Browse Recent Book Reviews

Gustave Caillebotte has long presented historians of nineteenth-century art with contradictions: here was a champion of and participant in the Impressionist movement who grew up with privilege and became, by dint of his father’s business acumen, a millionaire. Accounts of his artistic production (working from a scant archive) must always contend with how Caillebotte could produce paintings that look more naturalist than Impressionist and would seem to presage social critiques more common to later generations of artists, but that were executed from a position firmly ensconced in upper-class comfort. The desire to resolve these questions of the artist’s identity and… Full Review

Scholars are continually engaged in reassessing evidence, and if they are diligent and perceptive enough they discover new ways of seeing our world. Such is the achievement of Denise Murrell’s 2013 dissertation, “Seeing Laure: Race and Modernity from Manet’s Olympia to Matisse, Bearden and Beyond,” written for the Department of Art History and Archaeology at Columbia University under the supervision of Professor Anne Higonnet. Three of Murrell’s other committee members—Alexander Alberro, Rosalyn Deutsche, and Kellie Jones—were drawn from the same department (with Jones also having a joint appointment in the Institute for Research in African American Studies). The final member… Full Review

“My art has been an act of confession.” So opens the preface to Gary Garrels, Jon-Ove Steihaug, and Sheena Wagstaff’s exhibition catalogue for Edvard Munch: Between the Clock and the Bed, which took place in San Francisco, New York, and Oslo from June 2017 to September 2018. Edvard Munch (1863–1944) made this comment toward the end of his life, which is significant since the paintings he produced in his later years formed the focus of the exhibition and its accompanying catalogue, the latter of which is the subject of this review. It may come as no surprise that Munch’s… Full Review

Shelley Drake Hawks’s The Art of Resistance: Painting by Candlelight in Mao’s China is a valuable contribution to Chinese art history and China studies that illuminates the plight of artists during the Cultural Revolution (1966­­–76). Hawks argues that in spite of overwhelming oppression, Chinese artists endured the Cultural Revolution by visualizing their feelings of disillusionment and dissent through art. The expression “painting by candlelight” (ix) refers to the unsanctioned, clandestine, and sometimes dangerous means artists took to create art—painting in secret, encoding works with subversive meaning, or writing Maoist poetry as a formalist rather than political pursuit. Lavishly illustrated and… Full Review

From the end of World War I to his death in 1954, Henri Matisse engaged in a number of notable experiments with the livre d’artiste. Kathryn Brown’s expansive study aims to show how Matisse’s artistic production and his thinking on creativity developed through an ongoing dialogue with literary texts, bringing to the fore the important role played by book production within the artist’s overall output. Through multiple fascinating case studies, Brown explores a range of intersecting questions about text-image interactions, about Matisse’s use of the book as an artistic-critical laboratory, and about the cultural importance of the illustrated book… Full Review

A picture of flickering bamboo leaves in a slick Shanghai magazine is carefully inscribed in Chinese characters as a “painting album” (huaben) and is impressed with an artist’s seal—not of a brush-and-ink painter, but of the photographer of the plant. A short story features a narrator who spots an earthen mound from a train window and imagines an Egyptian-style mummy of a royal concubine entombed within emerging to haunt the streets of Shanghai. A painting entitled Ruci Shanghai (Such is Shanghai) shows the city to be a montage of transparent, ghostly visages and body parts: eyebrows, lips, and… Full Review

“The most important thing is to have an impact on people,” said Kaywin Feldman to the Washington Post’s Peggy McGlone for an article in January 2019 about her historic appointment as the first female director of the august National Gallery of Art in Washington, DC. In an era of political upheaval, climate change, demographic shifts, technological takeover, and economic uncertainty, forward-thinking museum leaders like Feldman are reconsidering what counts as success. Numbers of visitors, members, acquisitions, square feet, exhibitions, programs, publications, and social media followers have limited significance unless a museum is working intentionally to make a meaningful impact… Full Review

In 1967, the first pages of the publication La Raza were printed in the basement of the Church of the Epiphany, in Lincoln Heights, Los Angeles, under the encouragement of Father John Luce, an Episcopalian priest who supported the Chicano Civil Rights Movement (also known as El Movimiento). Over the next ten years and the course of four dozen issues, the newspaper chronicled El Movimiento, expanding into a magazine in the process. By 1977, conflict, political repression, and exhaustion had caused the movement to wane, and La Raza ceased publication. Throughout that time, an archive of nearly twenty-five thousand… Full Review

To say that arts of the Qajar dynasty (r. 1779–1925) are, without a doubt, en vogue in recent exhibition circuits is not an overstatement. In the last few years alone, one could see any number of shows featuring these Iranian imperial arts, ranging from The Eye of the Shah: Qajar Court Photography and the Persian Past (NYU’s Institute for Study of the Ancient World, New York), Qajar Women: Images of Women in 19th-Century Iran (Museum of Islamic Art, Doha), and The Prince and the Shah: Royal Portraits from Qajar Iran (Arthur M. Sackler Gallery, Smithsonian Institution, Washington, DC) to the… Full Review

Milette Gaifman’s The Art of Libation in Classical Athens focuses on the ritual practice of offering liquids, commonly depicted on Athenian vases. Depictions of Greek animal sacrifice have been the focus of several research projects, broaching the topic from the textual and pictorial sources. The less prominent libation rituals have been approached in the study of visual culture only for specific cases, e.g., deities offering libations. With her study, Gaifman aims to “explore . . . the visual potency” (4) of libation scenes by focusing on the rich material of fifth-century BCE Athens, especially on painted vases. The understanding of… Full Review