Art

Scholar, humanist, aristocrat, Barbaro achieved distinction in many fields, and served the Venetian Republic well, as Alan Haynes records.

R.T. Godfrey reflects on the nuances of Faithorne’s large range of prints, which were based both on his own drawings as well as the work of other artists.

John Villiers describes the rich exchange of artistic ideas between Europe and the Far East during the seventeenth, eighteenth and early-nineteenth centuries. 

F.E. Halliday finds that every age, from the first Elizabethan to the present one, has evolved its own methods of producing Shakespeare; sometimes with results that might have surprised the dramatist.

Dorothy George looks at the development of political - and often satirical - public artwork in early modern Britain.

Paul Lay reflects on a recent trip to Naples, the closest thing Europe has to a living, breathing medieval city.

Soldiers of fortune yet passionate lovers of art—the Gonzagas were a typical product of Renaissance Italy. By F.M. Godfrey.

Da Vinci's scientific observations proved inseparable from his intentions as a painter, Kenneth Clark writes. But as a disciple of experience ahead of his time, the impracticability of Da Vinci's visions would come to haunt him.

Thomas Balston profiles John Boydell, Lord Mayor of London in 1790, who created the first great printselling business in Britain, and could count Reynolds, Romney, Fuseli, Benjamin West, and Wright of Derby among the artists who worked for him.

F.M. Godfrey sifts through diverse depictions of Italy's Renaissance family.