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Editorial

The future of Tate Britain

The future of Tate Britain

Article (6)

Paul Sandby’s young pupil identified

By Richard Green

The sitter in Paul Sandby’s famous watercolour A lady painting (c.1763–64) is here identified as Rhoda Delaval (1751–70).

Cotman’s aqueduct

By David Stacey

A reassessment of the locations of the aqueducts in John Sell Cotman’s well-known watercolour sketches (c.1805).

Post tenebras lux: J.M.W. Turner, James Wyatt and the importance of stained glass

By Andrew Wilton

An exploration of the relationship between the young Turner and the buildings of the Wyatts, the family of architects working in London before and after 1800.

‘A mild, a grateful, an unearthly lustre’: Samuel Palmer and the moon

Reviewed by Christiana Payne

A look at the influence of the imagery of the moon and its literary sources on Samuel Palmer’s paintings and prints.

‘Ecorché’ drawings by Edwin Landseer

By Susan Owens

Early écorché drawings (c.1817–21) by Edwin Landseer recently acquired by the Victoria and Albert Museum, London.

Robert Anning Bell in Liverpool, 1895–99: the Arts and Crafts movement and the creation of a civic culture

By Alice Eden

Robert Anning Bell’s work and teaching in Liverpool and his promotion of the Arts and Craft movement there in the 1890s.

Book Review (9)

Canterbury Cathedral Priory in the Age of Becket

Reviewed by Julian Luxford

Johan Zoffany

Reviewed by Desmond Shawe-Taylor

Mysterious Wisdom. The Life and Work of Samuel Palmer

Reviewed by Timothy Wilcox

Richard Dadd: The Artist and the Asylum

Reviewed by Olivier Meslay

The Correspondence of Dante Gabriel Rossetti. The Last Decade 1873–1882

Reviewed by Julian Treuherz

The Last Pre-Raphaelite: Edward Burne-Jones and the Victorian Imagination

Reviewed by J. B. Bullen

Above the Battlefield: Modernism and the Peace Movement in Britain, 1900–1918

Reviewed by James Fox

William Nicholson: Catalogue Raisonné of the Oil Paintings

Reviewed by Lee Hallman

The Lion and the Unicorn: Symbolic Architecture for the Festival of Britain, 1951

Reviewed by Alex Kidd

Exhibition Review (18)

Renoir’s large-scale paintings. New York

Reviewed by Martha Lucy

Rembrandt and the face of Jesus. Paris, Philadelphia and Detroit

Reviewed by Christopher Brown

Clyfford Still. Denver

Reviewed by James Lawrence

Picasso and Modern British Art. London and Edinburgh

Reviewed by Sarah Whitfield

Mondrian and Nicholson. London

Reviewed by Jeremy Lewison

Serial Publications. London

Reviewed by George Major

Jeremy Deller. London

Reviewed by George Major

Ironside. Chichester and Chester

Reviewed by James Beechey

Sutherland. Oxford

Reviewed by James Beechey

Vaughan. Chichester

Reviewed by James Beechey

John Cecil Stephenson. Durham

Reviewed by Frances Spalding

Georg Baselitz. Paris

Reviewed by John-Paul Stonard

Georg Baselitz. Potsdam

Reviewed by John-Paul Stonard

Georg Baselitz. New York

Reviewed by John-Paul Stonard

Pierre Bonnard. Riehen/Basel

Reviewed by Jörg Zutter

Claes Oldenburg. Vienna, Cologne, Bilbao, New York and Minneapolis

Reviewed by Anne Blood

Titian and landscape. Milan

Reviewed by Paul Holberton

Antico. Washington and New York

Reviewed by Peta Motture

Adverts (36)

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Masterpiece

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Mauritshuis

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RoGallery

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Tate Britain – BP British Art Displays

Trinity Fine Art Ltd

29 Bruton Street, London W1J 6QP

+44 (0)20 7493 4916

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Yale Center for British Art

1080 Chapel Street, New Haven, Connecticut 06520

+1 203 432 2800

britishart.yale.edu

The Burlington Magazine Survey – May 2012