Colnaghi Foundation Journal 01 - Page 7



E DITO R I AL COMMITTEE
Charles Avery Art Historian specializing in European
Sculpture, particularly Italian, French and English.
Xavier F. Salomon Peter Jay Sharp Chief Curator, The Frick
Collection, New York.
Colin Bailey Director, Morgan Library and Museum, New York.
Francesca Baldassari Art Historian.
Salvador Salort-Pons Director, President & CEO, Detroit
Institute of Arts.
Piers Baker-Bates Visiting Research Associate in Art History,
The Open University.
Jack Soultanian Conservator, The Metropolitan Museum of
Art, New York.
Bruce Boucher Director, Sir John Soane’s Museum, London.
Nicola Spinosa Former Director of Museo di Capodimonte,
Naples.
Till-Holger Borchert Director, Musea Brugge.
Antonia Boström Keeper of Sculpture, Metalwork, Ceramics
& Glass, Victoria & Albert Museum, London.
Edgar Peters Bowron Former Audrey Jones Beck Curator of
European Art, The Museum of Fine Arts, Houston.
Xavier Bray Director, The Wallace Collection, London.
Xanthe Brooke Curator of Continental European Art, Walker
Art Gallery, Liverpool.
Christopher Brown Art Historian specializing in Dutch and
Flemish Seventeenth-Century Art, former Director, Ashmolean
Museum, Oxford.
Caroline Campbell The Jacob Rothschild Head of the
Curatorial Department and Curator of Italian Paintings before
1500, The National Gallery, London.
Ignacio Cano Conservador & Jefe Departamento Difusión,
Museo de Bellas Artes de Sevilla.
Peter Cherry Assistant Professor, Trinity College Dublin.
Carl Strehlke Adjunct Emeritus, Philadelphia Museum of Art.
Holly Trusted Senior Curator of Sculpture, Victoria & Albert
Museum, London.
Benjamin van Beneden Director, Rubenshuis, Antwerp.
Mark Westgarth Programme Director and Lecturer in Art History
and Museum Studies, School of Fine Art, University of Leeds.
Betsy Wieseman Chair of European Art from Classical
Antiquity to 1800 and Paul J. and Edith Ingalls Vignos, Jr.
Curator of European Paintings and Sculpture, 1500-1800,
The Cleveland Museum of Art.
Matthias Wivel Curator, Sixteenth-Century Italian Paintings,
The National Gallery, London.
Yao-Fen You Associate Curator of European Sculpture and
Decorative Arts, Detroit Institute of Arts.
Dimitrios Zikos Curator of Sculpture working with the Museo
Nazionale del Bargello, Florence.
Colnaghi Studies Journal is produced biannually by the Colnaghi Foundation. Its purpose is
to publish texts on significant pre-twentieth-century artworks in the European tradition
that have recently come to light or about which new research is underway, as well as
on the history of their collection. Texts about artworks should place them within the
broader context of the artist’s oeuvre, provide visual analysis and comparative images.
Manuscripts may be sent at any time and will be reviewed by members of the journal’s
Editorial Committee, composed of specialists on painting, sculpture, architecture,
conservation, decorative arts, and the history of collecting, covering a wide range
of periods and geographical areas. Texts should be between 1000 and 10,000 words
(including endnotes) and include five to ten illustrations depending on the length of the
article, with at least two images of the object itself and appropriate comparative images.
The Colnaghi Foundation is a platform for realizing a variety of projects in
collaboration with scholars, museums, and educational institutions worldwide. These
include organizing exhibitions and other educational events, supporting scholarly
research, and publishing Colnaghi Studies Journal as well as other monographs, conference
proceedings, and catalogues.
Rosario Coppel Art Historian specializing in Spanish Sculpture.
Christina Currie Head of Scientific Imagery at the Royal
Institute for Cultural Heritage (KIK/IRPA), Brussels.
Gail Feigenbaum Associate Director, Getty Research Institute,
Los Angeles.
EDITO RS
Nicola Jennings, Jeremy Howard and José Gómez Frechina
Associate Editor: Irene Brooke
Peter Humfrey Emeritus Professor, School of Art History,
University of St. Andrews.
