The Burlington Magazine

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

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).

The Burlington Magazine’s Sculpture Prize is now open for entries.Supported by Stuart Lochhead Sculpture, this new annua...
14/11/2025

The Burlington Magazine’s Sculpture Prize is now open for entries.

Supported by Stuart Lochhead Sculpture, this new annual prize is intended to inspire the development and publication of innovative object-based scholarship on sculpture from the Renaissance to 1900.

£2500 will be awarded, with publication in The Burlington Magazine’s annual issue dedicated to Sculpture (at the Editor’s discretion), plus a one year subscription.

We seek previously unpublished articles of 1000–1500 words from early career scholars worldwide. Preference will be given to object-related scholarship. Submissions should be in English and should include the candidate’s CV, all as a single PDF.

Deadline for applications: Monday 4 May 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=Sculpture+Prize+26

There is one week left to apply for the role of Marketing and Advertising Executive.⁠⁠The Burlington Magazine is the wor...
12/11/2025

There is one week left to apply for the role of Marketing and Advertising Executive.⁠
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The Burlington Magazine is the world's leading English language monthly publication devoted to the fine and decorative arts. We are seeking a Marketing and Advertising Executive to work across The Burlington Magazine, Burlington Contemporary, The Burlington Press and our range of scholarships and prizes. ⁠
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This is a great opportunity for the right candidate to excel in an all-round marketing role that covers all online and offline channels. ⁠
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To apply, please submit a CV and covering letter to [email protected] by 19 November. ⁠
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For more information: https://www.burlington.org.uk/jobs-noticeboard/jobs-opportunities

Scientific analysis and study of the related documentary and visual evidence plausibly links a group of terracotta sculp...
11/11/2025

Scientific analysis and study of the related documentary and visual evidence plausibly links a group of terracotta sculptural fragments at Westminster Abbey, London, with the work undertaken there by the Florentine sculptor Pietro Torrigiano (1472–1528) and especially with the adornment of the high altar of the Abbey’s Henry VII Lady Chapel.⁠
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Read Susan Jenkins, Charlotte Hubbard, Elizabeth Miller and Patrick Quinn’s article ‘New perspectives on fragments of terracotta sculpture associated with Pietro Torrigiano at Westminster Abbey’, 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: High altar of the Henry VII Lady Chapel, Westminster Abbey, London. (Courtesy the Dean and Chapter of Westminster).

It is striking that in an age when deference to traditional institutions is declining, the interest in the trappings of ...
09/11/2025

It is striking that in an age when deference to traditional institutions is declining, the interest in the trappings of monarchy is flourishing. Three contrasting examples illustrate this phenomenon particularly well: the French Crown Jewels in the Musée du Louvre, Paris; the United Kingdom’s Crown Jewels in the Tower of London; and the Honours of Scotland in Edinburgh Castle. All attract vast numbers of curious visitors, hungry for a glimpse of priceless, glittering relics.

Read November’s Editorial ‘Crown jewels’ for free: https://www.burlington.org.uk/archive/editorial/crown-jewels?utm_source=FB&utm_medium=Social&utm_campaign=Nov+25+issue+promo_editorial

*This Editorial went to press three days before the events in Paris on the 19th of October 2025.

Image: Galerie d’Apollon, Musée du Louvre, Paris. (© Musée du Louvre, Paris; Dist. GrandPalaisRmn).

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