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The Kimbell Museum’s Masterpiece Series introduces select works from the museum’s permanent collection to an audience both lay and specialist. As part of this series, Jeffrey Chipps Smith’s The Art of the Goldsmith in Late Fifteenth-Century Germany: The Kimbell Virgin and Her Bishop perfectly blends the often neglected art of careful connoisseurship with a wealth of visual and historical context. There is far more than one would suspect in the brief eighty-six-page text as Smith examines the silver-gilt Kimbell Virgin in exacting detail. He produces a rich visual analysis that explains technical production and describes the training and working methods… Full Review

This past February, French President Nicolas Sarkozy aroused international controversy by revising the national school curriculum, requiring every fifth-grade student to “adopt” one of the 11,000 French children killed in the Holocaust by learning their story. The plan drew wide-ranging criticism for its pedagogical insensitivity and political opportunism. The terms in which Sarkozy framed his proposal––expressly affirming Judeo-Christian values––were especially inflammatory, given the traditional secularism of French governance and the intensity of ongoing debate around the politics of Islam. Less attention was devoted to a new German program in which middle-school classes will study the Holocaust using The Search… Full Review

An 1870 satirical cartoon from the journal Paris-Caprice depicts an artist, palette in hand, painting directly onto his female subject’s skin. Conflating the two meanings of “painting a face,” the artist eliminates the need for a canvas. Tamar Garb finds this spoof central to understanding the complex intersection of social, psychological, and symbolic factors involved in painted portraits. In The Painted Face: Portraits of Women in France, 1814–1914, she suggests that the metaphorical relationship between applying makeup to a face and paint to canvas provides a useful key to analyzing the superficiality and artifice found in oil paintings of… Full Review

As everyone who studies and loves the art of Rubens knows, the essential challenge posed by his work is a tension between the colorful, dynamic sensuality of his figures and the abstract concepts they often represent. Lisa Rosenthal’s ambitious, beautifully wrought study reveals that this tension is not only Rubens’s deliberate project but an especially fruitful one. In a felicitously tight structure, Rosenthal concentrates on just five paintings: four political and mythological works and a family self-portrait. She offers bold yet extraordinarily subtle and sympathetic readings of the pictures and other related images, marshaling semiotics, feminist, and psychoanalytic approaches in… Full Review

“Is it real?” asks a French journalist as reported by contributing author, Howard Morphy, in the third section of the Museum Frictions anthology. She is watching a ceremonial performance by Yolngu people at the opening of the new National Museum of Australia in 2001 (489). Such a question, or the more pointed variation “What is real in a museum?” underlies the whole of this extensive (almost daunting) volume. It is a question that has already been addressed in the two books that precede it in the same series, Exhibiting Cultures: The Poetics and Politics of Museum Display (Durham: Duke University… Full Review

Allan Antliff’s study of the relations between American art and what he identifies as anarchist beliefs and political activity between 1908 and the end of World War I is a fascinating and important contribution to a knowledge of the wider circumstances of artistic production in the United States during this period. In a historical narrative connected solidly to thematic analyses, Antliff deals alternatively with organizations of varying kinds as well as with individual artists that, together, constituted a thriving anarchist political “micro-culture” of conjoined artistic production and critical discourse. Despite some of the weaknesses in Antliff’s account (elements of which… Full Review

In its Summer 1996 issue (no. 77), the journal October published the results of a four-part “Questionnaire on Visual Culture” that the editors had sent to a range of scholars, artists, and critics the previous winter. Outwardly hostile to the then-emerging field of visual culture, the survey’s editors made no secret of their disdain for the type of work being done in the name of visual studies, which they suggested “is helping in its own modest, academic way, to produce subjects for the next stage of globalized capital” (October 77 (1996): 25). The October questionnaire was a defining moment… Full Review

The past decade or so has seen the emergence of a great deal of stimulating writing on Ingres, including important work by Carol Ockman, Adrian Rifkin, Susan Siegfried, and others.[1] One defining characteristic of this new writing is its interest in and acceptance of tensions and paradoxes in Ingres’s work and reception. As Siegfried writes in the introduction to a special issue of Art History devoted to the artist, the “new way of thinking about Ingres . . . illuminates the artist as a subject of contradictions, which are . . . constitutive of his practice and deeply embedded as… Full Review

Amazon.com has one customer review of Adam Hardy’s earlier study, Indian Temple Architecture: Form and Transformation, the Karṇāṭa Drāviḍa Tradition, 7th to 13th Centuries (New Delhi: Abhinav, 1995), from a reader “fascinated by ancient Indian temples,” looking for “beautiful pictures with some descriptive text spattered about here and there,” who concluded from its over-many “hand-drawings of details after details” and black-and-white plates that the book “was not for me (a reader with a casual interest in temple architecture), but probably is an excellent source for the academic architect.” Hardy’s new study addresses this audience, condensing his architectural analysis, examining many… Full Review

This past summer I went to see, for the first time, Judy Chicago’s notorious The Dinner Party at the Brooklyn Museum, its first permanent home since its creation in 1979. The work—which spurred heated controversy and a plethora of both hostile and heartfelt responses—represents a dinner party of thirty-nine accomplished but largely forgotten women from history; each attendee is symbolized by her own place setting, including a plate illustrating her genitals. Having studied feminist art for nearly a decade, I was looking forward to this moment—mainly for the chance to see the thing of myth, to put a face to… Full Review