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April 2018 – March 2019 NATIONAL GALLERY STAFF PUBLICATIONS April 2018 – March 2019 PAUL ACKROYD RACHEL BILLINGE THOMAS DALLA COSTA Restorer Research Associate, Conservation Harry M. Weinrebe Curatorial Fellow Catalogue entry, in J. Molina Figueras (ed.), ‘The Beaune Last Judgement. Sorting out ‘Drawings and Draughtsmanship in Sixteenth- Bartolomé Bermejo, exh. cat., Museo Nacional Rogier van der Weyden and his Assistants’, Century Venice: Tintoretto and Veronese del Prado, Madrid, and Museu Nacional d’Art in A. Dubois, J. Couvert and T.-H. Borchert in Comparison’, Artibus et Historiae, no. 78, de Catalunya, Barcelona 2018–19, pp. 124–8 (eds), Technical Studies of Paintings: Problems of XXXIX (2018), pp. 141–54 (with L. Treves). Attribution (15th-17th Centuries): Papers presented ‘I disegni preparatori: il processo creativo di at the Nineteenth Symposium for the Study of Paolo Veronese tra dato visibile e invisibile’, SUSANNA AVERY-QUASH Underdrawing and Technology in Painting held in in F. Magani, C. Scardellato and G. Falezza Senior Research Curator (History of Collecting) Bruges, 11–13 September 2014, 2018, pp. 26–49 (eds), Paolo Veronese. Nuovi studi e ricerche, ‘The Georgian London Town House: Building, (with G. Steyaert) Venice 2018, pp. 24–43 Collecting and Display, London 2018 ‘Giovanni Bellini’s Painting Technique’, Tintoretto in Venice. A Guide, Venice 2018 (editor, with K. Retford) National Gallery Technical Bulletin, vol. 39 (editor, with B. Echols and F. Ilchman) ‘John Julius Angerstein and the Development (2018), pp. 4–25 (J. Dunkerton and Book review: D. Gisolfi, Paolo Veronese and the of his Art Collection at No. 100, Pall Mall, M. Spring, with R. Billinge and C. Higgitt, Practice of Painting in Late Renaissance Venice London’, in S. Avery-Quash and K. Retford and contributions from D.A. Peggie and (Yale University Press, 2017), caa.reviews (eds), The Georgian London Town House: C. Campbell) (March 2019) Building, Collecting and Display, London 2018, ‘Catalogue’, National Gallery Technical Bulletin, pp. 247–66 vol. 39 (2018), pp. 26–105 (J. Dunkerton JILL DUNKERTON ‘John Gibson’s Friendship with Charles and M. Spring, with R. Billinge and C. Senior Restorer Eastlake and its Importance in Securing Higgitt, and contributions from D.A. Peggie, ‘Mantegna and Bellini: Contrasting Approaches Gibson’s Reputation in London’, Tate Papers, G. Macaro, R. Morrison, R. Bellucci, J.-B. to Technique’, in C. Campbell, D. Korbacher, no. 29 (Spring 2018): www.tate.org.uk/ Bodiguel and C. Pasquali) N. Rowley and S. Vowles (eds), Mantegna and research/publications/tate-papers/29/john- Bellini, exh. cat., The National Gallery, gibsoncharles-eastlake CAROLINE CAMPBELL London 2018, pp. 51–67 (with B. Hartwieg) ‘Pre-Van Eycks’: The Influence of Early Director of Collections and Research ‘Giovanni Bellini’s Painting Technique’, National Netherlandish and German Art on the Mantegna and Bellini, exh. cat., The National Gallery Technical Bulletin, vol. 39 (2018), PreRaphaelites’, in M.E. Buron, Truth and Gallery, London 2018 (editor, with D. pp. 4–25 (J. Dunkerton and M. Spring, with Beauty: The Pre-Raphaelites and the Old Masters, Korbacher, N. Rowley and S. Vowles) R. Billinge and C. Higgitt, and contributions exh. cat., Legion of Honor, Fine Arts Museums ‘Samuel Courtauld: Man and Collector’, from D.A. Peggie and C. Campbell) of San Francisco 2018, pp. 31–8 in A. Robbins, Courtauld Impressionists: ‘Catalogue’, National Gallery Technical Bulletin, ‘“Substituting an approach to historical From Manet to Cézanne, exh. cat., vol. 39 (2018), pp. 26–105 (J. Dunkerton evidence for the vagueness of speculation”: The National Gallery, London 2018, pp. 8–17 and M. Spring, with R. Billinge and C. Charles Lock Eastlake and Johann Contributions to ‘Giovanni Bellini’s Painting Higgitt, and contributions from D.A. Peggie, David Passavant’s contribution to the Technique’, National Gallery Technical Bulletin, G. Macaro, R. Morrison, R. Bellucci, J.-B. professionalization of art-historical study vol. 39 (2018), pp. 4–25 (J. Dunkerton and Bodiguel and C. Pasquali) through source-based research’, Journal of Art M. Spring, with R. Billinge and C. Higgitt, ‘Restored to the Light: Giovanni Bellini’s Historiography, no. 18 (June 2018), pp. 1–49: and contributions from D.A. Peggie and The Assassination of Saint Peter Martyr’, arthistoriography.files.wordpress.com/2018/05/ C. Campbell) National Gallery Technical Bulletin, vol. 39 avery-quash-and-meyer.pdf (with C. Meyer) ‘Painting for Palaces’, in A. Schumacher (2018), pp. 106–23 Book review: ‘A Connoisseur and His Clients: (ed.), Florence and its Painters: From Giotto ‘Painting Techniques in Sixteenth–Century The Correspondence of Charles Fairfax Murray to Leonardo da Vinci, exh. cat., Bayerische Venice’, in