CF STUDIES JOURNAL 07 - Flipbook - Page 6
E DITO R I AL COMMITTEE
Stijn Alsteens International Head of Old Master Drawings,
Patrice Marandel Former Chief Curator/Department Head of European Painting and
Sculpture, Los Angeles County Museum of Art.
Jaynie Anderson Professor Emeritus in Art History, The
University of Melbourne.
Jennifer Montagu Art Historian specializing in Italian Baroque.
Charles Avery Art Historian specializing in European
Sculpture, particularly Italian, French and English.
Larry Nichols William Hutton Senior Curator, European and American Painting and
Sculpture before 1900, Toledo Museum of Art, Ohio.
Scott Nethersole Senior Lecturer in Italian Renaissance Art, The Courtauld Institute of Art, London.
Andrea Bacchi Director, Federico Zeri Foundation, Bologna.
Tom Nickson Associate Dean, Lecturer in Medieval Art, Courtauld Institute of Art, London.
Colin Bailey Director, Morgan Library and Museum, New York.
Gianni Papi Art Historian specializing in Caravaggio.
Piers Baker-Bates Visiting Honorary Associate in Art History,
The Open University.
Edward Payne Assistant Professor (Research)/Zurbarán Fellow in the School of Modern
Languages and Cultures, University of Durham.
Francesca Baldassari Professor, Università degli Studi di Padova.
Martin Postle Deputy Director for Grants and Publications, The Paul Mellon Centre for
Studies in British Art, London.
Bonaventura Bassegoda Catedràtic, Universitat Autònoma de
Xavier F. Salomon Peter Jay Sharp Chief Curator, The Frick Collection, New York.
Till-Holger Borchert Director, Musea Brugge.
Salvador Salort-Pons Director, President & CEO, Detroit Institute of Arts.
Antonia Boström Keeper of European Sculpture, Victoria and
Albert Museum, London.
Timothy Schroder Art Historian specializing in European silver and goldsmiths’ work.
Bruce Boucher Director, Sir John Soane’s Museum, London.
Pippa Shirley Head of Collections, Waddesdon Manor.
Edgar Peters Bowron Former Curator Museum of Fine Arts
Amanda Bradley Art Historian specializing in European Painting.
Xavier Bray Director, The Wallace Collection, London.
Xanthe Brooke Curator of Continental European Art, The
Walker Art Gallery, Liverpool.
Christopher Brown Art Historian specializing in Dutch and
Flemish Seventeenth-Century Art, former Director, Ashmolean
Manfred Sellink General Director, Koninklijk Museum Voor Schone Kunsten Antwerpen.
Jack Soultanian Conservator, The Metropolitan Museum of Art, New York.
Luke Syson Director of the Fitzwilliam Museum, Cambridge.
Holly Trusted Senior Curator, The Victoria & Albert Museum, London.
Benjamin van Beneden Director, Rubenshuis, Antwerp.
Jeremy Warren Honorary Curator of Sculpture, Ashmolean Museum, Oxford.
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.
Gail Feigenbaum Associate Director, Getty Research Institute,
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.
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.
Carl Strehlke Adjunct Emeritus, Philadelphia Museum of Art.
Ignacio Cano Conservador & Jefe Departamento Difusión,
Museo de Bellas Artes de Sevilla.
Christina Currie Head of Scientific Imagery at the Royal
Institute for Cultural Heritage (KIK/IRPA), Brussels.
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.
Nicola Spinosa Former Director of Museo di Capodimonte, Naples.
Mark Westgarth Programme Director and Lecturer in Art History & Museum Studies,
School of Fine Art, University of Leeds.
Rosario Coppel Art Historian specializing in Spanish Sculpture.
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.
John Spike Curator and Art Historian specializing in Baroque Italian art.
Caroline Campbell The Jacob Rothschild Head of the
Curatorial Department and Curator of Italian Paintings before
1500, The National Gallery, London.
Peter Cherry Associate Professor, Trinity College Dublin.
Catherine Whistler Keeper of Western Art, Ashmolean Museum, Oxford.
Matthias Wivel Curator, Sixteenth-Century Italian Paintings, The National Gallery, London.
Yao-Fen You Senior Curator and Head of Product Design and Decorative Arts Cooper
Hewitt, Smithsonian Design Museum, Washington D.C.
Dimitrios Zikos Curator of Sculpture working with the Museo Nazionale del Bargello, Florence.
CO L N AGH I STU DI E S JO U R N A L - GU I DE L I N E S F O R S U B M I S S I O N
Submissions should be emailed to: firstname.lastname@example.org.
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. We will endeavour to help early career and independent
scholars to cover the cost of image licences, and each author
will receive a hard copy of the volume in which his or her article
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.
Irene Brooke, Nicola Jennings, Jeremy Howard, and José Gómez Frechina
Kirstin Kennedy Curator of Silverwork, Metalwork, Victoria &
Albert Museum, London.
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:
Designer: Laura Eguiluz de la Rica
Alastair Laing Former Curator of Pictures and Sculpture at the
Project coordinator: Sarah Gallagher
Picture researchers: Sarah Gallagher
Barbara Lasic Lecturer in Art History, University of Buckingham.
Published by 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/
Riccardo Lattuada Full Professor of Art History of the
Modern Age, Università degli studi della Campania “Luigi
Copyright Colnaghi Foundation
Paul Joannides Emeritus Professor of Art History, University of
Patrick Lenaghan Curator of Prints and Photographs, The
Hispanic Society of America, New York.
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.
Please direct all subscription enquiries and back issue requests to:
The Colnaghi Foundation, 26 Bury Street, London SW1Y 6AL
For more information about the Colnaghi Foundation and the Colnaghi Studies Journal please contact email@example.com.