To publish outstanding original research on British art (interpreted in the widest sense), adopting all approaches to the discipline, and with a particular view to seeing British art in a wider international context. To encourage and support the work of younger 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.
Research articles will be refereed.
Not less than 88pp editorial plus advertising, art gloss paper 130 gsm in black and white and colour; cover 300 gsm two-colour laminated gloss; perfect bound.
The British Art Journal is published three times a year. It was founded in Autumn 1999, with two issues in the first volume, but there have been three in each volume since then. The volumes appear annually, although in practice the issues may run over into a following calendar year, which does not affect the subscription entitlement of three issues per subscription.
Editor: Robin Simon
Art Director: David N Hodgson
Associate Editor (Reviews): Simon Poë
Associate Editor (Books): Martin Hopkinson
Consultant Editor (USA): John Wilson
Advertising: David N Hodgson
Cover Vol. XXIV No. 2
La Belle dame sans ‘Merci’ by EH. Punch
7 December 1895
See pp. 61–66
Cover Vol. XXIV No. 3
An Illustration of all 71 covers of The British Art Journal
This months feature is the whole of the final print issue of The British Art Journal
EDITORIAL
2 | William MB Berger Prize 2023: Winner
RESEARCH
3 | Sophie Rhodes
‘Translated into English Lymning’
The cabinet miniature copies of Peter Oliver (c1589–1647)
16 | Martin Postle
‘A simple domestic character’
A study by Thomas Lawrence (1769–1830) for George IV in private dress
23 | Tom Hockenhull
Designs for coins and medals by William Wyon (1795–1851) and his circle
36 | Peter S Forsaith
‘An odd purchase now and then’
The picture collection of James Everett (1784–1872)
43 | James DW Church
‘Took the Jurors by Storm’
William Orpen, the Carnegie Institute and American Art (1910–1915)
50 | David Platzer
Harold Acton Part VI
57 | Rina Arya
Bacon’s beasts
The pathos of the animal in the art of Francis Bacon (1909–1982)
61 | Ed Lilley
Problems in picturing Keats’s La Belle Dame sans Merci
67 | Clive J Easter
The monument to Penelope Boothby in St Oswald’s, Ashbourne
71 | John Eglin
Girolama Piccolomini’s portrait of James Boswell
73 | Geoffrey Munn
New light on Dadd
George Bailey (1821–1898) by Richard Dadd (1817–86)
REVIEWS
77 | Peter Cormack
Martin Ferguson Smith
The Artist Helen Coombe (1864–1937).
The Tragedy of Roger Fry’s Wife
EDITORIAL
2 | Copyright
RESEARCH
3 | Peter Humfrey
The picture collections of the poet Samuel Rogers (1763–1855) and his siblings
17 | Peter Jones
A neglected little gem of 1946’
Clausentum by John Arlott (1914–1991) and Michael Ayrton (1921–1975)
27 | Philip McEvansoneya
Estella Solomons (1882–1968) and the Irish contribution to the Artists’ Refugee Committee
33 | Iain Macdonald
William Alister Macdonald (1861–1956) of Scotland and Tahiti
A portrait of the artist in the third age
44 | William Chubb
Mendelssohn and Sophocles
Victoria and Albert’s sixth wedding anniversary
47 | Charles Raab
The discovery of two portrait drawings by the young Thomas Lawrence (1769–1830)
49 | Alexander Marr
Holbein’s earliest portraits in England?
The sequence of his work for Sir Thomas More
58 | Allister Neher
Benjamin Robert Haydon (1786–1846) and the ‘Illustrious’ John Bell
The anatomical foundations of the Lectures on Painting and Design
67 | Robert LS Cowley
William Hogarth’s personal ‘Erewhon’
A search for the ‘Guzzledown’ of his Election series
74 | Robin Simon
Giotto, Caravaggio, Gainsborough, Reynolds, and the Purkinje Shift
