*items contributing new material

Single-authored books

• The Drawings of Raphael. With a Complete Catalogue, Oxford, 1983.
• Masaccio and Masolino. A Complete Catalogue, London and New York, 1993.
• Renoir: Life and Works, London, 2000.
• Titian to 1518. The Assumption of Genius, New Haven, 2001.
• Michel-Ange, élèves et copistes. Inventaire des Dessins Italiens, Musée du Louvre, Paris, 2003.
• Drawings by Michelangelo and his Followers in the Ashmolean Museum, Cambridge, 2007.

Co-edited book

• Reactions to the Master: Michelangelo’s Effect on Art and Artists in the Sixteenth Century, co-edited with F. Ames-Lewis, Aldershot and Burlington, VT, 2003.

Essays in edited volumes

• ‘Leonardo and Tradition’, in Nine Lectures on Leonardo da Vinci, ed. by F. Ames-Lewis, London, 1990, pp. 22–31.
• ‘”Primitivism” in the Late Drawings of Michelangelo: the Master’s Construction of an Old-Age Style’, in Studies in the History of Art, 33, 1992, ed. by C. H. Smyth in collaboration with A. Gilkerson, Hanover, NH, pp. 245–261 (reprinted in Michelangelo: Selected Readings, ed. by W. E. Wallace, Hudson, CT, pp. 505–521).
• ‘An Engraving by Michelangelo’, in Studi di storia dell’arte in onore di Mina Gregori, Cinisello Balsamo, 1994, pp. 96–100.
• ‘El Greco’s Interest in Michelangelo’, in El Greco of Crete: Proceedings of the International Symposium held on the occasion of the 450th anniversary of the artist’s birth, Iraklion, Crete, 1–5 September, 1990, ed. by N. Hadjinicolaou, Iraklion, 1995, pp. 199–214.
• ‘Michelangelo and the Medici Garden’, in La Toscana al tempo di Lorenzo il Magnifico: politica, economia, cultura, arte: convegni di studi promosso dalle Università di Firenze, Pisa e Siena, 5–8 novembre, 1992, ed. by R. Fubini, 3 vols, Pisa, 1996, vol. I, pp. 23–36.
• ‘”Non volevo pigliare quella maniera”: Rosso and Michelangelo’, in Pontormo e Rosso. Atti del convegno di Empoli e Volterra progetto Appiani di Piombino. Proceedings of a conference, Empoli, 22 September, 1994 and Volterra, 23–24 September, 1994, ed. by R. P. Ciardi and A. Natali, Florence and Venice, 1996, pp. 136–139.
• ‘An Adaptation of a Drawing by Michelangelo Attributable to Bronzino’, in Gedenkschrift für Richard Harprath, ed. by W. Liebenwein and A. Tempestini, Munich and Berlin, 1998, pp. 201–206.
• ‘Classicità e classicismo nella pittura veneta del Cinquecento’, in La pittura nel Veneto, vol. III: Il Cinquecento, ed. by M. Lucco, Milan, 1999, pp. 1041–1078.
• ‘Delacroix and Modern Literature’, in The Cambridge Companion to Delacroix, ed. by B. S. Wright, Cambridge and New York, 2001, pp. 130–153.
• ‘Salviati and Michelangelo’, in Reactions to the Master. Michelangelo’s Effect on Art and Artists in the Sixteenth Century, ed. by F. Ames-Lewis and P. Joannides, Aldershot and Burlington, VT, 2003, pp. 68–92.
• ‘Titian and Michelangelo/Michelangelo and Titian’, in The Cambridge Companion to Titian, ed. by P. Meilman, Cambridge and New York, 2003, pp. 121–145.
• ‘Michelangelo: Knowledge, Difference, Paradox’, in L’Abécédaire de Michel-Ange/The Little Book of Michelangelo, ed. by H. Sueur et al., Paris and London, 2003, pp. 5–21.
• ‘Some New Drawings by Perino del Vaga’, in Perino del Vaga, prima, durante, dopo. Atti delle giornate Internazionali di Studio, Genova, 26–27 maggio 2001, Palazzo Doria ‘Del Principe’, ed. by E. Parma, Genoa, 2004, pp. 14–26.
• Entry on a new drawing by Leonardo da Vinci, in Disegno, giudizio e bella maniera: studi sul disegno italiano in onore di Catherine Monbeig Goguel, ed. by P. Costamagna et al., Milan, 2005, p. 27, no. 4.
• ‘Titian’s Repetitions’, in Titian: Materiality, Likeness, Istoria, ed. by J. Woods-Marsden, Turnhout, 2007, pp. 37–51.
• ‘Sebastiano’s “Venus and Adonis”’, in La Pietà di Sebastiano a Viterbo. Storia e tecniche a confronto, ed. by C. Barbieri et al., Rome, 2009, pp. 12–16.
• ‘The Birth of Venus, Alessandro Botticelli’, in What Makes a Masterpiece? Encounters with Great Works of Art, ed. by C. Dell, London, 2010, pp. 140–145.
• ‘Prefazione’ to Sebastiano del Piombo, i Ritratti: committenti, artisti e letterati nella Roma del cinquecento, ed. by C. Barbieri, Teramo, 2012, pp. 7–12.
• ‘On a War-Horse at Cascina’, in Michelangelo als Zeichner. Akten des Internationalen Kolloquiums Wien, Albertina-Museum, 19.–20. November, 2010, ed. by C. Echinger-Maurach et al., Münster, 2013, pp. 237–251.
• ‘Afterthoughts on Late Raphael’, in Late Raphael. Proceedings of the International Symposium; Madrid, Museo Nacional del Prado, October 2012, ed. by M. Falomir, Madrid, 2013, pp. 165–171.
• ‘The Portraits of a Lady’, in Artistic Practices and Cultural Transfer in Early Modern Italy. Essays in Honour of Deborah Howard, ed. by N. Avcioğlu and A. Sherman, Farnham and Burlington, VT, 2015, pp. 233–241.
• ‘Drawings by Raphael and his immediate followers made for or employed for engravings and chiaroscuro woodcuts’, in Raffael als Zeichner/Raphaelas Draughtsman. Die Beiträge des Frankfurter Kolloquiums, AusstellungsbegleitendesKolloquium im Städel Museum vom 18. bis 20. Januar 2013, ed. by M. Sonnabend and J. Jacoby, Frankfurt, 2015, pp. 149–166.
• ‘A New Drawing for National Gallery No. 1’, in Rethinking Renaissance Drawings: Essays in Honour of David McTavish, ed. by U. M. D’Elia, Montreal, Kingston and London, 2015, pp. 19–26.

