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January 1982

Vol. 124 | No. 946

The Burlington Magazine

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  • Front Matter

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  • Two Bronze Statuettes and Their Relation to Michelangelo

    By Paul Joannides

    THE statuette in the Museo Poldi-Pezzoli is clearly related to Michelangelo's Young Slave in the Academia. But what is the precise relation?

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  • Ingres, Géricault and 'Monsieur Auguste'

    By Donald A. Rosenthal

    THE painter Jules-Robert Auguste (1789-1850), called Monsieur Auguste, remains one of the most elusive yet influential figures in the development of French Romantic art. Little studied since his career was outlined by Charles Saunier in 1910, Auguste is best remembered for his friendship with Eugène Delacroix, amply recounted in the Journal and Correspondance générale. A talented and engaging artist, the wealthy and well-travelled Auguste exerted his greatest influence in Paris during the 1820s as organiser of gatherings that attracted such avid orientalist artists as the painters Bonington, Champmartin, and Delacroix, and the novelist Prosper Mérimée.

    e.
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  • Camille Pissarro and Symbolism: Some Thoughts Prompted by the Recent Discovery of an Annotated Article

    By Belinda Thomson

    A well-known and frequently quoted letter from Camille Pissarro to his son Lucien, dated 20th April 1891, refers to an article on Gauguin by the symbolist critic Albert Aurier. The standard edition of the Pissarro letters identifies the article in question as 'Le Symbolisme en peinture - Paul Gauguin', which Aurier had published in the March number of the Mercure de France. It is clear from the letter that Pissaeeo posted a copy of the Mercure, along with another periodical Arts dans les Deux Mondes, for his son's attention; indeed it was through such enclosures that he kept Lucien up to date with movements in the Paris art world.

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  • Jakob Rosenberg

    By Seymour Slive
    JAKOB Rosenburg was born in Berlin on 5th September 1893. He died in Cambridge, Massachusetts, after a brief illness, on 7th April 1980.
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  • Recent Painting Acquisitions: The Kimball Art Museum: Supplement

    By Edmund P. Pillsbury
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  • Back Matter

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  • The Archaic Style in Greek Sculpture

    By E. D. Francis,Michael Vickers
    'Where have all the statues gone?' As long as the current chronology of archaic Greek sculputre remains in vogue, this question should be a fundamental one for students of Greek art.`It arises from the fact that while most of the dedicatory bases from the Athenian Acropolis are reliably dated by epigraphists c. 500 to 480 BC., the majority of the sculpture which must have been stood on them is thought on stylistic grounds to belong to the previous generation.
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  • Graham Sutherland; Sutherland. The Wartime Drawings

    By Frances Spalding
    High praise is often followed by a period of neglect. A case in point is the career of Graham Sutherland who died in Febuary 1980. Having turned to painting in the 1930s, after initial success as a print maker, he allowed Surrealism invigorate his Welsh Landscapes.
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  • Gracanica. King Milutin's Church and Its Place in Late Byzantine Architecture

    By Paul Hetherington

    The monastic church of Gracanica was one of a number of foundations made by King Milutin of Serbia during the course of his long reign. Not only is it one of the best preserved of the medieval ecclesiastical buildings of Serbia, but there is a helpful, if erratic, sequence of documentary information to amplify the visual and archaeological evidence provided by the building itself.

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  • In Rodin's Studio: A Photographic Record of Sculpture in the Making

    By John Tancock

    Nobody has been more responsible for the rediscovery and the critical reapraisal of the work of Auguste Rodin than Professor Albert Elsen. The publication of Rodin's Gates of Hell in 1960 singalled the birth of a new scholarly interest in Rodin's work, different in kind but no less sharply focussed than the writings of Rodin's friend and admirer, Judith Cladel.

    in 1960 singalled the birth of a new scholarly interest in Rodin's work, different in kind but no less sharply focussed than the writings of Rodin's friend and admirer, Judith Cladel.
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  • Angelo Solimena

    By Ellis K. Waterhouse
    This is a monograph on Angelo Solimena (1629-1716), the father of Francesco, whose precise date and place of birth - at Canale di Serino - have now been established. There are only three sources, the two important ones being the Naples 1733 edition of Orlandi (which is dedicated to Francesco Solema) and De Dominici; and these are reprinted.
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  • Le couronnement de la Vierge. Les origines et les premiers developpements d'un theme iconographique

