Editorial

Publishing art history

It is an old joke that art dealers are people for whom a silver lining is simply an excuse for a dark cloud. Much the same could be said of publishers, and in particular those who specialise in books on the history of art. Art books are more abundant than ever, routinely printed to standards unimaginable a generation ago and affordable to a wide audience.

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Aftermath: Art in the Wake of World War One. Tate Britain, London

The effects of the First World War still resonate today, both in politics and culture. By the end of the war much of northern France and Belgium was wasteland and national boundaries even beyond Europe had been redrawn. Heroic behaviour was still praised, of course, but more and more a sense of the ghastly reality of the conflict infiltrated people’s views and was particularly expressed in literature and the visual arts.

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The Art of Conservation XV. The conservation history of the Ghent Altarpiece

By Hélène Dubois

The Ghent Altarpiece is probably unique in terms of conservation history, as archival information covering over five centuries can be connected to the physical alterations observed on the painted panels and their frames. It has been subjected not only to the natural ageing associated with the materials employed but also to many structural alterations, the consequences of war, iconoclasm, fire, theft and changes in taste, and also to many restorations.

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    Nicholas Hilliard’s portraits of Elizabeth I and Sir Amias Paulet

    By Sarah Bayliss,Juliet Carey,Edward Town
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    From Giotto to the Bushmen: Roger Fry at the Slade 1909–13

    By Caroline Elam
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    Constable’s Salisbury rainbow: a fusion of science and culture?

    By John Thornes
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    Edward Burne-Jones’s ‘St Francis’ for Father Damien

    By Douglas E. Schoenherr
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    The secrets of ‘Max Beerbohm’s house’ by Walter Sickert

    By Stuart Lyons
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    The Art of Conservation XV. The conservation history of the Ghent Altarpiece

    By Hélène Dubois
  • Artemisia Gentileschi in a Changing Light. Edited by Sheila Barker.

    By Richard E. Spear
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  • An Insular Odyssey: Manuscript Culture in Early Christian Ireland and Beyond. Edited by Rachel Moss, Felicity O’Mahony and Jane Maxwell

    By Jeffrey Hamburger
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  • Romanesque and the Mediterranean. Edited by Rosa Bacile and John McNeill

    By Clare Vernon
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  • Die Sixtinishe Decke: Warum Michelangelo malen durfte, was er wollte. By Volker Herzner

    By Daniel Godfrey
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  • Silversmiths in Elizabethan and Stuart London: Their Lives and Their Marks. By David M. Mitchell

    By Philippa Glanville
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  • Painting and Narrative in France, from Poussin to Gauguin. Edited by Peter Cooke and Nina Lübbren

    By Simon Lee
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  • Du bist Faust: Goethe’s Drama in der Kunst. Edited by Roger Diederen and Thorsten Valk

    By Gauvin Alexander Bailey
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  • The Société des Trois in the Nineteenth Century: The Translocal Artistic Union of Whistler, Fantin-Latour, and Legros. By Melissa Berry

    By Timothy Wilcox
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  • Rik Wouters: A Retrospective. Edited by Frederik Leen

    By Alexander Adams
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  • The End Again: Degeneration and Visual Culture in Modern Spain. By Oscar E. Vázquez

    By Fae Brauer
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  • Delirious: Art at the Limits of Reason 1950–1980. By Kelly Baum with Lucy Bradnock and Tina Rivers Ryan

    By Yoojin Choi
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  • Thomas Chippendale studies 1968–2018: reflections on his 300th anniversary

    By Nicholas Goodison
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  • Georg Baselitz at eighty

    By Christian Weikop
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  • The Paston Treasure: Riches and Rarities of the Known World. Norwich Castle Museum & Art Gallery

    By Dora Thornton
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  • Beyond the Nile: Egypt and the Classical World. J. Paul Getty Museum, Los Angeles

    By Kathlyn M. Cooney
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  • The Renaissance of Gaudenzio Ferrari. Varallo, Vercelli and Novara

    By Bram De Klerck
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  • Encounters in Venice: Foreigners and Venetians in Late Seventeenth-Century Art. Palais Fesch-musée des Beaux-Arts, Ajaccio

    By William L. Barcham
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  • Kwab: Dutch Design in the Age of Rembrandt. Rijksmuseum, Amsterdam

    By Simon Jervis
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  • Otto Wagner. Vienna Museum

    By Christopher Long
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  • Joan Miró: Sculptures 1928–1982. Centro Botín, Santander

    By Nicholas Watkins
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  • Aftermath: Art in the Wake of World War One. Tate Britain, London

    By Marina Vaizey
  • Groundwork: international art in Cornwall. West Cornwall (various locations)

    By Anna Gruetzner Robins
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  • Art and China after 1989: Theater of the World. Guggenheim Bilbao

    By Wenny Teo
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