B. Eclercy and H. Aurenhammer with Burton, Bode and Meyer (1867–1914)’, ed. Staatsgemäldesammlungen, Munich 2018, (eds), Titian and the Renaissance in Venice, exh. P. Tucker, Walpole Society (2017), The Burlington pp. 59–70 cat., Städel Museum, Frankfurt 2019, pp. 29–36 Magazine, vol. CLX (January 2018), pp. 883–4 Book review: ‘“I consider I am now to collect CARLO CORSATO GABRIELE FINALDI facts not form theories”: Mary Merrifield Educator Director and empirical research into technical art ‘Colour of Devotion: Veronese’s Crucifixion in ‘The Greatest Thing in the World’, in history during the 1840s: review of Giovanni the Musée du Louvre’, Artibus et Historiae, no. Sorolla: Spanish Master of Light, exh. cat., Mazzaferro, La Donna che amava I colori: 78, XXXIX (2018), pp. 125–40 The National Gallery, London 2019, pp. 8–15 Mary P. Merrifield: Lettere dall’Italia, 1845–1846’ Exhibition review: Ribera: Art of Violence, (Officina Libraria, 2018), Journal of Art ALAN CROOKHAM Dulwich Picture Gallery, London, Historiography, no. 19 (December 2018), Research Centre Manager The Burlington Magazine, vol. CLXI pp. 1–18 ‘Curatorial and Archival Approaches to the (January 2019), pp. 58–60 National Gallery Archives’, Archives and Records: The Journal of the Archives and Records Association, JONATHAN FRANKLIN vol. 39, issue 1 (Spring 2018) (with R. Wragg) Librarian ‘Another Piece of the Mosaic. Trecento ‘Museum Libraries and Library History: Influences on The Albert Memorial’, Predella. Joining the Research Conversation at the Journal of Visual Arts, no. 41–2 (2017: published National Gallery’, Art Libraries Journal, vol. 44, September 2018) no. 1 (January 2019), pp. 19–22 THE NATIONAL GALLERY REVIEW OF THE YEAR 2018–2019 1 NATIONAL GALLERY STAFF PUBLICATIONS ELENA GREER CATHERINE HIGGITT KRISTINA MANDY Author, Collections Information Project Principal Scientific Officer Assistant Conservator ‘Sir Frederic Burton and the Controversy of Art- ‘Giovanni Bellini’s Painting Technique’, ‘Notes from a Studio: The Patrick Lindsay Historical Expertise at the National Gallery, National Gallery Technical Bulletin, vol. 39 Conservation Fellowship at the National London, in the Late Nineteenth Century’, (2018), pp. 4–25 (J. Dunkerton and Gallery, London’, The Picture Restorer, vol. 53 Journal of Art Historiography, no. 18 (June 2018) M. Spring, with R. Billinge and C. Higgitt, (2018), pp. 28–33 (with A. Casaccia and Entries on Italian and Northern European and contributions from D.A. Peggie and C. Shepherd) Renaissance painting, in L. Beard (ed.), C. Campbell) 30-Second Great Art: From Masaccio to Matisse, ‘Catalogue’, National Gallery Technical Bulletin, MARTA MELCHIORRE DI CRESCENZO 50 artworks that changed the way we see things, vol. 39 (2018), pp. 26–105 (J. Dunkerton Scientist Brighton 2018 and M. Spring, with R. Billinge and ‘Identification, Characterisation and Mapping C. Higgitt, and contributions from D.A. of Calomel as “mercury white”, a previously LYNNE HARRISON Peggie, G. Macaro, R. Morrison, R. Bellucci, undocumented pigment from South America, Conservator J.-B. Bodiguel and C. Pasquali) and its use on a barniz de Pasto cabinet at the ‘Palaeoproteomic Profiling of Conservation ‘Finding Common Ground: The Role of Victoria and Albert Museum’, Microchemical Layers on a 14th Century Italian Wall Painting’, Preventive Conservation in Response to the Journal, vol. 143 (December 2018), pp. 220–7: Angewandte Chemie, vol. 25 (March 2018): Expectations of Contemporary Audiences doi.org/10.1016/j.microc.2018.08.010 DOI: 10.1002/anie.201713020 (E. Cappellini, at the National Gallery, London’, Studies in (L. Burgio, D. Melchar, S. Strekopytov, M. Mackie, P. Rüther, D. Samodova, F. di Conservation, vol. 63 (2018), pp. 101–7 D.A. Peggie, M. Melchiorre Di Crescenzo, Gianvincenzo, C. Granzotto, D. Lyon, D.A. (with L. Harrison and J. Padfield) B. Keneghan, J. Najorka, T. Goral, Peggie, H. Howard, L. Harrison, L.J. Jensen ‘Variations on a Theme: Re-evaluating the A. Garbout and B.L. Clark) and J.V. Olsen) Performance of Modified Microclimates for the ‘The Scientific Examination of Polychrome ‘Pastel Roundtable: A Study Day at the National Protection of Old Master Paintings’, The Picture Sculptures in Friuli (Italy): New Insights Gallery, London April 30, 2018’, Journal of Paper Restorer, vol. 52 (Spring 2018), pp. 22–31 into the Materials and Painting Techniques Conservation, vol. 19, issue 1 (2018), pp. 33–5: (with L. Harrison and D. Saunders) of German Workshops from the 17th to the DOI: 10.1080/18680860.2019.1580005 (with late 18th Century’, in De Roemer, Carrason L. Sauvage and H. Stratis) HELEN HOWARD and Bruquetas (eds), Flesh-Tones in Polychrome ‘Protecting Paintings from Vandalism: Updating Senior Scientist Sculpture, proceedings of the Interim meeting
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