Table Of Content

Index to Volume LX XIV ADAMS, ANN JENSEN, review of P. C. Sutton, Masters of Dutch CURTIS, GERARD, “Ford Madox Brown's Work: An Iconographic 17th-Century Landscape Painting, 334-339. Analysis,” 623-636. ANTLIFF, MARK, “Cubism, Celtism, and the Body Politic,” 655-668 DE JONG, JAN L., “An Important Patron and an Unknown Artist: \PTER, EMILY, review of A. Solomon-Godeau, Photography at the Dock: Giovanni Ricci, Ponsio Jacquio, and the Decoration of the Palazzo Essays on Photographic History, Institutions and Practices, 692-694. Ricci-Sacchetti in Rome,” 135-156. \THANASSOGLOU-KALLMYER, NINA, “Géricault’s Severed Heads and DOWLEY, FRANCIS H., Letter on “Semiotics and Art History,” 523- Limbs: The Politics and Aesthetics of the Scaffold,” 599-618; French 528. Images from the Greek War of Independence 1821-1830: Art and Politics DRISKEL, MICHAEL PAUL, review of N. M. Athanassoglou-Kallmyer, under the Restoration, reviewed by M. P. Driskel, 339-341. French Images from the Greek War of Independence 1821-1830: Art and BAL, MIEKE, AND NORMAN BRYSON, Reply to letters on “Semiotics Politics under the Restoration, 339-341. and Art History,” 528—531. DRUCKER, JOHANNA, “Harnett, Haberle, and Peto: Visuality and BARASCH, MOSHE, Giotto and the Language of Gesture, reviewed by A. Artifice among the Proto-Modern Americans,” 37—50 Ladis, 159-161. EFIMOVA, ALLA, review of B. Groys, The Total Art of Stalinism BAROLSKY, PAUL, Michelangelo’s Nose: A Myth and Its Maker; Why Mona {van!-Garde, Aesthetic Dictatorship, and Beyond, 690-692 Lisa Smiles and Other Tales by Vasari; Giotto’s Father and the Family of ELKINS, JAMES, review of B. M. Stafford, Body Criticism, Imaging the Vasari's ‘Lives,’ reviewed by K. Gross, 165-168. Unseen in Enlightenment Art and Medicine, 517-520 BASKINS, CRISTELLE L., reviews of M. A. Lavin, The Place of Narrative: FRIED, MICHAEL, Courbet’s Realism, reviewed by C. Harrison, 341—344 Mural Decoration in Italian Churches, 431-1600; P. F. Brown, Venetian Narrative Painting in the Age of Carpaccio, 161—165. GANDELMAN, CLAUDE, Reading Pictures, Viewing Texts, reviewed by | Spector, 168-171. BELTING, HANS, Bild und Kult: Eine Geschichte des Bildes vor dem Zeitalter der Kunst, reviewed by M. Camille, 514—517. GAZDA, ELAINE K., ED., Roman Art in the Private Sphere: Neu BERGSTEIN, MARY, “Lonely Aphrodites: On the Documentary Photog- Perspectives on the Architecture and Decor of the Domus, Villa, and Insula, raphy of Sculpture,” 475-498. reviewed by N. B. Kampen, 327-329. BRANHAM, JOAN R., “Sacred Space under Erasure in Ancient Syna- GERMER, STEFAN, “In Search of a Beholder: On the Relation between gogues and Early Churches,” 375-394. Art, Audiences, and Sociai Spheres in Post-Thermidor France,” 19-36 BRILLIANT, RICHARD, Editorials: “Slow-Burning Books, a Fast-Disap- GIBSON, WALTER S., “Bosch’s Dreams: A Response to the Art of Bosch pearing Heritage,” 6; “The Return of the Independent Scholar,” 190; in the Sixteenth Century,” 205-218 “Banking on the Data Banks,” 374; “Out of Site, Out of Mind,” GOLDBERG, EDWARD L., “Velazquez in Italy: Painters, Spies, and Low 5 5] Spaniards,” 453-456. BROWN, PATRICIA FORTINI, Venetian Narrative Painting in the Age of GOLDSTEIN, CARL, Reply to letters on “Vasari’s Rhetoric,” 522 Carpaccio, reviewed by C. L. Baskins, 161-165. GOULD, KAREN, “Jean