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In What Photography Is, James Elkins sets out to write a kind of counter-narrative to Roland Barthes’s highly influential Camera Lucida: Reflections on Photography (trans. Richard Howard, New York: Farrar, Straus and Giroux, 1981), in which Barthes sought to discover the essential nature of photography. Elkins is inspired by Barthes’s slim volume first published in English in 1981, admiring and echoing its non-academic style, yet is irritated by it as well. The emotional core of Camera Lucida is Barthes’s search for, and ultimately discovery of, the “essence” of his recently deceased mother in a photograph he finds of her… Full Review

The recent and controversial transfer of the Barnes Foundation to a new museum on the Benjamin Franklin Parkway in Philadelphia has produced a surge of scholarly interest in the prodigious and quixotic group of Pierre-Auguste Renoir paintings known as “the late work.” The largest and most definitive collection of this amorphous body of painting and sculpture, ranging roughly from the artist’s Durand-Ruel career retrospective in 1892 to his death in 1919, was previously located in Dr. Albert Barnes’s original house museum and school in suburban Merion, Pennsylvania. The secluded location and limited access to this magisterial horde ensured the type… Full Review

For decades, much of the scholarship on the history of photography has been dominated by the categories and concerns of art history, with elucidations of photographic genre and expositions of master photographers. In more recent years, however, scholars from across the disciplines have begun to amass studies of vernacular photographic practices, from family albums to scientific photography. Missionary photography is one such set of photographic practices that has long deserved critical attention. From the mid-nineteenth century on, Western Christian missionaries took up the camera to assist their work in a rapidly expanding field of missionary endeavor. Many thousands of photographic… Full Review

Ceremonially integral to Northwest Coast Native American tribes for over two centuries as an emblem of lineage, the totem pole has also become a category of colonial and contemporary visual culture, “a highly complex and multifaceted concept in the popular imagination” (7). The intricacies of its history and layers of associated meanings as an idea, icon, stereotype, and condensation of intercultural dynamics are the focus of The Totem Pole: An Intercultural History, a collaboration between art historian Aldona Jonaitis, well known for her publications on Northwest Coast art and culture, and anthropologist Aaron Glass, an emerging Northwest Coast scholar… Full Review

The exhibition Royal Manuscripts: The Genius of Illumination was planned, together with a number of other events, to coincide with the Diamond Jubilee year of Her Majesty Queen Elizabeth II and was opened by her at the British Library on November 10, 2011. As the BBC website put it at the time, one of the main selling points of the exhibition was that: “All the manuscripts on display were once held and used by medieval royals.” Even if not quite true, the statement suggests the way in which an exhibition devoted to illuminated manuscripts could be sold to the public… Full Review

Costanza Bonarelli, known previously to scholars as Gian Lorenzo Bernini’s bewitching mistress, and beguilingly depicted in his eponymous sculpture (1636–37), is resurrected by Sarah McPhee’s groundbreaking study from being a footnote—albeit a scandalous one—in Bernini’s biography. McPhee succeeds in reconnecting Costanza with her ancestry and repositioning her in the artistic and social milieu of seventeenth-century Rome. This significant contribution to Italian art history, social history, and gender studies offers a portal into the machinations and patronage of art, particularly sculpture, in early modern Rome by way of painstakingly unearthed documents. These documents allow McPhee to parse fact from fiction, and… Full Review

Since his article on “Cellini's Blood” (The Art Bulletin 81, no. 2 [June 1999]: 215–35), Michael Cole has challenged previous notions that late sixteenth-century sculpture was the rather unfortunate product of a decline of innovation and is rife with repetitive references to Michelangelo, as sculptors struggled to survive in the revered master's shadow. In Ambitious Form: Giambologna, Ammanati, and Danti in Florence, Cole continues his groundbreaking path in what is, perhaps, his most ambitious project. Cole sets out to resituate Giambologna and his peers in Florence in terms of their artistic goals, which were, he asserts, less… Full Review

In Image Matters, Tina Campt explores a visual nexus of black European subjectivities through an innovative interrogation of vernacular photography. This volume is a beautifully detailed account of Campt's investigation, one that gracefully unfolds its unexpectedly private moments, moving public provocations, and at times chilling accounts of our perpetually returning historical legacies. Campt has gathered a stunning array of photographs from black German family albums for one case study, and, for her other in-depth analysis, selections from the Dyche Collection of the Birmingham City Archive in England. Culled from two distinct black communities, the collections of photographs reveal the… Full Review

That Hebrew illuminated manuscripts are currently a hot topic owes much to a handful of scholars; none more so than Katrin Kogman-Appel who, for the last fifteen years, has published prolifically and authoritatively on the subject. Her 2006 volume, Illuminated Haggadot from Medieval Spain: Biblical Imagery and the Passover Holiday, is an ambitious undertaking that bears witness to its author’s long engagement with this complex and fascinating subject. This is the only book to examine intensively the biblical cycles of Iberian Haggadot, which are the earliest Jewish narrative imagery to appear since Late Antiquity and the first to render… Full Review

The rare publication of an English monograph on Ottonian art is always cause for celebration. Still too little known, the art produced in the Germanic realms in the forty years on either side of 1000 CE is among the most sumptuous and complex of the entire Middle Ages. Although not a survey of the period, Eliza Garrison’s Ottonian Imperial Art and Portraiture: The Artistic Patronage of Otto III and Henry II is a fine demonstration of this claim, and Ashgate is to be congratulated on producing a handsome book whose mostly full-page illustrations do justice to the beauty and power… Full Review