The Burlington Magazine

The Burlington Magazine http://burlington.org.uk/
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In the aftermath of the ‘Year of Rembrandt’ in 2019, scholarship on the artist has been affected by the vacuum in expert...
19/01/2026

In the aftermath of the ‘Year of Rembrandt’ in 2019, scholarship on the artist has been affected by the vacuum in expertise left following the death of Ernst van de Wetering in 2021. At the same time, several works by the artist have appeared on the market. This has provided opportunities⁠
to reconsider attributions and pose questions in numerous publications and exhibitions, which are reviewed in the January issue.⁠

🔗 Read Tico Seifert's article review 'Rembrandt – recent reassessments and rediscoveries' in our January issue here: https://www.burlington.org.uk/?utm_source=FB&utm_medium=Social&utm_campaign=January+2026

Image: The actor Willem Ruyter as Bishop Goswin, by Rembrandt. 1638. Pen, brown and black ink with white opaque watercolour on paper, 18.3 by 15 cm. (Devonshire Collections, Chatsworth).

In recent years there has been a shift in jewellery studies towards contextualising jewelled objects and situating them ...
17/01/2026

In recent years there has been a shift in jewellery studies towards contextualising jewelled objects and situating them in a wider geographical, political, religious and social context. The aim is to provide a deeper understanding of why they were made, what they meant and how they may have performed in their original settings. 'Decoding the Jewels: Renaissance Jewellery in Scotland' edited by Anna Groundwater has been conceived in this vein, putting the spotlight on Renaissance Scotland.⁠

🔗 Read Natasha Awais-Dean's review of the book in our January issue here: https://www.burlington.org.uk/?utm_source=LinkedIn&utm_medium=Social&utm_campaign=January+2026

Image: The Fettercairn Jewel (front). Northern European, c.1570–1600. Gold and champlevé enamel set with an almandine garnet, 5 by 2.8 cm. (, Edinburgh).

The compositions of Marco Ricci’s 'capricci' were selectively used as a source by notable French and Scottish draughtsme...
16/01/2026

The compositions of Marco Ricci’s 'capricci' were selectively used as a source by notable French and Scottish draughtsmen in the eighteenth century in subtle ways. One strand of this lineage is demonstrated by the recent study of a series of drawings by Charles-Louis Clérisseau, who taught drawing to the architect Robert Adam.⁠

🔗 Read Ana Šverko's article 'Marco Ricci’s influence on the picturesque drawings of Charles-Louis Clérisseau and Robert Adam' in our January issue – link in bio⁠ here: https://www.burlington.org.uk/?utm_source=FB&utm_medium=Social&utm_campaign=January+2026

Image: town and ruins beside a river, by Marco Ricci. c.1719. Gouache on leather, 32.2 by 45.3 cm. (© His Majesty King Charles III, 2026; Royal Collection Trust).

Looking to visit an exhibition this weekend?  ⁠⁠'Berthe Weill: Galeriste d’Avant-Garde' at the Musée de l'Orangerie, Par...
15/01/2026

Looking to visit an exhibition this weekend? ⁠

'Berthe Weill: Galeriste d’Avant-Garde' at the Musée de l'Orangerie, Paris, 8th October 2025–26th January 2026.⁠

Berthe Weill (1865–1951) is a paradoxical figure: a visionary dealer who helped spark the Modernist revolution yet never achieved celebrity. A Jewish woman who promoted the avant-garde for four decades from 1900 onwards, Weill helped launch the careers of Pablo Picasso, Henri Matisse and Amedeo Modigliani, among others, and was awarded the Légion d’Honneur. Yet she remains largely absent from histories of taste and the art market.⁠

Read Susanna Avery-Quash's review of the exhibition for free in our January issue here https://www.burlington.org.uk/archive/exhibition-review/berthe-weill-galeriste-davant-garde?utm_source=FB&utm_medium=Social&utm_campaign=January+2026

Are you planning to go or have you already been? Let us know.

Image: 30 ans ou la vie en rose, by Raoul Dufy. 1931. Oil on canvas, 98 by 128 cm. (Musée d’Art Moderne de la Ville de Paris; exh. Musée de l’Orangerie, Paris).

