Dipinti tra rococò e neoclassicismo da Palazzo Chigi in Ariccia e da altre raccolte
Palazzo Ducale Castromediano di Cavallino, Lecce, 21 September — 15 December 2013
La mostra è dedicata alla memoria di Fiammetta Luly Lemme (Ancona, 20 marzo 1937 – Roma, 29 marzo 2005), avvocato, collezionista e studiosa d’arte, moglie dell’avvocato Fabrizio Lemme, che con lei ha condiviso i medesimi interessi per l’arte e il collezionismo, che ancora coltiva. La collezione Lemme, formata con la consulenza di insigni studiosi quali Federico Zeri, Italo Faldi e Giuliano Briganti, fornisce un rilevante materiale di studio per la conoscenza della pittura barocca, rococò e proto-neoclassica, con particolare attenzione al Settecento romano. Nel 1998 i coniugi Lemme donarono al Museo del Louvre venti quadri e una scultura, collocati nella “Sala Lemme,” mentre altri ventuno furono donati contestualmente alla Galleria Nazionale d’Arte Antica di Palazzo Barberini, oggi organicamente inseriti nel nuovo allestimento.
Il 28 maggio 2007 Fabrizio, Giuliano e Ilaria Lemme hanno formalizzato la donazione al Palazzo Chigi in Ariccia del nucleo più importante della collezione, costituito da 128 dipinti, in gran parte già oggetto di notifica del Ministero dei Beni Culturali e Ambientali come insieme di elevato interesse storico artistico (Decreto del 1 dicembre 1998). La raccolta è confluita nel Museo del Barocco Romano, ubicato nella dimora chigiana, formato a partire dal nucleo di dipinti del ‘600 lasciati nel 2002 dallo storico dell’arte Maurizio Fagiolo dell’Arco. Ulteriori donazioni provenienti da altre raccolte (Ferdinando Peretti, Oreste Ferrari, Renato Laschena, etc.) hanno potenziato il museo di Palazzo Chigi, arricchendo le già rilevanti raccolte di provenienza chigiana, acquisite con la dimora nel 1989.
Il presente evento si pone in continuità ideale ed è una prosecuzione in termini didattici e storicoartistici della mostra Dipinti del Barocco Romano da Palazzo Chigi in Ariccia, tenuta a Cavallino di Lecce tra settembre e dicembre 2012, circoscritta alla pittura romana del ‘600. L’esposizione si volge al ‘700, il secolo dei lumi, l’età d’oro del Grand Tour d’Italie, che ebbe in Roma il proprio centro pulsante, propagandosi in tutta Italia. Tuttavia, oltre agli artisti attivi nella capitale pontificia, sono presenti in mostra anche pittori della scuola napoletana, provenienti o attivi nel regno borbonico. Spicca in ambito meridionale la figura di Corrado Giaquinto, il massimo artista pugliese del secolo ed uno dei più grandi del ‘700. Sono presenti anche tele di Paolo de Matteis, pittore della scuola napoletana attivo anche nel Salento. Le opere esposte provengono in gran parte da Palazzo Chigi, sia dalla collezioni storiche chigiane che dal Museo del Barocco. Sono presenti anche alcune opere in collezione privata, compresi ulteriori dipinti raccolti da Fabrizio Lemme negli ultimi anni o provenienti da una prestigiosa collezione privata inglese.
Francesco Petrucci, Dipinti tra rococò e neoclassicismo da palazzo Chigi in Ariccia e da altre raccolte (Rome: Gangemi, 2013), 128 pages, ISBN: 978-8849227086, $48.50.
George I 300 Years On: Reconstructing the Succession
Bath Royal Literary and Scientific Institution, 18–20 June 2014
Proposals due by 24 January 2014
Led by the History postgraduate community, and hosted by Bath Spa University, Göttingen University and Mannheim University, this international conference will be held at Bath Royal Literary and Scientific Institution.
This interdisciplinary conference takes the theme of the accession of the first Hanoverian king, George I. It will examine not just the end of the Stuart era, but the defining characteristics, outcomes and consequences the Hanoverian succession. We invite new and established academics, PhD and early career researchers to bring their knowledge and expertise together for this three-day gathering in the city of Bath. We welcome proposals (200–250 words) for individual papers. Panels of three papers with chair and commentator are also welcome. All proposals should be sent to the Centre for History and Culture at Bath Spa University (email: firstname.lastname@example.org.
