• MENU
logo logo white logo sticky

Burlington Contemporary is the Burlington Magazine’s free online platform for reviews and research on international contemporary art.

Want to continue reading? Get 1 month digital access for only .

Subscribe now
By using this website you agree to our Cookie policy
  • MENU
logo logo white logo sticky

Search

content
A TO Z
clear all
23 articles
Article
Friendship tokens: Jean-Baptiste Greuze’s paintings for Madame de Pompadour
05/2025 | 1466 | 167
Pages: 438–449
Buy / subscribe
related names
Author:
Delaney, John K. (Delaney, John K.)
Author:
Jackall, Yuriko (Jackall, Yuriko)
Author:
Swicklik, Michael (Swicklik, Michael)
Subjects
artists:
Greuze, Jean-Baptiste
dates:
1750-1759 / 1760-1769
museums and institutions:
Kimbell Art Museum, Fort Worth, United States / Musée du Petit Palais, Paris, France / Sudeley Castle, Cheltenham, Great Britain
patrons:
Poisson, Jeanne Antoinette, Marquise de Pompadour, 1721-1764
subjects:
Geoffrin, Marie-Thérèse / Poisson, Abel François, Marquis de Marigny, 1727-1781 / Underdrawings / Infrared photography / Pentimenti
Illustrations
Attributed works:
1. Simplicity, by Jean-Baptiste Greuze. 1759. Oil on canvas, 71.1 by 59.7 cm. (Kimbell Art Museum, Fort Worth; Bridgeman Images).
Attributed works:
10. Detail and IRR detail of Fig.4.
Attributed works:
11. Detail and IRR detail of Fig.4.
Attributed works:
12. Detail and IRR detail of Fig.4.
Attributed works:
13. Detail of the Livret of the Salon of 1761, illustrated and annotated by Gabriel de Saint-Aubin, p.25. (Bibliothèque nationale de France, département des Estampes et de la Photographie, Paris).
Attributed works:
14. Details of Figs.1 and 2.
Attributed works:
15. Detail and IRR detail of Fig.2.
Attributed works:
16. Detail and IRR detail of Fig.2.
Attributed works:
17. Detail and IRR detail of Fig.2.
Attributed works:
18. Detail and IRR detail of Fig.2.
Attributed works:
19. Carlos Fernando FitzJames-Stuart, Marquess of Jamaica, by François-Hubert Drouais. 1765. Oil on canvas, 72.4 by 60.3 cm. (Birmingham Museum of Art, Alabama).
Attributed works:
2. Simplicity, by Jean-Baptiste Greuze. Oil on canvas, 71.12 by 58.42 cm. (Sudeley Castle, Cheltenham).
Attributed works:
20. Portrait of Madeleine Barberie de Courteilles, by Jean-Baptiste Greuze. 1759. Oil on canvas, 77.4 by 63 cm. (Herzog Anton Ulrich- Museum, Braunschweig).
Attributed works:
21. Pompadour at her toilette, by François Boucher. 1750. Oil on canvas, 81.2 by 64.9 cm. (Harvard Art Museums, Fogg Museum; Bridgeman Images).
Attributed works:
22. The school mistress, by Jean-Baptiste Greuze. c.1765. Black chalk, pen and black ink, brush with black and brown ink washes on paper, 33 by 44.4 cm. (State Hermitage Museum, St Petersburg; Bridgeman Images).
Attributed works:
3. Young shepherd holding a flower, by Jean-Baptiste Greuze. 1761. Oil on canvas, 72.5 by 59.5 cm. (Petit Palais-Musée des Beaux-Arts de la Ville de Paris).
