New in paperback.

Modern viewers take for granted the pictorial conventions present in easel paintings and engraved prints of such subjects as landscapes or peasants. These generic subjects and their representational conventions, however, have their own origins and early histories. In sixteenth-century Antwerp, painting and the emerging new medium of engraving began to depart from traditional visual culture, which had been defined primarily by wall paintings, altarpieces, and portraits of the elite. New genres and new media arose simultaneously in this volatile commercial and financial capital of Europe, home to the first open art market near the city Bourse. The new pictorial subjects emerged first as hybrid images, dominated by religious themes but also including elements that later became pictorial categories in their own right: landscapes, food markets, peasants at work and play, and still-life compositions. In addition to being the place of the origin and evolution of these genres, the Antwerp art market gave rise to the concept of artistic identity, in which favorite forms and favorite themes by an individual artist gained consumer recognition.
In Peasant Scenes and Landscapes, Larry Silver examines the emergence of pictorial kinds — scenes of taverns and markets, landscapes and peasants — and charts their evolution as genres from initial hybrids to more conventionalized artistic formulas. The relationship of these new genres and their favorite themes reflect a burgeoning urbanism and capitalism in Antwerp, and Silver analyzes how pictorial genres and the Antwerp marketplace fostered the development of what has come to be known as "signature" artistic style. By examining Bosch and Bruegel, together with their imitators, he focuses on pictorial innovation as well as the marketing of individual styles, attending particularly to the growing practice of artists signing their works. In addition, he argues that consumer interest in the style of individual artists reinforced another phenomenon of the later sixteenth century: art collecting. While today we take such typical artistic formulas as commonplace, along with their frequent use of identifying signatures (a Rothko, a Pollock), Peasant Scenes and Landscapes shows how these developed simultaneously in the commercial world of early modern Antwerp.
Larry Silver is Farquhar Professor of the History of Art at the University of Pennsylvania.

On the rainy night of August 11, 1979, a mud-splattered jeep slowed to a halt by the shores of a vast man-made lake in western India. Stepping from the vehicle, an exhausted government engineer was shocked to find the lake empty after ten days of torrential monsoon showers. The two-mile-long Machhu Dam-II had washed away, sending its reservoir careening toward the industrial city of Morbi. One of history's deadliest flash floods had just taken place. No One Had a Tongue to Speak tells, for the first time, the epic and heartrending story of the Machhu dam disaster. The seeds of the tragedy are planted as Indian politicians, swept up in the heady optimism of their country's newfound independence, mandate a slew of dam-construction projects. Massive earthworks rise and vast reservoirs accumulate, but the rapid clip of development outpaces the skill of the engineers behind it. When the Machhu Dam-II gives way after days of incessant rains, residents of the downstream river valley are plunged into a watery hell. Their lives are torn to pieces in an instant. Up to 25,000 perish, though the disaster's true human toll is not known. As survivors grapple with the flood's aftereffects, a long and fateful quest to determine responsibility for the dam's failure ensues. Find out more information about the book at: http://thefloodbook.com/

Utpal Sandesara is pursuing an M.D. and a Ph.D. in Anthropology at Penn.