Recently Published Reviews

Ever since the American artist DeWitt Peters started the Centre d’Art of Port-au-Prince in 1944, Haitian art has attracted major European and American artists and collectors. Decades after Haitian art admirer André Breton called the landscape of the tropics the landscape of Surrealism, generous art donors and collectors with connections to the Midwest have raised the commercial value of Haitian art while establishing three major regional collections—at Iowa’s Waterloo Center for the Arts and the Figge Art Museum in Davenport, and the Milwaukee Art Museum. Organized by the Ramapo College of New Jersey, the exhibition Odilon Pierre: Atis d’Ayiti allowed… Full Review

For much of the last half-century, the few North Americans interested in the extraordinary ecclesiastical architecture erected during the 1500s south of the U.S. border had to depend on just two monumental tomes in English: George Kubler’s Mexican Architecture of the Sixteenth Century (New Haven: Yale University Press, 1948) and John McAndrew’s The Open-Air Churches of Sixteenth-Century Mexico (Cambridge, Mass: Harvard University Press, 1965). Perhaps because the scholarship of these works was so weighty, gringo aficionados didn’t deem it necessary to add anything further. Moreover, the colonial arts of Latin America were receiving little attention in general after World War… Full Review

Agnes Martin and Jackson Pollock were both born in 1912, but Pollock had died by the time Martin moved from New Mexico to New York in 1957 to establish herself as a painter. Martin came at the behest of Betty Parsons, one of many women artists whom Parsons took under her wing as the fervor of Abstract Expressionism faded. Many of these women deferred their artistic careers until midlife, after families or more traditional careers—Martin herself was a teacher. Throughout her life, Martin maintained a principled independence as an artist, existing outside the politics and ideologies of the art world… Full Review

The exhibition Spain in the Age of Exploration, 1492–1819 sprang from a collaborative enterprise between the co-curators Chiyo Ishikawa and Javier Morales Vallejo, with the support of three participating institutions: the Patrimonio Nacional of Spain, the Seattle Art Museum, and the Norton Museum of Art in West Palm Beach, Florida. Their efforts are sumptuously represented in the catalogue produced to accompany the exhibition. The catalogue’s seven essays each explore a different aspect of the exhibition's thematic interests, including the idea of Spain and its empire, Spanish spirituality, cross-cultural encounters, and the role played by science in the Americas and Spain… Full Review

On January 23, 1855, Dante Gabriel Rossetti wrote to his friend William Allingham with regard to illustrations for a new volume of Alfred Tennyson’s poems, explaining he would pick those verses “where one can allegorize on one’s own hook on the subject of the poem, without killing for oneself and every one a distinct idea of the poet’s” (George Birkbeck Hill, ed., Letters of Dante Gabriel Rossetti to William Allingham, 1854–1870, London: T. Fisher Unwin, 1897, 97). The desire on the part of the young Pre-Raphaelite Brotherhood members to stake out new territory for the illustrator—providing commentary rather than… Full Review

The thematic core of this exhibition was built around two vastly different but compelling unofficial portraits, Pontormo’s Alessandro de’ Medici (1534–35) and Bronzino’s Cosimo I de’ Medici as Orpheus (ca. 1537–39), each in the permanent collection of the Philadelphia Museum of Art. Augmented by about fifty works selected from American and European collections, the exhibition explored the contribution of these two masters to the development and transformation of portraiture during the tumultuous era that witnessed the replacement of Florentine republicanism with autocratic Medici rule. It also traced the artistic debt between two painters mutually bonded through both art and personal… Full Review

If ambiguity was something that could be seen or touched, it might have a tangible yet enigmatic effect. Perhaps it would be like a fragile lantern lit from within, neither solid nor translucent, with angles of light taking shape through sudden rips of fabric. Or perhaps it would be a metallic cube hovering over the ground like an imbalanced weight, yet with a surface as seemingly delicate as crumpled paper. Or perhaps it would be a cold glass entrance with ice rock chandeliers, where luscious, decorative folds in white walls peek through. Maybe, in short, ambiguity would take the shape… Full Review

