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02/09/2024

New perspectives on familiar masterpieces and fascinating discoveries feature in the September issue of The Burlington Magazine, which has a strong Italian flavour.

Why did Leonardo da Vinci create his magnificent ‘Burlington House Cartoon’ (National Gallery, London)? Per Rumberg offers a persuasive proposal. And why did Parmigianino place a column so prominently in the background of his splendid ‘Madonna of the long neck’ (Galleria degli Uffizi, Florence)? Mary Vaccaro provides a compelling explanation.

We also publish previously unknown portraits by sixteenth-century women painters. Two by the Bolognese artist Lavinia Fontana dating from the early 1580s are in a Neapolitan private collection; they were discovered by Antonio Ernesto Denunzio and expand our understanding of the learned patrons for whom Fontana worked. Another portrait from the 1550s in the Museo d’arte della città di Ravenna by the family of the Cremonese artist Sofonisba Anguissola is discussed for the first time by Emanuele Lugli.

Exhibitions and openings covered in the September issue include the Federico Barocci show in Urbino and the Museo Internazionale del Tappeto Antico in Brescia. Meanwhile, Venetian art features strongly amid book reviews, where Tom Nichols considers Bonifacio de’Pitati’s paintings, Stéphane Loire assesses the extent of the frescos in the city’s palazzi, Dora Thornton discusses the international taste for Venetian cristallino and Deborah Howard writes on the Villa Barbaro.

Finally, moving away from such sunlit idylls, Sarah Whitfield praises Richard Dorment’s new investigative book on the very murky business of authenticating the works of Andy Warhol.

Discover the full list of content: https://www.burlington.org.uk/archive/back-issues/202409?utm_source=FB&utm_medium=Social&utm_campaign=Sept+24+issue+promo

September's Editorial: https://www.burlington.org.uk/archive/editorial/turner-250?utm_source=FB&utm_medium=Social&utm_campaign=Sept+24+issue+promo

This month's free review: https://www.burlington.org.uk/archive/book-review/warhol-after-warhol-power-and-money-in-the-modern-art-world?utm_source=FB&utm_medium=Social&utm_campaign=Sept+24+issue+promo

30/08/2024

‘Without contraries is no progression’, William Blake (1757–1827) observed in his book 'The Marriage of Heaven and Hell', written in 1790–1793. Two extremely different but complementary exhibitions held in 2023–24, along with their catalogues, offer insights into the visionary work of this poet, printmaker and self-defined prophet. ‘William Blake: Visionary’ at the J. Paul Getty Museum, Los Angeles (closed 14th January), curated by Julian Brooks and Edina Adam, revelled in the artist’s English eccentricity. It drew from and summarised the substantial catalogue of the last retrospective of Blake, a major exhibition including three hundred works held at Tate Britain in 2019–2020. In contrast, ‘William Blake’s Universe’, curated by David Bindman and Esther Chadwick, which travelled from the Fitzwilliam Museum, Cambridge (closed 19th May) to the Hamburger Kunsthalle (14th June–8th September), has a more ambitious aim. It uses texts, images and the artist’s biography to redefine his lifelong radical activism as expressions of (early) Romantic discontent, connected to northern European and German movements.

Read Elizabeth Savage’s review of these publications in our August issue: https://www.burlington.org.uk/archive/back-issues/202408?utm_source=FB&utm_medium=Social&utm_campaign=Aug+24+issue+promo

Image: Title page of ‘Jerusalem the Emanation of the Giant Albion (1804–20)’, by William Blake. 1804–20. Relief etching printed in orange ink with watercolour, pen, black ink and gold on paper, 34.3 by 26.4 cm. (Yale Center for British Art, New Haven).

28/08/2024

The astonishing career of André Masson (1896–1987), which spanned three wars and included countless shifts of location and some major artistic innovations, is comprehensively narrated in ‘André Masson: Il n’y a pas de monde achevé’ at Centre Pompidou-Metz. The exhibition meanders through a dozen interconnected sections in the irregular exhibition spaces of Shigeru Ban and Jean de Gastines’s regional branch of the Pompidou, which opened in 2010. One sees Masson’s early engagements with Cubism alongside pen-and-ink drawings that announce his virtuosic ability with the wavering graphic line.

