CF STUDIES JOURNAL 09 - Flipbook - Page 7
E DITO R I AL COMMITTEE
Stijn Alsteens International Head of Old Master Drawings,
Patrick Lenaghan Curator of Prints and Photographs, The Hispanic Society of America,
Jaynie Anderson Professor Emeritus in Art History, The
University of Melbourne.
Patrice Marandel Former Chief Curator/Department Head of European Painting and
Sculpture, Los Angeles County Museum of Art.
Charles Avery Art Historian specializing in European
Sculpture, particularly Italian, French and English.
Jennifer Montagu Art Historian specializing in Italian Baroque.
Andrea Bacchi Director, Federico Zeri Foundation, Bologna.
Colin Bailey Director, Morgan Library and Museum, New York.
Larry Nichols Former William Hutton Senior Curator, European and American Painting
and Sculpture before 1900, Toledo Museum of Art, Ohio.
Piers Baker-Bates Visiting Honorary Associate in Art History,
The Open University.
Tom Nickson Senior Lecturer in Medieval Art and Architecture, Courtauld Institute of Art,
Francesca Baldassari Professor, Sapienza Università di Roma.
Gianni Papi Art Historian specializing in Caravaggio.
Bonaventura Bassegoda Catedràtic, Universitat Autònoma de
Edward Payne Assistant Professor in Art History, Aarhus University.
Scott Nethersole Senior Lecturer in Italian Renaissance Art, The Courtauld Institute of Art, London.
Till-Holger Borchert Director, Musea Brugge.
Martin Postle Deputy Director for Grants and Publications, The Paul Mellon Centre for
Studies in British Art, London.
Antonia Boström Keeper of European Sculpture, Victoria and
Albert Museum, London.
Xavier F. Salomon Peter Jay Sharp Chief Curator, The Frick Collection, New York.
Salvador Salort-Pons Director, President & CEO, Detroit Institute of Arts.
Bruce Boucher Director, Sir John Soane’s Museum, London.
Timothy Schroder Art Historian specializing in European silver and goldsmiths’ work.
Edgar Peters Bowron Former Curator Museum of Fine Arts Houston.
Manfred Sellink Director, Museum voor Schone Kunsten, Ghent.
Amanda Bradley Art Historian specializing in European Painting.
Pippa Shirley Head of Collections, Waddesdon Manor.
Xavier Bray Director, The Wallace Collection, London.
Jack Soultanian Conservator, The Metropolitan Museum of Art, New York.
Xanthe Brooke Former Curator of Continental European Art,
The Walker Art Gallery, Liverpool.
John Spike Curator and Art Historian specializing in Baroque Italian art.
Christopher Brown Art Historian specializing in Dutch and
Flemish Seventeenth-Century Art, former Director, Ashmolean
Carl Strehlke Adjunct Emeritus, Philadelphia Museum of Art.
Caroline Campbell Director of Collections and Research, The
National Gallery, London.
Ignacio Cano Conservador & Jefe Departamento Difusión,
Museo de Bellas Artes de Sevilla.
Peter Cherry Lecturer, 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.
C.D. Dickerson III Curator and Head of the Department
of Sculpture and Decorative Arts, National Gallery 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.
Colnaghi Studies Journal is published biannually by the Colnaghi Foundation. Its purpose is to publish texts on significant
pre-twentieth-century artworks 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 in which they were
produced, 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
high resolution, 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 monographs, conference proceedings, and catalogues.
Nicola Spinosa Former Director of Museo di Capodimonte, Naples.
Luke Syson Director of the Fitzwilliam Museum, Cambridge.
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
Holly Trusted Honorary Senior Research Fellow, The Victoria & Albert Museum, London.
Benjamin van Beneden Director, Rubenshuis, Antwerp.
Jeremy Warren Honorary Curator of Sculpture, Ashmolean Museum, Oxford.
Mark Westgarth Programme Director and Lecturer in Art History & Museum Studies,
School of Fine Art, University of Leeds.
Catherine Whistler Keeper of Western Art, Ashmolean Museum, Oxford.
Betsy Wieseman Curator and Head of the Department of Northern European Paintings,
National Gallery of Art, Washington DC.
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.
Irene Brooke, Nicola Jennings, and Jeremy Howard
Associate Editor: Anna Koopstra
Paul Joannides Emeritus Professor of Art History, University of
Kirstin Kennedy Curator of Silverwork, Metalwork, Victoria &
Albert Museum, London.
Designer: Laura Eguiluz de la Rica
Alastair Laing Former Curator of Pictures and Sculpture at the
Published by the Colnaghi Foundation
Barbara Lasic Lecturer, History of Art and Design, Sotheby's
Institute of Art.
Copyright Colnaghi Foundation
Riccardo Lattuada Full Professor of Art History of the
Modern Age, Università degli studi della Campania “Luigi
Project coordinator and picture research: Sarah Gallagher
Produced by the Athena Art Foundation
Submissions should be emailed to: email@example.com.
Manuscripts are reviewed by the Journal’s Editorial Commitee. They
may be submitted, complete including illustrations, at any time.
Authors will have the opportunity 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 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. Endnotes should be linked to and appear at the end of
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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:
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 labeled with figure
numbers and full captions, including artist or school, date,
medium, dimensions in cm, and current location. 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.
A separate illustration list should also be provided as a Word file,
indicating the figure numbers, the picture’s orientation, and any
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The author of each article is responsible for obtaining all
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Please direct all subscription enquiries and back issue requests to:
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For more information about the Colnaghi Foundation and the Colnaghi Studies Journal please contact firstname.lastname@example.org.