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Are there miscarriages of justice in art history? Neil MacGregor believes there are. However great an artist, if his name is lost he will not receive a fair verdict from posterity. No exhibition will be devoted to his work; no books will be written about him; he will not even figure in indexes.

Among these neglected geniuses is the 15th-century painter known only as the Master of the Saint Bartholomew Altarpiece. He may have been Netherlandish or German; he may or may not have been a monk. On stylistic grounds an oeuvre of half a dozen paintings, three of them large altarpieces, are attributed to him, and from them a vivid, if hypothetical personality can be built up: emotional, compassionate, observant, original, humorous. All that is certain is that he was a great painter whose name, if known, would rank with Botticelli or Holbein.

In A Victim of Anonymity, Neil MacGregor corrects the judgement of history by demonstrating the power of this unacknowledged master, making us look closely at works that are all too easily passed over, showing us a peerless artist whose paintings derive their fame from nothing but their own superlative merits.

A fresh and vibrant account of the USA’s New Deal art programmes, highlighting diversity, activism, social justice, and urgent lessons for today.

Franklin D. Roosevelt’s landslide victory in the USA’s 1932 presidential election gave him a mandate to institute a ‘New Deal’ for US citizens, and by so doing offer them ‘a more abundant life’. For a decade between 1933 and 1943 the New Deal art programs marked the largest federal investment in the arts in the history of the country. Tens of thousands of artists and artisans across the country produced some 2,500 murals, 100,000 easel paintings, 17,000 sculptures, and 200,000 prints.

How should we understand the history and legacy of the New Deal art programs today? Marshalling new scholarship and original research, New Deal Art highlights the contributions of a diverse range of women, immigrant, working class, Indigenous, Black, Asian, Jewish, Latinx and LGBTQ+ artists. While previous studies have focused on the personalities and politics of government administrators, this book offers a ‘history from below’ that stresses the role of artists as activists through collective efforts such as the Artists Union and the American Artists Congress. It explores topics that traditionally fall outside the purview of art history: art as therapy in prisons and hospitals, children’s art, community art centres and art education, and the place of handicrafts and applied arts. Above all, New Deal Art centres the question of art and democracy: What if art was treated as a natural resource to which all citizens had an equal right?

Published to accompany a major exhibition at M+, Hong Kong, this catalogue places more than sixty Picasso masterpieces alongside works by Asian and Asian-diasporic artists selected from the M+ collections.

Why is Pablo Picasso so famous the world over? How does Picasso, the quintessential modern artist of the 20th century but also undeniably a European, relate to the work of contemporary artists in other parts of the world, such as Asia? And what do Picasso and his legacy mean in an age and a place that are far from his own? These are some of the fundamental questions explored by this book, which accompanies a major exhibition at M+, Hong Kong, and the Musée National Picasso-Paris.

At its heart are two intertwined narratives. First, Picasso’s life and artistic practice are interpreted through the four archetypes of the creative genius, the outsider looking in, the consummate magician and the endlessly inquisitive student of art history. Secondly, the fresh interpretation of Picasso’s oeuvre is placed ‘in conversation’ with the works of Asian artists, thereby revealing what Picasso’s art can tell us about artistic practice today, and vice versa. A visual timeline shows how Asian art and artists migrated to Europe during Picasso’s lifetime and became an unavoidable part of his cultural context and milieu while also describing Picasso’s reception in Asia from the 1910s up to the end of the 20th century.

A bold exploration of complex relationships between origin and reception, invention and adaptation, and West and East, this book enriches the discourse on transnational contemporary Asian art and visual culture, while contributing to the growing critical literature on global art history.

Placing the artist in the context of his time, Melissa McQuillan looks at the influences on his life and work and discusses his paintings in depth. Van Gogh’s letters to his brother Theo and other artists, particularly Gauguin, are also examined.

The author argues that Van Gogh’s works were products of his deliberate engagement with contemporary artistic questions and of his experience as an art dealer. His subsequent reputation, the mythology that grew up after his death, the debates between naturalism and modernity and the social implications of Van Gogh’s imagery – all are studied in full in this lucid account of an artist who sold only one painting during his lifetime but whose works now command the highest prices in the world.

Can an artist claim that an object is a work of art if it has been made for him or her by someone else? If so, who is the ‘author’ of such a work? And just what is the difference between a work of art and a work of craft?

The Art of Not Making tackles these questions head on, exploring the concepts of authorship, artistic originality, skill, craftsmanship and the creative act, and highlighting the vital role that skills from craft and industrial production play in the creation of some of today’s most innovative and sought-after works of art.

Michael Petry presents the art of over 115 contemporary artists – including Takashi Murakami, Matthew Barney, Tony Cragg, Cornelia Parker, Grayson Perry, Ai Weiwei, Daniel Buren and Carsten Höller – all of whom have one thing in common: they do not always make their own work. Instead, they often either employ others to produce it on their behalf, or appropriate objects made by someone else. Original interviews with the artists and artisans offer insights into this creative collaboration, which often produces works breathtaking in their scope and ambition.

This is a fresh, controversial and enlightening approach to many of the most influential artworks of our time.

This groundbreaking book offers a radical new reading of art since the Middle Ages and sheds fresh light on the deep connections between modern and pre-modern art. Moving across the familiar lines set out in conventional histories, Alexander Nagel offers a radical new reading of art since the Middle Ages. Rich collisions and fresh perspectives reveal ideas and practices across centuries of artistic practice, and provide a new set of reference points that reframe the history of art itself.

The author reconsiders key issues in the history of art, from iconoclasm and idolatry to installation and the museum as institution. He shows how the central tenets of modernism – serial production, site-specificity, collage, the readymade and the questioning of the nature of art and authorship – were all features of earlier times, now revived by recent generations.

The book examines, among a host of other topics, the importance of medieval cathedrals to the 1920s Bauhaus movement; the parallels between Renaissance altarpieces and modern preoccupations with surface and structure; the relevance of Byzantine models to Minimalist artists; the affinities between ancient holy sites and earthworks; the sacred relic and the modern readymade.

Alongside the work of leading twentieth-century medievalist writers such as Walter Benjamin, Marshall McLuhan, Leo Steinberg and Umberto Eco, Nagel considers a wide range of celebrated artists, from Giotto, Leonardo, Michelangelo and Caravaggio to Marcel Duchamp, Kurt Schwitters, Robert Smithson and Damien Hirst.