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November 2001, No. 1184 – Vol 143

The Burlington Magazine

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Editorial

Overlapping Narratives: The V. & A.'s British Galleries

By a mixture of chance and design, this autumn offers multiple opportunities to reassess the identity and (re-)presentation of British art. The chief events are the unveiling of the Centenary development at Tate Britain (to be discussed in a subsequent issue), and the inauguration on 22nd November of the new British Galleries 1500-1900 at the Victoria and Albert Museum. But the first salvo may be said to have been fired last month with the opening of the Art on the Lineexhibition at the Courtauld Institute Galleries (see Calendar; to be reviewed in a later issue), where Sir William Chambers's Great Room has been hung with some of the cream of the Royal Academy's exhibits shown there from 1780 to 1836, with results that can only be described as revelatory. Lofty frame-to-frame hanging at a steep angle from the wall against pleated green fabric proves to be more than just a historical experiment: these were, after all, the conditions for which the artists were painting their exhibition works - and it shows.'

 

 

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  • Murillo and the Canonisation Case of San Fernando, 1649-52

    By Amanda Wunder

    On 22nd July 1652, Bartolome Esteban Murillo testified before the Archbishop of Seville during canonisation hear- ings for Fernando III, the medieval king of Castile and Le6n who had 'reconquered' Seville for the Christian Crown in 1248.' The painter declared that ever since he had enjoyed 'use of reason', he had seen 'infinite portraits' of the saintly monarch in many houses, churches and convents in and around Seville (see the Appendix below, Document 2). Indeed, Murillo was surrounded by images of San Fernando all his life, and encounters with his home-town's patron saint marked distinct stages in his career. Art historians have anatomised Murillo's contributions to the elaborate fiestas staged in honour of the new cult dedicated to San Fernando in 1671.2 Less well known, however, is the painter's involvement in the actual canonisation proceedings of the late 1640s and early 1650s, which is recorded in detail in the documents presented here. These documents give a new context for the artist's later work as a painter for the cathedral, and an analysis of them yields some suggestions about the role of images as historical evidence in the seventeenth century.3

     

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  • Sara Losh: Architect, Romantic, Mythologist

    By J. B. Bullen

    In 1869, Dante Gabriel Rossetti wrote with enthusiasm both to his mother and to Jane Morris about the 'extraordinary architectural works' by Sara Losh, 'a church of a byzantine style and other things', which he had just visited in the village of Wreay, outside Carlisle. Her designs were, he said, 'full of beauty and imaginative detail, though extremely severe and simple', much more original 'than the things done by the young architects now'. Losh, he added, 'must have been a really great genius, and should be better known'. He thought her buildings so advanced that he expressed the wish that Philip Webb, the designer of William Morris's Red House, could come to Wreay and see them for himself. Losh, he wrote, was 'entirely without systematic study as an architect, but her practical as well as inventive powers were extraordinary'.'

     

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  • John Fleming (1919-2001)

    By Nicholas Penny
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  • Urban Images of the Hispanic World 1493-1793

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  • Flemish Paintings 1600-1800

    By Hans Vlieghe
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  • Storia dell'architettura italiana. Il Settecento

    By Tommaso Manfredi
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  • Jean Lepautre (II) (Bibliotheque nationale de France. Inventaire du fonds francais. Graveurs du XVIIe siecle. XII)

    By Stéphane Loire
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  • Allart van Everdingen 1621-1675, First Painter of Scandinavian Landscape

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  • Corpus Velazqueno. Documentos y textos [Entre dos centenarios. Bibliografia critica y antologica de Velazquez]

    By José Luis Colomer
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  • Gerome and Goupil, Art and Enterprise

    By Gabriel P. Weisberg
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  • American Picturesque

    By Andrew Wilton
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  • The Pre-Raphaelite Landscape

    By Judith Bronkhurst
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  • Art in France 1900-1940

    By Nicholas Watkins
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  • Frank Lloyd Wright and the Art of Japan, The Architect's Other Passion

    By Gabriel P. Weisberg
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  • The Haunted Self: Surrealism, Psychoanalysis, Subjectivity

    By Robert Radford
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  • Michael Andrews. London

    By Richard Calvocoressi
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  • John Brett in Wales. Cardiff

    By Alastair Grieve
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  • Figurative Sculpture and the Third Reich. Leeds and Berlin

    By Colin Rhodes
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  • Hieronymus Bosch. Rotterdam

    By Jan Piet Filedt Kok
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  • Picasso érotique. Paris, Montreal and Barcelona

    By Robert Silberman
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  • Sonsbeek 9. Arnhem

    By Tony Godfrey
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  • Alberto Giacometti. Zürich and New York

    By Alex Potts
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  • Venetian Paintings from the Hermitage. Bassano and Barcelona

    By Nicholas Penny
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  • Piedras Duras. Madrid

    By Simon Jervis
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