Book Review| December 01 2020 Late Eighteenth-Century Music and Visual Culture, edited by Cliff Eisen and Alan Davison Late Eighteenth-Century Music and Visual Culture, edited by Cliff Eisen and Alan Davison. Music and Visual Cultures. Turnhout: Brepols, 2017. v, 231 pp. Anne Leonard Anne Leonard ANNE LEONARD is Manton Curator of Prints, Drawings, and Photographs at the Clark Art Institute in Williamstown, Massachusetts, where she also teaches for the Williams Graduate Program in the History of Art. She is coeditor of The Routledge Companion to Music and Visual Culture (2014), and continues to explore intersections between music and visual art as coeditor of Routledge's Music and Visual Culture series and in a forthcoming scholarly publication on the arabesque. Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (2020) 73 (3): 795–799. https://doi.org/10.1525/jams.2020.73.3.795 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Anne Leonard; Late Eighteenth-Century Music and Visual Culture, edited by Cliff Eisen and Alan Davison. Journal of the American Musicological Society 1 December 2020; 73 (3): 795–799. doi: https://doi.org/10.1525/jams.2020.73.3.795 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the American Musicological Society Search The field of music and visual culture has seen substantial flux in recent years, migrating from its historical focus on iconography to embrace a much wider range of materials and methodologies. Recent changes in the field concern everything from objects of study and forms of evidence to styles of argumentation. The present anthology, edited by Cliff Eisen and Alan Davison, reflects some of the new diversity of approaches and also betrays hints of growing pains. How so? A snapshot view: three of the volume's nine essays have “Mozart” in the title; two others are iconographical studies of a rather traditional kind; three essays, including one of the Mozart ones, center on music's visual qualities; while two take literature as music's primary partner and leave visual art largely to the side. This disparity in approaches is signaled, even reinforced, by the considerable unevenness in chapter length. Zdravko Blažeković and Thomas Tolley... You do not currently have access to this content.