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Journal articles on the topic 'National Gallery (Londen)'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 March 2023

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1

MacCannell, Daniel. "King Henry IX, or cardinal called York? Henry Benedict Stuart and the reality of kingship." Innes Review 58, no. 2 (November 2007): 196–209. http://dx.doi.org/10.3366/e0020157x07000066.

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A picture belonging to the National Portrait Gallery, London, attributed as of 1958 to Pompeo Batoni,1 is now listed as ‘Unknown Cardinal, formerly known as Henry Benedict Maria Clement Stuart, Cardinal York, [by the] circle of Anton Raphael Mengs’ ( Fig. 1 ).2 It is not the identity of the artist that poses the central question of this article, but of the sitter – in this, and in a very different painting: the Scottish National Portrait Gallery's Prince Charles Edward Stuart, by Maurice Quentin de La Tour ( Fig. 2 ).3

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2

Rubinstein, Ben. "The micro gallery at the national gallery of London." Archives and Museum Informatics 6, no. 2 (June 1992): 5–10. http://dx.doi.org/10.1007/bf02770344.

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3

Franklin, Jonathan. "Cataloguing the Library of Sir Charles Eastlake (1793–1865) at the Library of the National Gallery, London." Art Libraries Journal 42, no. 4 (September 19, 2017): 189–94. http://dx.doi.org/10.1017/alj.2017.34.

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The Library of Sir Charles Eastlake (1793–1865), the first Director of the National Gallery, London, became the founding collection of the National Gallery Library. It is now being catalogued to rare book standards, and the records will be made available to researchers as part of a wider retrospective conversion and online access project. A few highlights from the Eastlake Library are described in order to illustrate the range and depth of the collection.

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4

Mark, Emily. "London: 'Conquering England' at the National Portrait Gallery." Circa, no. 113 (2005): 88. http://dx.doi.org/10.2307/25564351.

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5

Carelli, Francesco. "Divisionists: an exhibition at the National Gallery, London." London Journal of Primary Care 1, no. 2 (November 2008): 122. http://dx.doi.org/10.1080/17571472.2008.11493228.

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6

SMITH, CHARLES SAUMAREZ. "NARRATIVES OF DISPLAY AT THE NATIONAL GALLERY, LONDON." Art History 30, no. 4 (December 12, 2007): 611–27. http://dx.doi.org/10.1111/j.1467-8365.2007.00566.x.

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7

Imhof, Robin. "National Portrait Gallery200442National Portrait Gallery. London: National Portrait Gallery Gratis URL: http://www.npg.org.uk/ Last visited September 2003." Reference Reviews 18, no. 1 (January 2004): 48–49. http://dx.doi.org/10.1108/09504120410513429.

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8

Stuart, David. "A light for life: The impact of X-rays on structural biology and its pioneers." Biochemist 32, no. 4 (August 1, 2010): 46–50. http://dx.doi.org/10.1042/bio03204046.

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In Gallery 38 of the National Portrait Gallery in London there is a portrait of Dorothy Hodgkin in her study, her desk littered with papers, and in the foreground is a model of the structure of insulin (Figure 1). The portrait is naturalistic apart from one small detail: Dorothy has four hands. Perhaps this goes some way to explaining her extraordinary achievements, which are still having a huge impact a century after her birth.

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9

Marshall, David R. "Tivoli not Ariccia: Gaspard Dughet's View of ‘Ariccia’ in the National Gallery, London." Papers of the British School at Rome 71 (November 2003): 287–303. http://dx.doi.org/10.1017/s0068246200002476.

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TIVOLI E NON ARICCIA: LA VEDUTA DI ‘ARICCIA’ DI GASPARD DUGHET NELLA NATIONAL GALLERY, LONDRAIn questo articolo si identitica il soggetto principale del dipinto di Dughet conservato alla National Gallery di Londra, tradizionalmente identificato come una ‘Veduta di Ariccia’, con la Porta Sant'Angelo di Tivoli. La topografia del sito viene analizzata in relazione al dipinto di Dughet e ad altre rappresentazioni dello stesso luogo di Claude Lorrain, Gaspar van Wittel e Adriaen Honing.

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10

Shank, J. William, and Kenneth Clark. "100 Details from Pictures in the National Gallery London." Leonardo 25, no. 1 (1992): 104. http://dx.doi.org/10.2307/1575643.

