Colnaghi Foundation Journal 04 - Flipbook - Page 7
E DITO R I AL COMMITTEE
Stijn Alsteens International Head of Old Master Drawings,
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.
Andrea Bacchi Director, Federico Zeri Foundation, Bologna.
Scott Nethersole Senior Lecturer in Italian Renaissance Art, The Courtauld Institute of Art, London.
Tom Nickson Associate Dean, Lecturer in Medieval Art, Courtauld Institute of Art, London.
Gianni Papi Art Historian specializing in Caravaggio.
Colin Bailey Director, Morgan Library and Museum, New York.
Edward Payne Assistant Professor (Research)/Zurbarán Fellow in the School of Modern
Languages and Cultures, University of Durham
Piers Baker-Bates Visiting Honorary Associate in Art History,
The Open University.
Martin Postle Assistant Professor (Research)/Zurbarán Fellow in the School of Modern
Languages and Cultures, University of Durham.
Francesca Baldassari Professor, Università degli Studi di Padova.
Xavier F. Salomon Peter Jay Sharp Chief Curator, The Frick Collection, New York.
Bonaventura Bassegoda Catedràtic, Universitat Autònoma de
Salvador Salort-Pons Director, President & CEO, Detroit Institute of Arts.
Till-Holger Borchert Director, Musea Brugge.
Manfred Sellink General Director, Koninklijk Museum Voor Schone Kunsten Antwerpen
Antonia Boström Keeper of European Sculpture, Victoria and
Albert Museum, London.
Bruce Boucher Director, Sir John Soane’s Museum, London.
Edgar Peters Bowron Former Curator Museum of Fine Arts
Xavier Bray Director, The Wallace Collection, London.
Xanthe Brooke Curator of Continental European Art, The
Walker Art Gallery, Liverpool.
Timothy Schroder Art Historian specializing in European silver and goldsmiths’ work.
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, The Victoria & Albert Museum, London.
Caroline Campbell The Jacob Rothschild Head of the
Curatorial Department and Curator of Italian Paintings before
1500, The National Gallery, London.
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.
Ignacio Cano Conservador & Jefe Departamento Difusión,
Museo de Bellas Artes de Sevilla.
Matthias Wivel Curator, Sixteenth-Century Italian Paintings, The National Gallery, London.
Christina Currie Head of Scientific Imagery at the Royal
Institute for Cultural Heritage (KIK/IRPA), Brussels.
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.
Paul Joannides Emeritus Professor of Art History, University of
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.
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
Published by the Colnaghi Foundation
Alastair Laing Former Curator of Pictures and Sculpture at the
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.
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.
MA N U S C R I PT GU I DE L I N E S F O R TH E CO L NAG H I STU D I E S J O U R NA L
Catherine Whistler Keeper of Western Art, Ashmolean Museum, Oxford.
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.
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.
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.
Rosario Coppel Art Historian specializing in Spanish Sculpture.
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.
Benjamin van Beneden Director, Rubenshuis, Antwerp.
Christopher Brown Art Historian specializing in Dutch and
Flemish Seventeenth-Century Art, former Director, Ashmolean
Peter Cherry Associate Professor, Trinity College Dublin.
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.
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 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:
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-andwhite 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.
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.
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UK £35 single copy, £63 two copies – Europe 40€ single copy, 70€ two copies – USA and Rest of the world $45 single copy, $80 two copies
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