Category: Research
New Burlington and British Art Journal
June 2 2011
Picture: National Gallery, London
Plop onto my desk at once come new issues of The Burlington Magazine and the British Art Journal.
Treats in the former include:
- A rare document on Giorgione (an inventory of his goods found in Venice after his death - in which his name is given as Georgio, not Giorgione).
- Discussion of an alterpiece by Bartolomeo Montagna.
- A freshly cleaned painting by Andrea del Verrochio in the National Gallery, London (above, and more details here).
And in the BAJ:
- A theory on the possible identity of Anne Clifford in a lost portrait.
- Lucian Freud's 'Scottish interlude' by Sandra Boselli.
- The Belton Conversation Piece by Philippe Mercier.
Online Sir John Soane archive
May 31 2011
Picture: Soane Museum
The Soane Museum has published online drawings from five of Soane's London projects: Pitzhanger Manor, Dulwich Picture Gallery, the Royal Hospital Chelsea, the Bank of England, and the Soane Monument in St Pancras Gardens.
The design for the latter inspired Gilbert Scott's prototype for the telephone box.
What are museums for?
May 31 2011
In the Art Newspaper, Maurice Davies tries to find the answer in three new books on museums and collections. They are:
- Contesting Human Remains in Museum Collections: the Crisis of Cultural Authority, Tiffany Jenkins, Routledge, 174 pp, $95 (hb)
- Under the Hammer: Iconoclasm in the Anglo-American Tradition, James Simpson, Oxford University Press, 204 pp, £25 (hb)
- The Best Art You’ve Never Seen: 101 Hidden Treasures from Around the World, Julian Spalding, Rough Guides, 288 pp, £14, $22.99 (pb)
On the joys of being an art dealer
May 27 2011
The recession may continue to throw up challenges for art dealers - some say that this year’s European Fine Art Fair in Maastricht was pretty gloomy - but there is still plenty of fun to be had 'in the trade'.
For me, the most exciting part of art dealing is that you never know where the fickle of finger of fate might point you, be it the pictures you encounter, or the people you meet.
Every week I look at hundreds of paintings for sale around the world, and though much of it is little better than the stuff you find on the railings outside Hyde Park, probably at least one will be worth buying. [More below]
Romney sketchbook published
May 24 2011
The Romney Society has published a facsimile of George Romney's Kendal Sketchbook, 1763-71. There are 104 pages of Romney drawings, and a fine catalogue written by Dr Yvonne Romney Dixon.
It's a really impressive publication, and well worth having - order a copy here.
New Walpole Society Volume
May 19 2011
Picture: National Gallery
Splendid news - the latest Walpole Society publication contains the travel notebooks of Charles Eastlake (1793-1865), artist and the first 'Keeper' of the National Gallery. His notebooks contain details of the pictures he saw in Europe. You could say they are the 19th C equivalent of George Vertue's notebooks.
Happily, this publication comes equipped with a full index. The 2009 issue, with the account books of Joseph Wright of Derby, had no index - the art historical equivalent of a car with no steering wheel.
Congratulations to Dr Susannah Avery-Quash, who has edited the notebooks and written detailed introductions. Buy a copy here.
Theatrical Portrait Collections
May 16 2011
Understanding British Portraits are organising a visit to London collections of theatrical portraits, including the Garrick Club and the Handel House Museum. 20th July, book here if you fancy it.
Yale abolishes reproduction fees
May 11 2011
Picture: Yale Center for British Art, 'Mr & Mrs John Gravenor and their daughters', by Thomas Gainsborough.
Hurrah! Yale University will abolish reproduction fees for everything in its museums and collections. Amy Meyers, the director for the Yale Center for British Art, says:
'The ability to publish images directly from our online catalogues without charge will encourage the increased use of our collections for scholarship, a benefit to which we look forward with the greatest excitement.'
UK museums should really think hard about doing likewise. Our high reproduction fees are a great barrier to effective scholarship. And the small income museums earn from such rights (after the high administration costs) results in silly rules about not taking photos in museums, and secutiry guards jumping on you if you so much as reach for your phone.