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11

FUNNELL, PETER. "DISPLAY AT THE NATIONAL PORTRAIT GALLERY, LONDON, 1968-1975." Art History 30, no. 4 (December 12, 2007): 590–610. http://dx.doi.org/10.1111/j.1467-8365.2007.00565.x.

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12

Beaulieu, Micheline, and Victoria Mellor. "The Micro Gallery: an evaluation of the hypertext system in The National Gallery, London." New Review of Hypermedia and Multimedia 1, no. 1 (January 1995): 233–60. http://dx.doi.org/10.1080/13614569508914669.

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13

BROWN, CHRISTOPHER. "The Renaissance of Museums in Britain." European Review 13, no. 4 (October 2005): 617–36. http://dx.doi.org/10.1017/s1062798705000840.

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In this paper – given as a lecture at Netherlands Institute for Advanced Study in the summer of 2003 – I survey the remarkable renaissance of museums – national and regional, public and private – in Britain in recent years, largely made possible with the financial support of the Heritage Lottery Fund. I look in detail at four non-national museum projects of particular interest: the Horniman Museum in South London, a remarkable and idiosyncratic collection of anthropological, natural history and musical material which has recently been re-housed and redisplayed; secondly, the nearby Dulwich Picture Gallery, famous for its 17th- and 18th-century Old Master paintings, a masterpiece of 19th-century architecture by Sir John Soane, which has been restored, and modern museum services provided. The third is the New Art Gallery, Walsall, where the Garman Ryan collection of early 20th-century painting and sculpture form the centrepiece of a new building with fine galleries and the forum is the Manchester Art Gallery, where the former City Art Gallery and the Athenaeum have been combined in a single building in which to display the city's rich art collections. The Ashmolean Museum in Oxford, of which I am Director, is the most important museum of art and archaeology in England outside London and the greatest University Museum in the world. Its astonishingly rich collections are introduced and the transformational plan for the museum is described. In July 2005 the Heritage Lottery Fund announced a grant of £15 million and the renovation of the Museum is now underway.

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14

Klonk, Charlotte. "Mounting Vision: Charles Eastlake and the National Gallery of London." Art Bulletin 82, no. 2 (June 2000): 331. http://dx.doi.org/10.2307/3051380.

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15

James, Stuart. "National Gallery Catalogues:98339Judy Egerton. National Gallery Catalogues: The British School. London: National Gallery Publications 1998. 456 pp, ISBN: 1 85709 170 1 £50.00 Distributed by Yale University Press." Reference Reviews 12, no. 6 (June 1998): 37–38. http://dx.doi.org/10.1108/rr.1998.12.6.37.339.

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16

Cronquist, Carol. "An Ohio librarian makes a ‘find’." Art Libraries Journal 18, no. 4 (1993): 24–27. http://dx.doi.org/10.1017/s030747220000852x.

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In the course of researching the life and work of a 19th century British artist, Henry Courtney Selous, several London museums and libraries were visited during 1993. The Royal Academy and the National Portrait Gallery yielded some information, but at the Guildhall Library the author’s attention was drawn to a diary held at the National Art Library which on perusal seemed undoubtedly to have been compiled by Selous. The Library has subsequently revised the diary’s catalogue entry to incorporate this attribution.

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17

YORK, HELEN. "Jan Gossaert's Renaissance (London, National Gallery, 23 February-30 May 2011)." Renaissance Studies 26, no. 2 (June 23, 2011): 288–93. http://dx.doi.org/10.1111/j.1477-4658.2011.00747.x.

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18

Rubin, P. "'The Outcry': despoilers, donors, and the National Gallery in London, 1909." Journal of the History of Collections 25, no. 2 (May 4, 2012): 253–75. http://dx.doi.org/10.1093/jhc/fhs011.

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19

Rodgers, Georgia. "‘Soundscapes’ at the National Gallery, London (8 July – 6 September 2015)." Tempo 70, no. 275 (December 7, 2015): 92–94. http://dx.doi.org/10.1017/s0040298215000741.

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The ‘Soundscapes’ exhibition comprised six paintings displayed individually in darkened rooms, each ‘accompanied’ by a specially composed piece played over loudspeakers. The seven artists (two working as a duo) invited to create musical responses represented a cross-section of disciplines, from wildlife recording, sound installation, film composition, DJing and instrumental composition, and, it must be said, all had some crowd-pulling potential. Given the reviews, one might have expected to discover unspeakable things happening in the depths of the National Gallery; however, I found it to be an interesting and well-executed exhibition which presented some thoughtful sonic responses to great paintings.

