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November 2019, No. 1400 – Vol 161

Sculpture

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Editorial

Lifting the dead hand

Lawyers are familiar with the phrase ‘the dead hand shall not rule’, which expresses the belief that testators should not be able to impose terms that control what will happen to their bequests long after their deaths. The phrase is frequently applied to a different sort of issue, the conditions on which a gift is accepted from its donor. 

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William Blake. Tate Britain, London

As bookends to Tate’s first major William Blake exhibition in nearly two decades, the curators, Martin Myrone and Amy Concannon, have chosen two single-sheet works, each small yet full of visual energy: Albion rose (cat. no.1; Fig.16) and ‘Europe’ plate I: frontispiece‘The Ancient of Days’ (in the Manchester impression, supposedly coloured by Blake in the final days of his 

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  • An unfinished mid-thirteenth-century ‘Virgin and Child’ from Saint-Germain-des-Prés, Paris

    By Xavier Dectot
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  • Donatello, musical sculpture, and the shock of sound

    By Amy R. Bloch
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  • Canova’s copper head of Medusa

    By Melissa L. Gustin
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  • Henry de Triqueti’s ‘Vase of dreams’

    By Richard Dagorne,Alicia Robinson
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  • Supplementing the eye: the technical analysis of Frans Hals’s paintings – i

    By Anna Tummers
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  • The Wallace Collection: Catalogue of Italian Sculpture. By Jeremy Warren, with contributions by Seoyung Kim and Alexandra Kosinova

    By Claudia Kryza-Gersch
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  • The Complete Content Cameos. By Martin Henig and Helen Molesworth

    By Claudia Wagner
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  • Gothic Sculpture. By Paul Binski

    By Pierre-Yves Le Pogam
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  • Studien zur Antikenrezeption im Werk Andrea Riccios. By Kerstin Grein

    By Jeremy Warren
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  • The Eighteenth-Century French Paintings (National Gallery Catalogues). By Humphrey Wine

    By Guillaume Faroult
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  • The Georgian London Town House: Building, Collecting and Display. Edited by Susanna Avery-Quash and Kate Retford

    By Christine Casey
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  • John Frederick Lewis: Facing Fame. By Briony Llewellyn

    By Emily M. Weeks
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  • Ornament and European Modernism: From Art Practice to Art History. Edited by Loretta Vandi

    By Elana Shapira
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  • Expressions of Nationhood in Bronze & Stone: Albert G. Power, RHA. By Síghle Bhreathnach-Lynch

    By Philip Ward-Jackson
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  • Giorgio de Chirico: The Changing Face of Metaphysical Art. Edited by Victoria Noel-Johnson

    By Robert Radford
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  • From Darkness to Light: Writers in Museums 1798–1898. Edited by Rosella Mamoli Zorzi and Katherine Manthorne

    By Stephen Wildman
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  • Queen Victoria’s Equestrian Portrait Statues. By Philip Ward-Jackson

    By Elisabeth Darby
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  • Radicalism in the Wilderness: International Contemporaneity and 1960s Art in Japan. By Reiko Tomii

    By Sarah Bolwell
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  • Lyon Biennale. Various locations, Lyon

    By Martha Barratt
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  • The Colmar Treasure: A Medieval Jewish Legacy. Met Cloisters, New York

    By Joseph Ackley
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  • When Artists Drew Maps: Views and Figures of France in the Middle Ages and the Renaissance. Archives nationales, Paris

    By Alexandra Gajewski
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  • Albrecht Dürer. Albertina, Vienna

    By Armin Kunz
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  • A Rothschild Treasury. Waddesdon Manor, Buckinghamshire

    By Michael Hall
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  • William Blake. Tate Britain, London

    By Esther Chadwick
  • Post-Impressionist Living: The Omega Workshops. Charleston, East Sussex

    By Matthew Holliday
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  • Métamorphoses. Musée d’Art et d’Histoire, Geneva

    By Annette Kranen
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  • Vija Celmins: To Fix the Image in Memory. Met Breuer, New York

    By Lisa Stein
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  • David Nash: Sculpture Through the Seasons. Towner Art Gallery, Eastbourne

    By David Alston
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