So, let's all relax about copyright - it is never going to be the big earner people envisaged. Image reproduction should be viewed as part of a museum's core purpose of spreading knowledge - and be free.
In love with a Monet
May 9 2011
Picture: 'Bathers at La Grenouillere' by Monet, National Gallery, London, one of the pictures used by researchers to study the effect of art on the brain.
At last, a link between the study of art history and sex (sort of). From the Daily Telegraph:
The same part of the brain that is excited when you fall for someone romantically is stimulated when you stare at great works of beauty, researchers have discovered.
Viewing art triggers a surge of the feel-good chemical, dopamine, into the orbito-frontal cortex of the brain, resulting in feelings of intense pleasure.
Dopamine and the orbito-frontal cortex are both known to be involved in desire and affection and in invoking pleasurable feelings in the brain.
It is a powerful affect often associated with romantic love and illicit drug taking.
In the basement
May 9 2011
Picture: Victoria & Albert Museum
I said recently that I would post the occasional ‘in the basement’ story, to highlight the risks of deaccessioning. Tomorrow (Tuesday), I will be a panelist at a conference on deaccessioning at the National Gallery, London. Speakers include Culture Minister Ed Vaizey MP, Chairman of the National Trust Sir Simon Jenkins, and the director of the National Gallery Dr. Nicholas Penny. My panel is at the end of the day, in the dying-for-a-drink slot.
I suspect most of the day will be spent debating whether deaccessioning is a good or a bad thing – but the fact is that the process has begun. A large number of regional and local authority controlled museums in Britain are already selling off works.
Above is a painting in the Victoria & Albert Museum, London. It is catalogued on their website as ‘attributed to Joseph Highmore’, but is undoubtedly by Andrea Soldi. (See J. Ingamells: ‘Andrea Soldi—a Check List of his Work’, Walpole Soc., xlvii (1980), pp. 1–20 for other comparable examples.)
Who's Soldi, you might ask? True, he’s not a well-known artist, and it’s a not a particularly exciting painting (and nor am I suggesting that the V&A would ever sell it). But the point is that you can’t decide to sell something until you know what you have to sell. There are many similar mis-catalogued paintings in museum basements across the country. And we need to have a structure in place to make sure no unfortunate mistakes are made. [More below]
Top tip...
May 6 2011
Google translate have now added Latin to their list of languages. It isn't very good, but handy for a getting the gist of old inscriptions etc.
Peering beneath the Frick's Bellini
April 8 2011
A complete image of the underdrawing in the Frick Collection's St Francis in the Desert by Giovanni Bellini has been captured for the first time, after the picture was subjected to exhaustive technical analysis by the Metropolitan Museum. See the full fascinating results in the video above, with more images and text here.
Looking for Eworth
April 1 2011
Here's an interesting article by Hope Walker on what is thought to be Hans Eworth's only known drawing. Trouble is, nobody knows where it is. If you do, pray tell...
Van Gogh's 'weave maps'
March 31 2011
An electrical engineering professor, Richard Johnson Jr., has developed an algorithmic programme to help authenticate Van Gogh paintings. The programme analyses the 'weave maps' of Van Gogh's canvasses. Johnson, who has been working at the Van Gogh Museum in the Netherlands, said;
'This is pretty extraordinary... What's happening is some doubted paintings are being authenticated, and some that had been placed at a funny date are now being moved.'
More here.
Rembrandt Research Project to close
February 24 2011
Picture: Otto Naumann Ltd. Detail from Portrait of a Man with Arms Akimbo, 1658.
The Rembrandt Research Project, which has been cataloguing the works of the great master since 1968, is to be closed down. This means that the final planned volume will be published in a reduced format.
When the project started it set about drastically reducing the number of accepted works. The tally went down to less than 250, but has now gone back up to around 320 under the famous connoisseurship of Ernst Van de Wetering. Pictures once excluded but now back in favour include the Frick Collection's Polish Rider, and the Royal Collection's Self-Portrait in a Flat Cap.