Pucelle and Northern Gothic Art: New Evidence BRYSON, NORMAN, AND MIEKE BAL, Reply to letters on “Semiotics from Strasbourg Cathedral,” 51—74 and Art History,” 528-531. GROSS, KENNETH, reviews of P. Barolsky, Michelangelo’s Nose: A Myth BRYSON, NORMAN, Looking at the Overlooked. Four Essays on Still Life and Its Maker; Why Mona Lisa Smiles and Other Tales by Vasari, Giotto’s Painting, reviewed by D. Carrier, 344-346. Father and the Family of Vasari’s ‘Lives’, 165-168 BUETTNER, BRIGITTE, “Profane Illuminations, Secular Illusions: Manu- GROYS, BORIS, The Total Art of Stalinism: Avant-Garde, Aesthetic Dictator- scripts in Late Medieval Courtly Society,” 75-90. ship, and Beyond, reviewed by A. Efimova, 690-692 \MERON, AVERIL, Christianity and the Rhetoric of Empire, reviewed by A HAMBURGER, JEFFREY F., The Rothschild Canticles: Art and Mysticism in Wharton, 511-512. Flanders and the Rhineland circa 1300, reviewed by P. Sheingorn, CAMILLE, MICHAEL, review of H. Belting, Bild und Kult: Eine Geschichte 679-681 . des Bildes vor dem Zeitalter der Kunst, 514—517. HARRISON, CHARLES, reviews of M. Fried, Courbet’s Realism; K CAPPEL, CARMEN BAMBACH, Reply to Letter: “A Note on the Word Herding, Courbet: To Venture Independence, 341—344 Modello,” 172-173. HARVEY, MARY JACKSON, “Death and Dynasty in the Bouillon Tomb CARRIER, DAVID, Principles of Art History Writing, reviewed by M. A. Commissions,” 271—296. Cheetham, 348-350; review of N. Bryson, Looking at the Overlooked. Four Essays on Still Life Painting, 344-346. HERDING, KLAUS, Courbet: To Venture Independence, reviewed by C Harrison, 341-344. CHEETHAM, MARK A., review of D. Carrier, Principles of Art History Writing, 348-350. HERTEL, CHRISTIANE, “Irony, Dream, and Kitsch: Max Klinger’s Paraphrase of the Finding of a Glove and German Modernism,” 91-114 CHENEY, IRIS, “Comment: The Date of Francesco Salviati’s French Journey,” 157-158. HINDMAN, SANDRA, review of C. Sterling, La Peinture médiévale a Paris 1300-1500, 681-683. CONE, MICHELE C., “ ‘Abstract’ Art as a Veil: Tricolor Painting in Vichy France, 1940-44,” 191-204. HIRST, MICHAEL, Letter on “A Note on the Word Modello,” 172 CORBETT, DAVID PETERS, “ “The Third Factor’: Modernity and the JOYCE, HETTY, “Grasping at Shadows: Ancient Paintings in Renais- Absent City in the Worko f Paul Nash, 1919-36,” 457-474. sance and Baroque Rome,” 219-246 INDEX TO VOLUME LXXIV 701 KAMPEN, NATALIE BOYMEL, review of E. K. Gazda, ed., Roman Art in STEINBERG, LEO, “Who's Who in Michelangelo's Creation of Adam: A the Private Sphere: New Perspectives on the Architecture and Decor of the Chronoiogy of the Picture’s Reluctant Self-Revelation,” 552-566 Domus, Villa, and Insula, 327-329. STERLING, CHARLES, La Peinture médiévale a Paris 1300-1500, re- KINNEY, DALE, review of L. Nees, A Tainted Mantle, Hercules and the viewed by S. Hindman, 681—683 Classical Tradition at the Carolingian Court, 512-514. SUTTON, PETER C., Masters of Dutch 17th-Century Landscape Painting, KRAMER, ALICE B., Letter on “Vasari’s Rhetoric,” 521. reviewed by A. ]. Adams, 334—339 LACHMAN, CHARLES, “ “The Image Made by Chance’ in China and the PURRILL, CATHERINE, “Gian Maria Riminaldi and the Affair of the West: Ink Wang Meets Jackson Pollock's Mother,” 499-510. Busts,” 441-452. LADIS, ANDREW, review of M. Barasch, Giotto and the Language of