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September 2019, No. 1398 – Vol 161

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Editorial

Out of the attic

Sometimes fairy tales really do come true. On first hearing, the story of the seventeenth-century canvas of Judith beheading Holofernes that was discovered in the attic of a house in Toulouse in 2014 sounded like a work of fiction, especially once it became known that eminent scholars were prepared to argue that the painting was by Caravaggio. 

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Escape into Art? The Brücke Painters in the Nazi Period Brücke-Museum and Kunsthaus Dahlem, Berlin; Emil Nolde – A German Legend: The Artist during the Nazi Period. Hamburger Bahnhof, Berlin

These two excellent exhibitions, both with highly informative catalogues, explore with a new openness the relationship between Expressionism and National Socialism. As part of Escape into Art? at the Brücke-Museum, which investigates the period up to 1945, the neighbouring Kunsthaus Dahlem examines the rehabilitation of the Brücke artists in the post-war era.(1) It is the first time that these two institutions have joined forces, which is symbolic of a new wider approach. 

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  • Pilgrimage scenes in newly identified medieval glass at Canterbury Cathedral

    By Rachel Koopmans
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  • Caravaggio’s other ‘Judith and Holofernes’

    By John Gash
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  • ‘Madame de Brayer’ identified: Courbet and his Brussels portraits, 1856–58

    By Dominique Marechal
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  • Charles Holmes and the restoration of paintings at the National Gallery, London

    By Jacob Simon
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  • Sir John Richardson (1924–2019)

    By Elizabeth Cowling
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  • Hessel Miedema (1929–2019)

    By Paul Taylor
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  • Francis Picabia Catalogue Raisonné. Edited by Beverley Calté, William A. Camfield, Candace Clements and Arnauld Pierre

    By Trevor Stark
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  • Painting the Page in the Age of Print: Central European Manuscript Illumination of the Fifteenth Century. Edited by Jeffrey F. Hamburger, Robert Suckale and Gude Suckale-Redlefsen, with Eberhard König, transl. David Sánchez

    By Eric White
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  • Seen from Behind: Perspectives on the Male Body and Renaissance Art. By Patricia Lee Rubin

    By Sarah Betzer
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  • Maioliche di Savona e Albisola a Firenze (1650–1700). By Marco Spallanzani

    By Dora Thornton
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  • Early Rubens. Edited by Sasha Suda and Kirk Nickel

    By Dennis P. Weller
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  • Ottoman Baroque: The Architectural Refashioning of Eighteenth-Century Istanbul. By Ünver Rüstem

    By Gauvin Alexander Bailey
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  • Joseph-Benoît Suvée, 1743–1807: un artiste entre Bruges, Rome et Paris. By Sophie Join-Lambert and Anne Leclair

    By Philippe Bordes
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  • History of the Royal Hibernian Academy of Arts. By John Turpin

    By Philip McEvansoneya
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  • Frances Hodgkins: European Journeys. Edited by Catherine Hammond and Mary Kisler; Finding Frances Hodgkins. By Mary Kisler

    By Mark Stocker
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  • Silent Beauty: Nordic and East Asian Interaction. Edited by Anne-Marie Pennonen and Hanne Selkokari

    By Sarah Bolwell
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  • Bridget Riley. Scottish National Gallery, Edinburgh

    By Anna Campbell
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  • Fra Angelico and the Rise of the Florentine Renaissance. Museo Nacional del Prado, Madrid

    By Nathaniel Silver
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  • Single-Leaf Woodcuts of the 15th Century. Pinakothek der Moderne, Munich

    By Jeffrey Hamburger
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  • Works by Jordaens in Russia Pushkin State Museum of Fine Arts, Moscow

    By Catherine Phillips
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  • The Origins of British Landscape Bishop Trevor Gallery, Bishop Auckland

    By Timothy Wilcox
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  • Natalia Goncharova. Tate Modern, London

    By John Milner
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  • Escape into Art? The Brücke Painters in the Nazi Period Brücke-Museum and Kunsthaus Dahlem, Berlin; Emil Nolde – A German Legend: The Artist during the Nazi Period. Hamburger Bahnhof, Berlin

    By Christian Weikop
  • Madge Gill: Myrninerest William Morris Gallery, London

    By Simon Grant
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  • Pattern and Decoration: Ornament as Promise. Museum of Modern Art, Ludwig Foundation (MUMOK), Vienna

    By David Anfam
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  • Cut and Paste: 400 Years of Collage Scottish National Gallery of Modern Art (Modern Two), Edinburgh

    By Susannah Thompson
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