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August 2013

Vol. 155 | No. 1325

Art it Italy

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Editorial

Strawberry Hill forever

The constellation of eighteenth-century houses and villas beside or near to the Thames, from Chiswick to the western limits of London, all open to visitors, constitutes a remarkable index of English taste. There were, of course, many more, particularly along the north bank of the river at Twickenham, where dowagers and poets lived cheek-by-jowl to gain a view of the Thames. We can perhaps regret the late nineteenth-­century destruction of Twickenham House itself, which had lost much of its land and appeal when the new railway could be heard and seen from the drawing-room windows.

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New Order: British Art Today. London

The notion of Britishness has languished under an interrogative spotlight in recent years. It was tossed playfully to and fro, verbally and visually, during the 2012 Olympic Games, the Royal Wedding and the Queen’s Jubilee; it has recently been recast in right-wing political parties’ favour; it continues to divide Parliament as the Eurozone stumbles. The only semblance of a consensus is that there exists no clear notion of what it is to be ‘British today’, so that ‘diversity’ is proudly (and inevitably) cited as its unifying feature.

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  • MA.AUG.SARTORE.Fig

    Perugino’s contract for the Collegio del Cambio frescos

    By Alberto Maria Sartore

    An unpublished contract for Perugino concerning his commission to decorate the Collegio del Cambio, Perugia, in 1496.

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  • MA.AUG.BERRA.Fig

    Cardinal Federico Borromeo and the choice of painters to fresco the Collegio Borromeo at Pavia

    By Giacomo Berra

    Published and unpublished letters and documents on the decorations commissioned by Cardinal Borromeo for the Collegio Borromeo in Pavia.

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  • A rediscovered altarpiece by Pietro da Cortona and insights into the collaboration between the master and his pupils

    By Giovan Battista Fidanza

    New light on the late work of Pietro da Cortona and the collaboration of his substantial workshop.

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  • MA.AUG.MANCINI.Fig

    History of a fake: ‘The Virgin and Child with an angel’ after Francesco Francia in the National Gallery, London

    By Giorgia Mancini

    The ‘Virgin and Child with an angel’, acquired as a Francesco Francia by the National Gallery, London, in 1924, and declassified in 1955 as a fake, is here given a new attribution.

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  • MA.JUL.BARBIERI.Fig

    Mattia Preti’s S. Vigilio altarpiece: a postscript

    By Nello Barbieri,Linda Bauer

    More on Mattia Preti’s S. Vigilio altarpiece in Siena, including two new documents regarding the commission.

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  • Wives, Widows, Mistresses, and Nuns in Early Modern Italy. Making the Invisible Visible through Art and Patronage

    By Clare Robertson
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  • Il Duecento e la Cultura Gotica (La Pittura Medievale a Roma, V)

    By Julian Gardner
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  • ‘Et ils s’émerveillèrent . . .’. L’art médiéval en Croatie

    By Zoë Opacic
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  • Pittori a Lucca al tempo di Paolo Guinigi. Battista di Gerio in San Quirico all’Olivo

    By Flavio Boggi
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  • La villa italiana del Rinascimento. Forme e funzioni delle residenze di campagna, dal castello alla villa palladiana

    By Richard Schofield
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  • Niederländische Malerei 1430–1800. Museum der bildenden Künste Leipzig

    By Stephan Kemperdick
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  • The Inventory of King Henry VIII, Volume II: Textiles and Dress

    By Iain Buchanan
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  • Benedetto Luti. L’ultimo maestro

    By Xavier F. Salomon
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  • John Tweed: Sculpting the Empire

    By Mark Stocker
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  • Kent: West and the Weald

    By Owen Hopkins
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  • From Ornament to Object: Genealogies of Architectural Modernism

    By Ayla Lepine
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  • Tudor and Stuart fashion. London

    By Karen Hearn
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  • A Crisis of Brilliance, 1908–22. London

    By Susan Owens
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  • New Order: British Art Today. London

    By Celia White
  • Recent exhibitions. London (Robert Motherwell)

    By James Cahill
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  • Recent exhibitions. London (Dorothy Mead)

    By James Cahill
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  • Recent exhibitions. London (Merlin James)

    By James Cahill
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  • Recent exhibitions. London (Gary Hume)

    By James Cahill
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  • Recent exhibitions. London (Julie Mehretu)

    By James Cahill
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  • Land Art in Britain 1966–79. Southampton; Cardiff; Warwick; Wakefield

    By Andrew Wilson
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  • Catlin’s American Indian portrait. London and Birmingham

    By Marina Vaizey
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  • Hieronymus Cock. Leuven and Paris

    By Nadine M. Orenstein
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  • Dalou. Paris

    By Philip Ward-Jackson
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  • Small paintings at the Prado. Madrid

    By Peter Cherry
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  • Georges Hoentschel and French decorative arts

    By Martin P. Levy
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  • Photography and the American Civil War. New York; Charleston; New Orleans

    By Jenna Krumminga
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  • Destroy the Picture. Los Angeles and Chicago

    By Robert Silberman
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