Exhibitions and their catalogues

• Michelangelo and his Influence: Drawings from Windsor Castle, exhibition of 68 drawings, circulated in three venues in the United States and two in the UK, October 1996–April 1998, Washington D.C. and London, 1996.
• Raphael and His Age: Drawings from the Palais des Beaux-Arts, Lille, exhibition of 57 drawings shown at the Cleveland Museum of Art, 25 August–27 October 2002 and the Palais des Beaux-Arts, Lille, 1 May–1 July 2003, published in English and in French, Cleveland and Paris, 2002.
• Raffael und Umkreis. Handzeichnungen aus der Sammlung Wolf Bürgi, Galerie Hans, Hamburg, December 2008 (introductory essay and 53 of 55 catalogue entries).
• Titien: l’étrange homme au gant, Palais Fesch–Musée des Beaux-Arts, Ajaccio, 26 June–27 September 2010, Milan, 2010 (introductory essay: ‘Le jeune Titien portraitiste’, pp. 13–83).
• Late Raphael/L’ultimo Raffaello/Le dernier Raphael, Museo Nacional del Prado, Madrid, 12 June–16 September 2012, and the Musée du Louvre, Paris, 8 October 2012–14 January 2013, Madrid, 2012 (organisation and catalogue in collaboration with Tom Henry).
• A Michelangelo Discovery, The Fitzwilliam Museum, Cambridge, 3 February–8 August 2015 (catalogue in collaboration with Victoria Avery), Cambridge, 2015.

Contributions to catalogues of exhibitions organised by other

scholars (essays and entries)