WARLICK, M. E., “Mythic Rebirth in Gustav Klimt’s Stoclet Frieze: New Gesture, 159-161. Considerations of Its Egyptianizing Form and Content,” 115-134 WHARTON, ANNABEL, review of A. Cameron, Christianity and the LAVIN, MARILYN ARONBERG, The Place of Narrative: Mural Decoration Rhetoric of Empire, 511-512 in Italian Churches, 43 1—1600, reviewed by C. L. Baskins, 161-165. WOLF, REVA, Letter on “Semioticasnd Art History,” 522-523 LEVENSON, JAY A., ED., Circa 1492, reviewed by L. Silver, 329-332. WOOD, JEREMY, “Inigo Jones, Italian Art, and the Practice of Drawing,” LINDSAY, SUZANNE GLOVER, “Some Evangelical Roots for Hébert’s 247-270. Toujours et jamais,” 619-622. WUNDER, RICHARD P., Hiram Powers: Vermont Sculptor, 1805-1873, MACGREGOR, JOHN M., The Discovery of the Art of the Insane, reviewed by reviewed by D. Reynolds, 687—690. E. H. Spitz, 346-348. MELION, WALTER S., Shaping the Netherlandish Canon: Karel van Ancient Mander’s “Schilder-Boeck,” reviewed by N. E. Serebrennikov, 683-686. KAMPEN, NATALIE BOYMEL, review of E. K. Gazda. ed., Roman Art in MENDELSOHN, LEATRICE, Letter on “Vasari’s Rhetoric,” 521. the Private Sphere: New Perspectives on the Architecture and Decor of the Domus, Villa, and Insula, 327-329 MERZ, JORG M., Pietro da Cortona. Der Aufstieg zum fiihrenden Maler im barocken Rom, reviewed by D. Posner, 332-334. American MORROGH, ANDREW, “The Magnifici Tomb: A Key Project in Michelan- DRUCKER, JOHANNA, “Harnett, Haberle, and Peto: Visuality and gelo’s Architectural Career,” 567—598. Artifice among the Proto-Modern Americans,” 37-50. MURRAY, JULIA K., “The Hangzhou Portraits of Confucius and Seventy- REYNOLDS, DONALD, review of R. P. Wunder, Hiram Powers: Vermont two Disciples (Sheng xian tu): Art in the Service of Politics,” 7-18 Sculptor, 1805-1873, 687-690. NEAGLEY, LINDA ELAINE, “Elegant Simplicity: The Late Gothic Plan Design of St.-Maclou in Rouen,” 395-422. Early Christian NEES, LAWRENCE, A Tainted Mantle, Hercules and the Classical Tradition BRANHAM, JOAN R., “Sacred Space under Erasure in Ancient Syna- at the Carolingian Court, reviewed by D. Kinney, 512-514. gogues and Early Churches,” 375-394 PAOLETTI, JOHN T., “Michelangelo’s Masks,” 423-440. WHARTON, ANNABEL, review of A. Cameron, Christianity and the Rhetoric of Empire, 511-512. PAUL, CAROLE, “Mariano Rossi’s Camillus Fresco in the Borghese Gallery,” 297-326. Far Eastern POSNER, DONALD, reviews of J]. M. Merz, Pietro da Cortona. Der Aufstieg LACHMAN, CHARLES, “ “The Image Made by Chance’ in China and the zum fiihrenden Maler im barocken Rom; |. B. Scott, Images of Nepotism. The West: Ink Wang Meets Jackson Pollock's Mother,” 499-510 Painted Ceilings of Palazzo Barberini, 332-334. MURRAY, JULIA K., “The Hangzhou Portraits of Confucius and Seventy- PUDLES, LYNNE, “Fernand Khnopff, Georges Rodenbach, and Bruges, two Disciples (Sheng xian tu): Art in the Service of Politics,” 7-18 the Dead City,” 637-654. REYNOLDS, DONALD, review of R. P. Wunder, Hiram Powers: Vermont General Sculptor, 1805-1873, 687-690. BAL, MIEKE, AND NORMAN BRYSON, Reply to letters on “Semiotics and Art History,” 528-531. SCHWARZER, MITCHELL, “Cosmopolitan Difference in Max Dvorak’s Art Historiography,” 669-678. BRILLIANT, RICHARD, Editorials, “Slow-Burning Books, a_ Fast- Disappearing Heritage,” 6; “The Return of the Independent Scholar,” SCOTT, JOHN B., Images of Nepotism. The Painted Ceilings of Palazzo 190; “Banking on the Data Banks,” 374; “Out of Site, Out of Mind,” Barberini, reviewed by D. Posner, 332-334. 