Enfilade

The eighteenth century in The Burlington:

The Burlington Magazine 160 (July 2018)

E D I T O R I A L

• Michael Hall, “At the Royal Academy of Arts,” p. 535. This is the Royal Academy’s year. The venerable London institution has celebrated its 250th anniversary by unveiling a redevelopment that has added seventy per cent more public space, staging a Summer Exhibition that has garnered five-star reviews, mounting an exhibition, The Great Spectacle, which traces the history of the annual exhibition since its inception in 1768, and publishing a monumental multi-author history of itself and its collections. . . .

A R T I C L E S

• Dorothea Diemer and Linda Hinners, “‘Gerhardt Meyer Made Me in Stockholm’: A Bronze ‘Bathing Woman’ after Giambologna,” pp. 545–53. Spurred by rivalry with French founders working for the Swedish Crown, in 1697 Gerhardt Meyer the Elder cast a bronze figure of a nude woman after a marble by Giambologna that had been in Sweden since 1632. It is inscribed ‘Me fecit Gerhardt Meyer Holmiae’.

R E V I E W S

• Laurel O. Peterson, Review of the exhibition Visitors to Versailles, 1682–1789 (Château de Versailles, 2017–18; The Metropolitan Museum of Art, 2018), pp. 582–84.
• Louis Cellauro and Gilbert Richaud, Review of the exhibition Jacques-François Blondel: An Enlightenment Architect in Metz (The Arsenal, Metz, 2018), pp. 584–86.
• Paul Taylor, Review of Susanna Berger, The Art of Philosophy: Visual Thinking in Europe from the Late Renaissance to the Early Enlightenment (Princeton University Press, 2017), pp. 606–07.
• Gauvin Alexander Bailey, Review of the exhibition catalogue, Ilona Katzew, ed., Painted in Mexico / Pintado en México, 1700–1790: Pinxit Mexici (Prestel, 2017), pp. 607–08.
• Sophie Littlewood, Review of Donald J. La Rocca, How to Read European Armor (Metropolitan Museum of Art and Yale University Press, 2017), p. 613.

O B I T U A R I E S

• Andrew Wilton, Obituary of Malcolm Cormack (1935–2018), p. 617. When the Yale Center for British Art, New Haven, opened in 1977, Malcolm Cormack was its first Curator of Paintings. At Yale, and subsequently at the Virginia Museum of Fine Arts, he staged influential exhibitions on subjects ranging from William Blake to the Camden Town Group.