1. The Barberini Venus, attributed to Giulio Mazzoni, shortly after
1550 (?) with additions by Carlo Maratti, 1693. Mural in oil with tempera,
163 by 190 cm. Photographed before the restoration of 1999–2000.
(Gallerie Nazionali d’Arte Antica, Palazzo Barberini, Rome; photograph
Mauro Coen; courtesy Ministero della Cultura, Rome).
Attributed works:
2. Fig.1, photographed after the restoration of 1999–2000. (Gallerie
Nazionali d’Arte Antica, Palazzo Barberini, Rome; photograph Mauro
Coen; courtesy Ministero della Cultura, Rome).
Attributed works:
3. Schematic reconstruction of the painting shown in Fig.1. From P.
Iazurlo: ‘La Venere Barberini: un dipinto di Giulio Mazzoni da Palazzo
Capodiferro’, Storia dell’arte 22–23 (2009), p.82.
Attributed works:
4. Detail of Fig.1, showing the face of Venus.
Attributed works:
5. Detail of Fig.2, showing the face of Venus.
Attributed works:
6. Fig.1, photographed during the restoration of 1999–2000. (Gallerie
Nazionali d’Arte Antica, Palazzo Barberini, Rome; photograph Mauro
Coen; courtesy Ministero della Cultura, Rome).
Article
Battening spalliera paintings: reflections on twenty-five years of research
1. Story of Virginia, by Sandro Botticelli. c.1500. Oil and tempera on
panel, 86 by 165 cm. (Accademia Carrara, Bergamo).
Attributed works:
10. Fight between the Lapiths and centaurs, by Piero di Cosimo.
c.1500–15. Oil on panel, 71 by 260 cm. (National Gallery, London).
Attributed works:
2. Story of Lucretia, by Sandro Botticelli. c.1500. Oil and tempera on
panel, 83.8 cm by 176.8 cm. (Isabella Stewart Gardner Museum, Boston).
Attributed works:
3. Episodes from the life of Alexander the Great, by the workshop
of Ghirlandaio. 1493–94. Tempera on panel, 76 by 229.5 cm. (Victoria
and Albert Museum, London).
Attributed works:
4. Julius Caesar and the crossing of the Rubicon, by the workshop
of Ghirlandaio. 1493–94. Tempera and gold on panel, 73.5 by 170 cm.
(Victoria and Albert Museum, London).
Attributed works:
5. The story of Griselda: Part one, marriage, by the Master of the
Story of Griselda. c.1494. Oil and tempera on panel, 61.6 by 154.3 cm.
(National Gallery, London).
Attributed works:
6. The back of the panel illustrated in Fig.5, showing vertical battens
used to stabilise the panel and/or attach it to its setting. (National
Gallery, London).
Attributed works:
7. Alexander the Great, by the Master of the Story of Griselda. c.1500.
Tempera on panel, 105.4 by 50.8 cm. (The Barber Institute of Fine Arts,
University of Birmingham).
Attributed works:
8. Claudia Quinta, by Neroccio de’ Landi and the Master of the Story of
Griselda. c.1493–94. Tempera on panel, 104 by 46 cm. (National Gallery
of Art, Washington).
Attributed works:
9. Detail of Fig.10, showing Hylonome and Cylarus.
Exhibition Review
Martha Rosler: Irrespective. Jewish Museum, New York
19. Adelard
the drowned,
master of ‘The
Phantom’, by
Marsden Hartley.
c.1938–39. Board,
71.1 by 55.9 cm.
(Frederick R.
Weisman Art
Museum at
the University
of Minnesota,
Minneapolis;
exh. Los Angeles
County Museum
of Art).
Attributed works:
20. Candy Darling,
by Greer Lankton.
1985. Fabric, wire,
glass, human hair,
acrylic paint,
matte medium,
feathers and
metal, 76.2 by 30.5
by 7.6 cm. (Paul
Monroe; Greer
Lankton Archive
Museum; exh. Los
Angeles County
Museum of Art).
Attributed works:
21. Take my yoke
upon you and
learn of me saith
Jesus, #1,060, by
Howard Finster.
1977–78. Paint
on board with
embossed wood,
44.5 by 122.6 cm.
(High Museum
of Art, Atlanta;
exh. Los Angeles
County Museum
of Art).
Damien Hirst – The Complete Spot Paintings, 1986–2011, With essays by R. Pincus-Witten, M. Bracewell and D. Hirst, and a conversation with Damien Hirst, John Baldessari and Ed Ruscha