Joachim Whaley

Review

The whole world in wood and copper

Prints were the main source of visual (mis)information for three centuries

Review

Did he influence Dürer or Dürer him? On Jacopo de’ Barbari

As an artist, Jacopo de’ Barbari became almost invisible

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Review

Kissin’ and collectin’ cousins

How one branch of a German noble family married into every European royal family and acquired spectacular works of art

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Review

Deutschland über alles? On the early Renaissance art market

Contrary to popular opinion, the Early Renaissance German art market developed simultaneously with, not later than, those in Italy and the Low Countries

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Review

The right kind of Classicism: Joachim Whaley on Goethe's criticism

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Review

The Hessian Minerva: on the collector Karoline Luise of Baden

Two appreciations of the remarkable 18th-century artist and collector

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Review

Barbie and Ken in the Enlightenment: Joachim Whaley on 18th-century dolls

The extraordinary dolls’ town made by a Thuringian duchess

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Review

Painting the Reformation: the Cranachs celebrated

Six books reveal the multifaceted output of the elder and younger Cranach in Thuringia

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Old Masters

How the Cranachs made Luther unmistakable: Joachim Whaley on the Luther Decade

Part two of a series on Luther’s favourite painter and publicist

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Old Masters

Luther, Cranach and political propaganda: Joachim Whaley on the Luther Decade

Part three of a series on Luther’s favourite painter and publicist

News
Old Masters

The Cranachs and Luther, a beautiful friendship: Joachim Whaley on the Luther Decade

Part one of a series on Luther’s favourite painter and publicist

News
Collectors

Duke Anton Ulrich of Brunswick: one of Europe's greatest collectors

His outstanding collection secured his legacy, says Joachim Whaley