Rose Walker is an Associate Scholar of the Research Forum at the Courtauld Institute of Art. She is currently working on ‘From Roman to Romanesque in Iberia’ tracing art and architecture along the Roman roads, diversions and detours.
Views of Transition: Liturgy and Illumination in Medieval Spain (1998)
‘Sancha, Urraca and Elvira: the Virtues and Vices of Spanish Royal Women “dedicated to God”’, Reading Medieval Studies (1998)
‘The wall-paintings of the Panteón de los Reyes: a cycle of intercession’, Art Bulletin (June 2000)
‘Images of Royal and Aristocratic Burial in Northern Spain, c.950–c.1250’ in: E. van Houts, ed., Medieval Memories (2000)
‘Leonor of England, Plantagenet queen of King Alfonso VIII of Castile, and her foundation of the Cistercian abbey of Las Huelgas. In imitation of Fontevraud?’, Journal of Medieval History (2005)
‘Leonor of England and Eleanor of Castile: Anglo-Iberian Marriage and Cultural Exchange in the Twelfth and Thirteenth Centuries’ in: M. Bullon-Fernandez, ed., England and Iberia in the Middle Ages, 12th-15th Century. Cultural, literary and political exchanges (2007)
“The Poetics of Defeat: Cistercians and Frontier Gothic at the Abbey of Las Huelgas” in: C. Hourihane, ed.,
Spanish Medieval Art: Recent Studies (2007)
Philip Ward-Jackson is currently making contributions to the National Recording Project of the Public Monuments and Sculpture Association.
Public Sculpture of the City of London (2004)
‘A.-E. Carrier-Belleuse, J.-J. Feuchère and the Sutherlands’, Burlington Magazine (March 1985)
‘Lord Ronald Gower, Gustave Doré and the Genesis of the Shakespeare Memorial at Stratford-on Avon’, Journal of the Warburg and Courtauld Institutes (1987)
‘French Modellers in the Potteries’ in: P. Atterbury, ed., The Parian Phenomenon (1989)
‘Carlo Marochetti and the Glasgow Wellington Memorial’, Burlington Magazine (December 1990)
‘Expiatory Monuments by Carlo Marochetti in Dorset and the Isle of Wight’, Journal of the Warburg and Courtauld Institutes (1990)
‘The French Background of Royal Monuments at Windsor and Frogmore’, Church Monuments (1993)
‘Marochetti et les photographes’, Revue de l’Art (1994)
‘The Molière Fountain’, Antologia di Belle Arti, (1994)
‘Reinvesting the Idol: J.-K. Huysmans and Sculpture’, Burlington Magazine (December 1996)
‘The Sculpture of the July Monarchy’, The Sculpture Journal (1998)
‘Carlo Marochetti: maintaining distinction in an international sculpture market’ in: C. Sicca and A. Yarrington, eds., The Lustrous Trade: material culture and the history of sculpture in England and Italy 1700-1860 (2000)
‘Carlo Marochetti and the Tombs of Napoleon at the Dôme des Invalides, Paris, and the Duke of Wellington at St Paul’s Cathedral, London’, Church Monuments (2004)
‘A Sculptor Mayor and His Family: “Le mariage civil” by Henri Gervex’, Sculpture Journal (2005)
‘”Is the Pedestal to be the Capital part of it?” Pictorialism and the Pedestal of Nelson’s Column in Trafalgar Square’ in: A. Gerstein, ed., Display and Displacement, Sculpture and the Pedestal from renaissance to Post-Modern (2007)
‘I Fratelli Fabbricotti. Il marmo di Carrara e la scultura inglese nel periodo della Great Exhibition’ in S. Berresford, ed.,“Sognando il marmo”: Cultura e commercio del marmo tra Carrara, Gran Bretagna e il Impero (2009)
Malcolm Warner is Deputy Director of the Kimbell Art
Museum, Fort Worth TX.
