Country houses and contemporary art

One of the most intriguing narratives in contemporary British art is the steady transformation of Damien Hirst from enfant terrible into Grand Old Man. Few contemporary artists have placed themselves so unequivocally in the old-master tradition. Early works such as A thousand years (1990), a vitrine containing a cow’s head, maggots and flies, demonstrated an engagement with themes of mortality and decay that have a long ancestry in Western art, as the exhibition of the work alongside five triptychs by Francis Bacon at the Gagosian Gallery, London, in 2006, made strikingly obvious.1

Read full article
Free review

Cézanne’s portraits. London

In his portraits Paul Cézanne avoided all the accepted attributes of the genre as it was understood in the late nineteenth century. His aesthetic programme ruled out attempts at ‘getting a likeness’, even if his images may be ‘like’ his sitters. One remembers here his comment to Ambroise Vollard of the ‘horrible resemblance’ of most conventional art as seen in the ‘Salon de M. Bouguereau’. He had no interest in social context; there are almost no telling settings for his figures; and he had no desire to flatter or to give an exaggeratedly ‘public’ characterisation.

Read full article
  • Image alt

    ‘Qualis vita, finis ita’: The life and death of Margaret Lemon, mistress of Van Dyck

    By Hilary Maddicott
  • Image alt

    Hans Memling’s Nájera altarpiece: new documentary evidence

    By Bart Fransen
  • Image alt

    The patron of Hieronymus Bosch’s ‘Last Judgment’ triptych in Vienna

    By Jos Koldeweij,Luuk Hoogstede,Matthijs Ilsink,Koen Janssens,Nouchka de Keyser,Rik Klein Gotink,Stijn Legrand,Julia M. Nauhaus,Geert van der Snickt,Ron Spronk
  • Image alt

    Codde not Brekelenkam: a case of mistaken identity

    By Jochai Rosen
  • Image alt

    Bringing Mondrian’s ‘Lozenge composition with yellow lines’ to the Netherlands

    By Lieke Wijnia
  • The Art of Conservation XIV. Accommodating change: twentieth-century American artists and conservators

    By Bradford A. Epley
  • Cornelis van Poelenburch, 1594/95–1667: The Paintings. By Nicolette Sluijter-Seijffert

    By Luuk Pijl
  • Jan Brueghel and the Senses of Scale. By Elizabeth Alice Honig

    By Iain Buchanan
  • Jacob Duck, c.1600–1667: Catalogue Raisonné (OCULI: Studies in the Arts of the Low Countries, 16). By Jochai Rosen

    By Lara Yeager-Crasselt
  • Rubens. Mythological Subjects: Achilles to the Graces (Corpus Rubenianum Ludwig Burchard, Part XI). By Elizabeth McGrath, Gregory Martin, Fiona Healy, Bert Schepers, Carl Van de Velde and Karolien De Clippel

    By Lisa Rosenthal
  • The Age of Rubens: Diplomacy, Dynastic Politics and the Visual Arts in Early Seventeenth-century Europe. Edited by Luc Duerloo and Malcolm Smuts

    By Gregory Martin
  • Art Royal: Meisterzeichnungen aus dem Louvre. By Regina Kaltenbrunner, Peter Laub and Eva Léchelle

    By Gauvin Alexander Bailey
  • Apethorpe: The Story of an English Country House. Edited by Kathryn A. Morrison

    By Christopher Ridgway
  • Clothing Art: The Visual Culture of Fashion 1600–1914. By Aileen Ribeiro

    By Sanda Miller
  • Barbara Hepworth: The Sculptor in the Studio. By Sophie Bowness

    By Jeremy Lewison
  • Michelangelo in New York

    By Matthias Wivel
  • Rembrandt’s master pupils. Amsterdam

    By Christopher Brown
  • Bernini. Rome

    By Carlo Milano
  • Monochrome. London

    By Katharine Stahlbuhk
  • Canova, Hayez and Cicognara. Venice

    By Philip Rylands
  • Salon de la Rose Croix. New York and Venice

    By Rachel Sloan
  • Cézanne’s portraits. London

    By Richard Shone
  • Modigliani. London

    By Sarah Whitfield
  • Rufino Tamayo. Washington

    By Edward J. Sullivan
  • Rachel Whiteread. London

    By Michael Archer
  • Laura Owens. New York

    By Andrew Hunt