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Over a century of leading research as the world’s longest running art-h

17/06/2026

The church of the Venerable English College, Rome, built on the grounds of an earlier chapel attached to an English hospice, has occupied a prominent position on the via Monserrato since 1496. The chapel was dedicated to St Thomas Becket, Archbishop of Canterbury (1118– 70), who was murdered on the orders of King Henry II in 1170 and canonised three years later by Pope Alexander III. Despite its longstanding presence in such a significant location, the church’s interior has garnered scant attention from the authors of Roman guidebooks.⁠
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🔗 Read Michael Erwee’s article ‘Arrigo Comer and the ‘Martyrdom of St Thomas Becket’ in the Venerable English College, Rome’ in our June issue⁠: https://www.burlington.org.uk/current-issue?utm_source=Facebook&utm_medium=social&utm_campaign=June26
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Image: Martyrdom of St Thomas Becket, by Arrigo Comer. 1675. Oil on canvas, approx. 229 by 153 cm. (Martyrs’ Chapel, Venerable English College, Rome; by kind permission of the Rector of the Venerable English College).

15/06/2026

In art, it seems, beauty can easily be taken for granted, whereas the aesthetic quality of ugliness needs to by emphasised. The exhibition ‘Bellezza e Bruttezza: Beauty and Ugliness in the Renaissance’, which recently closed at Bozar, Brussels, focused on the depiction and perception of physical beauty and ugliness during the fifteenth and sixteenth centuries in Italy and Northern Europe, especially the Netherlands.

🔗 Read Bram de Klerck’s review of this show in our June issue: https://www.burlington.org.uk/current-issue?utm_source=Facebook&utm_medium=social&utm_campaign=June26

Image: Peasant playing a lute, by Bartolomeo Passarotti. End of the 16th century. Oil on canvas, 111 by 77 cm. (Private collection; exh. Bozar, Brussels).

14/06/2026

Described as the ‘largest and most comprehensive exhibition ever dedicated to the history of tarot’, and unfolding across seven tenebrous spaces at Accademia Carrara, this exhibition took on a phenomenon that has shapeshifted in both form and function for nearly six hundred years.

🔗 Read Jonathan Allen’s review of this show for free in our June issue: https://www.burlington.org.uk/archive/exhibition-review/tarocchi-le-origini-le-carte-la-fortuna?utm_source=Facebook&utm_medium=social&utm_campaign=June26_free+review

Image: Detail from Seven of Hounds from the Stuttgart deck, by the workshop of an artist from the Upper Rhine region. c.1430. Pen, ink, tempera and gold on card, 19 by 12 cm. (Landesmuseum Württemberg; exh. Accademia Carrara, Bergamo).

12/06/2026

Sandro Botticelli’s ‘Young man holding a roundel’ attained celebrity status when it was sold in 2021 to a private collection for $92,184,000 – an outstanding price, especially for a work with little provenance and a debateable attribution. Since it’s rediscovery in 1938, the work, which incorporates a fragment of a fourteenth-century Sienese painting, has posed a puzzle about the status of this insert. Studies of the panel, X-radiographs, practices of collecting early Sienese art, family archives and a nineteenth-century memoir provide credible explanation of how and when the portrait assumed its remarkable form and travelled from Italy to Wales.

🔗 Read Mark Evans’s article ‘Botticelli in Wales: a new proposal for the ‘Young man holding a roundel’’ in our June issue: https://www.burlington.org.uk/current-issue?utm_source=Facebook&utm_medium=social&utm_campaign=June26

Image: Young man holding a roundel, by Sandro Botticelli and Bartolomeo Bulgarini. c.1481 – 85. Tempera on poplar panel, 58.4 by 39.4 cm. (Private collection).

10/06/2026

Looking to visit an exhibition this weekend? ⁠:⁠ ⁠ ⁠

Palazzo Barberini’s ‘Bernini e i Barberini’, closing soon on 14th of June 2026.⁠ ⁠

An exhibition devoted to Gian Lorenzo Bernini (1598– 1680) is always welcome in the palace that nurtured his genius. Curated by Andrea Bacchi and Maurizia Cicconi, this show follows important precedents at the museum over the past decade. It aims to present what the catalogue refers to as ‘the special relationship between Gian Lorenzo Bernini and Maffeo Barberini’, the cardinal, later Pope Urban VIII (reg.1623– 44), whom the organisers describe as the artist’s ‘first, crucial patron.’

🔗 Read Tod A. Marder’s review of this show in our June issue: https://www.burlington.org.uk/current-issue?utm_source=Facebook&utm_medium=social&utm_campaign=June26

Are you planning to go or have you already been? Let us know ⬇️⁠

Image: St Sebastian, by Gian Lorenzo Bernini. 1617. Marble, height 98.8 cm. (Museo Nacional Thyssen-Bornemisza, Madrid; exh. Palazzo Barberini, Rome).