Attributed works:
4. Hyperspectral false colour image of Fig.1.
Attributed works:
5. The Pink Drawing Room, Basildon Park. c.1909. Photograph. (National Trust).
Attributed works:
6. Detail and IRR detail of Fig.1.
Attributed works:
7. Detail and hyperspectral false colour image of Fig.1.
Attributed works:
8. Detail and hyperspectral false colour of Fig.1.
Attributed works:
9. Detail and hyperspectral false colour of Fig.1.
Short Notice
Observations about the abandoned portrait beneath Gainsborough’s ‘Blue boy’
03/2025 | 1464 | 167
Pages: 261–265
Buy / subscribe
related names
Author:
O'Connell, Christina Milton (O'Connell, Christina Milton)
Subjects
artists:
Gainsborough, Thomas
works:
British art / Technical analysis / Scientific analysis / Infrared photography / Portraits / Full-length portraits
Illustrations
Attributed works:
1. Digital X-radiograph of Fig.2, captured through all layers of the painting, including the wooden auxiliary support.
Attributed works:
2. Blue boy (after treatment), by Thomas Gainsborough. c.1770. Oil on canvas, 177.8 by 112.1 cm. (Huntington Library and Art Museum, San Marino).
Attributed works:
3. John Joshua Kirby, by Thomas Gainsborough. c.1754–56. Oil on canvas, 41.9 by 29.2 cm. (Victoria and Albert Museum, London).
Attributed works:
4. Infra-red reflectography of Fig.2, showing the preliminary lines of the abandoned portrait, including the contours of the face, coat, and shoulders. A dark layer of paint was applied over the abandoned portrait, slightly obscuring the legibility of the details in IRR.
Attributed works:
5. Detail of Fig.1.
Attributed works:
6. Detail of Fig.1, showing additional details of the abandoned portrait’s face.
Attributed works:
7. Cross-section of Fig.2, taken at the top fold-over edge contains, from bottom to top: the off-white double ground layer; a paint layer from the abandoned portrait’s face; and the dark layer of paint that Gainsborough applied over the abandoned portrait followed by the thinly applied paint of the sky for the Blue boy composition.
Article
Below the surface of Braque's 'Pitcher, candlestick and black fish'
09/2023 | 1446 | 165
Pages: 968-75
Buy / subscribe
related names
Author:
Dijkema, Desirae (Dijkema, Desirae)
Subjects
artists:
Braque, Georges
dates:
1940-1949
museums and institutions:
Menil Collection, Houston, United States
subjects:
French art / Technical analysis / Infrared photography / Still lifes / Second World War / Interiors / overpainting / Conservation
Illustrations
Attributed works:
1. Pitcher, candlestick, and black fish (Vase et poisson noir) (after treatment), by Georges Braque. 1943. Oil on canvas, 64.6 by 48.6 cm. (© Artists Rights Society, NY and DACS, London; Menil Collection, Houston).
Attributed works:
10. L’homme au foulard, by Georges Braque. 1929. Oil on canvas, 46 by 38 cm. (Current location unknown; from N. Worms de Romilly: Catalogue de l’oeuvre de Georges Braque, ed. N. Mangin, Paris 1959, III).
Attributed works:
11. Reflected infra-red image of the reverse of Fig.1, after lining removal; the image has been flipped so that the composition is seen as it would be when viewed from the front.
Attributed works:
12. Digital estimation of the third underlying composition of Fig.1.
Attributed works:
13. Detail of Fig.1, showing the lower-right corner.
Attributed works:
14. Detail of Fig.1, showing the lower-right corner and imaged under magnification.
Attributed works:
2. Detail of Fig.1, showing the lower-right quadrant.
Attributed works:
3. Reflected infra-red image of Fig.1. (Menil Collection, Houston).
Attributed works:
4. Transmitted infra-red image of Fig.1. (Menil Collection, Houston).
Attributed works:
5. Detail of Fig.4, showing the eyes.
Attributed works:
6. Woman at an easel (green screen), by Georges Braque. 1936. Oil on canvas, 92 by 73 cm. (© Artists Rights Society, NY and DACS, London; Art Institute of Chicago).
Attributed works:
7. Digital estimation of the composition immediately underlying Fig.1. (Menil Collection, Houston).
Attributed works:
8. Woman with a mandolin, by Georges Braque. 1937. Oil on canvas, 130.2 by 97.2 cm. (© Artists Rights Society, NY and DACS, London; Museum of Modern Art, New York).
