Burlington Contemporary is the Burlington Magazine’s free online platform for reviews and research on international contemporary art.
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Burlington Contemporary is the Burlington Magazine’s free online platform for reviews and research on international contemporary art.
The Royal Institute of British Architects owns one of the greatest collections of architectural material in the world - over half a million drawings, as many photographs, and a vast archive of manuscripts. Founded in 1834, the Institute collected from the outset, initially with the intention of creating an architectural museum. The drawings collection now represents every period of British architecture with great examples, from Robert Smythson's country house designs to Norman Foster's complete drawings for the Willis Faber building in Ipswich - as well as the superlative sheets by Palladio that constitute the well-spring of English Palladianism. If one adds to the picture the superb architectural collections at Sir John Soane's Museum and the V. & A., London's importance as a centre for the study of architecture is manifest. Two exhibitions on show this month, at the RIBA's own Heinz Gallery and at the Bowes Museum in Barnard Castle (see the Calendar, p.716),' testify to the potential of the RIBA collections as a generating force for the appreciation of architecture in the metropolis and the regions.
Wit the emancipation of distinct genres of painting in the course of the sixteenth century, collaborations between accomplished masters became a common practice, especially in the domain of landscape painting. Joachim Patinir, considered to be the first specialist in this field, had, for example, worked occasionally with the history painter Jan Matsijs. In this article three landscape paintings by the Flemish- Roman painter Paul Bril, the most influential Italianate landscape painter of his time, will be discussed: one is certainly a collaborative work, with the figures painted by Johann Rottenhammer; the second may either be a collaboration with Elsheimer or a homage to that artist; and the third is usually thought to be a collaboration between Bril and Rubens but can be shown to have been radically changed by Rubens after completion.
Carlo Ratti and other Genoese sources give only a summary idea of the complex cycle of frescoes and stuccoes that decorated the choir of the now destroyed church of S. Domenico at Genoa.
