United Kingdom Magzines

Johnston Press merges print and digital operation to build on online audience growth (Press Gazette)
Hearst Magazines Drives Toward Category Sales (Folio:)
The AP Stylebook now includes new guidelines on data (requesting it, scraping it, reporting on it, and publishing it) (Nieman Journalism Lab)
Stephen Fry: Facebook and other platforms should be classed as publishers  (Guardian)
The New York

The future is smaller for subTerrain magazine. The Vancouver -based literary has announced it is downsizing its format with its current issue (#76, "The Future Issue") to what it calls a "non-standard off-size" (essentially somewhat like a super-digest.) It has sent a message to subscribers that says, in part

We feel this suits our personality better.  subTerrain started out as a 7 x 10 ’zine

Alan Quarry, the chairman of Quarry Integrated Communications, headquartered in Waterloo, Ontario has been appointed chairman of BPA Worldwide's board of directors. 

The audit firm was originally created in 1931 by advertisers, advertising agencies and the
media industry principally to provide third-party auditing of audience claims by magazines and newspapers to facilitate the buying and

TORONTO,
ON (May 26, 2017) – The National Magazine Awards Foundation (NMAF) presented
the winners of the 40th anniversary National Magazine Awards at a
gala this evening in Toronto at the Arcadian Court. Nearly 300 of Canada’s top
magazine writers, artists, editors, art directors, publishers, and other guests
representing 75 nominated magazines gathered to recognize and celebrate
excellence in

Excellence in Design winner
August 2016

Texas Monthly took home seven awards this week in the [U.S.] City and Regional Magazine Awards (CRMA).
It won the profiles category for larger circulations with “The Iconoclast,” Eric Benson’s story of an immunologist who challenged prevailing medical wisdom to uncover a possible cancer cure and won four design awards. “Objects of Our Affection” took top

The magazine awards season comes to a conclusion this Friday evening, May 26 at the Arcadian Court in Toronto with the 40th annual National Magazine Awards gala. Here is an excerpt from a release from the National Magazine Awards Foundation:

TORONTO,
ON (May 16, 2017) – The NMAF is excited to announce that this year’s 40th
anniversary National Magazine Awards gala, on May
26, will be co-hosted

The magazine Protegez-Vous, published by Options Consommateurs in Quebec has reported that one third of honey they tested was of lower quality than promised. 11 of 36 products tested were safe to eat but were flawed or violated Canadian and international honey standards. Various brands, for instance, had sugar added or were overheated, the magazine said in its June issue. Five products have a

The Canadian Society of Magazine Editors (CSME) has announced the shortlist of finalists for the 2017 Editors' Choice Awards. The winners will be announced on June 7 at the CSME Awards and Social, 5:30 pm at The Pilot, in Toronto, 22 Cumberland Street. Along with the category winners,  winners will be announced for awards for Best Front of Book, the Jim Cormier Award for Best Display Writing and

Airbnb is a travel disrupter, and with Airbnbmag, we will disrupt the travel-magazine category with a publication unlike any other on newsstands today. By partnering with Airbnb, we are able to serve their global community and provide readers with the most inspiring and most real-life travel stories, experiences and tips. The world of travel has changed. Technology has changed. People’s needs

The Conversion of St Paul [1]
Caravaggio 1573 – 1610
oil on panel (237 × 189 cm) — ca. 1601

Acts 9:4 - And he fell to the earth, and heard a voice saying unto him, Saul, Saul, why persecutest thou me?

One of two known paintings by Caravaggio on the subject of the conversion of St Paul (or Saul). This panel is in the Odescalchi Balbi Collection in Rome. The other also dates from c. 1601.

Saul was on his way to Damascus, to destroy the Christian community in that city. He was struck by a flash of light, and heard the words "Saul, Saul, why do you persecute me?"
>>>> Paul

The Conversion of St Paul
Pieter Bruegel the Elder ca. 1520 – 1569
oil on canvas (108 × 156 cm) — 1567

Acts 9:4 - And he fell to the earth, and heard a voice saying unto him, Saul, Saul, why persecutest thou me?

