Search

Article

A new border from Abbot Suger’s Saint-Denis

05/2025 | 1466 | 167

Pages: 430–37

Buy / subscribe

related names

Author:

Cothren, Michael W. (Cothren, Michael W.)

Author:

Shepard, Mary B. (Shepard, Mary B.)

Subjects

buildings:

Abbey of Saint Denis, Saint Denis, France

dates:

1140-1149

patrons:

Suger, Abbot of Saint Denis, 1081-1151

subjects:

Stained glass / Colour / Installations (visual works) / Corrosion

Illustrations

Attributed works:

12b. Detail of the reverse of a border segment from the Moses window from Saint-Denis. c.1140–45. Stained glass. (Glencairn Museum, Bryn Athyn; inv.no.03.SG.181).

Western art unattributed:

1. Reconstruction of the original design of Fig.2.

Western art unattributed:

10. Border segment from the Moses Window, from Saint-Denis. c.1140-45. Stained glass, 31.4 by 21.6 cm. (Metropolitan Museum of Art, New York; inv. no.26.218.5).

Western art unattributed:

11. Border segment from the Benedict window, from Saint-Denis. c.1140–45. Stained glass, 35.3 by 25 cm. (Glencairn Museum, Bryn Athyn; inv. no.03.SG.33).

Western art unattributed:

12a. Reverse of Fig.2. (Photograph Mary B. Shepard).

Western art unattributed:

2. Fragmented border section from Saint-Denis. c.1140–45. Stained glass, 58.1 by 10 cm. (Private collection; photograph Mark French).

Western art unattributed:

3. Border segments from the Infancy of Christ window, from Saint-Denis. c.1140–45. Stained glass, (left strip) 42.6 by 11 cm., (right strip) 42.6 by 12.1 cm. (Metropolitan Museum of Art, New York, inv. nos.26.218.6a, b).

Western art unattributed:

4. Detail of Fig.2, showing a palmette. (Photograph Mary B. Shepard).

Western art unattributed:

5. Ambulatory of Saint-Denis, c.1140–44. (Alamy Stock Photo).

Western art unattributed:

6. Border segment from Saint-Remi. c.1180–1200. Stained glass, 71.7 by 13.9 cm. (Glencairn Museum, Bryn Athyn; inv. no.03.SG.216).

Western art unattributed:

7. Border segment from an unknown window from Saint-Denis (Grodecki’s type ‘G’), by Juste Lisch. c.1140–45. Stained glass, 49.3 by 13 cm. (Glencairn Museum, Bryn Athyn; inv. no.03.SG.6).

Western art unattributed:

8. Border segment from window depicting Parable of Lazarus and the Rich Man, Poitiers Cathedral, bay 112. c.1200–25. Stained glass. (Photograph Painton Cowen).

Western art unattributed:

9. Twelfth-century border designs from Saint-Denis. (From L. Grodecki: Les Vitraux de Saint-Denis: Étude sur le vitrail au XIIe siècle (Corpus Vitrearum, France, Série Études I), Paris 1976, p.129).

Book Review

White: The History of a Color Les couleurs au Moyen Âge: Dictionnaire encyclopédique

02/2024 | 1451 | 166

Pages: 211–212

Buy / subscribe

related names

Reviewer:

Jasperse, Jitske (Jasperse, Jitske)

Subjects

subjects:

Colour / White / Social history / Medieval art / Pigments / Bestiaries / Heraldry

Reviewed Items

subjects:

Les couleurs au Moyen Âge: Dictionnaire encyclopédique By Michel Pastoureau. 360 pp. incl. 32 col. ills. (Éditions Le Léopard d’Or, Paris, 2022), €60. ISBN 978–2–86377–283–6. | :

subjects:

White: The History of a Color By Michel Pastoureau, translated by Jody Gladding. 240 pp. incl. 130 col. ills. (Princeton University Press, 2023), £35.00. ISBN 978–0–69124–349–8. | :

Exhibition Review

Colour Revolution: Victorian Art, Fashion and Design

02/2024 | 1451 | 166

Pages: 193–196

Buy / subscribe

related names

Reviewer:

Baker, Christopher (Baker, Christopher)

Subjects

dates:

2020-2030

museums and institutions:

Ashmolean Museum, Oxford, Great Britain

subjects:

Victorian art / Design / Fashion / Colour / Dyes

Reviewed Items

subjects:

Colour Revolution: Victorian Art, Fashion and Design Ashmolean Museum, Oxford 21st September 2023–18th February 2024 | :

Illustrations

Attributed works:

17. Study of a Kingfisher with dominant reference to colour, by John Ruskin. 1871. Watercolour on paper, 60.4 by 45 cm. (Ashmolean Museum, Oxford).