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20

Taunton, G. "The refurbishment of E.M. Barry's rooms in the National Gallery, London." Museum Management and Curatorship 6, no. 2 (June 1987): 121–41. http://dx.doi.org/10.1016/0260-4779(87)90003-3.

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21

Maureen McCue. "Guiding the Nation's Taste: Nineteenth-Century Periodicals and the Construction of the National Gallery in London, 1824–1842." Yearbook of English Studies 48 (2018): 13. http://dx.doi.org/10.5699/yearenglstud.48.2018.0013.

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22

McCue, Maureen. "Guiding the Nation's Taste: Nineteenth-Century Periodicals and the Construction of the National Gallery in London, 1824–1842." Yearbook of English Studies 48, no. 1 (2018): 13–30. http://dx.doi.org/10.1353/yes.2018.0001.

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23

Crowley, R. A. "Suffering in silence Frederick Cayley Robinson: Acts of Mercy, National Gallery, London." Medical Humanities 36, no. 2 (November 15, 2010): 122. http://dx.doi.org/10.1136/jmh.2010.006171.

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24

Shrimpton, Jayne. "The National Portrait Gallery Heinz Archive and Library, Orange Street, London WC2." Costume 29, no. 1 (January 1, 1995): 95–100. http://dx.doi.org/10.1179/cos.1995.29.1.95.

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25

Taunton, Geoffrey. "The refurbishment of E. M. Barry's rooms in the national gallery, London." International Journal of Museum Management and Curatorship 6, no. 2 (June 1987): 121–41. http://dx.doi.org/10.1080/09647778709515060.

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26

Colombi, Martina. "«Une des figures les plus originales de Milan»: l’antiquario Giuseppe Baslini (1817-1887)." ACME 74, no. 2 (September 14, 2022): 95–121. http://dx.doi.org/10.54103/2282-0035/18663.

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L’articolo si propone di indagare le numerose sfaccettature di un personaggio cruciale per il mercato dell’arte europeo del XIX secolo, a cui gli studi non hanno ancora rivolto la dovuta attenzione: l’antiquario Giuseppe Baslini. Ricordato dai contemporanei per l’eccezionale talento da connoisseur e la spregiudicata astuzia negli affari, Baslini fu probabilmente il più importante mercante milanese del secondo Ottocento. La sua bottega in via Montenapoleone 11 divenne riferimento e luogo di richiamo per restauratori, collezionisti e travelling agents di tutta Europa. Fu consulente e fornitore delle collezioni milanesi Poldi Pezzoli e Bagatti Valsecchi, che beneficiarono della poliedricità dei suoi interessi, ma anche della National Gallery di Londra e della Gemäldegalerie di Berlino. Il suo «perfido commercio», come pure il ruolo di mediatore presso gallerie e collezioni private, sono documentati dalle lettere di Giovanni Morelli e Austen Henry Layard, dai taccuini di viaggio di Charles Eastlake e Otto Mündler e dall’autobiografia di Wilhelm von Bode. La restituzione delle vicende biografiche e professionali dell’antiquario, attraverso lo studio di documenti d’archivio inediti, lettere, fatture e cataloghi d’asta, ha rivelato una personalità intrigante e controversa, importante tramite per ricostruire relazioni e provenienze collezionistiche sino a oggi ignote.

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27

Padfield, Joseph, Kalliopi Kontiza, Antonis Bikakis, and Andreas Vlachidis. "Semantic Representation and Location Provenance of Cultural Heritage Information: the National Gallery Collection in London." Heritage 2, no. 1 (February 15, 2019): 648–65. http://dx.doi.org/10.3390/heritage2010042.

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This paper describes a working example of semantically modelling cultural heritage information and data from the National Gallery collection in London. The paper discusses the process of semantically representing and enriching the available cultural heritage data, and reveals the challenges of semantically expressing interrelations and groupings among the physical items, the venue and the available digital resources. The paper also highlights the challenges in the creation of the conceptual model of the National Gallery as a Venue, which aims to i) describe and understand the correlation between the parts of a building and the whole; ii) to record and express the semantic relationships among the building components with the building as a whole; and iii) to be able to record the accurate location of objects within space and capture their provenance in terms of changes of location. The outcome of this research is the CrossCult venue ontology, a fully International Committee for Documentation Conceptual Reference Model (CIDOC-CRM) compliant structure developed in the context of the CrossCult project. The proposed ontology attempts to model the spatial arrangements of the different types of cultural heritage venues considered in the project: from small museums to open air archaeological sites and whole cities.

