The Burlington Magazine

The Burlington Magazine http://burlington.org.uk/
Over a century of leading research as the world’s longest running art-h

Equestrian dress provided Early Modern European women with a rare opportunity to subvert strictly gendered sartorial cod...
07/12/2025

Equestrian dress provided Early Modern European women with a rare opportunity to subvert strictly gendered sartorial codes in fashion and artistic representations. Close examination of the clothing depicted in a ‘bust portrait of a man wearing a plumed hat’, attributed to Jacob Ferdinand Voet, establishes that the sitter was in fact a woman, possibly Anna Maria Mancini, one of the famed Mazarinettes.⁠
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Read Valerio Zanetti’s article ‘Fashionable equivocation of gender:⁠
a portrait of a lady in hunting garb’ in our December issue here: https://www.burlington.org.uk/archive/back-issues/202511?utm_source=FB&utm_medium=Social&utm_campaign=Nov+25+issue+promo
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Image: Anne de Souvré Marquise of Louvois, attributed to Joseph Parrocel. c.1678–82. Oil on canvas, 69 by 57.5 cm. (Skokloster Slott).

For over 120 years, we have stood as the gold standard of art history publications. This festive season, enjoy or gift a...
05/12/2025

For over 120 years, we have stood as the gold standard of art history publications. This festive season, enjoy or gift an annual subscription filled with art-historical discoveries, expert reviews of the most significant books and exhibitions from around the world, and comprehensive access to archived content.⁠
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Take advantage of our 40% off with code FESTIVE40 —perfect for art lovers and scholars.⁠
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https://shop.burlington.org.uk/christmas-offer.htm?utm_source=FB&utm_medium=social&utm_campaign=Seasonal25

We are delighted to announce The Burlington Magazine’s Travel Bursaries to study collections of European drawings.⁠⁠Gene...
03/12/2025

We are delighted to announce The Burlington Magazine’s Travel Bursaries to study collections of European drawings.⁠
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Generously funded by the Rick Mather David Scrase Foundation, these bursaries are intended 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.⁠
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Awards will typically range from £2,000–£2,500 for travel within Europe and £3,000–£3,500 for intercontinental travel. The programme welcomes ⁠
applications from postgraduate and curatorial researchers worldwide.⁠

The application deadline is Sunday, 1 February 2026.⁠
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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

In a special supplement this month we celebrate works of art bought by public collections across the United Kingdom, the...
01/12/2025

In a special supplement this month we celebrate works of art bought by public collections across the United Kingdom, the export of which had been deferred, allowing their purchase to take place. They range in date from antiquities to the 1940s and include outstanding works by artists such as Fra Angelico, Pietro Lorenzetti, Anthony van Dyck, Canaletto, George Stubbs, Sir Joshua Reynolds, J.M.W. Turner, Edouard Manet, Salvador Dalí and Barbara Hepworth, along with splendid decorative arts, as well as major archival and documentary acquisitions. The collections that they have found homes in over the past twenty years can be visited in Canterbury, Oxford, Cambridge, Hull, Barnard Castle, Cardiff, Leeds, Wakefield, Stoke-on-Trent, Edinburgh and Belfast, as well as in London.

A rich array of articles also appear this month, which feature new studies of Baroque hunting garb, an architectural tour by James Gibbs and a ‘lost’ history painting by Benjamin West. We also publish fascinating research on Nehemiah Partridge, an early colonial American painter of portraits, whose hitherto unknown period of work in Jamaica is highlighted. Artemisia Gentileschi’s work and career have been the focus of detailed reappraisal over recent years; the latest developments are revealed in the December issue through a close analysis of the documentation connected with her time in London.

Reviews encompass major exhibitions on Boccaccio Boccaccino, Georges de La Tour, Michaelina Wautier, Marie Antoinette and Leonora Carrington, while the opening of the new Schroder Gallery at the Holburne Museum, Bath, is also assessed. Books that receive expert scrutiny include the catalogue raisonné of the paintings of Lucian Freud, along with studies of Taddeo di Bartolo, Walter Osborne, Mies van der Roe, Picasso’s sketchbooks and Roberto Longhi.

