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The article discusses the use of computer vision in analyzing the material nature of art. Topics mentioned include the importance of understanding how artworks are made and the inspirations of artists, the examination of surface textures of photographic prints, and the photomechanical reproduction of images.

The article explores the work of the artist Andrea Mantegna. Particular focus is given to his works on paper, most particularly his engravings. Additional topics explored include his artwork "The Entombment," dating from 1465-1470, the history of engraving and graphic arts and how his work compares to that of other artists including Jacopo Bellini.

The article focuses on the papers of the 19th-century British art connoisseur and curator George Scharf. The author notes that the papers, which are housed at the National Portrait Gallery in London, England, represent a remarkable repository of unpublished information regarding hundreds of old master paintings. Particular focus is paid to a series of papers relating to the art collections of the industrialist Abraham Darby IV and the art dealer John Watkins Brett. The paintings, which toured the U.S. in the 1830s, are related to early efforts to establish the first American national gallery. In addition, the author comments on the display of the paintings at the "Art Treasures of the United Kingdom" exhibition held in Manchester, England in 1857.

Analyzes the works of American painter Edgar Degas and his social formation by examining letters and documents included in the DeGas-Musson Papers. Development of DeGas' artistic career; DeGas' relationship with his New Orleans family, the Mussons; Musson family's political, economic, and racial attitudes during the American Civil War and Reconstruction; Liquidation and failure of the DeGas family bank.

The article discusses "Guitar," a constructed-paper sculpture made by the artist Pablo Picasso in 1912. It is argued that the paper "Guitar" should be seen as the inaugural work of modern sculpture. The work's relationship to its sequel, the sheet-metal "Guitar" made by Picasso in 1914, is discussed. The author explores how the earlier work is related to contemporary collages and constructions and how it became a conceptual model for subsequent works. The author also suggests that the de-skilled technique used by the artist in the creation of "Guitar" allows the work to reflect on contemporary labor conditions.

Focuses on inscription, ethnicity and ethnography in Jewish art. History of scientific representation; Clues to the history of Christian-Jewish ethnic conflict; Materialization of ethnic genealogy; Circumcision among Christians and Jews; Notarial writing in the inquisition.

Presents an inventory on three volumes of the archives of Renaissance painter Giorgio Vasari at the Beinecke Rare Book and Manuscript Library at Yale University, New Haven, Connecticut. Highlights of the archives; Document on the work of Vasari on the decoration of the cupola of Florence Cathedral in Italy; Insights on account books in the archives.

A list of books this magazine has received from January to March 2006 is presented. Included are "Xul Solar: Visions and Revelations," by Patricia M. Artundo, Jorge Schwartz and Daniel Nelson; "Pieter Claesz: Master of Haarlem Still Life," by Pieter Biesboer; and "The Museum Establishment and Contemporary Art: The Politics of Artistic Display in France after 1968," by Rebecca J. Deroo.

The article presents a list of books related to art. It includes "SlideShow: Projected Images in Contemporary Art," by Darsie Alexander, "Roberto Coromina: Pinturas Precisas," edited by Albert Bacells, and "Creating Artists Books," by Sarah Bodman.

The article lists severals books received by the "Art Bulletin" including "The Early Writings of Vito Acconci," edited by Craig Dworkin, "Traditional Japanese Arts and Culture: An Illustrated Sourcebook," edited by Stephen Addis, Gerald Groemer, and J. Thomas Rimer, and "Andrew Wyeth: Master Drawings from the Artist's Collection," edited by Henry Adams.

The article presents a list of books received by the magazine during the period April-June 2006. Among the titles were "Along Some Rivers: Photographs and Conversations," by Robert Adams, "Museum Skepticism: A History of the Display of Art in Public Galleries," by David Carrier and "The Preference for the Primitive: Episodes in the History of Western Taste and Art," by E. H. Gombrich.

The article lists books published on the arts including "A Maryland Sampling: Girlhood Embroidery" by Gloria Seaman Allen, "Conservation Treatment Methodology" by Barbara Appelbaum, and "The Coral Mind" by Stephen Bann.