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28

Pointon, Marcia. "Imaging Nationalism in the Cold War: The Foundation of the American National Portrait Gallery." Journal of American Studies 26, no. 3 (December 1992): 357–75. http://dx.doi.org/10.1017/s002187580003111x.

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In October 1968 the American Embassy in Grosvenor Square, London was under siege from students protesing against the continued American presence in Vietnam. In France the universities were in turmoil. The Washington Post for 6 October covered the Apollo Flight – the first step to the moon–, uprisings in Columbia university, Twiggy in person and a debate about when the Bikinians might return to their island. Nixon was edging his way towards the presidency in a year that had seen the assassinations of Robert Kennedy and Martin Luther King, a year in which Johnson decided not to stand for another term in order (allegedly) to devote himself to ending the Vietnam war, in which the Democratic convention took place in Chicago in the midst of violent clashes between police and demonstrators.

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29

McEvansoneya, Philip. "John Savile Lumley and the Copies after Velázquez in the National Gallery, London." Hispanic Research Journal 9, no. 5 (December 2008): 437–57. http://dx.doi.org/10.1179/174582008x369188.

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30

Llewellyn, Laura. "Visions of Paradise: Botticini's Palmieri Altarpiece (London, The National Gallery, 4 November 2015-28 March 2016). Catalogue by Jennifer Sliwka. National Gallery, London, 2015. ISBN 978-1-85709-594-4." Renaissance Studies 32, no. 2 (March 6, 2017): 313–21. http://dx.doi.org/10.1111/rest.12298.

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31

Augello, Matteo. "Costume at the National Theatre, Wolfson Gallery, National Theatre, London, UK, 4 October 2019–27 June 2020." Studies in Costume & Performance 5, no. 1 (June 1, 2020): 113–17. http://dx.doi.org/10.1386/scp_00017_5.

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32

Shao, Jun, Qinlin Ying, Shujin Shu, Alastair M. Morrison, and Elizabeth Booth. "Museum Tourism 2.0: Experiences and Satisfaction with Shopping at the National Gallery in London." Sustainability 11, no. 24 (December 11, 2019): 7108. http://dx.doi.org/10.3390/su11247108.

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The tourist shopping experience is the sum of the satisfaction or dissatisfaction from the individual attributes of purchased products and services. With the popularity of the Internet and travel review websites, more people choose to upload their tour experiences on their favorite social media platforms, which can influence another’s travel planning and choices. However, there have been few investigations of social media reviews of tourist shopping experiences and especially of satisfaction with museum tourism shopping. This research analyzed the user-generated reviews of the National Gallery (NG) in London written in the English language on TripAdvisor to learn more about tourist shopping experience in museums. The Latent Dirichlet Allocation (LDA) topic model was used to discover the underlying themes of online reviews and keywords related to these shopping experiences. Sentiment analysis based on a purpose-developed dictionary was conducted to explore the dissatisfying aspects of tourist shopping experiences. The results provide a framework for museums to improve shopping experiences and enhance their future development.

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33

Graciano, Andrew. "A Dutch connection: Re-identifying a sitter at the National Portrait Gallery in London." Oud Holland 131, no. 3-4 (2018): 179–92. http://dx.doi.org/10.1163/18750176-1310304007.

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34

Guerra, Enrica. "Artemisia. Letizia Treves, ed. Exh. Cat. London: National Gallery Company, 2020. 256 pp. £35." Renaissance Quarterly 75, no. 4 (2022): 1312–14. http://dx.doi.org/10.1017/rqx.2022.339.

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35

Lotery, Kevin. "Rooms: Richard Hamilton and Postmodernism." October 159 (January 2017): 55–85. http://dx.doi.org/10.1162/octo_a_00282.

