The 4th issue of the CODART eZine focuses on the eighteenth-century:
CODART eZine 4 (Summer 2014)
• Tom van der Molen, “Editor’s Note: Eighteenth-Century Art”
• Gerdien Verschoor, “Welcome: CODART Director Dies under Avalanche of Books”
• Virginie D’haene, “Bruges Artists Abroad: Neoclassicist Drawings in the Printroom of the Groeningemuseum”
• Stefaan Hautekeete, “A Cabinet of the Most Delightful Drawings: Eighteenth-Century Netherlandish Drawings from the Collection of Jean de Grez, To Be Exhibited at the Koninklijke Musea voor Schone Kunsten van België (Royal Museums of Fine Arts in Belgium) in 2016”
• René Dessing, “Historic Country Houses in the Netherlands”
• Silke Gatenbröcker, “Duke Anton Ulrich of Braunschweig-Wolfenbüttel: One of the First Collectors of Dutch Paintings outside the Netherlands”
• Jacek Tylicki, “Collecting at the Court of Poland-Lithuania and the Activities of King Stanislaus II August”
• Curator’s Interview: Paul Knolle interviewed by Andrea Rousová
• Friends: Brian Capstick interviewed by Gerdien Verschoor
• Rebecca Long, “CODART ZEVENTIEN Congress Review”
CODART—the international council for curators of Dutch and Flemish art—aims to further the study, care, accessibility and display of art from the Low Countries in museums around the globe. It serves as a platform for exchange and cooperation between curators from different parts of the world, with different levels of experience, and from different types and sizes of institutions. Our organization stimulates international inter-museum cooperation through a variety of activities, including congresses, focus meetings, publications and our website. By these means CODART strives to solidify the cultural ties between the Netherlands and Flanders, and to make the artistic heritage of these countries accessible to the international art-loving public.
The eighteenth century in The Burlington:
The Burlington Magazine 156 (June 2014)
A R T I C L E S
• Meredith M. Hale, “Amsterdam Broadsheets as Sources for a Painted Screen in Mexico City, c. 1700,” pp. 356–64.
European print sources for a twelve-panel screen made in Mexico City (c. 1697–1701).
• Alvar González-Palacios, “Giardini and Passarini: Facts and Hypotheses,” pp. 365–75.
New documents on the gold- and silversmith Giovanni Giardini (1646–1721).
• Koenraad Brosens and Guy Delmarcel, “Raphael’s Acts of the Apostles: Italians in the Service of the Habsburg Monarchy and the Leyniers Tapestry Workshop, 1725–55,” pp. 376–81.
A seven-part series of tapestries made by Daniel Leyniers (1752–54) in the Villa Hugel, Essen, based on Raphael’s Acts of the Apostles (woven 1516–21).
R E V I E W S
• Simon Jervis, Review of the exhibition William Kent: Designing Georgian Britain, pp. 391–94.
• Christopher Baker, Review of Christopher Rowell, ed., Ham House: 400 Years of Collecting and Patronage (The Paul Mellon Centre for Studies in British Art and the National Trust, 2013), pp. 398–99.
• Kate Retford, Review of the exhibition catalogue Moira Goff et al, Georgians Revealed: Life, Style, and the Making of Modern Britain (British Library, 2013), p. 401.
• David Pullins, Review of the exhibition From Watteau to Fragonard: Les Fêtes Galantes, pp. 408–10.
• Philippe Bordes, Review of the exhibition Le Goût de Diderot, pp. 413–15.
The (long) eighteenth century in The Burlington:
The Burlington Magazine 156 (March 2014)
A R T I C L E S
• François Marandet, “The Pool of Bethesda by Louis Chéron: A Modello Discovered at the Wellcome Library, London,” pp. 162–63.
An oil-sketch by Louis Chéron in the Wellcome Library, London, is identified as a study for the large painting of the Pool of Bethesda (1683) in S. Pantaleone, Venice.
• Massimo Favilla and Ruggero Rugolo, “A Portrait of a Baby Girl by Lorenzo Tiepolo,” pp. 164–69.
An attribution to Lorenzo Tiepolo of a Portrait of a Baby Girl in a High Chair (c.1770–76).
R E V I E W S
• Jocelyn Anderson, Review of Geoffrey Tyack, ed., John Nash: Architect of the Picturesque (English Heritage, 2013), pp. 175–76.
• Uta Christina Koch, Review of the exhibition Fragonard: Poetry and Passion / Poesie und Leidenschaft, pp. 194–95.
• Francis Russell, Review of the exhibition Pietro Bellotti: Another Canaletto, pp. 198–99.