    By Paul Williamson

    The question of when and where the iconography of the Coronation of the Virgin originated has long been discussed, with considerable nationalistic fervour, by scholars. Emile Male made strong claims for an origin in the stained glass at Notre Dame (given by Abbot Suger), but it has since been shown that the French work could not have pre-dated the representation in mosaic of the Triumph of the Virgin at Santa Maria in Trastevere in Rome, dated between 1140 and 1148.

    originated has long been discussed, with considerable nationalistic fervour, by scholars. Emile Male made strong claims for an origin in the stained glass at Notre Dame (given by Abbot Suger), but it has since been shown that the French work could not have pre-dated the representation in mosaic of the Triumph of the Virgin at Santa Maria in Trastevere in Rome, dated between 1140 and 1148.
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  • Journal of Garden History. An International Quarterly. Vol.1, No.1; Colloquium on the History of Landscape Architecture VI. John Claudius Loudon and the Early Nineteenth Century in Great Britain

    By Robin Gibson
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  • Mittelalterliche Architekturfiktion: Die Allerheiligenkapelle am Regensburger Domkreuzgang

    By E. C. Fernie
    Everyting about this book is designed to attract at first acquaintance: the title is allusive, the paper of the highest quality, the typography immaculate and the illustrations (including seven in colour) excellent, while even the smell of the binding could have been confected with the bibliophile in mind. This promise is fulfilled in the text.
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  • The Stavelot Triptych: Mosan Art and the Legend of the True Cross

    By David Buckton
    With the Stavelot triptych you get three for the price of one, for incoporated in the Pierpont Morgan Library's romanesque masterpiece are two byzantine triptychs, which find echoes and contrasts in the mosan metalwotk enshrining them.
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  • Passion Iconography in Northern European Art of the Late Middle Ages and Early Renaissance. A Study of the Transformation of Sacred Metaphor into Descriptive Narrative (Ars Neerlandica, Studies in the History of Art of the Low Countries, Vol. I)

    By Lorne Campbell
    This is an erudite book. The titles, however, may not give a very accurate idea of the content, for the author is concerned more with literature than with art, devotes much more attention to German than to Netherlandish art, and considers only part of the story of Christ's Passion. Episodes prior to Betrayal and subsequent to the Nailing to the Cross are not treated. He examines the narrative Passion literature produced in the Low Countries and Germany, demostrates how the gospel accounts came to be ampplified, and shows how some of the humiliations newly devised for Christ were represented in works of art.
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  • I tre Libri dell'Arte del Vasaio. The Three Books of the Potter's Art. By Cipriano Piccolpasso. A Facsimile of the Manuscript in the Victoria and Albert Museum

    By J. V. G. Mallet

    Cipriano Piccolpasso's Tre Libri is a treatise on how to make pottery, not a history of potting in renaissance Italy. Historians, starting in 1758 with Passeri, have sometimes lamented this fact; to the mordern studio potter the illustrations speak directly over an interval of nearly four and a half centuries.

    is a treatise on how to make pottery, not a history of potting in renaissance Italy. Historians, starting in 1758 with Passeri, have sometimes lamented this fact; to the mordern studio potter the illustrations speak directly over an interval of nearly four and a half centuries.
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  • The First Moderns. The Architects of the Eighteenth Century

    By Adrian von Buttlar

    To prevent any misleading expectations: Professor Joseph Rykwert's new book on the architects of the eighteenth century, titled 'the first moderns', is not another hand book on the architectual history of the period, nor an encyclopaedic dictionary about the great men involved, nor a panoramic view of revoloutionary theories and aesthetics. It is all of these and much more (wissenschftsgeschichtlich).

    ).
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  • The Rediscovery of Greece

    By Patrick Conner
    The title of this book coincides with that of the Fine Art Society's exhibition catalogue of June 1979, to which Fani-Maria Tsigakou contributed an introduction; she now returns the compliment by reproducing a number of works which were included in that exhibition or in the most recent display of Greecian subjects (October 1981) at the same premises.
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  • William Holman Hunt and Typographical Symbolism

    By John Christian
    'A type', Professor Landow reminds us, 'is an anticipation of Christ,' and he quotes as an example Samson, 'who gave his life for God's people', and thus 'partially anticipates Christ, who repeats the action, endowing it with a deeper, more comlete significance.' Types, however, need not be historical figures; the Mosaic Law for instance, is a type of the new Law of Christ.
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  • National Gallery Technical Bulletin, Volume 4, 1980