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In 1978, Richard Hamilton mounted The artist's eye at the National Gallery, London, the second in the museum's series of artist-designed exhibitions. The result was a strange space in which Bosch and Velázquez commingled with an Eames recliner, an ironing board, and a working television. Five years later, Hamilton constructed Treatment Room (1983–84), in which painting's skillful gestures found themselves interrogated by Orwellian machineries of destruction and paranoia. This essay argues that Hamilton's remobilization of traditions of painterly imagination and skill held a critical spatial function: to equip spectators with cognitive tools for thinking through and imagining routes out of the traumatic “rooms” of a postmodern decade.

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36

der Wateren, Jan van. "The National Art Library and the Indian Collections of the Victoria & Albert Museum, London." Art Libraries Journal 18, no. 2 (1993): 20–25. http://dx.doi.org/10.1017/s0307472200008300.

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The V&A Museum possesses the largest collection of Indian art outside the Indian sub-continent, dating from the acquisition of items from the Great Exhibition and of collections acquired by the Honourable East India Company. The Nehru Gallery of Indian Art, which opened in 1990, enabled a great deal of this material to be displayed. The Indian Collection is served by its own small research library, the records of which are currently being incorporated in the catalogue of the National Art Library at the Museum, while the National Art Library itself provides scholarly material on Indian art, especially the fine and decorative arts, in the major European languages. Some sources for obtaining new publications from India are noted.

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37

Žakula, Tijana. "The Making of Conservation Science." Museum Worlds 9, no. 1 (July 1, 2021): 131–32. http://dx.doi.org/10.3167/armw.2021.090111.

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On 9 October 1947, the National Gallery in London opened the Exhibition of Cleaned Pictures. Some seventy masterpieces that had undergone various treatments since 1936 were brought together and exhibited in this groundbreaking show. Much criticized, but also praised by many, the exhibition sparked the so-called “cleaning controversy.” It goes without saying that both the exhibition as well as the ensuing controversy impacted generations of scholars of all stripes. So much so that the exhibition was mentioned in virtually all the lectures that were delivered during the Brill Nuncius seminar held on 29–30 April 2021, which focused on the formation of conservation science in the post-World War II period, from the 1940s through the 1970s.

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38

Desmarais, Norman. "The National Gallery: Complete Illustrated Catalogue9887Christopher Baker, Tom Henry catalogue text compilers. The National Gallery: Complete Illustrated Catalogue. National Gallery Publications Limited 5/6 Pall Mall East, London SW1P 5BA 0171‐839‐8544 (tel.) 0171‐930‐0108 (fax); available from Yale University Press P.O. Box 209040 New Haven, CT 06520‐9040 800‐987‐7323 800‐777‐9253 (fax): National Gallery, London 1997. $95." Electronic Resources Review 2, no. 8 (August 1998): 95–97. http://dx.doi.org/10.1108/err.1998.2.8.95.87.

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39

SHAW-MILLER, LINDSEY. "THE HOERENGRACHT KIENHOLZ AT THE NATIONAL GALLERY, LONDON BY COLIN WIGGINS AND ANNEMARIE DE WILDT." Art Book 17, no. 3 (August 12, 2010): 24–25. http://dx.doi.org/10.1111/j.1467-8357.2010.01113_4.x.

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40

Barry, Fabio, and Evonne Levy. "Monochrome: Painting in Black and White: National Gallery, London, October 30, 2017–February 18, 2018." West 86th: A Journal of Decorative Arts, Design History, and Material Culture 26, no. 2 (September 2019): 325–30. http://dx.doi.org/10.1086/708799.

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41

Kusrini, Kusrini. "Potret Diri Digital dalam Seni dan Budaya Visual." Journal of Urban Society's Arts 2, no. 2 (October 10, 2015): 111–22. http://dx.doi.org/10.24821/jousa.v2i2.1448.

