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Miyagawa (or Makuzu) Kōzan (1842–1916) is enjoying a revival among collectors today—and with good reason. A remarkably prolific artist whose activities spanned the entire Meiji era (1868–1912), he produced ceramics of dazzling technical bravura, of subtle tonalities, and of painterly effects. His name is associated with wares in the Satsuma style; giant vases intricately decorated in high relief; stonewares in the manner of Ninsei and Kenzan; celadons; and, above all, with elegant porcelains featuring softly blurred underglaze landscapes, floral, and animal décor. Although Kōzan’s protean talents made him an international celebrity during his lifetime and his work has been highlighted… Full Review

No group of Athenian vase painters has received more scholarly attention than the so-called Pioneers, the early painters in the red-figure technique working from its invention ca. 530 B.C. to about 490/480 B.C., the height of the late archaic period in Greek art. Among the Pioneers the best known by far is Euphronios, one of the few ancient Greek artists to be given a solo exhibition and still the holder of the record price for a Greek vase. The Pioneers and their vases are also the focus of Richard Neer’s book, chosen because he sees in certain exceptional peculiarities of… Full Review

Elizabeth Newsome’s Trees of Paradise and Pillars of the World: The Serial Stela Cycle of “18-Rabbit-God K,” King of Copan is a monographic treatment of stela sculpture commissioned by one Classic Maya king, nicknamed “18 Rabbit,” ruler of Copan, Honduras, between A.D. 695 and 738. This fact is extremely telling about the current state of knowledge of the ancient Maya. Scholarship in this field has become so detailed that book-length biographies of individual kings, including the history of their art patronage, are now possible. Indeed, a session at the 2003 meeting of the Society for American… Full Review

Felix Thürlemann’s monograph presents a radically new vision of the notoriously elusive, early Netherlandish painter, Robert Campin. Questions about the attribution of his works have plagued scholars from 1909, when the artist was first “discovered” and identified with the Master of Flémalle by Georges Hulin de Loo, to the present, as was particularly evident at the Campin symposium held at the National Gallery in London in 1993 (its papers were published in Susan Foister and Susie Nash, eds., Robert Campin: New Directions in Scholarship [Turnhout, Belgium: Brepols, 1996]). Whereas scholars of the first half of the twentieth century focused… Full Review

The Parthenon frieze has stimulated more discussion and controversy than any other monument of the ancient Greco-Roman world. Resistant to verifiable interpretation, the frieze continues to generate scholarly effort and stir interest among the general populace, for not only its aesthetic appeal but also its powerful potential as a cultural and political icon. Anyone who writes about the Parthenon frieze invites criticism and controversy, so it is to Jenifer Neils’s great credit that she takes on this behemoth. In a lively written and highly intelligent book, Neils lays out all that is known or hypothesized about… Full Review

An impressive and fascinating book about paintings and prints, atlases and travelers’ tales, Urban Images of the Hispanic World, 1493–1793 spans three hundred years and covers a vast geographic and visual landscape. It surveys civic spaces from the manicured parks in Mexico City and Lima to the Cerro Rico of Potosí and public works in San Juan, Puerto Rico. Richard Kagan’s perspective on urban forms differs from much of the traditional literature on Spanish American architecture. Urban Images says little about the daily experience of civic life, and even less about bricks and mortar or the planning and building of… Full Review

In Jacopo Bassano’s Nativity with Shepherds and Saints Victor and Corona altarpiece of 1568 for San Giuseppe in Bassano del Grappa (now Museo Civico, Bassano del Grappa), Joseph is depicted nodding off in the lower left corner of the composition. Or is he? In one of the many subtle and erudite analyses in this magnificent book, Carolyn Wilson reconsiders the meaning of the sleeping Joseph in Bassano’s painting and, by extension, in Renaissance iconography in general. Rather than showing him as doddering or decrepit, Joseph’s recumbent pose is interpreted as indicating his reception of divine messages… Full Review

Samuel Edgerton has collaborated with photographer Jorge Pérez de Lara to produce a compelling book on the large mission complexes (conventos) in sixteenth- and seventeenth-century colonial Mexico. A chance trip to Mexico in 1987 introduced Renaissance scholar Edgerton to Mexico’s rich artistic and architectural heritage, and he quickly immersed himself in its study. Bringing his extensive knowledge of medieval and Renaissance European history, philosophy, theology, art, and architecture to bear on this topic, Edgerton offers a provocative approach to colonial Mexican art and architecture in a field that is entering a period of substantive growth. His primary purpose is to… Full Review

These three publications are among the latest of a surfeit of Cistercian titles published in recent years: Terryl Kinder surveys Cistercian life and architecture throughout Europe with emphasis on the medieval period, Peter Fergusson and Stuart Harrison chronicle one of the earliest Cistercian houses in England from its founding through the twentieth century, while Megan Cassidy-Welch speculates on the use of monastic spaces in thirteenth-century Yorkshire. Though each work has its own focus, they all benefit from the comparatively voluminous, readily available primary documents on Cistercian history, such as the statutes decreed at the annual General Chapter meetings, the Rule… Full Review

Textbooks are lightning rods for criticism. The purpose of a textbook is to distill the latest scholarship in a wide array of fields for a nonspecialist, usually undergraduate audience. But because it must sacrifice depth for breadth, the textbook is easily criticized by area specialists. Therefore, in an effort to appease as many scholars as possible, it ends up presenting a bricolage of perspectives and thus loses any sense of a single authorial intent. Moreover, no matter how hard the revisionist author might try, the textbook usually remains conservative, muting the impact of new scholarship and, in trying to please… Full Review