Burlington Contemporary is the Burlington Magazine’s free online platform for reviews and research on international contemporary art.
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Burlington Contemporary is the Burlington Magazine’s free online platform for reviews and research on international contemporary art.
It is usually with some apprehension that one sets out to visit a museum that one has not seen for some years, especially if the earlier visit left a favourable impression. Will it be much the same (unlikely) or will curatorial, political and educational agendas have changed its galleries beyond recognition into a thematic maze? Will the wall labels be simply informative or be couched in a kindergarten idiom or, perhaps worse, tell us how we are to respond to a particular exhibit? Will one of the principal galleries now be devoted perhaps to a café, a shop or a video projection? When, earlier this year, the National Museum Wales in Cardiff announced the completion of six new galleries for modern and contemporary art, mixed feelings arose.
The history, iconography and restoration of the Museo del Prado’s newly acquired Pieter Bruegel the Elder, The Wine of St Martin’s Day (c.1566–67).
Zanobi Machiavelli, Battista Sforza and the high altar of the Badia Fiesolana.
A recovered cycle of paintings of the life of the Virgin (c.1630) by Philippe de Champaigne for the Carmelites in rue Saint-Jacques, Paris.
An unpublished letter concerning the possible purchase of Leonardo’s The Virgin of the Rocks written by Gavin Hamilton to the 2nd Earl of Shelburne.
Artemisia Gentileschi’s Christ and the Woman of Samaria (mid-1630s).
A discussion of More Adey’s work with the Carfax Gallery, London, and as a contributor, Assistant Editor and Co-Editor with Roger Fry and Lionel Cust of The Burlington Magazine.
A detailed review article on the recent Manet exhibition at the Musée D’Orsay, Paris, featuring much new archival research.
