100 Details offers Kenneth Clark's personal choice of details of paintings in the National Gallery, London, and his responses to them. Clark chooses the pictures he likes best, hoping that we will come to like them too. The result is like taking a stroll through a glorious art collection with a critic of astounding eye and intellect at our side.

First published in 1938, the book is arranged in a series of facing page spreads, now reproduced in full color, enabling us to discern analogies and contrasts between painting that are rarely seen together--a faun from Piero di Cosimo, a satyr from Rubens. The running commentaries are Kenneth Clark at his best. They range from a few lines to an entire history of still life between Giotto and Picasso, all conveyed in easy style.

Clark insists that there are countless ways of enjoying paintings, provided we stop, look, and think. He has picked the ones to stop at: the detail makes us look. And his comments, wide in scope and catholic in approach, suggest lines of thought so diverse that it is inconceivable that none will strike a chord with the reader.

It was Waldron Phoenix Belknap who first discovered that in a large proportion of early Colonial portraits the compositions had been copied in whole or in part from mezzotints published in London. The tragic and untimely death in 1949 of the founder of The Belknap Press of Harvard University Press cut short a study of the foundations of American painting upon which he had been actively engaged, but the present volume brings together its author's contributions to art history.

Prepared for publication by the staff of the Waldron Phoenix Belknap, Jr., Research Library of American Painting, at the Henry Francis duPont Winterthur Museum, the book is divided into seven parts: The Identity of Robert Feke; Problems in Identification, De Peyster Portraits; New York Painters and Patrons: The Genealogical Approach; Painters and Craftsmen; Notes on Colonial Portraits; The Discoveries of Waldron Phoenix Belknap, Jr., concerning the Influence of the English Mezzotint on Colonial Painting; New York Portraits.

The many hundreds of names included in the work are brought together in an analytical index. Two hundred and eighty-four Colonial portraits and British mezzotints are illustrated in half-tone plates. There is a four-color frontispiece.

A leading feminist art historian on the nude body, from impressionism to postmodernism.

To some viewers, Renoir’s Great Bathers is the very picture of female sensuality and beauty. To others, the sentimentalized, sexualized prettiness of the image embodies a whole tradition of masculine mastery and feminine display. Still others find in the bathers a feminine fantasy of bodily liberation. Juxtaposing these opposing points of view, Linda Nochlin deftly uncovers the dissonances surrounding artistic representation of the female form from the nineteenth century to the present.

Nochlin begins by focusing on the painterly preoccupation with bathing, whether at the beach, in lakes and rivers, in public swimming pools, or in bathtubs. Why, she asks, did the nude figure, posed in or near water, become such a dominant trope in the history of Western art? Covering artists from Manet, Cezanne, Bonnard, and Picasso to late-twentieth-century and contemporary figures such as Philip Pearlstein, Anselm Kiefer, Alice Neel, and Jenny Saville, Nochlin develops a rich interpretative collage of the layered meanings ascribed to bodies in intimate settings. She concludes with a powerful essay on aging, infirmity, and death.

A deeply personal book—Nochlin herself is depicted in more than one of the paintings she discusses, and her discussion of old age is inspired by her own looming mortality—Bathers, Bodies, Beauty draws on a lifetime of loving, hating, and wrestling with art to reveal both the visceral disappointments and supreme joys of seeing it from a feminist perspective.

The visual image is the common denominator of cinema and painting, and indeed many filmmakers have used the imagery of paintings to shape or enrich the meaning of their films. In this discerning new approach to cinema studies, Angela Dalle Vacche discusses how the use of pictorial sources in film enables eight filmmakers to comment on the interplay between the arts, on the dialectic of word and image, on the relationship between artistic creativity and sexual difference, and on the tension between tradition and modernity.

Specifically, Dalle Vacche explores Jean-Luc Godard's iconophobia (Pierrot Le Fou) and Andrei Tarkovsky's iconophilia (Andrei Rubleov), Kenji Mizoguchi's split allegiances between East and West (Five Women around Utamaro), Michelangelo Antonioni's melodramatic sensibility (Red Desert), Eric Rohmer's project to convey interiority through images (The Marquise of O), F. W. Murnau's debt to Romantic landscape painting (Nosferatu), Vincente Minnelli's affinities with American Abstract Expressionism (An American in Paris), and Alain Cavalier's use of still life and the close-up to explore the realms of mysticism and femininity (Thérèse).

While addressing issues of influence and intentionality, Dalle Vacche concludes that intertextuality is central to an appreciation of the dialogical nature of the filmic medium, which, in appropriating or rejecting art history, defines itself in relation to national traditions and broadly shared visual cultures.

The Compelling Image will delight the art-lover who does not yet realize that Chinese painting can be as original and moving as El Greco or Cézanne. With a graceful authority, James Cahill explores the radiant painting of that tumultuous era when the collapse of the Ming Dynasty and the Manchu conquest of China dramatically changed the lives and thinking of artists and intellectuals.