As we move forward into 2026 The Burlington Magazine continues to publish outstanding art-historical scholarship. This m...
08/01/2026

As we move forward into 2026 The Burlington Magazine continues to publish outstanding art-historical scholarship. This month includes a fresh interpretation of Marcel Duchamp’s (1887–1978) 'Rotoreliefs' (1935), highlighting his trademark and copyright applications, which are published for the first time. Duchamp registered his 'Rotoreliefs' – a set of double-sided discs designed to be spun on a phonograph – and exhibited them at an inventor’s fair in Paris. He also applied for a U.S. copyright and pursued distribution at Macy’s department store. Such procedures are fascinating in the context of the career of an artist who dethroned the status of authorship. ⁠

Moving back to the eighteenth century, new research on the period that the Scottish portraitist Katherine Read (1732–78) spent in Rome in the early 1750s is presented. Meanwhile, the influence of Marco Ricci’s (1676-1730) 'capricci' on the drawings of Charles-Louis Clérisseau is demonstrated by works rediscovered in La Bibliothèque Nationale, Paris. They, in turn, were to prove an inspiration to the Scottish architect Robert Adam. The extent of the patronage enjoyed by the Venetian, gothic painter Paolo Veneziano (active 1310–58) is explored through a detailed study of the artist’s painting of St Prisca – a rarely depicted subject, who was honoured in Rome. It highlights the taste of Cardinal Gozio Battagli, who spent much of his life in Avignon and founded chapels in his native Rimini. ⁠

Reviews are led this month by an extensive appraisal of Rembrandt research and discoveries over the past five years, which embrace new paintings, exhibitions, catalogues, books and major sales of prints. An especially rich spectrum of exhibition reviews include Fra Angelico in Florence, treasures from the Holy Sepulchre at the Frick Collection, New York, Greuze and David in Paris, and Michelangelo in Haarlem. Books authoritatively analysed range from studies of intarsia, Renaissance jewellery in Scotland and sculpture in seventeenth-century Milan, to Joseph Vernet and Vanessa Bell. ⁠

🔗 Discover the full list of content, plus this month's free content, linked here: https://www.burlington.org.uk/current-issue

06/01/2026

Last chance to enjoy 40% off our 1-year subscriptions with code FESTIVE40.⁠

Experience the highest standard in art history publications with The Burlington Magazine. Start this year with our biggest discount on new subscriptions and join the community of readers who value expert analysis, academic rigor, and compelling stories about the art world.⁠

This offer ends soon – don’t miss out on the latest research on art history from around the world.⁠

https://shop.burlington.org.uk/christmas-offer.htm?utm_source=FB&utm_medium=social&utm_campaign=Seasonal25

Are you an emerging art historian engaged in the study of old master drawings? Entries are open for our new travel bursa...
04/01/2026

Are you an emerging art historian engaged in the study of old master drawings? Entries are open for our new travel bursaries.⁠

£2,000–£2,500 for travel within Europe and £3,000–£3,500 for intercontinental travel will be awarded to further research on old master drawings, enabling emerging art historians to travel to major international collections of Western art on paper dating from the Renaissance to 1900.⁠

Funded by the Rick Mather David Scrase Foundation. ⁠

Applications close on Sunday, 1 February 2026.⁠

For more information and how to apply: https://www.burlington.org.uk/jobs-noticeboard/academic-noticeboard?utm_source=FB&utm_medium=Social&utm_campaign=Travel+Bursary+26

As we bid farewell to 2025 and welcome the New Year, we are looking back on the most-read articles and reviews of the pa...
31/12/2025

As we bid farewell to 2025 and welcome the New Year, we are looking back on the most-read articles and reviews of the past twelve months. Throughout the coming week, we will share the top three, which will be available to read for free for one week.⁠

The third and final piece of content that we are sharing is Judith Mann's review of Musée Jacquemart- André's 'Artemisia: Heroine of Art', exhibited from 19th March to 3rd August 2025.⁠

At a time when many art museums are reluctant to organise exhibitions of Early Modern art for fear of low attendance, it is perhaps reassuring that Artemisia Gentileschi (1593– c.1656) has become a name with proven visitor appeal. Artemisia here demonstrates her mastery of representing the nuances of male power, juxtaposing the tentative placement of the knight’s right hand with De Ville’s assertive elbow akimbo. ⁠

🔗 Read Judith Mann's review of the exhibition in our June issue: https://www.burlington.org.uk/archive/exhibition-review/artemisia-heroine-of-art

Image: A gentleman (Antoine de Ville), by Artemisia Gentileschi. c.1626–27. Oil on canvas, 203.2 by 109.2 cm. (Private collection; exh. Musée Jacquemart- André, Paris).

