British Art Studies
British Art Studies Issue 2
The cover of issue 2 presents a series of animated images inspired by the conservation of Louis I. Kahn’s Yale Center for British Art. Roxane Sperber and Jens Stenger examine changing grounds, pigments, and paint applications in Canaletto’s English works. Rebecca Hellen and Elaine Kilmurray bring science and art history together in a study of Sargent’s Carnation, Lily, Lily, Rose (1885–86), following the recent conservation of this iconic painting.
Conversation and collaboration are at the heart of British Art Studies. Following on from the success of the lively debate generated by the Conversation Piece There’s No Such Thing as British Art in Issue 1, Patricia de Montfort and Robyn Calvert have convened for Still Invisible?, a discussion involving academics, artists, and curators tackling the display and absence of work by women artists in art galleries and museums. Coinciding with an Art + Feminism Wiki Edit-a-thon on May 25 is a comments function on British Art Studies that will encourage readers to join the debate. Matthew Craske explores the representation of conversation in eighteenth-century painting, while a recording of Jules Prown conversing with Mark Hallett examines John Singleton Copley’s engagement with the world of prints. Katy Barrett’s Look First feature, to be published in waves over the coming weeks, takes us on an interactive exploration of the “Longitude Problem,” drawing on contributions from different fields as it grows. Using a detail from the final plate of Hogarth’s A Rake’s Progress as its starting point, the article opens out to include a range of connected images and objects, including a Twitter tour of associated places and sites.
Finally, the themes of collecting and display are key to both Anne Nellis Richter’s study of the art gallery at Cleveland House in the early nineteenth century and to John Chu’s article exploring the art-collecting practices of John Frederick Sackville, third Duke of Dorset (1745–99), and his remarkable investment in the “fancy” paintings of Sir Joshua Reynolds.