February 2019

Building on her inaugural editorial, one year on Dorothy Price considers the state of the discipline in terms of equality, diversity and inclusion in Art History at the Barricades.

Truth and Mimesis in Byzantium: A Speaking Reliquary of Saint Demetrios of Thessaloniki, by Laura Veneskey, challenges existing paradigms of authenticity in medieval copies by arguing that an eleventh-century reliquary is an iconic, poetic, and microarchitectural hybrid which confounds traditional interpretive categories.

Amy Freund proposes in Sexy Beasts: The Politics of Hunting Portraiture in Eighteenth-Century France that a work by Jean-Baptiste Oudry formulates a version of elite masculinity that emphasized virility, personal sovereignty, and animal instincts, creating a model for political opposition to the absolute monarchy.

In The Waiting Time of Prostitution: Gynaecology and Temporality in Henri de Toulouse-Lautrec’s Rue des Moulins, 1894, Mary Hunter situates this work in relation to the popular motif of prostitutes waiting in nineteenth-century French culture, and explores the tensions between the bodily experience of ‘medical waiting’ and the measured time of modern gynaecology.

Tessa Paneth-Pollak’s essay, Hans Arp’s Counter-Typography, considers Hans Arp’s 7 Arpaden within the context of the European avant-garde’s interest in, and experiments with, typography in the 1920s, arguing that Arp’s commitment to a practice of ‘counter-typography’ subverts various aspects of the typographic tradition.

Hugo Frey and Jan Baetens address in Comics Culture and Roy Lichtenstein Revisited: Analysing a Forgotten ‘Feedback Loop’ the ways in which pop art influenced and altered the US comics scene circa 1965 to 1970, extending knowledge of the impact and influence of pop more generally, but also exploring Roy Lichtenstein’s debates and discussions with professional comics artists.

Spontaneity and Materiality: What Photography is in the Photography of James Welling, by Diarmuid Costello and Dominic McIver Lopes, argues that this artist’s practice explores the resources and possibilities of photography in order to express a metaphysics of the mind’s relation to its world that the new conception is well placed to articulate.

Rafael Cardoso considers the stakes of Lusophone art-historical scholarship in the review essay Why Have There Been No Great Portuguese-Language Art Historians? Two recent publications on art collectives and activist art are evaluated by Stevphen Shukaitis in The Cheese Stands Alone? Turning to the three-dimensional, Alex Potts assesses a new study in Sculpture as Architectonic Embodiment. Stephen Bann reviews an account of eighteenth- and nineteenth-century British print culture in Extra Special Illustration. Three books on early modern fashion and textiles are considered in What to Wear for Flirting in the Street by Helen Hills. And a collection of essays is the focus of Umberto Bongianino’s review Islamic Calligraphy at a Standstill.