London’s View: A Festival of Art History (7–9 February 2014) is the latest example of events that slip by me. For anyone interested, the good news is that events were filmed and could be available online in the near future. Plans are also underway for 2015. Here’s the coverage from Apollo Magazine’s blog, The Muse Room. -CH
◊ ◊ ◊ ◊ ◊
Digby Warde-Aldam, “Great View: The UK’s First Art History Festival,” The Muse Room from Apollo Magazine (19 February 2014).
The venue is a large room in London’s Institut français, its windows looking out over the crazed Victorian skyline of South Kensington. French academic Frédéric Ogée looks slightly taken aback by the crowd, a mix of all ages that has just filled up every available seat—indeed, staff are starting to turn away latecomers to the lecture he is about to give, a fascinating half-hour examination of ‘Englishness’ in English art. At the end of the talk, Ogée is forced to cut short the barrage of questions from the audience in order to clear the room for the next speaker on the bill of the Institut’s View Festival.
The public interest in the talk shouldn’t really be surprising. The View, which had its first edition this month, is Britain’s first art history festival—which, taking into account the fact that the UK has festivals dedicated to everything from Heavy Metal to knitting comes as something of a surprise. Given London’s position as a global art capital, it seems bizarre that nothing like this has ever taken place in the city before. . .
The full review is available here»
From the latest issue of the Oxford Art Journal:
• Tim Ingold, “Lines in Time / Review of Daniel Rosenberg and Anthony Grafton, Cartographies of Time: A History of the Timeline (2010),” Oxford Art Journal 36 (December 2013): 463–64.
• Mechthild Fend, “Allegory and Fantasy: Portraiture Beyond Resemblance / Review of Sarah Betzer, Ingres and the Studio: Women, Painting, and History (2012) and Melissa Percival, Fragonard and the Fantasy Figure: Painting and Imagination (2012),” Oxford Art Journal 36 (December 2013): 465–67
• Richard Taws, “Ruins and Reputations / Review of Nina Dubin, Futures and Ruins: Eighteenth-Century Paris and the Art of Hubert Robert (2010) and Elizabeth Mansfield, The Perfect Foil: François-André Vincent and the Revolution in French Painting (2012),” Oxford Art Journal 36 (December 2013): 467–70.
Recent reviews at BSECS:
Nelson, Navy, Nation: The story of the Royal Navy and the British people, 1688–1815
Location: National Maritime Museum, Greenwich
Event Date: December 2013
Reviewed By: Evan Wilson, University of Oxford
This new gallery shows there’s more to the eighteenth-century Navy than Nelson, but his fans will still get their fix.
KPM. Gestalten, Benutzen, Sammeln / Creating, Using, Collecting: 250 Jahre Porzellan aus der Königlichen Manufaktur Berlin
Location: Schloss Charlottenburg
Event Date: November 2013
Reviewed By: Caroline Cannon-Brookes
Berlin celebrates the 250th anniversary of its Royal Porcelain Manufactory.
David d’Angers: Making the Modern Monument
Location: The Frick Collection, New York City
Event Date: November 2013
Reviewed By: Lucy Gellman, Florence B. Selden Fellow, Yale University Art Gallery
A welcome, if somewhat underwhelming, stateside debut for the ‘other’ David.
While the manuscripts included in this exhibition date from the Middle Ages, there is material pertinent to eighteenth-century collectors, as noted below. And to everyone celebrating Hanukkah (which, of course, most unusually coincides this year with the American Thanksgiving), a very happy holiday! -CH
Piet van Boxel and Sabine Arndt, eds. Crossing Borders: Hebrew Manuscripts as a Meeting-place of Cultures, exhibition catalogue (Oxford: Bodleian Library, University of Oxford, 2010), 128 pages, ISBN: 978-1851243136, £25.
Exhibition schedule: Jewish Museum, New York, 14 September 2012 — 3 February 2013
Reviewed by Barbara Drake Boehm and Melanie Holcomb; posted 20 November 2013.
Illuminated manuscripts offer the best-surviving evidence of Jewish artistic production in the Middle Ages, bearing witness to the tastes of their Jewish patrons, the skills of Jewish scribes, and the aesthetic acuity of Jewish readers and viewers. Jews did not live in isolation, and the artists responsible for the decoration of their books—who were not necessarily Jewish but may have been—both drew from and contributed to the artistic conventions of the dominant culture. ‘Crossing Borders: Manuscripts from the Bodleian Libraries’, an exhibition held at the Jewish Museum in New York in 2012–13 and online via the Jewish museum website, provided an opportunity not only to see important, often beautiful examples of rarely shown Hebrew manuscripts, but also to explore the fascinating, complex intellectual and cultural relations between Jews and non-Jews of medieval Europe.
