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Doris Carl’s monograph on Benedetto da Maiano is a monumental achievement, the culmination of decades of research on the artist. Some of her findings were previewed in a series of articles she wrote on specific aspects of Benedetto’s career, but their integration into the unpublished material presented in the book creates a comprehensive assessment of the sculptor’s entire production. The result is a wholly new understanding of the artist as a major figure in late fifteenth-century Italian art. Carl’s analysis forces a total revision of the estimation of Benedetto as a secondary artist that prevailed throughout the late nineteenth… Full Review

This is a remarkable volume and of considerable significance to art historians and university administrators. It contains most of the papers presented at the symposium “Historiography and Ideology: Architectural Heritage of the ‘Lands of Rum,’” held in Cambridge in 2006. A generation ago, the same (or more or less the same) contributions would have been called something like “The Interpretation of Islamic Architecture in Ottoman Times and in Turkey Today.” As I will argue shortly, the difference in titles reflects a major shift in approaching the history of architecture in the Ottoman world, but it is in fact a difference… Full Review

This book likely exists mostly as a by-product of the pressures of the academic tenure process. What would have been an engaging twenty-page article has been inflated into 146 pages of speculation, supposition, and chiefly, digression. The nominal subject of the book is the now-lost cycle of frescoes in the great hall of the Reggia Carrarese in Padua, the Sala Virorum Illustrium. The scheme of the cycle was, according to John Richards, dependent upon a thematically related text by Francesco Petrarch, De viris illustribus. This is a tenable hypothesis, given the author’s close relationship with Francesco il Vecchio Carrara… Full Review

This text forms part of the Blackwell Anthologies in Art History, of which collections on Asian art, Early Modernism, and European and American Architecture and Design have already been published. Two titles in the series exploring art in the fifteenth and seventeenth centuries are forthcoming; hopefully, an addition on the fourteenth century is also in the works. Cole’s book compiles classic and recent essays on sixteenth-century art and architecture, touching upon issues in painting, sculpture, printmaking, drawing, and theoretical writings. Some chapters have been translated specifically for this project. The volume compiles twenty-three essays grouped under six rubrics, each… Full Review

Frédéric Cousinié’s Images et Méditation au XVIIe Siècle is a collection of six essays that focus on the relationship between devotional treatises and visual images in seventeenth-century France. This book has neither a formal introduction nor a conclusion, but in the last section (22–24) of the first essay, Cousinié provides an overview in which he briefly summarizes the questions raised in each essay. To best appreciate the book, the reader will need, in addition to knowledge of seventeenth-century imagery, familiarity with the religious history of the period, as well as the fundamentals of semiotics. Central to the study is… Full Review

The “doubt” of the title of this short but very interesting book is meant to be applied to art history. In Richard Shiff’s view, art historians and critics too often erect abstract systems on a partial apprehension of aspects of the artwork. He is as critical of interpretations that float somewhere above the particulars of an artwork as he is with those that do not admit exceptions to their own posited rules. For example, with respect to the ideas of Rosalind Krauss, he observes that “a differential or ‘critical’ term loses its efficacy . . . when we designate it… Full Review

The three volumes under review are part of the Wonders of the World series edited by Mary Beard and produced by Harvard University Press. The expanding series covers the Alhambra, Westminster Abbey, and other major monuments. This series is designed not only to present the various monuments in their original contexts, but also to include the major events in their subsequent receptions throughout history. This important methodological choice allows for the assessment both of the material remains themselves and of how inflections from previous eras continue to shape present outlooks. Even though Cathy Gere, Simon Goldhill, and Keith Hopkins… Full Review

From 1690 on, children in colonial America were taught the letters of the alphabet with the New England Primer. Millions of copies of these primers formed the pedagogical cornerstone of elementary education for the next two centuries. These schoolroom textbooks iterated the basic building blocks of the English language—vowels, consonants, syllabariums—supplemented with woodcut illustrations and rhymed couplets that undergirded literacy with moral lessons imbued, in turn, with religious themes and catechisms gleaned from the King James Bible. Given this long tradition, had Frank Lloyd Wright’s mother not stumbled onto the Froebel system of kindergarten instruction as one alternative to… Full Review

A long-neglected fresco cycle by Battista Zelotti, decorating six rooms in the Obizzi Castle of Cataio, is stunningly revealed in Irma B. Jaffe’s richly illustrated new book. The cycle’s rediscovery becomes one element of a three-part narrative. First, in the acknowledgment, Jaffe relays the sense of adventure and excitement that followed a phone call from her colleague, Gernando Colombardo, who first visited the frescoes, newly open to the public in 2002, and urged her to grab the next flight to Venice in order to see them. Then in the first half of the book, two chapters contextualize the frescoes by… Full Review

A little over twenty-five years ago, Kobena Mercer published “Black Art and the Burden of Representation,” an essay urging participants in the critical discourse around black artists’ work to check their discursivizing practices against the artistic and formal contents of art practices as such. Of course the project of Mercer’s essay is far vaster than an aestheticist reduction like “returning to the object” can suggest. Its target, rather, was a then-emergent multiculturalist movement lost in thrall to visibility discourse, and its simplest point was also its most valuable. Even visibility campaigns, Mercer warned, entail specific matters and problems of form… Full Review