    By Herbert Lank
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  • Bruegel

    By Helen Langdon

    Mr Wied's Bruegel is a learned work whose greatest value is that it provides a guide for the aspiring specialist to the labyrinthine complexities of Bruegel scholarship over the last hundred years - and yet it is not a dry book, but clealy inspired by a deep love for Bruegel and a desire to show that the debates centring on his pictures are evidence of the enduring viality of the images.

    is a learned work whose greatest value is that it provides a guide for the aspiring specialist to the labyrinthine complexities of Bruegel scholarship over the last hundred years - and yet it is not a dry book, but clealy inspired by a deep love for Bruegel and a desire to show that the debates centring on his pictures are evidence of the enduring viality of the images.
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  • Hieronymus Bosch: Die Rezeption seiner Kunst im fruhen 16. Jahrhundert

    By Walter S. Gibson
    Until now, the influence of Hieronymus Bosch on other Netherlandish artists of the sixteenth century has never been systematically surveyed.The reasons are obvious. Except for the works of such known personalities as Pieter Bruegel the Elder, Boch's followers are represented chiefly by annoymous paintings whose relationship to Bosch is far from clear, many of them, in fact, carrying traditional attributions to the master himself.
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  • London: Goya's Prints - The Tomás Harris Collection in the British Museum

    By Philip Troutman
    The occasion for this exhibition, which will surely long be remembered as one of the great events celebrating Goya's art, was the reception by the British Museum of the collection of Goya's prints formed by the late Tomas Harris, which formally passed to the Museum in 1979.
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  • London, Hayward Gallery Lutyens

    By John Summerson
    The motives behing this exhibition may turn out to be little less significant than the exhibition iteself. For ten years or more there has been a resurgence of interest in Lutyen, both here and, more surprisingly, in America. One can hardly call it a 'revival' because Lutuyen's reputation has never actually died.
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  • London: Late Sickert at the Hayward

    By Richard Shone

    Among those characteristics of the old-age style isolated by Kenneth Clark in The Artist Grows Old, 'a mistrust of reason, a belief in instinct... an impatience with establish technique' seem particularly appropiate to Snickert in his last years as currently seen at the Hayward Gallery's Late Snickert. Painting 1927 to 1942 (to 31st January).

    (to 31st January).

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  • London: Rauschenberg

    By Richard Francis
    'Photography is like diamond cutting. If you miss you miss. There is no difference with painting. If you don't cut you have to accept the whole image. You wait until life is in the frame, then you have permission to click. I like the adventure of waiting until the whole frame is full'.
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  • Farnham, West Surrey College of Art and Technology. William Morris & Kelmscott

    By Peyton Skipwith
    William Morris was never consigned to the almost total oblivion which was the fate of most of his contemporaries; even in 1934, when Victorian decorative art were at the nadir of their fortunes, the Victoria and Albert Museum mounted a centenary exhibition in his honour.
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  • Paris: Bonnard

    Graphisme de Bonnard (at Huguette Beres; closed 28th November) presents a major artist in minor, even casual roles and fascinationly follows his course from start to finish - 1889 to 1945.

    ; closed 28th November) presents a major artist in minor, even casual roles and fascinationly follows his course from start to finish - 1889 to 1945.
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  • Ancona: Lorenzo Lotto in the Marches

    By Peter Spring

    In June 1549 Lorenzo Lotto left Venice for good. He returned to the March of Acona, the towns in which hinterland - Recanati, Jesi, Macerate, Cingoli - had been familiar to him from his earliest manhood and had supplied him with the bulk of his commisions during the previous decades. It was in the capoluogo itself that he had begun (in 1538) to compile that fundamental source for the last two decades of his life: the Libro di spese diverse.

    .
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  • Philadelphia Museum of Art Sir Edwin Landseer

    By Kenneth Bendiner

    Sir Edwin Landseer (1803-1873) invigorated British animal painting by means of epic drama, social commentary, guessing-games, solemn allegory, wit and anthropomorophism. His paintings epitomise Victorian sensibility, and the recent exhibition of 158 works at the Philadelphia Museum of Art provides the first oppurtunity to access his oeuvre in depth since the Royal Academy's memorial exhibition of 1874; at the Tate Gallery 10th Febuary to 12th April.

    10th Febuary to 12th April.
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