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February 2019

Vol. 161 | No. 1391

Northern European art


Hilliard in Europe

There are times when current political debates seem to entwine in the most complex ways with art history. It is not surprising that the United Kingdom’s decision in 2016 to leave the European Union is one example, since it raises fundamental issues of national identity. Brexit’s shadow falls in surprising places, few less likely perhaps than over an artist who said that the depiction of shadows had no part in his work, Nicholas Hilliard. 

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Anglo-Saxon Kingdoms: Art, Word, War. British Library, London

The British Library’s exhibition on Anglo-Saxon kingdoms is a triumph on two levels. Not only is it a magnificent display of early medieval masterpieces, but it also reclaims the intellectual high ground for the Anglo-Saxons at a time when the label ‘Anglo-Saxon’ is tainted by its use in some quarters as a byword for racial essentialism and when Britain finds itself in the midst of a debate over its future in Europe and the world.

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  • RUTHERFORD_Hilliard

    An English artist at the Valois court: a portrait of Henri III by Nicholas Hilliard

    By William Aslet,Lucia BURGIO,Céline Cachaud,Alan Derbyshire,Emma Rutherford


  • BROSENS_Benavides Scipio

    Benavides’s ‘Scipio’ ensemble and collaborative entrepreneurial action in Brussels tapestry around 1660

    By Koenraad Brosens,Astrid Slegten
  • PAOLINI_Rubens

    Philip and Peter Paul Rubens in Rome: newly discovered documents concerning their early careers

    By Cecilia Paolini
  • MANN_BurneJones_FIG03

    ‘Opaque with a vengeance’: Burne-Jones’s later watercolours, 1880–98

    By Fiona Mann
  • Lionello Puppi (1931–2018)

    By Deborah Howard
  • Pompeo Batoni: A Complete Catalogue of His Paintings. By Edgar Peters Bowron

    By Stéphane Loire
  • Fifty English Steeples: The Finest Medieval Parish Church Towers and Spires in England. By Julian Flannery

    By James Alexander Cameron
  • Le miniature della Fondazione Giorgio Cini: Pagine, Ritagli, Manoscritti. Edited by Massimo Medica and Federica Toniolo

    By Stella Panayotova
  • Venice Illuminated: Power and Painting in Renaissance Manuscripts. By Helena Katalin Szépe

    By Peter Humfrey
  • Albrecht Dürer: Documentary Biography. By Jeffrey Ashcroft

    By Armin Kunz
  • Van Dyck’s Hosts in Genoa: Lucas and Cornelis de Wael’s Lives, Business Activities and Works. By Alison Stoesser

    By Timothy J. Standring
  • South-East Marylebone (Survey of London, 51 and 52). Edited by Philip Temple, Colin Thom and Andrew Saint

    By Simon Bradley
  • Une théorie universelle au milieu du XIXe siècle: La ‘Grammar of Ornament’ d’Owen Jones. By Ariane Varela Braga

    By David Van Zanten
  • Live Form: Women, Ceramics and Community. By Jenni Sorkin

    By Tanya Harrod
  • Jasper Johns: Pictures within Pictures,1980–2015. By Fiona Donovan

    By Eileen Costello
  • Bruce Nauman: Disappearing Acts. Museum of Modern Art and MoMA PS1, New York

    By Lynne Cooke
  • Anglo-Saxon Kingdoms: Art, Word, War. British Library, London

    By Rory Naismith
  • Gainsborough’s Family Album. National Portrait Gallery, London; Early Gainsborough: ‘From the Obscurity of a Country Town’. Gainsborough’s House, Sudbury

    By Desmond Shawe-Taylor
  • Lost Treasures of Strawberry Hill: Masterpieces from Horace Walpole’s Collection. Strawberry Hill, Twickenham

    By Megan Aldrich
  • Romanticism. Gallerie d’Italia and Museo Poldi Pezzoli, Milan

    By Sharon Hecker
  • Picasso: Blue and Rose Musée d’Orsay, Paris; The Young Picasso: Blue and Rose Periods. Fondation Beyeler, Basel

    By Elizabeth Cowling
  • Roman Vishniac Rediscovered. Jewish Museum, London, and The Photographers’ Gallery, London

    By Marina Vaizey
  • Andy Warhol—From A to B and Back Again. Whitney Museum of American Art, New York

    By Lewis Kachur
  • Sally Mann: A Thousand Crossings. J. Paul Getty Museum, Los Angeles

    By Robert Silberman