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July 2016

Vol. 158 | No. 1360

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Editorial

Kunstmuseum Basel, New Building

EXTENSIONS FOR PUBLIC or private art collections have become vehicles for architectural innovation in recent years. Yet in this crowded field the Kunstmuseum Basel, as it is now named, has created a new building which is of outstanding interest. The new building is contemporary, yet blends in; it asserts a powerful physical presence while also demonstrating awareness of history.

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Van Dyck. New York

ANTHONY VAN DYCK’s Self-portrait from the Metropolitan Museum of Art, New York (cat. no.12; Fig.71), was the first painting that one encountered in Van Dyck: The Anatomy of Portraiture at the Frick Collection, New York (to 5th June)1 It is not difficult to figure out why. What other painter ever posed with such graceful nonchalance, or sprezzatura, with hands arranged ‘just-so’, their easy equilibrium playing off against the master’s direct and penetrating gaze. The broken brushstrokes, the gentle curls of reddish-brown hair falling gracefully over his forehead and the voluminous black robe all create the sense of a living, breathing being. Through this painting we grasp the visual power that Van Dyck exerts, and understand why he is considered one of the greatest portrait painters who ever lived.

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Obituary: Charles Davis (1939–2015)

By Dorothea Diemer

CHARLES DAVIS DIED in Munich on 26th October 2015. He was born in Burlington, North Carolina, on 19th October 1939 and in 1973 he received his Ph.D. from the University of North Carolina at Chapel Hill; his dissertation was entitled ‘Studies in the Sculpture of Bartolomeo Ammannati’. He began his research in Florence in 1968, and from 1969 to 1971, with a Fellowship from the Samuel H. Kress Foundation, continued his studies on Italian sculpture at the Kunsthistorisches Institut in Florenz. This focus, and his research in Florence during these years, became the foundation upon which his later studies dedicated to Italian cinquecento sculpture, painting and architecture rest.

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  • Giovanni Angelo Frumenti and his tomb in S. Maria Maggiore: a proposed new work by Gian Lorenzo Bernini

    By Steven F. Ostrow
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  • The Baroque churches of El Salvador

    By Gauvin Alexander Bailey
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  • Jean-Baptiste Lebrun and the Carracci cartoons: from Modena to London

    By Véronique Gerard Powell
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  • Camille Pissarro’s ‘Turpitudes sociales’ revisited, part II: anarchism, anti-Semitism and Adolphe Willette

    By Richard Thomson
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  • ‘Notre avenir est dans l’air’: flight and Picasso’s Cubist sculpture

    By John Finlay
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  • Obituary: Charles Davis (1939–2015)

    By Dorothea Diemer
  • Luca di Paolo e il Rinascimento nelle Marche, by Alessandro Delpriori and Matteo Mazzalupi

    By Carl Brandon Strehlke
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  • The Making of Hispano-Flemish Style: Art, Commerce, and Politics in Fifteenth-Century Castile, by Ronda Kasl

    By Marjorie Trusted
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  • The Ethics of Ornament in Early Modern Naples. Fashioning the Certosa di San Martino, by J. Nicholas Napoli

    By Clare Robertson
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  • Turner’s Wessex. Architecture and ambition, by Ian Warrell

    By Timothy Wilcox
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  • The Correspondence of Dante Gabriel Rossetti. Index, Undated Letters and Bibliography, edited by William E. Fredeman

    By Julian Treuherz
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  • Face to Face: Interviews with Artists, by Richard Cork

    By Marina Vaizey
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  • Art, Ritual, and Civic Identity in Medieval Southern Italy, by Nino Zchomelidse

    By Valentino Pace
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  • Francis Towne. London

    By Richard Green
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  • Conceptual Art in Britain. London

    By Stephen Moonie
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  • Glasgow International. Glasgow

    By George Vasey
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  • Balthasar van der Ast. Aachen and Gotha

    By Wouter Kloek
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  • Umberto Boccioni. Milan and Rovereto

    By Chris Michaelides
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  • The Vivarini. Conegliano

    By Amanda Hilliam
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  • Correggio and Parmigianino. Rome

    By David Scrase
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  • Van Dyck. New York

    By Arthur K. Wheelock Jr.
  • Pergamon. New York

    By Christine Gardner
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  • Degas monotypes. New York

    By Alexander Adams
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