All submissions must adhere to the Master Drawings Style Guidelines in order to be considered for publication.

Master Drawings follows the Chicago Manual of Style in most matters of style. In addition, please follow these guidelines when writing your article or review.

• Leave one space, not two, between the period at the end of a sentence and the next sentence.
• Please provide life dates for all artists and collectors mentioned in the text, checklist(s), or endnotes.
• For the spelling of artists’ names, institutional names, and so forth, see the Master Drawingscumulative Index (available online at https://masterdrawings.org/index/), the RKD, and ULAN (the source used for life dates unless proved incorrect).
• For the styling of checklists or appendices, please refer to those published for Thomas Gainsborough in vol. 46, no. 4 (Winter 2008); Girolamo Genga in vol. 52, no. 1 (Spring 2014); or Pieter Coecke van Aelst in vol. 52, no. 3 (Autumn 2014).
• Please include a one-sentence biographical statement at the end of your text with your professional affiliation or academic focus.
• Italicize rather than underline book titles, titles of drawings, foreign words, and so forth.
• Embed endnotes rather than submitting them as a separate document.

Citing Works of Art

In general, for works of art illustrated or discussed in the text, cite the artist’s name, the title of the work, and the collection in the main text. The endnote must include inventory number (if in a public collection), media, dimensions (in cm), and a published reference or reproduction and a weblink if available. For example:

Sentence in Text:
…The fourth new drawing by Willem van Herp in the Musée du Louvre, Paris, Christ’s Entry into Jerusalem (Fig. 21),⁴¹ can also be linked to several paintings by the artist, including one in the National Gallery, London.⁴²

Endnotes:
41. Inv. 21787. Oil, with pen and brown ink, on brown paper, 22.7 x 29.8 cm. See Frits Lugt, Musée du Louvre, Inventaire général des dessins des écoles du nord: École flamande, 2 vols. (Paris, 1949), vol. 2, no. 1561 (as anonymous seventeenth-century Flemish); and http://arts-graphiques.louvre.fr/detail/oeuvres/1/106437-LEntree-du-Christ-a-Jerusalem#.

42. Inv. NG203. Oil on copper, 80 x 114.3 cm. See https://www.nationalgallery.org.uk/paintings/willem-van-herp-the-elder-saint-anthony-of-padua-distributing-bread.

The support of a drawing should be mentioned only if it is NOT white or off-white paper (e.g., tracing paper, blue paper, pink prepared paper, vellum, and so forth). Inscriptions, watermarks, and provenance details may be noted if relevant to the discussion. In general, the condition of the sheet and other conservation details should not be included.

If a work of art is published online, please always include a link in the relevant endnote. Give priority to links to websites of the institutional owners:

Inv. III, 38. Red chalk, 39.1 x 51.1 cm. See https://www.themorgan.org/drawings/item/123092.

Include a full list of captions for illustrations, showing the following information:

Figure 21 (Figure number)
Here attributed to WILLEM VAN HERP (Artist’s name/attribution )
Christ’s Entry into Jerusalem (Title, Year [if latter is known])
Paris, Musée du Louvre, Département des Arts Graphiques (Location/source + copyright if relevant)

For reviews, provide full publication details and price after the heading, for example:

Book:
Thomas Ketelsen and Oliver Hahn, eds., Die Sammlung der niederländischen Zeichnungen in Weimar: Ein Handbuch; with Georg Dietz, Charles Dumas, Uwe Golle, Christien Melzer, Hermann Mildenberger, Christoph Orth, Christian Tico Seifert, and Carsten Wintermann. Dresden: Sandstein Verlag, 2022. ISBN: 978-3-95498-715-3. 312 pp., 351 illus. (mostly in color). €58

Exhibition Catalogue:
River of Forms: Giuseppe Penone’s Drawings, exhibition catalogue by Carlos Basualdo. Philadelphia, New Haven, and London: Philadelphia Museum of Art in association with Yale University Press, 2022. ISBN: 978-0-87633-298-6. 224 pp., 192 illus. (175 in color). $50

Citing Sources

Bibliographical sources should be cited in full in endnotes on the first occurrence:

Book:
Elizabeth Johns, American Genre Painting: The Politics of Everyday Life (New Haven, 1991).

Exhibition Catalogue:
William W. Robinson, with an essay by Martin Royalton-Kisch, Bruegel to Rembrandt: Dutch and Flemish Drawings from the Maida and George Abrams Collection, exh. cat. (Cambridge, MA, Fogg Art Museum, and elsewhere), 2002, no. 24.

Journal Article:
Eric Shanes, “Turner and the Creation of his First-rate in a Few Hours: A Kind of Frenzy,” Apollo 153, no. 1589 (2001): 13–15, esp. p. 14.

For subsequent citations, use the author-date/place-date style. Examples:

Johns 1991.
Cambridge, MA, and elsewhere 2002, 72, fig. 1.
Shanes 2001, 14.

Manuscripts are assessed by a team of readers, including members of the Editorial Board, the Editorial Advisory Board, and/or other scholars. Since most readers have other professional commitments, this process can take from six to twelve months, and authors are asked to be patient. Articles are typically published within a year of acceptance.

Once the editing is completed, the author will receive a pdf of the text in page layout format with illustrations and captions in place. The review and corrections process between author and Editor typically takes place by email over a two- to four-week period before the journal goes to press and there are typically two to three rounds of corrections. Each article is proofread by the members of the Editorial Board, and their corrections will be taken into consideration and collated together with any corrections received from the author. Authors will have a chance for one last-minute review once all the suggestions of the Editorial Board have been incorporated. Please note that rewriting of texts will not be allowed after the first review, and only egregious errors can be accommodated in late stages.