• Arte in Lombardia tra Gotico e Rinascimento, Palazzo Reale di Milano, 18 March–15 May, Milan, 1988 (introductory essay: ‘Masolino a Castiglione Olona: Il Battistero e la Collegiata’, pp. 284–296).
• The Touch of the Artist: Master Drawings from the Woodner Collection, National Gallery of Art, Washington D.C., 1 October 1995–28 January 1996, Washington and New York, 1995 (cat. entry 54: Alessandro Allori (after Michelangelo Buonarroti): The Fall of Phaeton).
• Francesco Salviati (1510–1563) o la Bella Maniera/Francesco Salviati (1510–1563) ou la Belle Manière, Villa Medici, Rome, 29 January–29 March 1998, and the Musée du Louvre, Paris, 30 April–29 June 1998, ed. by C. Monbeig-Goguel, Milan and Paris, 1998 (introductory essay: ‘Salviati e Michelangelo’/’Salviati et Michel-Ange’, pp. 53–55, and cat. entries: 4, 5, 8, 49/50).
• Giovinezza di Michelangelo, Palazzo Vecchio and Casa Buonarroti, Florence, 6 October–9 January 2000, ed. by K. Weil-Garris Brandt et al., Florence, 1999 (cat. entries: 13, 56–58, 62, 77).
• L’Adolescente dell’Ermitage e la Sagrestia Nuova di Michelangelo, Casa Buonarroti, Florence, 9 May–10 July 2000, and the Hermitage Museum, St Petersburg, 12 September–12 November 2000, ed. by S. Androsov and U. Baldini, Florence, 2000 (cat. entries: 2, 8–11, 14–28).
• Venere e Amore: Michelangelo e la nuova bellezza ideale/Venus and Love: Michelangelo and the new ideal of beauty, Galleria dell’Accademia, Florence, 26 June–3 November 2002, ed. by F. Falletti and J. Katz Nelson, Florence, 2002 (cat. entries: 2–6, 8–9, 12, 21, 27, 29).
• Michelangelo, Paris and Milan, 2003 (cat. entries by D. Cordellier based on those in P. Joannides, Michel-Ange, élèves et copistes. Inventaire desDessins Italiens, Musée du Louvre, 2003), published in English, French and Italian (introductory essay: ‘Personifying the Good and Evil of all Humanity’, pp. 6–17).
• Raffaello da Firenze a Roma, Galleria Borghese, Rome, 19 May–27 August 2006, ed. by A. Coliva, Milan, 2006 (cat. entries: 2, 3, 5, 7, 11, 15, 16, 23–33, 35, 39, 41–47, 49).
• Das Ewige Auge: Von Rembrandt bis Picasso. Meisterwerke aus der Sammlung Jan Krugier und Marie-Anne Krugier-Poniatowski, Kunsthalle der Hypo-Kulturstiftung, Munich, 20 July–7 October 2007, ed. by C. Lange and R. Diederen, Munich, 2007 (cat. entry 23: Raphael: Amor und Psyche).
• Sebastiano del Piombo. 1485–1547, Palazzo Venezia, Rome, 8 February–18 May 2008, and Gemäldegalerie, Berlin, 28 June–28 September 2008, ed. by C. Strinati et al., Milan, 2008 (essay: ‘Sebastiano as a Draughtsman’/’Sebastiano disegnatore’, pp. 37–43; cat. entries: 66, 68, 72–74, 76, 78–83, 85–87, 89–93, 95–101, 103–111; cat. entries: 67, 70, 84, 94 in collaboration with C. Barbieri).
• Raffaello e Urbino: La formazione giovanile e i rapporti con la città natale, Galleria Nazionale delle Marche, Urbino, 4 April–12 July 2009, ed. by L. Mochi Onori, Milan, 2009 (cat. entries: 45–47, 57, 65–70).
• From Raphael to the Carracci: The Art of Papal Rome, National Gallery of Canada, Ottawa 29 May–7 September 2009, ed. by D. Franklin, Ottawa, 2009 (cat. entry 18).
• L’oeil et la Passion: Dessins italiens de la Renaissance dans les collections privées françaises, Musée des Beaux-Arts de Caen, 19 March–20 June 2011, ed. by C. Monbeig Goguel and P. Ramade, Paris and Caen, 2011 (cat. entries: 4: Giovanni Francesco Penni (with D. Love), 24: Daniele da Volterra and 46: Venetian School).
• L’Ultimo Michelangelo: disegni e rime attorno alla Pietà Rondanini, Castello Sforzesco, Museo d’arte antica, Milan, 24 March–19 June 2011, ed. by A. Rovetta, Milan, 2011 (essay: ‘I Disegni Tardi di Michelangelo’, pp. 20–33).
• De Heemskerck à Le Brun: les plus beaux dessins du Musée du Mont-de-Piété de Bergues, Salon du dessin, Palais de la Bourse, Paris, 28 March–2 April 2012, and at the Musée du Mont-de-Piété, Bergues, 5 May–30 September 2012, ed. by P. Descamps (cat. entry 1: Sebastiano del Piombo).
• Houghton Revisited: The Walpole Masterpieces from Catherine the Great’s Hermitage, Houghton Hall, King’s Lynn, Norfolk, 17 May–29 September 2013, ed. by T. Morel, London and New York, 2013 (cat. entries: 27: Paolo Veronese and 65: Andrea del Sarto).
• Master Drawings, Colnaghi, London, 2013, ed. by K. Bellinger and F. Härb, London, 2013 (cat. entry 1: Giulio Romano: Bacchus as Autumn).
• Italian Master Drawings from the Princeton University Art Museum, Princeton University Art Museum, Princeton, 25 January–11 May 2014, ed. by L. M. Giles et al., Princeton and New Haven (cat. entry 8: Michelangelo Buonarotti, Head of a Youth and Caricatural Head of an Old Man).
• San Sebastiano: Bellezza e integrità nell’arte tra Quattrocento e Seicento, Castello di Miradolo, San Secondo di Pinerolo, 4 October 2014–8 March 2015, ed. by V. Sgarbi and A. D’Amico, Milan, 2014 (cat. entry 13: Titian: St Sebastian).
• Dánae y Venus y Adonis: las primeras “poesías” de Tiziano para Felipe II, Boletín del Museo del Prado, Boletín del Museo del Prado, número extraordinario, to accompany an exhibition at the Prado, Madrid, 19 November 2014–1 March 2015, ed. by M. Falomir, Madrid, 2014 (Essay: ‘Dánae y Venus y Adonis: origen y evolución/Danaë and Venus and Adonis: Origin and Development’ (with M. Falomir), pp. 17–51/60–74).
• Francis Bacon and the Masters, the State Hermitage Museum, St Petersburg, 7 December 2014–8 March 2015, and the Sainsbury Centre for the Visual Arts, University of East Anglia, Norwich, 17 April–26 July, 2015, ed. by T. Morel et al., London, 2014 (essay: ‘Bacon, Michelangelo and the Classical Tradition’, pp. 26–36).
• Leonardo da Vinci and the Idea of Beauty, Muscarelle Museum of Art at the College of William & Mary, Williamsburg, VA, 21 February–5 April, and the Museum of Fine Arts, Boston, MA, 15 April–14 June 2015, ed. by J. Spike, Williamsburg and Florence, 2015 (essay: ‘Michelangelo and Leonardo’, pp. 42–47).
• Leonardo da Vinci y la idea de la belleza, Museo del Palacio de Bellas Artes, Mexico City, 26 June–23 August 2015, ed. by J. Spike, Mexico City, 2015 (essay: ‘Miguel Angel y Leonardo’, pp. 61–69).
• Drawn from the Antique: Artists and the Classical Ideal, the Teylers Museum Haarlem, 11 March–31 May, and Sir John Soane’s Museum London, 25 June–26 September 2015, ed. by A. Aymonino and A. Varick Lauder, London 2015 (editorial work).
• Marcantonio Raimondi, Raphael and the Image Multiplied, the Whitworth Art Gallery, The University of Manchester, 30 September 2016 – 23 April 2017, ed. by E. H. Wouk, Manchester, 2016 (essay: ‘Dido and Lucretia: Raphael’s designs and Marcantonio’s engravings’, pp. 43–45 and cat. entries: no. 25 (with E. H. Wouk): Raphael: St John the Baptist (drawing), nos 79/80: Raimondi: Pietà (engraving) and no. 82: Raimondi: St Cecelia (engraving)). Essay reprinted in Bulletin of the John Rylands University Library of Manchester, vol. 92, no. 2, Autumn 2016, pp. 45–53.

