front cover of Mantegna and Painting as Historical Narrative
Mantegna and Painting as Historical Narrative
Jack M. Greenstein
University of Chicago Press, 1992
In this extraordinary explication of one of the most enigmatic and influential works of the Renaissance, the Uffizi Circumcision of Christ, Jack M. Greenstein reassesses the nature and goals of high humanist narrative painting.

"Greenstein has raised the level of sophistication of the historical criticism of Renaissance painting by at least one whole notch; at the same time, he has written a book for everyone interested in problems of interpretation."—David Summers, University of Virginia
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front cover of Painting Texas History to 1900
Painting Texas History to 1900
By Sam D. Ratcliffe
University of Texas Press, 1992

Certificate of Commendation, American Association for State and Local History, 1994
T. R. Fehrenbach Book Award, Texas Historical Commission, 1992
San Antonio Conservation Society Citation, 1993

Dramatic historical events have frequently provided subject matter for artists, particularly in pre-twentieth-century Texas, where works portraying historical, often legendary, events and individuals predominated. Until now, however, these paintings of Texas history have never received the kind of study given to historical, fictional, and film versions of the same events. Painting Texas History to 1900 fills this gap with an interdisciplinary approach that explores these paintings both as works of art and as historical documents.

The author examines the works of more than forty artists, including Henry McArdle, Theodore Gentilz, Robert Onderdonk, William Huddle, Frederic Remington, Friedrich Richard Petri, Arthur T. Lee, Seth Eastman, Sarah Hardinge, Frank Reaugh, W. G. M. Samuel, Carl G. von Iwonski, and Julius Stockfleth. He places each work within its historical and cultural context to show why such subject matter was chosen, why it was depicted in a particular way, and why such a depiction gained popular acceptance. For example, paintings of heroic events of the Texas Revolution were especially popular in the years following the Civil War, when, in Ratcliffe's view, Texans needed such images to assuage the loss of the war and the humiliation of Reconstruction.

Though the paintings cut across traditional art history categories—from the pictographs of early historic Indians to European-inspired oil paintings—they are bound together by their artists' intent for them to function as historically evocative documents. With their visual narratives of events that characterized all of America's westward expansion—Indian encounters, military battles, farming, ranching, surveying, and the closing of the frontier—these works add an important chapter to the story of the American West.

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front cover of A Unique Banchado
A Unique Banchado
The Documentary Painting of King Jeongjo’s Royal Procession to Hwaseong in 1795
Han Young-woo
Amsterdam University Press, 2017
Fully illustrated in colour, here is the first introduction in English to one of Korea’s outstanding cultural assets – the banchado (‘painting of the order of guests at a royal event’) – relating to all those taking part (1800 people) in the eight-day royal procession to Hwaseong (Gyeonggi Province) organized by King Jeongjo in 1795 for the dual purpose of visiting his father’s tomb and celebrating his mother’s sixtieth birthday. The banchado is a fine example of the meticulous record-keeping of the period (known as uigwe – the subject-matter of this book being known as the Wonhaeng eulmyo jeongni uigwe) and the skills of the court artists at that time. In addition to the banchado illustrations, the Wonhaeng eulmyo jeongni uigwe contains extensive lists of all the participants in the procession, details of the workers and technicians involved, including their duties and wages. It even includes the different foods offered at meal-times, the quantity of ingredients and the costs. The author provides a full analysis of the context, planning, execution and significance of the event.
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