Read Brandon Taylor’s review of the exhibition, showing until the 2nd of September 2024, in our August issue: https://www.burlington.org.uk/archive/back-issues/202408?utm_source=FB&utm_medium=Social&utm_campaign=Aug+24+issue+promo

Image: ‘Louis Aragon’, by André Masson. 1924. Ink on paper, 43 by 34.5 cm. (Private collection; exh. Centre Pompidou-Metz).

26/08/2024

João V of Portugal acquired works of art from Rome and Paris; analysis of diplomatic correspondence illustrates how he also commissioned objects from Britain in the 1720s, notably spectacular examples of silverware. These included an exceptionally large and renowned silvergilt bath by Paul Crespin, the Huguenot silversmith who lived and worked in Soho, London. ⁠
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Read Teresa Leonor M. Vale’s article ‘Eighteenth-century English silver for King João V of Portugal’ in our August issue: https://www.burlington.org.uk/archive/back-issues/202408
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Image: ‘Paul Crespin’. British. c.1726. Oil on canvas, 114 by 90 cm. (Victoria and Albert Museum, London).

23/08/2024

The publication of ‘Sublime Ideas’ coincided with the exhibition of drawings by Piranesi at the Morgan Library & Museum, New York (closed 11th June 2023). Its author, John Marciari, was also the curator of the exhibition. The book is not a systematic exhibition catalogue, with entries on each of the drawings on display, but rather a broader look at Piranesi as a draughtsman, discussing many drawings not in the exhibition. This is a welcome decision as our knowledge of the artist’s drawings has significantly expanded since the last studies to take the measure of him as a draughtsman, published decades ago by Hylton Thomas and Andrea Bettagno. ⁠
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Read John A. Pinto’s review of this publication in our August issue: https://www.burlington.org.uk/current-issue
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Image: ‘Church interior with tombs, urns and a freestanding monument’, by Giovanni Battista Piranesi. c.1742– 43, with later reworking. Pen, brown ink, brown and grey wash and black and red chalk on paper. 18.7 by 24.6 cm. (Morgan Library & Museum, New York).

21/08/2024

Feted and endlessly scrutinised, Leonardo da Vinci’s 'Mona Lisa' has a peculiar status. Paying homage to the painting as a talisman of Renaissance culture and a link to the mind of the man who created it, millions visit the Musée du Louvre in Paris every year and trudge through its galleries to get not very close to the picture and often be very disappointed. The process is akin to an odd and most unsatisfactory secular pilgrimage. ⁠
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In this month's Editorial, our Editor Christopher Baker discusses the prospect of a new and hopefully more serene, quieter space in which to view the prima donna of old master painting.⁠
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Read for free in our August issue: https://www.burlington.org.uk/archive/editorial/an-enigmatic-smile?utm_source=FB&utm_medium=Social&utm_campaign=Aug+24+issue+promo+-+editorial
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Image: Detail of 'Mona Lisa', by Leonardo da Vinci. c. 1503–19. Oil on wood panel, 77 by 53 cm. (Musée du Louvre, Paris).

19/08/2024

A fine Valencian lustreware dish in the Wallace Collection, London, is here connected with John the Fearless, the Valois Duke of Burgundy. It is used to explore cultural connections and the trade in luxury goods between Southern and Northern Europe in the early fifteenth century.⁠
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Read Susannah Kingwill’s article ‘A Valencian tin-glazed and lustred dish for the Duke of Burgundy’ in our August issue: https://www.burlington.org.uk/archive/back-issues/202408

Image: Dish with the arms of the Duke of Burgundy. Valencian. 1404–29. Tin-glazed earthenware decorated with cobalt and lustre glazes, diameter 38.1 cm. (Wallace Collection, London).

