Sarah Charlesworth


    Ten scholars, critics, writers, and artists choose the year’s outstanding titles.


    Imagine that you are listening to a spirited conversation between a French art historian and a German painter. De Rouget and Daimler, as they are called, are at lunch on a recent October Sunday near Pontarlier. It is where Degas vacationed briefly in 1904 and where absinthe is made. In Il était plus grand que nous ne pensions: Édouard Manet et Degas (Paris: Nouvelles Éditions Scala/Collection Ateliers Imaginaires), Éric Darragon, author of a subtle biography of Manet and writings on contemporary German

  • Camera Lucida

    THROUGH THE VOLUMINOUS body of his critical undertaking, Roland Barthes single-handedly transformed not only the language of Modern criticism, but its method, scope, and application as well. His essays published during the last three decades are now considered classics, and range broadly in style and subject matter from the rigorous structural critique of language in its formal aspect in his semiological writings, to the free-flowing and discursive exploration of its various forms and specific texts. In addition to literature, Barthes’ conception of “language,” and hence his field of inquiry,