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49 articles
Article
Leonardo’s speaking picture: the ‘Salvator Mundi’ redivivus
12/2021 | 1425 | 163
Pages: 1162-1171
related names
Author:
Farago, Claire (Farago, Claire)
Subjects
subjects:
Illustrations
Attributed works:
10. Detail of Fig.2, showing Christ’s left hand holding the orb.
Attributed works:
2. Christ as Salvator Mundi (Cook/Saudi version), attributed to Leonardo da Vinci, photographed in its restored state, 5th October 2017. After 1507. Oil on walnut panel, 65.5 by 45.1–45.6 cm. (Collection Kingdom of Saudi Arabia; courtesy Salvator Mundi LLC).
Attributed works:
3. Study of drapery for a Salvator Mundi, by Leonardo da Vinci. c.1504– 08. Red chalk with touches of white chalk and pen on pale red prepared paper, 22 by 13.9 cm. (Royal Collection / Royal Collection Trust; © Her Majesty Queen Elizabeth II, 2021; Bridgeman Images).
Attributed works:
4. Studies of draperies for a Salvator Mundi, by Leonardo da Vinci and workshop. c.1504–08. Red chalk with pen and ink and white heightening on pale red prepared paper, 16.4 by 15.8 cm. (Royal Collection / Royal Collection Trust; © Her Majesty Queen Elizabeth II, 2021; Bridgeman Images).
Attributed works:
5. Christ as Salvator Mundi, by Wenceslaus Hollar after Leonardo da Vinci. 1650. Etching, 25.5 by 17.9. cm. (Royal Collection / Royal Collection Trust; © Her Majesty Queen Elizabeth II, 2021; Bridgeman Images).
Attributed works:
6. Christ as Salvator Mundi (Cook/Saudi version), attributed to Leonardo da Vinci, photographed in its cleaned state, 2005. After 1507. Oil on walnut panel, 65.5 by 45.1–45.6 cm. (Collection Kingdom of Saudi Arabia; courtesy Salvator Mundi LLC).
Attributed works:
7. The Cook/Saudi Salvator Mundi, photographed by William Edward Gray when in the Cook Collection, before 1913. (Witt Library, London).
Attributed works:
8. Detail from Portrait of Sublet de Noyers, frontispiece to Roland Fréart de Chambray: Parallèle de l’architecture antique avec la modern, Paris 1650. Engraving by George Tournier after Charles Errard. (Getty Research Institute, Los Angeles; courtesy Getty Open Content Program).
Attributed works:
9. Detail of Fig.2, showing Christ’s right hand.
Western art unattributed:
1. Christ Pantocrator carrying the Gospel of John, central apse mosaic in Cefalù Cathedral. Completed before 1170. (© NPL - DeA Picture Library; photograph A. De Gregorio; Bridgeman Images).
Article
Charles Holmes and the restoration of paintings at the National Gallery, London
09/2019 | 1398 | 161
Pages: 737-743
related names
Author:
Simon, Jacob (Simon, Jacob)
Subjects
dates:
subjects:
Illustrations
Attributed works:
1. Sir Charles Holmes, by Elliott & Fry. 1920s. Bromide print, 19.6 by 15 cm. (National Portrait Gallery, London).
Attributed works:
2. Portrait of a poet, by Palma Vecchio. c.1516. Oil on canvas mounted on panel, 83.8 by 63.5 cm. (National Gallery, London; Bridgeman Images).
Attributed works:
3. Dido directing the equipment of the fleet, or the morning of the Carthaginian Empire, by J.M.W. Turner. Exhibited 1828. Oil on plywood, transferred from canvas, 147.3 by 226.1 cm. (Tate, London; reproduced from E. Poynter: The National Gallery, London 1900, III, p.317).
Attributed works:
4. Seaport with the Embarkation of St Ursula, by Claude Lorrain. 1641. Canvas, 112.9 by 149 cm. (National Gallery, London; Bridgeman Images).
