Editorial

The protection of cultural heritage

IN WAR PEOPLE get killed and things get damaged and destroyed. [...] A particular element in many of these conflicts is the deliberate destruction of cultural property belonging to the victims of war. This is often regarded as a consequence rather than a symptom of war, but it is a symptom that military theorists have argued is bad practice for over two thousand years: allow the heritage of your enemy to be destroyed, or worse, allow your own army to destroy it, and you create the first reason for the next conflict. Yet the specific targeting of the tangible evidence of communities – churches, mosques, cemeteries and other significant buildings – has increasingly become a significant aspect of much warfare. 

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Adriaen van de Velde

AS WELL AS providing a feast for the eyes, the best exhibitions break new ground and challenge the visitor. Adriaen van de Velde: Dutch Master of Landscape, seen by this reviewer at the Rijksmuseum, Amsterdam (closed 25th September), and currently on view at the Dulwich Picture Gallery, London (to 15th January 2017), does all three with admirable aplomb. The curators, Bart Cornelis and Marijn Schapelhouman, who also wrote the excellent catalogue, succeed in casting new light on the career and work of a somewhat forgotten master.1

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Edward Morris (1940–2016)

By Timothy Stevens

WHEN EDWARD MORRIS, who died on 29th May, retired in 1999 after more than thirty years at the Walker Art Gallery, Liverpool, he was the doyen of regional gallery curators, widely admired for his rigorous professionalism and deeply appreciated for his kindness to colleagues. 

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Paola Barocchi (1927–2016)

By Donata Levi

PAOLA BAROCCHI died on 25th May 2016 in Florence in the house near Ponte S. Trinita in which she was born on 2nd April 1927. A pupil of Mario Salmi, she graduated in 1949 with a dissertation on Rosso Fiorentino, who at that time was a neglected artist. Published as a book the following year, it criticised the concept of Mannerism and the classification of Rosso as a Mannerist. Barocchi’s distaste for labels, accepted classifications and a priori categories, as noticed by Frederick Hartt in his review (Art Bulletin, March 1952), was a distinctive feature of her intellectual approach, which, coupled with her indefatigable industry, led to innovative work in art criticism.

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    A Renaissance Spanish knight in the Museum of Fine Arts, Boston

    By Sergio Pérez-Martin,Luis Vasallo-Toranzo
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    Giovanni Bandini's bronze Crucifix and candlesticks made for Urbino Cathedral

    By Lorenzo Principi
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    Two bronze statuettes by Giovanni Francesco Susini, not Pierino de Vinci

    By James David Draper
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    A new work by Domenico Guidi: the bust of Cardinal Gianfrancesco Albani

    By Lucia Simonato
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    The Parisian career of Jacques François Saly, 1749–53

    By Bent Sørensen
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  • The Salerno Ivories: Objects, Histories, Contexts, edited by Francesca Dell' Acqua, Anthony Cutler, Herbert L. Kessler, Avinoam Shalem and Gerhard Wolf

    By Paul Williamson
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  • The Monster in the Garden: The Grotesque and the Gigantic in Renaissance Landscape Design, by Luke Morgan

    By Todd Longstaffe-Gowan
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  • The Sculpture of Tullio Lombardo, by Anne Markham Schulz

    By Claudia Kryza-Gersch
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  • From the Shadows: The Architecture and Afterlife of Nicholas Hawksmoor, by Owen Hopkins

    By Anthony Geraghty
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  • The Marble Index: Roubiliac and Sculptural Portraiture in Eighteenth-century Britain, by Malcolm Baker

    By Tessa Murdoch
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  • Art, Artisans & Apprentices: Apprentice Painters and Sculptors in Early Modern British Tradition, by James Ayres

    By Martin Postle
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  • The American School: Artists and Status in the Late Colonial and Early National Era, by Susan Rather

    By Loyd Grossman
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  • La Fabbrica del Rinascimento. Frédéric Spitzer mercante d'arte e collezionista nell'Europa della nuove nazioni, by Paola Cordera

    By Jeremy Warren
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  • Painting, Politics, and the New Front of Cold War Italy, by Adrian R. Duran

    By Maria Elena Versari
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  • John Gibson

    By Susanna Avery-Quash
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  • Adriaen van de Velde

    By John Loughman
  • Artangel at Reading Prison

    By Martha Barratt
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  • Simon Starling

    By Dominic Paterson
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  • Boudin

    By Michael Clarke
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  • Art in Marseille in the eighteenth century

    By Jamie Mulherron
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  • Miniature Sculptures

    By Jeremy Warren
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  • Polychrome wooden sculpture of Renaissance Florence

    By Davide Gasparotto
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  • Franz von Stuck

    By Lorenz van der Meij
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  • Della Robbia

    By Nathaniel Silver
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