In a recent article Bradford K. Mudge highlighted the talent of the Anglo- Florentine artist Thomas Patch (1725– 82) for...
29/12/2025

In a recent article Bradford K. Mudge highlighted the talent of the Anglo- Florentine artist Thomas Patch (1725– 82) for ‘hiding in plain sight’, toggling between ‘a narrative of self-disclosure’ and a screen of convention, comedy and in-jokes. This insight infuses ‘Caricatures, Campagna, and Connoisseurs: Thomas Patch and the British Grand Tour in Eighteenth-Century Italy’, a small but revelatory exhibition at Yale University’s Lewis Walpole Library. Guest curated by Hugh Belsey, it is the first devoted to one of the most intriguing, versatile yet elusive artists associated with the Grand Tour. ⁠

Read Jeffrey L. Collins’s review of the show, exhibiting until the 15th of December 2025, in our December issue: https://www.burlington.org.uk/archive/back-issues/202511?utm_source=FB&utm_medium=Social&utm_campaign=Nov+25+issue+promo

Image: ‘A party at Sir Horace Mann’s in Florence’, by Thomas Patch. Early 1760s. Oil on canvas, 114.3 by 170.1 cm. (Lewis Walpole Library, Farmington).

As we bid farewell to 2025 and welcome the New Year, we are looking back on the most-read articles and reviews of the pa...
24/12/2025

As we bid farewell to 2025 and welcome the New Year, we are looking back on the most-read articles and reviews of the past twelve months. Throughout the coming week, we will share the top three, which will be available to read for free for one week.⁠

Peter Schade's article review on framing published in our November issue takes top place among readers from all around the world.⁠

Almost all old master paintings were framed once they were finished, and the combined effect of the frame and the painting was part of the painter’s visual calculation, influencing the impression of depth, the figure scale, the contrast and the intensity of the colours. Picture frames have survived from almost every period but their study requires a deep understanding of the details, patterns and moulding profiles in order to identify distinctive local styles and create a coherent narrative of the history of European framing from the early fifteenth century to the present.⁠

🔗 Read Peter Schade's article review 'Framing in museums' in our November issue: https://www.burlington.org.uk/annex/framing-in-museums

Image: Portrait of Elena Carafa, by Edgar Degas. c.1875. Oil on canvas, 70.1 by 55 cm. (The National Gallery, London).

As we bid farewell to 2025 and welcome the New Year, we are looking back on the most-read articles and reviews of the pa...
21/12/2025

As we bid farewell to 2025 and welcome the New Year, we are looking back on the most-read articles and reviews of the past twelve months. Throughout the coming week, we will share the top three, which will be available to read for free for one week.⁠

Our second piece of content that we are sharing this week is a review by Joe Lloyd published in the January issue. ⁠

Lloyd reviews 's 'In Your Wildest Dreams: Ensor Beyond Impressionism' and 's 'Ensor’s States of Imagination', exhibited from 28th September 2024 to 19th January 2025 and 28th September 2024 to 19th January 2025, respectively.⁠ ⁠

In 1884 James Ensor (1860–1949) exhibited at the first annual exhibition of Les XX, an association of avant-garde Belgian artists who sought to break away from both the strictures of conservative salons and the openness of the alternative group L’Essor. Although the artist failed to sell a single work, he did attract attention. Ensor was especially adept at fashioning his public persona, but these exhibitions and the research that accompanies them do much to peel off his mask. ⁠

🔗 Read Joe Lloyd's review of both exhibitions in our January issue here: https://www.burlington.org.uk/archive/exhibition-review/in-your-wildest-dreams-ensor-beyond-impressionism-and-ensors-states-of-imagination

Image: Pride from the series Seven deadly sins, by James Ensor. 1904. Coloured etching on paper, 9.3 by 14.6 cm. (Museum voor Schone Kunsten, Ghent; exh. Plantin-Moretus Museum, Antwerp).

Our friends at the International Catalogue Raisonné Association are hosting their 7th annual conference, to be held on 8...
20/12/2025

Our friends at the International Catalogue Raisonné Association are hosting their 7th annual conference, to be held on 8th January 2026 in London. Tickets are still available.

This year’s theme is 'The Catalogue Raisonné: Representing the Unrepresented'. The conference will bring together international voices from art, museums, publishing, academia, law and the art market to ask questions and spark new dialogues, with speakers from organisations ranging the Cindy Sherman Legacy Project to the Joan Mitchell Foundation, and the National Gallery, London, to the University of Oxford and the Smithsonian Institution, Washington DC.

Click here to secure your ticket and find out more: https://www.tickettailor.com/events/internationalcatalogueraisonnassociation/1933522

Or, why not consider applying for membership of ICRA: https://icra.art/membership/apply-now?

With thanks to Mishcon de Reya LLP, Christie's and the tech agency Cogapp for their generous support.

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