This exhibition opens the Getty Research Institute’s newly expanded galleries with an exploration of materials related to the 2013–14 scholar year theme Connecting Seas: Cultural and Artistic Exchange. From the exhibition press release (5 November 2013) . . .
Connecting Seas: A Visual History of Discoveries and Encounters
Getty Research Institute, Getty Center, Los Angeles, 7 December 2013 — 13 April 2014
Curated by Peter Bonfitto, David Brafman, Louis Marchesano, Isotta Poggi, Kim Richter, and Frances Terpak
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Since antiquity, people have crossed the seas to explore distant shores and discover other cultures. The introduction of the printing press made it possible for illustrated accounts of travel and exploration to find wide distribution in Europe, and, soon after, other continents. Connecting Seas: A Visual History of Discoveries and Encounters, on view December 7, 2013–April 13, 2014 at the Getty Research Institute, Getty Center, draws on the Getty Research Institute’s extensive special collections to reveal how adventures on other continents and discoveries of other cultures were perceived, represented, and transmitted during past ages of ocean travel.
“This exhibition prompts us to see and consider the long history of cultural encounters, an endeavor we are still pursuing today,” said Thomas W. Gaehtgens, director of the Getty Research Institute. “The Getty Research Institute’s special collections are rich troves of original sources that offer insight into the history of representation spanning five hundred years.”
Featuring rare books, prints, maps, and navigational instruments—from Renaissance prints to Napoleon’s monumental folios on Egypt to panoramic images known as vues d’optique, photographs and children’s games—the exhibition traces the fascinating course of scholarly investigation and comprehension of cultures in Asia, South America, and Africa. These intriguing original works from the sixteenth- to the twenty-first century, mostly from European, but some of Asian and South-American origins, chart diverse narratives of discovery, exploration, commerce, and colonization, and illuminate the multiple and various levels of encounter at the roots of today’s globalization. The exhibition is organized under three themes: “Orienting the World,” “Expeditions and Exploration,” and “Commerce and Colonialism” and was collaboratively curated by six GRI curators: Peter Bonfitto, David Brafman, Louis Marchesano, Isotta Poggi, Kim Richter and Frances Terpak.
Most of the rare material featured in Connecting Seas is of European origin, which reflects the history of the GRI. In the past, the GRI was primarily dedicated to collecting and exploring the Western tradition. Some objects from other parts of the world already signal a recent programmatic change. As the GRI continues to broaden its scope of collecting and research, this more global approach will become a more visible aspect of exhibitions and public programs. Connecting Seas draws heavily from the GRI’s special collections, including prints, photographs, drawings, rare books and ephemera from the 16th to 20th centuries. It also features navigational instruments, a painting on the North Atlantic slave trade and other marine objects generously loaned by the Kelton Foundation that directly complement the GRI’s collections on display. Through deep research in the GRI’s rich holdings of primary sources and historical objects and documentation, the exhibition interprets images from the past to see how they transferred and represented the encounter of cultures. As Gaehtgens states, “by understanding how such encounters were embraced in the past, we can learn to think critically about our contemporary experiences and its challenges.”
“This exhibition invites the viewer to reflect on the complex, long history of exploration and exchange,” added Marcia Reed, Chief Curator, Getty Research Institute. “For every instance of misunderstanding, prejudice or exploitation there are examples of persistent intellectual curiosity, generosity, and empathy.”
Orienting the World
Mapping the world was the first step in discovering new lands. The first section of the exhibition displays the techniques and tools early explorers developed in order to navigate the seas. Knowledge of astronomical orientation and the invention of maritime instruments were necessary to face the challenges of ocean voyages. For example, an Islamic astrolabe from Maghreb helped mariners navigate by charting the stars. As civilization gradually came to understand the Earth as a globe, discoverers created early representations of the continents that combined experience and imagination. A woodcut map from Magdeburg in 1597 depicts the world as a clover leaf with Jerusalem at the center, and the continents of Europe, Asia and Africa emerging from the center.
