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The greatest gift of the exhibition documented in this catalogue is exemplified by catalogue entry 44 (by Glenn Peers), a small panel of just two figures. The desert father Makarios stands to one side, straight and intensely decorous in the “angelic robe” of the monk, his right hand resting on his long beard, his left lightly raised. Beside him looms a seraph, its upswept wings echoing Makarios’s hood, its cherubic face intent. Gently, it takes the monk’s left wrist in its small, red hand. Monastic inspiration is distilled here in an image of penetrating simplicity. Previously published only once, the… Full Review

This spring Phoenix, Arizona has become a center for Baroque art. Under the able leadership of James K. Ballinger, Director, and Thomas J. Loughman, Curator of European Art, the Phoenix Art Museum is hosting two major exhibitions of European seventeenth-century art, and for one of these, Phoenix is its sole venue. In the last decade, the museum has organized other major Baroque exhibitions, most notably in 1999 with Copper as Canvas: Two Centuries of Masterpiece Painting on Copper, 1525–1775; but scheduling two concurrent shows on seventeenth-century art—one focusing on the Mediterranean city of Naples, the other on the Dutch… Full Review

Constantine is the man of the hour. The 1700th anniversary of his ascent into the ruling circle of the Roman Empire, just as the administration of shared authority instituted by Diocletian was about to break apart in civil war, is being celebrated across Europe. Rimini led off in 2005 with an important show and sumptuous catalogue (Angela Donati and Giovanni Gentili, eds., Costantino il Grande: La civiltà antica al bivio tra Occidente e Oriente, Milano: Cinisello Balsamo, 2005). The volume under review here, the catalogue of York’s effort in the fall of 2006, is the second entry in the… Full Review

The University of Texas’s spacious new Jack S. Blanton Museum of Art, which opened in April 2006, recently mounted an outstanding exhibition devoted to Luca Cambiaso, the leading native-born figure in sixteenth-century Genoese painting. Organized with the Palazzo Ducale Genoa, this first monographic exhibition in fifty years was supported by a beautifully produced catalogue, in English, edited by Jonathan Bober, the show’s chief architect and the Blanton Museum’s curator of prints, drawings, and European paintings. The volume comprises 118 substantial catalogue entries, each accompanied by a superb full-page color plate, preceded by an excellent fortuna critica, an anthology of… Full Review

For some there is a paradox in the fact that Bob Jones University, a Christian-fundamentalist institution that bills itself as the bastion of “old-time religion” based on the absolute authority of the Bible, should be a repository for one of the best collections of Catholic art in the United States. In the words of Henry Hope, who first introduced the university’s museum to the public (“The Bob Jones University Collection of Religious Art,” Art Journal XXV, no. 2 (1965–66): 154–162), the spirit of the collection is “more that of the Counter Reformation than of Martin Luther” (162). In this respect… Full Review

The Early Modern Painter-Etcher, curated by Madeleine Viljoen, Director of the La Salle University Art Museum, and Michael Cole, Associate Professor and Graduate Chair in the Department of the History of Art at the University of Pennsylvania, reexamined art-historical categories. Specifically, it looked at the ways in which painters in the sixteenth through eighteenth centuries took up not just any print technique but in particular the technique of etching. The excellent catalogue, with four essays and substantial entries, thoughtfully points out the ways in which etching as a medium was accessible to painters, and the ways in which artists… Full Review

According to the curators of Spanish Painting from El Greco to Picasso: Time, Truth and History, the dominant themes of Spanish painting can be captured in fifteen categories ranging from art-historical genre (“Bodegones,” or still lifes) to those seemingly made to fit the loans received (“Flyers,” “Landscapes of Fire”). The curators took great—and controversial—license in liberating Spanish painting from the conventions of chronology, school, and patronage that usually provide the foundation for its presentation. However, if the resulting exhibition does not succeed in presenting the masterworks on view in a more memorable way, or in making them somehow more… Full Review

Of the diverse artistic specialties that developed in the Dutch Republic during the seventeenth century, architectural painting was the last, fully emerging only during the 1650s. Interior and exterior views of major local buildings—real or imagined—along with depictions of the larger built environment of the rapidly growing Dutch cities allowed artists to celebrate national power and prosperity while examining aspects of visual experience also explored in many landscapes and genre paintings of the period: space and the interaction of solids and voids as revealed within varying conditions of natural light. Particular artistic problems are posed, however, by the need to… Full Review

Of the myriad exhibitions mounted worldwide to mark the four-hundredth anniversary of Rembrandt’s birth, Rembrandt and the Aesthetics of Technique at Harvard University’s Busch-Reisinger Museum stands out for its serious consideration of the very basis for such celebrations: the category of genius. Ivan Gaskell, Margaret S. Winthrop Curator in the Department of Painting, Sculpture, and Decorative Arts; William Robinson, Maida and George Abrams Curator of Drawings at the Fogg Art Museum; and their assistants deserve praise for resisting the temptation merely to trot out the museum’s Rembrandt holdings, or to organize yet another exhibition fixated on discriminating the hand of… Full Review

If large-scale exhibitions are a measure of an artist’s lasting success, then Yves Klein has admittedly fared better than some of his more neglected French peers. This is the third major exhibition of Klein’s work in a Paris museum since his death in 1962, and the second exhibition the Pompidou Center has devoted to the artist. Perhaps best known for his signature International Klein Blue (IKB) two-and-three dimensional works and his Anthropométries (1960–61), paintings resulting from his use of the nude female model as a “human paintbrush,” Klein still remains a contested figure despite the recognition he has received in… Full Review