Painting (1979) The Phaidon Companion to Art and Artists in the
British Isles (1980;
with M. Jacobs) Tissot (1982) Rainy
Days at Brig o’Turk. The Highland Sketchbooks of John Everett Millais, 1853 (1983; co-editor with M. Lutyens) French and British Paintings from 1600 to 1800 in The
Art Institute of Chicago. A Catalogue of the Collection (1996; with S. Wise)
Portrait Painting (1979)
The Phaidon Companion to Art and Artists in the British Isles (1980; with M. Jacobs)
Rainy Days at Brig o’Turk. The Highland Sketchbooks of John Everett Millais, 1853 (1983; co-editor with M. Lutyens)
French and British Paintings from 1600 to 1800 in The Art Institute of Chicago. A Catalogue of the Collection (1996; with S. Wise)Friendship and Loss in the Victorian Portrait: May Sartoris by Frederic Leighton (2009)
Cordelia Warr is Senior Lecturer in Art History and Visual Studies at the University of Manchester. Her book Dressing for Heaven: Religious clothing in Italy, 1215–1545 will be published in 2010.
Dressing for Heaven: Religious clothing in Italy, 1215–1545 (2010)
Art and Architecture in Naples, 1266-1713 (2010; editor with J. Elliott)
Jeremy Warren is Collections and Academic Director at the Wallace Collection, London.
‘Going, Going Wrong: Our Disappearing Art Heritage’, Museums & Galleries Commission Annual Report 1989-90 (1990)
‘1992 and the movement of works of art’, Museums and Europe (1992)
‘The Museum in Contemporary Society’, Proceedings of the VIIIth International Congress of the World Federation of Friends of Museums (1993)
`Movement Control: the legislative framework and practicalities’, European Museum Documentation: Strategies and Standards (1993)
A Handlist of Bronzes and other small Sculpture displayed in the Fortnum Gallery of the Ashmolean Museum (1994)
‘The European Community and Heritage Protection: Boom or bust?’, Museum Archaeology in Europe (1994)
‘The Renaissance Medal and Reflections of History’, Art Quarterly, (Autumn 1994)
‘Renaissance Bronzes in the Fortnum Gallery’, The Ashmolean (Christmas 1994)
The Legal Status of Museum Collections in the UK (1996)
‘Bode and the British’, Jahrbuch der Berliner Museen (1996)
‘Fortnum and the Della Robbia’, Apollo, 145 (1997)
`The British Museum's Michelangelo Acquisitions and the Casa Buonarroti’, Journal of the History of Collections (1998; with D.Thornton)
`A Bust of Lorenzo de'Medici in Oxford’, The Sculpture Journal (1998)
`Two Cardinals' Seals from Renaissance Rome', The Ashmolean (Christmas 1998)
Renaissance Master Bronzes from the Ashmolean Museum, Oxford. The Fortnum Collection (1999)
`The Rossellino Affair’, Journal of the History of Collections (1999)
`Francesco Francia and the art of sculpture in Renaissance Bologna', The Burlington Magazine (April 1999)
`Severo Calzetta, detto Severo da Ravenna’, in: Donatello e il suo tempo: Il bronzetto a Padova nel Quattrocento e nel Cinquecento, exh. cat. (March-July 2001; Padua, Palazzo della Ragione)
"'The Faun who plays on the Pipes”: A New Attribution to Desiderio da Firenze’, in: D. Pincus, ed., Small Bronzes in the Renaissance (2001)
`La prima donna nel mondo: Isabella d’Este in the Ashmolean’, The Ashmolean (Summer 2001)
`Courtly Love on a Medieval Ivory Mirror’, The Ashmolean (Spring 2002; with M. Kauffmann)
`Bronzes in the Wernher Collection’, Apollo (May 2002)
‘Sir Hans Sloane as a collector of small sculpture’, Apollo (February 2004)
Seeing Secret Harmonies. Pictures of Anthony Powell (2005; with F. Mount, D.J. Taylor and H. Spurling)
