Editorial

Ellis Waterhouse: readable art history

ELLIS WATERHOUSE WAS one of the commanding figures of art history in britain from the 1930s to his death in 1985. The centenary of his birth is celebrated in this issue by a characteristically thoughtful and amusing article on him by Michael Levey. Apart from evoking Waterhouse's pungent personality and outlining his career, he also looks at Waterhouse's chief publications, notably his most famous book Painting in Britain, 1530 to 1790 (1953). The articles accompanying Levey's appreciation are concerned with British art, portraiture in particular, and art in Italy, the two subjects to which Waterhouse made extensive contributions over a period of fifty years. Alongside a flow of scholarly books and articles, he was also an eminent museum director, leaving his mark on collections in Edinburgh and Birmingham through judicious and often unusual acquisitions.

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  • Ellis Waterhouse: an appreciation

    By Michael Levey

    ELLIS WATERHOUSE, one of the most distinguished twentieth-century British art historians, was born a century ago, on 16th February 1905, and died on 7th September 1985. It seems a suitable moment to reconsider his character and his achievements – all the more so since, with the passage of time and developments in art history, both may gradually become lost to view. For such an essay THE BURLINGTON MAGAZINE is certainly the appropriate place. He was devoted to it as a regular contributor, on its board of advisers and directors and even, briefly, its unofficial editor.

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  • Anthony van Dyck's portrait of Rachel de Ruvigny, Countess of Southampton

    By Jaynie Anderson,Carl Villis

    OVER THE PAST few decades there has been some debate about the differences and relative merits of the two most important versions of Anthony van Dyck's portrait of Rachel de Ruvigny, Countess of Southampton. One is in the National Gallery of Victoria, Melbourne, the other in the Fitzwilliam Museum, Cambridge. The hand of Van Dyck is acknowledged in both, but scholars have been divided about which is the primary version. The exhibition commemorating the four-hundredth anniversary of Van Dyck's birth enabled the Melbourne painting to return to England for the first time in over seventy-five years.

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  • Portraits of Queen Elizabeth I and the Earl of Leicester for Kenilworth Castle

    By Elizabeth Goldring

    IN 1563, Queen Elizabeth I granted a number of crown estates to her favourite, Lord Robert Dudley (1532/33-88), whom she created Earl of Leicester the following year. Among these was Kenilworth Castle, Warwickshire. Shortly after taking possession, the new earl embarked upon an ambitious programme of building and rebuilding designed to transform the castle from a defensive structure into a glittering stage on which he might entertain the queen during her annual summer progresses. These extensive building works, which reputedly cost £60,000, were not completed until 1575, the year of the famous Kenilworth festivities.

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  • Becket's Crown: Art and Imagination in Gothic England 1170–1300

    By T. A. Heslop
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  • Delaware's Pre-Raphaelites. Nottingham and San Antonio

    By Rachel Sloan
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  • The American West. Compton Verney

    By David Anfam
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  • Gauguin's 'Vision'. Edinburgh

    By Linda Goddard
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  • French paintings from Germany. Paris, Munich and Bonn

    By Colin B. Bailey
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  • Twentieth-century German art. Düsseldorf, Berlin, Leipzig and Cologne

    By John-Paul Stonard
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  • Picasso. Stuttgart and Basel

    By Marilyn McCully
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  • The Buen Retiro. Madrid

    By Rosemarie Mulcahy
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  • James Turrell and Sol LeWitt. New York

    By James Lawrence
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  • Renaissance Florence. Ottawa

    By Elizabeth Pilliod
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  • Ruisdael. Los Angeles, Philadelphia and London

    By Elizabeth Alice Honig
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