By using this website you agree to our Cookie policy

Search

28 articles
Book Review
The Allure of Glazed Terracotta in Renaissance Italy
02/2023 | 1439 | 165
Pages: 209-210
related names
Reviewer:
Warren, Jeremy (Warren, Jeremy)
Subjects
places:
Reviewed Items
subjects:
The Allure of Glazed Terracotta in Renaissance Italy By Zuzanna Sarnecka. 184 pp. incl. 144 col. + 3 b. & w. ills. (Harvey Miller, London, 2022), €75. ISBN 978–1–912554–78–2. | :
Illustrations
Attributed works:
4. Tempietto, by an anonymous artist from Urbino. c.1560. Tin-glazed earthenware, height 42.5 cm. (Museo Internazionale delle Ceramiche, Faenza).
Article
A dish from the Cantagalli workshop in the British Museum
10/2018 | 1387 | 160
Pages: 816-823
related names
Author:
Thornton, Dora (Thornton, Dora)
Subjects
dates:
Illustrations
Attributed works:
1. Iznik-style dish, marked for the Figli di Giuseppe Cantagalli workshop, Florence. c.1890–95. Tin-glazed earthenware, diameter 41 cm. (British Museum, London).
Attributed works:
2. Reverse of the dish illustrated in Fig.1, showing the cockerel mark for the Cantagalli workshop.
Attributed works:
3. Iznik-style dish with scalloped edge and floral sprays, marked for the Figli di Giuseppe Cantagalli workshop, Florence. c.1899. Tin-glazed earthenware, diameter 39 cm. (Stibbert Museum, Florence).
Attributed works:
5. Iznik-style vase, marked for the Figli di Giuseppe Cantagalli workshop, Florence. 1883. Tin-glazed earthenware, diameter 57 cm. (Stibbert Museum, Florence).
Attributed works:
8. Curiosités, by Antoine Vollon. 1868. Canvas, 264 by 192 cm. (Musée d’Orsay, Paris).
Attributed works:
9. The sixteenth-century room at Hertford House, London, looking north, by J.J.Thomson. c.1890. Photograph. (The Wallace Collection, London).
Non-western art unattributed:
4. Iznik rimless dish with flower sprays, Iznik, Ottoman Turkey. c.1550. Fritware painted in underglaze blues, green and mauve, diameter 33.6 cm. (Victoria and Albert Museum, London).
Non-western art unattributed:
6. Iznik dish with peahen amid prunus branches, Iznik, Ottoman Turkey. c.1580–90. Fritware painted in underglaze blue, green and red, diameter 47.4 cm. (Wallace Collection, London).
Western art unattributed:
7. The comte de Nieuwerkerke’s collections in his private apartments in the Louvre, unknown photographer. c.1865. Stereoscopic glass negative. (The Wallace Collection, 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).
Article
The Art of Conservation XIV. Accommodating change: twentieth-century American artists and conservators
02/2018 | 1379 | 160
Pages: 126-135
related names
Author:
Epley, Bradford A. (Epley, Bradford A.)
Subjects
dates:
media:
places:
Illustrations
Attributed works:
10. Detail of Fig.9, showing the extent to which the varnish saturates the paint and reveals brushwork, both the artist’s and the conservator’s, which was deliberately eschewed by the artist (© 2018 Estate of Ad Reinhardt / Artists Rights Society (ARS), New York).
Attributed works:
11. 6:30, by David Novros. On the left is the original (1966) and on the right is the second version, acrylic on canvas on six wood panels (2006). Both 182.9 by 261.6 cm. (Menil Collection, Houston; © 2018 David Novros / Artists Rights Society (ARS), New York).
Attributed works:
2. Female nude, by Pablo Picasso. 1910. Canvas, 73 by 54 cm. (Menil Collection, Houston; © 2018 Estate of Pablo Picasso / Artists Rights Society (ARS), New York).
Attributed works:
3. Fig.2 photographed in raking light after varnish removal to reveal the recovery of the overall matt paint surface and a better sense of the varied brushwork used. (© 2018 Estate of Pablo Picasso / Artists Rights Society (ARS), New York).
Attributed works:
4. Barnett Newman in front of Be I a the Betty Parsons Gallery, New York, 1950. (Photograph Hans Namuth; courtesy Center for Creative Photography, University of Arizona, Tucson; © 2018 The Barnett Newman Foundation, New York / Artists Rights Society (ARS), New York).
Attributed works:
5. Detail of Be I, by Barnett Newman. 1949. (Menil Collection, Houston; © 2018 The Barnett Newman Foundation, New York / Artists Rights Society (ARS), New York).
Attributed works:
6. Who’s afraid of red, yellow and blue III, by Barnett Newman. 1967–68. Canvas, 243.8 by 543.6 cm. Photograph taken after restoration in 1991. (Stedelijk Museum, Amsterdam; © 2018 The Barnett Newman Foundation, New York / Artists Rights Society (ARS), New York).
Attributed works:
7. Ad Reinhardt in his studio, 1955. (Photograph John Lonegar; courtesy Time & Life Pictures and Getty Images; © 2018 Estate of Ad Reinhardt / Artists Rights Society (ARS), New York).
Attributed works:
8. Ad Reinhardt at work on a black painting in his New York studio, July 1966. (Photograph John Lonegar; courtesy Time & Life Pictures and Getty Images; © 2018 Estate of Ad Reinhardt / Artists Rights Society (ARS), New York).
Attributed works:
9. Abstract Painting, 1954–1960, by Ad Reinhardt. Canvas, 203.5 by 127.3 cm. (Menil Collection, Houston; © 2018 Estate of Ad Reinhardt / Artists Rights Society (ARS), New York).
Western art unattributed:
1. Caroline and Sheldon Keck working at the Brooklyn Museum, New York. Undated photograph. (Collection of the Brooklyn Museum Archives, New York).
Book Review
La faïence de Nevers 1585–1900
06/2012 | 1311 | 154
Pages: 428-429
related names
Reviewer:
Thornton, Dora (Thornton, Dora)
Subjects
places:
subjects:
Reviewed Items
subjects:
La faïence de Nevers 1585–1900 | author: Rosen, Jean
Illustrations
Attributed works:
63. Plate showing the Judgment of Paris, by Denis Lefebvre. c.1630–40. Tin-glazed ceramic, diameter 45.5 cm. (British Museum, London).
Article
Time the Painter
03/1963 | 720 | 105
Pages: 94-97
related names
Author:
Kurz, Otto (Kurz, Otto; K., O.)
Subjects
art literature:
dates:
museums and institutions:
subjects:
Article
The Cleaning Controversy: Further Comments
03/1963 | 720 | 105
Pages: 97-98
related names
Author:
Rees Jones, Stephen (Rees Jones, Stephen; Jones, Stephen Rees)
Subjects
dates:
museums and institutions:
subjects:
subjects:
Article
Scientism and the Art of Picture Cleaning
03/1963 | 720 | 105
Pages: 98-103
related names
Author:
Jones, P. L. (Jones, P. L.)
Subjects
dates:
museums and institutions:
subjects:
subjects:
Article
Dark Varnishes - Some Further Comments
11/1962 | 716 | 104
Pages: 452-460
related names
Author:
Plesters, Joyce (Plesters, Joyce)
Subjects
art literature:
art literature:
dates:
museums and institutions:
places:
subjects:
Article
Notes on Traditional Methods of Cleaning Pictures in Venice and Florence
11/1962 | 716 | 104
Pages: 475-477
related names
Author:
Muraro, Michelangelo (Muraro, Michelangelo)
Subjects
art literature:
dates:
places:
subjects:
subjects:
load more