Expeditions and Exploration
Early travelogues of Europeans who visited Asia and Africa were at times extraordinarily fanciful, and hearsay reports generated strange imaginings and misunderstandings about other lands and cultures. In many cases bizarre legends were passed down over centuries, understood as true. A woodcut in Giovanni Botero’s early seventeenth-century book, Man from the Wilds of Asia, depicts a headless man with a face on his chest. The notion that such people had been seen in Africa and throughout Asia was centuries old at the time and could be traced to al-Qazwini, a thirteenth-century scholar of Baghdad.
This second section of the exhibition explores how early travelers’ tales with such misinformation gradually became replaced by more scholarly studies. Exploration and collecting were followed by study and analysis. Enlightenment values motivated rigorous scholarly approaches to distant continents, but they also often coincided with imperialist ambitions of European rulers. Napoleon invited geographers, archaeologists, and scientists to accompany him on military campaigns in Egypt. After their return to France, this team of experts published precise, firsthand observations and groundbreaking research on the entire Egyptian world. Preoccupation with other cultures became the domain of professionals who valued firsthand knowledge of distant lands and employed systematic and scientific approaches. Among the most remarkable of these was the German explorer and intellectual Alexander von Humboldt, who traveled extensively to many parts of Latin America. He returned to Berlin and Paris with significant specimens and notes and published his research. A German lithograph dating to the mid-1800s on view in the exhibition depicts Humboldt in his study, surrounded by maps, papers and objects from his travels.
Commerce and Colonialism
The third section of the exhibition examines how exploration, colonization, and exploitation characterized the age of modern imperialism, in which European nations competed for control over territories in Africa, Asia, and the Americas. International exhibitions in European and North American cities displayed the products of faraway lands or reproductions. Some children’s games disseminated prejudice—advertisements for the Belgian company Chocolat de Beukelaer from the early-twentieth century featured disturbing cartoon scenes of colonial encounters in Africa—and world’s fairs even displayed human beings who were brought to the European capitals along with (often inaccurate) reconstructions of their original dwellings. Despite the rise in scholarly perspectives on exploration and travel during the nineteenth and twentieth centuries, racial prejudices were often spread by in prints, journals, and photographs as trade among the continents increased.
The Getty Research Institute’s Scholar Program
The exhibition relates closely to the GRI’s Scholar Year theme. Every year scholars from around the world come to the Getty Research Institute to join the highly competitive Scholars Program. This year, forty scholars were chosen out of nearly 600 applicants, the highest total in the program’s 28-year history. The 2013–14 scholar year theme, Connecting Seas: Cultural and Artistic Exchange, will focus on similar subjects as the exhibition, exploring the art-historical impact of maritime transport. The scholars will be in residence at the Getty Center and the Getty Villa through the spring to undertake research projects related to the vital role seas and oceans played in connecting cultures.
New Exhibition Spaces
Connecting Seas will be the first exhibition in the Getty Research Institute’s newly expanded galleries. As part of its ongoing commitment to present engaging exhibitions to the public, the Getty Research Institute has added an additional 2,000 square feet of gallery space. The additional gallery space will bring the total exhibition area to 2,800 square feet, divided between two galleries. This expansion will allow the Research Institute to mount innovative and significant exhibitions drawing principally from the GRI’s Special Collections and responding to advanced research initiatives in art history.
The exhibition object list is available here»
From the exhibition press release (24 October 2013) . . .
Gods and Heroes: European Drawings of Classical Mythology
J. Paul Getty Museum, Getty Center, Los Angeles, 19 November 2013 — 9 February 2014
Curated by Edouard Kopp
Jacques-Louis David, Paris and Helen, 7 x 9 inches, 1786
(Los Angeles: The Getty, 83.GA.192)
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The stories involving the mythical gods and heroes of Greco-Roman antiquity have inspired artists for centuries, testing their abilities to represent complex narratives in visual form. The likes of Venus and Apollo, Hercules and Achilles, have proved to be particularly rich artistic subjects not only because they had extraordinary qualities―such as beauty, creativity, strength and courage―but also for the imperfections that made these characters even more compelling. Involved in love and lust, rivalry and treachery, crime and punishment, they possessed all the passions and flaws of mere mortals, but on a much larger scale. Featuring a selection of close to 40 drawings dating from the Renaissance to the 19th century, Gods and Heroes: European Drawings of Classical Mythology, on view November 19, 2013–February 9, 2014 at the J. Paul Getty Museum, Getty Center, explores the pictorial representation of myths that have been instrumental in the formation of Western culture.