Articles in periodicals

• ‘A note on the Julius Tomb, 1513’, The Burlington Magazine, vol. 113, no. 816, March 1971, pp. 149–150.
• ‘Michelangelo’s Medici Chapel: Some New Suggestions’, The Burlington Magazine, vol. 114, no. 833, August 1972, pp. 541–551.
• ‘Towards the Dating of Géricault’s Lithographs’, The Burlington Magazine, vol. 115, no. 847, October 1973, pp. 666–671. Reprinted in Théodore Géricault.The Graphic Work/L’oeuvre gravé, ed. by A. Hyman and L. Delteil, San Francisco, 2010.
• ‘A Byron Subject by Horace Vernet’, The Burlington Magazine, vol. 116, no. 860, November 1974, pp. 668–671.
• ‘Some English Themes in the Early Work of Gros’, The Burlington Magazine, vol. 117, no. 873, December 1975, pp. 774–785.
• ‘Delacroix, The Choc des Cavaliers Arabes and the Galerie des Beaux-Arts’, The Journal of the Walters Art Gallery, vol. 35, 1977, pp. 93–97.
• ‘Michelangelo’s Lost Hercules’, The Burlington Magazine, vol. 119, no. 893, August 1977, pp. 550–555.
• ‘A Source for Flaxman’ [Letter], The Burlington Magazine, vol. 122, no. 923, February 1980, p. 127.
• ‘A Supplement to Michelangelo’s Lost Hercules’, The Burlington Magazine, vol. 123, no. 934, January 1981, pp. 20–23.
• ‘Michelangelo, Filippino Lippi and the Half-Baluster’, The Burlington Magazine, vol. 123, no. 936, March 1981, pp. 153–154.
• ‘On the Chronology of the Sistine Chapel Ceiling’, Art History, vol. 4, issue 3, September 1981, pp. 250–253.
• ‘Two Bronze Statuettes and their relation to Michelangelo’, The Burlington Magazine, vol. 124, no. 946, January 1982, pp. 3–8.
• ‘Giulio Romano and Penni’, The Burlington Magazine, vol. 124, no. 955, October 1982, p. 634.
• ‘Colin, Delacroix, Byron and the Greek War of Independence’, The Burlington Magazine, vol. 125, no. 965, August 1983, pp. 495–500.
• ‘Ideology and Idolatry’, The Cambridge Quarterly, XI, 3, 1983, pp. 390–410.
• ‘Les romans historiques de Sir Walter Scott et la peinture française, 1822–1863’ (with B. S. Wright), première partie, Bulletin de la Société de l’Histoirede l’Art Français, année 1982 (1984), pp. 119–132.
• ‘The Northbrook Madonna’, Paragone, 411, March 1984, pp. 4–9.
• ‘Les romans historiques de Sir Walter Scott et la peinture française, 1822–1863’ (with B. S. Wright), deuxième partie, Bulletin de la Société de l’Histoirede l’Art Français, année 1982 (1985), pp. 95–115.
• ‘Raphael drawings’ [Letter], The Burlington Magazine, vol. 127, no. 983, February 1985, p. 93.
• ‘The Early Easel paintings of Giulio Romano’, Paragone, 425, July 1985, pp. 17–46.
• ‘A Masolino Partially Reconstructed’, Source: Notes in the History of Art, IV, 4, Summer 1985, pp. 1–5.
• ‘New Words in Old Bottles’, Cambridge Quarterly, XIV, 3, 1985, pp. 240–250.
• ‘Raphael and Giovanni Santi’, in Studi su Raffaello, ed. by M. Sambucco Hamoud and M. L. Strocchi, Florence, 1987, pp. 55–61.
• ‘Caravaggio, Caravaggio and Caravaggios’, Ideas and Production, VIII, 1988, pp. 67–76.
• ‘A Michelangelesque Copy after Raphael’, The Burlington Magazine, vol. 130, no. 1024, July 1988, pp. 530–531.
• ‘Masaccio, Masolino and “minor” Sculpture’, Paragone, 451, September 1987 (published in July 1988), pp. 3–24.
• ‘The Colonna Triptych by Masolino and Masaccio: Collaboration and Chronology’, Arte Cristiana, vol. 76, no. 728, September–October 1988, pp. 339–346.
• ‘Leonardo da Vinci, Peter-Paul Rubens, Pierre-Nolasque Bergeret and the “Fight for the Standard”’, Achademia Leonardi Vinci, 1, 1988, pp. 76–86.
• ‘Paolo Uccello’s “Rout of San Romano”: a New Observation’, The Burlington Magazine, vol. 131, no. 1032, March 1989, pp. 214–216.
• ‘A Portrait by Fra Carnevale’, Source: Notes in the History of Art, VIII, 3, Spring 1989, pp. 7–10.
• ‘Fra Angelico: Two Annunciations’, Arte Cristiana, vol. 77, no. 733, July–August 1989, pp. 303–308.
• ‘A Raphaelesque moment in the Veneto’, Arte Cristiana, vol. 78, no. 739, July–August 1990, pp. 267–271.
• ‘Masaccio: a Lost Painting and a Drawing’, Arte Cristiana, vol. 78, no. 741, November–December 1990, pp. 435–436.
• ‘Masaccio’s Brancacci Chapel. Restoration and Revelation’, Apollo, CXXXIII, 347, January 1991, pp. 26–32.