09/06/2026

In 1801 a London auction house offered the British public some unusual paintings. Among the pleasing landscapes attributed to Salvator Rosa (1615–73), lots 829 to 844 stood out. The catalogue described them as ‘curious, valuable and interesting pictures’ that had been painted for the king of Spain and were the work of Diego Velázquez (1599–1660). Fourteen of these works were, in fact, casta paintings from Mexico, depicting multiracial families in a variety of settings. They are not by Velázquez but rather by the Mexican artist Juan Rodríguez Juárez (1675–1728). They date from the early eighteenth century and are probably the very first examples of this distinctive Spanish–American genre.

🔗 Read Rebecca Earle’s article ‘The funeral of Rolla’ in our June issue: https://www.burlington.org.uk/current-issue?utm_source=Facebook&utm_medium=social&utm_campaign=June26

Image: Desposorio de Indios, by Juan Rodríguez Juárez. c.1715. Oil on canvas, 102 by 144 cm. (Museo de América, Madrid).

07/06/2026

The Palazzo Ducale in Urbino has been the focus of a major scheme of restoration and research between 2023 and 2026. This has yielded new insights about the history and function of the palazzo, which was created for the Renaissance patron of the arts Federico da Montefeltro. The rehang of the collection of the Galleria Nazionale delle Marche in it has also created a stimulating chronological alignment with the building’s phases of decoration.

🔗 Read Machtelt Brüggen Israëls’s article ‘The restoration of the Palazzo Ducale, Urbino’ in our June issue: https://www.burlington.org.uk/current-issue?utm_source=Facebook&utm_medium=social&utm_campaign=June26

Image: Main bedroom of the Palazzo Ducale, Urbino, constructed by Luciano Laurana c. 1464– 72 and completed with an acquaio by Francesco di Giorgio c. 1476 (reinstated in 2025). (© Urbino, Archivio della Galleria Nazionale delle Marche).

05/06/2026

Looking to visit an exhibition this weekend? ⁠:⁠ ⁠ ⁠
The Metropolitan Museum of Art's ‘Raphael: Sublime Poetry, exhibiting until the 28th of June 2026.⁠ ⁠

The exhibition is an unmissable treat, which has the potential to inspire a new generation to love Raphael (1483– 1520). Its 234 exhibits – 173 of them by or attributed to Raphael – make an unashamed demand on the visitor. It covers the artist’s entire career and includes a two-room prelude, devoted to the art of Urbino and Perugia in the decades immediately preceding Raphael’s maturity.

🔗 Read Tom Henry’s review of this show in our June issue: https://www.burlington.org.uk/current-issue?utm_source=Facebook&utm_medium=social&utm_campaign=June26

Are you planning to go or have you already been? Let us know ⬇️⁠

Image: Portrait of a woman, called La Muta, by Raphael. c.1506– 07. Oil on panel, 48 by 65.2 cm. (Galleria Nazionale delle Marche, Urbino; exh. Metropolitan Museum of Art, New York).

04/06/2026

The creation of the lavish interiors of Moor Park, Hertfordshire, involved a major commission of paintings from James Thornhill. A legal dispute arose when the owner of the house, Benjamin Haskyns Styles, refused to pay the artist the agreed fee and subsequently replaced the paintings. The rediscovery of one of Thornhill’s works for Moor Park, depicting the family of Coriolanus, sheds new light on this contentious episode, as well as on early eighteenth-century taste and patronage.

🔗 Read François Marandet’s article ‘James Thornhill versus Benjamin Styles: a painting from Moor Park rediscovered’ in our June issue: https://www.burlington.org.uk/current-issue?utm_source=Facebook&utm_medium=social&utm_campaign=June26

Image: The family of Coriolanus pleading with him not to fight his country, by James Thornhill. c.1725. Oil on canvas, 259 by 314 cm. (Private collection).

03/06/2026

The paintings of the French tabletier Thomas Compigné (doc. 1750 –78) are some of the most original examples of the intriguing genre that he invented in the second half of the eighteenth century. The objects produced by tabletiers were considered luxurious as much for the virtuosity of their production techniques – wood or mother-of-pearl marquetry, ivory carving, lathe-turning and metal chasing – as for the value of the materials from which they were made. Gold and silver were commonly used, as well as imported materials such as inlaid or moulded tortoiseshell or piqué with gold, ivory and exotic woods.

🔗 Read Orane Conan’s article ‘Thomas Compigné, tabletier to King Louis XV’ in our June issue: https://www.burlington.org.uk/current-issue?utm_source=Facebook&utm_medium=social&utm_campaign=June26

Image: Snuffbox with inserted medallion showing ‘View of Marseilles’, by Thomas Compigné. c. 1750– 1800. Wood, tortoiseshell, pewter and gold, diameter 12 cm. (Private collection).

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