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The artistic images of women depicted as witches were varied and constitute unusual 'pieces of history' by preserving a visual record of the intellectual origins of the witchcraze, as Dale Hoak...

Churchill and Hitler painted scenes of the Western Front while in remarkably close proximity to one another.

Volume: 64 Issue: 5 2014

The strangeness of the past can be evoked more effectively in pick and mix fantasies than in those novels, films and TV dramas that aspire to realism, argues Suzannah Lipscomb.

Volume: 64 Issue: 4 2014

Before he was tamed by respectable Victorians, the archetypal, bibulous Briton, beloved of cartoonists and satirists, embodied all the virtues and vices of the late 18th century and the scandal-rocked Regency. By Adrian Teal.

Volume: 64 Issue: 1 2014

Alarm about moral degeneracy and ‘family values’ provoked Hollywood to instigate its own self-censorship codes in the 1920s. But much more than prudery underpinned their lasting impact, says Tim Stanley.

Volume: 64 Issue: 10 2014

Life in a First World War field hospital is depicted in a new exhibition.

Volume: 64 Issue: 3 2014

An 18th-century ménage à trois involving the King of Denmark inspired the recent film, A Royal Affair.  Stella Tillyard considers what makes it a story for our times.

Volume: 62 Issue: 8 2012

Kate Retford explains how the artist Johan Zoffany found ways to promote a fresh image of royalty that endeared him to George III and Queen Charlotte – a relationship he subsequently destroyed.

Volume: 62 Issue: 3 2012

Modern dance was born with the premiere of L'apres-midi d'un faune on May 29th, 1912.

Volume: 62 Issue: 5 2012

In the summer of 1941 a collection of paintings by serving members of the London Fire Brigade  was exhibited in the United States. Anthony Kelly describes the success of a little-known propaganda campaign celebrating Britain’s ‘spirit of civilian heroism’.

Volume: 62 Issue: 6 2012

Jacqueline Riding examines how a 19th-century painting, created almost 150 years after the Jacobite defeat at Culloden, has come to dominate the iconography of that event.

Volume: 61 Issue: 4 2011

Though superb works of art in themselves, the wildlife paintings of Francis Barlow are full of rich metaphors that shed light on the anxieties and concerns of a Britain emerging from the horrors of civil war, says Nathan Flis.

Volume: 61 Issue: 7 2011

James Whitfield on why the theft of a Spanish master’s portrait of a British military hero led to a change in the law.

Volume: 61 Issue: 8 2011

Jan Gossaert made his name working for the Burgundian court and was among the first northern artists to visit Rome, writes Susan Foister, curator of 'Jan Gossaert's Renaissance', the only exhibition in more than 45 years of works by this archetypal ‘Old Master’.

Volume: 61 Issue: 2 2011

Richard Almond describes how some rare wall paintings help shed light on medieval hunting.

Volume: 61 Issue: 4 2011

Almost none of the large outdoor artworks commissioned for the 1951 Festival of Britain has survived. Alan Powers discusses one that did, a mural by John Piper, which returns to London’s South Bank this month.

Volume: 61 Issue: 5 2011

As a major new exhibition on the Aesthetic Movement opens at the Victoria and Albert Museum, Richard Cavendish explores Bedford Park, the garden suburb inspired by the movement’s ideals.

Volume: 61 Issue: 4 2011

In our series in which historians look back on the changes that have taken place in their field in the 60 years since the founding of History Today, Daniel Snowman takes a personal view of new approaches to the study of the history of culture and the arts – and of music in particular.

Volume: 61 Issue: 2 2011

The theft of the most famous painting in the world on August 21st, 1911, created a media sensation.

Volume: 61 Issue: 8 2011

Sarah Gristwood on the complex issues raised by the restoration of a remarkable Tudor vision of victory over the Spanish Armada.

Volume: 60 Issue: 9 2010

Mark Bryant admires a Russian artist whose lampoons of Napoleon inspired some notable British caricaturists.

Volume: 60 Issue: 1 2010

Though they originated in China, it was in the capitals of early modern Europe that fireworks flourished. They united art and science in awesome displays of poltical might, as Simon Werrett explains.

Volume: 60 Issue: 11 2010

Lucy Worsley reveals the strange stories of the cast of characters on the King’s Grand Staircase at Kensington Palace, painted by William Kent for George I in the 1720s.

Volume: 60 Issue: 4 2010

Stephen Gundle, joint curator of a current exhibition on anti-Fascist art and the decline of the cult of Mussolini, examines the political demise and commercial rebirth of the Italian dictator.

Volume: 60 Issue: 10 2010

Miri Rubin explores the medieval galleries at the V&A and the British Museum.

Volume: 60 Issue: 4 2010

Mark Bryant profiles the brilliant wartime cartoonist who chronicled the actions of Italy’s Fascist leader.

Volume: 59 Issue 10 2009

Mark Bryant on how French cartoonists of the 1870s responded to national humiliation at the hands of a beligerent Prussia.

Volume: 59 Issue: 2 2009
Frances Spalding on John Piper’s pursuit of an English vision during the Second World War.
Volume: 59 Issue 9 2009
As a new exhibition on the Baroque opens at the Victoria and Albert Museum, Joanna Norman looks at this age of magnificence.
Volume: 59 Issue: 4 2009

Mark Bryant looks at the artist behind one of the most iconic images of the 20th century.

Volume: 59 Issue: 7 2009
André Gill fearlessly lampooned the French rulers of his day in a series of masterly caricatures that would later inspire the creators of Spitting Image and many others. Mark Bryant examines his work.
Volume: 59 Issue: 4 2009

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