Augustus Leopold Egg, 'Past and Present, No. 1' 1858

Augustus Leopold Egg
Past and Present, No. 1 1858
Oil on canvas
support: 635 x 762 mm frame: 801 x 925 x 85 mm
Presented by Sir Alec and Lady Martin in memory of their daughter Nora 1918

In this issue

James Attlee

Gordon Matta-Clark (1943–1978), who trained originally as an architect, is best known for his spectacular ‘building cuts’. These have often been seen as an outright rejection of the architectural profession. The collaborative project Anarchitecture (1974), however, demonstrates how the language of modernism, particularly the polemical and epigrammatic Towards a New Architecture by the French modernist artist and architect Le Corbusier, was very much part of his raw material.

Leslie Carlyle
Maartjee Witlox

This paper describes a four-year project (2002 to 2006) funded by the Netherlands Organisation for Scientific Research entitled Historically Accurate Oil Painting Reconstruction Techniques (HART) and hosted by the Netherlands Institute of Cultural Heritage (ICN). The aim was to make oil paint and ground reconstructions with as much accuracy as feasible in order to explore historical recipes and workshop practices. Recipe databases were created to ensure representative recipes were used, and the value of sourcing historically appropriate materials was explored. Such ‘historically accurate’ reconstructions of artists materials serve as reference sets for the visual interpretation of painted surfaces, as well as for chemical and instrumental analyses.

Annabel Rutherford

This article explores the significance of the theatrical and literary references found in the triptych Past and Present 1858 by the British nineteenth-century painter Augustus Leopold Egg. On the surface the work appears to be a warning against the perils of adultery, but analysis of the three paintings’ theatrical and literary references suggests a possible alternative reading involving a condemnation of loveless marriages.

Jeffrey Saletnik

This paper examines affinities between the Bauhaus-indebted instructional methods and practices of Josef Albers and the sculpture of Eva Hesse, his student at Yale University. The author argues that pedagogy affects artistic practice, or that the means or process through which artists are educated contributes to how they approach their work.