“The Getty’s collection of drawings provides an almost endless supply of images representing figures from classical mythology,” explains Timothy Potts, director of the J. Paul Getty Museum. “Those chosen for this exhibition bring these myths to life for today’s audience in works of outstanding artistic quality. The exhibition also nicely complements the Museum’s collection at the Getty Villa, which is dedicated to the arts and culture of the ancient Mediterranean. Many of the gods and heroes that will be on view at the Getty Center in this exhibition find their counterparts in ancient representations there.”
Depending on when and where they worked, artists have approached mythical figures very differently, sometimes treating them as pretexts for visual experimentation. Consistently, these subjects have provided artists with the opportunity to demonstrate their ability to render human anatomy. While Agostino Carracci’s Triton Blowing a Conch Shell (1600) was made in preparation for an elaborate frescoed scene on the vault of Palazzo Farnese in Rome, the drawing stands alone as a powerful depiction of the triton’s twisting body, which is depicted with striking illusionism. In a subtle display of skill, Rosalba Carriera’s Muse (mid-1720s) exemplifies the artist’s mastery of the pastel technique, which is most evident in the rendering of the young woman’s ivory skin, flushed cheeks, and rosy lips. By contrast, Gustave Courbet used a tonal medium to represent the Head of a Sleeping Bacchante (1847). His smudged, painterly application of charcoal suggests the heaviness of the subject’s slumber.
Themes of love and lust are common in classical myths, as shown by Agostino Carracci’s drawing of Cupid Overpowering Pan (about 1590). In accord with the Roman poet Virgil’s statement that “love conquers all,” Cupid, symbolic of virtuous love, is shown subduing Pan, the embodiment of carnal desire. Cupid’s crucial role in matters of love is, by comparison, merely hinted at in Jacques-Louis David’s Paris and Helen (1786). According to legend, the Trojan prince Paris abducted the Spartan princess Helen, but she fell in love with him after Cupid shot her with an arrow of desire―events that led to the Trojan War. As for mortals, love was no easy thing for mythological figures; indeed, it often ended in tragedy.
The world of gods and heroes could also be a violent one, and drawings such as those depicting the labors of Hercules, attest to this. Hercules had to perform twelve feats as punishment for having killed his wife and children in a fit of temporary insanity. Giulio Romano’s Hercules Resting after Killing the Hydra (about 1535) shows the hero with an unusually lanky body, exhausted after he has killed the Hydra of Lerna, a multiheaded water serpent that was wreaking havoc. Victorious yet weary, Hercules rests on a large rock, with bits of the slain monster lying around him on the ground. For his part, Gustave Moreau represents another of Hercules’s labors, namely when the hero had to capture the flesh-eating mares of Diomedes, the evil king of Thrace. Hercules, having succeeded in seizing the animals, feeds Diomedes’s body to his own horses. Moreau situated the atrocious episode in a dim setting that offsets the brilliant tones of the delicately executed watercolor―a refined technique that could hardly be in starker contrast with the gory nature of the subject it serves to represent.
“This exhibition showcases a beautiful and highly interesting part of the Getty drawings collection in a meaningful way that invites the viewer to explore the fascinating world of Greco-Roman mythology and its artistic representations,” says Edouard Kopp, associate curator of drawings at the J. Paul Getty Museum and curator of the exhibition.
The illustrated checklist is available as a PDF file here»
Press release (4 December 2013) from The Getty:
Getty Conservation Institute and World Monuments Fund Release Arches Software To Help Safeguard Cultural Heritage Sites Worldwide
The Getty Conservation Institute (GCI) and World Monuments Fund (WMF) today announced the public release of Arches (version 1.0), a user-friendly, open source information management software system built specifically to help heritage organizations safeguard cultural heritage sites worldwide.
Arches has been created to help inventory and manage heritage places, and by incorporating a broad range of international standards, meets a critical need in terms of gathering, making accessible and preserving key information about cultural heritage.
