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33 articles
Article
Goya’s ‘Self-portrait with Dr Arrieta’
12/2023 | 1449 | 165
Pages: 1300–1304
related names
Author:
Céron-Peña, Mercedes (Céron-Peña, Mercedes)
Subjects
dates:
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).
Article
‘After the duel’: an early painting by Paul Delaroche
12/2022 | 1437 | 164
Pages: 1190-1195
related names
Author:
Bann, Stephen (Bann, Stephen)
Subjects
art literature:
dates:
Illustrations
Attributed works:
1. ‘Salon de 1835, “Assassinat du duc de Guise”, tableau de M. Paul Delaroche’, by Andrew Best Leloir and Charles Émile Wattier. 1835. Engraving, 12 by 21.5 cm. (From Le Magasin Pittoresque 22, 1835, p.169).
Attributed works:
2. After the duel, by Paul Delaroche, 1825. Oil on canvas, 66 by 82 cm. (Private collection).
Attributed works:
3. Duel after the masquerade, by Jean-Léon Gérôme. 1857–59 (third version). Oil on canvas, 39.1 by 56.3 cm. (The Walters Art Museum, Baltimore).
Attributed works:
4. St Bartholomew scene, by R.J. Bingham after Paul Delaroche. 1857– 58. Albumen print. (From Oeuvre de Paul Delaroche, Paris 1858).
Attributed works:
5. A duel, by Pierre Roch Vigneron. 1829. Lithograph, 25 by 29 cm. (Private collection).
Attributed works:
6. Detail of St Vincent de Paul preaching to the court of Louis XIII on behalf of the abandoned children, by Zachee Prevost after Paul Delaroche. 1834 Salon. Engraving.
Attributed works:
7. The students of Baron Gros in 1820, by Louis Léopold Boilly, 1820. Black and white chalk on paper, 59.5 by 29.1 cm. (Musée Carnavalet, Paris; Alamy Stock photo).
Attributed works:
8. Study for the ‘Assassination of the duc de Guise’, by Paul Delaroche. c.1832 or before 1830. Pencil on paper, 13.5 by 24.2 cm. (Private collection).
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).
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).
Article
Thorvaldsen’s portrait of Giovanna Riario Sforza rediscovered
07/2014 | 1336 | 156
Pages: 452-453
related names
Author:
Gardonio, Matteo (Gardonio, Matteo)
Subjects
dates:
Illustrations
Attributed works:
39. Giovanna Riario Sforza Nugent, by Bertel Thorvaldsen (Maritime and Historical Museum of the Croatian Littoral, Rijeka)
Attributed works:
40. Giovanna Riario Sforza Nugent, by Bertel Thorvaldsen (Thorvaldsen Museum, Copenhagen)
Article
A ‘higher style’ of looking: Thomas Cole and popular media
06/2014 | 1335 | 156
Pages: 385-390
related names
Author:
Ikemoto , Wendy (Ikemoto , Wendy)
Subjects
dates:
Illustrations
Attributed works:
46. Diorama, Park Square, Regents Park: Plan of the principal story, designed by A. Pugin and built by J. Morgan, J. Britton and A. Pugin: Illustrations of the Public Buildings of London. With historical and descriptive accounts of each edifice, London 1825
Attributed works:
47. Past, by Thomas Cole (Mead Art Museum, Amherst College, Amherst MA)
Attributed works:
48. Present, by Thomas Cole (Mead Art Museum, Amherst College, Amherst MA)
Attributed works:
49. View of Schroon Mountain, Essex County, New York, after a storm, by Thomas Cole (Cleveland Museum of Art)
Attributed works:
50. Expulsion from the Garden of Eden, by Thomas Cole (Museum of Fine Arts, Boston)
Attributed works:
51. The Cross and the world: study for Two youths enter upon a pilgrimage - one to the Cross, the other to the world, by Thomas Cole (Edwin A. Ulrich Museum of Art, Wichita State University Endowment Association Art Collection)
Attributed works:
52. Departure, by Thomas Cole (Corcoran Gallery of Art, Washington)
Attributed works:
53. Return, by Thomas Cole (Corcoran Gallery of Art, Washington)
Attributed works:
54. Diagram showing the landscapes depicted in Departure and Return
Attributed works:
55. Section of the Rotunda, Leicester Square, in which is exhibited the panorama, by Robert Mitchell (British Museum, London). From R. Mitchell: Plans and Views in Perspective, with Descriptions of Buildings Erected in England Wales, London 1801
Article
Canova as hairdresser
01/2014 | 1330 | 156
Pages: 26-28
related names
Author:
Ferando, Christina (Ferando, Christina)
Subjects
artists:
dates:
places:
subjects:
Illustrations
Attributed works:
36. Antonio Canova lays the cornerstone for the Tempio in Possagno, by Johann Anton Pock. 1819. Canvas, 35 by 47 cm. (Museo Glauco Lombardi, Parma).
