...Richard Shiff Matthew Simms, Cézanne's Watercolors: Between Drawing and Painting (New Haven, CT: Yale University Press, 2008), 228 pp. Duke University Press 2010 LITTLE REVIEWS Brigitte Le Juez, Beckett before Beckett...

... paint with meaning for himself (a self of which we know little in the form of reminiscences, but of which White gleans a lot from the canvases)—and with meaning for so many of us even now. —Ian Hacking Common Knowledge 10:2 Copyright 2004 by Duke University...

...Adam S. Cohen Derolez Albert , The Making and Meaning of the Liber Floridus: A Study of the Original Manuscript, Ghent, University Library MS 92 . ( Turnhout : Brepols , 2016 ), 355 pp. Joyner Danielle , Painting the “Hortus Deliciarum”: Medieval Women, Wisdom, and Time...

...John Boardman Oliver Taplin, Pots and Plays: Interactions between Tragedy and Greek Vase-painting of the Fourth Century B.C. (Los Angeles: Getty, 2007), 310 pp. Duke University Press 2008 LITTLE REVIEWS Thomas Laird, The Story of Tibet: Conversations with the Dalai Lama...

...Jonathan Hay Clunas Craig , Chinese Painting and Its Audiences ( Princeton, NJ : Princeton University Press , 2017 ), 320 pp. Copyright © 2018 by Duke University Press 2018 ...

... approaches to blur, he contrasts the ecstatically amorphous “Blur building” (on Switzerland's Lake Neuchâtel) with examples of classical Chinese landscape painting. Elizabeth Diller and Richard Scofidio, in their book blur: the making of nothing , chronicle the development of their plans for the Blur...

...Michael Schreyach Barnett Newman professed that a beholder's encounter with his paintings was like meeting another person for the first time. He believed the experience produced the conditions for apprehending an ethical relationship that would entail both the individual's achievement of his or her...

... religious forms of the subcontinent. Having lived and painted in India all his life, he was forced into exile in his nineties by right-wing Hindu politicians. In London, he continued to work on a new interpretation of Indian civilization as universally relevant, in a sequence of paintings with themes from...

... painting The Woman with the Pearl Necklace at an exhibit in 2001 at the Metropolitan Museum. Later she discovers that the painting had not left Berlin for inclusion in the New York exhibit. “I can only hypothesize,” she reflects, “that I must have deeply needed a moment out of ordinary time” and so “saw...

..., for example, that van Eyck went to the village of Foots Cray to buy watercresses to use as models when painting greenery on the Ghent Altarpiece of the Mystic Lamb (which he completed in 1432). The recently erected gateway to the palace at Greenwich is said likewise to be the model for a towered gateway...

... the Impressionists. Characterizing the way of seeing that Clark encourages in The Painting of Modern Life as a form of staring, this essay argues that “lean and hungry looking” is indecent, whereas unfocused receptivity is irenic. What Bell calls the “aestheticized halfheartedness” of Manet is redescribed here...

... of the region’s “most Byzantine” paintings (twelfth to fourteenth centuries). Yet a close examination of these frescoes reveals significant iconographic and stylistic differences from alleged Byzantine norms. A historiographic synopsis and review of problematic definitions of “Byzantine” art are followed...

... quality, critics often assume responsibility for explaining what a given work means. Because paintings and sculptures are less precisely codified, less articulate, than verbalized communications, they may seem to require verbal translation. Yet some artists and critics have warned that the advantageous...

...Michael D. Jackson This memoiristic essay is a contribution to the Common Knowledge symposium titled “Fuzzy Studies: On the consequence of blur.” While probing his personal memories and making a case for devaluing our intellectual constructs, the author, an anthropologist, examines paintings...

... both Calasso and the reviewer is whether Tiepolo, whose ceiling frescoes are without gravity—their “antigravity” draws the painted figures upward—is an artist without gravitas . The reviewer supports Calasso's argument that the thirty-two etchings comprising the Capricci and Scherzi make it absurd...

... with three sets of devotional materials—two papier-mâché medallions painted by nuns at the convent of Wienhausen in northern Germany on the eve of the Reformation; a n'kisi n'kondi figure from the Yombe group of Kongo peoples in the nineteenth-century; and a description, taken from Marilynne Robinson's novel...

... by limiting itself to Anglophone works, when the most relevant work is perhaps in French, and by limiting its reach to fiction, when the most relevant genres of art are perhaps poetry, painting, and music. The review concludes by regretting Quigley's making T. S. Eliot her study's straw man and by observing...

... in dialogue some paintings by René Magritte with some thoughts of Kant, Hegel, Nietzsche, Wittgenstein, Sartre, Foucault, and, in a chapter on La condition humaine , even Plato. Painted in 1933, La condition humaine represents a garden as seen from a salon, but in the room there is already a painting...

... could foresee, as if the only thing needed were to master the necessary technique. His end came conjoined with the paint- ing process, appearing suddenly around a turn, like the spontaneous conclusion to a spoken stream of words. “I’m the subject,” he stated, when...

.... The delimitation of his authentic oeuvre, a growing appreciation for nonclassical styles, the populariza- tion (via reproductions) of his hitherto little-known masterpieces in Vienna, and a growing historical awareness of the prestigious Habsburg provenance of most of his autograph paintings—all...