Attributed works:
9. Femme, by Georges Braque. 1936. Oil on canvas, 65 by 54 cm. (Current location unknown; from N. Worms de Romilly: Catalogue de l’oeuvre de Georges Braque, ed. N. Mangin, Paris 1959).
Article
Greuze’s greens: ephemeral colours, classical ambitions
03/2023 | 1440 | 165
Pages: 269-279
Buy / subscribe
related names
Author:
Berrie, Barbara H. (Berrie, Barbara H.)
Author:
Delaney, John K. (Delaney, John K.)
Author:
Jackall, Yuriko (Jackall, Yuriko)
Author:
Swicklik, Michael (Swicklik, Michael)
Subjects
artists:
Greuze, Jean-Baptiste
subjects:
French painting / Colour / Pigments / Scientific analysis / Infrared photography / Scanning macro X-ray fluorescence (MA-XRF) spectroscopy / Fading
Illustrations
Attributed works:
1. A young woman praying at the altar of love [Votive offering to Cupid], by Jean-Baptiste Greuze. 1767. Oil on canvas. 145.5 by 113 cm. (Wallace Collection, London).
Attributed works:
10. Broken eggs, by Jean-Baptiste Greuze. 1756. Oil on canvas, 73 by 94 cm. (Metropolitan Museum of Art, New York; Bridgeman Images).
Attributed works:
11. (Left) detail of Fig.3, showing the flower held by the shepherdess and (right) a false colour infra-red reflectance image of the same detail (red 1650 nm, green 1350 nm and blue 1000 nm).
Attributed works:
12. Colour wheel, possibly by André Félibien. Etching with hand colouring. (From C.B. [Claude Boutet?], Traité de la peinture en mignature, 2nd edn, The Hague 1708, image published between pp.154–55).
Attributed works:
13. Ange Laurent de la Live de Jully, by Jean-Baptiste Greuze. Probably 1759. Oil on canvas, 117 by 88.5 cm (National Gallery of Art, Washington; photograph taken before treatment).
Attributed works:
14. Detail of Fig.13, showing the chair after the cleaning of the painting in 2014–15, before retouching.
Attributed works:
15. Cross section from the horizontal gilded chair rail in Fig.13.
Attributed works:
16. Composite image showing (clockwise from top left): a post-cleaning, pre-retouching detail of Fig.13; a false-colour hyperspectral image of the same detail; and the XRF maps for the chemical elements potassium (K) and calcium (Ca).
Attributed works:
17. Images of a cross section with visible light (top) and with UV-blue illumination (bottom) taken from the light blue highlight on the back chair cushion of Fig.13.
Attributed works:
2. Filial piety, by Jean-Baptiste Greuze. 1763. Oil on canvas, 115 by 146 cm. (State Hermitage Museum, St Petersburg).
Attributed works:
3. Simplicity, by Jean-Baptiste Greuze. 1759. Oil on canvas, 71.1 by 59.7 cm. (Kimbell Art Museum, Fort Worth).
Attributed works:
4. Young shepherd holding a flower, by Jean-Baptiste Greuze. c.1761. Oil on canvas, 72.5 by 59.5 cm. (Petit Palais, Paris; Bridgeman Images) .
Attributed works:
5. The village betrothal, by Jean-Baptiste Greuze. 1761. Oil on canvas, 92 by 117 cm. (Musée du Louvre, Paris; © RMN-Grand Palais; René-Gabriel Ojeda).
Attributed works:
6. Girl with a dead canary, by Jean-Baptiste Greuze. 1765. Oil on canvas, 53.3 by 46 cm. (National Galleries of Scotland, Edinburgh; Bridgeman Images).
Attributed works:
7. A child with an apple, by Jean-Baptiste Greuze. c.1785. Oil on canvas, 40.6 by 32.1 cm. (National Gallery, London; Bridgeman Images).
