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.
AS PRESSURE MOUNTS on museums to reduce their ‘carbon footprint’ it is noticeable that there is no proposal to curb the practice of trucking works of art around the country or flying them around the globe. Rather, the reverse. It is indeed clear that over the last decade or so the standard model of what a museum should be has changed. In place of the museum that regards itself primarily as a ‘permanent collection’, occasionally lending a work of art for a worthy exhibition, slowly modifying its displays and modernising its facilities, and feeling somewhat embarrassed by the quantity of work in store, we have the museum that frequently changes its displays, gives increasing emphasis to temporary exhibitions and is striving to be more of a global brand than a place.
Archival records reveal the identity of the Cologne Master of St Veronica as ‘Master Wilhelm’.
This article establishes that the Scottish artist Adam de Colone and the Dutch painter Adam de Colonia are in fact one and the same person.
The provenance and subject-matter of a rediscovered pair of paintings, Bacchus and Bacchantes and Offering to Venus (c.1655–60), by Caesar van Everdingen.
The Mauritshuis’s recent acquisition of Dirck de Bray’s Still life of a bouquet in the making (1674).
This article establishes, among other things, that Carel Fabritius’s Mercury and Argus (c.1645–47; Los Angeles County Museum of Art) was in the collection of François Boucher, where it was seen by Fragonard.
A new catalogue of Friedrich’s drawings and watercolours
Using new weave matching techniques, this article identifies aligned pieces of canvas from the rolls used by Van Gogh.
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