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Selfie merupakan bentuk tidak resmi (slang) dari potret diri digital (digital self-portraits). Keberadaannya semakin berkembang. National #Selfie Gallery di London pada 2013 menunjukkan bahwa jenis foto ini memiliki kelayakan untuk masuk galeri dan disebut sebagai karya seni. Sejumlah 19 seniman berfoto selfie dan hasilnya dipamerkan dalam bentuk video berdurasi singkat, masing-masing sekitar 30 detik. Untuk sampai di ruang pamer galeri, foto-foto selfie tersebut melalui tahap kurasi oleh kurator. Terdapat seleksi teknik dengan perangkat yang ada di dunia seni. Pada tahap selanjutnya, foto-foto selfie tersebut masuk galeri. Saat lolos seleksi dan dipamerkan di ruang galeri, serta dinikmati audiens seni, digital self-portraits menjadi sebuah karya seni dengan nilai isi makna seni, termasuk nilai estetis, serta nominal tertentu saat dibeli oleh kolektor. Jenis foto yang mengelilingi masyarakat kota tidak hanya selfie dan potret diri, namun semakin beragam. Di mana pun bertemu dengan foto, hingga dalam pengambilan keputusan maupun tindakan, berdasarkan pada apa yang dilihat. Di ranah ini, foto sudah menjadi bagian dari budaya masyarakat membentuk budaya visual. Dari budaya visual ini, bidang-bidang kehidupan lain ikut terpengaruh. Ketika foto menjadi bagian tidak terpisahkan dari kehidupan ataupun cara hidup masyarakat, bidang lain seperti ekonomi dan sosial turut larut di dalamnya. Perekonomian menjadikan dunia visual sebagai lahan bisnis yang menjanjikan. Dari sisi sosial, masyarakat menggantikan interaksi dan komunikasi langsung dengan media digital. Melihat dan mengukur seseorang dari relasi dari di media sosial, dan menilainya dari visual yang tertampil di jejaring sosial tersebut Selfie is a slang form of digital self-portrait. Now, its development has been increasing. National #Selfie Gallery in London in 2013 showed the eligibility of this type to enter the gallery and called it as a work of art. There were 19 artists taking their selfie and displayed the works in the form of short videos, each was about 30 seconds. Being displayed in the gallery, these photos of selfie had been through stages of curation by curators before they were displayed in the gallery. There was a technique of selection with the existing devices in the art world. When photographs passed the selection and were exhibited in the gallery space, and were enjoyed by the audiences, the digital self-portraits become a work of art which contain the art values in content, including aesthetics, and certain nominal when purchased by collectors. The types of photo surrounding the urban community are not only selfie and self-portrait, but more various upon them. Wherever photos are found, and when taking the decision and action in society, they are much influenced on what are seen. Based upon this realm, they have already become a part of community art which forms the visual culture. From this visual culture, other areas of life are affected. When photos become the inseparable part of life or community way of life, other areas like economic and social are fused within them. The economics makes the visual area becoming the prospective business area. From the social side, the community replaces the interaction and direct communication with the digital media. By having this understanding, we are able to see and measure a person by looking at his/her social relation through the social media, and giving the showed value as being found in its social networking.

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42

Mitjans, Frank. "Non sum Oedipus, sed Morus." Moreana 43 & 44 (Number, no. 4 & 1-2 (March 2007): 12–67. http://dx.doi.org/10.3366/more.2007.43-44.4_1-2.4.

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Frank Mitjans is an architect who has worked in London since 1976. He was introduced to the significance of the figure of St. Thomas More by Andrés Vázquez de Prada (1923-2005), author of the biography, Sir Tomás Moro, Lord Canciller de Inglaterra (Madrid, 1962). In 1977 Vázquez de Prada invited Mitjans to visit with him the Thomas More Exhibition at the National Portrait Gallery, which stimulated his interest in representations of More, his family and his friends. Since August 2002 he has given many presentations and talks on the topography of More’s London to groups of students and other interested people in Britain, Ireland, and Sweden. Frank Mitjans, architecte qui travaille à Londres depuis 1976, fut initié au personnage de Saint Thomas More par Andrés Vázquez de Prada (1923-2003), auteur de la biographie Sir Tomás Moro, Lord Canciller de Inglaterra (Madrid, 1962). En 1977 Vázquez de Prada l’invita à l’accompagner dans sa visite de l’exposition Thomas More à la National Portrait Gallery, évènement qui aiguisa son intérêt pour les représentations de More, de sa famille et de ses amis. Depuis août 2002 il a régulièrement fait des présentations et des exposés à des groupes d’étudiants et d’autres en Grande-Bretagne, Irlande et Suède au sujet de la topographie du Londres de Thomas More. The recent exhibitions of the works of Holbein in London and Basel (2006-2007), and scholarly publications such as Holbein and England (2004), have rekindled interest in the Portrait of Thomas More and his Family, and in the late sixteenth-century versions of Holbein’s presumed lost original. The present paper analyses the differences between the sixteenth-century versions and Holbein’s 1527 composition sketch, and concludes that the sketch is a more reliable witness to Holbein’s lost painting than the later versions, as well as the only authentic witness to More’s intentions; though anything we learn from the drawing must be checked against what we know from More’s letters and writings and other biographical data. From the later versions, however, and in particular from the references to Seneca on them, we can learn about those who commissioned them and England’s peculiar historical circumstances.

