@BurlingtonMag

The Burlington Magazine is the world's leading art periodical. This account is no longer in use. Follow us on Instagram: theburlingtonmagazine

 London
burlington.org.uk
Joined October 2009
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This account is no longer in use. Follow us on Instagram: theburlingtonmagazine or visit our website.
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Burlington Magazine retweeted
Robin Simon@robinsimonbaj3 Jun 2025
Magnificent editorial in @BurlingtonMag excoriating the Trump administration's destructive attack on the arts, wider culture and international relations burlington.org.uk/archive/ed…
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The Burlington Magazine and the @Cambridge_Uni’s new prize for research on South Netherlandish Art 1400–1800 is open for applications. We are seeking previously unpublished essays of 1000–1500 words from early career scholars worldwide. For more info: burlington.org.uk/jobs-notic…
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This blazing June issue allows armchair travellers to go on extensive tours and visit virtually early Renaissance Siena, seventeenth-century Spain and Portugal, eighteenth-century Venice and twentieth-century London. ➡️ burlington.org.uk/archive/ba…
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‘Electric Dreams: Art and Technology Before the Internet’ at @Tate Modern presents a rich view of how artists from across the world engaged with the bleeding edge of technology and science in the post-war period. Read Iain Campbell’s review of the show: burlington.org.uk/archive/ba…
‘Superficie magnetica’, by Davide Boriani. 1965. Aluminium, iron filings, polyurethane foam, magnets, motor and sensor, 80 by 87 by 26 cm. (Private collection; exh. Tate Modern, London).

ALT ‘Superficie magnetica’, by Davide Boriani. 1965. Aluminium, iron filings, polyurethane foam, magnets, motor and sensor, 80 by 87 by 26 cm. (Private collection; exh. Tate Modern, London).

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Artistic parallels for Jean-François Millet’s work can be found in the work of contemporaries. They capitalised on the public’s familiarity with Millet, which was later echoed in imagery of the 1880s that became aligned with French politics. ⁠ ➡️ burlington.org.uk/archive/ba…
‘The day’s work done’, by Jean-Charles Cazin. 1888.

ALT ‘The day’s work done’, by Jean-Charles Cazin. 1888.

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Last chance to get 40% off our 1-year subscriptions Enjoy a year of art-historical discoveries, expert reviews of the most significant books and exhibitions, and comprehensive access to over 120 years of archived content. shop.burlington.org.uk/offer…
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A worthy accompaniment to the first retrospective of Ribera in a French museum, at @PetitPalais_, ‘Ribera: Ténèbres et lumière’ offers new insights into the artist’s Roman period. Read Francesca Cappelletti’s review: burlington.org.uk/archive/ba…
Judgment of Solomon, by Jusepe de Ribera. c.1609. Oil on canvas, 153 by 201 cm. (Galleria Borghese, Rome).

ALT Judgment of Solomon, by Jusepe de Ribera. c.1609. Oil on canvas, 153 by 201 cm. (Galleria Borghese, Rome).

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An immensely successful director of @WallaceMuseum and a pre-eminent scholar of 18th-century Sèvres porcelain, Rosalind Savill (1951–2024) had a profound impact. Read our Editor Christopher Baker and Stephen Duffy’s commemoration for free: burlington.org.uk/archive/ob…
Detail of ‘Dame Rosalind Joy Savill’, by Lucy Anne Dickens. 2001. Chromogenic print. (© Lucy Dickens; National Portrait Gallery, London).

ALT Detail of ‘Dame Rosalind Joy Savill’, by Lucy Anne Dickens. 2001. Chromogenic print. (© Lucy Dickens; National Portrait Gallery, London).

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During the height of the Franco-Prussian War, Gaston Tissandier made a perilous balloon journey from Paris to deliver correspondence from the besieged city. The flight is commemorated in a small bowl by Joséphine-Arthurine Blot. ⁠ Read more: burlington.org.uk/archive/ba…
Bowl honouring Gaston Tissandier, by Joséphine-Arthurine Blot. c.1871. Enamel and foil on copper, diameter 16.5 cm. (Metropolitan Museum of Art, New York).