“Knowing what you have is the critical first step in the conservation process. Inventorying heritage assets is a major task and a major investment,” said Bonnie Burnham, President and CEO of World Monuments Fund.
Cultural heritage inventories are difficult to establish and maintain. Agencies often rely on costly proprietary software that is frequently a mismatch for the needs of the heritage field or they create custom information systems from scratch. Both approaches remain problematic and many national and local authorities around the world are struggling to find resources to address these challenges.
The GCI and WMF have responded to this need by partnering to create Arches, which is available at no cost. Arches can present its user interface in any language or in multiple languages, and is configurable to any geographic location or region. It is web-based to provide for the widest access and requires minimal training. The system is freely available for download from the Internet so that institutions may install it at any location in the world.
“Our hope is that by creating Arches we can help reduce the need for heritage institutions to expend scarce resources on creating systems from the ground up, and also alleviate the need for them to engage in the complexities and constantly changing world of software development,” said Tim Whalen, Director of the Getty Conservation Institute in Los Angeles.
In developing Arches, the GCI and WMF consulted international best practices and standards, engaging nearly 20 national, regional, and local government heritage authorities from the US, England, Belgium, France, and the Middle East, as well as information technology experts from the US and Europe. The contributions of English Heritage and the Flanders Heritage Agency have played a particularly important role during the development process. Data provided by English Heritage has been valuable for system development, and it is incorporated as a sample data set within the demonstration version of Arches.
The careful integration of standards in Arches also will encourage the creation and management of data using best practices. This makes the exchange and comparison of data between Arches and other information systems easier, both within the heritage community and related fields, and it will ultimately support the longevity of important information related to cultural sites.
Once the Arches system is installed, institutions implementing it can control the degree of visibility of their data. They may choose to have the system and its data totally open to online access, partially open, accessible with a log-in, not accessible at all, or somewhere in between.
“Shared understanding of cultural heritage sites is essential for their successful management and for their enjoyment, too. English Heritage has been really proud to contribute to the development of Arches, and believes it to offer a fresh and readily applicable solution to the challenges of data management. It’s been a great international partnership, and has overcome real complexities,” said Dr. Gillian Grayson, Head of Heritage Data Management at English Heritage.
The GCI and WMF are committed to providing resources to support the Arches open-source community during its formative period.
Arches is not the first joint initiative for the GCI and WMF. The partners previously developed the Middle Eastern Geodatabase for Antiquities, or MEGA, to help the Kingdom of Jordan manage archeological sites. In 2010, MEGA was deployed as Jordan’s National Heritage Documentation and Management System. Different from MEGA, Arches has taken advantage of new semantic technologies and that it is designed to help inventory and manage all types of cultural heritage information, not only archaeological sites. As well, Arches is intended for application anywhere in the world rather than simply one geographic area.
Arches has been developed by the GCI and WMF in conjunction with Farallon Geographics Inc., who also provided expertise for MEGA.
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From the FAQ page:
Does Arches record movable heritage?
Arches has been designed to record all types of immovable heritage, based on the CIDOC Core Data Standard for Archaeological and Architectural Heritage. In conformance with this standard, Arches provides the ability to record artifacts discovered at a site, but it has not been designed as a collections management tool. For a discussion of this question in greater detail, including ways to achieve additional functionality that may be required for movable heritage, please visit the Arches forum.
From Yale UP:
Pat Kirkham and Susan Weber, History of Design: Decorative Arts and Material Culture, 1400–2000 (New Haven: Yale University Press for the Bard Graduate Center, 2013), 712 pages, ISBN: 978-0300196146, $80.
Spanning six centuries of global design, this far-reaching survey is the first to offer an account of the vast history of decorative arts and design produced in Africa, the Americas, Asia, Europe, the Indian subcontinent, and the Islamic world, from 1400 to the present. Meticulously documented and lavishly illustrated, the volume covers interiors, furniture, textiles and dress, glass, graphics, metalwork, ceramics, exhibitions, product design, landscape and garden design, and theater and film design. Divided into four chronological sections, each of which is subdivided geographically, the authors elucidate the evolution of style, form, materials, and techniques, and address vital issues such as gender, race, patronage, cultural appropriation, continuity versus innovation, and high versus low culture.