17/08/2024

In July 1715 Augustus the Strong of Saxony-Poland received a splendid present from the Sun King: a team of six Spanish stallions, each equipped with embroidered trappings and a pair of elaborate flintlock holster pistols. Documents published here for the first time help establish the gift’s political context and chronology and provide detailed insight into the payment and the identity of all the craftsmen involved.⁠
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Read Stefano Rinaldi’s article ‘Six horses for the king of Poland: making and staging a diplomatic gift at the court of Louis XIV’ in our August issue: https://www.burlington.org.uk/archive/back-issues/202408

Image: Details of a pair of flintlock pistols, by François Laurent (called Languedoc). c.1695– 1700. Barrels, locks and mounts: partially gilt and gold-damascened steel; thumbplates: partially gilt silver; stocks: walnut inlaid with silver thread, 50.7 cm. (total length), 1080 / 1075 g. (weight) (Rüstkammer, Dresden, inv. nos.J 644 and J 645; photograph Jürgen Karpinski).

15/08/2024

It is rare for an exhibition to present a truly unknown artist, but ‘Dorothy Hepworth and Patricia Preece: An Untold Story’ at Charleston, Lewes, does just that. Whereas Patricia Preece (1894–1966) will be familiar to some as the second wife of Stanley Spencer and the model for his famous n**e double portrait, Dorothy Hepworth (1894–1978) is probably a new name to many. With an explicitly feminist agenda, this well-researched exhibition aims to tell the remarkable story of these two women’s lives, secret collaborative practice and romantic partnership.

Read Helena Anderson’s review of the exhibition, showing until the 8th September 2024, in our August issue: https://www.burlington.org.uk/archive/back-issues/202408

Image: ‘Still life with fruit and white vase’, by Dorothy Hepworth and Patricia Preece. c.1930. Oil on canvas, 51 by 61 cm. (© Dorothy Hepworth Estate; private collection; exh. Charleston, Lewes).

13/08/2024

‘Gustave Moreau: Le Moyen Âge Retrouvé’, a sumptuous, lavishly-illustrated and beautifully produced catalogue of an exhibition held at the Musée Gustave Moreau, Paris (closed 12th February), focuses on the fascinating engagement of Gustave Moreau (1826–98) with all things medieval. Drawing on the vast resources of the museum which, in addition to some eight hundred oil paintings and watercolours and more than fifteen thousand drawings, include the artist’s library, autograph manuscripts, correspondence and an extensive collection of photographs and prints, it offers valuable and stimulating insights into a significant aspect of Moreau’s artistic endeavour. ⁠
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Read Peter Cooke’s review of this publication in our August issue: https://www.burlington.org.uk/archive/back-issues/202408
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Image: ‘Ange Voyageur’, by Gustave Moreau. Watercolour on vellum, 31 by 24 cm. (Musée Gustave Moreau, Paris).

11/08/2024

Few sixteenth-century Netherlandish artists have received more sustained scholarly attention in recent decades than Maarten van Heemskerck (1498– 1574). Despite these efforts, no major retrospective has been dedicated to Heemskerck until now, and the artist has remained largely unknown to the general public. Marking the 450th anniversary of Heemskerck’s death, ‘The Allure of Rome: Maarten van Heemskerck Draws the City’ at Kulturforum, Berlin, organised by the Kupferstichkabinett, in collaboration with the Bibliotheca Hertziana, Rome, is the first of a number that aim to boost his visibility. This exhibition, however, opens the season with a more focused exploration of Heemskerck’s Roman sojourn, which is more than appropriate given the impact of this period on the artist’s later production.

Read Austėja Mackelaitė’s review of the exhibition, showing until the 4th of August, for free in our August issue: https://www.burlington.org.uk/archive/exhibition-review/the-allure-of-rome-maarten-van-heemskerck-draws-the-city

Image: Detail of ‘View of the Forum Romanum’, by Maarten van Heemskerck. c.1532–36. Preliminary drawing in lead stylus, pen and brown ink, greybrown wash, 21.6 by 55.5 cm. (Staatliche Museen zu Berlin, Kupferstichkabinett; exh. Kulturforum, Berlin).