Attributed works:
8. Cross section of a paint sample taken from the clump of blue leaves at the bottom-left corner of Fig.1.
Attributed works:
9. Paint sample taken from the clump of blue leaves at the bottom-left corner of Fig.1 and viewed from the surface using reflected (left) and fluorescence (right) microscopy.
Article
The Buccleuch portrait of Sir Nicholas Carew re-examined
02/2023 | 1439 | 165
Pages: 120-127
Buy / subscribe
related names
Author:
Kimbriel, Christine Slottved (Kimbriel, Christine Slottved)
Subjects
artists:
after / Holbein, Hans the Younger, ca. 1497-1543 / Beuckelaer, Huybrecht
collectors and dealers:
Dudley, Robert, First Earl of Leicester, 1532?-1588 / Lumley, John, First Baron Lumley, ca. 1533-1609 / Dukes of Buccleuch
dates:
1550-1599
museums and institutions:
Hamilton Kerr Institute, Fitzwilliam Museum, Cambridge, Great Britain
subjects:
Carew, Sir Nicholas (c.1496–1539) / Half-length portraits / Copies / Paintings / Drawings / Attributions / Provenance / Dating / Technical analysis / Infrared photography / Pigments
Illustrations
Attributed works:
1. Sir Nicholas Carew, by Hans Holbein the Younger. 1527. Black and coloured chalks on paper, 54.8 by 38.5 cm. (Kunstmuseum Basel).
Attributed works:
2. Sir Nicholas Carew, after Hans Holbein the Younger. c.1585–90. Oil on panel, 95.1 by 102.4 cm. (Collection of the Duke of Buccleuch; photograph Hamilton Kerr Institute).
Attributed works:
3. Infra-red image of Fig.1. (© Hamilton Kerr Institute).
Attributed works:
4. Digital overlay of Figs.1 and 2.
Attributed works:
5. Detail of Fig.2, showing the extreme bottom of the slashed skirt and the better-preserved blue paint with red glaze paint.
Attributed works:
6. Impresa of the Basel book printer Johann Froben, by Hans Holbein the Younger. c.1523. Tempera on unprimed canvas (Tüchlein), 44 by 31 cm. (Kunstmuseum Basel).
Attributed works:
7. The Prodigal Son, by Huybrecht Beuckelaer. 1563–84. Oil on canvas, 127.5 by 155.5 cm. (Musées royaux des Beaux-Arts de Belgique, Brussels).
Article
Picasso’s ‘Faun musician’: revealing the making, contextualising the meaning
03/2022 | 1428 | 164
Pages: 246-253
Buy / subscribe
related names
Author:
Andral, Jean-Louis (Andral, Jean-Louis)
Author:
Casadio, Francesca (Casadio, Francesca)
Author:
Dahm, Kristi (Dahm, Kristi)
Subjects
artists:
Picasso, Pablo
dates:
1940-1949
museums and institutions:
Art Institute of Chicago, Chicago, United States
sources:
Petrarca, Francesco / Aragon, Louis
subjects:
Technical analysis / Scanning macro X-ray fluorescence (MA-XRF) spectroscopy / Infrared photography / overpainting / Gouaches / Iconography / Fauns / Flowers
subjects:
French art
Illustrations
Attributed works:
1. Detail of Fig.3.
Attributed works:
10. Infra-red reflectogram (IRR) composite image of Fig.3 (1.5-1.73 μm).
Attributed works:
11. Fig.10 with the black ink of the faun removed digitally, showing a vase of flowers beneath.
Attributed works:
12. Head, 6 June, 1947, by Pablo Picasso. 1947. Coloured crayon on the page opposite the colophon of the book Cinq sonnets de Pétrarque / avec une eau-forte de / Picasso / et les explications du traducteur, each page 33.4 by 25.7 cm. (Private collection).
Attributed works:
2. Photomicrograph of The faun musician (bottom), showing orange and pink media from an earlier composition visible through losses in the uppermost black ink layer.