551. SEREBRENNIKOV, NINA EUGENIA, review of W. S. Melion, Shaping the BRYSON, NORMAN, AND MIEKE BAL, Reply to letters on “Semiotics Netherlandish Canon: Karel Van Mander’s “Schilder-Boeck,” 683-686 and Art History,” 528-531. SHEINGORN, PAMELA, review of J. F. Hamburger, The Rothschild CAMILLE, MICHAEL, review of H. Belting, Bild und Kult: Eine Geschichte Canticles: Art and Mysticism in Flanders and the Rhineland circa 1300, des Bildes vor dem Zeitalter der Kunst, 514—517 679-681. CARRIER, DAVID, review of N. Bryson, Looking at the Overlooked, Four SILVER, LARRY, review of J. A. Levenson, ed., Circa 1492, 329-332. Essays on Still Life Painting, 344-346. SOLOMON-GODEAU, ABIGAIL, Photography at the Dock: Essays on CHEETHAM, MARK A., review of D. Carrier, Principles of Art History Photographic History, Institutions and Practices, reviewed by E. Apter, Writing, 348-350. 692-694. DOWLEY, FRANCIS H., Letter on “Semiotics and Art History,” 523 SPECTOR, JACK, review of C. Gandelman, Reading Pictures, Viewing 528. Texts, 168-171. SCHWARZER, MITCHELL, “Cosmopolitan Difference in Max Dvorak’s SPITZ, ELLEN HANDLER, review ofJ ].M . MacGregor, The Discovery of the Art Historiography,” 669-678. irt of the Insane, 346-348. SPECTOR, JACK, review of C. Gandelman, Reading Pictures, Viewing STAFFORD, BARBARA M., Body Criticism, Imaging the Unseen in Enlighten- Texts, 168-171. ment Art and Medicine, reviewed by J. Elkins, 517-520. WOLF, REVA, Letter on “Semioticasn d Art History,” 702 THE ART BULLETIN DECEMBER 1992 VOLUME LXXIV NUMBER 4 Medieval Renaissance BUETTNER, BRIGITTE, “Profane Illuminations, Secular Illusions: Manu- BASKINS, CRISTELLE I reviewso f M. A Lavin, The Place of Narrative scripts in Late Medieval Courtly Society,” 75—90 Mural Decoration in Italian Churches. 43] 1600: P. } Brown, Venetian Narrative Painti n the ige of € arpaccv, 161 165 GOULD, KAREN, “Jean Pucelle and Northern Gothic Art: New Evidence from Strasbourg Cathedral,” 51—74 CAPPEL, CARMEN BAMBACH, Reply to letter on “A Note on the Word Modello,” 172-173 HINDMAN, SANDRA, review of ¢ Sterling, La Peinture médiévale a Paris 1300-1500, 681-683. CHENEY, IRIS, “Comment: The Date of Francesco Salviati’s French Journey,” 157-158 KINNEY, DALE, review of L. Nees, 4 Tainted Mantle Hercules and the Classical Tradition at the Carolingian Court, 512-514 DE JONG, JAN L., “An Important Patron and an Unknown Artist: Giovanni Ricci, Ponsio Jacquio, and the Decoration of the Palazzo NEAGLEY, LINDA ELAINE, “Elegant Simplicity: The Late Gothic Plan Ricci-Sacchetti in Rome,” 135-156 Design of St.-Maclou in Rouen,” 395-422 GIBSON, WALTER S., “Bosch’s Dreams: A Response to the Art of Bosch SHEINGORN, PAMELA, review ol J F Hamburger, The Rothschild in the Sixteenth Century,” 205-218 Canticles: Art and Mysticism in Fla nadJe rs Li } t4}h e NRA hineland circa 1300, GOLDSTEIN, CARL, Re ply to letterso n “Vasari’s Rhetoric,” 522 679-681 . GROSS, KENNETH, reviews of P. Barolsky, Michelangelo’s Nose: A Myth and It Maker; Why Mona Lisa Smiles and Other Tales by Vasari; Gietto’s 19th- and 20th-Century Father and the Fan of Vasar ] 165 168 ANTLIFF, MARK, “Cubism, Celtism, and the Body Politic,” 655-668 