09/08/2024

In 1696 the 1st Duke of Devonshire purchased two beds that had belonged to Mary II, one of which was made by Louis XIV’s upholsterer, Simon Delobel. Documents and fragments of its crimson velvet embroidered hangings record a lost example of Stuart state furniture of the highest quality. ⁠
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Read Lucy Wood and Olivia Fryman’s article, ‘The 1st Duke of Devonshire’s ‘Queen Mary’ beds at Devonshire House, Chatsworth and Hardwick Hall’, in our August issue: https://www.burlington.org.uk/current-issue
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Image: ‘The High Great Chamber at Hardwick Hall, Derbyshire’, attributed to W.H.L. Price. ?1838. Watercolour, ink and gouache on paper, 46 by 61 cm. (sight size). (National Trust, Hardwick Hall, Derbyshire, NT 1130055).

07/08/2024

The subtitle of this absorbing exhibition is a clue to its approach. The first historical show to be held in the main exhibition space of the National Portrait Gallery (NPG) after its reopening in 2023, 'Six Lives: The Stories of
Henry VIII’s Queens' prioritises narrative over aesthetic qualities and presents a series of stories through a rich range of material culture. The stories are those of the six women who were successively the wives of Henry VIII (reg.1509–47). The focus is on them, rather than, as in previous studies, on the monarch. Indeed, although a full-length portrait of Henry attributed to the workshop of Hans Holbein the Younger (c.1537; Walker Art Gallery, Liverpool) hangs at the entrance to the show, not far from his imposing steel tournament armour of c.1540 (Royal Armouries, London), the king himself is surprisingly little represented.

Read Karen Hearn’s review of the exhibition, showing until the 8th of September 2024, in our August issue: https://www.burlington.org.uk/current-issue

Image: ‘St Mary Magdalene Reading’, by the Master of the Female Half- Lengths. 1520–30. Oil on panel, 61.5 by 48.2 cm. (National Galleries of Scotland, Edinburgh; exh. National Portrait Gallery, London).

03/08/2024

Two porcelain trays set into a Rococo table in the early 1760s, now in the Metropolitan Museum of Art, New York, are reassessed and here confirmed as Sèvres. Their subjects are probably the family of the Marquis de Courteille, Louis XV’s representative at the porcelain factory, and their intimate representation in this manner is almost unique in eighteenth-century Sèvres.

Read Rosalind Savill’s article ‘From storeroom to stardom: the revelations of two Sèvres porcelain trays’ in our August issue: https://www.burlington.org.uk/current-issue

Image: Detail of the bottom tray of Worktable mounted with two trays, attributed to Bernard II van Risenburgh. Table c.1761–63; trays c.1761. Table: wood, green varnish and gilt-bronze mounts, 68.6 by 36.8 by 30.5 cm.; trays: Sèvres soft-paste porcelain, green ground, enamel colours and gilding, 32 by 26 cm. (Metropolitan Museum of Art, New York).

01/08/2024

The splendour of 'ancien régime' court culture dominates research in this month’s issue. In 1696 the 1st Duke of Devonshire acquired two magnificent beds that had belonged to Mary II, one of which was made by Louis XIV’s upholsterer, Simon Delobel; Lucy Wood and Olivia Fryman publish their analysis of the documents and fragments of rich hangings that allow us to study this important, although now dismantled, state furniture.⁠
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In 1715, the last year of Louis XIV’s life, he sent a magnificent gift of Spanish stallions and embroidered trappings, along with flintlock pistols, to Augustus the Strong of Saxony-Poland. Stefano Rinaldi’s article considers the political context for this munificence and indentifies all the craftsmen who contributed.⁠
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Rosalind Savill’s latest research is a salutary reminder that scholars should be open to revising their opinions. Savill revisits two porcelain trays she previously dismissed as fakes. The trays are set into tables in the collection of the The Metropolitan Museum of Art, New York; now confirmed as Sèvres, they are shown to feature very rare and intimate representations of the family of the Marquis de Courteille, Louis XV’s representative at the factory. ⁠
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Books reviewed include major maiolica catalogues assessed by Timothy Wilson and John Mallet, a study of American Grand Tourists by Clare Hornsby, and a survey of Surrealist Sorcery by Michael Richardson. Exhibition catalogues on William Blake, Goya and Gustave Moreau are all discussed in detail, as are exhibitions on Henry VIII’s Queens, by Karen Hearn, and André Masson, by Brandon Taylor.⁠
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Discover the full list of content, plus this month's free content: https://www.burlington.org.uk/current-issue

