More details to follow…
The annual prize created to recognize excellence in the field of British art history was created in 2001 by the Berger Collection Educational Trust (BCET) and The British Art Journal, in honour of the late American collector and patron William MB Berger.
Since its inception, the Berger Prize has come to be recognized as the most respected in the field.
Adriano Aymonino being presented with the 2022 Berger Prize by Sir Charles Saumarez Smith on Tuesday 29 November during an event at The Reform Club, London.
A Biographical Dictionary of British and Irish Engravers, 1714–1820
Paul Mellon Centre
hb £75 pp1120
London’s ‘Golden Mile’: The Great Houses of the Strand, 1550–1650
Paul Mellon Centre
hb £50 pp336 220 col
Towards the Sun: The Artist-Traveller at the Turn of the Twentieth Century
Paul Holberton Publishing
hb £50 pp260 250 col & bw
Cicely Robinson, ed
Henry Scott Tuke
Yale University Press
pb £20 hb £30 pp160 130 col
Enlightened Eclecticism, The Grand Designs of the 1st Duke and Duchess of Northumberland
Paul Mellon Centre
hb £50 pp256 285 col & bw
Tir y Blaenau by David Jones (1895–1974), 1924–5.
Watercolour, ink and crayon, 57 x 39.5 cm.
National Library of Wales.
This months featured article is a review of Frédéric Ogée’s Sir Thomas Lawrence: Le Génie du portrait anglais
by Andrew Wilton on p 108
2 | William MB Berger Prize 2023 Long List
3 | Susanna Avery-Quash
The extraordinary in the ordinary
Stanley Spencer (1891–1959) as a religious painter
15 | Hilary Davies
Coventry sixty years on
21 | Patricia R Andrew
A place in the country
The so-called ‘Raphael’s Villa’ in Rome
27 | Tim Marshall
Edward Rooker (1724–1774) and Michael Angelo Rooker (1747–1801)
37 | Martin Hopkinson
The London paintings of Victor Mottez (1809–1897)
49 | David Platzer
Harold Acton Part V
Harold at Oxford: back to Mahogany
61 | Richard Dagorne
Henry de Triqueti (1803–1874)
A forgotten candidate for the Memorial to the Great Exhibition
67 | Philip Ward-Jackson
Some unknown projects and recent revelations
The Memorial to the Great Exhibition and the critical fortunes of Henry de Triqueti (1803–1874)
70 | FG Notehelfer
Some further observations on John Constable’s ‘Garter Painting’
73 | Brendan Cassidy
Gavin Hamilton (1723–1798)
His beginnings as an artist informed by an unpublished
collection of letters
87 | Kenneth McConkey
‘Life’s most real satisfactions’
The Ireland of William Henry Bartlett (1856–1932)
96 | Melissa L Gustin
‘What Are Men to Rocks and Mountains?’
Mythology and geology in Chaos by GF Watts (1817–1904)
105 | Martin Hopkinson
Louis Chéron (Paris, 1655–London, 1725). L’ambition du dessin parfait
115 | Kenneth McConkey
‘Essence of Nature – Pre-Raphaelites to British Impressionists’
Lost progressive artist of the mid-19th century
The British Art Journal was launched at a reception given at the Thomas Coram Foundation (now the Foundling Museum), 40 Brunswick Square WC1 on 1 July 1999. Two issues were published in the first year, and three issues have been published every year since.
The British Art Journal publishes original research on British art of all periods, and actively encourages the work of younger scholars. Articles cover most fields of art-historical research, including painting and the graphic arts, books and publishing, sculpture, architecture, the decorative arts, and the history of dress.
Submissions are invited from scholars.
Main articles are usually 3,000 – 7,500 words, but it is a policy of the journal to consider longer articles up to 20,000 words; shorter articles up to 3,000 words.
Suggestions for reviews of books and exhibitions are welcomed.
Contact the Editor,
All research articles are refereed.