In the 1960s, art patron Dominique de Menil founded an image archive showing the ways that people of African descent have been represented in Western art. Highlights from her collection appeared in three large-format volumes that quickly became collector's items. A half-century later, Harvard University Press and the Du Bois Institute are proud to publish a complete set of ten sumptuous books, including new editions of the original volumes and two additional ones.

The much-awaited "Artists of the Renaissance and Baroque" has been written by an international team of distinguished scholars, and covers the sixteenth and seventeenth centuries. The rise of slavery and the presence of black people in Europe irrevocably affected the works of the best artists of the time. Essays on the black Magus and the image of the black in Italy, Spain, and Britain, with detailed studies of Rembrandt and Heliodorus's "Aethiopica," all presented with superb color plates, make this new volume a worthy addition to this classic series.

He was one of the last great court artists and at the same time a significant trailblazer for modern art: Francisco de Goya. The Fondation Beyeler is preparing one of the most extensive exhibitions of his work outside of Spain. In his more than sixty-year-long career, Goya was an astute observer of the drama of reason and irrationality, of dreams and nightmares. His pictures show things that go beyond social conventions: he depicts saints and criminals, witches and demons, breaking open the gates to realms where the boundaries between reality and fantasy blur. The show gathers more than seventy paintings, around sixty masterful drawings, and a selection of prints that invite the viewer to an encounter with the beautiful, as well as the incomprehensible. The extensive catalogue examines Goya's unique artistic impact in texts by renowned interpreters, and splendid photo galleries.

In the 1960s, art patron Dominique de Menil founded an image archive showing the ways that people of African descent have been represented in Western art. Highlights from her collection appeared in three large-format volumes that quickly became collector's items. A half-century later, Harvard University Press and the Du Bois Institute are proud to publish a complete set of ten sumptuous books, including new editions of the original volumes and two additional ones. Black Models and White Myths examines the tendentious racial assumptions behind representations of Africans that emphasized the contrast between "civilization" and "savagery" and the development of so-called scientific and ethnographic racism. These works often depicted Africans within a context of sexuality and exoticism, representing their allegedly natural behavior as a counterpoint to inhibited European conduct.

Victor Stoichita offers a sensational reinterpretation of one of the most famous and at the same time one of the most enigmatic paintings of the Italian Renaissance - Vittore Carpaccio's The Vision of St. Augustine. Carpaccio (c. 1465-1525) created the painting in the Scuola degli Schiavoni in Venice at the beginning of the 16th century, as part of an interior design cycle honoring St. Jerome. Stoichita clarifies how Carpaccio was able to represent a telepathic miracle in the medium of painting, not only by bringing clarity to the complex iconography of the work, but also through a reanalysis of the textual sources and the thick fabric of interconnected ties between the written and painted story. His interpretation of the image also significantly changes the view of its program and the meaning of the painting cycle as a whole. The book was produced in the context of the Panofsky professorship at the Zentralinstitut fur Kunstgeschichte in Munich, which Victor Stoichita held in 2016.