'Forgery in Risorgimento Florence. Bastianini's "Giovanni delle Bande Nere" in the Wallace Collection', The Burlington Magazine (November 2005)
Auctions, Agents and Dealers. The Mechanisms of the Art Market 1660-1830, (Studies in the History of Collections 3) (2007; edited with A.Turpin)
‘Gaspare Fantuzzi: a patron of sculpture in Renaissance Bologna’, The Burlington Magazine, (December 2007)
Carlo Paggiarino, Tobias Capwell, Jeremy Warren, The Wallace Collection. A Celebration of Arms and Armour at Hertford House (2008; with C. Paggiarino and T. Capwell)
‘The 4th Marquess of Hertford’s early years as a collector’, The Burlington Magazine (August 2008)
Two Doccia Figures in the Wallace Collection’, Amici di Doccia. Quaderni (2009)
‘Lady Dorothy Long: an early benefactor of the Ashmolean’, The Ashmolean (Summer 2009)
Beauty and Power. Renaissance and Baroque Bronzes from the Peter Marino Collection, exh. cat. (2010; London, The Wallace Collection)
‘A New Realism: Art in Renaissance North Europe’ in: S. Parissien, ed., Compton Verney (2010)
Catalogue of Medieval and Renaissance Sculpture in the Ashmolean Museum (2011)
‘Antico’s '"Nude of the Tortoise”’, Nuovi Studi (2011)
A new portrait bust by Antico, The Burlington Magazine (January 2011)
Jack Wasserman is Professor Emeritus of Art History at Temple University, Philadelphia.
Ottaviano Mascarino (1966)
Leonardo da Vinci (1975)
Michelangelo’s Florence Pietà (2003)
Giles Waterfield is an Associate Lecturer at the Courtauld Institute of Art and Director of Royal Collection Studies. He is currently working on a history of nineteenth-century art galleries in Britain.
Collection for a King (1985; Editor and Contributor)
Soane and After: The Architecture of Dulwich Picture Gallery (1987)
Mr. Cartwright's Pictures (1987; Editor and Contributor)
Rich Summer of Art: A Regency Collection seen through Victorian Eyes (1988)
A Nest of Nightingales (1988; Editor and Contributor)
Sir Francis Bourgeois in Turner Studies (Summer 1989)
Palaces of Art: Art Galleries in Britain 1790-1990 (1991)
The Development of the Early Art Museums in Britain in The Genesis of the Art Museum in the 18th Century (1993)
‘The Fine Art Approach’ in D. Fleming, ed., Social History in Museums (1993)
‘The Gallery Catalogue in Nineteenth Century Britain’, New Research in Museum Studies (1994)
Art for the People (1994; Editor and Contributor)
The London Town House as Gallery of Art (1995)
Waagen in England (1996)
Soane and Death (1996’ Editor and Contributor)
Art Treasures of England (j1998; Joint editor and Contributor)
In Celebration: the Art of the Country House (1998; Contributor)
A Victorian Salon: Paintings from the Russell-Cotes Art Gallery and Museum (1998; Contributor)
The Artist’s Studio: Langlands & Bell at Petworth: (2002; Introduction)
Below Stairs: The Servant’s Portrait (2004; Joint editor and Contributor)
Opening Doors: Learning and the Historic Environment, a report for the Attingham Trust (2004; Editor and Principal contributor)
‘Teniers ‘s Theatrum Pictorium: Its Genesis and its Influence’ in E. Vegelin, ed., David Teniers and the Theatre of Painting (2006)
‘Realms of Memory: changing perceptions of the country house’ in M.Forsyth, Understanding historic building conservation (2007)
The Artist’s Studio, exh. cat. (2009; Compton Verney)
‘A culture of exhibitions: the Manchester Art-Treasures Exhibition in context’ in H. Rees Leahy, ed., Art, City, Spectacle: The 1857 Manchester Art-Treasures Exhibition Revisited (2009)
Ellis Kirkham Waterhouse, 1905-1985
Editor of The Burlington Magazine from 1945 to 1947. Contributor from 1931 to 1985.
