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“... Both these books are art books in the particular sense that the main reason for paying quite large sums for them would be their illustrations. This is not to say their texts are bad. Both are by distinguished Dürer scholars and both offer tidy brief versions of the academic consensus without any eccentricities. Anzelewsky proceeds chronologically: after a first short chapter on Nuremberg he works through Dürer’s career in ten uncontroversial phases, Strieder goes by topic: ‘personality’, writings, ambience, influences, subject-matters, techniques – he was director of the great quincentenary Dürer exhibition in Nuremberg in 1971, and the arrangement reminds one a little of that ...”

“... The first point to make about this book, which is that it is an event, should not muffle the second point, which is that it is enjoyable. But it is an event. Though there are good recent studies of details, this (as Hitchcock himself points out) is the first comprehensive book on the subject in any language since a clutch in the 1920s. What Hitchcock does not say, but someone else can, is that those books of the 1920s are diversely repellent – paper or pictures, baffling allusiveness – and only to be addressed on days of high vitality and bright sun ...”

“... In the middle of his new book Michael Baxandall wonders whether the ‘complex Newtonian-Lockean sense of how we see’, which he has just expertly expounded, provides any ‘purchase’ on Chardin’s painting, A Lady Taking Tea, to which ‘our primary explanatory duty is due.’ It is bracing to discover that we have this duty but I am puzzled by what exactly needs explanation ...”

“... Tiepolo,’ Svetlana Alpers and Michael Baxandall write, ‘is not a difficult painter. He is accessible and easy to like.’ Well, up to a point. For example, while I did not find the Tiepolos in the Royal Academy’s exhibition of 18th-century Venetian art ‘difficult’ in any obvious way, I did not find them ‘easy to like’ either ...”

“... perceptual material relates to such stratagems. Painters (well, some kinds of painters) must, as Michael Baxandall puts it, ‘backtrack down the channels of perception, undoing the integration of features that is higher perception’s achievement, pushing right back down to the early visual modules of brightness, colour and the rest’. To be ...”

“... many of the distinctive, and often contradictory, traits of the early Renaissance in Germany. Michael Baxandall’s excellent book continually reminds us that a school of this kind cannot be separated from the social context in which it flourished. It was an age of demographic growth and commercial expansion which saw the emergence of early ...”

“... writings on art, together with an example, certainly admirable, by Richard Schiff of what Michael Baxandall has called ‘inferential art criticism’. Baxandall is represented by an attenuated version of a 1979 paper called ‘The Language of Art Criticism’, which would have been a marginally preferable ...”

“... painter as well as a ‘completely equipped humanist’, the description given to him by Michael Baxandall thirty years ago in Giotto and the Orators, the book that has done most to establish the current view of Alberti. Grafton has contextualised him more fully, but there are also important differences in the way he and ...”

“... history. A similar model or map of culture is implicit in the work of historians in other fields: Michael Baxandall, for example, has explored the possible relation between cultural practices as different as painting, gauging barrels, and calligraphy, and Roger Chartier is concerned, like Greenblatt, with both practices and representations, and above all ...”

“... art is quite another matter: altogether more ambitious and probing. Out of D.S. Chambers and Michael Baxandall and some Italian scholars Robinson measures up Pound’s ideas about the right relation between artist and patron against what we know of how patronage in fact worked in the ducal fiefs of Renaissance Italy; and when he deals with the ...”

“... Old and New Testament episodes? Art historians will wish to add their own footnotes. According to Michael Baxandall, for instance, what Huizinga calls a 15th-century painter’s horror vacui may simply have reflected the horror of a patron at getting less than his money’s worth, and therefore insisting on crowding a tableau with figures, paid for per ...”

“... marked between academics and curators who worked on premodern periods – the Renaissance expert Michael Baxandall, for example, was greatly respected in both worlds – and some curators of 20th-century art are much admired in the academy (the Museum of Modern Art in New York has had a string of such figures, from William Rubin to John Elderfield to ...”

“... at the time of its submission a Syndic of the Press, and Watson was very rude to me, the publisher Michael Black preferred not to submit a proposal to the Syndicate. I hope and believe this is not true, and that Black, a serious Leavisian with whom I was quite genially associated for a good many years, knew me well enough to understand that such a ...”

“... 1960 in Art and Illusion, and a similar equipoise was subsequently maintained in the writings of Michael Baxandall. But how long can you keep a department running by reference to a certain tone of voice? A greater security for its onward operation, a sounder status in academic bargaining, seemed promised by the panoramic critiques of authorship that ...”

“... startling to someone used to – say – Marxist criticism, or to the work of art historians like Michael Baxandall and Frances Yates. The emphases and conclusions differ – as they do between the essayists here – but the principle of balancing evidence intrinsic to the painting against material that lies outside the frame to make a critical account ...”