The Art Book

The Art Book Wiley Online Library : The Art Bookhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2F%28ISSN%291467-8357John Wiley & Sons, Incen© BPL/AAH1368-62671467-83572010-11-01T00:00:00-05:00November 20101742104Editorialhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01123.xEditorialGILL WHITELEY2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01123.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01123.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01123.x22A Quiet Brand of Radicalismhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01124.xA Quiet Brand of RadicalismPAUL BONAVENTURA2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01124.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01124.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01124.x34Memling – Major, Minor, Master?http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01125.xMemling – Major, Minor, Master?LARRY SILVER2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01125.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01125.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01125.x56Moments of Inspiration: Capturing the Creative Spirit at The British Museumhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01126.xMoments of Inspiration: Capturing the Creative Spirit at The British MuseumSOPHIE BOSTOCK2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01126.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01126.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01126.x78Beauty Beyond the Selfhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01127.xBeauty Beyond the SelfPHIL BAKER2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01127.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01127.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01127.x910Paint and Ink: Artists' Lettershttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01128.xPaint and Ink: Artists' LettersALEXANDER ADAMS2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01128.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01128.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01128.x1112A Wise Book, Long Awaitedhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01129.xA Wise Book, Long AwaitedMARION ARNOLD2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01129.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01129.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01129.x1314A Compelling Indictment of Evil and Human Miseryhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01130.xA Compelling Indictment of Evil and Human MiseryJULIAN FREEMAN2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01130.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01130.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01130.x1516‘… talking of Michelangelo’?http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01131.x‘… talking of Michelangelo’?BERNARD BARRYTE2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01131.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01131.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01131.x1718William Morris – the social conscience of arts and craftshttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01132.xWilliam Morris – the social conscience of arts and craftsJENNY KINGSLEY2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01132.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01132.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01132.x1921In a League of His Ownhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01133.xIn a League of His OwnSTEPHANIE COTELA TANNER2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01133.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01133.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01133.x2223WATERCOLOUR IN BRITAIN BY MARTIN MYRONE (ED.)http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134.xWATERCOLOUR IN BRITAIN BY MARTIN MYRONE (ED.)MARGARETTA S FREDERICK2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01134.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01134.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134.x2425ON THE MOVE: VISUALISING ACTION BY JONATHAN MILLERhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_1.xON THE MOVE: VISUALISING ACTION BY JONATHAN MILLERROSALIND MCKEVER2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01134_1.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01134_1.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_1.x2526CHRISTEN KØBKE: DANISH MASTER OF LIGHT BY DAVID JACKSON WITH KASPER MONRADhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_2.xCHRISTEN KØBKE: DANISH MASTER OF LIGHT BY DAVID JACKSON WITH KASPER MONRADALETTE RYE SCALES2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01134_2.