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59 articles
Book Review
Theophilus and the Theory and Practice of Medieval Art. By Heidi C. Gearhart
11/2018 | 1388 | 160
Pages: 975-976
Article
The Art of Conservation XIV. Accommodating change: twentieth-century American artists and conservators
02/2018 | 1379 | 160
Pages: 126-135
related names
Author:
Epley, Bradford A. (Epley, Bradford A.)
Subjects
dates:
media:
places:
Illustrations
Attributed works:
10. Detail of Fig.9, showing the extent to which the varnish saturates the paint and reveals brushwork, both the artist’s and the conservator’s, which was deliberately eschewed by the artist (© 2018 Estate of Ad Reinhardt / Artists Rights Society (ARS), New York).
Attributed works:
11. 6:30, by David Novros. On the left is the original (1966) and on the right is the second version, acrylic on canvas on six wood panels (2006). Both 182.9 by 261.6 cm. (Menil Collection, Houston; © 2018 David Novros / Artists Rights Society (ARS), New York).
Attributed works:
2. Female nude, by Pablo Picasso. 1910. Canvas, 73 by 54 cm. (Menil Collection, Houston; © 2018 Estate of Pablo Picasso / Artists Rights Society (ARS), New York).
Attributed works:
3. Fig.2 photographed in raking light after varnish removal to reveal the recovery of the overall matt paint surface and a better sense of the varied brushwork used. (© 2018 Estate of Pablo Picasso / Artists Rights Society (ARS), New York).
Attributed works:
4. Barnett Newman in front of Be I a the Betty Parsons Gallery, New York, 1950. (Photograph Hans Namuth; courtesy Center for Creative Photography, University of Arizona, Tucson; © 2018 The Barnett Newman Foundation, New York / Artists Rights Society (ARS), New York).
Attributed works:
5. Detail of Be I, by Barnett Newman. 1949. (Menil Collection, Houston; © 2018 The Barnett Newman Foundation, New York / Artists Rights Society (ARS), New York).
Attributed works:
6. Who’s afraid of red, yellow and blue III, by Barnett Newman. 1967–68. Canvas, 243.8 by 543.6 cm. Photograph taken after restoration in 1991. (Stedelijk Museum, Amsterdam; © 2018 The Barnett Newman Foundation, New York / Artists Rights Society (ARS), New York).
Attributed works:
7. Ad Reinhardt in his studio, 1955. (Photograph John Lonegar; courtesy Time & Life Pictures and Getty Images; © 2018 Estate of Ad Reinhardt / Artists Rights Society (ARS), New York).
Attributed works:
8. Ad Reinhardt at work on a black painting in his New York studio, July 1966. (Photograph John Lonegar; courtesy Time & Life Pictures and Getty Images; © 2018 Estate of Ad Reinhardt / Artists Rights Society (ARS), New York).
Attributed works:
9. Abstract Painting, 1954–1960, by Ad Reinhardt. Canvas, 203.5 by 127.3 cm. (Menil Collection, Houston; © 2018 Estate of Ad Reinhardt / Artists Rights Society (ARS), New York).
Western art unattributed:
1. Caroline and Sheldon Keck working at the Brooklyn Museum, New York. Undated photograph. (Collection of the Brooklyn Museum Archives, New York).
Book Review
Le Coloris vénitien à la Renaissance. Autour de Titien, by Isabelle Bouvrande
01/2017 | 1366 | 159
Pages: 46-47
related names
Reviewer:
Hope, Charles (Hope, Charles)
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artists:
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Publication Received
Brilliant Discourse: Pictures and Readers in Early Modern Rome. By Evelyn Lincoln.
01/2017 | 1366 | 159
Pages: 52
related names
Reviewer:
McDonald, Mark (McDonald, Mark)
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dates:
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Article
The Art of Conservation VIII: From Guizzardi to Cavenaghi: nineteenth-century Italian conservators
12/2016 | 1365 | 158
Pages: 968-978
related names
Author:
Bonsanti, Giorgio (Bonsanti, Giorgio)
Subjects
dates:
subjects:
subjects:
Illustrations
Attributed works:
29. Portrait of Giuseppe Guizzardi in 'ancient' dress, by Pelagio Palagi. 1807 (Collezioni Comunali d'Arte, Bologna)
Attributed works:
30. Self-portrait, by Giuseppe Molteni. c.1830 (Private collection, Florence)
Attributed works:
31. Photograph of the back of the panel of Raphael's Marriage of the Virgin (Galleria di Brera, Milan) with the structural restoration by the cabinetmaker Draghini supervised by Molteni in 1857-58
Attributed works:
32. Nativity, by Girolamo Romanino. c.1524. Photographed in 1939 with Molteni's restoration, removed in 1968 (National Gallery, London)
Attributed works:
33. Fig.32 in its present state
Attributed works:
35. Detail of Penitent St Benedict, by Agnolo Bronzino. c.1525 (Chiostro degli Aranci, Badia Fiorentina, Florence). In its present state after the strappo made by Giovanni Secco Suardo in 1864, with a clear impression of the canvas
Attributed works:
37. Il restauratore dei dipinti, volume I, by Giovanni Secco Suardi, 2nd edition, Milan 1894 (Biblioteca, Galleria degli Uffizi, Florence)
Attributed works:
38. Manuale del pittore restauratore, by Ulisse Forni. Florence 1866, with Forni's dedication to the sculptor Ulisse Cambi (Giorgio Bonsanti collection)
Attributed works:
39. Ettore Franchi's suggested outline of the Angel made in 1878 on the Coronation of the Virgin, by Lorenzo Monaco. 1414 (Galleria degli Uffizi, Florence; photograph Opificio delle Pietre Dure, Florence)
Attributed works:
40. St Gregory, by Antonello da Messina. 1473 (Museo Regionale, Messina) with the restoration by Luigi Cavenaghi (1912)
Attributed works:
41. Head of a female saint, by Cima da Conegliano. c.1510 (Museo Poldi Pezzoli, Milan) after the restoration by Cavenaghi (1890)
Attributed works:
42. Luigi Cavenaghi restoring Leonardo da Vinci's Last Supper in the refectory of S. Maria degli Angeli, Milan, by Riccardo Salvadori. 1908. From L'Illustrazione Italiana 35, II, no.41 (1908), p.343
Western art unattributed:
34. Giovanni Secco Suardo. c.1865 (Courtesy of Fondazione Secco Suardo, Lurano, Bergamo)
Western art unattributed:
36. A young woman saved from falling into a well. Lombard school, late fifteenth century. The first strappo of a mural painting by Giovanni Secco Suardo. c.1855 (Fondazione Secco Suardo, Lurano, Bergamo)
Publication Received
Working Drawings of Icon Painters after the Fall of Constantinople. The Andreas Xyngopoulos Portfolio at the Benaki Museum. By Maria Vassilaki
06/2016 | 1359 | 158
Pages: 467-467
related names
Reviewer:
Eastmond, Antony (Eastmond, Antony)
Subjects
museums and institutions:
subjects:
Publication Received
The First Treatise on Museums: Samuel Quiccheberg’s “Inscriptiones” 1565.
03/2016 | 1356 | 158
Pages: 211
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art literature:
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Article
The Art of Conservation I: Theodore de Mayerne, the King’s black paintings and seventeenth- century methods of restoring and conserving paintings
10/2015 | 1351 | 157
Pages: 700-708
related names
Author:
Kern, Ulrike (Kern, Ulrike)
Subjects
museums and institutions:
Illustrations
Attributed works:
31. Portrait of Theodore de Mayerne, by Peter Paul Rubens. c.1631 (British Museum, London)
Attributed works:
32. Portrait of Theodore de Mayerne, attributed to Paul van Somer. Probably after 1625 (National Portrait Gallery, London)
Attributed works:
33. Title page of Theodore de Mayerne: Pictoria, sculptoria et quae subalternarum artium.1620-46 (British Library, London; MS Sloane 2052, fol.2r)
Attributed works:
34. Watercolour samples from Theodore de Mayerne: Pictoria, sculptoria et quae subalternarum artium.1620-46 (British Library, London; MS Sloane 2052, fol.26r)
Attributed works:
35. Theodore de Mayerne: Pictoria, sculptoria et quae subalternarum artium.1620-46 (British Library, London; MS Sloane 2052, fol.5r)
Article
A rediscovered text for a drawing book by Odoardo Fialetti
01/2014 | 1330 | 156
Pages: 12-18
related names
Author:
Greist, Alexandra (Greist, Alexandra)
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dates:
museums and institutions:
subjects:
Illustrations
Attributed works:
21. Title-page of Tutte le parti del corpo humano diviso in piu pezzi, by Odoardo Fialetti. c.1608. Etching, 10.3 by 14.8 cm. (British Museum, London).
Attributed works:
22. Title-page of Il vero modo et ordine per dissegnar tutte le parti et membra del corpo humano, by Odoardo Fialetti. c.1608. Etching, 10.3 by 14.8 cm. (British Museum, London).
Attributed works:
23. Introduction to Tutte le parti del corpo humano diviso in piu pezzi, by Odoardo Fialetti. c.1608. Letterpress, 15 by 20 cm. (Rijksmuseum, Amsterdam).
Attributed works:
24. Studies of noses from Tutte le parti del corpo humano diviso in piu pezzi, by Odoardo Fialetti. c.1608. Etching, 10.3 by 14.8 cm. (Rijksmuseum, Amsterdam).
Attributed works:
25. Studies of ears from Tutte le parti del corpo humano diviso in piu pezzi, by Odoardo Fialetti. c.1608. Etching, 10.3 by 14.8 cm. (Rijksmuseum, Amsterdam).
Attributed works:
26. Six heads of men in profile with triangles from Tutte le parti del corpo humano diviso in piu pezzi, by Odoardo Fialetti. c.1608. Etching, 10.3 by 14.8 cm. (Rijksmuseum, Amsterdam).
Attributed works:
27. Studies of two eyes, two ears and two lower portions of the face, in pairs, one in outline, by Luca Ciamberlano. c.1609-14. Engraving, 16.7 by 11.6 cm. (British Museum, London).
Book Review
Engraving and etching 1400–2000: a history of the development of manual intaglio printmaking processes
03/2013 | 1320 | 155
Pages: 177
related names
Reviewer:
Griffiths, Antony Vaughan (Griffiths, Antony Vaughan)
Subjects
dates:
subjects:
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