ALT Bowl honouring Gaston Tissandier, by Joséphine-Arthurine Blot. c.1871. Enamel and foil on copper, diameter 16.5 cm. (Metropolitan Museum of Art, New York).

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'Maria Lai: A Journey to America' at @magazzino is the first retrospective in North America dedicated to Lai’s œuvre, yet its merits extend far beyond a formal presentation of the artist to a non-Italian audience. Read for free: burlington.org.uk/archive/ex…
‘Ovile’, by Maria Lai. 1959. Mixed media on canvas, 50 by 70 cm. (© Archivio Maria Lai; Artists Rights Society, New York; Museo d’arte della provincial di Nuoro; exh. Magazzino Italian Art, Cold Spring).

ALT ‘Ovile’, by Maria Lai. 1959. Mixed media on canvas, 50 by 70 cm. (© Archivio Maria Lai; Artists Rights Society, New York; Museo d’arte della provincial di Nuoro; exh. Magazzino Italian Art, Cold Spring).

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We deliver readable and accessible articles, discoveries, and compelling interpretations across a broad spectrum that keep readers informed and inspired. For a limited time only we are offering 40% off for new readers. shop.burlington.org.uk/offer…
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Greuze’s paintings, known for their charm, were lauded by the artist’s contemporaries. Two early compositions were part of the collection of Madame de Pompadour; stylistic and technical analysis of them expands their early provenance. ⁠ Read more here: burlington.org.uk/archive/ba…
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‘Caspar David Friedrich: The Soul of Nature’ at @metmuseum offers a compelling and comprehensive overview of Friedrich’s work for an American audience. Read Nina Amstutz’s review: burlington.org.uk/archive/ba…
'Ruins at Oybin', by Caspar David Friedrich. c.1812. Oil on canvas, 65 by 47 cm. (Hamburger Kunsthalle; exh. Metropolitan Museum of Art, New York).

ALT 'Ruins at Oybin', by Caspar David Friedrich. c.1812. Oil on canvas, 65 by 47 cm. (Hamburger Kunsthalle; exh. Metropolitan Museum of Art, New York).

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Reactions to French works published in British newspapers and journals between 1814 and 1830 were often negative in tone and politically motivated. Despite this criticism, these accounts provide a valuable perspective on the art of the period. ⁠ burlington.org.uk/archive/ba…
‘Emperor Napoleon in his study at the Tuileries’, by Jacques-Louis David. 1812. Oil on canvas, 205 by 127.5 cm. (Musée national du château, Fontainebleau; Bridgeman Images).

ALT ‘Emperor Napoleon in his study at the Tuileries’, by Jacques-Louis David. 1812. Oil on canvas, 205 by 127.5 cm. (Musée national du château, Fontainebleau; Bridgeman Images).

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The costume institute and its annual gala at @metmuseum have become fixtures on the museum world’s map and calendar. Read May's Editorial, 'Fashionistas', for free: burlington.org.uk/archive/ed…
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Intriguing discoveries about French art ranging from the medieval period to the late 19th century are published in May, alongside a variety of reviews covering subjects such as Cimabue, Orphism and the ceramics of Julian Stair. burlington.org.uk/archive/ba…
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Immerse yourself in a resource cherished by art enthusiasts and professionals alike with a subscription to our Magazine. For a limited time only, enjoy 40% off: our biggest discount. shop.burlington.org.uk/offer…
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Fifty-seven paintings by Rachel Ruysch have been brought together for the first retrospective currently at @ToledoMuseum, accompanied by a comprehensive, richly illustrated catalogue. Read Anna C. Koldeweij’s review: burlington.org.uk/archive/ba…
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Research into a portrait at @YaleBritishArt has revealed the identities of twelve Jacobean portraits attributed to the Flemish painter Paul van Somer. Read Edward Town and Jessica David’s article in our April issue: burlington.org.uk/archive/ba…
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