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138 articles
Book Review
‘Meine Tendenz ist die der Wahrheit’: Otto Griebel (1895–1972): Leben und Werk
10/2024 | 1459 | 166
Pages: 1090–91
related names
Reviewer:
Porstmann, Gisbert (Porstmann, Gisbert)
Subjects
artists:
Reviewed Items
subjects:
‘Meine Tendenz ist die der Wahrheit’: Otto Griebel (1895–1972): Leben und Werk By Johannes Schmidt. 400 pp. incl. numerous col. + b. & w. ills. (Georg Olms Verlag, Baden- Baden, 2022), €88. ISBN 978–3–487–16093–1. | :
Illustrations
Attributed works:
6. Self-portrait in front of Dresden burning, by Otto Griebel. 1945. Oil on canvas, 50.3 by 39.9 cm. (Museum der bildenden Künste, Leipzig).
Book Review
The Real and the Romantic: English Art Between Two World Wars
09/2023 | 1446 | 165
Pages: 1043-44
related names
Reviewer:
West, Emma (West, Emma)
Subjects
Reviewed Items
subjects:
The Real and the Romantic: English Art Between Two World Wars By Frances Spalding. 384 pp. incl. 147 col. ills. (Thames and Hudson, London and New York, 2022), £35. ISBN 978–0–500–51864–9. | :
Illustrations
Attributed works:
7. Edge of Abruzzi: boat with three people on a lake, by Winifred Knights. 1924–30. Oil on canvas, 66.5 by 66.5 cm. (Courtesy Rediscovering Art by Women; Private collection).
Article
The lost years of Edward Julius Detmold: art, nature and war
07/2022 | 1432 | 164
Pages: 672-681
related names
Author:
Morris-Suzuki, Tessa (Morris-Suzuki, Tessa)
Subjects
dates:
Illustrations
Attributed works:
1. The ant-lion, by Edward Julius Detmold. (From Princess Mary’s Gift Book, London 1914).
Attributed works:
10. The Flying Dutchman, by Edward Julius Detmold. Mid-1920s. Monotype, 35 by 50 cm. (Private collection).
Attributed works:
11. Progress, from The Sword and Gold: What I Have Seen, 1933, by Edward Julius Detmold. c.1933. Watercolour, 31 by 18 cm. (Private collection).
Attributed works:
12. Civilisation?, from The Sword and Gold: What I Have Seen, 1933, by Edward Julius Detmold. c.1933. Oil on paper, 32 by 18 cm. (Private collection).
Attributed works:
13. Like seed like crop, from The Sword and Gold: What I Have Seen, 1933, by Edward Julius Detmold. c.1933. Pencil and watercolour, 33 by 18.5 cm. (Private collection).
Attributed works:
2. Peace, from The Sword and Gold: What I Have Seen, 1933, by Edward Julius Detmold. c.1933. Watercolour, 33 by 19 cm. (Private collection).
Attributed works:
3. Orchis Latifolia, by Edward Julius Detmold. (From M. Maeterlinck: Hours of Gladness, London 1912).
Attributed works:
4. Pelopaeus Spirifex, by Edward Julius Detmold. (From Fabre’s Book of Insects, London 1921).
Attributed works:
5. Shere Khan in the jungle, by Charles Maurice and Edward Julius Detmold. (From C.M. Detmold and E.J. Detmold: Sixteen Illustrations of Subjects from Kipling’s ‘Jungle Book’, London 1903).
Attributed works:
6. The captive, by Edward Julius Detmold. 1923. Etching, 35 by 30 cm. (plate). (Private collection).
Attributed works:
7. Macaws, by Edward Julius Detmold. c.1930. (The Sphere, 24th November 1930).
Attributed works:
8. On this dome is a bronze horseman mounted on a horse, from The Story of the Third Calender, by Edward Julius Detmold. (From The Arabian Nights, London 1924).
