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Staff Publications and Commitments NATIONAL GALLERY STAFF PUBLICATIONS April 2015 – March 2016 SUSANNA AVERY-QUASH MORWENNA BLEWETT ALLISON GOUDIE Senior Research Curator (History of Collecting) Assistant Restorer Harry M. Weinrebe Curatorial Assistant ‘Botticelli and Victorian Art Collecting’, in Mark ‘Incident Preparedness at the National Gallery: ‘Verso una storia popolare del Sarto di Moroni Evans and Stefan Weppelmann (eds), Botticelli Developing a Grab Bag for Rapid Response in Gran Bretagna’, in M. Cristina Rodeschini Reimagined, exh. cat., Gemaldegalerie, Berlin; to a Corrosive Attack’, Studies in Conservation, (ed.), Giovanni Battista Moroni: Il Sarto, exh. cat., Victoria and Albert Museum, London 2015, vol. 60, no. 6 (2015), pp. 393–417 (with Accademia Carrara, Bergamo 2015, pp. 33–9 pp. 68–74 Lynne Harrison and David Peggie) ‘Picture Notes’, in Xavier Bray, Goya: The Portraits, ‘The Art of Conservation II: Sir Charles Eastlake ‘Sebastian Isepp Painting Restorer, London exh. cat., The National Gallery, London 2015, and Conservation at the National Gallery, & Oxford’, Ashmolean Museum of Art and pp. 242–53 London’, The Burlington Magazine, CLVII Archaeology, University of Oxford, Magazine, Book reviews: Amy Freund, Portraiture and Politics (December 2015), pp. 846–54 no. 71 (Spring 2016) in Revolutionary France (Pennsylvania University ‘William Hazlitt’s Account of “Mr Angerstein’s ‘When Cultural Property is Just Property: How Press, 2014); Richard Taws, The Politics of the Collection of Pictures”’, Tate Papers, no. 24 English Law Approaches Damage to Movable Provisional: Art and Ephemera in Revolutionary (Autumn 2015): http://www.tate.org.uk/ versus Immovable Cultural Property’, Art, France (Pennsylvania University Press, 2013), research/publications/tate-papers/24/william- Antiquity and Law, vol. XX, no. 4 (2015) Oxford Art Journal, vol. 38, no. 2 (June 2015), hazlitts-account-of-mr-angersteins-collection- ‘Institutional Restorers, Cultural Plunder, and pp. 288–92 of-pictures New Collections’, in Tanja Baensch, Kristina “Boxall is interested only in the Great Masters Kratz-Kessemeier and Dorothee Wimmer (eds), LYNNE HARRISON ... Well, we’ll see about that!” William Boxall, Museen in Nationalsozialismus: Akteure-Orte- Paintings Conservator Federico Sacchi and Cremonese Art at the Politik, Cologne, Weimar and Vienna 2016, ‘Incident Preparedness at the National Gallery: National Gallery’, Journal of the History of pp. 147–68 Developing a Grab Bag for Rapid Response to Collections (with Silvia Davoli): first published a Corrosive Attack’, Studies in Conservation, vol. online, September 2015: doi:10.1093/jhc/fhv028 CAROLINE CAMPBELL 60, no. 6 (2015), pp. 393–417 (with Morwenna Exhibition review: Beauty and Power – Plymouth’s The Jacob Rothschild Head of the Curatorial Department Blewett and David Peggie) Greatest Gift – The Cottonian Collection (Plymouth ‘Botticelli and the Bottega’, in Mark Evans and City Museum and Art Gallery, 2015), Journal of Stefan Weppelmann (eds), Botticelli Reimagined, CATHERINE HIGGITT the History of Collections, May 2015: doi:10.1093/ exh. cat., Gemäldegalerie, Berlin; Victoria and Principal Scientific