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April 2014

Vol. 156 | No. 1333

Art in France

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Editorial

National schools and British taste

Two recent events at the National Gallery – the opening of Strange Beauty: Masters of the German Renaissance, and the display of its new acquisition, George Bellows’s Men of the docks (1912; see Fig.85, p.271) – raise specific questions about the Gallery’s collecting policy, past and present, and a more general consideration of national schools and British taste.

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Hopper Drawing

‘I don’t care so much for my drawings’, Edward Hopper once remarked. When a publisher proposed a book of them, he responded that it ‘would only very inadequately express what I attempt to do in my paintings’. Now, however, the Whitney Museum of American Art, New York, recipient of approximately 2,500 Hopper drawings in a bequest from the artist’s widow almost fifty years ago, has organised the first major exhibition focused on this aspect of the artist’s achievement. Having been shown at the Whitney and at the Dallas Museum of Art (where this reviewer saw it), Hopper Drawing is currently at the Walker Art Center, Minneapolis (to 22nd June).

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  • Some identifications of paintings in the collection of ‘le grand Colbert’

    By Jean-Claude Boyer

    New identifications from the 1683 posthumous inventory of the picture collection of Le Grand Colbert.

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  • Gustave Moreau and Ingres

    By Peter Cooke

    The influence of the work of Jean Auguste Dominique Ingres on the paintings of Gustave Moreau.

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  • Fantin-Latour: a newly discovered album

    By Melissa Berry

    An album of texts and drawings by Henri Fantin-Latour and friends, discovered in the city archives of Stoke-on-Trent.

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  • Manet and his London critics revisited

    By Ed Lilley

    Previously neglected British press coverage of exhibitions of Manet’s work in London.

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  • Sisley’s house at Louveciennes

    By Ronald Pickvance

    Unpublished photographs identifying the location of Alfred Sisley’s house in Louveciennes, the scene of several of his paintings made there between 1872 and 1874.

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  • Seurat’s hidden self-portrait

    By Aviva Burnstock,Karen Serres

    A hidden self-portrait of Seurat revealed beneath the mirror in his Young woman powdering herself (1889–90).

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  • John Ingamells (1934–2013)

    By Brian Allen
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  • Paris 1650–1900. Decorative Arts in the Rijksmuseum, R. Baarsen

    By Helen Jacobsen
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  • Spanish Drawings in the Princeton University Art Gallery, L.A. Banner

    By Zahira Veliz
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  • Artists and Amateurs: Etching in Eighteenth-Century France, P. Stein

    By Antony Vaughan Griffiths
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  • Ireland and the Picturesque: Design, Landscape Painting and Tourism, 1700–1840, F. O’Kane

    By Robert O'Byrne
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  • The Buildings of Ireland. South Ulster: Armagh, Cavan and Monaghan, K.J. Mulligan

    By Peter Rankin
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  • Rodin, A. Le-Normand-Romain

    By Philip Ward-Jackson
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  • Malevich Paints: The Seeing Eye, P. Railing

    By Peter Stupples
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  • Chatting with Henri Matisse: The Lost 1941 Interview, S. Guilbaut, ed.

    By Lee Hallman
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  • Out of Time: Philip Guston and the Refiguration of Postwar American Art, R. Slifkin

    By David Kaufman
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  • Turner and the Sea

    By Richard Green
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  • De Chirico sculpture

    By Robert Radford
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  • Hockney Printmaker

    By Marina Vaizey
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  • Contemporary Chinese art

    By Celia White
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  • John Craxton

    By Frances Spalding
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  • Illuminated manuscripts

    By Nicholas Herman
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  • Danish Golden Age painting

    By Martin Butlin
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  • Recent shows

    By Anne Blood
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  • Hopper Drawing

    By Robert Silberman
  • Sorolla

    By Richard R. Brettell
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  • Robert Indiana

    By David Anfam
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