Attributed works:
5. Young man in a fur cap, by Carel Fabritius. 1654. Canvas, 70.5 by 61.5 cm. (National Gallery, London; Bridgeman Images).
Attributed works:
6. David Alexander Edward Lindsay, 27th Earl of Crawford and 10th Earl of Balcarres, by Walter Stoneman. 1921. Bromide print, 14.2 by 10 cm. (National Portrait Gallery, London).
Article
Royal wooden funeral effigies at Westminster Abbey
01/2019 | 1390 | 161
Pages: 26-35
related names
Author:
Blessley, Krista (Blessley, Krista)
Author:
Jenkins, Susan (Jenkins, Susan)
Subjects
museums and institutions:
places:
Illustrations
Attributed works:
10. Detail of Fig.8, showing the hip joint. (© The Dean and Chapter of Westminster).
Attributed works:
11. Axonometric diagram showing the jointing of the effigy in Fig.8, by Krista Blessley. (© The Dean and Chapter of Westminster).
Attributed works:
12. Effigy head and bust of Anne of Denmark, by Maximilian Colt. 1619. Probably pine, 47 by 45 by 25 cm. (Westminster Abbey, London; WA 0893; © The Dean and Chapter of Westminster)
Attributed works:
13. Detail of Fig.12, showing the blue vein painted on the left temple. (© The Dean and Chapter of Westminster).
Attributed works:
14. Effigy body of James I, by Maximilian Colt. 1625. Probably pine, 178 by 50 by 29cm. (Westminster Abbey, London; WA 1016; © The Dean and Chapter of Westminster).
Attributed works:
15. Some of the royal funeral effigies at Westminster Abbey in 1949, showing their condition after the Second World War. From R.P. Howgrave-Graham: ‘Royal effigies at Westminster Abbey: modern treatment leads to valuable discoveries’, Country Life, 11th January 1952, pp.82–84.
Attributed works:
2. Installation view of The Queen’s Diamond Jubilee Galleries, Westminster Abbey, London, showing the medieval funeral effigies. (© The Dean and Chapter of Westminster)
Attributed works:
3. The funeral of Anne of Bohemia, a detail from Chroniques, by Jean Froissart. South Netherlands, c.1480. Illumination on parchment. (British Library, London; MS Royal 18 E II, vol.IV, fol.227).
Attributed works:
7. Effigy head and bust of Elizabeth of York, probably by Richard Gibson. 1503. Probably pearwood, 65 by 40 by 39 cm. (Westminster Abbey, London; WA 0889; © The Dean and Chapter of Westminster).
Attributed works:
8. Articulated effigy body of Henry, Prince of Wales, by Richard Norris. 1612. Pine or fir wood with iron nails, loops and screws, 161 by 42.5 by 19 cm. Photograph c.1950. (Westminster Abbey, London; WA 1017; © The Dean and Chapter of Westminster).
Attributed works:
9. Detail of Fig.8, showing carpenters’ marks at joints. (© The Dean and Chapter of Westminster).
Western art unattributed:
1. Front, side and back views of the effigy of Edward III. 1377. Walnut, 176 by 42.8 by 27 cm. (Westminster Abbey, London; WA 0886; © The Dean and Chapter of Westminster).
Western art unattributed:
4. Detail of Fig.1, showing plaster underlayer on head. Photograph c.1950s. (© The Dean and Chapter of Westminster).
Western art unattributed:
5. X-radiograph detail of Fig.1, showing plaster underlayer on head. (© The Dean and Chapter of Westminster).
Western art unattributed:
6. Front, side and back views of the effigy of Catherine de Valois. 1437. Oak, 165 by 42 by 21 cm. (Westminster Abbey, London; WA 0888; © The Dean and Chapter of Westminster).