Leading authorities in design history and decorative arts studies present hundreds of objects in their contemporary contexts, demonstrating the overwhelming extent to which the applied arts have enriched customs, ceremony, and daily life worldwide over the past six hundred years. This ambitious, landmark publication is essential reading, contributing a definitive classic to the existing scholarship on design, decorative arts, and material culture, while also introducing these subjects to new readers in a comprehensive, erudite book with widespread appeal.
Pat Kirkham is a professor at the Bard Graduate Center, where Susan Weber is founder and director.
Chefs-d’œuvre de la tapisserie: La collection du Petit Palais, Paris
Nancy, Musée des Beaux-Arts, 25 October 2013 — 27 January 2014
Curated by Charles Villeneuve de Janti and Patrick Lemasson
Le Petit Palais, Musée des Beaux-Arts de la Ville de Paris, possède l’une des plus belles collections de tapisseries des XVIIe et XVIIIe siècles. Issues de grandes manufactures européennes, elles furent élaborées et tissées en matériaux précieux d’après les cartons de peintres majeurs tels que Le Brun, Champaigne, Boucher, à l’instar du carton pour La Destruction du Palais d’Armide par Charles Coypel, l’un des chefs-d’œuvre du Musée des Beaux-Arts de Nancy.
Ces œuvres, pouvant mesurer jusqu’à 5 mètres de hauteur, permettront aux visiteurs de découvrir un art de cour spectaculaire faisant écho à celui dévoilé dans l’exposition L’Automne de la Renaissance : d’Arcimboldo à Caravage. Pour des raisons de conservation, ces pièces sont très rarement présentées au public. Ce prêt du Petit Palais constitue donc une faveur exceptionnelle.
Didier Rykner provides a review at La Tribune de l’Art (4 November 2013).
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The catalogue is available from Artbooks.com:
Patrick Lemasson, Chefs d’oeuvres de la Tapisserie: La collection du Petit Palais, Paris (Milan: Silvana, 2013), 72 pages, ISBN: 978-8836627257, $29.
Partial studentships for the MA in Decorative Arts and Historic Interiors at the University of Buckingham
Applications are invited for partial studentships for the MA in Decorative Arts and Historic Interiors at the University of Buckingham to start in September 2014. This unique MA focuses on the development of interiors and decorative arts in England and France in the long eighteenth century (c.1660–c.1830) and their subsequent rediscovery and reinterpretation in the nineteenth and twentieth centuries.
The course is taught by the University of Buckingham, with contributions from leading international experts and curatorial staff from the Wallace Collection. A key element is the emphasis on the first-hand study of decorative arts within the context of historic interiors. There are frequent trips to collections in and around London, as well as a study week in Paris.
The programme provides a vocational and academic training which has enabled students to pursue careers in museums and galleries, auction houses, interior design, and institutions such as the National Trust and English Heritage.
Eligibility: applicants should hold a first or second class honours degree.
Informal enquiries can be made to the course director Jeremy Howard, Jeremy.email@example.com; the course tutor Dr Barbara Lasic, Barbara.firstname.lastname@example.org; or Linda Waterman, Linda.email@example.com.
Further details are available here»
From Manchester UP:
Gill Perry, Kate Retford and Jordan Vibert, eds., Placing Faces: The Portrait and the English Country House in the Long Eighteenth Century (Manchester: Manchester University Press, 2013), 320 pages, ISBN: 978-0719090394, £70.
This book explores the rich but understudied relationship between English country houses and the portraits they contain. It features essays by well-known scholars such as Alison Yarrington, Gill Perry, Kate Retford, Harriet Guest, Emma Barker and Desmond Shawe-Taylor. Works discussed include grand portraits, intimate pastels and imposing sculptures. Moving between residences as diverse as Stowe, Althorp Park, the Vache, Chatsworth, Knole and Windsor Castle, it unpicks the significance of various spaces—the closet, the gallery, the library—and the ways in which portraiture interacted with those environments. It explores questions around gender, investigating narratives of family and kinship in portraits of women as wives and daughters, but also as mistresses and celebrities. It also interrogates representations of military heroes in order to explore the wider, complex ties between these families, their houses, and imperial conflict.
Gill Perry is Professor of Art History at the Open University. Kate Retford is Senior Lecturer in History of Art at Birkbeck College, University of London. Jordan Vibert is a freelance researcher
specialising in eighteenth-century art and culture.