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01134_2.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_2.x2627DUCCIO TO LEONARDO: ITALIAN PAINTING 1250–1500 BY SIMONA DE NEPIhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_3.xDUCCIO TO LEONARDO: ITALIAN PAINTING 1250–1500 BY SIMONA DE NEPIDARRELYN GUNZBURG2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01134_3.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01134_3.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_3.x2728LUIS MELÉNDEZ MASTER OF THE SPANISH STILL LIFE BY GRETCHEN A HIRSCHAUER ET AL.http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_4.xLUIS MELÉNDEZ MASTER OF THE SPANISH STILL LIFE BY GRETCHEN A HIRSCHAUER ET AL.ROSA SOMERVILLE2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01134_4.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01134_4.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_4.x2829CHRIS OFILI BY JUDITH NESBITT (ED.)http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_5.xCHRIS OFILI BY JUDITH NESBITT (ED.)KATHRYN BROWN2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01134_5.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01134_5.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_5.x2929THE ARTIST'S STUDIO BY GILES WATERFIELD (ED.)http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_6.xTHE ARTIST'S STUDIO BY GILES WATERFIELD (ED.)ELEANOR ROBBINS2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01134_6.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01134_6.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_6.x2930MASTERPIECES OF IMPRESSIONISM & POST- IMPRESSIONISM THE ANNENBERG COLLECTION BY COLIN BAILEY, JOSEPH RISHEL, MARK ROSENTHAL ET AL.http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_7.xMASTERPIECES OF IMPRESSIONISM & POST- IMPRESSIONISM THE ANNENBERG COLLECTION BY COLIN BAILEY, JOSEPH RISHEL, MARK ROSENTHAL ET AL.IAN WELLAND2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01134_7.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01134_7.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_7.x3031MUNICH: ITS GOLDEN AGE OF ART AND CULTURE 1890–1920 BY RAINER METZGERhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_8.xMUNICH: ITS GOLDEN AGE OF ART AND CULTURE 1890–1920 BY RAINER METZGERROBERT RADFORD2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01134_8.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01134_8.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_8.x3232UNPACKING MY LIBRARY: ARCHITECTS AND THEIR BOOKS BY JO STEFFENS (ED.)http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_9.xUNPACKING MY LIBRARY: ARCHITECTS AND THEIR BOOKS BY JO STEFFENS (ED.)GRAEME BROOKER2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01134_9.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01134_9.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_9.x3333ARTS D'ISLAM: CHEFS-D'OEUVRES DE LA COLLECTION KHALILI BY J M ROGERS ET AL.http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_10.xARTS D'ISLAM: CHEFS-D'OEUVRES DE LA COLLECTION KHALILI BY J M ROGERS ET AL.MATT CAMBRIDGE2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01134_10.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01134_10.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_10.x3334FORCED JOURNEYS: ARTISTS IN EXILE IN BRITAIN c 1933–45 BY RACHEL DICKSON ET AL. (EDS)http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_11.xFORCED JOURNEYS: ARTISTS IN EXILE IN BRITAIN c 1933–45 BY RACHEL DICKSON ET AL. (EDS)VERONICA DAVIES2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01134_11.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01134_11.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_11.x3435DIALOGUES IN ART HISTORY, FROM MESOPOTAMIAN TO MODERN BY ELIZABETH CROPPER (ED.)http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_12.xDIALOGUES IN ART HISTORY, FROM MESOPOTAMIAN TO MODERN BY ELIZABETH CROPPER (ED.)DARRELYN GUNZBURG2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01134_12.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01134_12.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_12.x3536TIME OUT OF JOINT: RECALL AND EVOCATION IN RECENT ART BY LUIGI FASSI ET AL. (EDS)http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_13.xTIME OUT OF JOINT: RECALL AND EVOCATION IN RECENT ART BY LUIGI FASSI ET AL. (EDS)TOM HUHN2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01134_13.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01134_13.