A new perspective on art history, parodied, reinterpreted and ultimately reinforced by the international phenomenon that is Banksy.

Few would argue that Banksy is the most famous street artist in the world today. That he is also one of the most insightful art historians of our era might surprise many. Taken together, the countless memorable works that the street artist has created over the last thirty years, since his emergence on the Bristol underground scene in the early 1990s, constitute a bold commentary on the history of image-making, a captivating critique waiting to be unravelled.

Armed with little more than stencils, spray paint and a cloak of anonymity under the cover of night, Banksy has forged a compelling identity for himself as an incorrigible mischief-maker who does not embrace tradition, but shatters it. When thinking of Banksy, one imagines grimy urban walls, far removed from the elite galleries and privileged museums where art is conventionally displayed. What really illuminates Banksy's bold murals, improvised urban sculptures and vandalised paintings, however, is a deep understanding of art history. He wields this secret knowledge as a weapon against our senses.

Through the darkly satirical lens of Banksy's mischievous reimagined masterpieces, art history is seen in a fresh way and brought into unexpected focus. From his burlesque parody of the Lascaux cave paintings to his reinvention of Monet's enchanting lily pond, a reboot of Géricault's heartbreaking vision to Vermeer's girl now infused with street credibility, the genius of all is grist for his ruthless mill. Yet far from being diminished in their significance, the works Banksy relentlessly parodies are ultimately renewed by the process. Banksy's iconoclastic works force us to rethink our affection and appreciation for the great works of art that define cultural history.

Publisher: Thames and Hudson