Editorial

Reflected glory: university art collections in Britain

ALTHOUGH UNIVERSITY COLLECTIONS make up only three per cent of museums in the country, they have a prominence that belies their size: according to the Department of Culture, Media and Sport they represent thirty percent of collections designated as ‘of national or international importance’. As a way of drawing attention to the range of university art collections, we have compiled a Supplement surveying acquisitions made by museums and galleries other than those in London, Oxford, Cambridge and Glasgow (see pp.677–88).

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Canaletto. London

NO VISITOR TO Canaletto & the Art of Venice at The Queen’s Gallery, London (to 12th November), will be disappointed. The Queen’s Gallery could have been designed to display this generous selection from the collection of Joseph Smith, Consul at Venice, which was acquired in 1762 for the young George III by his ‘advisors’ – it seems rather ungenerous that the King’s mentor, the 3rd Earl of Bute, is denied specific credit in the catalogue: as he subsequently wrote, he ‘was permitted to act as for [him]self ’.

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    Bonifacio de’ Pitati’s ‘Triumphs of Petrarch’ and their Cypriot patron

    By Georgios E. Markou
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    Carlo Maratti and the Barberini family: two paintings for churches in Palestrina

    By Giovan Battista Fidanza
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    Paula Modersohn-Becker’s self-portraits and the influence of Dante Gabriel Rossetti

    By Rebecca Jelbert
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    Surrealism versus the academy: Charles Estienne on Paul Gauguin and Vasily Kandinsky

    By Gavin Parkinson
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    The Art of Conservation XII. Art history, science and practice: the training of paintings conservators in the twentieth century

    By Joyce Hill Stoner
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  • Ronald Pickvance (1930–2017)

    By Martin Hopkinson,Kenneth McConkey
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  • Rudolf Hermann Wackernagel (1933–2017)

    By Simon Jervis
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  • Recent acquisitions (2007–17) by regional university collections in Britain

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  • Corpus of Early Netherlandish Painting: Los Angeles Museums. By Diane Wolfthal and Cathy Metzger

    By Stephan Kemperdick
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  • The Painted Book in Renaissance Italy, 1450–1600. By Jonathan J.G. Alexander

    By Mark Evans
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  • The ‘Cristos yacente’ of Gregorio Fernández. Polychrome sculpture of the Supine Christ in Seventeenth-Century Spain. By Ilenia Colon Mendoza

    By Xanthe Brooke
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  • Making Magnificence: Architects, Stuccatori and the Eighteenth-Century Interior. By Christine Casey

    By Gauvin Alexander Bailey
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  • Neo-Georgian Architecture, 1880–1970: A Reappraisal. Edited by Julian Holder and Elizabeth McKellar

    By Ayla Lepine
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  • Les Rothschild: une dynastie de mécènes en France, 1873–2016. Edited by Pauline Prévost-Marcilhacy

    By Michael Hall
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  • Edward Ardizzone: Artist and Illustrator. By Alan Powers

    By Alexander Adams
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  • Futurist Painting Sculpture (Plastic Dynamism). By Umberto Boccioni

    By Rosalind McKever
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  • My Dear BB . . . : The Letters of Bernard Berenson and Kenneth Clarke, 1925–1959. Edited and annotated by Robert Cumming

    By Robert B. Simon
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  • Bloomsbury South: The Arts in Christchurch, 1933–1953. By Peter Simpson

    By Mark Stocker
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  • Canaletto. London

    By Francis Russell
  • Hokusai. London and Osaka

    By Matthi Forrer
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  • Picasso and the bulls. London

    By Silvia Loreti
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  • Giacometti. London

    By Roger Cardinal
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  • Constable. Brighton

    By Timothy Wilcox
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  • Modern sculpture. Yorkshire

    By Jonathan Vernon
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  • Valentin de Boulogne. New York and Paris

    By Arnauld Brejon de Lavergnée
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  • Gothic boxwood miniatures. Toronto, New York and Amsterdam

    By Dora Thornton
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  • Philip Guston. Venice and London

    By David Anfam
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  • Venice Biennale. Venice

    By Martha Barratt
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  • French eighteenth-century paintings in American museums. Washington

    By Eric Zafran
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