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_13.x3637FROM THE PRIVATE COLLECTIONS OF TEXAS: EUROPEAN ART, ANCIENT TO MODERN BY RICHARD R BRETTELL AND C D DICKERSON IIIhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_14.xFROM THE PRIVATE COLLECTIONS OF TEXAS: EUROPEAN ART, ANCIENT TO MODERN BY RICHARD R BRETTELL AND C D DICKERSON IIICRAIG BUNCH2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01134_14.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01134_14.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_14.x3738OUTSIDER ART: FROM THE MARGINS TO THE MARKETPLACE BY DAVID MACLAGANhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_15.xOUTSIDER ART: FROM THE MARGINS TO THE MARKETPLACE BY DAVID MACLAGANERICA WRIGHT2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01134_15.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01134_15.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_15.x3839BRITISH AND IRISH ART 1945–51: FROM WAR TO FESTIVAL BY ADRIAN CLARKhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_16.xBRITISH AND IRISH ART 1945–51: FROM WAR TO FESTIVAL BY ADRIAN CLARKJULIAN FREEMAN2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01134_16.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01134_16.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_16.x3940AT THE RUSSIAN COURT: PALACE AND PROTOCOL IN THE 19th CENTURY BY V FJODOROV ET AL.http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_17.xAT THE RUSSIAN COURT: PALACE AND PROTOCOL IN THE 19th CENTURY BY V FJODOROV ET AL.AMY SARGEANT2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01134_17.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01134_17.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_17.x4041GABRIEL OROZCO BY ANN TEMKIN (ED.)http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_18.xGABRIEL OROZCO BY ANN TEMKIN (ED.)MATTHEW BOWMAN2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01134_18.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01134_18.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_18.x4141A Garden Within Doors: Plants and Flowers in the Home from 1600 to the Present Day BY KATIE CAMPBELLhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_19.xA Garden Within Doors: Plants and Flowers in the Home from 1600 to the Present Day BY KATIE CAMPBELLKATIE CAMPBELL2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01134_19.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01134_19.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01134_19.x4242Chagall's ‘Lost’ Masterpiecehttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01135.xChagall's ‘Lost’ MasterpieceDARRELYN GUNZBURG2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01135.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01135.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01135.x4344On Their Bikes!http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01136.xOn Their Bikes!GILLIAN WHITELEY2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01136.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01136.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01136.x4546INTO THE FRAME: THE FOUR LOVES OF FORD MADOX BROWN BY ANGELA THIRLWELL, FREDERIC, LORD LEIGHTON: 1830–1896 PAINTER AND SCULPTOR OF THE VICTORIAN AGE BY CHRISTOPHER NEWALL ET AL. AND JAMES TISSOT: THE LIFE OF CHRIST BY JUDITH DOLKART (ED.)http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137.xINTO THE FRAME: THE FOUR LOVES OF FORD MADOX BROWN BY ANGELA THIRLWELL, FREDERIC, LORD LEIGHTON: 1830–1896 PAINTER AND SCULPTOR OF THE VICTORIAN AGE BY CHRISTOPHER NEWALL ET AL. AND JAMES TISSOT: THE LIFE OF CHRIST BY JUDITH DOLKART (ED.)COLIN CRUISE2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137.x4748MURALNOMAD: THE PARADOX OF WALL PAINTING, EUROPE 1927–1957 BY ROMY GOLANhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_1.xMURALNOMAD: THE PARADOX OF WALL PAINTING, EUROPE 1927–1957 BY ROMY GOLANPENELOPE CURTIS2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137_1.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137_1.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_1.x4849THE INVENTION OF NEW ZEALAND: ART AND NATIONAL IDENTITY 1930–1970 BY FRANCIS POUNDhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_2.xTHE INVENTION OF NEW ZEALAND: ART AND NATIONAL IDENTITY 1930–1970 BY FRANCIS POUNDELIZABETH RANKIN2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137_2.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137_2.