Anton van den Wyngaerde y el Palacio de Carlos V en Yuste by Antonio Perla

“…Between 1562 and 1571 the artist made several trips to Spain to carry out the task commissioned by Philip II. …”
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Symbolsk og veristisk identitet: Portrettkunst i Burgund 1380–1480 by Ragnhild M. Bø

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Dans la vallée des tombes temporelles : monumentalité, temporalité et histoire dans la science-fiction by Raino Isto

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Preparatory planning framework for Created Out of Mind: Shaping perceptions of dementia through art and science [version 1; referees: 2 approved] by Emilie Brotherhood, Philip Ball, Paul M Camic, Caroline Evans, Nick Fox, Charlie Murphy, Fergus Walsh, Julian West, Gill Windle, Sarah Billiald, Nicholas Firth, Emma Harding, Charles Harrison, Catherine Holloway, Susanna Howard, Roberta McKee-Jackson, Esther Jones, Janette Junghaus, Harriet Martin, Kailey Nolan, Bridie Rollins, Lillian Shapiro, Lionel Shapiro, Jane Twigg, Janneke van Leeuwen, Jill Walton, Jason Warren, Selina Wray, Keir Yong, Hannah Zeilig, Sebastian Crutch

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Evidence confirms an anthropic origin of Amazonian Dark Earths by Umberto Lombardo, Manuel Arroyo-Kalin, Morgan Schmidt, Hans Huisman, Helena P. Lima, Claide de Paula Moraes, Eduardo G. Neves, Charles R. Clement, João Aires da Fonseca, Fernando Ozorio de Almeida, Carlos Francisco Brazão Vieira Alho, Christopher Bronk Ramsey, George G. Brown, Marta S. Cavallini, Marcondes Lima da Costa, Luís Cunha, Lúcia Helena C. dos Anjos, William M. Denevan, Carlos Fausto, Caroline Fernandes Caromano, Ademir Fontana, Bruna Franchetto, Bruno Glaser, Michael J. Heckenberger, Susanna Hecht, Vinicius Honorato, Klaus A. Jarosch, André Braga Junqueira, Thiago Kater, Eduardo K. Tamanaha, Thomas W. Kuyper, Johannes Lehmann, Marco Madella, S. Yoshi Maezumi, Leandro Matthews Cascon, Francis E. Mayle, Doyle McKey, Bruno Moraes, Gaspar Morcote-Ríos, Carlos A. Palheta Barbosa, Marcos Pereira Magalhães, Gabriela Prestes-Carneiro, Francisco Pugliese, Fabiano N. Pupim, Marco F. Raczka, Anne Rapp Py-Daniel, Philip Riris, Bruna Cigaran da Rocha, Leonor Rodrigues, Stéphen Rostain, Rodrigo Santana Macedo, Myrtle P. Shock, Tobias Sprafke, Filippo Stampanoni Bassi, Raoni Valle, Pablo Vidal-Torrado, Ximena S. Villagrán, Jennifer Watling, Sadie L. Weber, Wenceslau Geraldes Teixeira

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Nostalgia, novelty and innovation: the illustration of Grimms’ tales in the UK in the twenty-first century by Gillian Lathey

“…Alongside such gift-book editions, a spectrum of new interpretations extends from retellings of individual tales in novelty book form to the dramatic and disturbing canvases of fine artist Paula Rego. Two case studies – one of a 2012 anniversary edition of collected tales that uneasily combines the work of disparate artists, and the second of the cross-cultural travels of Philip Pullman’s retellings as envisaged through the radical imagination of Shaun Tan – illustrate both current global trends in children’s publishing and the inexhaustible visual allure of the Grimms’ tales.…”
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Avignon 1701 by Jérôme de La Gorce

“…The artistic dimension of this royal reception cannot be forgotten: in addition to the influence of ancient and papal Rome, the undeniable originality of the creators of Avignon and Provence, it is worth mentioning the choice of John Cotelle the Younger, the references to the painting of Charles Le Brun and the music of Michel Richard Delalande, all helping evoke the splendour of Versailles to better welcome the Sun King’s descendants to the papal city.…”
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Albrecht Dürer nelle raccolte roveresche e la sua fortuna nel ducato di Urbino / Albrecht Dürer in della Rovere’s collections and his fortune in the Duchy of Urbino by Ilaria Sanetti

“…The contribution intends to rebuild the corpus of Albrecht Dürer’s works, or attributed to him, in the collections of the last duke of Urbino, Francesco Maria II della Rovere (1549-1631) and to propose a first census of derivatios by his models in artistic production of the duchy. The link between Dürer’s works and the Absburg is related to the great admiration that the duke had for Maximilian I, Charles V and Philip I (whose choises he emulated in various circumstances), trying to find the connections between the production of German painter and the liking of Francesco Maria II. …”
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