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June 2019, No. 1395 – Vol 161

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Editorial

Building in the shadow of history

Two eminent architects who have died this year offered very different solutions to the perennial question of how new buildings should be designed in the context of the old. I.M. Pei and William Whitfield may seem to have had little in common apart from advanced old age: Whitfield lived to be ninety-eight and Pei was a hundred and two. Born in Canton, but with a career spent largely in the United States, the internationally celebrated Pei crowned his career with the Museum of Islamic Art, Doha, which opened in 2008. Whitfield was born in Britain, where he practised all his life, and his buildings were the sort that garner high praise from critics without ever making their creator’s name widely known.

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Oscar Rejlander: Artist Photographer. J. Paul Getty Museum, Los Angeles

Oscar Rejlander: Artist Photographer J. Paul Getty Museum, Los Angeles 12th March–9th June by corey keller Oscar Gustave Rejlander (1813–75) was a prolific experimenter and adventurous advocate for photography’s rightful place among the fine arts. A painter and copyist by training, he took up photography in 1852 and from then on earned his keep as a portrait photographer. Within the art circles of Victorian Britain, his fame (or infamy, depending on the critic) derived largely from a monumental single photographic image composed from more than thirty separate negatives, entitled Two ways of life (Hope in repentance) (no.88; Fig.14). This allegory of the forked moral path faced by a young man in a rapidly industrialising society is a masterly example of Rejlander’s pioneering use of combination printing to create tableaux that marry the descriptive potency of photography with painterly themes and compositions.

 (no.88; Fig.14). This allegory of the forked moral path faced by a young man in a rapidly industrialising society is a masterly example of Rejlander’s pioneering use of combination printing to create tableaux that marry the descriptive potency of photography with painterly themes and compositions.

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  • The restoration of ‘Young woman reading a letter at an open window’, by Johannes Vermeer: an interim report

    By Uta Neidhardt,Christoph Schölzel
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  • Neo-classicism in technicolour: the Melbourne cabinets

    By Adam Bowett,Rosalind Savill
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  • Delacroix after Goya’s ‘Caprichos’: a new sheet of drawings

    By Paula Fayos-Perez
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  • François Gérard’s portraits of Alexandrine Émilie Brongniart

    By Kathryn Calley Galitz
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  • Insiders/Outsiders: Refugees from Nazi Europe and their Contribution to British Visual Culture. Edited by Monica Bohm-Duchen

    By Marina Vaizey
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  • The Transformation of Athens: Painted Pottery and the Creation of Classical Greece. By Robin Osborne

    By Diana Rodriguez Perez
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  • Die Masken von Reims: Zur Genese negativer Ausdrucksformen zwischen Tradition und Innovation (Kunstwissenschaftliche Studien, 187). By Dagmar Schmengler

    By Gerhard Lutz
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  • The Medieval Stained Glass of Merton College, Oxford (Corpus Vitrearum Medii Aevi: Great Britain, 6). By Tim Ayers

    By Heather Gilderdale
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  • The Sacred Home in Renaissance Italy. By Abigail Brundin, Deborah Howard and Mary Laven

    By Dora Thornton
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  • The Life of Romeyn de Hooghe 1645–1708. By Henk van Nierop

    By Christopher Brown
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  • Roma nel primo Seicento: Una città moderna nella veduta di Matthäus Greuter. Edited by Augusto Roca De Amicis

    By Joseph Connors
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  • Hugh Lane: The Art Market and the Art Museum, 1893–1915. By Morna O’Neill

    By Susanna Avery-Quash
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  • The Tiger in the Smoke: Art and Culture in Post-War Britain. By Lynda Nead

    By Catherine Jolivette
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  • Windsor Castle: A Thousand Years of a Royal Palace. Edited by Steven Brindle

    By Jörg Peltzer
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  • Mark Rothko. Kunsthistorisches Museum, Vienna

    By David Anfam
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  • The Master of Elsloo: From Lonely Hand to Collection of Masters. Bonnefantenmuseum, Maastricht

    By Alexandra Gajewski
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  • Bernard van Orley: Brussels and the Renaissance Centre for Fine Arts (BOZAR), Brussels

    By Lorne Campbell
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  • The Ciardi Family: Landscapes and Gardens. Palazzo Sarcinelli, Conegliano

    By Philip Rylands
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  • Oscar Rejlander: Artist Photographer. J. Paul Getty Museum, Los Angeles

    By Corey Keller
  • The Courtauld Collection: A Vision for Impressionism. Fondation Louis Vuitton, Paris

    By Michael Clarke
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  • Berthe Morisot. Musée d’Orsay, Paris

    By Kathleen Adler
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  • Harold Gilman: Beyond Camden Town. Pallant House Gallery, Chichester

    By Richard Shone
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  • Jenny Holzer: Thing Indescribable. Guggenheim Bilbao

    By David M. Trigg
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