Officer jhc/fhv009 Albert Museum, London, 2015–16, pp. 24–9 ‘Tools for Eternity: Pre-Columbian Workbaskets “A Gallery of Art”: Fresh Light on the Art Exhibition review: Carpaccio (Palazzo Sarcellini, as Textile Production Toolkits and Grave Collection of Sir Charles Eastlake (1793–1865)’, Conegliano), The Burlington Magazine, vol. Offerings’, British Museum Technical Research The British Art Journal, vol. XV, no. 3 CLVII (June 2015), pp. 433–5 Bulletin, vol. 9 (2015), pp. 65–86 (with Karen (Spring 2015), pp. 11–37 Exhibition review: Ornament and Illusion: Carlo E. Price, Thibaut Devièse, Colin McEwan Book review: Guillaume Faroult, Monica Crivelli of Venice (Isabella Stewart Gardner and Bill Sillar) Preti and Christoph Vogtherr (eds), Delicious Museum, Boston), The Burlington Magazine, ‘The Admonitions Scroll: Condition, Treatment Decadence: The Rediscovery of French Eighteenth- vol. CLVIII (February 2016), pp. 161–2 and Housing 1903–2014’, British Museum Century Painting in the Nineteenth Century Technical Research Bulletin, vol. 9 (2015), pp. (Ashgate, 2014), Journal of the History of JILL DUNKERTON 25–43 (with Joanna Kosek, Jin Xian Qiu, Collections, vol. 28, issue 1 (March 2016), Senior Restorer Keisuke Sugiyama, Carol Weiss, David Saunders, pp. 155–7: doi:10.1093/jhc/f hv005 ‘Developments in the Technique of Jacopo Janet Ambers and Caroline Cartwright) Bassano’s Works in the National Gallery, RACHEL BILLINGE London’, in Jacopo Bassano, i figli, la scuola, HELEN HOWARD Research Associate, Conservation l’eredità, Atti del Convegno Internazionale di Studio, Scientific Officer – Inorganic Analyst ‘The Technique of the Wilton Diptych’, in Dillian Bassano del Grappa, Museo Civico – Padova, Contributions to ‘Titian after 1540: Technique Gordon, The Wilton Diptych, London 2015, pp. Università degli Studi, Archivio Antico del Bo, 30 and Style in his Later Works’, and ‘Catalogue’, 94–108 (with Ashok Roy, Martin Wyld and marzo – 2 aprile 2011, Bollettino del Museo Civico, National Gallery Technical Bulletin, Titian’s Painting Dillian Gordon) 30–4 (2009–13), Naples 2014, III, pp. 752–65, Technique from 1540, vol. 36 (2015), pp. 6–39 and ‘Artists’ Underdrawing and the Workshop Transfer figs pp. 901–7 (with Marika Spring) pp. 40–115 (Jill Dunkerton and Marika Spring, Process’, in Tarnya Cooper, Aviva Burnstock, ‘Titian after 1540: Technique and Style in his with contributions from Rachel Billinge, Helen Maurice Howard and Edward Town (eds), Later Works’, and ‘Catalogue’, National Gallery Howard, Gabriella Macaro, Rachel Morrison, Painting in Britain 1500–1630, Oxford 2015, pp. Technical Bulletin, Titian’s Painting Technique from David Peggie, Ashok Roy, Lesley Stevenson 138–45 1540, vol. 36 (2015), pp. 6–39 and pp. 40–115 and Nelly von Aderkas) Contributions to ‘Titian after 1540: Technique (with Marika Spring, with contributions from and Style in his Later Works’, and ‘Catalogue’, Rachel Billinge, Helen Howard, Gabriella SIÂN HUNTER DODSWORTH National Gallery Technical Bulletin, Titian’s Painting Macaro, Rachel Morrison, David Peggie, Ashok Adult Learning Programmer Technique from 1540, vol. 36 (2015), pp. 6–39 and Roy, Lesley Stevenson and Nelly von Aderkas) ‘Partnerships and Plurality: Community