• ‘A Franciscan Altarpiece by Fra Angelico’ (with J. Henderson), Arte Cristiana, vol. 79, no. 742, January–February 1991, pp. 3–6.
• ‘Titian’s Daphnis and Chloe’, Apollo, CXXXIII, 352, June 1991, pp. 374–382.
• ‘La chronologie du tombeau de Jules II à propos d’un dessin de Michel-Ange découvert’, Revue du Louvre, 2, May 1991, pp. 33–42.
• ‘A “Last Supper” by the Young Jacopo Bassano and the Sequence of his Early Work’ (with M. Sachs), The Burlington Magazine, vol. 133, no. 1063, October 1991, pp. 695–699.
• ‘Some Borrowings and Non-Borrowings from Central Italian and Antique Art in the Work of Titian c.1510–1550’, Paragone, 487, September 1990 (published in September 1991), pp. 21–45.
• ‘A Newly Unveiled Drawing by Michelangelo and the Early Iconography of the Magnifici Tomb’, Master Drawings, 29, 3, Autumn 1991, pp. 255–262.
• ‘Titian’s Judith in its Context. The Iconography of Decapitation’, Apollo, CXXXV, 361, March 1992, pp. 163–170.
• ‘Paolo Uccello’s “Rout of San Romano”’ [Letter], The Burlington Magazine, vol. 134, no. 1069, April 1992, p. 249.
• ‘Creative Distortion in the Renaissance: Lippi, Leonardo and Parmigianino’, Apollo, CXXXVI, 368, October 1992, pp. 239–246.
• ‘Daniele da Volterra’s ‘Dido’’, The Burlington Magazine, vol. 135, no. 1089, December 1993, pp. 818–819.
• ‘A propos d’une sanguine nouvellement attribuée à Michel-Ange (1475–1564). La connaissance des dessins de l’artiste en France au XVIe siècle’, Revue du Louvre, 3, June 1994, pp. 15–29.
• ‘Two Topics in the Early Work of Titian’, Apollo, CXL, 392, October 1994, pp. 17–27.
• ‘Bodies in the Trees: A Mass-Martyrdom by Michelangelo’, Apollo, CXL, 393, November 1994, pp. 3–14.
• ‘Drawings by Francesco Salviati and Daniele da Volterra: Additions and Subtractions’, Master Drawings, 32, 3, Fall 1994, pp. 230–251.
• ‘Raphael, His Studio and his Copyists’, Paragone, 523–525, September–November 1993 (published in April 1995), pp. 3–29.
• ‘Late Botticelli: Archaism and Ideology’, Arte Cristiana, vol. 83, no. 768, May–June 1995, pp. 163–178.
• ‘A Drawing by Michelangelo for the Lantern of St Peter’s’, Apollo, CXLII, November 1995, pp. 3–6.
• ‘Tesserae in a vast mosaic: Two Fragmentary Drawings by Michelangelo’, Apollo, CXLII, November 1995, pp. 7–9.
• ‘Giulio Romano’s Madonna at Apsley House’ (with P. Young), The Burlington Magazine, vol. 137, no. 1112, November 1995, pp. 728–736.
• ‘A Subject from Thomas Gray by Girodet’, Gazette des Beaux-Arts, 127, March 1996, pp. 119–124.
• ‘An Overlooked Guercino Looked Over: the Place of St Augustine in the Artist’s Œuvre’, Apollo, CXLIII, 411, May 1996, pp. 18–19.
• ‘On the recto and on the verso of a sheet of drawings by Michelangelo at Princeton’, The Record of the Art Museum, Princeton University, 54, 2, 1995, pp. 2–11.
• ‘Michelangelo: The Magnifici Tomb and the Brazen Serpent’, Master Drawings, 34, 2, Summer 1996, pp. 148–167.
• ‘Una copia di un’opera perduta di Battista Zelotti e un suo disegno autografo’, Arte Veneta, 49, 1996, pp. 51–54.
• ‘Michelangelo bronzista: Reflections on his Mettle’, Apollo, CXLV, 424, June 1997, pp. 11–20.
• ‘A Drawing by Raphael’, Phillips, London, sale catalogue, 3 July, 1997, lot 120, pp. 63–65.
• ‘An Antique Source for Titian and Michelangelo, Apollo, CXLVI, 427, September 1997, pp. 14–16.
• ‘Spiritual Intensity and Consolation: A Late Drawing by Michelangelo’, Sotheby’s Preview, January 1998, pp. 12–14.
• ‘A Putto by Correggio’, Apollo, CXLVII, 432, February 1998, pp. 47–48.
• ‘Raphael and his Circle’, Paragone, 601, March 2000 (published January 2001), pp. 3–42.
• ‘Giulio Romano in Raphael’s Workshop’, Quaderni di Palazzo Te, 8, 2000, pp. 35–45.
• ‘On Michelangelo’s Stoning of St Stephen’, Master Drawings, 39, 1, Spring 2001, pp. 3–11.
• “Unconsidered Trifles”: Copies after Lost Drawings by Michelangelo’, Paragone, 633, November 2002, pp. 3–17.
• ‘My favourite work’ [Titian’s Tarquin and Lucretia], Varsity, no. 578, 7 March 2003, p. a12.
• ‘Two Drawings related to Michelangelo’s Hercules and Antaeus’, Master Drawings, 41, 2, Summer 2003, pp. 105–118.
• ‘Michelangelo’s “Cupid”: a correction’, The Burlington Magazine, vol. 145, no. 1205, August 2003, pp. 579–580.