Article
‘Sunbeams and shadows’: exhibiting the collection at Westminster Abbey
01/2019 | 1390 | 161
Pages: 4-8
related names
Author:
Jenkins, Susan (Jenkins, Susan)
Subjects
dates:
museums and institutions:
places:
Illustrations
Attributed works:
1. The Queen’s Diamond Jubilee Galleries, showing part of the section Building Westminster Abbey. 2018. (© The Dean and Chapter of Westminster).
Attributed works:
2. The gallery before the installation of the displays. 2017. (© The Dean and Chapter of Westminster).
Attributed works:
3. Floorplan of The Queen’s Diamond Jubilee Galleries and the Weston Tower, showing the themed sections: Westminster Abbey & the Monarchy (orange); Worship & Daily Life (pale blue); Building Westminster Abbey (pink); and The Abbey and National Memory (dark blue). (© MUMA).
Attributed works:
4. Part of the Building Westminster Abbey and Worship and Daily Life sections of The Queen’s Diamond Jubilee Galleries. The case on the right contains the Westminster Retable, the high altarpiece of Henry III’s Abbey (1259–69). (© The Dean and Chapter of Westminster).
Attributed works:
7. View of the Abbey’s interior from The Queen’s Diamond Jubilee Galleries. 2018. (© The Dean and Chapter of Westminster).
Western art unattributed:
5. The Undercroft Museum, Westminster Abbey. Photograph c.1930s. (© The Dean and Chapter of Westminster).
Western art unattributed:
6. The wax funeral effigy of Charles II, photographed in the Upper Islip Chapel in 1896. (© The Dean and Chapter of Westminster).
Article
The predella of the Oddi Altarpiece from S. Agostino, Perugia
12/2018 | 1389 | 160
Pages: 1030-1037
related names
Author:
Menganna, Clara (Menganna, Clara)
Author:
Pesante, Luca (Pesante, Luca)
Subjects
art literature:
dates:
media:
places:
Illustrations
Attributed works:
1. Reconstruction of the Oddi Altarpiece, by Eusebio da San Giorgio. 1505. The Adoration of the Magi, tempera on panel, 215 by 175 cm. (Galleria Nazionale dell’Umbria, Perugia). The predella panels are illustrated as Figs.3–5.
Attributed works:
2. Reverse of Fig.3. (Photograph © Artothek).
Attributed works:
3. St Augustine baptised by St Ambrose, by Eusebio da San Giorgio. 1505. Tempera on panel, 29.5 by 46.7 cm. (Städel Museum, Frankfurt am Main; photograph © Artothek).
Attributed works:
4. St Augustine vested by St Ambrose, by Eusebio da San Giorgio. 1505. Tempera on panel, 27.3 by 47.6 cm. (Städel Museum, Frankfurt am Main; photograph © Artothek).
Attributed works:
5. St Augustine disputes with the heretic Fortunatus, by Eusebio da San Giorgio. 1505. Tempera on panel, 29.5 by 47.1 cm. (Städel Museum, Frankfurt am Main; photograph © Artothek).
Attributed works:
6. The Oddi Chapel, S. Agostino, Perugia. (Photograph: the authors).
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).
Exhibition Review
Rembrandt: Britain’s Discovery of the Master. Scottish National Gallery, Edinburgh
10/2018 | 1387 | 160
Pages: 856-857
related names
Reviewer:
White, Christopher (White, Christopher; White, Christopher John; White; W., C. J.; White, Christoper)
Subjects
dates:
Illustrations
Attributed works:
10. An old woman reading, by Rembrandt. 1655. Canvas, 78.7 by 66 cm. (Buccleuch Collection; exh. Scottish National Gallery, Edinburgh).
Attributed works:
11. Unknown pleasures, by Glenn Brown. 2016. Panel, 164 by 105.5 cm. (Courtesy the artist; exh. Scottish National Gallery, Edinburgh).
Attributed works:
12. Copies from Rembrandt, by Eduardo Paolozzi. 1945. Pen and ink on paper, 26.9 by 36.8 cm. (National Galleries of Scotland, Edinburgh; © Paolozzi Foundation, London, and DACS 2017).
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
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).
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