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_2.x4950PAINTING FOR PROFIT: THE ECONOMIC LIVES OF SEVENTEENTH-CENTURY ITALIAN PAINTERS BY RICHARD E SPEAR AND PHILIP SOHM ET AL.http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_3.xPAINTING FOR PROFIT: THE ECONOMIC LIVES OF SEVENTEENTH-CENTURY ITALIAN PAINTERS BY RICHARD E SPEAR AND PHILIP SOHM ET AL.LARRY SILVER2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137_3.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137_3.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_3.x5051THE FAÇADE RELIEFS OF ORVIETO CATHEDRAL BY ANITA FEDERER MOSKOWITZ AND DAVID FINNhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_4.xTHE FAÇADE RELIEFS OF ORVIETO CATHEDRAL BY ANITA FEDERER MOSKOWITZ AND DAVID FINNROGER TARR2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137_4.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137_4.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_4.x5252ED RUSCHA'S LOS ANGELES BY ALEXANDRA SCHWARTZhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_5.xED RUSCHA'S LOS ANGELES BY ALEXANDRA SCHWARTZALEXANDRA M KOKOLI2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137_5.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137_5.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_5.x5254TIM ROLLINS AND K.O.S. A HISTORY BY IAN BERRY (ED.)http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_6.xTIM ROLLINS AND K.O.S. A HISTORY BY IAN BERRY (ED.)HOWARD HOLLANDS2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137_6.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137_6.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_6.x5454LIFE STORIES OF WOMEN ARTISTS, 1550–1800: AN ANTHOLOGY BY JULIA K DABBShttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_7.xLIFE STORIES OF WOMEN ARTISTS, 1550–1800: AN ANTHOLOGY BY JULIA K DABBSBETH WILLIAMSON2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137_7.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137_7.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_7.x5455THE MOURNERS: TOMB SCULPTURES FROM THE COURT OF BURGUNDY BY SOPHIE JUGIEhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_8.xTHE MOURNERS: TOMB SCULPTURES FROM THE COURT OF BURGUNDY BY SOPHIE JUGIEMATT CAMBRIDGE2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137_8.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137_8.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_8.x5556ART AND ARTIFACT: THE MUSEUM AS MEDIUM BY JAMES PUTNAMhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_9.xART AND ARTIFACT: THE MUSEUM AS MEDIUM BY JAMES PUTNAMDARRELYN GUNZBURG2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137_9.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137_9.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_9.x5657THE TRIUMPH OF MODERNISM INDIA'S ARTISTS AND THE AVANT-GARDE 1922–1947 BY PARTHA MITTER, NEW VISION ARAB CONTEMPORARY ART IN THE 21ST CENTURY BY HOSEEIN AMIRSADEGHI ET AL. (EDS) AND DISSIDENT SYRIA: MAKING OPPOSITIONAL ARTS OFFICIAL BY MIRIAM COOKEhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_10.xTHE TRIUMPH OF MODERNISM INDIA'S ARTISTS AND THE AVANT-GARDE 1922–1947 BY PARTHA MITTER, NEW VISION ARAB CONTEMPORARY ART IN THE 21ST CENTURY BY HOSEEIN AMIRSADEGHI ET AL. (EDS) AND DISSIDENT SYRIA: MAKING OPPOSITIONAL ARTS OFFICIAL BY MIRIAM COOKESUSAN NOYES PLATT2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137_10.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137_10.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_10.x5758THE EYE'S MIND: BRIDGET RILEY COLLECTED WRITINGS 1965–2009 BY ROBERT KUDIELKA (ED.)http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_11.xTHE EYE'S MIND: BRIDGET RILEY COLLECTED WRITINGS 1965–2009 BY ROBERT KUDIELKA (ED.)FRANCES FOLLIN2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137_11.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137_11.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_11.x5859MARCEL DUCHAMP: ÉTANT DONNÉS BY JULIAN JASON HALADYNhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_12.xMARCEL DUCHAMP: ÉTANT DONNÉS BY JULIAN JASON HALADYNCHAY ALLEN2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137_12.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137_12.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_12.x6060THE GREAT CITIES IN HISTORY BY JOHN JULIUS NORWICH (ED.)http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_13.xTHE GREAT CITIES IN HISTORY BY JOHN JULIUS NORWICH (ED.)SUSAN GRANGE2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137_13.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137_13.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_13.x6062AESTHETIC JOURNALISM: HOW TO INFORM WITHOUT INFORMING BY ALFREDO CRAMEROTTIhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_14.xAESTHETIC JOURNALISM: HOW TO INFORM WITHOUT INFORMING BY ALFREDO CRAMEROTTIKATHLEEN MACQUEEN2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137_14.