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November 2005, No. 1232 – Vol 147

Italian art

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Editorial

To lend or not to lend?

EVERY FEW YEARS since the 1950s this Magazine has carried an Editorial bewailing the growing surfeit of exhibitions and flagging the contingent implications for museums, the media, the public and, above all, the works of art themselves. None of these jeremiads is likely to have had the slightest effect on the seemingly unstoppable circus of international shows. To address the subject once more may seem a futile gesture in the face of this fait accompli. But the pressures brought to bear on institutions to mount shows and the curatorial slavery this entails cannot be underestimated. The huge number of new 'wings' and temporary exhibition spaces that have opened int he last few years all demand to be filled.

Editorial read more
  • Barocci, the Franciscans and a possible funerary gift

    By Keith Christiansen

    THERE IS NO need to wonder about Federico Barocci's extraordinary reputation during his lifetime, a reputation that led to invitations to work for the courts of Francesco I de' Medici in Florence, Rudolph II in Prague and Phillip II in Madrid. It also earned him a conspicuous place in Bellori's Lives where his biography follows that of Domenico Fontana and precedes Caravaggio's. In organising the Lives, Bellori clearly intended the diligent study that underlies Barocci's refined sense of beauty, his compositional inventiveness and his exquisite colouring to serve both as a contrast with, and a critique of, Caravaggio's manner of painting without proper consideration ('senza disegno') and his over-strong dependence on working from a posed model.

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  • Forgery in Risorgimento Florence: Bastianini's 'Giovanni delle Bande Nere' in the Wallace Collection

    By Jeremy Warren

    NEWLY DISCOVERED CORRESPONDENCE between the Florentine physician and antiquary Alessandro Foresi (1814-88) and the French connoisseur and collector baron Charles Davillier (1823-83) helps to identify an important work by the nineteenth-century Florentine sculptor Giovanni Bastianini (1830-68). The work in question is a terracotta figure of Giovanni delle Bande Nere in the Wallace Collection, London, hitherto regarded as an extremely rare bozzetto for a monumental Italian Renaissance portrait sculpture.

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  • Piero della Francesca. A Mathematician's Art [and: The Cambridge Companion to Piero della Francesca]

    By Frank Dabell
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  • Early engravers and their public: the Master of the Berlin Passion and manuscripts from convents in the Rhine-Maas region

    By Mark McDonald
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  • Holbein and England

    By Xanthe Brooke
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  • Ave Papa, Ave Papabile. The Sacchetti Family, their Art Patronage, and Political Aspirations

    By Clare Robertson
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  • Il Cavalier Giuseppe Cesari d'Arpino. Un grande pittore nella splendore della fama e nell'inconstanza della fortuna

    By Stéphane Loire
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  • Falsi d'autore: Icilio Federico Joni e la cultura del falso tra otto e novecento

    By Julian Gardner
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  • The World in Paint: Modern Art and Visuality in England, 1848-1914

    By Simon Watney
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  • Giorgio Morandi: The Art of Silence

    By Matthew Gale
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  • Real Spaces

    By John-Paul Stonard
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  • Candice Breitz. London

    By Sarah Whitfield
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  • Cambridge illuminations. Cambridge

    By C.M. Kauffmann
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  • Summer of Love. Liverpool, Frankfurt and Vienna

    By David Anfam
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  • The legacy of Homer. Paris, New York and Princeton

    By Kathy McLauchlan
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  • Willi Baumeister. Hamburg and Münster.

    By Daniel Herrmann
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  • Goya. Berlin and Vienna

    By Janis A. Tomlinson
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  • Alberti. Rome

    By Johannes Röll
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  • Early European print-making. Washington and Nuremberg

    By Mark McDonald
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  • Toulouse-Lautrec. Washington and Chicago

    By John House
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