HIRST, MICH Letter on “A Note on the Word Modello " ove APTER, EMILY, review of A. Solomon-Godeau, Photog raphy at the Dock: JOYCE, HETTY, “Grasping at Shadows Ancient Paintings in Renats- Essays on Photographic History, Institutions and Practices 692-694 sance and Baroque Rome,’ 219-246 ATHANASSOGLOU-KALLMYER, NINA, “Géricault’s Severed Heads and KRAMER, ALICE B., Letter on “Vasari’s Rhetoric,” 521 Limbs: The Politics and Aesthetics of the Scaffold,” 599-618 MENDELSOHN, LEATRICE, Letter on “Vasari’s Rhetoric,” 521 BERGSTEIN, MARY, “Lonely Aphrodites: On the Documentary Photog- OGH, ANDREW The Magnifici tomb: A Key Projienc Mitch elan raphy of Sculpture,” 475-498 gelo’s Architectural Career,” 567-598 CONE, MICHELE C., “ ‘Abstract Art as a Veil: Tricolor Painting in Vichy PAOLETTI, JOHN 1 ‘Michelangelo's Masks,” 423—440 France, 1940—44,” 191-204 STEINBERG, LEO Who's Who in Michelangelo’s Creation of Adam CORBETT, DAVID PETERS, ~ “The Third Factor’: Modernity and the Chronology of the Picture’s Reluctant Self-Revelation,” 552 566 Absent City in the Work of Paul Nash 1919-36,” 457-474 17th- and 18th-Century CURTIS, GERARD, “Ford Madox Brown’s WV An Iconographic ADAMS review of P Sutton, Masters of Dutch 17th- Analysis,” 623-636. Century Landscape Painting, 334-339 DRISKEL, MICHAEL PAUL review issoglou-Kallmyer ELKINS, JAMES, review of B. M. Stafford, Body Criticism, Imaging: the French Images from the Greek War 1821-1830: Art and Unseen in F tenment {rt and Medicine, 517—520 Politics under the Restoration, 33° GERMER, In Search of a Beholder On the Relation between EFIMOVA, ALLA, review of B ihe fot 1rt of Stalinism Art, Audiences, and Social Spheres in Post-Thermidor France,” 19-36 Avant-Garde, Aesthetic Dictatorship 690: 69? GOLDBERG \RD L. “Velazquez in Italy: Painters, Spies, and Low HARRISON, CHARLES, reviews of M. Fried, Courbet Realism: K Spaniards 156 Herding, Courbet: To Venture Independence, 341-344 HARVEY, MAI \CKSON, “Death and Dynasty in the Bouillon Tomb HERTEL, CHRISTIANE, “Irony, Dream, and Kitsch: Max Klinger’s Commissions.” 271—296 Paraphrase of the Finding of a Glo ve and German Modernism, "91-114. JOYCE, HI LACHMAN, CHARLES, SEE fF \R EASTERN PAUI LINDSAY, SUZANNE GLOVER, “Some Evangelical Roots for Hébert’s Gallery,” 2 Toujours et jamais,” 619-622 POSN », reviewosf ]. M. Merz, Pietro da ( ortona. Der Aufstieg PUDLES, LYNNE, “Fernand Khnopff, Georges Rodenbach, and Bruges, iler im barocken Rom; |. B Scott, Images of Nepotism. The the Dead City,” 637-654 f Palazzo Be wrbermi, 33 534 SPITZ, ELLEN HANDLER, review of J]. M MacGregor, The Discovery of NINA EUGENIA, review of W. S. Melion, Shaping the the Art of the Insane, 346-348 Karel Van Mande Schilder-Boeck,” 683-686 WARLICK, M. E., “Mythic Rebirth in Gustav Klimt’s Stoclet Frieze: New rURRII HERINE, “Gian Maria Riminaldi and the Affair of the Considerationso f Its Egyptianizing Form and Content,” 115-134 3usts, 44 j 1a‘ ¢ , f # - ° . co. i 5 . i se mt ney « = : Le x : aeE e ae yeas od . ’ a ’ se : ” < ee rs . ‘ f ~ ’ ‘ eee — .. . ’ et yore * . ‘ aR ; : é { : * ‘ - i oe . | por4 a an . { sit " 4 . ; £ . aus * . ’ . 2 od r + bd t i : eat 4 .; e * . 4 . ‘ ; s Vg — — ' ” ‘i - A } 1 - ' ” z si { ate ¢ 5 : a - U ' ; . , ’ sf : Fy . . { . : rr sa *. ' ' - % i * é P \ : : : , . e . 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