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March 2024

Vol. 166 | No. 1452

A Francis Bacon discovery

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Editorial

The National Gallery

Two hundred years ago, in the spring of 1824, British enthusiasts for European painting had good reason to feel optimistic. In a House of Commons debate that took place on 2nd April the government was praised for agreeing to acquire for the nation thirty-eight paintings from the collection of the discerning banker John Julius Angerstein, in order to establish a new National Gallery in London.

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Marie Laurencin: Sapphic Paris

Marie Laurencin (1883–1956), a model free spirit, danced among the sexually fluid circles of 1920s Paris. Noted for her lengthy affair with the poet Guillaume Apollinaire (1880–1918), who often took her as his muse, she was also closely involved with the city’s lesbian artistic circles, including the literary salon of Natalie Clifford Barney (1876–1972). Laurencin was a profoundly original painter, with an instantly recognisable figurative style, but she was also an inventive designer and worked on many collaborative projects across illustration, fashion, ballet and the decorative arts.

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  • The Crucifixion [skull]

    A ‘crucifixion complex’: two newly discovered sketches attributed to Francis Bacon

    By Rebecca Daniels
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  • Infra-red image of Pietà

    A rediscovered ‘Pietà’ by Andrea del Sarto

    By David Franklin
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  •  Giants attacking Olympus

    The permanence of ephemera: a rediscovered fragment by Frans Floris

    By Maria Clelia Galassi
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  • A goldsmith or sculptor carrying a basket of statues

    Johannes Lutma the Elder: goldsmith, designer, draughtsman

    By Reinier Baarsen
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  • The five senses

    Giuseppe Antonio Ghedini’s drawings for ‘Il Ricciardetto’

    By Cecilia Vicentini
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  • Recollection of the festival (Courage, Knowledge and Labour collaborate to establish the reign of Concord)

    Jean-Charles Cazin, 1881–83: naturalism and networking, regionalism and republicanism

    By Richard Thomson
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  • A saint writing

    Ter Brugghen in Italy

    By John Gash
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  • Luca Giordano: Maestro barocco a Firenze

    By Caterina Volpi
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  • Elias Holl (1573–1646): Meister Werk Stadt

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  • Juan de Pareja: Afro-Hispanic Painter in the Age of Velázquez

    By Julia Vázquez
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  • Magie kresby: Italská kresba vrcholné renesance a manýrismu v ceských a moravských verejných sbírkách / The Magic of Drawing: Italian Drawing of the High Renaissance and Mannerism from Bohemian and Moravian Public Collections

    By Bram De Klerck
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  • Lucian Freud: New Perspectives Friends and Relations: Lucian Freud, Francis Bacon, Frank Auerbach, Michael Andrews

    By Luke Farey
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  • Marie Laurencin: Sapphic Paris

  • I disegni di Antonio e Piero del Pollaiolo (Corpus der italienischen Zeichnungen 1300–1550, I, Toscana, 16)

    By Alison Wright
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  • The Bologna Cope: Patronage, Iconography, History and Conservation

    By Emma Edwards
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  • Tudor Liveliness: Vivid Art in Post-Reformation England

    By Elizabeth Goldring
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  • Aiutando l’arte: Les inscriptions dans les décors post-tridentins d’Italie / Le iscrizioni nella pittura posttridentina italiana

    By Mauro Vincenzo Fontana
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  • Images on a Mission in Early Modern Kongo and Angola

    By Gauvin Alexander Bailey
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  • Lord Cowper: Un conte inglese a Firenze nell’età dei Lumi

    By Silvia Benassai
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  • An Exhibition History of Victorian Leeds

    By Marjorie Trusted
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  • Michael Healy, 1873–1941: An Túr Gloine’s Stained Glass Pioneer

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  • Gestalterinnen: Frauen, Design und Gesellschaft im Wien der Zwischenkriegszeit

    By Christopher Long
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  • Don Binney: Flight Path

    By Mark Stocker
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  • Mark Rothko

    By Jeremy Lewison
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  • Moroni 1521–1580: Il ritratto del suo tempo

    By Benjamin Couilleaux
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  • Identidades Partilhadas: Pintura Espanhola em Portugal

    By Guillaume Kientz
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  • Women in Revolt! Art and Activism in the UK 1970–90

    By Catherine Grant
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