Art Bulletin 2007（4）目录

Art Bulletin
December 2007, Volume LXXXIX Number 4
Articles
FABIO BARRY
Walking on Water: Cosmic Floors in Antiquity and the Middle Ages
627


For centuries, observers imagined a “frozen sea” in the book-matched marble floor of Hagia Sophia. Enduring perceptions of marble as a liquid substance led to similar descriptions of floors of other medieval churches, east and west, and the concept was consciously revived in late-nineteenth-century London. Such floors could simultaneously evoke primeval chaos and theological images of the sea: devotees who “walked on water” could visualize themselves in a sacred edifice of macrocosmic pretensions in which the Creator too would feel at home.
CHARLOTTE A. STANFORD
The Body at the Funeral: Imagery and Commemoration at Notre-Dame, Paris, 1304-18
657


In the early fourteenth century, two funeral images of prominent clergy members were incorporated into the preexisting obituary text of the cathedral of Notre-Dame of Paris. Virtually unrecognized by scholars except in the occasional stylistic analysis, these illuminations are in fact important evidence of the crucial role of the physical body in memorial strategies. When these images are resituated in their liturgical context, it becomes evident that images fail to wholly take the body's place in fourteenth-century commemorative practices.
MICHELLE O'MALLEY
Quality, Demand, and the Pressures of Reputation: Rethinking Perugino
674


What is the economic meaning of reputation? The associations that existed among reputation, demand, production, and price in the careers of popular Renaissance painters are complex. A body of written, visual, and analytic material from about 1500 concerning the painter Pietro Perugino makes it possible to investigate these interrelations and to explore the strategies that arose to deal with the demand that resulted from fame. Reputation and demand together exerted immense force on production practices, and this pressure had significant effects on the quality of works of art, regardless of price.
ALISON M. KETTERING
Men at Work in Dutch Art, or Keeping One's Nose to the Grindstone
694


Depictions of masculine labor in Dutch art, although falling outside the usual repertoire, extend our understanding of European visual culture in the seventeenth century. Investigation of this imagery brings class and gender into art historical analysis while considering what was deemed appropriate subject matter, and what was not. Gabriel Metsu's Interior of a Smithy, Gerard ter Borch's Grinder's Family, and the artisan paintings of Quiringh van Brekelenkam are discussed in detail. Each is compared with the notion of the ideal workplace, and each is seen in the light of contemporary labor conditions, socioeconomic forces, ideologies, and gender norms.
MICHAEL PAUL DRISKEL
By the Light of Providence: The Glory Altarpiece at St. Paul's Chapel, New York City
715


The Glory Altarpiece in St. Paul's Chapel, part of a strategy to rededicate its site to the new republic, represents themes that lie at the very core of the Foundation Myth of America. In conflating nationalism and religion, it recapitulates a defining characteristic of the early American republic itself. Study of the transformation of its French Catholic sources, when imported to Protestant America, helps define what is uniquely “American” about the work. The transmutation of these same sources during the French Revolution provides an example of the capacity of visual symbols to contain radical differences in meaning in different historical contexts.
MARILYN R. BROWN
“Miss La La's” Teeth: Reflections on Degas and “Race”
738


In the representation of “race” in Edgar Degas's Miss La La at the Cirque Fernando, the precarious positioning of the acrobat's teeth gives extraordinary embodiment to a historical moment of white masculine anxiety. Degas portrayed the mulatto performer at a time when scientific racism was attempting to police the boundaries between whites and blacks while fixating on the hybrid product of their sexual contact. Operating within this framework, “Miss La La” became an unstable focus for Degas's contradictory projections of creativity and identity.
DARIO GAMBONI
Parsifal/Druidess: Unfolding a Lithographic Metamorphosis by Odilon Redon
766


In 1891 and 1892, Odilon Redon realized the three lithographs Druidess, Parsifal, and a first version of Parsifal rediscovered in 1976. Druidess was drawn from the first Parsifal turned upside down, a procedure with more than casual significance. Contextual research shows that Wagner's Parsifal and the Druidesses of Celtic revivalists could be interpreted as complementary figures. At the same time, analysis of Redon's artistic method reconstructs an open-ended creative process combining conscious and unconscious elements. The transformation sequence appears structured like the thesis-antithesis-synthesis formula and demonstrates affinities to Freud's and Jung's notions of psychic processes and gendered identity.
CÉCILE WHITING
A New England Lament: Charles Sheeler and Paul Strand in the 1940s
797


In the 1940s both Charles Sheeler and Paul Strand depicted the derelict textile mills of New England. But whereas Sheeler returned again and again, obsessively, to the single motif of the textile mill in canvases painted over a seven-year stretch of time, Strand incorporated the abandoned mills into a material history of the region. Freud's “Mourning and Melancholia” (1917) sheds light on how these artists managed their recognition of industrial collapse, not coincidentally, at a moment when both had to contend with their own aging bodies and their increased marginalization in the art world.
Book Reviews
GIANCARLO FIORENZA
Stephen J. Campbell, The Cabinet of Eros: Renaissance Mythological Painting and the Studiolo of Isabella d'Este
818


CHRISTOPHER S. WOOD
Thomas Noll, Albrecht Altdorfer in seiner Zeit: Religiöse und profane Themen in der Kunst um 1500; Magdalena Bushart, Sehen und Erkennen: Albrecht Altdorfers religiöse Bilder; Margit Stadlober, Der Wald in der Malerei und der Graphik des Donaustils
779


DAVID QUINT
Jonathan Unglaub, Poussin and the Poetics of Painting: Pictorial Narrative and the Legacy of Tasso
821


JULIA BRYAN-WILSON
Mignon Nixon, Fantastic Reality: Louise Bourgeois and a Story of Modern Art
823


Books Received
827


Reviews Online
833


Index
835

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