This story was in the Art Newspaper print edition last month, but has just been put online today.
Have you seen this woman?
February 22 2011
The new edition of the British Art Journal is out (Vol. XI, No.2), and it contains an appeal for information on the above painting. Yasmin Arshad is writing an article for a forthcoming BAJ on the possible identity of the portrait, and she is heading in the direction of Lady Anne Clifford.
Also in the BAJ is;
- A splendidly thorough article by David Wilson on Michael Rysbrack's bust of the Earl of Orkney (which is now on loan at the V&A).
- An article by Stephanie Roberts and Robert Tittle on the elusive Stuart provincial portraitist 'T.Leigh'. This contains a checklist of up to 20 possible Leigh portraits, a commendable task in these days of unfashionable connoisseurship.
- A reconstruction of William and Catherine Blake's residence in South Molton Street, by Angus Whitehead.
- An overview of the British paintings in the Doha Orientalist Museum, by Howard J M Hanley.
Well worth a read; you can order one here.
More on Caravaggio
February 21 2011
Here's a short video of the new Caravaggio exhibition, in which you can see the freshly restored portrait of Pope Paul V.
Some of the new facts on Caravaggio are:
- He was born 29th September 1571 in Milan (not the nearby town of Caravaggio).
- He arrived in Rome at the age of 25 (not 20, as previously thought).
- The fight in which Caravaggio famously killed a man seems to have been planed in advance, and was probably over a gambling debt.
- He died in a hospital at Porto Ercole in July 1610 (not on a beach).
You can download the full documentation at the bottom of this page (in Italian).
Caravaggio didn't like cooked artichokes
February 18 2011
A new exhibition in Rome has uncovered some fascinating archival evidence about Caravaggio. We now know for sure where and when he was born (Milan, not Caravaggio) and died (in a hospital bed).
One document reports a fight over a plate of artichokes;
Statement to police by Pietro Antonio de Fosaccia, waiter, 26 April 1604:
About 17 o'clock [lunchtime] the accused, together with two other people, was eating in the Moor's restaurant at La Maddalena, where I work as a waiter. I brought them eight cooked artichokes, four cooked in butter and four fried in oil. The accused asked me which were cooked in butter and which fried in oil, and I told him to smell them, which would easily enable him to tell the difference.
He got angry and without saying anything more, grabbed an earthenware dish and hit me on the cheek at the level of my moustache, injuring me slightly... and then he got up and grabbed his friend's sword which was lying on the table, intending perhaps to strike me with it, but I got up and came here to the police station to make a formal complaint...
Full story in English here. Exhibition website, in Italian, here.
Van Gogh's Dying Sunflowers
February 15 2011
An international team of scientists has analysed the fading pigments used by Van Gogh, most notably his yellow. The findings confirm that over time his yellows have become brown, and will continue to get browner.
Van Gogh's original use of ultra-bright colours was dependent on the limited type of pigments available at the time. Inevitably, they will not last as well as pigments available later on, when paint companies had to cater for the very style that Van Gogh and his like had created.
Of course, Van Gogh was not the only artist who had trouble with his 'fugitive pigments'. Joshua Reynolds mixed his own experimental pigments, usually not very well. He had a particular problem with his reds and pinks. As a result, many of his portraits look like ghosts today.
Will future generations wonder why Van Gogh was so interested in dead flowers?
A New Raphael self-portrait?
February 11 2011
Picture: Alessandro Vezzosi & Scripta Maneant
A new book claims that a little known copy of Raphael's self-portrait is in fact by Raphael himself. The picture, which follows the Uffizi image, has been in a bank vault for many years.
You can flip through a section of the new book, and zoom in on the pictures, here.
It's hard to tell from the photos, but the 'new' picture is clearly much better than the ubiquitous copies one sees of the Uffizi image. Judging by the faded blue pigments of the background it appears to have some age to it. Elements of the face, such as the nose and lips, are well observed.
Intriguing...