The full review is available here» (CAA membership required)
◊ ◊ ◊ ◊ ◊
From the exhibition website:
Jan Jiri Baltzer (1738–99), Posthumous Portrait of David Ben Abraham Oppenheimer, Chief Rabbi of Prague, 1773
Engraving after Johann Kleinhard, 7 3/4 x 4 3/8 in. (19.5 x 11.1 cm), The Jewish Museum, New York Gift of Dr. Harry G. Friedman, F 4143
The collection of Rabbi David Oppenheimer (1664–1736) is his most significant legacy. His more than 780 manuscripts and 4,200 printed books in Hebrew, Yiddish, and Aramaic form perhaps the most important private Jewish library ever assembled. For most of his life he was unable to enjoy this treasure, keeping the works at his father-in-law’s home in Hanover to avoid the censorship imposed on Hebrew texts in Prague. After his death, the collection was inherited by a succession of relatives. It was appraised by the Jewish luminary Moses Mendelssohn and ultimately acquired by the Bodleian in 1829.
◊ ◊ ◊ ◊ ◊
A recently discovered Passover Haggadah commissioned in 1726 by one of David Oppenheimer’s relatives sold, incidentally, last week (22 November 2013) for £210,000.
The eighteenth century in The Burlington:
The Burlington Magazine 155 (October 2013)
A R T I C L E S
• Simon Lee, “A Newly Discovered Portrait of Napoleon by Jacques-Louis David,” pp. 687–92.
Discusses the various versions of David’s portrait of the emperor, including a previously unknown example.
R E V I E W S
• François Marandet, Review of Karen Chastagnol, Nicolas Colombel, 1644–1717 (Editions Nicolas Chaudun, 2012), p. 711.
Painting in France at the end of Louis XIV’s reign has for many years been regarded as the precursor of the Rococo era. Charles de La Fosse’s aimables figures anticipate Antoine Watteau’s world of the fêtes galantes, who himself was the precursor of the peintre des grâces François Boucher. One of the merits of the exhibition devoted to Nicolas Colombel recently at the Musées des Beaux-Arts, Rouen (closed 24th February), was to demonstrate that the story of history painting c. 1700 was much more complex. Karen Chastagnol, curator of the exhibition, rightly insists on the direct link between early eighteenth-century French artists and the art of Poussin: as well as François Verdier, René-Antoine Houasse and Daniel Sarrabat, to which could be added the names of Sébastien II Leclerc of Henri de Favanne. . .
• Willibald Sauerländer, Review of Guilhem Scherf and Séverine Darroussat, Jean-Jacques Rousseau et son image sculptée, 1778–1798 (Paris: Varia, 2012), pp. 711–12.
The iconography of the grands hommes des Lumières has become a fashionable topic. In 1994 Guilhem Scherf wrote an important essay on the iconographie sculptée of Voltaire; now he has added a substantial text on Jean-Jacques Rousseau et la Révolution: Les avatars d’une representation sculptée. . .
• Robin Middleton, Review of John Martin Robinson, James Wyatt, 1746–1813: Architect to George II (London: The Paul Mellon Centre for Studies in British Art, 2012), pp. 712–13.
The range and diversity of James Wyatt’s designing, the sheer number of buildings with which he was involved (the Catalogue of Works lists 283 sites) makes any attempt to chart his career a task of the utmost difficulty. Anthony Dale’s pioneering but nonetheless solid account of Wyatt’s career is, however, quite overtaken by John Martin Robinson’s new book. Dates and attributions are sharpened. The nature of the ordnance work is fully revealed — all quite decent. But the most significant revelations are contained in the chapter on Wyatt’s activity as an industrial and furniture designer. . .
• Ann Massing, Review of Noémie Etienne, La Restauration des peintures à Paris, 1750–1815: Pratiques et discours sur la matérialité des œuvres d’art (Rennes: Presses Universitaires de Rennes, 2012), p. 713.
The period before and after the French Revolution in Paris was one of enormous change and, due to the French centralised administration, the French National Archives and the AMN (Archives des musées nationaux) are a fertile source of information for one of the most interesting periods of the history of painting restoration — when the King’s painters became professional art restorers. Noémie Etienne’s book contributes much to our knowledge of this fascinating period. Her archival research encompasses not only the rich resources in Paris, but also those in Rome, Venice, Madrid, Antwerp and Brussels. Her approach is mainly based on eighteenth- and nineteenth-century written sources, and the wealth of information she has culled is presented not as a chronological series of events but by theme. . .
• Shearer West, Review of Marcia Pointon, Portrayal and the Search for Identity (London: Reaktion, 2013), p. 714.
Marcia Pointon has a distinguished record of scholarly publication about portraiture, since Hanging the Head (1993) revolutionised and enlivened a historiography that had somewhat fallen in the doldrums. There are few historians of British art who have not been inspired by her nimble imagination, unexpected visual analysis and deep intellectual engagement with her textual and visual sources past and present. Her latest collection of essays on portraiture will not disappoint her admirers, although the more dazzling parts of her analysis are intertwined with sections that have the flavour of a work in progress . . .
