Colnaghi Foundation Journal 02 - Page 7



E DITO R I AL COMMITTEE
Stijn Alsteens International Head of Old Master Drawings, Christie’s.
Salvador Salort-Pons Director, President & CEO, Detroit Institute of Arts.
Charles Avery Art Historian specializing in European Sculpture, particularly
Italian, French and English.
Timothy Schroder Art Historian specializing in European silver and
goldsmiths’ work.
Colin Bailey Director, Morgan Library and Museum, New York.
Pippa Shirley Head of Collections, Waddesdon Manor.
Piers Baker-Bates Visiting Research Associate in Art History, The Open
University.
Jack Soultanian Conservator, The Metropolitan Museum of Art, New York.
Francesca Baldassari Art Historian.
Carl Strehlke Adjunct Emeritus, Philadelphia Museum of Art.
Bonaventura Bassegoda Catedràtic, Universitat Autònoma de Barcelona.
Holly Trusted Senior Curator of Sculpture, Victoria & Albert Museum, London.
Bruce Boucher Director, Sir John Soane’s Museum, London.
Benjamin van Beneden Director, Rubenshuis, Antwerp.
Till-Holger Borchert Director, Musea Brugge.
Jeremy Warren Honorary Curator of Sculpture, Ashmolean Museum, Oxford.
Antonia Boström Keeper of Sculpture, Metalwork, Ceramics & Glass,
Victoria & Albert Museum, London.
Mark Westgarth Programme Director and Lecturer in Art History and
Museum Studies, School of Fine Art, University of Leeds
Edgar Peters Bowron Former Audrey Jones Beck Curator of European Art,
The Museum of Fine Arts, Houston.
Catherine Whistler Keeper of Western Art, Ashmolean Museum, Oxford.
Xavier Bray Director, The Wallace Collection, London.
Xanthe Brooke Curator of Continental European Art, Walker Art Gallery,
Liverpool.
Nicola Spinosa Former Director of Museo di Capodimonte, Naples.
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.
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.
Dimitrios Zikos Curator of Sculpture working with the Museo Nazionale del
Bargello, Florence.
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.
Lázaro Gila Medina Catedrático de Historia del Arte, Facultad de Filosofía y
Letras, Universidad de Granada.
ED ITO RS
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
Gail Feigenbaum Associate Director, Getty Research Institute, Los Angeles.
Nicola Jennings, Jeremy Howard and José Gómez Frechina
Submissions should be emailed to: journal@colnaghi.com.
Peter Humfrey Emeritus Professor, School of Art History, University of St. Andrews.
Associate Editor: Irene Brooke
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.
Yao-Fen You Associate Curator of European Sculpture and Decorative Arts,
Detroit Institute of Arts.
Ignacio Cano Conservador & Jefe Departamento Difusión, Museo de Bellas
Artes de Sevilla.
Peter Cherry Associate Professor, Trinity College Dublin.
Rosario Coppel Art Historian specializing in Spanish Sculpture.
Christina Currie Head of Scientific Imagery at the Royal Institute for
Cultural Heritage (KIK/IRPA), Brussels.
Paul Joannides Emeritus Professor of Art History, University of Cambridge.
Kirstin Kennedy Curator of Silverwork, Metalwork, Victoria & Albert
Museum, London.
Project Director: Ricardo Fernández-Deu
Alastair Laing Former Curator of Pictures and Sculpture at the National Trust.
Designer: Laura Eguiluz de la Rica
Barbara Lasic Lecturer in Art History, University of Buckingham.
Project coordinator: Sarah Gallagher
Riccardo Lattuada Full Professor of Art History of the Modern Age,
Università degli studi della Campania “Luigi Vanvitelli”, Naples.
Picture researchers: Elisa Salazar and Sarah Gallagher
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.
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
Jennifer Montagu Art Historian specializing in Italian Baroque.
Tom Nickson Associate Dean, Lecturer in Medieval Art, Courtauld Institute of Art.
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.
Xavier F. Salomon Peter Jay Sharp Chief Curator, The Frick Collection, New York.
Copyright notice
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.
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.
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.
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
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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