The small figure in blue, centre-right, is Saul. He has fallen from his horse, after being struck by a bolt of lightning from heaven. Saul, an ardent prosecutor of Christians, was on his way to Damascus.

This is one of the few scenes Bruegel did not situate in a Flemish landscape. He signed it on the rock in the lower right corner with BRVEGEL MDLXVII.
>>>> Paul

The Stoning of Saint Stephen
Bartholomeus Breenbergh 1598 – 1657
oil on panel (67 × 92 cm) — 1632

Acts 7:58 - And cast him out of the city, and stoned him: and the witnesses laid down their clothes at a young man's feet, whose name was Saul.


The pious Stephen was a member of the first Christian community in Jerusalem. He was stoned to death because he had accused priests of breaking the law. A crowd captured him and stoned him outside the city walls. Stephen thus became the first Christian martyr. From a distance Paul looks on. At the time he was still a fanatical persecutor of Christians.

A wide, open landscape with Roman ruins: this painting is typical for the works of Breenbergh.
>>>> Paul

Paul's Shipwreck
Ludolf Backhuysen 1630 – 1708
oil on canvas (105 × 208 cm) — ca. 1690


Acts 27:41 - And falling into a place where two seas met, they ran the ship aground; and the forepart stuck fast, and remained unmoveable, but the hinder part was broken with the violence of the waves.

In AD 60 Paul is on his way to Rome when his ship perishes before Malta. The apostle is forced to stay on the island for three months. Tradition has it that he performs several miracles there and founds a Christian community. There is no proof for any of this, however.

Ludolf Backhuysen is known for his seascapes, specializing in sea battles and harbor views. We know of only two religious works by him – this being one of them.
>>>> Paul

Paul's Shipwreck	The Stoning of Saint Stephen	The Conversion of St Paul
The Conversion of St Paul [1]	The Conversion of St Paul [2]	The Stoning of Stephen
Peter and Paul	Eustache: Paul in Ephesus	Paul
The Conversion of Saul	Paul in Athens	The Conversion of the Proconsul
The Sacrifce at Lystra	The Stoning of St Stephen	St. Paul in Prison
The apostle Paul (1661)	The apostle Paul	The Stoning of St Stephen
Saint Paul	Saint Paul	Saint Paul

Apostles >>> Paul

Jesus' followers. After his death they tried to spread the gospel.

St Matthew
Peter Paul Rubens 1577 – 1640
oil on panel (107 × 82 cm) — c. 1611

Matthew 1:1 - The book of the generation of Jesus Christ, the son of David, the son of Abraham.

Around 1612 Rubens made a series of portraits of the apostles, in commission of the duke of Lerma. Matthew is shown holding a weapon. The weapon refers to the martyrdom which the catholic church says he suffered.
>>>> Matthew

St Matthew
Rembrandt Harmensz. van Rijn 1606 – 1669
oil on canvas (96 × 81 cm) — 1661

Matthew 1:1 - The book of the generation of Jesus Christ, the son of David, the son of Abraham.

St Matthew is often depicted with an angel-like boy. Contrary to the other evangelists his attribute is not an animal but a human being. That is because his gospel begins with a list of fathers and sons, Jesus' family tree.

Rembrandt has the boy whisper something in Matthew's ear. Perhaps the apostle was short of inspiration while writing his gospel. The boy resembles Rembrandt's son Titus.

This is one of five portraits of apostles Rembrandt made in 1661.
>>>> Matthew

St Matthew
Frans Hals 1582 - 1666
oil on canvas (70 × 55 cm) — mid-17th century

Matthew 1:1 - The book of the generation of Jesus Christ, the son of David, the son of Abraham.