• ‘Some Drawings by Michelangelo and his circle in the Prado’/‘Dibujos de Miguel Ángel y de su entorno en el Prado’ (with N. Turner), Boletín del Museo del Prado, XXI, 39, 2003, pp. 8–23 (English), 99–105 (Spanish).
• ‘Raphael: A Sorority of Madonnas’, The Burlington Magazine, vol. 146, no. 1220, November 2004, pp. 749–752.
• ‘Titian in London and Madrid’, Paragone, 657, November 2004, pp. 3–30.
• ‘On, Around, and After a New Drawing by Raphael’, Master Drawings, 43, 3, Fall 2005, pp. 356–371.
• ‘More on Rubens’ interest in Michelangelo and Raphael’, Paragone, 677, July 2006, pp. 31–39.
• ‘Letter’ [addenda and corrigenda to the Louvre Inventaire], Master Drawings, 44, 3, Autumn 2006, pp. 372–374.
• ‘Titian and the Extract’, Studi Tizianeschi, 4, 2006, pp. 135–148.
• ‘”A Boy with a Bird” in the National Gallery: Two responses to a Titian Question’ (with J. Dunkerton), The National Gallery Technical Bulletin, 28, 2007, pp. 36–57.
• ‘A Drawing by Michelangelo Reappears’ (with V. Burnod), Master Drawings, 45, 2, Summer 2007, pp. 236–240.
• ‘A Bolognese Project by the Young Parmigianino’, Master Drawings, 46, 3, Autumn 2008, pp. 353–366.
• ‘Giulio and Titian’ [Letter], Master Drawings, 47, 2, Summer 2009, p. 237.
• ‘Battista Franco, meilleur dessinateur que peintre?’, Grande Galerie, Le Journal du Louvre, no. 10, dec/jan/fev 2009–2010, pp. 58–59.
• ‘Titian’s Vienna “Mars and Venus”: Its Lost Pendant and a Variant’, Paragone, 721, March, 2010, pp. 3–27.
• ‘More on Francesco Salviati as a Copyist’, Master Drawings, 48, 3, Autumn 2010, pp. 315–326.
• ‘Titian, Giorgione and the Mystery of Paris’, Artibus et Historiae, 61, 2010, pp. 99–114.
• ‘The Birth of Venus’, The Independent Magazine, 15 October 2010, pp. 40–41.
• ‘Une feuille de Michel-Ange au musée des Beaux-arts de Rennes’, Revue du Louvre et des musées de France, no. 1, 2011, pp. 56–62.
• ‘Further Considerations on the Pardo Venus’, Studi Tizianeschi, 6–7, 2011, pp. 71–77.
• ‘A New Drawing by Michelangelo’, Master Drawings, 49, 2, Summer 2011, pp. 159–162.
• ‘Giorgione’s “Madness of Nebuchadnezzar”’, Paragone, 741, November 2011, pp. 3–12.
• ‘Reflexivity and Involution in Sebastiano’, Konsthistorisk tidskrift/Journal of Art History, 81, 4, 2012, pp. 203–210.
• ‘A Portrait of “Girolamo Fracastoro” by Titian in the National Gallery’ (with J. Dunkerton and J. Fletcher), The Burlington Magazine, vol. 155, no. 1318, January 2013, pp. 4–15.
• ‘Nicolas Poussin’s Extreme Unction’, Cambridge Humanities Review, 3, Lent, 2013, pp. 5–7.
• ‘A Portrait by Titian of Girolamo Cornaro’, Artibus et Historiae, 67, 2013, pp. 239–249.
• ‘A Composition by Polidoro da Caravaggio Recomposed’, Master Drawings, 51, 2, Summer 2013, pp. 159–164.
• ‘A Painting by Titian from the Spanish Royal Collection at Apsley House’ (with R. Featherstone), Hamilton Kerr Institute Bulletin, 5, 2014, pp. 66–79.
• ‘Gianfrancesco Penni’s Two Versions of The Holy Family with Saint John and Saint Catherine/‘Dwie wersje obrazu Święta Rodzina ze świętym Janem Chrzcicielem i świętą Katarzyną Aleksandryjską Gianfrancesca Penniego’, Rocznik Muzeum Narodowego w Warszawie/Journal of the National Museum in Warsaw, N.S. 3 (39) 2014, pp. 232–244 (Polish), 245–254 (English).
• ‘An Engraving by Giulio Bonasone after a Drawing by Giulio Romano’, Print Quarterly, XXXII, 1, March, 2015, pp. 27–32.
• ‘A Marriage of St Catherine by Giulio Romano’, Paragone, 781, March 2015, pp. 13–17.
• ‘Revival or Continuity? Three Turns about Pontormo’, Artibus et Historiae, 71, 2015, pp. 91–112.
• ‘An Attempt to Situate Titian’s Paintings of the Penitent Magdalen in Some Kind of Order’, Artibus et Historiae, 73, 2016, pp. 157–194.
• ‘Titian’s ‘Danaë’: The Debate Continues’ (with M. Falomir), The Burlington Magazine, vol. 1359, no. 158, June 2016, pp. 415–419.
• ‘Titian’s Rokeby Venus and Adonis and the Role of Working Templates’ (with J. S. Turner), Studi Tizianeschi, 9, 2014 (published in 2016), pp. 48–76.
• ‘‘Titian’s Mistress’ at Apsley House’ (with S. Bayliss and A. Tate-Harte), Hamilton Kerr Institute Bulletin, 6, 2016, pp. 83–92.
• ‘On the unorthodox origin and Byzantine journey of the Lavenham Madonna’ (with C. Slottved Kimbriel), Hamilton Kerr Institute Bulletin, 6, 2016, pp. 104–115.

