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.
LONDON IS ONE of the most frequently depicted cities in the world, attracting foreign and native painters for over three centuries, from the jobbing view-taker to some of the great European masters. Its extremes of urban topography and variety of street life, experienced under swiftly changing light and weather, account for much of this detailed pictorial biography. Perhaps only Paris can compare with it in this respect, although Venice runs it close, albeit with a narrower focus.
The occasion for the exhibition Titian’s First Masterpiece: The Flight into Egypt at the National Gallery, London (to 19th August), is the first showing outside Russia in modern times of the large canvas from the Hermitage (Fig.53). In Nicholas Penny’s words, the intent was to show the Flight ‘alongside works from our collection explaining its genesis and confirming its attribution’. With a limited number of paintings at his disposal, the guest curator, Antonio Mazzotta, has fulfilled this brief with a discriminating eye and some daring.
The recently conserved triptych of the Apocalypse (c.1368–90) by Master Bertram in the Victoria and Albert Museum, London.
New information on the provenance of Antonello da Messina’s Portrait of a man in a red cap (c.1475) in the National Gallery, London.
A discussion of the lost portrait of Sir Philip Sidney by Paolo Veronese, and its presence in England.
The unfinished painting of Tristram and Iseult (1872) by Edward Burne-Jones.
A touring exhibition of French art in America during the Second World War is examined with new documentation.
An extended review of the exhibitions in Vienna devoted to Gustav Klimt, on the 150th anniversary of his birth.