St Matthew is often depicted with an angel-like boy. Contrary to the other evangelists his attribute is not an animal but a human being. That is because his gospel begins with a list of fathers and sons, Jesus' family tree.

The painting is part of a series with Luke and Mark.
>>>> Matthew

The Martyrdom of St Matthew
Caravaggio 1573 – 1610
oil on canvas (323 × 343 cm) — 1599 - 1600


Matthew 10:3 - Philip, and Bartholomew; Thomas, and Matthew the publican; James the son of Alphaeus, and Lebbaeus, whose surname was Thaddaeus;


A legend has is that the apostle Matthew was murdered in a church in Ethiopia because he had inconvenienced the local king. Caravaggio shows the moment just before Matthew is stabbed to death. men on the foreground are probably waiting to be baptized. On the left is a group of bystanders dressed in late 16th century fashion. The man in the back, who turns his head to see what is going on, is probably the master himself.

The attitude of the figures, the play with light and darkness, the threat from the man with the sword and the overall circular composition make this a truly amazingly dynamic painting.
>>>> Matthew

The Calling of Saint Matthew
Caravaggio 1573 – 1610
oil on canvas (322 × 340 cm) — 1599-1600

Matthew 9:9 - And as Jesus passed forth from thence, he saw a man, named Matthew, sitting at the receipt of custom: and he saith unto him, Follow me. And he arose, and followed him.

Please note the extraordinary use of light. Jesus (extreme right) calls upon Matthew (behind the table in the middle) to join him. Matthew, then Levi, is a publican, collecting taxes for the Romans, by no means a popular profession. Everyone is astonished. There is light on Levi's face. Jesus' finger is reminiscent of Michelangelo's spark of life for Adam in the Sistine Chapel.

On the right, in front of Jesus – Peter.

The painting was commissioned together with The Martyrdom of Saint Matthew, which hangs opposite. Between them, on the altar, is The Inspiration of Saint Matthew (1602).
>>>> Matthew

St Matthew and the Angel
Caravaggio 1573 – 1610
oil on canvas (297 × 189 cm) — 1602

Matthew 10:3 - Philip, and Bartholomew; Thomas, and Matthew the publican; James the son of Alphaeus, and Lebbaeus, whose surname was Thaddaeus;


Matthew is portrayed in a remarkable pose – not as one would expect a devout evangelist to be depicted. Caravaggio made an earlier version of the painting, but the commissioner refused it because of its lack of decorum. This work was sadly lost during WW2. It would seem as if the painter did not compromise his intentions, however – this time the evangelist has dirty feet.

It is clear that the angel is dictating something. Judging from his fingers he is enumerating. Maybe it is an opening chapter - often a long list of the forefathers of Jesus.

This work, together with The Martyrdom of St Matthew and The Calling of St Matthew, form what is known as the San Luigi dei Francesi-cycle.
>>>> Matthew

St Matthew and the Angel	The Calling of Saint Matthew
The Martyrdom of St Matthew	St Matthew (mid-17th century)
St Matthew (1661)	St Matthew (c. 1611)

Matthew

One of Jesus' followers. One of the gospels was named after him.

Feast in the House of Levi
Paolo Veronese 1528 – 1588
oil on canvas (555 × 1280 cm) — 1573

Mark 2:15 - And it came to pass, that, as Jesus sat at meat in his house, many publicans and sinners sat also together with Jesus and his disciples: for there were many, and they followed him.


This enormous painting was created not so much to express the deeply pious feelings of its artist but to emphasize the grandeur of life in Venice.

Originally called The Last Supper, the painting caused quite a stir. The Inquisition accused the artist of heresy, then a capital sin. The work did not show enough respect for its sacred subject, it was argued, with its midgets, drunks and fools. There is even a dog in the place traditionally reserved for Mary Magdalene, and people dressed as Germans!

Veronese showed some remorse and was duly acquitted. He promised to replace the dog by Mary Magdalene and to remove the Germans.