Discover the full list of content: https://www.burlington.org.uk/archive/back-issues/202512-2147483722?utm_source=FB&utm_medium=Social&utm_campaign=Dec+25+issue+promo
December's Editorial: https://www.burlington.org.uk/archive/editorial/hogarths-grand-manner?utm_source=FB&utm_medium=Social&utm_campaign=Dec+25+issue+promo+editorial
This month's free review: https://www.burlington.org.uk/archive/reviewed-work/the-new-renaissance-gallery?utm_source=FB&utm_medium=Social&utm_campaign=Dec+25+issue+promo+free+rev

The dispersal of François Girardon’s sculpture collection has long prevented art historians from fully understanding the...
29/11/2025

The dispersal of François Girardon’s sculpture collection has long prevented art historians from fully understanding the fate of the objects he collected. This article uncovers the location of six of these works in architectural drawings for the Hôtel Bondy, Paris, designed by Alexandre-Théodore Brongniart in 1771, presenting significant new insight into the afterlife of Girardon’s collection. ⁠
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Read Ane Cornelia Pade’s article ‘“La Galerie de Girardon” revived: six lost works from the collection in the Hôtel Bondy, Paris’ in our November issue: https://www.burlington.org.uk/archive/back-issues/202511?utm_source=FB&utm_medium=Social&utm_campaign=Nov+25+issue+promo
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Image: Plate III from ‘La Galerie de Girardon’, by Nicolas Chevallier after René Charpentier. 1709. Print. (Bibliothèque nationale de France, Paris).

The recent restoration of two works by Michel Colombe provided an occasion for a small but enlightening display on the e...
27/11/2025

The recent restoration of two works by Michel Colombe provided an occasion for a small but enlightening display on the early Renaissance sculptor.

Curated by Hélène Jagot, ‘Renaissance d’une oeuvre: “La Vierge à l’Enfant” de Michel Colombe’ at Musée des Beaux-Arts, Tours, focuses on the La Carte Virgin. The display in the former archiepiscopal palace is more modest in scale than its predecessor, the 2012 exhibition ‘Tours 1500: Capitale des arts’.

Read Jean-Marie Guillouët’s review of this show, exhibited until the 3rd November 2025, in our November issue: https://www.burlington.org.uk/archive/back-issues/202511?utm_source=FB&utm_medium=Social&utm_campaign=Nov+25+issue+promo

Image: ‘Virgin and Child’, by Jan Provost. 1488. Oil on panel, 57 by 40 cm. (Musée des Beaux-arts, Strasbourg; exh. Musée des Beaux-Arts, Tours).

The impressive sculptural monument to Jan Bonawentura Krasiński (1639–1717) in eastern Poland is largely unknown. Howeve...
25/11/2025

The impressive sculptural monument to Jan Bonawentura Krasiński (1639–1717) in eastern Poland is largely unknown. However, a new assessment of its commissioning, iconography and the richly varied technical skills it displays ensures that it receives wider scholarly attention, especially as a successful fusion of central European goldsmithing and Italian-influenced stucco work. ⁠
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Read Konrad Morawski’s article ‘The early eighteenth-century monument to Jan Bonawentura Krasiński in Poland’ in our November issue: https://www.burlington.org.uk/archive/back-issues/202511?utm_source=FB&utm_medium=Social&utm_campaign=Nov+25+issue+promo
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Image: Monument to Jan Bonawentura Krasiński, designed by Tilman van Gameren(?), Andreas Mackensen II and a northern Italian workshop active in Warsaw. c.1703. Metal and stucco. (St Peter of Alcántara and St Anthony of Padua, Węgrów; photograph the author).

In the 250th anniversary year of his birth, devotees of J.M.W. Turner have found themselves spoilt for choice. Numerous ...
22/11/2025