Attributed works:
9. The seer and the clown, from The Sword and Gold: What I Have Seen, 1933, by Edward Julius Detmold. c.1933. Watercolour, 34 by 18 cm. (Private collection).
Book Review
Never Again. Gardens of Peace: A Landscape and Architectural History of War Cemeteries
11/2020 | 1412 | 162
Pages: 1007-1009
Subjects
Reviewed Items
subjects:
Never Again. Gardens of Peace: A Landscape and Architectural History of War Cemeteries Edited by Michel Racine. 224 pp. incl. 200 col. ills. (Mercatorfonds, Brussels, and Yale University Press, New Haven and London, 2020), £30. ISBN 978–0–300–24649–0. | :
Illustrations
Attributed works:
8. Hooglede German First World War Cemetery, West Flanders, Belgium, designed by Robert Tischler. (Photograph Christine Bastin and Jacques Evrard).
Book Review
David Jones: Engraver, Soldier, Painter, Poet. By Thomas Dilworth
01/2019 | 1390 | 161
Pages: 95-96
related names
Reviewer:
James, Merlin (James, Merlin; James, Merlin Ingli; Ingli James, Merlin; J., M.)
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dates:
media:
places:
Article
Hope in time of war: George Clausen’s ‘Renaissance’ rediscovered
11/2018 | 1388 | 160
Pages: 938-945
related names
Author:
McConkey, Kenneth (McConkey, Kenneth)
Subjects
artists:
dates:
media:
Illustrations
Attributed works:
1. Renaissance, by George Clausen. 1915. Canvas, 152.4 by 177.8 cm. (Belgian Ministry of Foreign Affairs, on deposit in the Belgian ambassador’s residence, London).
Attributed works:
10. Detail of Fig.1.
Attributed works:
11. Figure study, by George Clausen. 1914–15. Graphite on paper, 24 by 39 cm. (Victoria and Albert Museum, London).
Attributed works:
12. Youth mourning, by George Clausen. 1916. Canvas, 91.4 by 91.4 cm. (Imperial War Museum, London).
Attributed works:
2. Primavera, by George Clausen. 1914. Canvas, 91.4 by 71.7 cm. (Private collection; photo Christie’s, London).
Attributed works:
3. Wounded, London Hospital, by John Lavery. 1915. Canvas, 176 by 201 cm. (Dundee Art Galleries and Museums Collection).
Attributed works:
4. Study for ‘Renaissance’, by George Clausen. 1915. Graphite on paper, 25.7 by 18.4 cm. (Royal Academy of Arts, London).
Attributed works:
5. Study for ‘Renaissance’, by George Clausen. 1915. Graphite on paper, 38.1 by 32.3 cm. (Royal Academy of Arts, London).
Attributed works:
6. L’Esperance, by Pierre Puvis de Chavannes. 1872. Canvas, 70.5 by 82 cm. (Musée d’Orsay, Paris).
Attributed works:
7. Sowing new seed (for the Board of Agriculture and Technical Instruction for Ireland), by William Orpen. 1913. Canvas, 137 by 137 cm. (Mildura Arts Centre, Australia).
Attributed works:
8. St Francis at prayer, by Frederick Cayley Robinson and Winifred Dalley, from H.E. Manning: The Little Flowers of St Francis of Asissi, London 1915.
Attributed works:
9. Detail of Victor Rousseau, by George Clausen, c.1915. Graphite on paper, 39.2 by 28.8 cm. (Royal Academy of Arts, London).
Article
The Art of Conservation XV. The conservation history of the Ghent Altarpiece
09/2018 | 1386 | 160
Pages: 754-765
related names
Author:
Dubois, Hélène (Dubois, Hélène)
Subjects
collectors and dealers:
Illustrations
Attributed works:
1. The adoration of the Mystic Lamb, by Hubert and Jan van Eyck. Completed by 1432. Panel, shown open, 375 by 514 cm. Before restora- tion. (Cathedral of St Bavo, Ghent; © lukasweb.be – Art in Flanders vzw).