Exhibition reviews and review articles

• *‘Ossian at the Grand Palais’ (with C. Sells), The Burlington Magazine, vol. 116, no. 855, June 1974, pp. 358–362.
• *‘Michelangelo Drawings at the British Museum’, The Burlington Magazine, vol. 117, no. 865, April 1975, pp. 257–264.
• *‘The Giulio Romano Exhibition in Mantua’, Paragone, 475, September 1989 (published in August 1990), pp. 61–73.
• *‘Savoldo: Minimalist Refinement’, Apollo, CXXXII, 341, July 1990, pp. 56–57.
• *‘Titian: a call for natural light’, Apollo, CXXXII, 344, October 1990, pp. 267–269.
• ‘Hommage to Philip Pouncey’, Apollo, CXXXVI, 366, August 1992, pp. 123–124.
• ‘Titian’s century is Louvre director’s farewell’, The Art Newspaper, no. 28, May 1993, p. 9.
• *‘Edinburgh Raphael’, The Burlington Magazine, vol. 136, no. 1096, July 1994, pp. 474–475.
• *‘Pierre-Paul Prud’hon in Paris’, Apollo, CXLVII, 432, February 1998, p. 60.
• *‘Italian drawings in Weimar’, Apollo, CLI, 458, April, 2000, pp. 59–60.
• ‘Daniela da Volterra. Florence’, The Burlington Magazine, vol. 146, no. 1210, 2004, pp. 56–58.
• *‘Tiziano e il ritratto di Corte da Raffaello ai Caracci (Napoli, Museo di Capodimonte, 2006)’, Studi Tizianeschi, 4, 2006, pp. 184–187.
• ‘Splendeur de Venise. 1500–1600, Musée des Beaux-Arts, Bordeaux et Caen, 2005–2006’, Studi Tizianeschi, 4, 2006, pp. 187–188.
• ‘La Sainte Anne, l’ultime chef-d’oeuvre de Léonard da Vinci’, Arte Lombarda, N.S. 164–165, 2012, 1–2, pp. 187–189.
• ‘Leonardo in Milan in London’, Paragone, 749, July 2012, pp. 51–66.