Attributed works:

18. La morphinomane (The morphine addict), by Eugene Grasset. 1897. Colour lithograph, 57.6 by 42.5 cm. (Victoria and Albert Museum, London; Bridgeman Images; exh. Ashmolean Museum, Oxford).

Attributed works:

19. The great bookcase, designed by William Burges. 1859–62. Painted wood and pietra dura, 317 by 174 by 49.5 cm. (Ashmolean Museum, Oxford).

Article

Goya’s ‘Self-portrait with Dr Arrieta’

12/2023 | 1449 | 165

Pages: 1300–1304

Buy / subscribe

related names

Author:

Céron-Peña, Mercedes (Céron-Peña, Mercedes)

Subjects

artists:

Goya y Lucientes, Francisco José de

dates:

1820-1829

museums and institutions:

Minneapolis Institute of Arts, Minneapolis, United States

subjects:

Self-portraits / Spanish art / Spanish artists / Medicine / Politics / Symbolism (artistic concept) / Colour

Illustrations

Attributed works:

1. Self-portrait with Dr Arrieta, by Francisco de Goya. 1820. Oil on canvas, 114.6 by 76.5 cm. (Minneapolis Institute of Art; Bridgeman Images).

Attributed works:

2. Detail of Fig.1, showing green and red brushstrokes in the white bedsheet.

Attributed works:

3. Detail of Fig.1, showing the face of the man behind Goya’s left shoulder.

Attributed works:

5. Detail of Fig.1, showing the friar or monk behind Arrieta’s right elbow.

Western art unattributed:

4. An allegory of Ferdinand VII’s constitutional oath. 1820. Handcoloured engraving, 19.4 by 25 cm. (Ayuntamiento de Madrid; Museo de Historia de Madrid).

Exhibition Review

Yevonde: Life and Colour

10/2023 | 1447 | 165

Pages: 1140–1143

Buy / subscribe

related names

Reviewer:

Stein, Lisa (Stein, Lisa)

Subjects

artists:

Yevonde (1893–1975)

museums and institutions:

National Portrait Gallery, London, Great Britain

subjects:

British photography / Colour / Portraiture / women photographers

Reviewed Items

subjects:

Yevonde: Life and Colour National Portrait Gallery, London 22nd June–15th October | :

Illustrations

Attributed works:

19. Lord and Lady Derwent (Comtesse Sabine Czaykowska and George Harcourt Vanden-Bampde- Johnstone, 3rd Baron Derwent), by Yevonde. (Mark Evans Picture Library; exh. National Portrait Gallery, London).

Attributed works:

20. Muhammadu Kabir Usman (son of Usman Nagogo) and Ibrahim (son of Yusifu Lamba), grandsons of Muhammadu Dikko, Emir of Katsina, by Yevonde. 1933. Tri-colour separation negative, modern print exhibited. (National Portrait Gallery, London).

Attributed works:

21. Self-portrait with Vivex One- Shot Camera, by Yevonde. 1937. Tricolour separation negative, modern print exhibited. (National Portrait Gallery, London).

Attributed works:

22. Venus surrounded by mask and deep sea fish, by Yevonde. 1938. Tri-colour separation negative, modern print exhibited. (National Portrait Gallery, London).

Short Notice

What are Barnett Newman’s reds, yellows and blues?

10/2023 | 1447 | 165

Pages: 1111–1115

Buy / subscribe

related names

Author:

Epley, Bradford A. (Epley, Bradford A.)

Author:

Rogge, Corina E. (Rogge, Corina E.)

Subjects

artists:

Newman, Barnett

dates:

1960-1969

subjects:

American art / Colour / Blue (colour) / Red / Yellow / Pigments / Scientific analysis

Illustrations

Attributed works:

1. Who’s afraid of red, yellow and blue I, by Barnett Newman. 1966. Oil on canvas, 190.5 by 212.9 cm. (© Barnett Newman Foundation, New York; DACS, London; private collection).

