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While reading Catherine Coleman Brawer and Kathleen Murphy Skolnik’s splendid new book, The Art Deco Murals of Hildreth Meière, I thought—it’s time to go to Nebraska. For it is in its state capital, Lincoln, where one can see Meière’s extraordinary suite of mosaic murals done for the interior domes and floor of the state capitol. Completed between 1924 and 1932, the project catapulted Meière (1892–1961) to the status of one of the nation’s foremost mosaicists and architectural decorators. The primary focus of this excellent study is Meière’s Art Deco projects, which Brawer and Skolnik organize into various… Full Review

In late Renaissance Italy, prosperous individuals had the luxury of options when it came to such essential concerns as diet, dwelling, grooming, and sleep. Sandra Cavallo and Tessa Storey, the authors of Healthy Living in Late Renaissance Italy, look carefully at what Renaissance Italians did to preserve their well-being and at the medical arguments behind these determinations; in doing so, they furnish a key for understanding the behaviors, attitudes, and material culture of the period. A holistic study on this topic of preventative healthcare is long overdue. Cavallo and Storey’s remarkably diversified approach to the intersection between medical theory… Full Review

Donal Cooper and Janet Robson have given scholars, students, and general enthusiasts a long-needed tool for understanding and appreciating the decorative program in the Upper Church of the Basilica at Assisi. For decades, art-historical literature on the famous fresco cycle depicting the life of St. Francis focused almost exclusively on the Giotto/non-Giotto attribution question. What little had been published concerning the basilica’s patronage and iconography was either written in German or Italian and thus inaccessible to many, or else treated only particular themes within its decoration. This is not another book on Giotto at Assisi (thankfully). Instead, the authors successfully… Full Review

The Jungle (1943) no longer hangs by the coatroom of New York’s Museum of Modern Art, as John Yau once decried (“Please Wait by the Coatroom,” Art Magazine 63, no. 4 [December 1988]: 56–59), and no doubt the critical fortunes of Wifredo Lam have risen auspiciously over the past quarter-century. Lam scholarship surged in the 1990s and early 2000s amid a disciplinary climate in full flush of postcolonial revision and a continuing anthropological turn. From the exhibition Wifredo Lam and His Contemporaries, 1938–1952 (New York: Studio Museum in Harlem, 1992) to the publication of Lowery Stokes Sims’s definitive monograph, Wifredo… Full Review

In Performing China: Virtue, Commerce, and Orientalism in Eighteenth-Century China, 1660–1760, Chi-ming Yang contributes to the growing body of scholarship that reinvestigates and reconceptualizes the complex effects of Chinese taste on Western Europe (on England, see David Porter, Eugenia Zuroski Jenkins, Elizabeth Hope Chang, and Peter J. Kitson; on France, Christine A. Jones; on Italy, Adrienne Ward [to name only a few]; most recently in art history, see Stacey Sloboda, Chinoiserie: Commerce and Critical Ornament in Eighteenth-Century Britain, Manchester: Manchester University Press, 2014) (click here for review). Specifically, Yang joins the ranks of those who increasingly… Full Review

Published on the occasion of the exhibition Drapetomanía: Grupo Antillano and the Art of Afro-Cuba, this volume is on a mission. Grupo Antillano, a diverse group of artists and intellectuals, was active in Cuba between 1978–83—spanning the moment (1981) when the so-called “New Cuban Art” first rose to prominence. But while the latter movement has become the global face of contemporary Cuban art, the work of Antillano is all but unknown, whether on the island or beyond. With this ambitious exhibition and book project, curator, historian, and essayist Alejandro de la Fuente means to correct that omission. Grupo… Full Review

It seems fitting to approach a book about faces by starting with an examination of the publication’s own face, namely its cover. On first view of Hans Belting’s new book, Faces: Eine Geschichte des Gesichts, only the white and yellow letters of the title emerge clearly. A second look is necessary to make out the female figure located behind the text; it is a portrait of the famous U.S. photographer Lee Miller, taken ca. 1927 by Arnold Genthe. The young woman is slightly turned to the left, as she looks over her shoulder and away from the spectator’s gaze… Full Review

In The Art of Professing in Bourbon Mexico: Crowned-Nun Portraits and Reform in the Convent, James M. Córdova contributes to the current scholarly discourse about gender and identity formation in late-colonial Mexico through a multifaceted examination of monjas coronadas (crowned-nun) paintings, portraits of women at the time of their profession into the religious life. Expanding on previous research, Córdova investigates these images in the shifting world of viceregal Mexico and offers thorough analyses and new insights. Explaining their increased popularization in eighteenth-century New Spain, he asserts that these paintings became part of a broad effort to claim a distinct… Full Review

The publication of Stacey Sloboda’s Chinoiserie: Commerce and Critical Ornament in Eighteenth-Century Britain demonstrates the extent to which histories of Britain’s commercial past have broadened over the last fifteen years. In this period consumption, and more specifically ideas of luxury and novelty, have become key to the debate (see Maxine Berg and Helen Clifford, eds., Consumers and Luxury: Consumer Culture in Europe 1650–1850, Manchester: Manchester University Press, 1999; and Maxine Berg and Elizabeth Eger, eds., Luxury in the Eighteenth Century: Debates, Desires and Delectable Goods, Basingstoke: Palgrave Macmillan, 2003). In 2005, Berg’s Luxury and Pleasure in Eighteenth-Century Britain… Full Review

In Buen Gusto and Classicism in the Visual Cultures of Latin America, 1780–1910, Paul B. Niell and Stacie G. Widdifield have collected twelve essays that explore the variations and limits of the stylistic-cultural term “neoclassicism” and how the social-aesthetic concept of good taste intertwined with and inflected upon it. To a certain extent, this book treads a lengthy investigative path walked by earlier generations of art historians, such as Josef Strzygowski, Alois Riegl, or George Kubler, scholars who analyzed the transformation of stylistic forms across time and borders. The difference is that Niell and Widdifield are less interested in… Full Review