Book reviews

• L. B. Ciulich and P. Barocchi: ‘I Ricordi di Michelangelo’, H. R. Mancusi-Ungaro, Jr.: ‘The Bruges Madonna and the Piccolomini Altar’ and F. Hartt: ‘The Drawings of Michelangelo’, The Burlington Magazine, vol. 115, no. 842, May 1973, p. 332.
• F. A. Trapp: ‘The Attainment of Delacroix’, The Burlington Magazine, vol. 115, no. 845, August 1973, pp. 549–550.
• *L. Eitner: ‘Géricault’s Raft of the Medusa’, The Burlington Magazine, vol. 117, no. 864, March 1975, pp. 171–172.
• J. Spector: ‘Delacroix: The Death of Sardanapalus’, The Burlington Magazine, vol. 118, no. 878, May 1976, pp. 324–327.
• H. Hibbard: ‘Michelangelo’ and C. de Tolnay: ‘Michelangelo, Sculptor, Painter, Architect’, The Burlington Magazine, vol. 118, no. 879, June 1976, p. 426.
• L. Steinberg: ‘Michelangelo’s Last Paintings’ and H. Utz: ‘Der Wiederentdeckte Herkules des Michelangelo’, The Burlington Magazine, vol. 118, no. 883, October 1976, p. 712.
• *C. de Tolnay, ‘Disegni di Michelangelo nelle collezioni italiane’, Art Bulletin, LVII, 1, March 1978, pp. 174–177.
• ‘Couture in Context’ [A. Boime: ‘Thomas Couture and the Eclectic Vision’], Art History, 4, 3, September 1981, pp. 332–334.
• *C. de Tolnay: ‘Corpus dei disegni di Michelangelo’, The Art Bulletin, vol. LXIII, no. 4, December 1981, pp. 679–687.
• *R. Wittkower: ‘Idea and Image: Studies in the Italian Renaissance’ and J. Wilde et al.: ‘Michelangelo. Six Lectures’, The Burlington Magazine, vol. 123, no. 943, October 1981, pp. 620–622.
• *L. Johnson: ‘The Paintings of Eugène Delacroix. A Critical Catalogue, 1816–1831’, Art History, 5, 3, September 1982, pp. 348–352.
• ‘Intensely Moving’ [J. Steer: ‘Alvise Vivarini, his art and Influence’], Art Book Review, vol. 1, no. 2, 1982, p. 76.
• ‘Venetian Valuables’ [D. Rosand: ‘Painting in Cinquecento Venice: Titian, Veronese, Tintoretto]’, Art Book Review, no. 4, 1983, pp. 25–26.
• ‘Michelangelo Shrunk’ [R. Liebert: ‘Michelangelo: A Psychoanalytic Study of his Life and Images’], Art Book Review, no. 5, 1983, p. 22.
• ‘Politics and Paint’ [A. Schnapper: ‘David’], Art Book Review, no. 5, 1983, pp. 29–30.
• *‘Classic Romantic’ [L. Eitner: ‘Géricault, His Life and Work]’, Art Book Review, no. 5, 1983, pp. 30–32.
• *‘A Royal Catalogue’ [J. Shearman: ‘The Early Italian Pictures in the Collection of Her Majesty the Queen’], Art Book Review, no. 6, 1983, pp. 48–49.
• ‘Given the Sack’ [A. Chastel: ‘The Sack of Rome, 1527’], Art Book Review, no. 6, 1983, p. 51.
• R. Snell: ‘Théophile Gautier: A Romantic Critic of the Visual Arts’, Art History, 6, 2, June 1983, p. 252.
• *Raphael centenary year publications, Italian Studies, 39, 1984, pp. 109–114.
• L. Lepschy: ‘Tintoretto Observed. A Documentary Survey of Critical Reactions from the Sixteenth to the Twentieth Century’, The Modern LanguageReview, vol. 80, no. 1, January 1985, pp. 187–189.
• R. Goffen: ‘Giovanni Bellini’, Apollo, CXXXI, 337, March 1990, pp. 212–213.
• R. Lightbown: ‘Sandro Botticelli, Life and Work’, Apollo, CXXXI, 338, April 1990, pp. 277–278.
• ‘Jacopo Bellini: a Situation-Report’ [C. Eisler: The Genius of Jacopo Bellini], Apollo, CXXXI, 340, June 1990, pp. 437–438.
• *C. G. Sciolla (ed.): From Leonardo to Rembrandt, Drawings from the Royal Library Turin, Apollo, CXXXIII, 349, March 1991, p. 214.
• E. J. Mundy: ‘Renaissance into Baroque: Italian Master Drawings by the Zuccari, 1550–1600’, Apollo, CXXXIII, 351, May 1991, pp. 362–363.
• ‘Amputating Michelangelo’s corpus’ [A. Perrig: ‘Michelangelo’s Drawings: the Science of Attribution’], Apollo, CXXXV, 362, April 1992, pp. 265–266.
• ‘Countering Tuscano-centrism’ [M. Lucco (ed.): ‘La Pittura nel Veneto: Il Quattrocento’], Apollo, CXXXV, 364, June, 1992, pp. 406–407.
• W. Hood: ‘Angelico at San Marco’, Apollo, CXXXVII, 376, June 1993, pp. 400–401.
• P. L. Roberts: ‘Masolino da Panicale’, Apollo, CXXXIX, 386, April 1994, p. 79.
• C. Farago: ‘Leonardo da Vinci’s Paragone: A Critical Interpretation with a new edition of the text in the Codex Urbinas’ and G. C. Maiorino: ‘Leonardo da Vinci: the Daedalian Mythmaker’, Renaissance Quarterly, XLVII, 3, Autumn 1994, pp. 718–721.
• B. Alaoui et al.: ‘Delacroix in Morocco’, Art Book Review Quarterly, 19, Winter 1994, p. 1.
• L. Eitner: ‘Stanford University Museum of Art. The Drawing Collection’, Master Drawings, 33, 4, Winter 1995, pp. 418–420.
• D. Carrier: ‘Poussin’s Paintings. A Study in Art-Historical Methodology’, EMF: Studies in Early Modern France, 3, 1997, pp. 233–236.
• S. F. Ostrow: ‘Art and Spirituality in Counter-Reformation Rome: the Sistine and Pauline Chapels in S. Maria Maggiore’, Speculum, vol. 73, no. 4, October 1998, pp. 1158–1160.
• Review of numerous publications on Géricault, Print Quarterly, XVI, 1, March 1999, pp. 81–82.
• *‘The great seducer still safe with his secrets’ [D. Ekserdjian: ‘Parmigianino’], The Art Newspaper, no. 176, January 2007, p. 38.
• ‘An admirable monograph on Giovanni Bellini (as long as you ignore the typos?)’ [O. Bätschmann: ‘Giovanni Bellini’], The Art Newspaper, no. 193, July 2008, p. 43.
• ‘Giving a context to the art of Venice’ [P. Humfrey (ed.): ‘Venice and the Veneto’], The Art Newspaper, no. 196, November 2008, p. 54.
• M. Hall: ‘The Sacred Image in the Age of Art’, Art and Christianity, 68, Winter 2011, p. 16.
• ‘Another Michelangelo’ [M. Gayford, ‘Michelangelo: His Epic Life’], Apollo, CLXXIX, 618, March 2014, pp. 192–193.
• M. Cole: ‘Ambitious Form: Giambologna, Ammanati and Dante in Florence’, The Sculpture Journal, 22. 2, 2013 (2014), pp. 141–142.
• ‘An anthology of absences’ [T. Nicols: ‘Titian and the End of the Venetian Renaissance], The Art Newspaper, no. 259, July–August 2014, p. 48.
• D. Cauzzi and C. Seccaroni (eds): ‘La Santa Cecilia di Raffaello: studi e indagini’, Bolletino d’Arte, XCIX, Serie VII, 24, October–December 2014 (published in January 2016), pp. 151–152.
• ‘Titian’s secret revealed’, J. Dunkerton et al.: ‘Titian’s Painting Technique before 1540’ and Titian’s Painting Technique from 1540’, The Art Newspaper, no. 282, September 2016, p. 63.

Film: reviews and editorial work

• Editor, Cambridge Film Society Programme, 1966–1967.
• Review of Akira Kurosawa’s ‘Rashomon’, Cambridge Film Society Programme, 1966–1967, p. 3.
• Review of Laslo Benedek’s ‘The Wild One’, Cambridge Film Society Programme, 1966–1967, p. 12.
• Review of Jonas and Adolfas Mekas’s ‘The Brig’, Cambridge Film Society Programme, 1966–1967, p. 17.
• Review of Kon Ichikawa’s ‘Fires on the Plain’, Cambridge Film Society Programme, 1966–1967, p. 19.
• ‘The Cinema of Luis Bunuel’ (with N. Pilkington), Cambridge Film Society Programme, 1966–1967, pp. 20–22.
• Review of Mauritz Stiller’s ‘Gösta Berling’s Saga’, Cambridge Film Society Programme, 1966–1967, pp. 23–24.
• ‘Aspects of Fritz Lang’, Cinema, 6/7, August 1970, pp. 5–10.
• ‘The Aesthetics of the Zoom Lens’, Sight and Sound, vol. 40, no. 1, Winter 1970–1971, pp. 40–42.
• ‘Luminous/Numinous’, review of Steven Spielberg’s ‘E.T.’, London Review of Books, vol. 5, no. 1, 20 January 1983, p. 16.
• ‘Copping out with Coppola’ (with P. Chabal), review of Francis Ford Coppola’s films, Cambridge Quarterly, XIII, no. 3, 1984, pp. 187–203.