Attributed works:

2. Who’s afraid of red, yellow and blue II, by Barnett Newman. 1967. Acrylic on canvas, 304.8 by 259.1 cm. (© Barnett Newman Foundation, New York; DACS, London; Staatsgalerie, Stuttgart).

Attributed works:

3. Who’s afraid of red, yellow and blue III, by Barnett Newman. 1967–68. Oil on canvas, 245 by 543 cm. (© Barnett Newman Foundation, New York; DACS, London; Stedelijk Museum, Amsterdam).

Attributed works:

4. Who’s afraid of red, yellow and blue IV, by Barnett Newman. 1969–70. Acrylic on canvas, 274.3 by 604.5 cm. (© Barnett Newman Foundation, New York; DACS, London; Staatliche Museen zu Berlin-Preussischer Kulturbesitz).

Attributed works:

5. Chartres, by Barnett Newman. 1969. Acrylic on canvas, 305 by 289.5 cm. (© Barnett Newman Foundation, New York; DACS, London; Daros Collection, Switzerland).

Attributed works:

6. Colour swatches reproducing the red, blue, and yellow paints in Who’s afraid of red, yellow and blue I, II, IV and Chartres as measured by spectrophotometry. The values in parentheses are the CIEDE2000 values measuring the difference between the colours of Who’s afraid I and each of the other paintings. (Menil Collection, Houston).

Attributed works:

7. Newman at his 1969 exhibition at the Knoedler Gallery, New York. On the wall next to the doorway hangs Who’s afraid I. (© Barnett Newman Foundation, New York; DACS, London).

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.

Book Review

The Art of Sculpture in Fifteenth-Century Italy

03/2023 | 1440 | 165

Pages: 340-342

Buy / subscribe

related names

Reviewer:

Dalvit, Giulio (Dalvit, Giulio)

Subjects

subjects:

Italian sculpture / Reliefs / Colour / Architecture

subjects:

Renaissance art / Renaissance Italy

Reviewed Items

subjects:

The Art of Sculpture in Fifteenth- Century Italy Edited by Amy R. Bloch and Daniel M. Zolli. 454 pp. incl. 112 col. + 144 b. & w. ills. (Cambridge University Press, 2020), £145. ISBN 978–1–108– 42884–2. | :

Illustrations

Attributed works:

4. Abraham and Isaac, by Donatello and Nanni di Bartolo. 1421. Marble, height 188 cm. (Museo dell’Opera del Duomo, Florence; courtesy Opera di Santa Maria del Fiore; photograph Antonio Quattrone).

Book Review

Painting in Stone: Architecture and the Poetics of Marble from Antiquity to the Enlightenment

02/2022 | 1427 | 164

Pages: 216-217

Buy / subscribe

related names

Reviewer:

Gensheimer, Maryl B. (Gensheimer, Maryl B.)

Subjects

subjects:

Stone / Colour / Architecture / Sculpture / Art history / Architectural history

Reviewed Items

subjects:

Painting in Stone: Architecture and the Poetics of Marble from Antiquity to the Enlightenment By Fabio Barry. 448 pp. incl. 215 col. + 117 b. & w. ills. (Yale University Press, New Haven and London, 2020), £30. ISBN 978–0–300–24817–3. | :

Book Review

Pink: The History of a Punk, Pretty, Powerful Colour. Edited by Valerie Steele

08/2019 | 1397 | 161

Pages: 701-702

Buy / subscribe

related names

Reviewer:

Miller, Sanda (Miller, Sanda)

Subjects

subjects:

Pink (colour) / Colour / Fashion / Gender / Eroticism / Cultural history

Reviewed Items

subjects:

Pink: The History of a Punk, Pretty, Powerful Colour Edited by Valerie Steele. 208 pp. incl. 125 col. ills. (Thames and Hudson, London and New York, 2018), | :

Illustrations

Attributed works:

8. Madame de Pompadour at her toilette, by François Boucher. 1750 with later additions. Oil on canvas, 81.2 by 64.9 cm. (Fogg Art Museum, Harvard University, Cambridge MA).

Sign up to our newsletter