Attributed works:
2. Diagram showing the extent of mid-sixteenth century overpaint on the outside wings of the polyptych. (©KIK-IRPA, Brussels).
Attributed works:
3. Detail of Fig.4, showing Joos Vijd’s right eye after varnish removal. The pink scumbles around the eyes, which cover the original eyelashes, are typical of the mid-sixteenth-century overpainting campaign. (©KIKIRPA, Brussels).
Attributed works:
4. The adoration of the Mystic Lamb, by Hubert and Jan van Eyck. Completed by 1432. Panel, shown closed, 375 by 257 cm. Photographed after restoration. (Cathedral of St Bavo, Ghent; © lukasweb.be – Art in Flanders vzw).
Attributed works:
5. Detail of Fig.4, showing Elisabeth Borluut’s drapery before the removal of varnish and overpaint. (Cathedral of St Bavo, Ghent).
Attributed works:
6. Fig.5 after the removal of overpaint and restoration. (Cathedral of St Bavo, Ghent; © lukasweb.be – Art in Flanders vzw).
Attributed works:
7. The Virgin Annunciate and Angel musicians (recto and verso of the same panel), by Hubert and Jan van Eyck. Photographs taken in Berlin before the restoration of 1894. Original hinges are present on the left side of the frame of the Virgin’s panel. Metal reinforcements were added to the extremities of the crossbar. Later, wrought metal hinged braces were attached by large screws fitted through the frame and visible on the front of the Angels panel. (Deutsches Dokumentationszentrum für Kunstgeschichte – Bildarchiv Foto Marburg).
Attributed works:
8. The prophet Micah, detail of Fig.4, shown in the frame designed by Karl Friedrich Schinkel with a hatch covering the inscription beneath the prophet. Photograph, before 1878. (RKD, Netherlands Institute for Art History, M.J. Friedländer Archive, The Hague).
Attributed works:
9. The Ghent Altarpiece as installed in the Vijd chapel between 1865 and 1920. It comprises Eyckian central panels, Lagye’s fur-clothed Adam and Eve and Coxcie’s copies of the other shutters. Photograph, c.1910–13. (© Stadsarchief, Ghent).
Western art unattributed:
10. Jef Van der Veken in his studio in Brussels. Photograph, before 1929. (RKD, Netherlands Institute for Art History, Jef Van der Veken Archive, The Hague).
Western art unattributed:
11. Albert Philipott applies wax to the surface of Eve in order to consolidate the paint layers. Photograph, 1951. (© KIK-IRPA, Brussels).
Western art unattributed:
12. Albert Philipott removes the overpainted clouds around the dove in The Adoration of the Lamb. Photograph, 1951. (© KIK-IRPA, Brussels).
Book Review
Rik Wouters: A Retrospective. Edited by Frederik Leen
09/2018 | 1386 | 160
Pages: 803-804
Book Review
Du bist Faust: Goethe’s Drama in der Kunst. Edited by Roger Diederen and Thorsten Valk
09/2018 | 1386 | 160
Pages: 802-803
Exhibition Review
Aftermath: Art in the Wake of World War One. Tate Britain, London
09/2018 | 1386 | 160
Pages: 788-790
related names
Reviewer:
Vaizey, Marina (Vaizey, Marina)
Subjects
dates:
museums and institutions:
places:
Illustrations
Attributed works:
22. The floating one, by Ernst Barlach. 1927, cast 1987. Bronze, 213 by 74 by 68 cm. (SchleswigHolsteinische Landesmuseen Schloss Gottorf, Schleswig; exh. Tate Britain, London).
Attributed works:
23. Grey day, by George Grosz. 1921. Canvas, 115 by 80 cm. (Nationalgalerie, Berlin; exh. Tate Britain, London).
Attributed works:
24. Wire, by Paul Nash. 1918–19. Watercolour, chalk and ink on paper, 48.6 by 63.5 cm. (Imperial War Museums, London; exh. Tate Britain, London).
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