Article
A recently discovered oil-sketch by John Constable at the Victoria and Albert Museum
12/2013 | 1329 | 155
Pages: 823-826
related names
Author:
Costaras, Nicola (Costaras, Nicola)
Author:
Evans, Mark (Evans, Mark)
Author:
Richardson, Claire (Richardson, Claire)
Subjects
artists:
dates:
Illustrations
Attributed works:
22. Branch Hill pond: Hampstead, by John Constable (Victoria and Albert Museum, London)
Attributed works:
23. Reverse of Fig. 22: Landscape with a kiln, by John Constable (Victoria and Albert Museum, London)
Attributed works:
24. Octagonal lime kiln erected in 1816 by Edward Burtt, Burgess Park, Southwark. Photograph taken on 1st January 2013
Attributed works:
25. Branch Hill pond, Hampstead, by John Constable (Victoria and Albert Museum, London)
Article
John Constable’s house in Brighton
04/2013 | 1321 | 155
Pages: 250-251
related names
Author:
Harrap, Peter (Harrap, Peter)
Author:
Lancaster, Shan (Lancaster, Shan)
Subjects
artists:
dates:
places:
Illustrations
Attributed works:
43. Photograph of 11 Sillwood Road, Brighton. Photographed by Roger Bamber, 18th January 2013.
Attributed works:
44. The Gothic House, Sillwood Place with Western Lodge, by John Constable. 1824. Oil on paper, 25.4 by 30.5 cm. (Private collection).
Western art unattributed:
42. Photograph of Western Road/Western Terrace, Brighton, showing the Gothic House.
Article
‘Ecorché’ drawings by Edwin Landseer
05/2012 | 1310 | 154
Pages: 337-344
related names
Author:
Owens, Susan (Owens, Susan)
Subjects
artists:
dates:
Illustrations
Attributed works:
34. Study of an écorché greyhound, lateral view, by Edwin Landseer. c.1817–21. Black and red chalk and graphite heightened with white chalk on buff-coloured paper, 38.9 by 60.4 cm. (Victoria and Albert Museum, London).
Attributed works:
35. Study of an écorché greyhound, lateral view, by Edwin Landseer. c.1817–21. Black and red chalk and graphite heightened with white chalk on buff-coloured paper, 48.6 by 67.3 cm. (Private collection).
Attributed works:
36. Study of an écorché greyhound supported by planks, by Edwin Landseer. ­c.1817–21. Black, red and white chalk on brown paper, 30.7 by 49 cm. (Victoria and Albert Museum, London).
Attributed works:
37. Plate IV: Muscles, by John Bell. Illustration in J. Bell: Engravings, Explaining the Anatomy of the Bones, Muscles and Joints, Edinburgh 1794. (Wellcome Library, London).
Attributed works:
38. Finished study for the second anatomical table for ‘The Anatomy of the Horse’, by George Stubbs. c.1756–58. Pencil and black chalk, 36.5 by 49.5 cm. (Royal Academy of Arts, London).
Attributed works:
39. Study of an écorché horse’s head, by Edwin Landseer. 1817. Watercolour over graphite heightened with touches of bodycolour on grey paper, 30.5 by 40 cm. (Private collection).
Attributed works:
40. Study of an écorché dog’s head, by Edwin Landseer. 1821. Black and red chalk and graphite heightened with white chalk on buff-coloured paper, 29.7 by 44.2 cm. (Victoria and Albert Museum, London).
Attributed works:
41. Study of an écorché horse’s head, seen from the side, by Edwin Landseer. c.1817–21. Black and red chalk heightened with white chalk on buff-coloured paper, 31.5 by 51.2 cm. (Private collection).
Attributed works:
42. Study of an écorché horse’s head, seen from the side, by Benjamin Robert Haydon. 1806. Black, red and white chalk on brown paper, 30.5 by 47 cm. (Royal Academy of Arts, London).
Attributed works:
43. Study of the head and shoulders of an écorché wild cat, by Edwin Landseer. c.1817–21. Black, red and white chalk and graphite on buff-coloured paper, 37.5 by 53.4 cm. (Victoria and Albert Museum, London).
Attributed works:
44. Drawing of a wolf’s head, by John Frederick Lewis. c.1821–22. Black, red and white chalk on brown paper, 33.7 by 27.2 cm. (British Museum, London).
Attributed works:
45. Study of an écorché horse’s head, seen from the front (a sketch of a lion and the torso of a youth in graphite on the verso), by Edwin Landseer. c.1817–21. Black, red and white chalk on buff-coloured paper, 50 by 31 cm. (Snite Museum of Art, University of Notre Dame, Indiana).
Attributed works:
46. Study of an écorché horse’s head, seen from the front, here attributed to Edwin Landseer. c.1817–21. Black, red and white chalk over graphite on grey paper, 56.8 by 38.7 cm. (With W/S Fine Art Ltd., London).
Attributed works:
47. Study of an écorché greyhound with enlarged detail of a paw, by Edwin Landseer. c.1817–21. Black, red and white chalk and graphite on buff-coloured paper, 44.2 by 58.8 cm. (Victoria and Albert Museum, London).
Attributed works:
48. Three studies of the hind leg of an écorché dog, here attributed to Edwin Landseer. c.1817–21. Black, red and white chalk on grey paper, 37.8 by 54.3 cm. (With W/S Fine Art Ltd., London).
Attributed works:
49. Study of an écorché greyhound’s head, by Edwin Landseer. c.1817–21. Black, red and white chalk on buff-coloured paper, 26.6 by 33 cm. (Victoria and Albert Museum, London).
Attributed works:
50. Study of an écorché wild cat, lateral view, by Edwin Landseer. 1817. Black, red and white chalk and graphite on buff-coloured paper, 30.2 by 48.8 cm. (Victoria and Albert Museum, London).
Attributed works:
51. Study of the foreleg of an écorché dog, by Edwin Landseer. 1821. Black, red and white chalk and graphite on buff-coloured paper, 29 by 45 cm. (Victoria and Albert Museum, London).
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