Drawing attention to concerns of diversity within the discipline, incoming editor of Art History, Dorothy Price, sets out in an inaugural editorial her vision for the journal over the next five years.
Devotion and Dissent in Late-Medieval Illuminated World Chronicles by Nina Rowe examines images and text recounting tales of Daniel at the court of Nebuchadnezzar in three manuscripts dated from c. 1360 to 1402, finding in them expressions of unease with ecclesiastical ornament and with devotion focused on sacred images.
Esther Chadwick’s essay, Bewick’s ‘Little Whimsies’: Printmaking, Paper Money and Currency Radicalism in Early Nineteenth-Century Britain, establishes the links between a little-known ‘experimental vignette’ by Bewick and his work as an engraver of banknotes and anti-forgery devices, bringing the politics of paper money that emerged in the decades around 1800 to bear on a number of the artist’s more famous wood-engravings.
In On the Origins of Abstraction: Seurat and the Screening of History, Alastair Wright proposes that Seurat’s early work was haunted by political events (most notably the Paris Commune), and by aspects of the artistic past (specifically the radical associations of naturalism) that many wished in the early 1880s to forget.
Focusing on Pablo Picasso’s newspaper collages of winter 1912, which are known collectively as the papiers collés or pasted papers, Anonymity and Doubt: Reading Picasso’s Papiers Collés with Mallarmé by Trevor Stark addresses the trope of anonymity or impersonality in cubism.
Craig Clunas uses an engagement with the idea of trauma and its repetition in The Politics of Inscription in Modern Chinese Art to argue that the use of inscriptions both on and in modern Chinese images are responses to specific contingent politics, rather than an essential element of ‘Chinese painting’.
Re-membering Surrealism in Charles Henri Ford’s Poem Posters (1964–65) by Joanna Pawlik considers how Ford’s anachronistic recourse to surrealism in the 1940s and again in the 1960s, long after the movement was said to have passed its expiry date, aligns disruption of linear narratives of avant-gardism with a recalculation of its customary heteronormativity.
Two recent publications on post-war Italian art are reviewed in Forms of Thinking by Teresa Kittler. Anna Lovatt evaluates an account of the work of the sculptor Anne Truitt in American Elegies. A new collection of essays is assessed in Raphael and Replicas by Larry Silver. Painting and Economics in Baroque Naples by Joris van Gastel looks at a recent monograph on the industry of painting. Anne Dunlop concentrates in A Vision Thing on an account of medieval cartographic imagination. And in Art History and the Biological View David Hulks analyses a book on Darwin, evolution, and neuroscience.