But Veronese must have felt that the power of the Inquisition was limited in Venice, because he never touched the work again. However, he did give it a less dangerous name: Feast in the House of Levi.
>>>> Last Supper

The Last Supper
Peter Paul Rubens 1577 – 1640
oil on panel (304 × 250 cm) — 1632


Luke 22:14 - And when the hour was come, he sat down, and the twelve apostles with him.


This is one of Rubens's versions of the Last Supper. It shows Judas looking away, absent-mindedly, as the others are shocked to learn about the pending betrayal.

The painting was originally an altar-piece in the Saint Rombout Church in Mechelen. Two pre-studies are known – one in Moscow, the other in a private collection.
>>>> Last Supper

The last supper
Cosimo Rosselli 1439 – 1507
fresco (349 × 570 cm) — 1481-1482

Matthew 26:20 - Now when the even was come, he sat down with the twelve.

A fresco on the northern wall of the Sistine Chapel. It is part of the series on the life of Jesus.

It appears that Jesus has just shared the bread and the wine. He tells his followers that he will soon die. The apostles seem shocked - unfortunately Rosselli didn't have a talent for depicting emotions.

One of the apostles is not surprised. Sitting with his back to the viewer, Judas has a bag over his shoulder. It holds the silver coins he got for betraying Jesus.

The three windows in the background show the events that are about to occur: the prayer on Mount of Olives, the betrayal, and the crucifixion. The windows with the betrayal and the crucifoxion were probably made by Rosselli's assistant Biagio d'Antonio Tucci.

Rosselli put some decanters in the foreground. He also placed the wine cup in a prominent position, in the center of the scene. He did so to emphasize the importance of the episode: by sharing the bread and the wine (his "blood") God through Jesus created a new covenant between him and mankind. A new testament.
>>>> Last Supper

The Last Supper (1)
Leonardo da Vinci 1452 – 1519
oil and tempera on plaster (460 × 880 cm) — ca. 1495/98


Mark 14:24 - And he said unto them, This is my blood of the new testament, which is shed for many.


Jesus has just told his followers that he is about to be betrayed by one of them. We see the reactions of all. From left to right:

Bartholomew, James Minor and Andrew are flabbergasted by the announcement. Jude is hanging over the table, small money pouch in his right hand. Peter is angry, demanding that John find out whom Jesus is referring to. John looks about to faint. Jesus looks imperturbable, acquiescent – as if he just wants to get on with sharing the bread and wine. Thomas is angry, James Major looks stunned and seems to be holding back Thomas and Philip. Philip seems to be looking for an explanation. Matthew, Thaddeus and Simon are emerged in a lively conversation, most likely about the betrayal.

All the disciples' feet are visible, be it vaguely. Jesus, however, has to do without. When the monastery was renovated at some point in time, someone decided to have a door put in, sacrificing Jesus' feet in the process.

The Last Supper is in every aspect a remarkable composition, with excellent use of perspective, lively figures and strong emotions.

For this fresco, Leonardo tried out a new technique. He painted on a dry layer of plaster instead of a wet one, so as to achieve livelier colors and sharper images. It worked well, but unfortunately the tempera started peeling.

Through the centuries restorers have applied layers of varnish upon which oils were applied to repaint the work.

A bombing in 1943 fortunately spared the refectory. However, the building itself was severely damaged, causing damp problems. The fresco became moldy as a result.

At the latest restoration effort in 1999, concluding a period of 20 years of restoration, attempts were made to remove as many non-original layers as possible. This is a picture of the painting before the 1999 restoration.
We also have a photo after the restoration.
>>>> Last Supper

The Washing of the Feet
Il Tintoretto 1518 – 1594
oil on canvas (210 × 533 cm) — 1548-1549

John 13:5 - After that he poureth water into a bason, and began to wash the disciples' feet, and to wipe them with the towel wherewith he was girded.