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Moffitt, John F. "An Exemplary Humanist Hybrid: Vasari's “Fraude” with Reference to Bronzino's “Sphinx”." Renaissance Quarterly 49, no. 2 (1996): 303–33. http://dx.doi.org/10.2307/2863160.

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In an article recently published in this journal, I argued that a certain, often discussed, hybrid encountered in Bronzino's wellknown painting depicting The Exposure of Luxury (ca. 1545, National Gallery, London; also known as Venus, Cupid, Folly, and Time) was actually intended to represent a “sphinx” [fig. 1]. Whatever its proper designation, this is the bizarre figure that may be espied lurking in darkness (as much metaphorical as physical), just as she/it was placed in the middle ground of the far right side of Bronzino's carefully contrived composition [fig. 2]. This darkly crouching creature was situated by the ingenious painter behind the brightly illuminated figure of a nude and joyful putto tossing roses, so making it literally hidden (occulta).

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Barber, Fionna. "Fintan Cullen and R.F. Foster, ‘Conquering England’: Ireland in Victorian London. London: The National Portrait Gallery. 2005. 80pp. Illus. £12.50. Fintan Cullen, The Irish Face: Rede.ning the Irish Portrait 1700–2000. London: The National Portrait Gallery. 2004. 240 pp. Illus. £30.00." Urban History 34, no. 01 (March 8, 2007): 158–60. http://dx.doi.org/10.1017/s096392680727453x.

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Phillpot, Clive. "Three acronyms, two opportunities, one millenium: ruminations on the present and future states of art Librarianship in Britain, occasioned by the 25th birthday of ARLIS/UK & Ireland." Art Libraries Journal 20, no. 1 (1995): 4–6. http://dx.doi.org/10.1017/s0307472200009159.

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ARLIS/UK & Ireland can be proud of the achievements of its first 25 years, but might benefit both from re-examining its objectives and by broadening its constituency. The fact that the National Art Library (NAL) is now fulfilling a role commensurate with that title is welcome indeed, but art libraries should be wary of depending too much on the leadership of a national library. The Visual Arts Library and Information Plan (VALIP) offers a not-to-be-missed opportunity for ARLIS and the NAL together to ensure the continuing development of art librarianship in Britain into the foreseeable future; the absence of a national bibliographic database, however, must be a handicap to future progress, while the state of art provision in public libraries is a matter of concern. ARLIS is working too exclusively for specialists; as it approaches the year 2000 its biggest challenge may be the needs of people at large. (The text of a paper presented at the ARLIS/UK & Ireland Members’ Day at the Tate Gallery, London, on the 8th November 1994).

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Lunn, Kenneth. "‘Ignatius Sancho: An African man of letters’, national portrait gallery, London, 24 january‐11 may 1997." Immigrants & Minorities 16, no. 3 (November 1997): 83–84. http://dx.doi.org/10.1080/02619288.1993.9974918.

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Knecht, Robert. "Susan Foister, Ashok Roy and Martin WyldMaking & Meaning: Holbein’s Ambassadors(National Gallery Publications, London 1997)." Court Historian 3, no. 3 (December 1998): 35–38. http://dx.doi.org/10.1179/cou.1998.3.3.006.

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Saumarez Smith, C. "“In a new light”: issues in the display of portraits at the National Portrait Gallery, London." Museum Management and Curatorship 16, no. 4 (June 1998): 371–82. http://dx.doi.org/10.1016/s0260-4779(98)00014-4.

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Saumarez Smith, Charles. "“In a New Light”: Issues in the Display of Portraits at the National Portrait Gallery, London." Museum Management and Curatorship 16, no. 4 (December 1997): 371–82. http://dx.doi.org/10.1080/09647779700401604.

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Littman, Robert J. "An Error in the Menetekel Inscription in Rembrandt's Belshazzar's Feast in the National Gallery in London." Oud Holland - Quarterly for Dutch Art History 107, no. 3 (1993): 296–97. http://dx.doi.org/10.1163/187501793x00036.

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