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It is still rare for electronic publications in art history to be reviewed in the same venues as print media, in spite of the fact that more and more scholars are publishing online as a solution to the crisis in academic publishing. It is a crisis that disproportionately affects art history—due to the legalities and expenses involved in reproducing images—and medieval art history even more, as a result of the unimaginative assumptions about the marginality of the Middle Ages to twenty-first century concerns. It is fitting and heartening, therefore, that caa.reviews has begun to note the appearance of significant e-publications… Full Review

Guardians of Republicanism, a masterful examination of the political life of the Valori family of Florence as it was recounted in Florentine historiography, is as much a story of historiographic record as it is one of family memory. Mark Jurdjevic presents the Valori as at once emblematic of the complicated political negotiation pursued by Florentine oligarchic families and distinctive in their long-lived adherence to a “hybrid form of republicanism that insisted upon the compatibility” of the humanistic ideas of Marsilio Ficino with the Christian reforms of Girolamo Savonarola even into the seventeenth century (9). According to Jurdjevic, the Valori… Full Review

What are the terms of seeing and believing? Or more specifically, how do pictures shape and direct religious faith? Kristin Schwain takes up these questions in Signs of Grace: Religion and American Art in the Gilded Age, focusing on four different American artists—Thomas Eakins, Henry Ossawa Tanner, F. (Fred) Holland Day, and Abbott Handerson Thayer—and explaining how they "drew on religious beliefs and practices to explore new relationships between viewers and objects, and how beholders looked to art to experience transcendence and save their souls" (2). As Schwain persuasively argues, each not only repeatedly engaged with the prevalent religious… Full Review

In Thomas Eakins and the Cultures of Modernity, Alan Braddock examines how dominant period concepts about cultural difference shaped the late Victorian American painter’s work. During his excavation of this complex body of thought, Braddock digs deep into the history of ideas, beneath the more familiar strata of modern anthropology pioneered by Franz Boas early in the last century. Unlike the cultural relativism of Boas and his many famous students at Columbia, including Ruth Benedict and Margaret Mead, this older intellectual tradition depended heavily on social evolutionist discourse and biological models to account for cultural forms considered specific to… Full Review

At first glance, the “three founding texts” arrayed in Modern Swedish Design seem oddly matched. “Beauty in the Home” was first published by feminist and educational theorist Ellen Key in the Christmas, 1897, number of a magazine for women. Art historian Gregor Paulsson’s Better Things for Everyday Life (1919) is a self-described work of “propaganda” addressed to designers, manufacturers, and retailers. And the cryptically titled photo-essay, acceptera (1931)—a work usually described as Sweden’s “modernist manifesto”—was published by Paulsson along with a team of prominent architects: Gunnar Asplund, Wolter Gahn, Sven Markelius, Eskil Sundahl, and Uno Åhrén. Despite the thematic and… Full Review

With two independent exhibitions in 2008 devoted to the Baroque portrait bust—Heads on Shoulders: Portrait Busts in the Low Countries, 1600–1800, at the Royal Museum of Fine Arts, Antwerp; and Bernini and the Birth of Baroque Portrait Sculpture, co-organized by the J. Paul Getty Museum and the National Gallery of Canada—the genre of early modern portrait sculpture celebrated an unparalleled year. There has never been a specialized exhibition of Gianlorenzo Bernini’s portrait busts. For logistical and economic reasons, shows featuring early modern European sculpture, let alone portrait busts, are rare. Even more exceptional is their exhibition in… Full Review

For more than eight decades, scholarly interest in the Burgundian abbey of Cluny has focused on the first 250 years of the monastery’s history, from its founding in 910 on the site of what had once been a Roman villa through the reign of its influential twelfth-century abbot Peter the Venerable (d. 1156). It is thus intriguing to find Janet Marquardt focusing instead on aspects of the abbey’s demise and recovery during the restoration of France’s monumental heritage in the nineteenth and twentieth centuries. She has made an interesting and overdue choice, one that positions Cluny in a newer narrative… Full Review

In 1987, when the first volume (Cartography in Prehistoric, Ancient, and Medieval Europe and the Mediterranean) of the History of Cartography series was published, the study of maps was a much different field than it is today. At the biennial International Conference on the History of Cartography, organized by the map-history journal Imago Mundi, presentations by dealers, collectors, and specialists in geography far outnumbered those from scholars in the humanities. The relationship between art history and mapmaking was only beginning to be seriously explored, most notably by Juergen Schulz (“Jacopo de’ Barbari’s View of Venice: Map Making… Full Review

In a conceptually wide-reaching and useful introduction to Furnishing the Eighteenth Century: What Furniture Can Tell Us about the European and American Past, editors Dena Goodman and Kathryn Norberg ask, “Can the settee speak?” (2). That this question remains relatively novel suggests the importance of the book. Their answer, of course, is affirmative; and the twelve essays that constitute this collection provide ample new, thoughtful, and frequently surprising revelations about what exactly eighteenth-century furniture said to a broad range of makers, users, and audiences. Written by scholars in the fields of history, literary studies, and art history, the essays… Full Review

The Eight and American Modernisms was the latest exhibition that sought to find some kind of unifying thread to bind together eight artists—Arthur B. Davies, William Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, and John Sloan—whose formal association lasted roughly a year and whose art has bedeviled the efforts of art historians to assess the importance of their contribution, collectively or as individuals. When the artists banded together in 1908 to exhibit their paintings at the Macbeth Gallery in New York, they were linked more by friendship than by any overarching stylistic or aesthetic program. Some… Full Review