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August 2018

Vol. 160 | No. 1385

Italian art and architecture


The Glasgow School of Art

On 30th march Kelvingrove Art Gallery and Museum unveiled the largest exhibition on Charles Rennie Mackintosh held in Glasgow since 1996.1 As well as marking the 150th anniversary of his birth, it was intended as a prelude to the reopening next year of Mackintosh’s most famous building, the Glasgow School of Art (GSA), following the restoration of the interiors lost in a fire in 2014.

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‘Landscape,’ ‘portrait,’ ‘still life’: unlikely, untimely, even burdensome words with which to frame exhibitions of contemporary art, or so one might presume. And yet these are the titles given to Tacita Dean’s unprecedented trio of shows in London, staged collaboratively by institutions with names just as redolent of history as these traditional genres of painting: the National Gallery, the National Portrait Gallery and the Royal Academy.1 

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  • DILLON_small

    The problematic ‘Baptist’: Benedetto da Maiano’s Sala dei Gigli doorway

    By Sarah M. Dillon
  • battaglia-small

    Evidence for Florentine patronage in two liturgical manuscripts illuminated by Rinaldo da Siena

    By Laura Alidori Battaglia,Marco Battaglia
  • DALPOZZOLO-large (1)

    Two paintings of Samson by Lorenzo Lotto at Charlecote Park

    By Enrico Maria dal Pozzolo
  • SPILA_small

    Ferdinando Fuga’s proposals for displaying relics in S. Maria Maggiore, Rome

    By Alessandro Spila
  • barker-small

    ‘Marvellously gifted’: Giovanna Garzoni’s first visit to the Medici court

    By Sheila Barker
  • La Cappella Paolina. Edited by Maurizio De Luca, Arnold Nesselrath, Antonio Paolucci and Ulderico Santamaria; Michelangelo e la Cappella Paolina: Riflessioni e contributi sull’ultimo restauro. Edited by Antonio Paolucci and Silvia Danesi Squarzina

    By Giorgio Bonsanti
  • Obras emblemáticas del taller de orfebrería medieval de Silos: ‘el Maestro de las Aves’ y su círculo. By Lourdes de Sanjosé Llongueras

    By Kirstin Kennedy
  • Carlo Crivelli et le matérialisme mystique du Quattrocento. By Thomas Golsenne

    By Amanda Hilliam
  • Pliny the Elder and the Emergence of Renaissance Architecture. By Peter Fane-Saunders

    By David Hemsoll
  • Forgotten Masters: Pieter Pourbus and Bruges. Painting from 1525 to 1625. Edited by Anne van Oosterwijk and Till-Holger Borchert

    By Charles Mackay
  • The Holy Name: Art of the Gesù. Bernini and His Age. Edited by Linda Wolk-Simon and Christopher M. S. Johns

    By Steven F. Ostrow
  • The Art of the Valadiers. Edited by Teresa Leonor M. Vale

    By Roberto Valeriani
  • Rebel Modernists: Viennese Architecture Since Otto Wagner. By Liane Lefaivre

    By Eric Anderson
  • Picturing the Proletariat: Artists and Labor in Revolutionary Mexico, 1908–1940. By John Lear

    By Edward J. Sullivan
  • De Chirico and the United Kingdom (c.1916–1978). By Victoria Noel-Johnson

    By Robert Radford
  • Chaim Soutine at the Jewish Museum, New York

    By Merlin James

    By Dominic Paterson
  • Lorenzo Lotto: Portraits. Museo Nacional del Prado, Madrid

    By Peter Humfrey
  • Michaelina Wautier: Baroque’s Leading Lady. Museum aan de Stroom, Antwerp

    By Christopher Brown
  • 300 Years of the Vienna Porcelain Manufactory. Austrian Museum of Applied Arts / Contemporary Art (MAK), Vienna; Eternally Beautiful: 300 Years of Vienna Porcelain. Augarten Porcelain Museum, Vienna

    By Claudia Bodinek
  • Napoleon: Power and Splendour. Virginia Museum of Fine Arts, Richmond

    By Philippe Bordes
  • The Great Spectacle: 250 Years of the Summer Exhibition. Royal Academy of Arts, London

    By Jonathan Yarker
  • Charles Rennie Mackintosh: Making the Glasgow Style. Kelvingrove Art Gallery and Museum, Glasgow

    By Max Donnelly
  • Emil Nolde: Colour is Life. Scottish National Gallery of Modern Art, Edinburgh

    By Jill (J. L.) Lloyd
  • Antony Gormley: SUBJECT. Kettle’s Yard, Cambridge

    By Jeremy Lewison
  • The Return of the Past: Postmodernism in British Architecture. Sir John Soane’s Museum, London

    By Barnabas Calder
  • Art Now: Lisa Brice. Tate Britain, London

    By Michael Bracewell
  • Chantal Joffe: Personal Feeling is the Main Thing. The Lowry, Manchester

    By John Parton
  • Jason Moran. Walker Art Center, Minneapolis

    By Diane Mullin