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162 articles
Book Review
Pelagio Palagi: Décorateur des palais royaux de Turin et du Piémont (1832–1856). By Bertrand de Royere
01/2019 | 1390 | 161
Pages: 90-91
related names
Reviewer:
Jervis, Simon (Jervis, Simon; J., S.; J., S. S.)
Subjects
art literature:
dates:
places:
Illustrations
Attributed works:
4. The Etruscan Room, Castello di Racconigi, Piedmont, designed by Pelagio Palagi, marquetry and furniture by Gabriele Capello (called Moncalvo). 1843–47. (De Agostini Picture Library; photograph A. Dagli Orti; Bridgeman Images).
Exhibition Review
Luigi Valadier: Splendor in Eighteenth-Century Rome. The Frick Collection, New York
01/2019 | 1390 | 161
Pages: 70-72
related names
Reviewer:
Baarsen, Reinier (Baarsen, Reinier)
Subjects
collectors and dealers:
dates:
museums and institutions:
Illustrations
Attributed works:
16. Caddinet with the coat of arms of Henry, Cardinal Duke of York, by Luigi Valadier. c.1785. Silvergilt, 10 by 37.7 by 30.3 cm. (The Royal Collection, © Her Majesty Queen Elizabeth II; exh. The Frick Collection, New York).
Attributed works:
17. Detail of a deser, by Luigi Valadier. c.1778. Marbles, hardstones, glass, enamel, gilt bronze and other materials, the stand: 12.5 by 280 by 83 cm. (Royal Palace and Archaeological Museum, Madrid; exh. The Frick Collection, New York).
Attributed works:
18. Altar service for Cardinal Orsini, by Luigi Valadier. 1768. Silver-gilt. (Cathedral of San Nicola, Muro Lucano; exh. The Frick Collection, New York).
Article
Russia, Rome and the tricky business of disaster painting
12/2018 | 1389 | 160
Pages: 996-1005
related names
Author:
Blakesley, Rosalind P. (Blakesley, Rosalind P.)
Subjects
Illustrations
Attributed works:
1. Last day of Pompeii, by Karl Bryullov. 1830–33. Canvas, 456.5 by 651 cm. (State Russian Museum, St Petersburg).
Attributed works:
10. Ivan the Terrible and his son Ivan. 16th November 1581, by Ilya Repin. 1885. Canvas, 199.5 by 254 cm. (State Tretyakov Gallery, Moscow).
Attributed works:
2. Destruction of Pompeii and Herculaneum, by John Martin. 1822. Canvas, 161.6 by 253 cm. (Tate, London).
Attributed works:
3. Earthquake in Rocca di Papa, near Rome, by Petr Basin. 1830. Canvas, 84 by 99 cm. (State Russian Museum, St Petersburg).
Attributed works:
4. Sketch for ‘Genseric’s invasion of Rome’, by Karl Bryullov. 1835–36. Canvas, 88 by 117.9 cm. (State Tretyakov Gallery, Moscow).
Attributed works:
5. Siege of Pskov by King Stefan Batory of Poland in 1581, by Karl Bryullov. 1839–43. Canvas, 482 by 675 cm. (State Tretyakov Gallery, Moscow).
Attributed works:
6. Death of Camilla, sister of Horatius, by Fedor Bruni. 1824. Canvas, 350 by 526.5 cm. (State Russian Museum, St Petersburg).
Attributed works:
7. The brazen serpent, by Fedor Bruni. 1834–41. Canvas, 565 by 852 cm. (State Russian Museum, St Petersburg).
Attributed works:
8. Sketch for ‘St Eustace Placidus in the Colosseum’, by Aleksei Markov. 1836–42. Canvas, 98 by 136.5 cm. (State Tretyakov Gallery, Moscow).
Attributed works:
9. Morning of the execution of the Streltsy, by Vasily Surikov. 1881. Canvas, 218 by 375 cm. (State Tretyakov Gallery, Moscow).
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
A Renaissance bronze in Birmingham, the bailli de Breteuil and Luigi Valadier
11/2018 | 1388 | 160
Pages: 928-937
related names
Author:
Warren, Jeremy (Warren, Jeremy)
Subjects
dates:
Illustrations
Attributed works:
10. Allegorical figure, by Jean-Robert Ango after a terracotta relief by François Berruer. 1767. Red chalk, 43.8 by 28.4 cm. (Marquis de Breteuil).
