Editorial

History of Art A Level

IN OCTOBER THE exam board AQA informed schools that it would no longer offer A and AS level exams in history of art, archaeology and classical civilisation. It was ruled that while the history of literature is considered to be a ‘hard’ subject, history of art, archaeology and classical civilisation are ‘soft’. As AQA was the only board to offer the subject, this decision would have meant an end to the teaching of history of art in schools.

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Anne Crookshank (1927–2016)

By Edward McParland

ANNE OLIVIA CROOKSHANK, former professor of the History of Art at Trinity College, Dublin (TCD), fellow of the college and member of the Royal Irish Academy, died on 18th October 2016 aged nearly ninety. She will be remembered for her pioneering work – in collaboration with Desmond FitzGerald, Knight of Glin – on the history of Irish painting, and for her inspiring teaching at Trinity.

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Opus Anglicanum. London

THE EXHIBITION Opus Anglicanum: Masterpieces of English Medieval Embroidery at the Victoria and Albert Museum, London (to 5th February), is only the third on the subject in over a century: the first was held in 1905,[1] the second in 1963.[2] […] The present exhibition does a great service in assembling the V. & A.’s remarkable collection together with other pieces of exceptional quality, justifying its emphasis on the mid-thirteenth to the mid-to late fourteenth centuries, when documentary sources show opus anglicanum – ‘English work’ – was highly esteemed, especially in ecclesiastical circles throughout Europe.

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    Simone Martini's last documented work

    By Emma Capron
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    The Lisbon Bible and the Throne of Portugal

    By Alice Sedgwick Wohl
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    Montemezzano in Lancashire

    By Enrico Maria dal Pozzolo
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    Milan 1630: the festivities to celebrate the birth of Prince Balthasar of Spain and an invention by Leonardo da Vinci

    By Pietro C. Marani,Giulio Bora
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    David Jones's 'Self-Portrait' (1928)

    By Thomas Dilworth
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  • Italian, Spanish and French Paintings before 1850 in the San Diego Museum of Art, by John Marciari

    By John Wilson
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  • 'Bella quanto l'originale istesso': La Copia del Cenacolo della Royal Academy di Londra. Vicende, fortuna, attribuzione, by Pietro C. Marani

    By Juliana Barone
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  • Raphael's Ostrich, by Una Roman D'Elia

    By Sylvia Ferino-Pagden
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  • El Greco in Italia: Metamorfosi di un genio, edited by Lionello Puppi, and Saggi, edited by Lionell Puppi

    By Paul Joannides
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  • Le Coloris vénitien à la Renaissance. Autour de Titien, by Isabelle Bouvrande

    By Charles Hope
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  • Bernard Berenson: Formation and Heritage, edited by Joseph Connors and Louis A. Waldman

    By Robert B. Simon
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  • Aux origins d'un goût: La peinture baroque aux Etats-Unis, edited by Anna Ottani Cavina and Keith Christiansen

    By Dennis P. Weller
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  • The Russian Canvas: Painting in Imperial Russia, 1757-1881, by Rosalind P. Blakesley

    By Molly Brunson
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  • Lazar Khidekel and Suprematism, edited by Regina Khidekel

    By Christina Lodder
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  • Jackson Pollock's 'Mural': Energy Made Visible, by David Anfam

    By Patricia Smithen
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  • Galleria Nazionale dell'Umbria: dipinti e sculture dal XIII al XV secolo. Catalogo generale I, by Vittoria Garibaldi

    By Carl Brandon Strehlke
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  • Corpus of Sienese Paintings in Hungary 1420–1510, by Dóra Sallay

    By Andrea De Marchi
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  • Architecture, Art and Identity in Venice and its Territories, 1450–1750, edited by Nebahat Avcioǧlu and Emma Jones; Artistic Practices and Culture Transfer in Early Modern Italy, edited by Nebahat Avcioǧlu and Allison Sherman; and Venetian Painting Matters (1450–1750), edited by Jodi Cranston

    By Beverly Louise Brown
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  • Picasso portraits. London and Barcelona

    By Marilyn McCully
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  • Opus Anglicanum. London

    By Elizabeth Coatsworth
  • Classicism in British art, 1920–1950. Chichester

    By James Cahill
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  • Marcantonio Raimondi. Manchester

    By David Ekserdjian
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  • The Shchukin collection. Paris

    By Markus Lähteenmaki
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  • Jean-Luc Moulène. Paris

    By Luke Naessens
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  • Albert Besnard. Evian and Paris

    By Patrick Bade
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  • Tino Seghal and other performances. Paris

    By Martha Barratt
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  • Fantin-Latour. Paris and Grenoble

    By Rachel Sloan
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  • Hieronymus Bosch. ’s-Hertogenbosch and Madrid

    By Debra Higgs Strickland
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  • Creating History. Dublin

    By Philip McEvansoneya
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  • Illuminated manuscripts in Boston collections. Boston

    By Jonathan J. G. Alexander
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  • Early Monet. Fort Worth and San Francisco

    By Richard R. Brettell
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