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The Beinecke Map forms part of the large corpus of maps and manuscripts created by native painter scribes, or tlacuiloque, in colonial Mexico as records of indigenous land property and to support land claims. Painted on fig-bark paper (amate), the map measures approximately six feet long by three feet wide and renders a small, unidentified area of Mexico City. Utilizing the image of a black rectangular grid divided into 121 fields that take up most of the map, it offers a detailed register of the plots of land owned by natives. Placed clearly inside each one of… Full Review

Although the Dutch-American artist Bas Jan Ader enjoys cult status in select artist circles—enhanced by the mystery of his disappearance at sea in 1975 at a youthful thirty-three—he remains little known in the mainstream art world, and thus occupies the strange position of being simultaneously overexposed and unrecognized. Alexander Dumbadze’s new monograph, the first and only book-length study on the artist, helps to fill in the scholarly gap by introducing a thoroughly researched and comprehensive account of the artist’s life and work. Although the relatively brief text refrains from addressing the larger contemporary critical discourse on conceptualism and cleaves so… Full Review

Mary Quinlan-McGrath’s Influences: Art, Optics, and Astrology in the Italian Renaissance establishes and explains the parameters for the Renaissance continuation of the traditional belief in astrology and astronomy. Fundamentally important is the interrelationship of the two: how the heavenly bodies in their specified configurations conveyed influence upon the earth, and in turn how the absorbed celestial essences or “qualities” were capable of reflecting that power on their surroundings. In principle this was a continuation of Platonic and Neoplatonic Christian consideration of how the emanation of divine light connects the world to the creator, and how the science of light, optics… Full Review

Kristin B. Aavitsland’s Imagining the Human Condition in Medieval Rome examines a cycle of late thirteenth-century frescoes discovered in 1965 at the Cistercian abbey of Tre Fontane outside Rome. Found on the outside of the eastern wall of a medieval dormitory, at the time used as a terrace, the cycle was in poor condition. Their discovery was a revelation, countering the prevalent idea that the iconoclastic Cistercians eschewed figural imagery. The cycle is in fact the earliest known figural monumental decoration in a Cistercian setting. During a restoration in 1970–71, the frescoes were mounted on canvas and moved, which left… Full Review

Dorothy Metzger Habel is unafraid to take the road well traveled by her academic forebears, even such renowned ones as Richard Krautheimer. This was true of her 2002 book on the urban development of Rome under Alexander VII (The Urban Development of Rome in the Age of Alexander VII, New York: Cambridge University Press), and it is equally true of her new book, “When All of Rome Was Under Construction”: The Building Process of Baroque Rome. What makes her latest study so exciting is that she offers a fresh perspective on the architectural and urban history of… Full Review

Richard Neer’s latest book, Greek Art and Archaeology: A New History, c. 2500–c. 150 BCE, takes a refreshingly contemporary approach to the study of ancient Greek material culture. As the title suggests, the textbook surveys over two millennia of Greek history, from the Bronze Age to the Hellenistic period. While the purview is hardly unique, Neer aims to present a “new history” of the discipline through his broad, inclusive understanding of the Greek world and the significance of its artistic production. The strengths of this volume lie in its highly practical format, nuanced treatment of the material, and interdisciplinary… Full Review

Scholars are fortunate to now have a convenient new edition containing all of Irving Lavin's numerous articles on the work of Gian Lorenzo Bernini. Published under the collective title Visible Spirit: The Art of Gianlorenzo Bernini, the third and final volume is Bernini at St. Peter's: The Pilgrimage. Unlike the preceding volumes, it represents a single monograph unto itself, printed in a much larger format with a great deal of unpublished material and excellent color photography. Lavin's thesis concerning the many works of art that he subjects to detailed visual and historical examination is that "Bernini's career at… Full Review

Lorenzo Pericolo’s Caravaggio and Pictorial Narrative: Dislocating the Istoria in Early Modern Painting is part of a recent trend in Caravaggio studies focusing on the artist’s narrative technique and the intentionally ambiguous meaning of his paintings. Prominent examples include Valeska von Rosen’s Caravaggio und die Grenze des Darstellbaren. Ambiguität, Ironie und Performativiät in der Malerei um 1600 (Berlin: Akademie Verlag, 2009), and, to a certain degree, Michael Fried’s The Moment of Caravaggio (Princeton: Princeton University Press, 2010), along with Itay Sapir’s Ténèbres sans leçons: esthétique et épistémologie de la peinture ténébriste romaine 1595-1610 (Peter Lang: International Academic Publishers, 2012). … Full Review

Georges Bataille’s writings on prehistoric art are known to the English-reading public mainly through two major books: Prehistoric Painting: Lascaux or the Birth of Art (trans. Austryn Wainhouse, Milan: Skira, 1955) was one of the earliest presentations of Lascaux to be illustrated with lavish color photographs; and The Tears of Eros (published posthumously in French in 1961, and in English in 1989 [trans. Peter Connor, San Francisco: City Lights]) started with a meditation on Paleolithic female figurines. It is less known that Bataille’s complete works in French include many other writings on the subject, ranging from book reviews to notes… Full Review

With Bernini: Art as Theatre, Genevieve Warwick has produced one of the most significant contributions to the recent surge of literature on Gian Lorenzo Bernini. Her fascinating book is articulate and thoughtful, its arguments sound and convincing. It incorporates a wide body of scholarly literature and mines archives and primary sources to provide new looks at well-known objects. Warwick presents an innovative understanding of the aesthetic culture of seventeenth-century Rome, reconstructing the visual expectations of Bernini’s audience and the settings in which his objects were made and displayed. Bernini’s art has often been described somewhat dismissively as theatrical, suggesting… Full Review