The brilliant masters of the seventeenth century were reconsidering their artistic relationship to nature and to the painting of earlier times, while European pictorial arts introduced by Jesuit missionaries were profoundly influencing Chinese techniques. The reader/viewer is presented with a series of crucial distinctions of style and approach in a richly illustrated book that illuminates the whole character of Chinese painting.

Cahill begins with a relatively neglected artist, Chang Hung, who moved traditional forms ever closer to literal descriptions of nature, in contrast with the theorist painter Tung Ch’i-ch’ang, who turned the same traditional forms into powerful abstractions. A chapter focused on Wu Pin offers new and controversial ideas about the impact of European art, as well as a related phenomenon: revival of the highly descriptive early Sung styles. Looking especially at Ch’en Hung-shou, the greatest of the late Ming figure painters, Cahill examines a curious mixing of real people and conventionally rendered surroundings in portrait art of the period. He analyzes the expressionist experiments of the masters known as Individualists, and distinguishes these artists from the Orthodox school, concluding with a bold reassessment of the most eloquent of later Chinese painters, Tao-chi.

Over 250 illustrations, including twelve color plates, are drawn from collections in the United States, Europe, Japan, and China. This is a book for anyone interested in China, its past, and its art, and for the enthusiast who wishes to broaden the horizons of enjoyment by exposure to a most engaging writer on an exquisite era.

In American Waters is the catalog of an exhibition co-organized by Crystal Bridges Museum of American Art in Bentonville, Arkansas, and Peabody Essex Museum in Salem, Massachusetts.

The exhibition and this associated catalog invite visitors to discover the sea as an expansive way to reflect on American culture and environment, learn how coastal and maritime symbols moved inland across the United States, and question what it means to be “in American waters.” Work by Georgia O’Keeffe, Amy Sherald, Kay WalkingStick, Norman Rockwell, Hale Woodruff, Paul Cadmus, Thomas Hart Benton, Jacob Lawrence, Valerie Hegarty, Stuart Davis, and many others is included, along with essays from scholars, critics, and the curators.

Available for the first time in English: the complete and annotated transcripts of Deleuze’s 1981 seminars on painting

From 1970 until 1987, Gilles Deleuze held a weekly seminar at the Experimental University of Vincennes and, starting in 1980, at Saint-Denis. In the spring of 1981, he began a series of eight seminars on painting and its intersections with philosophy. The recorded sessions, newly transcribed and translated into English, are now available in their entirety for the first time. Extensively annotated by philosopher David Lapoujade, On Painting illuminates Deleuze’s thinking on artistic creation, significantly extending the lines of thought in his book Francis Bacon.

Through paintings and writing by Rembrandt, Delacroix, Turner, Cézanne, Van Gogh, Klee, Pollock, and Bacon, Deleuze explores the creative process, from chaos to the pictorial fact. The introduction and use of color feature prominently as Deleuze elaborates on artistic and philosophical concepts such as the diagram, modulation, code, and the digital and the analogical. Through this scrutiny, he raises a series of profound and stimulating questions for his students: How does a painter ward off grayness and attain color? What is a line without contour? Why paint at all?

Written and thought in a rhizomatic manner that is thoroughly Deleuzian—strange, powerful, and novel—On Painting traverses both the conception of art history and the possibility of color as a philosophical concept.

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Throughout the history of imperial China, the educated elite used various means to criticize government policies and actions. During the Song dynasty (960-1278), some members of this elite found an elegant and subtle means of dissent: landscape painting.

By examining literary archetypes, the titles of paintings, contemporary inscriptions, and the historical context, Alfreda Murck shows that certain paintings expressed strong political opinions—some transparent, others deliberately concealed. She argues that the coding of messages in seemingly innocuous paintings was an important factor in the growing respect for painting among the educated elite and that the capacity of painting's systems of reference to allow scholars to express dissent with impunity contributed to the art's vitality and longevity.

If a river runs through it, somewhere there is bound to be a bridge. Little in the landscape remains untouched by human hands, and every touch, from the simplest ditch to the most intricate monument, reveals a political decision or design. This is how Martin Warnke, one of Germany's leading art historians, looks at landscape in this book, which leads to a new way of seeing nature as we have appropriated, represented, and transformed it over time. Covering nearly a thousand years and most of western Europe, The Political Landscape provides a compelling summary history of modern humanity's ill-fated attempt to master nature.

Warnke finds evidence of the politicized landscape everywhere, on nature's own ground and in art, artifacts, and architecture, in features defined by the demands of conquest and defense, property rights and picturesque improvement, trade, tradition, communication, and commemoration. Whether considering the role of landscape in battle depictions, or investigating monumental figures from the Colossus of Rhodes to Mount Rushmore, or asking why gold backgrounds in paintings gave way to mountains topped with castles, Warnke reconfigures our idea of landscape, its significance, and its representations. The book sharpens our perceptions of nature in art and as art--a nature charged with symbol and meaning as a result of interventions by turns enlightened, insensitive, or, as now, dangerously corrosive.