31/07/2024

A previously unknown and unusually large seventeenth-century reverse-glass painting of St Philip’s baptism of the eu**ch has been discovered in the Valtice Palace in the Czech Republic. Its artist is identified in our July issue as Gerhard Janssen, copying a print by Jan Gillisz. van Vliet after a lost painting by Rembrandt. It is probably a work recorded as being offered by Janssen to Prince Karl Eusebius of Liechtenstein in 1677.⁠
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Read Zdeňka Míchalová and Zuzana Macurová’s article, ‘A reverse-glass painting by Gerhard Janssen in the Valtice Palace’, in our July issue: https://bit.ly/TBMJULY24
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Image: ‘The baptism of the eu**ch’, here attributed to Gerhard Janssen. 1677. Pigment and gold leaf on glass, 56 by 52 cm. (Valtice Palace, National Heritage Institute; photograph Martin Kučera).

29/07/2024

In preparation for a catalogue of Dutch and Flemish paintings at the often-overlooked Nivaagaard Collection near Copenhagen, a surprising discovery was made regarding the monumental ‘Portrait of a father and son’ by the Flemish artist Cornelis de Vos (1584– 1651). An article in our current issue presents the research that led to the discovery of its matching fragment, a portrait of a woman, and investigates the questions that remain: when was De Vos’s family portrait divided into two, and who was responsible for the separation?⁠
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Read Angela Jager and Jørgen Wadum’s shorter notice, ‘The missing woman: the reunion of a family portrait by Cornelis de Vos’, in our July issue: https://bit.ly/TBMJULY24
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Image: Reconstruction showing two works by Cornelis de Vos reunited. Left: 'Portrait of a father and son' during conservation in 1966. 1626. Oil on canvas, 138 by 119 cm. Right: 'Portrait of a woman'. 1626. Oil on canvas, 57.5 by 48.7 cm. (The Nivaagaard Collection).

27/07/2024

In ‘Jean Bellegambe (c.1470–1535/36): Making, Meaning and Patronage of His Works’, Anna Koopstra considers that there is a paucity of publications on the artist in comparison with such contemporaries as Gerard David in Bruges and Bernard van Orley in Brussels. She attributes this to Bellegambe’s isolation in a minor artistic centre. Instead of covering the entirety of the artist’s works, her book, which is based on her PhD thesis submitted to the , London, in 2016, focuses on a series of major paintings, which have been the subject of significant recent research.⁠
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Read Mark Evan’s review of this publication in our July issue: https://bit.ly/TBMJULY24
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Image: Pottier Triptych (right wing, interior), by Jean Bellegambe. 1526. Oil on panel, 224 by 93 cm. (Musée de la Chartreuse, Douai).

25/07/2024

Recent discoveries in the clerestorey of the chevet of Notre-Dame, Paris, allow for a precise reconstruction of the size and location of the oculi that were part of its original four-storey elevation in the twelfth-century.⁠
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Read Arnaud Ybert, Bruno Phalip and Dylan Nouzeran’s article, 'The oculi of Notre-Dame, Paris’, in our July issue: https://bit.ly/TBMJULY24
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Image: Chevet oculus as designed by Viollet-le-Duc, Notre-Dame, Paris, taken by drone. (Photograph Dylan Nouzeran).