pp. 40–115 (Jill Dunkerton and Marika Spring, Partnerships and Evolving Practices’, in with contributions from Rachel Billinge, Helen SUSAN FOISTER K. McSweeny and J. Kavanagh (eds), Howard, Gabriella Macaro, Rachel Morrison, Director of Public Engagement (and Deputy Director) Museum Participation: New Directions for David Peggie, Ashok Roy, Lesley Stevenson and ‘Distinctive or Different? English Artistic Practices Audience Collaborations, London 2016 Nelly von Aderkas) in a European Context’, in Tarnya Cooper, (with L. Cruickshanks) Aviva Burnstock, Maurice Howard and Edward Town (eds), Painting in Britain 1500–1630, ANNA KOOPSTRA Oxford 2015, pp. 204–15 Simon Sainsbury Curatorial Assistant, Paintings before 1500 Catalogue entries in Susie Nash (ed.), Late Medieval Panel Paintings II: Material, Methods, Meanings, London 2015 1 THE NATIONAL GALLERY REVIEW OF THE YEAR 2015–2016 NATIONAL GALLERY STAFF PUBLICATIONS RACHEL MORRISON CHRISTOPHER RIOPELLE MARIKA SPRING Scientific Officer – Organic Analyst Curator of Post-1800 Paintings Head of Science Contributions to ‘Titian after 1540: Technique Delacroix and the Rise of Modern Art, exh. cat., ‘Developments in the Technique of Jacopo and Style in his Later Works’, and ‘Catalogue’, The National Gallery, London 2015 (with Bassano’s Works in the National Gallery, National Gallery Technical Bulletin, Titian’s Painting Patrick Noon) London’, in Jacopo Bassano, i figli, la scuola, Technique from 1540, vol. 36 (2015), pp. 6–39 and ‘Los retratos italianos, 1806–1824’ and individual l’eredità, Atti del Convegno Internazionale di Studio, pp. 40–115 (Jill Dunkerton and Marika Spring, entries on eight portraits, in Vincent Pomarède Bassano del Grappa, Museo Civico – Padova, with contributions from Rachel Billinge, Helen and Carlos G. Navarro (eds), Ingres, exh. cat., Università degli Studi, Archivio Antico del Bo, 30 Howard, Gabriella Macaro, Rachel Morrison, Museo Nacional del Prado, Madrid 2015, marzo – 2 aprile 2011, Bollettino del Museo Civico, David Peggie, Ashok Roy, Lesley Stevenson pp. 187–213 30–4 (2009–13), Naples 2014, III, pp. 752–65, and Nelly von Aderkas) ‘La belleza extraña de Ingres’ (Ingres’s Strange figs pp. 901–7 (with Jill Dunkerton) Beauty), in Historia de la belleza: De Fidias a ‘High resolution Fourier domain Optical HARRIET O’NEILL Picasso, Fundación Amigos, Museo Nacional Coherence Tomography at 2 microns for painted Vivmar Curatorial Assistant (to March 2016) del Prado, Madrid 2015, pp. 209–28 objects’, in Luca Pezzati; Piotr Targowski Contributions to Nicholas Penny and Peter Book review: Marnin Young, Realism in the Age (eds), Proceedings of SPIE 9527, Optics for Arts, Schade, The Sansovino Frame, exh. cat., of Impressionism: Painting and the Politics of Time Architecture, and Archaeology V, vol. 9527, 952705 The National Gallery, London 2015 (Yale University Press, 2015), The Art Newspaper, (2015): http://dx.doi.org/10.1117/12.2185071 March 2016 (with H. Liang, C.S. Cheung, J.M.O. Daniel, DAVID A. PEGGIE Book review: Christoph Vogtherr, Monica Preti M. Tokurakawa, W.A. Clarkson) Scientific Officer – Organic Analyst and Guillaume Faroult (eds), Delicious Decadence: ‘Titian
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