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137_14.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_14.x6262ART+SCIENCE NOW – HOW SCIENTIFIC RESEARCH AND TECHNOLOGICAL INNOVATION ARE BECOMING KEY TO 21ST- CENTURY AESTHETICS BY STEPHEN WILSONhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_15.xART+SCIENCE NOW – HOW SCIENTIFIC RESEARCH AND TECHNOLOGICAL INNOVATION ARE BECOMING KEY TO 21ST- CENTURY AESTHETICS BY STEPHEN WILSONERICA WRIGHT2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137_15.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137_15.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_15.x6364THE LIFE & THE WORK: ART AND BIOGRAPHY BY CHARLES G SALAS (ED.)http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_16.xTHE LIFE & THE WORK: ART AND BIOGRAPHY BY CHARLES G SALAS (ED.)KATERINA REED-TSOCHA2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137_16.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137_16.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_16.x6464THE ART QUESTION BY NIGEL WARBURTONhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_17.xTHE ART QUESTION BY NIGEL WARBURTONCLIVE JOINSON2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137_17.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137_17.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_17.x6465THE SIXTEENTH CENTURY ITALIAN PAINTINGS. VOLUME II VENICE 1540–1600 BY NICHOLAS PENNYhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_18.xTHE SIXTEENTH CENTURY ITALIAN PAINTINGS. VOLUME II VENICE 1540–1600 BY NICHOLAS PENNYGABRIELE NEHER2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137_18.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137_18.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_18.x6566GERHARD RICHTER: A LIFE IN PAINTING BY DIETMAR ELGER (TRANS. ELIZABETH M SOLARO)http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_19.xGERHARD RICHTER: A LIFE IN PAINTING BY DIETMAR ELGER (TRANS. ELIZABETH M SOLARO)IAN WELLAND2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137_19.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137_19.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_19.x6667IRISES: VINCENT VAN GOGH IN THE GARDEN BY JENNIFER HELVEYhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_20.xIRISES: VINCENT VAN GOGH IN THE GARDEN BY JENNIFER HELVEYANGELA SUMMERFIELD2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137_20.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137_20.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_20.x6768UNDERSTANDING ART OBJECTS: THINKING THROUGH THE EYE BY TONY GODFREYhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_21.xUNDERSTANDING ART OBJECTS: THINKING THROUGH THE EYE BY TONY GODFREYSTEPHANIE COTELA TANNER2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137_21.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137_21.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_21.x6869ANTHONY CARO BY K WILKIN (ED.)http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_22.xANTHONY CARO BY K WILKIN (ED.)ALEXANDER ADAMS2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137_22.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137_22.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_22.x6970ANDY WARHOL BY ARTHUR C DANTOhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_23.xANDY WARHOL BY ARTHUR C DANTOKATHRYN BROWN2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137_23.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137_23.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_23.x7071ANISH KAPOOR: TO DARKNESS, SVAYAMBH BY RAINER CRONE AND ALEXANDRA VON STOSCHhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_24.xANISH KAPOOR: TO DARKNESS, SVAYAMBH BY RAINER CRONE AND ALEXANDRA VON STOSCHJOSEPH N NEWLAND2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137_24.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137_24.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_24.x7172METROPOLITAN MUSEUM STUDIES IN ART, SCIENCE, AND TECHNOLOGY. VOLUME 1http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_25.xMETROPOLITAN MUSEUM STUDIES IN ART, SCIENCE, AND TECHNOLOGY. VOLUME 1ALAN WILLIAMS2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01137_25.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01137_25.