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Charles Lock Eastlake
Unlocking Eastlake Unlocking Eastlake
Eastlake's Scholarly and Artistic Achievements Wednesday 10
Národní Galerie V Čr a Uk
The Turner Collector: Elhanan Bicknell
Art History Scholarship Between the 1820S and 1870S: Contextualising the Eastlake Library at the National Gallery, London
Drawing After the Antique at the British Museum
Formování Veřejného Zájmu: Studie Vzniku a Rozvoje Londýnské National Gallery
GIORGIO VASARI, the Life of GIOVANNI ANGELICO DA
John Platt (1842-1902), a Late Victorian Extra-Illustrator, and His Collection
Cecilia Riva an Art World Insider: Austen Henry Layard and the Nineteenth-Century European Art Trade
The London Library and the Intelligentsia of Victorian London
Sir George Scharf As an Emerging Professional Within the Nineteenth-Century Museum World
Drawing After the Antique at the British Museum
Eastlake and Napoleon Wednesday 31 October 2012 Victoria Smith
Charles Lock Eastlake and Johann David Passavant’S Contribution to the Professionalization of Art-Historical Study Through Source- Based Research1
Introduction and Research State
The Promise and Ambition of John Gadsby Chapman
Democratising Beauty in Nineteenth- Century Britain
Top View
2 Vision, Spatiality and Connoisseurship Alison
Hello, and Welcome to the Autumn BAVS Newsletter! Autumn 2011
The Career of Sidney Colvin: a Transitional Moment at the Fin-De-Siècle
Sir Frederic Burton and the Controversy of Art- Historical Expertise at the National Gallery, London, in the Late Nineteenth Century
Two Hundred Years of Women Benefactors at the National Gallery: an Exercise in Mapping Uncharted Territory
The Eastlakes, Nationhood, and the Purchase of Italian Art for the National Gallery, London Claire Thomas
Two Hundred Years of Women Benefactors at the National Gallery: an Exercise in Mapping Uncharted Territory
April 2018 – March 2019
John Ruskin and the National Gallery: Evolving Ideas About Curating the Nation’S Paintings During the Second Half of the Nineteenth Century
'A Revolution in Art': Maria Callcott on Poussin, Painting, and the Primitives
'How to Observe': Charles Eastlake and a New Professionalism for the Arts