Colnaghi Foundation Journal 03 - Page 7



E DITO R I AL COMMITTEE
Stijn Alsteens International Head of Old Master Drawings,
Christie’s.
Jennifer Montagu Art Historian specializing in Italian Baroque.
Jaynie Anderson Professor Emeritus in Art History, The
University of Melbourne.
Larry Nichols William Hutton Senior Curator, European and American Painting and
Sculpture before 1900, Toledo Museum of Art, Ohio.
Charles Avery Art Historian specializing in European
Sculpture, particularly Italian, French and English.
Tom Nickson Associate Dean, Lecturer in Medieval Art, Courtauld Institute of Art.
Andrea Bacchi Director, Federico Zeri Foundation, Bologna.
Colin Bailey Director, Morgan Library and Museum, New York.
Piers Baker-Bates Visiting Honorary Associate in Art History,
The Open University.
Scott Nethersole Senior Lecturer in Italian Renaissance Art, The Courtauld Institute of Art, London.
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.
Francesca Baldassari Art Historian.
Salvador Salort-Pons Director, President & CEO, Detroit Institute of Arts.
Bonaventura Bassegoda Catedràtic, Universitat Autònoma de
Barcelona.
Timothy Schroder Art Historian specializing in European silver and goldsmiths’ work.
Till-Holger Borchert Director, Musea Brugge.
Antonia Boström Keeper of Sculpture, Metalwork, Ceramics
& Glass, Victoria & Albert Museum, London.
Bruce Boucher Director, Sir John Soane’s Museum, London.
Edgar Peters Bowron Former Audrey Jones Beck Curator of
European Art, The Museum of Fine Arts, Houston.
Manfred Sellink General Director, Koninklijk Museum Voor Schone Kunsten Antwerpen
Pippa Shirley Head of Collections, Waddesdon Manor.
Jack Soultanian Conservator, The Metropolitan Museum of Art, New York.
Nicola Spinosa Former Director of Museo di Capodimonte, Naples.
Carl Strehlke Adjunct Emeritus, Philadelphia Museum of Art.
Holly Trusted Senior Curator of Sculpture, Victoria & Albert Museum, London.
Xavier Bray Director, The Wallace Collection, London.
Benjamin van Beneden Director, Rubenshuis, Antwerp.
Xanthe Brooke Curator of Continental European Art, Walker
Art Gallery, Liverpool.
Jeremy Warren Honorary Curator of Sculpture, Ashmolean Museum, Oxford.
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 Associate Professor, Trinity College Dublin.
Mark Westgarth Programme Director and Lecturer in Art History & Museum Studies,
School of Fine Art, University of Leeds.
Gail Feigenbaum Associate Director, Getty Research Institute,
Los Angeles.
Lázaro Gila Medina Catedrático de Historia del Arte,
Facultad de Filosofía y Letras, Campus Universitario de Cartuja,
Universidad de Granada.
Peter Humfrey Emeritus Professor, School of Art History,
University of St. Andrews.
Paul Joannides Emeritus Professor of Art History, University of
Cambridge.
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.
EDITO RS
Nicola Jennings, Jeremy Howard, José Gómez Frechina, and Irene Brooke
Project Director: Ricardo Fernández-Deu
Designer: Laura Eguiluz de la Rica
Project coordinator: Alice Thomson
Picture researchers: Elisa Salazar and Sarah Gallagher
Alastair Laing Former Curator of Pictures and Sculpture at the
National Trust.
Please direct all subscription enquiries and back issue requests to:
The Colnaghi Foundation, 26 Bury Street, London SW1Y 6AL
Copyright Colnaghi Foundation
Barbara Lasic Lecturer in Art History, University of Buckingham.
Patrice Marandel Former Chief Curator/Department Head of
European Painting and Sculpture, Los Angeles County Museum of Art.
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
Submissions should be emailed to: journal@colnaghi.com.
Published by the Colnaghi Foundation
Patrick Lenaghan Curator of Prints and Photographs, The
Hispanic Society of America, New York.
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 monographs, conference
proceedings, and catalogues.
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.
Kirstin Kennedy Curator of Silverwork, Metalwork, Victoria &
Albert Museum, London.
Riccardo Lattuada Full Professor of Art History of the Modern
Age, Università degli studi della Campania “Luigi Vanvitelli”, Naples.
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 high resolution, comparative images.
Catherine Whistler Keeper of Western Art, Ashmolean Museum, Oxford.
Rosario Coppel Art Historian specializing in Spanish Sculpture.
Christina Currie Head of Scientific Imagery at the Royal
Institute for Cultural Heritage (KIK/IRPA), Brussels.
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.
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 photographic and research costs is
1,000 € or £800, 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/studies-journal.php
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 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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