Enfilade

Charles Wild, Kensington Palace: The King’s Gallery, 1816, watercolour with touches of bodycolour over etched outlines, 20 × 25 cm c
(Royal Collection Trust, 922158)

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The eighteenth century in the November issue of The Burlington, which focuses on sculpture:

The Burlington Magazine 165 (November 2023)

e d i t o r i a l

• History of Art after Brexit, p. 1171.
It is probably fair to say that the United Kingdom’s withdrawal from the European Union in 2020 as a consequence of the referendum of 2016 was not greeted with much enthusiasm by professional art historians. The subject as it has developed over the past century is by its very nature transnational in outlook.

a r t i c l e

• Jonathan Marsden, “George I’s Kensington Palace: The Sculptural Dimension,” pp. 1196–1205.
William Kent’s decoration of the new state rooms at Kensington Palace, London, for George I in 1722–27 has long been recognised as a pioneering exercise in neo-Palladianism. It was also an early example of the use of Classical sculpture in English interiors, a development in which Michael Rysbrack played a larger role than has formerly been recognised.

s h o r t e r  n o t i c e

• Nicola Ciarlo, “Domenico Guidi in Padula: A Rediscovered Annunciation,” pp. 1206–09.

r e v i e w s

• Adriano Aymonino, “Albanimania,” pp. 1214–19.
A series of recent publications has turned the spotlight on Cardinal Alessandro Albani—described by Winckelmann as ‘the greatest patron in the world’—his villa in Rome, and collection of Classical antiquities, which have become newly accessible to scholars and the public after decades of seclusion.

• Heather Hyde Minor, Review of the exhibition catalogue, Victor Plahte Tschudi, Piranesi and the Modern Age (Nationalmuseum, Oslo / MIT Press, 2022), pp. 1239–41.

• Adam Bowett, Review of Ada De Wit, Grinling Gibbons and His Contemporaries (1650–1700): The Golden Age of Woodcarving in the Netherlands and Britain (Brepols, 2022), pp. 1247–49.

Archangel Gabriel, attributed by Nicola Ciarlo to Domenico Guidi, ca.1699–1701, marble, 94 × 81 × 39 cm, with socle (Padula: Charterhouse of S. Lorenzo).

• Marjorie Trusted, Review of Jan Zahle, Thorvaldsen: Collector of Plaster Casts from Antiquity and the Early Modern Period, 3 volumes (Thorvaldsens Museum and Aarhus University Press, 2020), pp. 1249–50.

• Natacha Coquery, Review of Iris Moon, Luxury after the Terror (Pennsylvania State University Press, 2022), pp. 1254–56.

• Joshua Mardell, Review of Jane Grenville, Pevsner’s Yorkshire, North Riding (Yale University Press, 2023), pp. 1256–57.

o b i t u a r y

• Paul Williamson, Obituary for Michael Kauffmann (1931–2023), pp. 1258–60.
Keeper of the Department of Prints & Drawings and Paintings at the Victoria and Albert Museum and subsequently Director of the Courtauld Institute of of Art, Michael Kauffmann was a scholar with a remarkable breadth of interest, as well as a widely respected and sensitive administrator and manager.

s u p p l e m e n t

• “Recent Acquisitions (2007–2023) of European Sculpture at the Victoria and Albert Museum, London,” pp. 1261–68.
Seventeen years have passed since the publication of the last supplement in this Magazine describing the recent sculpture acquisitions made by the Victoria and Albert Museum, London (V&A). The present supplement therefore highlights a selection of the most noteworthy works acquired in the intervening years.