23/07/2024

We are seeking a new Office Administrator to work in our small but busy office in Bloomsbury, London.⁠
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Reporting to the Managing Director, the Office Administrator is responsible for the smooth day to day running of the office, supporting the Finance Manager, fulfilling trade and product sales and helping with various event- and client-related activities.⁠
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Apply by Friday the 26th July 2024.⁠
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For the full job description and how to apply: https://www.burlington.org.uk/jobs-noticeboard/jobs-opportunities %20Administrator

21/07/2024

Marinus Van Reymerswale (1490–1546) is a well-known name in the world of early sixteenth-century painting, but as an artistic personality he remains little understood. His work appears to have centred on a few key themes that survive in several copies and variants, which are often discussed in terms of their relation to compositions by Quinten Massys (1466–1530). There is a persisting difficulty in identifying his paintings that entered collections prior to the nineteenth century, when his name was recovered.⁠

Read Manuel Parada López De Corselas and Christine Seidel’s shorter notice, ‘The earliest documented work of Marinus van Reymerswale’, in our July issue: https://bit.ly/TBMJULY24
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Image: The so-called ‘Money changer and his wife’, by Marinus van Reymerswale. 1539. Oil on panel, 83 by 97 cm. (Museo Nacional del Prado, Madrid).

19/07/2024

An inspiring exhibition at the British Museum, London, focusing on Michelangelo’s work from the last three decades of his life in Rome, uses drawings, letters and poetry to explore key aspects of his public and private commissions and preoccupations. It makes excellent use of recent campaigns of conservation to present a compelling account of his mature and highly innovative creativity, across both sacred and secular projects.⁠
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Read Caroline Elam’s article review, ‘Late Michelangelo’, in our July issue: https://bit.ly/TBMJULY24
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Image: ‘Annunciation’, attributed to Michelangelo. c.1545–60. Black chalk on paper, 38.3 by 29.7 cm. (The Morgan Library, New York; exh. British Museum, London).

17/07/2024

The Dutch Republic’s uneasy relationship with ‘monarchical modes of representation’ at home and abroad is the subject of the articles in the beautifully illustrated new volume, ‘Contending Representations I: The Dutch Republic and the Lure of Monarchy’, edited by Joris Oddens, Alessandro Metlica and Gloria Moorman.⁠
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Read Gauvin Alexander Bailey’s review of this publication in our July issue: https://bit.ly/TBMJULY24
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Image: ‘Town hall on Dam Square, Amsterdam’, by Gerrit Berckheyde. 1693. Oil on canvas, 53 by 63.5 cm. (Rijksmuseum, Amsterdam).

15/07/2024

New research on Anthony van Dyck’s painting of the mid-1620s called ‘The Balbi children’ in the National Gallery, London, reveals the identity of its subjects, who have been hitherto incorrectly named; the young sitters are members of the Genoese Giustiniani Longo family.⁠
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Read Gregory Martin and Anna Orlando’s article, ‘The “Balbi” children identified: a proposal’, in our July issue: https://bit.ly/TBMJULY24
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Image: Detail of ‘The Balbi children, here identified as Alessandro, Vincenzo and Francesco Maria Giustiniani Longo, by Anthony van Dyck. c.1627. Oil on canvas, 219 by 151 cm. (National Gallery, London).

13/07/2024

With Claire Fontaine’s mantra – which is itself appropriated from the name of an anarchist collective from Turin – as its conceptual and literal starting point, ‘Stranieri Ovunque – Foreigners Everywhere’ is primarily concerned with artists who are ‘themselves foreigners, immigrants, expatriates, diasporic, émigrés, exiled, or refugees – particularly those who have moved between the Global South and the Global North’. The curator brings together the work of 359 artists – an increase of nearly 150 from Cecilia Alemani’s ‘The Milk of Dreams’ in 2022 – in a sprawling exhibition that explores themes of migration, decolonisation, ‘strangeness’ and queerness.⁠
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Read Kathryn Lloyd’s review of the Biennale exhibition, showing at various locations until the 24th November 2024, in our July issue: https://bit.ly/TBMJULY24

Image: ‘Kissing my foot’, by Louis Fratino. 2024. Oil on canvas, 144.8 by 198.1 cm. (Courtesy La Biennale di Venezia; photograph Matteo de Mayda; exh. Central Pavilion, Giardini, Venice).

