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January 2022

Vol. 164 | No. 1426

Italian Baroque art

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Editorial

The Courtauld Gallery

Without question the refurbishment and redisplay of the Courtauld Gallery, London, unveiled on 19th November last year, has resulted in a much more enjoyable experience for visitors. Carried out by the architects Witherford Watson Mann over the past three years at a cost of £57 million, the project has been funded by £11 million from the National Lottery Heritage Fund together with grants from a number of private foundations, whose names – Blavatnik, LVMH, Garfield Weston – are now emblazoned in gold on the Gallery’s walls.

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By Her Hand: Artemisia Gentileschi and Women Artists in Italy, 1500–1800

Museum acquisitions can be transformative and often lead to exhibitions that stimulate research in new directions. The purchase by the Metropolitan Museum of Art, New York, of Francesco Salviati’s portrait of the medical doctor and academician Carlo Rimbotti in 2017 provided the impetus for the recent exhibition of Medici portraits.

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  • Carlo Dolci’s Inscriptions 1 – Dolci’s signatures and prices in context

    By Richard E. Spear
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  • Carlo Dolci’s Inscriptions II – Diligence and devotion in Dolci’s ‘The Adoration of the Kings’ in the National Gallery, London

    By Letizia Treves
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  • New light on the colossal statues on the façade of St Peter’s, Rome

    By Fernando Loffredo
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  • Caravaggio’s ‘Entombment of Christ’ and the birth of Christian archaeology

    By Silvia Danesi Squarzina
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  • Edith Coulson James, Francesco Francia and ‘The Burlington Magazine’, 1911–17

    By Maria Alambritis
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  • The Italian Caravaggio, among others

    By Sheila Mctighe
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  • Life of Guido Reni (Carlo Cesare Malvasia’s ‘Felsina Pittrice’: Lives of the Bolognese Painters, 9)

    By Anthony Colantuono
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  • Iconophilia: Politics, Religion, Preaching, and the Use of Images in Rome, c.680–880

    By Jeffrey Hamburger
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  • Andrea Mantegna: Humanist Aesthetics, Faith, and the Force of Images

    By Antonio Mazzotta
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  • Women Artists, Their Patrons, and Their Publics in Early Modern Bologna

    By Patrizia Cavazzini
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  • Christoph Schwarz: Hofkünstler der Wittelsbacher im konfessionellen Zeitalter

    By Gauvin Alexander Bailey
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  • Peintures italiennes du Musée Fabre de Montpellier: Catalogue raisonné

    By Axel Hémery
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  • The Radical Potter: Josiah Wedgwood and the Transformation of Britain

    By Diana Edwards
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  • Ethnographic Collecting and African Agency in Early Colonial West Africa: A Study of Trans-Imperial Cultural Flows

    By Mark Evans
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  • Time’s Witness: History in the Age of Romanticism

    By Alexandrina Buchanan
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  • The Ends of Art Criticism

    By Matthew Bowman
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  • Kara Walker: A Black Hole Is Everything a Star Longs to Be

    By Catherine Daunt
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  • Allegretto Nuzi e il ’300 a Fabriano: Oro e colore nel cuore dell’Appennino

    By Keith Christiansen
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  • Ottaviano Nelli e il ’400 a Gubbio: Oro e colore nel cuore dell’Appennino

    By Keith Christiansen
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  • Johannes Vermeer: On Reflection

    By Adriaan E. Waiboer
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  • By Her Hand: Artemisia Gentileschi and Women Artists in Italy, 1500–1800

    By Elizabeth Cropper
  • Hokusai: The Great Picture Book of Everything

    By Ellis Tinios
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  • Ingres avant Ingres: Dessiner pour peindre

    By Philippe Bordes
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  • Ilya Repin (1844–1930): Painting the Soul of Russia

    By Rosalind P. Blakesley
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  • Suzanne Valadon: Model, Painter, Rebel

    By Paula J. Birnbaum
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  • Jasper Johns: Mind / Mirror

    By Eileen Costello
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