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February 2022

Vol. 164 | No. 1427

Northern European Art

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Editorial

Looking forward

 

Thanks to the pandemic, 2022 has stepped nervously into history. As we go to press, museums in Denmark have just reopened, but those in the Netherlands remain closed; the museums of Dresden, in common with all of Saxony, are still shut. In France, Italy and the United Kingdom, museums remain open, albeit with constraints, such as having to book visits or produce vaccination certificates.

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New galleries of Dutch and Flemish art

 

2021 saw the opening at the Museum of Fine Arts, Boston (MFA), of two related initiatives: the Center for Netherlandish Art (CNA), the first resource of its kind in the United States, and a suite of newly installed corridors and galleries for Dutch and Flemish art. Both were made possible through the generosity of two collector couples, Rose-Marie and Eijk van Otterloo and Susan and Matthew Weatherbie. 

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  • Margaret van Eyck, a house called ‘The Wild Sea’ and Jan van Eyck’s posthumous workshop

    By Jan Dumolyn,Susan Jones,Ward Leloup,Toon De Meester,Mathijs Speecke
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  • The ‘Weston Altarpiece’ in the Museum of the Order of St John, Clerkenwell

    By Richard West
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  • ‘The crucifixion of St Peter’: Gerard Seghers, Michelangelo and Caravaggio

    By Anne Delvingt
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  • Christian VII of Denmark’s lost British portraits

    By Sara Ayres
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  • The Art of Conservation: XVII: Jan Cornelis Traas, paintings restorer of the Van Gogh family collection

    By Ella Hendriks
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  • Colossal orders and a Classical fa ade: Hoefnagel and Nonsuch revisited

    By Martin Biddle
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  • Christian Theuerkauff (1936–2021)

    By Marjorie Trusted
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  • The finding of the infant Bacchus

    By Lars Hendrikman
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  • Rembrandt: Landschaftszeichnungen / Landscape Drawings

    By Christopher White
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  • Treasury, Memory, Nature: Church Objects in the Middle Ages

    By Tom Nickson
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  • Die Bronze, der Tod und die Erinnerung. Das Grabmal des Wolfhard von Roth im Augsburger Dom

    By Paul Williamson
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  • Watermarks: Leonardo da Vinci and the Mastery of Nature

    By Francis Ames-Lewis
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  • Painting in Stone: Architecture and the Poetics of Marble from Antiquity to the Enlightenment

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  • Johann Joachim Winckelmann (1717–1768): Ein Europ isches Rezeptionsph nomen / Fenomeno Europeo della Ricezione

    By Clare Hornsby
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  • Gemalte Kunstgeschichte: Bildgenealogien in der Malerei um 1800

    By Robert Skwirblies
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  • Horace Pippin, American Modern

    By Colin Rhodes
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  • Art and the Nation State: The Reception of Modern Art in Ireland

    By Philip McEvansoneya
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  • Iconoclasm and the Museum

    By Thomas E. Stammers
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  • Sophie Taeuber-Arp: Living Abstraction

    By Lynne Cooke
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  • Emailler le verre à la Renaissance: Sur les traces des artistes verriers entre Venise et France

    By Sylvie Lhermite-King
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  • Venetia 1600: Births and Rebirths

    By Camilla Pietrabissa
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  • Caravaggio e Artemisia: la sfida di Giuditta. Violenza e seduzione nella pittura tra Cinquecento e Seicento

    By Keith Christiansen
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  • New galleries of Dutch and Flemish art

    By Ivan Gaskell
  • Hogarth and Europe

    By Richard Stemp
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  • Late Constable

    By Mark Evans
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  • The Morozov Collection: Icons of Modern Art

    By Rosalind P. Blakesley
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  • Laura Knight: A Panoramic View

    By Sally Beazley-Long
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  • Carrie Moyer and Sheila Pepe: Tabernacles for Trying Times

    By Anne Swartz
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