Attributed works:
11. The Callipygian Venus, by Jean-Robert Ango, after a marble statue attributed to Jean Louis Breton after a drawing by Laurent Guiard. 1765. Black chalk, 28.2 by 22 cm. (Marquis de Breteuil).
Attributed works:
12. A Furietti centaur, one of a pair, by Jean-Robert Ango, after bronze statuettes after the antique statues. c.1765–70. Black chalk, 28.4 by 22 cm. and 28.7 by 22 cm. (Marquis de Breteuil).
Attributed works:
13. Satyr holding grapes with panther, and Figure of a warrior, known as the Executioner, by Jean-Robert Ango, after bronze statuettes attributed to Massimiliano Soldani-Benzi and François Duquesnoy. 1765. Black chalk, 28.2 by 21.7 cm. (Marquis de Breteuil).
Attributed works:
14. Assemblage with a vase and a plaque depicting Henri IV, by Jean-Robert Ango, after a model attributed to Jacques-Laure Le Tonnelier, bailli de Breteuil and Luigi Valadier. c.1765–70. Red chalk, 47.5 by 34.8 cm. (Marquis de Breteuil).
Attributed works:
15. Seated Rome, by Luigi and Giuseppe Valadier. 1780–86. Hardstones, silver- and bronze-gilt, height 46 cm. (Musée du Louvre, Paris).
Attributed works:
3. Jacques-Laure Le Tonnelier, bailli de Breteuil, by Louis Jacques Pilon. 1785. Plaster, height 87 cm. (Marquis de Breteuil).
Attributed works:
4. Boy riding upon a horse, by the workshop of Severo Calzetta (Severo da Ravenna). c.1510–30. The base is here attributed to the workshop of Luigi Valadier, Rome. c.1770–80. Bronze, marble and gilt-bronze, 18 by 22 cm. (Musée du Louvre, Paris).
Attributed works:
5. The salon of the bailli de Breteuil in Palazzo Malta, Rome, by Hubert Robert. c.1765. Red chalk, 34.9 by 48.8 cm. (Musée du Louvre, Paris).
Attributed works:
6. Agrippina as Minerva, by Jean-Robert Ango, after a possibly Roman bronze statuette. c.1765–70. Black chalk, 28 by 22 cm. (Marquis de Breteuil).
Attributed works:
7. Figure of a boy (‘Souffleur de bulles de savon’), by Jean-Robert Ango after a bronze statuette, model by François Duquesnoy. c.1765–70. Red chalk, 21.7 by 18.8 cm. (Marquis de Breteuil).
Attributed works:
8. Detail from Antique vases and statuettes and a modern vase, by Jean-Robert Ango after antique models and a bronze model by Luigi Valadier, incorporating designs by François Duquesnoy. 1765. Black chalk. 27.5 by 43.5 cm. (Marquis de Breteuil).
Attributed works:
9. A dog, by Jean-Robert Ango after a possibly Roman bronze statuette. c.1765–70. Black chalk, 28 by 21.5 cm. (Marquis de Breteuil).
Western art unattributed:
1. Boy riding upon a goat. Italian, probably Padua, early sixteenth century. The base is here attributed to the workshop of Luigi Valadier, Rome, c.1770–80. Bronze, marble and gilt-bronze, 21.7 by 22.1 cm. (Barber Institute of Fine Arts, University of Birmingham).
Western art unattributed:
2. Detail of Fig.1, showing the shell.
Article
The making of Picasso’s ‘Woman in a long dress’
11/2018 | 1388 | 160
Pages: 920-927
Subjects
collectors and dealers:
Illustrations
Attributed works:
1. Woman in a long dress, by Pablo Picasso. Here dated 1941–42. Bronze, 161.3 by 53.7 by 45.7 cm. (Private collection; photograph W.B. Dewey; © DACS London, 2018).
Attributed works:
3. Portrait of the artist’s mother, by Pablo Picasso. 1896. Pastel on paper, 49.8 by 39 cm. (Museu Picasso, Barcelona; Bridgeman Images; © DACS London, 2018).
Attributed works:
4. Portrait of Yadwiga, by Henri Rousseau. 1895. Canvas, 160 by 105 cm. (Musée Picasso, Paris; Bridgeman Images).
Attributed works:
5. Picasso and his stove, rue des Grands Augustins, by Brassaï. 1939. (Private collection / Photo © Christie’s Images; Bridgeman Images).