Attributed works:
3. The faun musician, by Pablo Picasso. 7th–11th June 1947. Brush and black ink and gouache on cream wove paper, folded, 32.7 by 50.2 cm. (Art Institute of Chicago; © 2020 Estate of Pablo Picasso; DACS, London, 2022).
Attributed works:
4. Head of a woman – Françoise, by Pablo Picasso. 1945. Etching, aquatint and engraving on Arches wove paper, plate 13.9 by 11.9 cm., sheet (irreg.) 32 by 24.8 cm. (From Cinq Sonnets de Pétrarque, plate, fol.6.; Museum of Modern Art, New York; Scala; © 2020 Estate of Pablo Picasso; DACS, London, 2022).
Attributed works:
5. Vase with foliage and three sea urchins, by Pablo Picasso. 21st October 1946. Oleoresinous enamel paint and charcoal on paper mounted on reused canvas, 46 by 38 cm. (Musée Picasso, Antibes; © imageArt; photograph Claude Germain; © Succession Picasso 2022; DACS, London, 2022).
Attributed works:
6. The faun musician, by Pablo Picasso, open folio as it originally appeared as a frontispiece opposite the title page to Cinq Sonnets de Pétrarque. (© 2020 Estate of Pablo Picasso; DACS, London, 2022).
Attributed works:
7. Detail of a photograph by Michel Sima, showing ceramics and drawings by Pablo Picasso at the Atelier Madoura, Vallauris. 1948. (© Michel Sima Héritiers; Bridgeman Images).
Attributed works:
8. MA-XRF composite map of Fig.3, showing Prussian blue crayon (blue), gouache media containing titanium white (red) and cerulean blue gouache (green).
Attributed works:
9. Raking-light image of the verso of Fig.3, flipped horizontally.
Article
Leonardo’s speaking picture: the ‘Salvator Mundi’ redivivus
12/2021 | 1425 | 163
Pages: 1162-1171
Buy / subscribe
related names
Author:
Farago, Claire (Farago, Claire)
Subjects
artists:
Leonardo da Vinci / Luini, Bernardino / Melzi, Francesco / Salai, Andrea
subjects:
Attributions / Renaissance art / Provenance / Scientific analysis / Infrared photography / Restoration (process) / Pentimenti / Preliminary drawings / Research / Technical analysis / Dating / Damage to works of art
subjects:
Copies / Versions
works:
Salvator Mundi (attrib. Leonardo da Vinci)
Illustrations
Attributed works:
10. Detail of Fig.2, showing Christ’s left hand holding the orb.
Attributed works:
2. Christ as Salvator Mundi (Cook/Saudi version), attributed to Leonardo da Vinci, photographed in its restored state, 5th October 2017. After 1507. Oil on walnut panel, 65.5 by 45.1–45.6 cm. (Collection Kingdom of Saudi Arabia; courtesy Salvator Mundi LLC).
Attributed works:
3. Study of drapery for a Salvator Mundi, by Leonardo da Vinci. c.1504– 08. Red chalk with touches of white chalk and pen on pale red prepared paper, 22 by 13.9 cm. (Royal Collection / Royal Collection Trust; © Her Majesty Queen Elizabeth II, 2021; Bridgeman Images).
Attributed works:
4. Studies of draperies for a Salvator Mundi, by Leonardo da Vinci and workshop. c.1504–08. Red chalk with pen and ink and white heightening on pale red prepared paper, 16.4 by 15.8 cm. (Royal Collection / Royal Collection Trust; © Her Majesty Queen Elizabeth II, 2021; Bridgeman Images).
Attributed works:
5. Christ as Salvator Mundi, by Wenceslaus Hollar after Leonardo da Vinci. 1650. Etching, 25.5 by 17.9. cm. (Royal Collection / Royal Collection Trust; © Her Majesty Queen Elizabeth II, 2021; Bridgeman Images).