12/07/2024

‘Would it be possible sometime to have a show of drawings?’ the American artist Ruth Asawa (1926–2013) asked her New York gallerist, John Hohnsbeen, in 1959. The artist’s query came during a period of burgeoning acclaim for her looped wire sculptures, which had appeared in three separate Whitney Annual exhibitions in the previous four years. Many decades later, Asawa’s hope has been realised in an exhibition that disrupts received notions of her œuvre by reinstating drawing – in a miraculous array of materials, processes and forms – as its ‘center of gravity’.

Co-curated by Edouard Kopp and Kirsten Marples from the Menil Drawing Institute, Houston (MDI), with Kim Conaty and Scout Hutchinson of the Whitney Museum of American Art, New York, ‘Ruth Asawa Through Line’ at the Menil Drawing Institute, Houstonm includes a diverse range of works made between 1946 and 1999, including early studies in line and colour, folded paper sculptures, collages, paintings, watercolours and even the artist’s experiments with Zip-A-Tone, a once-common self-adhesive patterning tool.

Read Natilee Harren’s review of the exhibition, showing until the 21st of July 2024, in our July issue: https://bit.ly/TBMJULY24

Image: ‘Adam’s ranunculus’ (PF.1107, bouquet from Adam Lanier with snail), by Ruth Asawa. 1999. Ink on Japanese paper, 61 by 42.9 cm. (Private collection; exh. Menil Drawing Institute, Houston).

09/07/2024

King Charles XV of Sweden, who was also Charles IV of Norway, was a talented landscape artist who exhibited his paintings internationally. One of his canvases, painted in 1857, is identified in our current issue as a view of Romsdalen. This choice of subject may be a result of the landscape’s associations with a historic conflict between Norway and Sweden and hopes for their peaceful union, as well as the king’s interest in the art of Thomas Fearnley.⁠
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Read Eva-Charlotta Mebius’s article, ‘Charles XV’s “Norwegian landscape” in the Museum Gustavianum, Uppsala’, in our July issue: https://bit.ly/TBMJULY24
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Image: ‘Norwegian landscape’, here identified as a view of Romsdalen, by Charles XV of Sweden. 1857. Oil on canvas, 49.5 by 60 cm. (Gustavianum, Uppsala).

08/01/2024

The study of artists working in Avignon around 1500 was for long hampered by the difficulty of attributing specific works to painters mentioned in the documentary sources. The attribution by Charles Sterling of two series of panels, a Life of the Virgin and a Life of St Sebastian, to Josse Lieferinxe, who came from Hainaut and was active in Marseille has been much debated. Recent discoveries and new stylistic analysis suggest that the panels were in fact painted by Jean II Changenet, who came from Burgundy and was active in Avignon.⁠
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Read Frédéric Elsig’s article ‘Avignon around 1500: the workshop of Jean II Changenet’ in our January issue: https://bit.ly/TheGoldenAgeofAvignon
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Images:⁠
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'St Sebastian destroying the idols', here attributed to Jean II Changenet. c.1490–95. Oil on panel, 81.6 by 54.6 cm. (Philadelphia Museum of Art).⁠
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'St Sebastian pierced by arrows', here attributed to Jean II Changenet. c.1490–95. Oil on panel, 82.5 by 55.7 cm. (Philadelphia Museum of Art).⁠
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'Death of St Sebastian', here attributed to Jean II Changenet. c.1490–95. Oil on panel, 82.4 by 55.5 cm. (Philadelphia Museum of Art; Bridgeman Images).⁠
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'St Sebastian before Diocletian and Maximian', here attributed to Jean II Changenet. c.1490–95. Oil on panel, 81.5 by 55.7 cm. (State Hermitage Museum, St Petersburg; Bridgeman Images; Fine Art Images).

06/01/2024

A vivid photograph of a lotus pond ushers visitors into the ambitious exhibition ‘China’s Southern Paradise: Treasures from the Lower Yangzi Delta’ on the arts and culture of Jiangnan at Cleveland Museum of Art. Lying to the south of the Yangtze – its name literally means ‘south of the river’ – this part of China includes such major cities as Shanghai, Hangzhou and Suzhou. Curated by Clarissa von Spee, Chair of Asian Art and the James and Donna Reid Curator of Chinese Art at the Cleveland Museum of Art (CMA), this is the first exhibition outside China to present an encyclopaedic view of the cultural history of this historically affluent region.

