Apollo

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Articles in May, 2006 issue of Apollo

• Cracking the Poussin Code: the key to the Shepherd's Monument at Shugborough: ever since the publication in 1982 of The Holy Blood and the Holy Grail, the mysterious Shepherd's Monument at Shugborough in Staffordshire has attracted numerous bizarre interp
  by Eileen Harris
• 2006 Ad
  by Robert Oresko
• Swan-like ease: the British Museum's exhibition of Michelangelo drawings admirably balances imaginative display and scholarship, says David Ekserdjian
  by David Ekserdjian
• All the universe in a book: Giles Waterfield welcomes the publication of a study of the remarkable 'Paper Museum' created at the request of Peter the Great to record in drawings the extraordinarily diverse collections of the St Petersburg Academy of Scien
  by Giles Waterfield
• Le corbusier! Our saviour! The V&A's modernism exhibition presents an intriguing puzzle. Why do the style's dogmas still exert such a grip on so many? Surely it is because modernism is in essence a religion
• The dealers' curse: in the September 1938 issue, Louis Gautier revealed that dealers are a superstitious bunch who cling on to works that depict owls because they bring good luck—but won't touch peacocks
  by Louis Gautier
• Fra Angelico at the Met
  by Laurence B. Kanter
• A big splash that trickles away? Beginning with works painted in his teenage years, 'David Hockney Portraits', currently in Boston, is a richly enjoyable exhibition, but, asks Yonna Yapou, does the inclusion of so many weak late paintings suggest the arti
  by Yonna Yapou
• Maastricht news: the world's most important art fair continues to throw up revelatory works in all media, says Samson Spanier
  by Samson Spanier
• Andy Warhol Giant Size
  by Samson Spanier
• A classical warrior: professor Sir John Boardman, Britain's most distinguished historian of ancient Greek art, talks to Diana Scarisbrick about his dazzlingly ambitious new book, his early career and his current campaign against politically correct obstac
• Art deco: Susannah Woolmer examines the perennial allure for collectors of this 'last truly sumptuous style'
  by Susannah Woolmer
• Ten to catch Apollo's selection for the month ahead
• Bleak Blake: a Picasso and a Van Gogh are estimated to fetch at least $40m each in New York, where a dispersal of Blake watercolours leaves a sour taste
• 20th century AD
  by Peyton Skipwith
• Are you there, Will? The myths about the supposed portraits of Shakespeare are put to rest in London, but the sitter remains as elusive as ever, writes Karen Hearn
  by Karen Hearn
• Contemporary design: the Cooper-Hewitt's remarkable survey of 500 years of flatware shows how modern designers have enjoyed creating new forms for knives, forks and spoons, writes Amicia de Moubray
  by Amicia de Moubray
• Around the galleries: Susannah Woolmer previews two spring events in Paris and 19th-century photography in London
  by Susannah Woolmer
• Chromophobia: as several exhibitions in London show, colour obsesses many artists—so why do critics dismiss this interest as decorative—or worse?
• New York news: Louise Nicholson visits the Morgan Library, which has just reopened with a triumphant new extension
• Chests and breasts: a catalogue of Thorvaldsen's collection of ancient sculpture, in the Thorvaldsen Museum in Copenhagen, reveals much about this great neo-classical sculptor's practice, writes Ruth Guilding
  by Ruth Guilding
• So where is the Holy Grail?
  by Michael Hall
• Interwar photography at the V&A: modernism and more: the V&A's 'Modernism' exhibition demonstrates the centrality of photography to the style. But, as Kate Best and Sophie Leighton discuss, the museum's own collection reveals that modernism was ju
  by Kate Best
• And in the red corner… Amsterdam's comparison between Rembrandt and Caravaggio demonstrates how different these two great artists are, argues Samson Spanier
  by Samson Spanier
• 20th century AD
  by Alan Powers
• Goya's final flowering: the Frick is displaying Goya's late work in unprecedented depth. The rich display of his little-known miniatures on ivory is especially rewarding
  by Juliet Wilson-Bateau