Jean-Claude Lebensztejn’s history of the urinating figure in art, Pissing Figures 1280–2014, is at once a scholarly inquiry into an important visual motif, and a ribald statement on transgression and limits in works of art in general. Lebensztejn is one of France’s best-kept secrets. A world-class art historian who has lectured and taught at major universities in the United States, his work has remained almost entirely in French, his American audience limited to a small but dedicated group of cognoscenti. First introducing the Manneken Pis—the iconic little boy whose stream of urine supplies water to this famous fountain and is also the logo for a Belgian beer company—the author takes the reader through a semi-scatological maze of cultural history. The earliest example is a fresco scene located directly above Cimabue’s Crucifixion from around 1280 at the Basilica of Saint Francis of Assisi, in which Lebensztejn’s careful eye locates an angel be
