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November 2015

Vol. 157 | No. 1352



Destruction in the Middle East

The past two years has seen the destruction of archaeological sites and monuments in the Middle East on an unprecedented scale. In the face of countless human tragedies played out on a daily basis, it may be seen as inappropriate or even callous to express concern over the fate of the region’s cultural heritage. And yet, the cultural heritage of Syria and Iraq, in particular, is of such immense importance to our understanding of human history that it is only right and proper that the international community should be concerned. Its significance is such that it transcends national borders and warring factions and falls into the category of global heritage. In these terms, and without making the sort of fatuous and unhelpful value judgments that have appeared in the press, the pain associated with its damage or destruction is felt as acutely as that relating to the appalling suffering and loss of human life. This may sound like a huge and dramatic exaggeration, but once lost, cultural heritage can never be recovered, and to deprive future generations of the legacy of their past, and in so doing to negate their identity, is an act of unspeakable inhumanity.

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Caro in Yorkshire

After attending a memorial event for Anthony Caro at Tate in 2013, Peter Murray, Director of the Yorkshire Sculpture Park, felt that a comprehensive exhibition of Caro’s work should be organised before too long. He suggested to his staff that they begin to prepare an exhibition, and also contacted the Hepworth Wakefield, who agreed to collaborate. Thus was born the commemorative and celebratory overview of Caro’s prolific sixty-year career, Caro in Yorkshire (to 1st November).1 From its inception in 1977 Caro was a strong supporter of the Yorkshire Sculpture Park, lending them his first polychrome sculpture Sculpture Seven (1961), showing his Trojan War sculptures there in 1994, and a wide range of architectural works – Sculpture and Sculpitecture – in 2001. So the title of the current show hints at his long allegiance to an area of the United Kingdom primarily associated with Henry Moore and Barbara Hepworth.

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  • 201511-rossi

    Antonello (and Domenico) Gagini at Pietraperzìa

    By Francesco Rossi
  • 201511-vandermark

    Four north German bronze lions from Bordesholm

    By Bieke van der Mark
  • 201511-loffredo

    Giovanni Bandini’s ‘Venus’ and ‘Adonis’ for the Sevillian house of Juan de Arguijo in a sonnet by Lope de Vega

    By Fernando Loffredo
  • 201511-zanuso

    The ‘Crucifixion’ and the ‘Last Supper’: two bronzes by Francesco Brambilla for Milan Cathedral

    By Susanna Zanuso
  • 201511-bailey

    The fantastical Rococo altarpieces of Santiago de Surco, Peru

    By Gauvin Alexander Bailey
  • 201511-stocker

    ‘Give Peace in Our Time, O Lord’: W.T. Trethewey’s Citizens’ War Memorial in Christchurch, New Zealand

    By Mark Stocker
  • 201511-lewison

    Barbara Hepworth reconsidered

    By Jeremy Lewison
  • Illuminators and Patrons in Fourteenth-Century England: The Psalter and Hours of Humphrey de Bohun and the Manuscripts of the Bohun Family, L.F. Sandler

    By Roger S. Wieck
  • Leon Battista Alberti and Nicholas Cusanus: Towards an Epistemology of Vision for Italian Renaissance Art and Culture, C.H. Carman

  • Bramante’s Tempietto, the Roman Renaissance and the Spanish Crown, J. Freiburg

    By David Hemsoll
  • Cornelis Engebrechtsz. A Sixteenth-Century Leiden Artist and his Workshop, J.P. Filedt Kok, W. Gibson and Y. Bruijnen, with contributions by E. van Duijn and P. Klein

  • Giuseppe Maggiolini, Catalogo ragionato dei disegni, G. Beretti and A.González-Palacios Friedrich Gottlob Hoffmann, M. Sulzbacher, P. Atzig, S. Schneider and K. Hommel

    By Simon Jervis
  • James Barry’s Murals at the Royal Society of Arts: Envisioning a New Public Art, W.L. Pressly

    By David Bindman
  • The Schorr Collection of Old Master and Nineteenth-Century Paintings, C. Wright

    By Richard Green
  • La Peinture d’Histoire en France, 1860–1900: La Lyre ou le Poignard, P. Sérié

    By Andrew Carrington Shelton
  • Rival Sisters, Art and Music at the Birth of Modernism, 1815–1915, J.H. Rubin, ed., with O. Mattis

    By Ed Lilley
  • Unto Heaven will I Ascend: Jacob Epstein’s Inspired Years 1930–1959, R. Gilboa

    By Rupert Richard Arrowsmith