Euro-American modernity arrived in Japan during a precarious time. World War II had just ended, atomic bombs had devastated two major cities, land was barren following destruction by fire-storms, famine was widespread, and, for the first time in the country’s history, foreign soldiers occupied its land. Suddenly modern America, with its Coca-Cola, playing cards, and t-shirts, was everywhere, awkwardly overlying prewar Japanese aesthetics. Shomei Tomatsu, born in 1930, came of age during the occupation era and was keenly aware of the tension surrounding the transition from prewar aesthetics to American-style modernism. The photographs and essays collected for his first U.S… Full Review

This collection of essays is the record of a symposium held at the Bibliotheca Hertziana in Rome in July 2000. Organized by Giancarla Periti, the subject of that event was broad, covering both ecclesiastical and secular patronage in northern Italy (principally Emilia-Romagna, but also parts of current-day Lombardy) and Inventio—artistic invention—as it was conceived and practiced there. That many of the participants have long been interlocutors—either as students at Johns Hopkins University, working with Charles Dempsey, who wrote the book’s introduction, or as colleagues from other projects—provides another unifying component to the selection. Ashgate is to be commended for… Full Review

One year before Vassar College first offered courses in 1865, the institution already had an art gallery and a collection. Purchases, beginning with that of the Reverend Elias Magoon’s American and English landscape paintings, and continuing into the present with acquisitions in various media from diverse cultures, have made the Frances Lehman Loeb Art Center (which occupies an elegant building by Cesar Pelli) into an important museum possessing 12,500 objects, and also—fulfilling the original intention—into an effective complement to the teaching of art and art history A good example of that synergy was the 1970 exhibition “Dutch Mannerism: Apogee and… Full Review

Perhaps the most worrying aspect of Marcia Brennan’s new book—and it is typical of revisionist accounts of modernist art and criticism on the 1950s and 1960s from the past two decades—is the assumed transparency of her own interpretations vis-à-vis the ideologically mediated nature of critical accounts from the period. Historical distance from an object of study does not permit an unadulterated account of that object, and neither does an enlightened methodology, especially when the theoretical perspective given voice is a very late and idiosyncratic response to the headway made in the discipline of art history by gender and cultural studies… Full Review

The National Treasure system, instituted in Japan in the late nineteenth century, has had a strong influence in the establishment of the canon of Japanese art history. A work or a monument may be designated as a National Treasure or Important Cultural Property after a team of specialists presents a detailed study evaluating its historical and artistic importance. In most cases, the conclusions of these specialists formed the basis for the standard account in Japanese art history. The subject of Sherry Fowler’ book Murōji: Rearranging Art and History at a Japanese Buddhist Temple is a famous Buddhist temple established in… Full Review

In Stephen Bann’s account of the complex professional nexus that produced images and reputations in nineteenth-century France, prints finally get their due. The important role of reproductive engraving in the rich visual culture before 1900 has been marginalized for years, but as Bann asserts, printmaking—in the sense of fine engravings made after contemporary paintings—was “an integral part of the academic system of nineteenth-century French visual art” (vi). He looks at the use that painters made of traditional engraving, the newer process of lithography, and, ultimately, photography, within the larger context of contemporary artistic practice. In laying out an overarching theme… Full Review

This fascinating book explores Charles Longfellow’s travels in Japan from 1871–73 and his return, laden with curios, photos, and tattoos, to the Boston home of his illustrious father, the poet Henry Wadsworth Longfellow. It also marks a milestone in author Christine Guth’s own impressive journey from the kind of “traditional connoisseurial concerns” emphasized during her graduate training to the complex and compelling world of “visual cultural studies” (xii). Over the last decade or so the experience of Americans in Meiji-era Japan has been much examined in popular books like Christopher Benfey’s lively The Great Wave (New York: Random House, 2003)… Full Review

Did modern architecture ever die? Accounts of its demise appear much exaggerated, especially to a new generation, for whom postmodern historicism seems the exclusive domain of strip malls and willful eccentrics with enough money to pay for correct Corinthian detailing, whatever that is. Most of this younger generation of star architects, and there are plenty of them, owe their fame in no small part to deliberate distance they have put between themselves and any but the most casual recall of history. Abstract form and technological imagery are very much back in vogue Meredith Clausen’s The Pan Am Building and the… Full Review