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William J. Diebold
Boulder, Colo.: Westview Press, 1999. 160 pp.; 4 color ills.; 63 b/w ills. Cloth $40.00 (0813335779)
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August 1, 2001

Good things come in small packages. Diebold's book should join the ranks of other petit books that have made a large contribution not only to their field of specialization but also to a wider audience. Word and Image: An Introduction to Early Medieval Art has found a place on my personal bookshelf alongside Arnold van Gennep's Les rites de passage (1909) and Peter Brown's The World of Late Antiquity (1971). Diebold offers a fine, lively...

Janet Ward
Berkeley: University of California Press, 2000. 357 pp.; 63 b/w ills. Paper $19.95 (0520222997)
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July 26, 2001

Janet Ward's Weimar Surfaces: Urban Visual Culture in 1920s Germany offers a rich, ambitious, and theoretically acute analysis of this subject and its legacy in our own time. In this book, Weimar visual culture emerges in its various guises—architectural, cinematic, and consumerist—to reveal the transition from the modern to the postmodern and the merging of high and low culture. These developments in turn prefigure our own current state of saturation with regard to the visual...

Bette Talvacchia
Princeton University Press, 1998. 320 pp.; 6 color ills.; 52 b/w ills. Cloth $35.00 (0691026327)
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July 25, 2001

The series of erotic pictures known as I modi, or The Positions, from which this book takes its allusive title, acts as a catalyst for a study of the erotic in Renaissance culture that makes an unprecedented attempt to determine—in terms untainted by modern day squeamishness or purulent curiosity—the origins, proliferation, and circulation of erotic and obscene material in early sixteenth-century Italy. Bette Talvacchia’s painstaking reconstruction of the fluctuating borders between that which was considered...

Francis Haskell
New Haven: Yale University Press, 1999. 208 pp.; 60 b/w ills. Cloth $25.00 (0300085364)
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July 18, 2001

As Francis Haskell reminds us in this meticulously researched book, the idea of a permanent collection of paintings is slowly becoming a thing of the past. The collecting, arranging, and display of art works in museums reflects an increasingly ephemeral experience determined by the needs of museums and galleries to prove their worth in a world of accountability. In a witty introduction, the author reminds us that as jets are ferrying their precious cargo to...

David B. Dearinger, ed.
University Press of New England, 1999. 305 pp.; 80 color ills.; 70 b/w ills. Paper $39.95 (1887149058)

National Academy of Design, New York, Sept. 20-Dec. 31, 2000; Gilcrease Museum, Tulsa, OK Jan. 31-April 1, 2001; Indianapolis Museum of Art, Indianaoplis, IN, April 29-July 1, 2001.

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July 17, 2001

In cities and towns across the United States, museums and galleries stage countless art exhibitions in the course of a season. Direct mailings and advertisements may lure us in, but it is often a critic who persuades us to go or stay home. Revered or reviled, art critics have an effect on our actions and opinions. And to whatever extent we agree or dispute with these critics, we read their reviews. Or do we? That...

Paul Corby Finney, ed.
Grand Rapids: Eerdmans, 1998. 539 pp. $65.00 (080283860X)
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July 17, 2001

With the collection of nineteen essays in Seeing Beyond the Word: Visual Arts and the Calvinist Tradition, Paul Corbey Finney promises to provide a revisionist account of the relationship between Calvinism and the visual arts by challenging the presumed, prevalent view that Calvinism had either no impact or a purely negative effect on the development of the visual arts. Rather than focus on acts of Reformed iconoclasm, Finney calls his readers to examine the positive...

Giovanni Ciappelli and Patricia Lee Rubin, eds.
Cambridge, UK: Cambridge University Press, 1999. 316 pp.; some b/w ills. Cloth $90.00 (0521643007)
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July 16, 2001

This is a valuable book for both historians and art historians concerned with Renaissance Florence. It boasts the intriguing topic, "Art, Memory, and Family," and contains scholarly essays from leading historians and art historians in their respective fields. As discussed by the art historian Patricia Lee Rubin in the book's preface, the essays originated in a symposium held at the National Gallery in London in 1996. Although some of the conference papers have since appeared...

Amy Newman
New York: SOHO Press, 1999. 560 pp. Cloth $42.00 (1569472076)
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July 12, 2001

The text that comprises Challenging Art: Artforum 1962–1974 is, to borrow from Roland Barthes (writing around the time Artforum became an established art-world institution), not “a line of words releasing a single ‘theological’ meaning,” but rather “a tissue of quotations drawn from the innumerable centers of culture.”[1] Consisting of fragments of interviews woven together to produce a narrative that chronicles the first twelve years of Artforum’s publication, this text is literally a “tissue of quotations.”...

Keith Moxey
Ithaca: Cornell University Press, 2000. 146 pp.; 7 b/w ills. Paper $15.95 (0801486750)
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July 10, 2001

In his previous book, The Practice of Theory: Poststructuralism, Cultural Politics and Art History, Keith Moxey called on art historians to abandon their quest for objectivity and instead foreground the precepts of critical theory. Its sequel, The Practice of Persuasion: Paradox & Power in Art History, considers what such an approach means for the discipline of art history. Moxey rejects what he perceives as the nostalgia for order and tradition in the current reaction against...

E. Bowron and Joseph Rychel, eds.
Philadelphia: Merrell Holberton Publishers in association with Philadelphia Museum of Art, 1999. 624 pp.; 200 color ills.; 300 b/w ills. Paper $70.00 (0876331363)

Philadelphia Museum of Art, Philadelphia, PA, March 16-May 28, 2000; Museum of Fine Arts, Houston, TX, June 25-September 17, 2000

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July 9, 2001

"Rome is the most glorious place in the Universal World"—this was how the twenty-six-year-old Scottish architect Robert Adam described his reaction to the city on his arrival in 1755. Both Art in Rome in the Eighteenth Century and the exhibition it was created to accompany are lavish, vivid demonstrations of that assertion. The catalogue, however, is much more; it combines illustration of the exhibition—called The Splendor of 18th-Century Rome and held at the Philadelphia Museum...