Submissions should be emailed to: journal@colnaghi.com.
Paul Joannides Emeritus Professor of Art History, University of
Cambridge.
Project Director: Ricardo Fernández-Deu
Kirstin Kennedy Curator of Silverwork, Metalwork, Victoria &
Albert Museum, London.
Project coordinators: Sarah Gallagher and Hector San José
Alastair Laing Former Curator of Pictures and Sculpture at the
National Trust.
Barbara Lasic Lecturer in Art History, University of Buckingham.
Riccardo Lattuada Full Professor of Art History of the
Modern Age, Università degli studi della Campania “Luigi
Vanvitelli”, Naples.
Designer: Laura Eguiluz de la Rica
Picture researcher: Elisa Salazar and Sarah Gallagher
Published by the Colnaghi Foundation
Copyright Colnaghi Foundation
Please direct all subscription enquiries and back issue requests to:
The Colnaghi Foundation, 26 Bury Street, London SW1Y 6AL
Patrick Lenaghan Curator of Prints and Photographs, The
Hispanic Society of America, New York.
Patrice Marandel Former Chief Curator/Department Head of
European Painting and Sculpture, Los Angeles County Museum of Art.
Jennifer Montagu Art Historian specializing in Italian Baroque.
Larry Nichols William Hutton Senior Curator, European and
American Painting and Sculpture before 1900, Toledo Museum
of Art, Ohio.
Gianni Papi Art Historian specializing in Caravaggio.
Edward Payne Senior Curator, Spanish Art, Auckland Castle Trust.
Martin Postle Deputy Director for Grants and Publications,
The Paul Mellon Centre for Studies in British Art, London.
MA N U S C R I PT GU I DE L I N E S
F O R TH E CO L N AGH I STU DI E S JO U R N A L
Copyright notice
Manuscripts are reviewed by the Journal’s Editorial Commitee.
They may be submitted, complete including illustrations, at any time.
Authors will have the opportunitiy to review their texts after
editing. The honorarium for research expenses is Euros 1,000,
and each author will receive a hard copy of the volume in which
his or her article appears.
Manuscripts should be submitted as double-spaced Word files.
In addition to the text, the manuscript must include endnotes,
captions for illustrations, photographic credits, and a 200-word
abstract. Each part of the article should be in a separate file
except the endnotes, which should be linked to and appear at the
end of the text file.
The Colnaghi Foundation endeavours to respect copyright in
a manner consistent with its nonprofit educational mission. If
you believe any material has been included in this publication
improperly, please contact the Foundation.
For the style of captions and bibliographic references in endnotes,
authors are referred to the Chicago Manual of Style and
instructions on the Colnaghi Foundation’s website:
www.colnaghifoundation.org/journal
All rights reserved. No part of this publication may be
reproduced or transmitted in any form or by any means,
electronic or mechanical, including photocopying, recording, or
any information storage or retrieval system, without permission in
writing from The Colnaghi Foundation.
Please provide a list of all bibliographic citations that includes,
for each title: full name(s) of author or authors; title and subtitle
of book or article and periodical; place, publisher, and date
of publication; volume number, if any; and page, plate, and/
or figure number(s). For citations in notes, please cite the full
reference the first time it appears, and then an abbreviated
version which includes only the last name(s) of the author or
authors and the date of publication and a short title. When
submitting manuscripts, authors should include a PDF of all
illustrations. Authors are encouraged to include dates and
dimensions of works within captions; the editors will not
include this information unless it is provided by the author on
submission. Please do not embed images within text documents.
If the manuscript is accepted, the author is expected to
provide publication-quality images as well as copyright
permissions to reproduce them in both the print and electronic
editions of the Journal.
Height precedes width and then depth in dimensions cited.
The Journal requires either digital scans of at least 300 dpi at
3,000 pixels wide, colour transparencies (preferably 203 x 254 cm
but 102 x 152 cm is also acceptable), or glossy black-and-white
photographs (preferably 203 x 254 cm with white borders) of
good quality and in good condition.
In a separate Word file, please indicate the figure number, the
picture’s orientation, and any instructions for cropping.
The author of each article is responsible for obtaining all
photographic material and reproduction rights.

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