Historian of Roman baroque and English art; director of the National Galleries of Scotland. Waterhouse was the son of Percy Leslie Waterhouse, an architect and architectural writer born in Tasmania. He was educated at the Marlborough School, where he met fellow student Anthony Blunt, and New College in Oxford. Between 1927-29 he was Commonwealth Fund Fellow at the Department of Art and Archeology in Princeton, under Frank Jewett Mather.
Waterhouse returned to London in 1929 to be an assistant keeper at the National Gallery in London. There he formed a strong friendship with the Museum's Keeper, C. H. Collins Baker and H. Isherwood Kay. His 1930 article, "El Greco's Italian Period," in Art Studies, the result of his Princeton research, appeared. Although the article suggested a monograph on the artist, one which never appeared. Impatient with the British civil service (and of independent means) he left the Gallery, joining the British School in Rome, where he served as librarian until 1936. It was during this time that he wrote Roman Baroque Painting, published in 1937. He was elected a Fellow of Magdalen College, Oxford, in 1938, a position he held until 1947. At this time, too, he prepared the catalog for the exhibition, 17th-Century Art in Europe, held at the Royal Academy.
When World War II broke out, Waterhouse was in Athens. He served the Military attaché there as a cartographer, rising to the rank of major. In 1943 he returned to civilian status briefly to assist with the Greece embassy until the Greek civil war erupted. He returned to the military in 1945 to act on the Monuments, Fine Arts and Archives branch of the Allied Military, serving under Colonel (and later professor) George Webb, entering Holland at its liberation. After the war he briefly served as editor to the Burlington Magazine before being succeeded by Benedict Nicolson. He taught at Manchester University for the academic year, 1947-48.
Waterhouse married the archaeologist Helen Thomas in 1949 and accepted the director position of the National Galleries of Scotland in Edinburgh (which he held only until 1952). Although not a long tenure, Waterhouse managed to build the library to respectable standards (he was one of the great bibliographers of his discipline) as well as acquire both the El Greco Salvator mundi and what is today the Gallery's most popular painting: Raeburn's Reverend Robert Walker Skating on Duddington Loch. He left Edinburgh, partially because of an unwillingness to move the Gallery into modern art, and was succeeded by David Baxandall.
Waterhouse became the Barber Professor of Fine Art at Birmingham University and director of the recently founded Barber Institute. He remained there for 18 years. Waterhouse did much the same for the Barber as he had for the Edinburgh, except that his predecessor, Thomas Bodkin retain the power of acquisitions. Waterhouse would refer to these mediocre purchases with his typical wit, as "acts of Bod." He was Slade professor at Oxford University 1953-55.
Waterhouse was asked to write one of the first volumes in the Pelican History of Art series by Nikolaus Pevsner. His volume Painting in Britain, 1530-1790 appeared as volume 1. He lectured at Williams College 1962-63, and the University of Pittsburgh for the academic year 1967-68. Between 1970 to 1973 he served the director of the new Yale Center for British Art. Between 1974 and 1975 he was the Kress Professor in Residence at the National Gallery of Art in Washington, DC. He was an advisor to the J. Paul Getty Trust at this time. He was knighted in 1975. Painting in Britain was personally thoroughly revised in 1978. He suffered a heart attack in 1985. His magnificent personal library was largely sold to the Getty Museum library in Malibu.