Il Tintoretto turns the episode into an impressive scene set in a vast, well-lit environment. Later in his career he would start to use darker colors.

By washing Peter's feet, Jesus wants to set an example of humility and service towards others.

Tintoretto made a remarkable composition by putting the main action at the extreme right. He did so to accomodate to the original location of the work. Seen from the right things are literally put into perspective as the Venetian arch becomes the true vanishing point.

Also on the right another room is shown, where the celebration of the Last Supper is taking place.
>>>> Last Supper

The Last Supper
Il Tintoretto 1518 – 1594
oil on canvas (365 × 568 cm) — 1592-94


John 13:21 - When Jesus had thus said, he was troubled in spirit, and testified, and said, Verily, verily, I say unto you, that one of you shall betray me.



Tintoretto's studio was authorized to produce several large canvasses for the newly finished San Giorgo Maggiore church in Venice. The old master would have left most of the work in the hands of his assistants, but it is certain that he made three of the canvasses himself. This Last Supper is one of them.

Tintoretto created a special atmosphere by using two light sources, darker colors and transparent, hovering angels. The angels add a supernatural touch to the painting.

All disciples have a halo, except Jude – he's kneeling at the far side of the table.

The lines of the table, the pattern on the floor and the wood in the ceiling create a linear perspective. That makes the painting stand in the tradition of Da Vinci's Last Supper.
>>>> Last Supper

The Last Supper
Hans Holbein the Younger 1497/8 – 1543
oil on panel (115 × 97 cm) — 1524-25


Mark 14:18 - And as they sat and did eat, Jesus said, Verily I say unto you, One of you which eateth with me shall betray me.


Three disciples are missing from Holbein's painting. They may have been lost when the work was damaged during the Reformation's Iconoclasm in Basel. At the same occasion, Jesus' head was sawed from the altar piece (to be put back later).

Holbein chose approximately the same grouping as Leonardo da Vinci (his version), but used a smaller table and different facial expressions. A common aspect of both paintings is Peter whispering in John's ear.

Panel made of lime tree wood.
>>>> Last Supper

The Last Supper
Domenico Ghirlandaio 1449 – 1494
fresco (400 × 880 cm) — 1480

Corinthians 11:23 - For I have received of the Lord that which also I delivered unto you, That the Lord Jesus the same night in which he was betrayed took bread:


This is a very large fresco from the refectory (dining room) of the Franciscan church of Ognissanti in Florence.

Ghirlandaio certainly applied the full extent of his skills to this work. He uses the existing shape of the room to create extra space. The view in the background, the painting of the ceiling in the fresco and the shape of the table: they all create depth in the flat surface of the wall.

The viewer is given the illusion that he looks up towards the painted ceiling. In combination with the optical trick of creating views onto the background, the illusion shifts the vanishing point even further back. This technique for suggesting depth is known in Italian by sotto in su: "seen from below".

Judas is the only person sitting in front of the table. Later that night, Jesus will be arrested because of his betrayal. It is remarkable that Jesus is not positioned in the center but slightly to the left. John rests his head on Jesus' chest.

Leonardo da Vinci was familiar with this work when he painted his version of the Last Supper, more than ten years later. What the frescos have in common is that they were both painted in a refectory. One important difference is that Da Vinci's figures show more emotion than Ghirlandaio's, whose figures remain a little static despite the dramatic weight of the moment.
>>>> Last Supper

The last supper
Willem Andriesz. de Raet 16e eeuw
tapestry (180 × 314 cm) — c. 1550-1570

Luke 22:14 - And when the hour was come, he sat down, and the twelve apostles with him.


This tapestry was made by Willem de Raet's workshop in a commission that included The angel feeding Elijah and The meeting of Abraham and Melchizedek. The works share the eucharist as theme, the celebration of the bread. It is assumed that the tapestries were only displayed at special occasions.

The current whereabouts are unknown.
>>>> Last Supper