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At the Imperial War Museum

By Richard Shone

There is no possibility of anyone escaping the centenary commemorations of the First World War. Events marking its start on 4th August 1914 were already underway earlier this year and many more are planned to mark the years leading to the centenary of the Armistice of 1918. Although the focus of these events is on the countries closely involved in the War from its beginning, the commemorations are worldwide.

Article (4)

John Lavery: an intrepid war artist

By Angela Weight

A discussion of Official War paintings by John Lavery, in particular his depictions of naval manoeuvres and dockyards around the British coast.

Eye-witness accounts and silent dissent: The Burlington Magazine during the First World War

By Barbara Pezzini

The editorial position of The Burlington Magazine during the War years in comparison with other art journals of the time.

Stanley Spencer and the Acts of Mercy – a suggested additional source for the Sandham Memorial Chapel

By Erika Langmuir

A new source for Stanley Spencer’s paintings in the Sandham Memorial Chapel, Burghclere, completed in 1932.

Austria-Hungary’s War: the 1914–18 Centenary in Vienna

By Elizabeth Clegg

A review/article on various recent shows in Vienna marking the centenary of the First World War.

Book Review (12)

Michelangelo als Zeichner, C. Echinger-Maurach, A. Gnann and J. Poeschke, eds.

Reviewed by Daniel Godfrey

In Michelangelo’s Mirror. Perino del Vaga, Daniele da Volterra, Pellegrino Tibaldi, M. Steen Hansen

Reviewed by David Franklin

Translatio Nummorum. Römische Kaiser in der Renaissance, U. Peter and B. Weisser, eds.

Reviewed by Christian Dekesel

The Power and the Glorification. Papal Pretensions and the Art of Propaganda in the Fifteenth and Sixteenth Centuries, J.L. de Jong

Reviewed by Dorigen Caldwell

Van Dyck en España, M. Díaz Padrón, J. Sanzsalazar and A. Diéguez Rodrígues

Reviewed by Gregory Martin

The Building of England. How the history of England has shaped our buildings, S. Thurley

Reviewed by Owen Hopkins

This is, by some reckoning, Simon Thurley’s fifth ‘big book’ – no mean achievement even before one considers the eight smaller books he has written or edited, as well as numerous scholarly articles and essays. All this Thurley has managed while charting a professional career that has seen him move from Historic Royal Palaces, via the directorship of the Museum of London, to his current role as Chief Executive of English Heritage – and this is not to mention the considerable broadcasting career he has also sustained during this time. Thurley has brought all this accumulated experience and expertise to bear in tackling a survey as ambitious as ‘a history of English buildings [. . .] the history of the nation through what it has built’. The result is a meticulously assembled, wide-ranging and well-written book that displays all his talents in describing the social lives of buildings in a lively and engaging way.

Distinguished Images: Prints in the Visual Economy of Nineteenth-Century France, S. Bann

Reviewed by Britany Salsbury

Kent: North East and East, J. Newman

Reviewed by Geraint Franklin

Manet, Wagner, and the Musical Culture of Their Time, T. Dolan

Reviewed by Ed Lilley

The Letters of Paul Cézanne, A. Danchev, ed.

Reviewed by Richard R. Brettell

James Dickson Innes 1887–1914, J. Hoole and M. Simons

Reviewed by Timothy Wilcox

Midway: Letters from Ian Hamilton Finlay to Stephen Bann 1964–69, S. Bann, ed.

Reviewed by Bryan How

Exhibition Review (8)

Architecture in Italian Renaissance painting

Reviewed by Fabrizio Nevola

WHILE LINEAR PERSPECTIVE is synonymous with the emergence of a new language of painting in fifteenth-century Italy, it is surprising that the architecture that appears in the art of that period has received little systematic study. Building the Picture: Architecture in Italian Renaissance Painting at the National Gallery, London (to 21st September), gathers together works predominantly drawn from the Gallery’s permanent collection, turning the spotlight on the role played by architecture in these works. Deft use of the Sunley Room has allowed the curators to arrange the show in four main sections. These consider in turn how architecture serves formally to structure the spatial construction of the composition, how buildings offer ‘entry points’ to the pictorial field, how architecture serves to situate the depicted scene in a real (remote or contemporary) setting, and finally how archi­tecture serves to create the sense of a distant historical past. 

Theatres of the body

Reviewed by Celia White

Julian Opie

Reviewed by Marina Vaizey


Reviewed by Martha Barratt

China and Versailles

Reviewed by David Pullins

Bernadino Luini

Reviewed by Charles Robertson

Dosso and Battista Dossi


Reviewed by Charles Avery


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