Waterhouse's was the last generation of British art historian to be trained before the great influence of the Warburg Institute in London. His brand of art history was one peppered with judgments of art and artists. He had no interest in iconography or philosophical ideas contemporary with the art about which he wrote. He was more than willing to disagree in print about attributions than other art historians, once describing a Christie's attribution of a Gainsborough as "rot." As a historian of English painting, he deprecated the sporting art genre as "of absorbing interest to the social historian . . . [but] no business of the historian of art." He considered the English portraitist George Romney the equivalent of a "society" photographer. He had little appreciation for prints or drawings as works of art. As a historian, he was most associated with Italian and particularly Roman baroque painting. His relatively brief monographs on Sir Joshua Reynolds and Thomas Gainsborough remain the best examinations of the painting genre. His Painting in Britain, 1530-1790, remains a personal vision on the topic: he ended the volume in 1790 so as not to have to deal with the "untidy" artists of Fuseli, Turner and Blake (Kitson).
During World War II, Waterhouse was stationed in Europe as officers in the Monuments and Fine Arts section of the Control Commission, under the head of the section, Professor (then Colonel) Geoffrey Webb (q.v.). Waterhouse spotted the Rijksmuseum's latest Vermeer as a forgery, and one done by the same artist who had painted the 'Supper at Emmaus' which had been acquired by the Boymans Museum at Rotterdam in the 1930's. He reported his observation to the British military police, who reported it to the Dutch police. This began the series of events which ultimately exposed Hans van Meegeren, the famous forger of Vermeer.
Select Bibliography: Bazin, Germain. Histoire de l'histoire d l'art; de Vasari à nos jours. Paris: Albin Michel, 1986, p. 515; Kitson, Michael. "Introduction to the Fifth Edition." Waterhouse, Ellis K. Painting in Britain, 1530 to 1790. 5th ed. New Haven: Yale University Press, 1994, pp. xi-xxvii; [obituaries:] New York Times. September 12, 1985, Page B12; The Times (London), September 9, 1985; addenda: Balfour, David. The Times (London) September 14 1985; Gould, Cecil. The Times (London), September 19 1985; Apollo 122 (December 1985): 509; Robertson, Giles. "Sir Ellis Waterhouse." The Burlington Magazine 128 (February 1986): 111-13.
Publications: Reynolds. London: K. Paul, Trench, Trubner & Co., 1941; The Collection of Pictures in Helmingham Hall. Ipswich, UK: Helmingham Hall, 1958 ; Anthony van Dyck: Suffer Little Children to Come unto Me/Antoine van Dyck: laissez les enfants venir à moi. Ottawa: National Gallery of Canada, 1978; Baroque Painting in Rome: the Seventeenth Century. London: Macmillan & Co., 1937; The Dictionary of 16th & 17th century British Painters. Woodbridge: Antique Collectors' Club, 1988; The Dictionary of British 18th Century Painters in Oils and Crayons. Woodbridge: Antique Collectors' Club, 1981; Gainsborough. London: E. Hulton, 1958; Italian Baroque Painting. New York: Phaidon/New York Graphic Society, 1963; Painting in Britain, 1530-1790. Pelican History of Art 1. Baltimore: Penguin Books, 1953; Roman Baroque Painting: a List of the Principal Painters and their Works In and Around Rome. Oxford: Phaidon, 1976; Titian's Diana & Actaeon. New York: Oxford University Press, 1952; Three Decades of British Art, 1740-1770. Philadelphia: American Philosophical Society, 1965.
Note: More information on Ellis Waterhouse may be found on the Dictionary of Art Historians (http://www.dictionaryofarthistorians.org/), from where the text above is extracted. The above text is copyright of the Dictionary of Art Historians. The Burlington Magazine wishes to thank Lee Sorensen and the Dictionary of art historians for allowing the use of this resource.
Nicholas Watkins is Emeritus Reader in the Department of the History of Art and Film, University of Leicester.
Simon Watney is an independent art historian and
adviser on church monuments to the London Diocesan Advisory Committee (DAC).
Bloomsbury In Sussex (2007)
Twenty Sussex Churches (2007)