Attributed works:
6. Christ as Salvator Mundi (Cook/Saudi version), attributed to Leonardo da Vinci, photographed in its cleaned state, 2005. After 1507. Oil on walnut panel, 65.5 by 45.1–45.6 cm. (Collection Kingdom of Saudi Arabia; courtesy Salvator Mundi LLC).
Attributed works:
7. The Cook/Saudi Salvator Mundi, photographed by William Edward Gray when in the Cook Collection, before 1913. (Witt Library, London).
Attributed works:
8. Detail from Portrait of Sublet de Noyers, frontispiece to Roland Fréart de Chambray: Parallèle de l’architecture antique avec la modern, Paris 1650. Engraving by George Tournier after Charles Errard. (Getty Research Institute, Los Angeles; courtesy Getty Open Content Program).
Attributed works:
9. Detail of Fig.2, showing Christ’s right hand.
Western art unattributed:
1. Christ Pantocrator carrying the Gospel of John, central apse mosaic in Cefalù Cathedral. Completed before 1170. (© NPL - DeA Picture Library; photograph A. De Gregorio; Bridgeman Images).
Article
The Lavoisiers by David: technical findings on portraiture at the brink of revolution
09/2021 | 1422 | 163
Pages: 780-791
Buy / subscribe
related names
Author:
Centeno, Silvia A. (Centeno, Silvia A.)
Author:
Mahon, Dorothy (Mahon, Dorothy)
Author:
Pullins, David (Pullins, David)
Subjects
artists:
David, Jacques-Louis / Vigée-LeBrun, Elisabeth Louise / Labille-Guiard, Adélaïde / Vestier, Antoine / Gérard, Marguerite / Garnier, Michel / Girodet-Trioson, Anne-Louis
museums and institutions:
Metropolitan Museum of Art, New York, United States
subjects:
Double portraits / Scientific analysis / Scanning macro X-ray fluorescence (MA-XRF) spectroscopy / Infrared photography / French painting / Composition (artistic arrangement) / Lavoisier, Antoine-Laurent / Lavoisier, Marie-Anne Pierrette Paulze / Science / Chemistry / Costume / Hats / Beaumarchais, Pierre / Fashion / Women artists / Salons (art exhibitions)
subjects:
Revolution (France: 1789-1799)
Illustrations
Attributed works:
1. Antoine-Laurent and Marie-Anne Pierrette Paulze Lavoisier, by Jacques-Louis David. 1788. Oil on canvas, 259.7 by 194.8 cm. (Metropolitan Museum of Art, New York).
Attributed works:
10. Chapeau à la Tarare, by A.-B. Duhamel Jean-Florent Defraine. 1787. Hand-coloured engraving, 17.9 by 19.9 cm. Detail of plate 2 from La Magasin des Modes Nouvelles 36 (10th November 1787). (Rijksmuseum, Amsterdam).
Attributed works:
10. Chapeau à la Tarare, by A.-B. Duhamel Jean-Florent Defraine. 1787. Hand-coloured engraving, 17.9 by 19.9 cm. Detail of plate 2 from La Magasin des Modes Nouvelles 36 (10th November 1787). (Rijksmuseum, Amsterdam).
Attributed works:
11. Marie-Antoinette and her children, by Elisabeth Vigée Le Brun. 1787. Oil on canvas, 275 by 216.5 cm. (Châteaux de Versailles et de Trianon, Versailles).
Attributed works:
12. Louis-Elisabeth de France and her son, by Adélaïde Labille- Guiard. 1788. Oil on canvas, 275 by 160 cm. (Châteaux de Versailles et de Trianon, Versailles).
Attributed works:
13. Detail of Salon of 1787, by Pietro Antoni Martini. 1787. Etching with engraving, 35.6 by 50.2 cm. (Metropolitan Museum of Art, New York).
Attributed works:
14. Alphonse Leroy, by Jacques-Louis David. 1783. Oil on canvas, 72 by 91 cm. (Musée Fabre, Montpellier).
Attributed works:
15. The Chabanel family, by Antoine Vestier. 1786. Oil on canvas, 165.3 by 220.5 cm. (Private collection).
Attributed works:
16. An architect and his family, by Marguerite Gérard. c.1788–89. Oil on panel, 30.5 by 24.1 cm. (Baltimore Museum of Art).
