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The Great Business

Nicholas Penny, 21 March 1985

Art of the 19th Century: Painting and Sculpture 
by Robert Rosenblum and H.W. Janson.
Thames and Hudson, 527 pp., £25, March 1984, 0 500 23385 3
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Romanticism and Realism: The Mythology of 19th-Century Art 
by Charles Rosen and Henri Zerner.
Faber, 244 pp., £15, October 1984, 0 571 13332 0
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Géricault: His Life and Work 
by Lorenz Eitner.
Orbis, 376 pp., £40, March 1983, 0 85613 384 1
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Tradition and Desire: From David to Delacroix 
by Norman Bryson.
Cambridge, 277 pp., £27.50, August 1984, 0 521 24193 6
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... a working-class wedding party lost in the Louvre on a Sunday afternoon; but it is easy to imagine how it might have been given more popular appeal, and when it was sent by Bullock from London to Dublin it met there with competition from a ‘Marine Peristrephic Panorama’ consisting of thousands of feet of canvas painted with larger than life-size figures ...

White Hat/Black Hat

Frances Richard: 20th-Century Art, 6 April 2006

Art since 1900: Modernism, Antimodernism, Postmodernism 
by Hal Foster, Rosalind Krauss, Yve-Alain Bois and Benjamin H.D. Buchloh.
Thames and Hudson, 704 pp., £45, March 2005, 0 500 23818 9
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... in 1926, and remained the pre-eminent survey for American undergraduates until 1962, when H.W. Janson’s History of Art joined it on introductory syllabuses. Now in its 12th edition, Gardner has been revised and updated without its pantheon of geniuses being much dislodged, while Janson, in its seventh edition, makes ...

Durability

Peter Lamarque, 15 September 1983

The Critical Historians of Art 
by Michael Podro.
Yale, 257 pp., £15, November 1982, 0 300 02862 8
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A World History of Art 
by Hugh Honour and John Fleming.
Macmillan, 639 pp., £17.50, September 1982, 0 333 23583 5
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The Test of Time: An Essay in Philosophical Aesthetics 
by Anthony Savile.
Oxford, 319 pp., £20, July 1982, 0 19 824590 4
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... is no theoretical problem more pressing in art history than that of explaining such development. How do we get from Cimabue’s Madonna Enthroned to Raphael’s Alba Madonna, or even from Brunelleschi to Bramante? And why do such changes occur? Of course development need not imply progress. Progress must by its nature be relative to a specific end or ...

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