A list of art related books from September-December 2006 is presented. "Else/where: Mapping," edited by Janet Abrams and Peter Hall is listed. "Undercover Surrealism: Georges Bataille and Documents," by Dawn Ades and Simon Baker is featured. "Classical Drawing Atelier: A Contemporary Guide to Traditional Studio Practice," by Juliette Aristides is also mentioned.

The article presents a list of books on art. The books include "Giorgio Morandi: The Art of Silence," by Janet Abramowicz, "Building the Bank of England: Money, Architecture, Society 1694-1942," by Daniel M. Abramson, and "Real Photo Postcards: Unbelievable. Images from the Collection of Harvey Tulcensky," by Todd Alden and edited by Laetitia Wolff.

The article presents a list of books on art including "A History of Western Art," 4th edition, by Laurie Schneider Adams, "Dugout," by Terry Allen, "A Star-Crossed Life: A Memoir," by Andy Anselmo, "The American Country House," by Clive Aslet, and "Traditional Techniques in Contemporary Chinese Printmaking," by David Barker.

Lists several books related to art. "Symbols and Allegories in Art," by Matilde Battistini; "Seizing the Light: A History of Photography," by Robert Hirsch; "People of the River: Native Arts of the Oregon Territory," by Bill Mercer.

Presents a list of books received by the magazine "The Art Bulletin" from June to September 2004. "Robert Stewart: Design 1946-85," by Liz Arthur; "Islam and the Religious Arts," by Patricia L. Baker; "Michelangelo's Double Self-Portraits," by Edith Balas; "Heath Robinson," by Geoffrey Beare.

Presents a list of books received about art from February to April 2004. "Modernism and Music: An Anthology of Sources," edited by Daniel Albright; "The Particulars of Rapture: An Aesthetics of the Affects," by Charles Altieri; "One Hundred Creative Drawing Ideas," edited by Anna Held Audette; "Art versus Nonart: Art Out of Mind," by Tsion Avital.

Presents a list of books received by "The Art Bulletin," in May-July 2003. "Paul Klee's Pictorial Writing," by K. Porter Aichele; "Elizabeth Blackadder Prints," by Christopher Allan; "Frederic Remington: The Color of the Night," by Nancy K. Anderson, et al.

The article lists books published on the arts including "Embattled Avant-Gardes: Modernism's Resistance to Commodity Culture in Europe" by Walter L. Adamson, "The Vexations of Art: Veláquez and Others" by Svetlana Alpers, and "The Artwork Caught by the Tail: Francis Picabia and Dada in Paris" by George Baker.

Presents a list of books related to art. "The Century of Artists' Books," by Johanna Drucker; "Sexed Universals in Contemporary Art," by Penny Florence; "Art Works: Money," by Katy Siegel and Paul Mattick.

Lists several books on art for February-April 2003. "Ordinary Images," by Stanley Abe; "Sociology of the Arts: Exploring Fine and Popular Forms," by Victor D. Alexander; "The Encyclopedia of Ancient Egyptian Architecture," by Dieter Arnold.

This paper traces the idea of the "mechanical" as applied to ancient Greek and Roman sculpture. Use of the term is tracked from the eighteenth century onward and connected with the development of sculpturing machines during this period and their impact on the scholarly interpretation of making ancient stone sculpture. The disparagement of Roman marbles took off just as mechanical copying techniques were becoming better-known and more widely available. This paper explores the roots of this trend, showing how the notions of quality and the mechanical became entwined in a way that persisted well into the twentieth century. [ABSTRACT FROM AUTHOR]

Edgar Degas's stay in New Orleans in 1872–73, which marked his only visit to the New World, resulted in two remarkable paintings of a cotton office. Linking Southern cotton to the French textiles he frequently depicted and to his works' paper supports demonstrates the centrality of the material to the artist's corpus. More broadly, Degas's cotton office paintings, as well as drawings and letters produced during his time abroad, reflect his meditation on the connections that bound the Old and New Worlds together and the transportation technology that facilitated the global circulation of people, goods, and communications. [ABSTRACT FROM AUTHOR]

The article lists the books received by the journal between April and June 2007, including "Marie-Louise von Motesiczky: 1906-1996" edited by Jeremy Adler and Birgit Sander, "Paul Klee, Poet/Painter" by Kathryn Porter Aichele, and "At Home in Renaissance Italy" edited by Marta Ajmar-Wollheim and Flora Dennis.

