Abstract

Books reviewed in this section are:Marsha Meskimmon, We Weren't Modern Enough: Women Artists and the Limits of German ModernismLouis Torres and Michelle Marder Kamhi, What Art Is: The Esthetic Theory of Ayn RandAshok Roy, (ed) National Gallery Technical Bulletin Volume 21Mary D Garrard, Artemesia Gentileschi Around 1622: The Shaping and Reshaping of an Artistic IdentityElizabeth Valdez del Alamo ,(ed) Memory and the Medieval TombDavid Lomas The Haunted Self: Surrealism, Psychoanalysis, SubjectivityAlexandra Munroe and Jon Hendricks, Yes: Yoko OnoHelen McDonald, Erotic Ambiguities: The Female Nude in ArtAnita Fiderer Moskowitz, Italian Gothic Sculpture c.1250–c.1450Paul McCartney, Paul McCartney: PaintingsPeter Kennedy Scott, A Romantic Look at Norwich School Landscapes by a Handful of Great Little MastersPaul Hayes Tucker, The Impressionists at ArgenteuilNancy Spector, (ed) Guggenheim Museum Collection A to ZPhilip Nord, Impressionists and Politics — Art and Democracy in the Nineteenth CenturyLisa Jardine and Jerry Brotton, Global Interests: Renaissance Art Between East and WestStephanie Barron, Sheri Bernstein and Ilene Susan Fort, (eds) Reading California: Art, Image, and Identity, 1900–2000Mary Rogers, (ed) Fashioning Identities in Renaissance ArtCarmen Bambach, et al Correggion and Parmigianino: Master Draughtsmen of the RenaissancePierre Francastel, Art and Technology in the Nineteenth and Twentieth CenturiesIsabelle Frank ,The Theory of Decorative Art. An Anthology of European and American Writings, 1750–1940Fiona Carson and Claire Pajaczkowska, Feminist Visual CultureRobert O'Byrne, Hugh Lane: 1875–1915 American University Presses Directory 2000–2001 Foreword by John Edwards, 7 Reece Mews: Francis Bacon's Studio

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