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Introduction: Placing faces in the country house
Part 1: A Walk around the House
1. The topography of the conversation piece: A walk around Wanstead – Kate Retford
2. Life in the library – Susie West
3. Marble, memory and theatre: Portraiture and the sculpture gallery at Chatsworth – Alison Yarrington
Part 2: Women’s Space?
4. Dirty dancing at Knole: Portraits of Giovanna Baccelli and the performance of ‘Public Intimacy’ – Gill Perry
5. ‘Necessary, usefull, easy and delightfull’: The production and display of pastel portraits in the English country house – Ruth Kenny
6. Georgiana at Althorp: Spencer family portraits 1755–1783 – Emma Barker
Part 3: Imperial Designs
7. Commemorating Captain Cook in the country estate – Harriet Guest
8. Framing Sir Francis: Lady Anne Stanhope and the corruption of civic masculinity – Jordan Vibert
9. The Waterloo Chamber before the Battle of Waterloo – Desmond Shawe Taylor
As noted at ArtDaily (2 December 2013) . . .
Master Drawings New York | Gainsborough and the Landscape of Refinement
Lowell Libson at Mitchell-Innes & Nash, New York, 24 January — 1 February 2014
The exhibition is centered round a group of landscape drawings made by Gainsborough in the last two decades of his life but includes twelve drawings by Gainsborough spanning the full length of his career, from Gainsborough’s earliest recorded landscape study—completed when the artist was only 18—to a preparatory drawing for one of his last ‘Fancy pictures’ A Boy with a Cat, now in the Metropolitan Museum of Art in New York, which was completed the year before his death. Three of the drawings are previously unpublished and exhibited to the public for the first time here.
Thomas Gainsborough (1727–1788) was one of the Britain’s greatest artists, famed for his engaging portraits and evocative landscape paintings, he is also universally acknowledged as one of the finest European draughtsman of the eighteenth century. Despite this reputation, there have been very few exhibitions dedicated to Gainsborough’s drawings. These are not topographical works but imagined landscapes which Gainsborough created by drawing models he created using rocks and wood found in his garden and, as one writer noted, ‘distant woods of broccoli.’
Gainsborough was fascinated by a limited number of landscape features—herds of cattle, serpentine roads, clumps of trees and hilly horizons—often obsessively playing with these features time and time again, each time creating completely new works. This creative repetition—or refinement—was given expression in Gainsborough’s fascination with different techniques.
No two drawings in the exhibition are handled in the same way as Gainsborough explored different combinations of chalks, pencil, ink washes and watercolour in each work. Many of the drawings in the exhibition have provenances stretching back to the eighteenth century, one is inscribed as a present from ‘the ingenious artist’ to the daughter of a friend, another was in the collection of the celebrated surgeon, Dr John Hunter, who treated Gainsborough in his final illness. This group is the largest concentration of Gainsborough drawings to be offered by an art gallery since the celebrated exhibition mounted by Knoedler in 1914. It is accompanied by a fully illustrated catalogue with scholarly entries written by the leading Gainsborough authority, Hugh Belsey.
The exhibition is free and open daily from Friday 24 January to Saturday 1 February, 2014 Mitchell-Innes & Nash, 1018 Madison Avenue, New York. Monday to Saturday, 11–6; Sunday, January 26, 2–6; Tuesday, 28 and Thursday, 30 January, 11–8.
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Press release (15 August 2013) from Master Drawings New York:
Master Drawings New York
New York, 25 January — 1 February 2014
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In a fifteen block stretch of the Upper East Side’s ‘Gold Coast’ in New York, close to 30 of the most acclaimed international dealers in master drawings will show the latest artworks entering the market during the eighth edition of Master Drawings New York, January 25th through February 1, 2014 with a Preview Friday January 24th from 4 to 8pm. Timed to coincide with New York’s major January art-buying events, including the Old Master auctions and The Winter Antiques Show, Master Drawings New York includes top dealers from the US as well as the UK, France, Germany, Spain, and Italy. Originally conceived as an annual walkthrough, Master Drawings New York has grown into a ‘must see’ event with a number of New York dealers making their galleries available to their overseas colleagues for the week. (more…)