Presents a list of books about art. "Art History After Modernism," by Hans Belting; "Crafting Gender: Women and Folk Art in Latin America and the Caribbean," edited by Eli Bartra; "Remembering Sepharad: Jewish Culture in Medieval Spain," by Isidro G. Bango.

The "dematerialization" thesis has long animated studies of conceptualism. Stemming from Western social formations and information theory, it is dialectically related to cybernetic theories from East Germany that cast information, labor, and material as inseparable. This essay draws on these understudied theories to frame Ruth Wolf-Rehfeldt's typewritten prints in terms of concrete conceptualism, which mediates the material and the informational via transnational mail art networks and electronic surveillance infrastructure. Ultimately her work reveals a complex picture of Cold War culture in which informational imaginaries coalesce across geopolitical lines. [ABSTRACT FROM AUTHOR]

This essay pursues a close reading of Hippolyte Bayard's Boutique d'épicier (1843), a photographic depiction of a Parisian shopfront that combines still life, street scene, and stratified social portrait. Interpreting this early specimen of negative-positive photography as a self-reflexive picture, the author explores rich analogies between photographs and vitrines (cabinets of curiosity, shopwindows), photographers and grocers (traffickers of exotic goods, philistines, chemical agents). Other considerations include the changeable nature of tastes, patterns of metropolitan consumption, and comparisons between Bayard's composition, photographs by Henry Talbot, and caricatures of the grocer by Honoré Daumier, Charles-Joseph Traviès, and Honoré de Balzac. [ABSTRACT FROM AUTHOR]

A list of books about the arts is presented which includes "Thinking Through Craft," by Glenn Adamson, "Fra Angelico," by Diane Cole Ahl, and "Andrew Bush: Drive," by Andrew Bush.

Presents a list of books received by "The Art Bulletin" from November 2004 to January 2005.

Commonly seen to display military prowess or chivalric virtue, parade armor of the sixteenth century here is considered for its impact on the wearer's own physiology and psychology. Through juxtaposing the ergonomic features of muscle cuirasses and children's harnesses with courtly etiquette rules, humanist educational regimes, and orthopedic devices in medicine, this paper reveals armor's stakes in fashioning the princely body by means of physical discipline rather than visual representation. Plate armor, by "correcting" posture and mannering comportment, aided in molding an exemplary disposition expected to incite subjects to imitation. [ABSTRACT FROM AUTHOR]

The last quarter of the nineteenth century witnessed a surge of interest in prints among Parisian art enthusiasts. The taste and the knowledge of the distinct stages of each print's evolution, known as states, were developed. One aspect of this creative process was of particular interest to collectors: the parts of the print left blank in the process of its creation. Some printmakers were particularly admired and their work prized for those states in which the emerging composition was broken up by the white of the paper. This was especially the case with Claude-Ferdinand Gaillard (1834–1887). His work and its reception by collectors are central to this article. [ABSTRACT FROM AUTHOR]

This paper documents the visual culture of Nigeria at the beginning of the twentieth century. It offers a discussion of a single piece of woodcarving and places this in relation to workshop carvings in the Yoruba town of Abeokuta. More precisely, it places that work into the context of a colonial history, suggesting the carving is a portrait and record of a particular event. The paper looks to other examples of Yoruba woodcarving, placing them into relationship with historical events before moving to a wider consideration of Yoruba visual culture and its representations of Yoruba cultural agency in relation to the British colonial regime. [ABSTRACT FROM AUTHOR]