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430 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).
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).
Book Review
Gothic Revival Worldwide: A. W. N. Pugin’s Global Influence. Edited by Timothy Brittain-Catlin, Jan De Maeyer and Martin Bressani
12/2018 | 1389 | 160
Pages: 1078
Book Review
Museo Statale Ermitage. La scultura italiana dal XVII al XVIII secolo: Da Bernini a Canova. Catalogo della Collezione. Edited by Sergej Androsov
12/2018 | 1389 | 160
Pages: 1076-1077
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).
Article
The provenance of Raphael’s ‘Madonna of the pinks’ – II
10/2018 | 1387 | 160
Pages: 836-839
related names
Author:
Puddu, Pier Ludovico (Puddu, Pier Ludovico)
Subjects
dates:
media:
places:
Illustrations
Attributed works:
1. Scenes from the lives of the Virgin and other saints, by Giovanni da Rimini. c.1300–05. Panel, 54.4 by 36.5 cm. (National Gallery, London).
Attributed works:
2. The Garden of Eden, by Jan Brueghel the Elder. 1613. Oil on copper, 23.7 by 36.8 cm. (Private collection, on loan to the National Gallery, London).
Letter
Letter One
10/2018 | 1387 | 160
Pages: 812
related names
Author:
Dubois, Hélène (Dubois, Hélène)
Subjects
dates:
media:
subjects:
Illustrations
Attributed works:
1. Top Detail of The adoration of the Mystic Lamb, by Hubert and Jan van Eyck. Completed by 1432. Panel. Photograph 2016, before conservation. (Cathedral of St Bavo, Ghent © Lukasweb.be-Art in Flanders vzw; photograph KIK-IRPA). 2. Above Detail of The adoration of the Mystic Lamb, by Hubert and Jan van Eyck. Completed by 1432. Panel. Photograph 2018, after removal of overpaint from the Lamb. (Cathedral of St Bavo, Ghent © Lukasweb.be-Art in Flanders vzw; photograph KIK-IRPA).
Book Review
The Enchanted World of German Romantic Prints, 1770–1850. Edited by John Ittmann
10/2018 | 1387 | 160
Pages: 881-882
Article
Constable’s Salisbury rainbow: a fusion of science and culture?
09/2018 | 1386 | 160
Pages: 740-744
related names
Author:
Thornes, John (Thornes, John)
Subjects
dates:
Illustrations
Attributed works:
1. Landscape with a double rainbow, by John Constable. 1812. Oil on paper, laid on canvas, 33.7 cm by 38.4 cm. (Victoria and Albert Museum, London; Bridgeman Images).
Attributed works:
2. Sky study with a rainbow, by John Constable. 1827. Watercolour on paper, 22.5 by 18.4 cm. (Yale Centre for British Art, New Haven; Bridgeman Images).
Attributed works:
3. View from Hampstead, with a double rainbow (Hampstead Heath in a storm), by John Constable. 1831. Watercolour on paper, 19.7 by 32 cm. (British Museum, London).
Attributed works:
5. Salisbury Cathedral from the meadows, by John Constable. 1831. Canvas, 152 by 190 cm. (Tate, London; Bridgeman Images).
Attributed works:
7. A chromascope. Engraving. (From Chromatography by George Field, London 1835, p.232).
Western art unattributed:
4. Solar geometry from the viewpoint of Fig.3 at 6 Well Walk, Hampstead, at 7pm GMT on 5th June 1830 (Bridgeman Images).
Western art unattributed:
6. Solar geometry from the viewpoint of Fig.5 (at the intersection of the lines is the viewpoint from which Salisbury Cathedral from the meadows was painted), at 7pm (GMT) on 25th August 1832, with the sun’s azimuth close to 290 degrees.
Article
Two paintings of Samson by Lorenzo Lotto at Charlecote Park
08/2018 | 1385 | 160
Pages: 640-645
related names
Author:
Pozzolo, Enrico Maria dal (Pozzolo, Enrico Maria dal)
Subjects
collectors and dealers:
media:
Illustrations
Attributed works:
1. Samson tearing asunder the lion, here attributed to Lorenzo Lotto. c.1530–35. Panel, 26.7 by 97.8 cm. (Private collection, Charlecote Park, Warwickshire).
Attributed works:
2. Samson pulling down the temple, here attributed to Lorenzo Lotto, c.1530–35. Panel, 26.7 by 97.8 cm. (Private collection, Charlecote Park, Warwickshire).
Attributed works:
3. Samson, by Giovan Francesco Capoferri after a drawing by Lorenzo Lotto. 1531–32. Intarsia, 41.7 by 39.4 cm. (S. Maria Maggiore, Bergamo).
Attributed works:
4. Detail of Fig.1.
Attributed works:
5. Detail of Fig.1.
Attributed works:
6. Detail of Portrait of a man, by Lorenzo Lotto. c.1535. Panel, 118 by 105 cm. (Galleria Borghese, Rome).
Attributed works:
7. Detail of Fig.2.
Attributed works:
8. Detail of Fig.2.
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