Attributed works:
6. Picasso’s Head of a bull with an arm from Easter Island, by Brassaï. 1943. Gelatin silver print, 17.7 by 24 cm. (Musée National Picasso, Paris; © DACS London, 2018).
Attributed works:
7. Head of a bull, by Pablo Picasso. 1942. Bicycle saddle and handlebars, 33.5 by 43.5 by 19 cm. (Musée National Picasso, Paris; © DACS London, 2018).
Attributed works:
8. ‘L’Aubade’ and ‘Woman in a long dress’ in Picasso’s rue des Grands Augustins studio, Paris, by Brassaï. 1946. Photograph. (Musée National Picasso, Paris; © DACS London, 2018).
Attributed works:
9. Front steps of La Californie with Picasso and the welder at work, by David Douglas Duncan. 1957. (From D.D. Duncan: Goodbye Picasso, New York 1975, p.65).
Western art unattributed:
2. Female statue, known as the Woman of Auxerre, c.640–630 BC. Limestone, height 75 cm. (Musée du Louvre, Paris; Bridgeman Images).
Article
The design of New Court at St John’s College, Cambridge
10/2018 | 1387 | 160
Pages: 840-849
related names
Author:
Salmon, Frank (Salmon, Frank)
Subjects
Illustrations
Attributed works:
10. Detail of a design for the south elevation of New Court, by Thomas Rickman and Henry Hutchinson. November 1826. Pen and ink on paper, 62 by 108 cm. (By permission of the Master and Fellows of St John’s College, Cambridge, SJCA/MPSC4/4)
Attributed works:
11. The Bridge of Sighs, viewed westward from the Third Court loggia, St John’s College, Cambridge, by Thomas Rickman and Henry Hutchinson. 1827–31. (Photograph © Tim Rawle)
Attributed works:
12. Detail of Fig.10, showing the design for an iron Bridge of Sighs.
Attributed works:
13. The New Court ‘Bridge Passage’, St John’s College, Cambridge, viewed westward towards the cloister with the entrance to A Staircase on the right, by Thomas Rickman and Henry Hutchinson. 1827–31. (Photograph Tim Rawle).
Attributed works:
14. Detail of Fig.2, digitally rendered to show the building as it would have appeared if built in red brick.
Attributed works:
2. South front of New Court, St John’s College, Cambridge, by Thomas Rickman and Henry Hutchinson. 1827–31. (Photograph © Tim Rawle).
Attributed works:
3. Perspective view of a design for New Court from the south-east, by John Clement Mead. October 1824. Pen, ink and wash on paper, 68 by 124 cm. (By permission of the Master and Fellows of St John’s College, Cambridge, SJCA/MPSC2/10).
Attributed works:
4. Detail of a design for the east elevation of New Court, by John Clement Mead. October 1824. Pen, ink and wash on paper, 70 by 98 cm. (By permission of the Master and Fellows of St John’s College, Cambridge, SJCA/MPSC2/5).
Attributed works:
5. The Shrewsbury Tower gatehouse in Second Court, St John’s College, Cambridge, by Ralph Symons and Gilbert Wigge. 1598–1602. (Photograph © Tim Rawle).
Attributed works:
6. Detail of a design for the south elevation of New Court, by John Clement Mead. October 1824. Ink and wash on paper, 70 by 98 cm. (By permission of the Master and Fellows of St John’s College, Cambridge, SJCA/MPSC2/2).
Attributed works:
7. South side of Second Court, St John’s College, Cambridge, by Ralph Symons and Gilbert Wigge. 1598–1602. (Photograph © Tim Rawle).
Attributed works:
8. Detail of a design for the south elevation of New Court, St John’s College, Cambridge, by Arthur Browne. April–September 1825. Pen, ink and grey wash on card, 22 by 55 cm. (By permission of the Master and Fellows of St John’s College, Cambridge, SJCA/MPSC3/3).
Attributed works:
9. Detail of a plan of a design for New Court, by Arthur Browne. April–September 1825. Pen, ink and wash on card, 22 by 56 cm. (By permission of the Master and Fellows of St John’s College, Cambridge, SJCA/MPSC3/2).
Western art unattributed:
1. New Court and the Bridge of Sighs, St John’s College, Cambridge, viewed from the Kitchen Bridge to the south-east. Mid-nineteenth century. Engraving, 8.5 by 13.5 cm. (Private collection).
Book Review
Making Majesty: The Throne Room at Dublin Castle, A Cultural History. Edited by Myles Campbell and William Derham
10/2018 | 1387 | 160
Pages: 880-881
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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