Read Lihong Liu’s review for free in our January issue: https://bit.ly/ChinaSouthernParadise

Image: Detail from ‘Spring in Jiangnan’, by Wen Zhengming. 1530. Handscroll, ink and colour on paper. (Shanghai Museum; exh. Cleveland Museum of Art).

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We are currently offering new readers a 30% discount on all subscriptions. Whether print and digital or digital only, this includes access to our vast archive of over 40,000 articles (and 60,000 images!) and the ability to download an unlimited amount of articles, reviews and editorials of interest. Access across all electronic devices means you can read anywhere with ease, whether you need to quickly fact check or are settling down to read the latest issue. Subscribe now: https://bit.ly/30-off-subscriptions

The Burlington Magazine is excited to announce that the sixth issue of the Burlington Contemporary Journal is now live. The six articles in the new issue interrogate critical and curatorial discourses that have formed around certain artists, works of art and theoretical developments in recent years. A number of the articles analyse site-specific, immersive works that engage with socio-political structures and environmental crises, challenging our pervasive anthropocentric view of the world. Explore the journal and the full list of contents now: https://contemporary.burlington.org.uk/journal?utm_source=Facebook&utm_medium=Social+media&utm_campaign=journal6

Issue 6 of Burlington Contemporary Journal will launch on Monday 27th June. The six articles in this issue interrogate critical and curatorial discourses that have formed around certain artists, works of art and theoretical developments in recent years. A number of the articles analyse site-specific, immersive works that engage with socio-political structures and environmental crises, challenging our pervasive anthropocentric view of the world. Including the work of Maria Eichhorn, Felix Gonzalez-Torres, Calder Harben and Pope.L, among others. Issue 6 contributors: Amy Hale, Martyna Majewska, Adela Kim, Chanelle Lalonde, Niko Vicario and Laura Ouillon. Full contents list coming soon. https://bit.ly/burlington-contemp

Newsletter June 21

September Editorial - Cultural revolution at the National Trust

What a difference seven months can make. ‘It is baffling that an organisation that has conservation as its core function should fail to understand the fundamental role played by curatorship.’ Don’t miss this month's editorial ‘Cultural revolution at the National Trust’ available to read for FREE: https://www.burlington.org.uk/archive/editorial/cultural-revolution-at-the-national-trust

Burne-Jones 1871 Italian sketchbook

In 1871 Burne-Jones visited Italy for the third time. The sketchbook he kept on his journey, now in the Museum of New Zealand Te Papa Tongarewa, has never been fully analysed, but its record of works of art, buildings and landscapes was drawn on by the artist in numerous later paintings. Read the full article on pages 306-315 in our current issue: https://www.burlington.org.uk/current-issue

Inside the exhibition – Picasso and Paper

If you missed the exhibition 'Picasso and Paper' at the Royal Academy of Arts, we invite you to read the review by Elisabeth Cowling in our current issue. 'Paper was Picasso’s constant companion and the exhibition demonstrates that he used an astonishing variety of products, from cheap notebooks to rare and costly handmade papers. Ever the opportunist, he helped himself to hotel stationery and serviettes from restaurants and pounced on antique ledgers that came his way. Sheets of newsprint served as the ground for papiers collés and thinly brushed oil sketches, and he revelled not just in recycling used packaging but in unlocking its figurative potential.' A beautiful video of the exhibition is also available, the curator Ann Dumas will give you a private tour: https://www.royalacademy.org.uk/article/video-exploring-picasso-and-paper-24 Turn to page 348 of our April issue to read: https://www.burlington.org.uk/current-issue

The first issue of Burlington Contemporary Journal is NOW LIVE. Read it here and be the first to discover research articles on Bruce Nauman, African performance art and more... http://contemporary.burlington.org.uk/journal

28 DAYS TO GO: Launching 1st October. A new online publication from The Burlington Magazine. #getready For all things contemporary art, follow us on instagram @burlingtoncontemporary and join the conversation.