Attributed works:
17. The poorly defended rose, by Michel Garnier. 1789. Oil on canvas, 46.2 by 37.6. (Minneapolis Institute of Art).
Attributed works:
18. Experiments in respiration, by Marie-Anne Pierrette Paulze Lavoisier. c.1790. Graphite, pen and ink on paper. (Private collection).
Attributed works:
2. Infra-red reflectogram (IRR) of Fig.1. (Department of Paintings Conservation, Metropolitan Museum of Art, New York).
Attributed works:
3. Combined elemental distribution map for lead (white) and mercury (red) obtained by macro X-ray fluorescence (MA-XRF). (Department of Scientific Research, Metropolitan Museum of Art, New York).
Attributed works:
4. A line drawing, produced by tracing information obtained by IRR and XRF, suggesting the appearance of the portrait before J.-L. David made significant changes to the composition.
Attributed works:
5. Charles-Alexandre de Calonne, by Elisabeth Vigée Le Brun. 1784. Oil on canvas, 155.5 by 130.3 cm. (Royal Collection Trust; © Her Majesty Queen Elizabeth II, 2021).
Attributed works:
6. Madame Élisabeth, by Adélaïde Labille-Guiard. 1787. Oil on canvas, 146.7 by 155 cm. (Private collection).
Attributed works:
7. Sketch for Charles-Roger, Prince de Bauffremont, by Adélaide Labille-Guiard. 1789–91. Oil on canvas, 34 by 23 cm. (Musée Nissim de Camondo, Paris).
Attributed works:
8. Baronne de Crussol Florensac, by Elisabeth Vigée Le Brun. 1785. Oil on canvas, 113.8 by 84 cm. (Musée des Augustins, Toulouse).
Attributed works:
9. Chapeau à la Basile, by A.-B. Duhamel Jean-Florent Defraine. 1787. Hand-coloured engraving, 18.2 by 10.2 cm. Detail of plate 3 from La Magasin des Modes Nouvelles 31 (20th September 1787). (Rijksmuseum, Amsterdam).
Obituary
J.R.J. van Asperen de Boer (1935–2020)
02/2021 | 1415 | 163
Pages: 195-196
Buy / subscribe
related names
Author:
Wallert, Arie (Wallert, Arie)
Subjects
artists:
Asperen de Boer, J. R. J. van
places:
Groningen
subjects:
Infrared photography / Infrared reflectography / Scientific analysis / Technical analysis / Conservation / Research
Illustrations
Attributed works:
1. J.R.J. van Asperen de Boer at work with his camera with an infra-red vidicon examining a painting in the Stiftsmuseum, Aschaffenburg, in 1992. (Photograph Peter van den Brink).
Article
George Gower: portraitist, Mercer, Serjeant Painter
09/2020 | 1410 | 162
Pages: 730-747
Buy / subscribe
related names
Author:
Town, Edward (Town, Edward)
Subjects
artists:
Gower, George / Bettes, John, I, act. 1545-1559, d. ca. 1570 / Hilliard, Nicholas
artists:
Derickson, Arnold
dates:
1550-1599
media:
Full-length portraits / Portraits / Self-portraits
museums and institutions:
Yale Center for British Art, New Haven, United States / Hamilton Kerr Institute, Fitzwilliam Museum, Cambridge, Great Britain / Tate Britain, London, Great Britain
patrons:
Elizabeth I, Queen of England, 1533-1603
places:
London / York
subjects:
British art / Elizabethan School / Serjeant Painters / Courts (social groups) / Technical analysis / Scientific analysis / Infrared photography / Inscriptions / Sitters
Illustrations
Attributed works:
1. Self-portrait, by George Gower. 1579. Panel, 56.4 by 49.6 cm. (Private collection).
Attributed works:
10. Richard Drake, by George Gower. 1577. Oil on panel, 91.1 by 71.1 cm. (National Maritime Museum, Greenwich).
Attributed works:
11. Infra-red detail of Fig.12, showing the sitter’s eye with pentimento of the iris.
Attributed works:
12. Called Henry Wriothesley, 2nd Earl of Southampton, by George Gower. 1572. Oil on panel, 54 by 34.5 cm. (The Bute Collection, Mount Stuart, Isle of Bute).
