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The Burlington Magazine

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The Burlington Magazine

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Over a century of leading research as the world’s longest running art-h

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.⁠
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£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.⁠
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Funded by the Rick Mather David Scrase Foundation. ⁠
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Applications close on 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

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

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. ⁠
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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
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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).

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.⁠
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Peter Schade's article review on framing published in our November issue takes top place among readers from all around the world.⁠
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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.⁠
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🔗 Read Peter Schade's article review 'Framing in museums' in our November issue: https://www.burlington.org.uk/annex/framing-in-museums
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Image: Portrait of Elena Carafa, by Edgar Degas. c.1875. Oil on canvas, 70.1 by 55 cm. (The National Gallery, London).

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

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.

19/12/2025

Our friends at Art History in Focus are offering a new 10-week course starting on the 9th January. Founded by Sian Walters in 2004, Art History in Focus has pioneered innovative ways to make great art more accessible to wider audiences. Those signing up to a new course starting on 9th January will enjoy lectures given by Desmond Shawe-Taylor, former Surveyor of The Queen’s Pictures, and Dr Philip Rylands, Director Emeritus of The Peggy Guggenheim Collection, Venice, who will explore the history of the Venice Biennale. The course also includes an exclusive broadcast from the Brera Art Gallery, Milan, and the newly opened Palazzo Citterio, Milan, as well as an introduction to the much-anticipated Raphael exhibition at the Metropolitan Museum of Art, New York. All bookings include donations to the galleries and museums visited.

For further details and booking, visit: https://arthistoryinfocus.com/product/the-art-of-display-a-
virtual-tour/

Image: The Alba Madonna, by Raphael. 1510. Oil on panel, 94.5 cm diameter. (The National Gallery of Art, Washington DC).

18/12/2025

Looking to visit an exhibition this weekend? ⁠
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Kunsthistorisches Museum's Michaelina Wautier: Painter, 30th September 2025–25th January 2026. ⁠
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The most striking impression made by the exhibition is of Michaelina Wautier’s exceptional versatility. This quality is evident also in the careers of earlier women artists, such as Lavinia Fontana (1552–1614) and Sofonisba Anguissola (1532–1625), who in the previous century had won renown in the most sophisticated court circles with their history paintings on biblical and secular subjects as well as their superb portraits.⁠
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🔗Read Hans Vlieghe's review of the exhibition in our December issue: https://www.burlington.org.uk/current-issue

Are you planning to go or have you already been? Let us know⬇️⁠
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Image: Portrait of a military commander, by Michaelina Wautier. 1646. Oil on canvas, 63 by 56.6 cm. (Fine Arts Museum, Brussels; exh. Kunsthistorisches Museum, Vienna).

16/12/2025

William Hogarth (1697–1764) is chiefly known for his richly satirical paintings, which pricked the pretensions and highlighted the weaknesses of his age, as well as for his characterful portraits. Only on rare occasions did he attempt monumental ‘grand manner’ projects in sacred or secular contexts. His achievement in this major scheme can now be much more easily appreciated thanks to an extensive conservation project, which has recently been completed, that was undertaken on the north wing of ⁠
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Read December’s Editorial ‘Hogarth’s grand manner’ for free: https://www.burlington.org.uk/archive/editorial/hogarths-grand-manner?utm_source=FB&utm_medium=Social&utm_campaign=Dec+25+issue+promo+editorial
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Image: Good Samaritan and Pool of Bethesda, by William Hogarth. 1735–37. Oil on canvas, 508 by 418 cm. and 416 by 618 cm. (St Bartholomew’s Hospital, London; photograph © Matthew Alexander).

15/12/2025

Known for the highest editorial and academic standards, The Burlington Magazine delivers meticulously researched articles, art-historical discoveries, and compelling reviews of books and exhibitions.⁠
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Gift or receive the world’s leading art history magazine with 40% off for a limited time, and experience what makes us an essential resource for art historians and art lovers.⁠
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Delight in monthly issues with our biggest discount: https://shop.burlington.org.uk/christmas-offer.htm?utm_source=FB&utm_medium=social&utm_campaign=Seasonal25

12/12/2025

On 5th December 2025 The Burlington Magazine hosted the inaugural David Scrase annual lecture, given by Sir Gabriele Finaldi on the drawings of Jusepe de Ribera, , London. The lecture focused on the changing attribution of drawings by Ribera in the twentieth century, as well as on the relationship between Ribera's works on paper and his paintings.⁠
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Thank you, Sir Gabriele, for the fascinating talk!⁠
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Images: A Bat and Two Ears, by Jusepe de Ribera. 1591–1652. Chalk on paper, 15.9 by 27.9 cm. (, New York).⁠
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Man hauling the carcass of a deer, by Jusepe de Ribera. Mid-1630s. Pen and brown ink, 9.3 by 15.7 cm. (Istituto Nazionale per la Grafica, Rome).

11/12/2025

Consisting of four volumes, ‘Lucian Freud: Catalogue Raisonné of the Oil Paintings’ follows the generous format and handsome design of Toby Treves’s catalogue of the artist’s prints, which was published by Modern Art Press as a single volume in 2022. Despite Freud’s belief that ‘it was impossible for a photograph to be a faithful record of a painting’ (I, p.9), the reproductions included here are as true to the originals as modern technology allows. The essays in volume 1 are welcome additions to the catalogue entries in volumes 2–4, particularly Jason Simon’s illuminating account of the artist’s materials and practice. ⁠
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Read Sarah Whitfield’s review of this publication in our December issue: https://www.burlington.org.uk/archive/back-issues/202512-2147483722?utm_source=FB&utm_medium=Social&utm_campaign=Dec+25+issue+promo
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Image: ‘Man with glasses’, by Lucian Freud. 1963–64. Oil on canvas, 61 by 61 cm. (© Lucian Freud Archive; private collection).

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