Enfilade

The eighteenth century in the December issue of The Burlington, which focuses on Spain:

The Burlington Magazine 165 (December 2023)

Francisco de Goya, Self-Portrait with Dr Arrieta, 1820, oil on canvas, 115 × 77 cm (Minneapolis Institute of Art, 52.14).

a r t i c l e

• Mercedes Cerón Peña, “Goya’s Self-Portrait with Dr Arrieta,” pp. 1300–04.
In 1820 Goya painted a portrait of himself as he had appeared during his serious illness of the year before, attended by his doctor, Eugenio García Arrieta. Newly discovered biographical information about Arrieta suggests that the painting’s red and and green colour scheme may allude to the political views he shared with Goya.

r e v i e w s

• Michael Hall, Review of the new Galería de las Colecciones Reales (Royal Collections Gallery) in Madrid (opened 28 June 2023), pp. 1339–43.

• Stephen Lloyd, Review of the exhibition Return of the Gods (World Museum, Liverpool, (April 2023 — February 2024), pp. 1343–45. “Britain’s largest assemblage of Classical sculpture outside London belongs to National Museums Liverpool . . . In 1959 Liverpool City Council and its museums were gifted the entirety of the Ince Blundell collection—approximately six hundred heavily restored Roman marbles . . . collected by . . . Henry Blundell (1724–1810), a wealthy Catholic landowner, between 1776 and 1809.”

• Humphrey Wine, Review of the catalogue raisonné by Joseph Assémat-Tessandier, Louis Lagrenée, dit l’Aîné (1725–1805) (Arthena, 2022), pp. 1364–65.

Louis-Michel van Loo, Portrait of Isabel Farnese, 1737, oil on canvas, 341 × 264 cm (Madrid: Galería de las Colecciones Reales).

• Rebeka Hodgkinson, Review of Stephanie Barczewski, How the Country House Became English (Reaktion, 2023), pp. 1370–71.

• Peter Humfrey, Review of Eveline Baseggio, Tiziana Franco, and Luca Molà, eds., La chiesa di Santa Maria dei Servi e la comunità veneziana dei Servi di Maria, secoli XIV–XIX (Viella, 2023), pp. 1374–75. “The demolition of the great fourteenth-century church of the Servi in about 1812–13 represents one of the most grievous of the many losses suffered by Venice’s artistic heritage during the Napoleonic period.”

o b i t u a r y

• Saloni Mathur, Obituary for Kavita Singh (1964–2023), pp. 1379–80.
Professor of art history and Dean of the School of Arts and Aesthetics at Jawaharlal Nehru University, Kavita Singh became internationally known for her publications on the history and politics of museums and the pre-modern art of South Asia. An authority on Indian court paintings, she was an inspiring colleague and teacher who publicly championed both her university and the study of Mughal art in the subcontinent.