In the 250th anniversary year of his birth, devotees of J.M.W. Turner have found themselves spoilt for choice. Numerous exhibitions and events have marked the occasion in Britain and abroad; so many, in fact, as to comprise almost an embarrassment of riches. Amid the wealth of ‘Turner 250’ shows on offer, one of the most thought-provoking was ‘Turner: In Light and Shade’, at the Whitworth Art Gallery, Manchester, which took as its starting point Turner’s print series, the ‘Liber Studiorum’. ⁠
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The accompanying catalogue represents an attractive visual accompaniment to the Whitworth’s extensive Turner collection, as well as a welcome contribution to scholarship on the artist. Like the show, the book is stylishly designed. Fully illustrated, it includes numerous full-colour bleeds and blown-up details that allow the reader to luxuriate in the beauty and intricacy of the ‘Liber’’s designs. ⁠
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Read Nicola Moorby’s review of this publication for free in our November issue: https://www.burlington.org.uk/archive/book-review/turner-in-light-and-shade?utm_source=FB&utm_medium=Social&utm_campaign=Nov+25+issue+promo_free+rev
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Image: ‘Valley of Chamonix, Switzerland, with Mont Blanc in the distance’, by J.M.W. Turner. 1809. Watercolour and bodycolour on paper, 27.9 by 39.5 cm. (Whitworth Art Gallery, Manchester).

Two new publications, ‘Gabriele Münter: Peindre sans détours’ and ‘Gabriele Münter’, accompanied exhibitions on the arti...
20/11/2025

Two new publications, ‘Gabriele Münter: Peindre sans détours’ and ‘Gabriele Münter’, accompanied exhibitions on the artist staged in Madrid and Paris this year – at Museo Nacional Thyssen-Bornemisza, Madrid and Musée d’Art Moderne de Paris, respectfully. Like the exhibitions, which were both conceived in cooperation with the Gabriele Münter and Johannes Eichner Foundation, Munich, the catalogues are related but not identical. Both cover the full range of Münter’s work, beginning with her early photography and ending with her post-war paintings. They share an essay by Isabelle Jansen, the director of the aforementioned foundation, which charts the artist’s little-known later career and the circulation of her work between 1920 and her death in 1962. Each museum, however, commissioned different authors to address Münter’s earlier work. ⁠
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Read Jill Lloyd-Peppiatt’s review of these publications in our November issue: https://www.burlington.org.uk/archive/back-issues/202511?utm_source=FB&utm_medium=Social&utm_campaign=Nov+25+issue+promo
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Image: ‘Stenographie: Schweizerin in Pyjama‘, by Gabriele Münter. 1929. Oil on canvas, 61.5 by 46.2 cm. (Gabriele Münter and Johannes Eichner Foundation, Munich).

Adèle d’Affry, Duchess of Castiglione Colonna, stands apart from other nineteenth-century professional women sculptors d...
18/11/2025

Adèle d’Affry, Duchess of Castiglione Colonna, stands apart from other nineteenth-century professional women sculptors due to the fact that she achieved critical success. She exhibited in Paris from 1863, adopting the male pseudonym ‘Marcello’, and endeavoured to succeed in London by contributing to exhibitions at the Royal Academy of Arts (1865–67). Marcello’s British sojourn, defined by both rapid professional triumphs and disappointments, is assessed here for the first time.

Read Laura Chase’s article ‘“An illustrious sculptress”: Marcello in London, 1863–67’ in our November issue: https://www.burlington.org.uk/archive/back-issues/202511?utm_source=FB&utm_medium=Social&utm_campaign=Nov+25+issue+promo

Image: ‘La Gorgone’, by Marcello. c.1865. Bronze, 107 by 68 by 41 cm. (Victoria and Albert Museum, London).

Sir Richard Westmacott was commissioned to create a monumental marble vase as part of the campaign to commemorate victor...
16/11/2025

Sir Richard Westmacott was commissioned to create a monumental marble vase as part of the campaign to commemorate victory at the Battle of Waterloo. Its origins and intriguing later history – including a period of display in the heart of London’s National Gallery – are discussed here in detail following a close reading of the related documentation in the Royal Archives and elsewhere. ⁠
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Read Peter T.J. Rumley’s article ‘The history of Westmacott’s Waterloo Vase in the gardens of Buckingham Palace’ in our November issue: https://www.burlington.org.uk/archive/back-issues/202511?utm_source=FB&utm_medium=Social&utm_campaign=Nov+25+issue+promo
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Image: ‘Queen Elizabeth, the Queen Mother, when Queen Elizabeth, Buckingham Palace Gardens’, by Cecil Beaton. 1939. Gelatin silver print, 24.2 by 19.2 cm. (© His Majesty King Charles III, 2025, Royal Collection Trust).

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