Federico Borromeo, Cardinal-Archbishop of Milan (1564–1631), is well known as a leading Catholic reformer and as the founder of the Ambrosiana library, art collection, and academy in that city. Less known is the fact that the institution's art museum was the culmination of many decades of reflection on the aesthetic qualities and religious roles of art. Borromeo recorded his reflections in two treatises.

De pictura sacra (Sacred Painting, 1624) laid out the rules that artists should follow when creating religious art. Borromeo touched on dozens of iconographical issues and in so doing drew on his deep knowledge not only of church fathers, councils, and scripture but also of classical art and literature. In Musaeum (1625) Borromeo showed a less doctrinaire and more personal side by walking the reader through the Ambrosiana and commenting on specific works in his collection. He offered some of the earliest and most important critiques to survive on works by artists such as Leonardo, Titian, and Jan Brueghel the Elder.

This volume offers, for the first time, translations of the treatises directly into English as well as freshly edited Latin texts, an introduction, extensive notes, and an appendix on the Academy of Design that was established in conjunction with the museum. These treatises will be of great interest to students of the history of art, museums, and religion.

Sassetta, the subtle genius from Siena, revolutionized Italian painting with an altarpiece for the small Tuscan town of Borgo San Sepolcro in 1437–1444. Originally standing some six yards high, double-sided, with a splendid gilt frame over the main altar of the local Franciscan church, it was the Rolls Royce of early Renaissance painting. But its myriad figures and scenes tempted the collectors of the nineteenth and twentieth centuries, and today its disassembled panels can be found in twelve museums throughout Europe and the United States.

To produce this landmark volume, experts in art and general history, painting technique and conservation, woodworking, architecture, and liturgy have joined forces across the boundaries of eight different nations. A model of collaboration, it opens new windows onto the creative process of the artist as he confronted a late-medieval church at a crossroad of cultures, the miracle-working body of a holy man, and a community of Franciscan friars breathing the exhilarating air of reform. To confront such challenges, Sassetta raised the most spiritual school of early Italian art, the Sienese, to a higher level of understanding, grace, and splendor.

That Sir Joshua Reynolds (1723–1792) became the most fashionable painter of his time was not simply due to his artistic gifts or good fortune. The art of pleasing, Richard Wendorf contends, was as much a part of Reynolds’s success—in his life and in his work—as the art of painting. The author’s examination of Reynolds’s life and career illuminates the nature of eighteenth-century English society in relation to the enterprise of portrait-painting. Conceived as an experiment in cultural criticism, written along the fault lines that separate (but also link) art history and literary studies, Sir Joshua Reynolds: The Painter in Society explores the ways in which portrait-painting is embedded in the social fabric of a given culture as well as in the social and professional transaction between the artist and his or her subject. In addition to providing a new view of Reynolds, Wendorf’s book develops a thoroughly new way of interpreting portraiture.

Wendorf takes us into Reynolds’s studio to show us the artist deploying his considerable social and theatrical skills in staging his sittings as carefully orchestrated performances. The painter’s difficult relationship with his sister Frances (also an artist and writer), his complicated maneuvering with patrons, the manner in which he set himself up as an artist and businessman, his highly politicized career as the first president of the Royal Academy of Arts: as each of these aspects of Reynolds’s practice comes under Wendorf’s scrutiny, a new picture of the painter emerges—more sharply defined and fully fleshed than the Reynolds of past portraits, and clearly delineating his capacity for provoking ambivalence among friends and colleagues, and among viewers and readers today.

The Maoist guerrilla group Shining Path launched its violent campaign against the government in Peru’s Ayacucho region in 1980. When the military and counterinsurgency police forces were dispatched to oppose the insurrection, the violence quickly escalated. The peasant community of Sarhua was at the epicenter of the conflict, and this small village is the focus of Unveiling Secrets of War in the Peruvian Andes. There, nearly a decade after the event, Olga M. González follows the tangled thread of a public secret: the disappearance of Narciso Huicho, the man blamed for plunging Sarhua into a conflict that would sunder the community for years.

Drawing on extensive fieldwork and a novel use of a cycle of paintings, González examines the relationship between secrecy and memory. Her attention to the gaps and silences within both the Sarhuinos’ oral histories and the paintings reveals the pervasive reality of secrecy for people who have endured episodes of intense violence. González conveys how public secrets turn the process of unmasking into a complex mode of truth telling. Ultimately, public secrecy is an intricate way of “remembering to forget” that establishes a normative truth that makes life livable in the aftermath of a civil war.