic of Victorian painting and sculpture. Omitting major works in the collection of the Tate Gallery and the National Portrait Gallery among others, it is far from a complete survey. Yet because the volume documents (with lush color illustrations) the extensive collection of key works, preparatory and preliminary investigations, as well as personal artefacts that the artist and his wife collected for their own gallery of his work, it comes closer to being… Full Review

There is something of a difficulty in reviewing two such dissimilar publications—an edited collection and a monograph—yet they have a number of themes in common: both attend to the normative requirements of engaging with gender, race, and class (if not so much with sexuality); but they also intersect more particularly with issues that appear key for contemporary archival studies in the humanities. These issues might be opened with reference to the introduction to Jean-François Lyotard’s The Postmodern Condition: A Report on Knowledge (Trans. Geoff Bennington and Brian Massumi, Minneapolis: University of Minnesota Press, 1984), where Fredric Jameson noted that… Full Review

Art reproduction is seldom the focus of art-historical enquiry. In relation to the nineteenth century in particular, it remains largely uninvestigated despite the fact that the period was characterized by important changes in print technologies, including the invention of photography, the rise of intellectual property and copyright issues, the growing significance of a private art market that made extensive use of reproductive imagery, and the widespread increase in the public demand for art reproductions. These form the subject of Robert Verhoogt’s incisive and groundbreaking study, Art in Reproduction: Nineteenth-Century Prints after Lawrence Alma-Tadema, Jozef Israëls and Ary Scheffer. The… Full Review

The History of British Art, Volume 3: 1870–Now is the final volume of three in a series edited by David Bindman and co-sponsored by the Yale Center for British Art (YCBA) and Tate Britain. Given the age of the Oxford History of English Art series, which dates from the 1950s (with the exception of Dennis Farr’s contribution on art produced between 1870 and 1940, which was published in 1979 as volume 11), and the dearth of British material usually included in comprehensive survey texts, a methodologically up-to-date historical survey of British art is long overdue. Yet those seeking a chronologically… Full Review

This dual retrospective of Mira Schendel (Brazilian, b. Switzerland, 1919–1988) and Léon Ferrari (Argentine, b. 1920) was without a doubt a major contribution to the expanding canon of experimental art from the sixties. Spanning Schendel’s career from the late 1950s through the late 1980s and Ferrari’s production from the late 1950s through 2007, the two hundred pieces in a variety of media, but predominantly on paper, assembled in the exhibition and exquisitely installed by MoMA curator Luis Enrique Pérez-Oramas pleased non-specialized audiences as well as connoisseurs. Upon entering the Renne de Harnoncourt galleries of the museum, viewers could see a… Full Review

Judith Ostrowitz’s first book, Privileging the Past: Reconstructing History in Northwest Coast Art (Seattle: University of Washington Press, 1999), took as its subject the complex relationships to tradition maintained by contemporary native artists in the Pacific Northwest as they produce new artworks for a multicultural audience. Ostrowitz’s second book, Interventions: Native American Art for Far-flung Territories, pursues the related question of how contemporary native artists situate their work in global venues (which are by definition cross-cultural) and how contemporary native artists mediate between local tribal demands for the protection of indigenous knowledge and cultural property and the ravenous hunger… Full Review

A statue of Sir Hans Sloane stands at the center of London’s Chelsea Physic Garden where all variety of plants vie for attention. Sloane demonstrated his talent for gathering specimens (like those over which his statue presides) in his resplendently detailed title, Voyage to the Islands Madera, Barbados, Nieves, S. Christophers, and Jamaica, with the Natural History of the Herbs and Trees, Four-footed Beasts, Fishes, Birds, Insects, Reptiles Etc. of the Last of those Islands (vol.1 ,1707; vol. 2, 1725) which serves as both travel log and visual natural history, a manifestation of the eighteenth-century desire to index the world… Full Review

How do artists depict the act of looking or listening, even when the object of attention is not visible in the image? What does the experience of beauty, both seen and heard, look like? And how does the image convey the aesthetic experience of the artist’s subject to the beholder? These questions were the subject of an interdisciplinary course held at the University of Chicago in the spring of 2007 that culminated in an exhibition and catalogue of prints, paintings, drawings, sculpture, and music from nineteenth-century France. The catalogue includes a preface by Anthony Hirschel, director of the Smart Museum… Full Review

Although the prints of Utagawa Hiroshige (1797–1858) may be among the most appreciated (and reproduced) images in Japanese art, rarely have they been treated with the care and attention exhibited in Hiroshige: One Hundred Famous Views of Edo by Melanie Trede and Lorenz Bichler in a masterful production by Taschen. The subject is Hiroshige’s well-known set, One Hundred Famous Views of Edo (Meisho Edo hyakkei ), dating from 1856 to 1858. The volume opens with an essay by Trede setting the period context, purpose, and reception of the prints, and is followed with illustrations and descriptions by Trede and… Full Review