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Italian paintings before 1400
The National Gallery houses one of the most important collections of early Italian paintings outside Italy, including works by Cimabue, Duccio, Giotto and the di Cione brothers. Since these were last catalogued there have been four new acquisitions, while reexamination of the collection has revealed, through infrared reflectography, the significance of underdrawings in early Italian paintings, together with other new information about technique. In reviewing and in some cases reattributing the works catalogued here, the author takes account of the substantial body of new research published over the last twenty years.
Book
Corinthian and Attic Vases in the Detroit Institute of Arts
This catalogue comprises those vases from Corinth and Athens with painted decoration in the Detroit Institute of Arts. Each vase is given a description of salient features, attribution to a painter and date, and discussion of the painted decoration.
eBook
The Watercolors of Harlan Hubbard
Harlan Hubbard (1900–1988), a Kentucky writer, environmentalist, and artist, spent many years trying to rediscover and revive the vanishing language of landscape in his watercolor paintings. Known for their sense of drifting movement and their depiction of the natural way of life fondly associated with Hubbard, they inexplicably remain his least studied artworks, despite presenting some of the best evidence of Hubbard's place in the history of landscape painting. The Watercolors of Harlan Hubbard not only argues for Hubbard's place in the art historical canon but also highlights and analyzes the artist's own voice. In this unique collection, more than two hundred watercolors are interspersed with anecdotes from those who knew Hubbard or drew inspiration from his work, offering a personal meditation on a deeply influential artist and serving as an invitation to those who have yet to discover him.
eBook
The Lichfield House Exhibition of 1851, Part II: Dante Gabriel Rossetti's review
There appear to be no statistics on how well attended the Lichfield House exhibition was during the summer 1851, although press reports noted that a 'great many of the nobility and gentry' were seen in these rooms.' Similarly, there is scant information on which painters took the opportunity to examine the unique exhibition contents, which one critic strongly advised, in order that they might acquaint themselves with the latest Continental trends.2 Although it is hardly likely that painters in London at this time would have overlooked the occasion to inspect the panoply of European paintings amassed for the show, few accounts indicate artists' curiosity or actual visits. Charles Eastlake, who had been elected President of the Royal Academy less than a year before, must have felt the obligation to visit the exhibition and presumably did since a catalogue is known to have been in his library. It is not likely that Millais attended the exhibition as his plan for the summer was to flee London because of the expected influx of foreigners - 'the lowest rabble of all the countries in Europe' - clogging the streets for the Great Exhibition.
Journal Article
Jenny Saville
\"Thirteen years after her first Rizzoli monograph, British artist Jenny Saville, an original member of the Young British Artists, releases her most definitive book, including never-before-published paintings from her most recent exhibition at Gagosian in New York. This much-anticipated volume unites new work with many of Saville's paintings and drawings to date, accompanied by essays that explore Saville's continuing fascination with the human body within a broad art-historical context. The book also features Saville in an extensive conversation with acclaimed American photographer Sally Mann. An illustrated chronology of Saville's career completes this elegant volume. This beautifully produced monograph is an important addition to the library on one of the world's most influential and enduring living painters.\" -- Publisher's description
Book
Jumping into the artistic deep end: building the catalogue raisonné
The catalogue raisonné compiled by art scholars holds information about an artist’s work such as a painting’s image, medium, provenance, and title. The catalogue raisonné as a tangible asset suffers from the challenges of art authentication and impermanence. As the catalogue raisonné is born digital, the impermanence challenge abates, but the authentication challenge persists. With the popularity of artificial intelligence and its deep learning architectures of computer vision, we propose to address the authentication challenge by creating a new artefact for the digital catalogue raisonné: a digital classification model. This digital classification model will help art scholars with new artwork claims via a tool that authenticates a proposed artwork with an artist. We create this tool by training a machine learning model with 90 artists having at least 150 artworks and achieve an accuracy of 87.31%. We use the ResNet Convolutional Neural Network to improve accuracy and number of artist classes over state-of-the-art artist classification experiments using the WikiArt database. We address inconsistencies in the way scholars approach artist classification by providing a consistent method to recreate our dataset and providing a consistent method to calculate performance metrics based on imbalanced data.
Journal Article