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01137_25.x7272The World's Art Under One Roof: The Sainsbury Centre for Visual Arts, Norwichhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01138.xThe World's Art Under One Roof: The Sainsbury Centre for Visual Arts, NorwichMATTHEW SILLENCE2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01138.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01138.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01138.x7374Looking Back – Seventeen Years of The Art Bookhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01139.xLooking Back – Seventeen Years of The Art BookSUE WARD2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01139.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01139.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01139.x7576VAN DOESBURG & THE INTERNATIONAL AVANT GARDE CONSTRUCTING A NEW WORLD. BY GLADYS FABRE & DORIS WINTGENS HÜTTE (EDS)http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01140.xVAN DOESBURG & THE INTERNATIONAL AVANT GARDE CONSTRUCTING A NEW WORLD. BY GLADYS FABRE & DORIS WINTGENS HÜTTE (EDS)HENRY MATTHEWS2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01140.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01140.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01140.x7778SHIRLEY CRAVEN AND HULL TRADERS: REVOLUTIONARY FABRICS AND FURNITURE 1957–1980. BY LESLEY JACKSONhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01140_1.xSHIRLEY CRAVEN AND HULL TRADERS: REVOLUTIONARY FABRICS AND FURNITURE 1957–1980. BY LESLEY JACKSONCHRISTINE BOYDELL2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01140_1.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01140_1.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01140_1.x7879WADDESDON MANOR THE HERITAGE OF A ROTHSCHILD HOUSE. BY MICHAEL HALL FOREWORD BY LORD ROTHSCHILDhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01140_2.xWADDESDON MANOR THE HERITAGE OF A ROTHSCHILD HOUSE. BY MICHAEL HALL FOREWORD BY LORD ROTHSCHILDIAN WELLAND2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01140_2.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01140_2.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01140_2.x7980ANJALENDRAN: ARCHITECT OF SRI LANKA. BY DAVID ROBSON, PHOTOGRAPHY BY WARUNA GOMIShttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01140_3.xANJALENDRAN: ARCHITECT OF SRI LANKA. BY DAVID ROBSON, PHOTOGRAPHY BY WARUNA GOMISKATIE CAMPBELL2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01140_3.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01140_3.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01140_3.x8081MOSQUES OF ISTANBUL INCLUDING THE MOSQUES OF BURSA AND EDIRNE. BY HENRY MATTHEWShttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01140_4.xMOSQUES OF ISTANBUL INCLUDING THE MOSQUES OF BURSA AND EDIRNE. BY HENRY MATTHEWSRAFI SAMIZAY2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01140_4.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01140_4.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01140_4.x8182FROM AUTOS TO ARCHITECTURE: FORDISM AND ARCHITECTURAL AESTHETICS IN THE TWENTIETH CENTURY. BY DAVID GARTMANhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01140_5.xFROM AUTOS TO ARCHITECTURE: FORDISM AND ARCHITECTURAL AESTHETICS IN THE TWENTIETH CENTURY. BY DAVID GARTMANMICHAEL KAPLAN2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01140_5.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01140_5.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01140_5.x8282EXHIBITION DESIGN. BY PHILIP HUGHEShttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01140_6.xEXHIBITION DESIGN. BY PHILIP HUGHESG JAMES DAICHENDT2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01140_6.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01140_6.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01140_6.x8283THE MODERN WING: RENZO PIANO AND THE ART INSTITUTE OF CHICAGO. BY JAMES CUNO, PAUL GOLDBERGER, AND JOSEPH ROSAhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01140_7.xTHE MODERN WING: RENZO PIANO AND THE ART INSTITUTE OF CHICAGO. BY JAMES CUNO, PAUL GOLDBERGER, AND JOSEPH ROSASCOTT MURRAY2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01140_7.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01140_7.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01140_7.x8384TATE MODERN IS TEN YEARS OLDhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01140_8.xTATE MODERN IS TEN YEARS OLD2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01140_8.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01140_8.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01140_8.x8484THE DUSSELDORF SCHOOL OF PHOTOGRAPHY. BY STEFAN GRONERThttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01141.xTHE DUSSELDORF SCHOOL OF PHOTOGRAPHY. BY STEFAN GRONERTGUY LANE2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01141.