Attributed works:
13. Sir Henry Sidney, here attributed to George Gower. 1573. Oil on panel, 202 by 122 cm. (Petworth House, Sussex).
Attributed works:
14. Sir Henry Sidney, here attributed here to George Gower. c.1573. Oil on panel, 67.6 by 52.5 cm. (National Portrait Gallery, London).
Attributed works:
15. Details of Figs.16 and 13, showing the sitters’s right eye and nose.
Attributed works:
16. Sir Henry Sidney, here attributed here to George Gower. c.1573. Oil on paper, 30.5 by 27.9 cm. (National Portrait Gallery, London).
Attributed works:
17. Frances Sidney, Countess of Sussex, here attributed to George Gower. c.1572. Oil on panel, 193.2 by 110 cm. (Sidney Sussex College, Cambridge).
Attributed works:
18. Elizabeth I (The Hampden Portrait), here attributed to George Gower. c.1567. Oil on panel, 196 by 140 cm. (Private collection; Philip Mould & Co., London).
Attributed works:
19. Detail of an infra-red photograph of Fig.17 (left); and a tracing of the features evident in the underlying portrait (right).
Attributed works:
2. Sir Thomas Kytson, by George Gower. 1573. Panel, 53 by 36.9 cm. (Tate, London).
Attributed works:
20. Detail of an infra-red photograph of Fig.18.
Attributed works:
21. Elizabeth I (The Fonthill Portrait), here attributed to George Gower. c.1567. Oil on panel, 45.7 by 33 cm. (Private collection).
Attributed works:
22. Elizabeth I (The Berger/Northwick Park portrait), here attributed to George Gower. c.1567. Panel, 54 by 43.2 cm. (The Berger Collection, Denver Art Museum).
Attributed works:
23. Elizabeth I, here attributed to George Gower. c.1580. Pencil and watercolour on paper, 15.2 by 18.4 cm. (National Portrait Gallery London).
Attributed works:
24. Elizabeth I (The Ermine portrait), here attributed to George Gower. 1585. [Oil on?] panel, 105.4 by 86.4 cm. (Hatfield House, Hertfordshire).
Attributed works:
3. Inscriptions attributed to Gower’s hand from the following portraits, from top to bottom: called Henry Wriothesley, 2nd Earl of Southampton, 1572 (Fig.12); Elizabeth Cornwalllis, Lady Kytson, 1573 (fig.4); Francis Hart of Lullingstone Castle, 1573 (private collection); Elizabeth Knollys, Lady Leighton, 1577 (Fig.8); and Frances, Lady Brydges, 1579 (Fig.5).
Attributed works:
4. Elizabeth Cornwallis, Lady Kytson, by George Gower. 1573. Panel, 68.3 by 52.1 cm. (Tate, London).
Attributed works:
5. Frances, Lady Brydges, by George Gower. 1579. Panel, 91.1 by 68.6 cm. (Yale Center for British Art, New Haven).
Attributed works:
6. Details of Figs.4, 5, 8 and 9 showing the sitters’ right eyes.
Attributed works:
7. Details of Figs.8 and 5, showing gold-mounted jewels.
Attributed works:
8. Elizabeth Knollys, Lady Leighton, by George Gower. 1577. Panel, 61 by 45 cm. (Montacute House, Somerset, National Trust).
Attributed works:
9. Lady Philippa Coningsby, by George Gower. 1578. Panel, 93 by 70.1 cm. (Indianapolis Museum of Art).
next
load more