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01141.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01141.x8586LOOKING AT PHOTOGRAPHS: A GUIDE TO TECHNICAL TERMS REVISED EDITION. BY GORDON BALDWIN AND MARTIN JÜRGENS AND LOOKING AT PAINTINGS: A GUIDE TO TECHNICAL TERMS REVISED EDITION. BY TIARNA DOHERTY AND ANNE T WOOLLETThttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01141_1.xLOOKING AT PHOTOGRAPHS: A GUIDE TO TECHNICAL TERMS REVISED EDITION. BY GORDON BALDWIN AND MARTIN JÜRGENS AND LOOKING AT PAINTINGS: A GUIDE TO TECHNICAL TERMS REVISED EDITION. BY TIARNA DOHERTY AND ANNE T WOOLLETTVICTORIA KELLER2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01141_1.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01141_1.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01141_1.x8686EXPOSED: VOYEURISM, SURVEILLANCE AND THE CAMERA. BY SANDRA PHILLIPS ET AL.http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01141_2.xEXPOSED: VOYEURISM, SURVEILLANCE AND THE CAMERA. BY SANDRA PHILLIPS ET AL.CLIVE JOINSON2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01141_2.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01141_2.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01141_2.x8687FEMME NOIR: THE BAD GIRLS OF FILM. BY KAREN BURROUGHS HANNSBERRYhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01142.xFEMME NOIR: THE BAD GIRLS OF FILM. BY KAREN BURROUGHS HANNSBERRYIAN JONES2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01142.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01142.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01142.x8888PIERRE BATCHEFF AND STARDOM IN 1920s FRENCH CINEMA. BY PHIL POWRIE WITH ÉRIC REBILLARD AND FIGURATIONS OF EXILE IN HITCHCOCK AND NABOKOV. BY BARBARA STRAUMANNhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01142_1.xPIERRE BATCHEFF AND STARDOM IN 1920s FRENCH CINEMA. BY PHIL POWRIE WITH ÉRIC REBILLARD AND FIGURATIONS OF EXILE IN HITCHCOCK AND NABOKOV. BY BARBARA STRAUMANNAMY SARGEANT2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01142_1.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01142_1.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01142_1.x8889Musing and meandering through labyrinths and mazes …http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01143.xMusing and meandering through labyrinths and mazes …JENNY KINGSLEY2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01143.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01143.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01143.x9092AVANT GARDENERS BY TIM RICHARDSONhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144.xAVANT GARDENERS BY TIM RICHARDSONANGELA SUMMERFIELD2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01144.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01144.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144.x9393JOHN ARMSTRONG: THE PAINTINGS BY ANDREW LAMBIRTH ET AL.http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_1.xJOHN ARMSTRONG: THE PAINTINGS BY ANDREW LAMBIRTH ET AL.JULIAN FREEMAN2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01144_1.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01144_1.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_1.x9494AFRICAN SIGNS BY ROB FLOORhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_2.xAFRICAN SIGNS BY ROB FLOORMARION ARNOLD2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01144_2.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01144_2.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_2.x9495ART AND TEXT BY AIMEE SELBY (ED.)http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_3.xART AND TEXT BY AIMEE SELBY (ED.)NICOLA HOMER2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01144_3.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01144_3.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_3.x9596JOHN MCLEAN BY IAN COLLINShttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_4.xJOHN MCLEAN BY IAN COLLINSJOHN HALDANE2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01144_4.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01144_4.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_4.x9696SHOPPING IN THE RENAISSANCE: CONSUMER CULTURES IN ITALY 1400–1600 BY EVELYN WELCHhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_5.xSHOPPING IN THE RENAISSANCE: CONSUMER CULTURES IN ITALY 1400–1600 BY EVELYN WELCHGABRIELE NEHER2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01144_5.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01144_5.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_5.x9697THE ARTS OF INDUSTRY IN THE AGE OF ENLIGHTENMENT BY CELINA FOXhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_6.xTHE ARTS OF INDUSTRY IN THE AGE OF ENLIGHTENMENT BY CELINA FOXPATRICIA ANDREW2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01144_6.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01144_6.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_6.x9798MONET'S GARDEN IN GIVERNY: INVENTING THE LANDSCAPE BY MARINA FERRETTI BOCQUILLON ET AL. (EDS) SIMON PLEASANCE AND FRONZA WOODS (TRANS)http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_7.xMONET'S GARDEN IN GIVERNY: INVENTING THE LANDSCAPE BY MARINA FERRETTI BOCQUILLON ET AL. (EDS) SIMON PLEASANCE AND FRONZA WOODS (TRANS)YVES LABERGE2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01144_7.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01144_7.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_7.x9898CROSSES AND CRUCIFIXES: TREASURES FROM THE 8th TO 19th CENTURY BY OLEG ZASTROWhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_8.xCROSSES AND CRUCIFIXES: TREASURES FROM THE 8th TO 19th CENTURY BY OLEG ZASTROWANGELA SUMMERFIELD2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01144_8.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01144_8.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_8.x9899HANGING FIRE: CONTEMPORARY ART FROM PAKISTAN BY SALIMA HASHMI ET AL.http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_9.xHANGING FIRE: CONTEMPORARY ART FROM PAKISTAN BY SALIMA HASHMI ET AL.JANET TYSON2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01144_9.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01144_9.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_9.x99100JACQUELINE GROAG TEXTILE & PATTERN DESIGN: WIENER WERKSTÄTTE TO AMERICAN MODERN BY GEOFFREY RAYNER ET AL.http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_10.xJACQUELINE GROAG TEXTILE & PATTERN DESIGN: WIENER WERKSTÄTTE TO AMERICAN MODERN BY GEOFFREY RAYNER ET AL.CHRISTINE BOYDELL2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01144_10.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01144_10.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_10.x100100THE PEANUTS COLLECTION BY NAT GERTLERhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_11.xTHE PEANUTS COLLECTION BY NAT GERTLERPHOEBE HUNTER2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01144_11.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01144_11.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_11.x100101DIGGING AND DEALING IN EIGHTEENTH-CENTURY ROME BY ILARIA BIGNAMINI & CLARE HORNSBYhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_12.xDIGGING AND DEALING IN EIGHTEENTH-CENTURY ROME BY ILARIA BIGNAMINI & CLARE HORNSBYPATRICIA ANDREW2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01144_12.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01144_12.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_12.x101101BRITISH PRINTS FROM THE MACHINE AGE RHYTHMS OF MODERN LIFE 1914–1939 BY CHRISTOPHER S ACKLEY (ED.)http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_13.xBRITISH PRINTS FROM THE MACHINE AGE RHYTHMS OF MODERN LIFE 1914–1939 BY CHRISTOPHER S ACKLEY (ED.)DENNIS WARDLEWORTH2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01144_13.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01144_13.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_13.x102102FORBIDDEN FRUIT. A HISTORY OF WOMEN AND BOOKS IN ART BY CHRISTINE INMANNhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_14.xFORBIDDEN FRUIT. A HISTORY OF WOMEN AND BOOKS IN ART BY CHRISTINE INMANNMARION ARNOLD2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01144_14.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01144_14.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_14.x102103MODERN BRITISH POSTERS: ART, DESIGN AND COMMUNICATION BY PAUL RENNIEhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_15.xMODERN BRITISH POSTERS: ART, DESIGN AND COMMUNICATION BY PAUL RENNIEVERONICA DAVIES2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01144_15.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01144_15.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_15.x103104BECOMING EDVARD MUNCH: INFLUENCE, ANXIETY, AND MYTH. BY JAY A CLARKE ET AL.http://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_16.xBECOMING EDVARD MUNCH: INFLUENCE, ANXIETY, AND MYTH. BY JAY A CLARKE ET AL.YVES LABERGE2010-11-22T05:51:34.077987-05:00doi:10.1111/j.1467-8357.2010.01144_16.xJohn Wiley & Sons, Inc.10.1111/j.1467-8357.2010.01144_16.xhttp://onlinelibrary.wiley.com/resolve/doi?DOI=10.1111%2Fj.1467-8357.2010.01144_16.x104104