• Rüdiger Joppien, Review of Olivier Lefeuvre, Philippe-Jacques de Loutherbourg (Paris: Athena, 2012), pp. 714–15.
. . . The catalogue raisonné is of exceptional value, and lies at the very heart of the book, . . . [which] gives a splendid account of Loutherbourg’s career as a painter, as well as a thoroughly documented, reliable idea of his artistic output. That this monograph could be published so fully and handsomely is due to the assistance of the Athena publishing house. Its appearance coincided with the retrospective exhibition devoted to the artist at the Musée de Beaux-Arts in Strausbourg (17th November 2012 to 18th February 2013), which the author organized. Both the book and the exhibition are indicative of the esteem in which France still holds the artist, even though he worked less than ten years in Paris and almost forty years in London.
The current issue of Renaissance Quarterly includes Michael Ullyot’s assessment of five digital resources, several of which are relevant to eighteenth-century studies:
Michael Ullyot, “Review Essay: Digital Humanities Projects,” Renaissance Quarterly 66 (Fall 2013): 937–47.
“Are databases the defining genre of the twenty-first century? This question was at the core of a debate in 2007 over the nature of the Walt Whitman Archive in PMLA (Publications of the Modern Language Association of America). With digital resources now firmly established as an essential scholarly research tool, the question remains: what status do we afford databases relative to other forms of publication, like editions or monographs? The question is pertinent not just to tenure and promotion decisions, as the MLA Committee on Information Technology recently advocated, but more fundamentally to the circulation and provocation of ideas.1 If databases help us to interact with texts and cultural objects differently, enabling us to interpret them in ways we
could not otherwise do, how do they differ from monographs or journal articles? . . .” (937)
1. “Guidelines for Evaluating Work in Digital Humanities and Digital Media.” http://www.mla.org/guidelines_evaluation_digital; accessed 17 January 2013.
◊ ◊ ◊ ◊ ◊
· Mapping the Republic of Letters, which draws on the University of Oxford’s Electronic Enlightenment data, a collection containing over 50,000 letters.
· 1641 Depositions Project, which collects 8,000 manuscript accounts of the 1641 Irish rebellion of Catholic gentry against Protestant settlers from England and Scotland.
· The Medici Archive Project, which aims to catalog the Medici Archival Collection (Mediceo del Principato), a collection of over four million letters written between 1537 and 1743. To date, approximately 10 percent of the archive is included within the database, though Ullyot explains a number of new, “promising” features aimed at making the platform more efficient and more interactive.
· Early English Books Online, a collection of texts published between 1473 and 1700. “What makes EEBO truly innovative and interesting is the Text Creation Partnership (TCP), under which the University of Michigan and Oxford University began in 1999 to convert these PDFs [created from microfilm copies of the books] into fully searchable texts. The TCP has focused on transcribing all 70,000 of the unique monographs in EEBO’s collection. These transcriptions are cross-linked to the page images they are taken from, so they are fully integrated into EEBO. At present, only members of the TCP consortium of libraries are able to access this resource, but it will ultimately pass into the public domain [starting in 2015 and finishing up in 2020]” (945).
The eighteenth century in The Times Literary Supplement (16 & 23 August 2013). . .
Paula Findlen, “Man of the Museum: Review of Michael Hunter, Alison Walker, and Arthur MacGregor, eds., From Books to Bezoars: Sir Hans Sloane and His Collections (British Library, 2012),” p. 27.
The story of the founding of the British Museum has been told many times. Less often discussed is the man behind the museum. Who was Hans Sloane, and how did he become Britain’s greatest collector? The twenty essays in Alison Walker, Arthur MacGregor and Michael Hunter’s From Books to Bezoars, written by leading scholars and curators and accompanied by a modern transcription of Thomas Birch’s Memoirs relating to the life of Sir Hans Sloane, offer us a preliminary answer. They are the result of recent efforts to reconstruct Sloane’s collections from surviving materials in the main repositories established (or partly established) by his bequest: the British Museum, the British Library, and the Museum of Natural History. . .
The contributors to From Books to Bezoars repeatedly invite us to return to Sloane’s lists and catalogues as a guide through the original collection. They urge us to pull out the drawers of his cabinets, contemplating his collections of shoes, weapons, musical instruments, tobacco pipes and pouches, and many other things such as a Caribbean dugout canoe. . .
In the past two decades, museums and libraries have become ever more conscious of the importance of reconstructing their pasts. This volume cannot answer all our questions about why and how Hans Sloane built his collection, or how an eighteenth-century public embraced and satirized it, but it paints a vivid picture of the man. It also lays the groundwork for a new history of the origins of the British Museum, and prompts us to consider how that history might inform the presentation of its artefacts.
The full review is available here (subscription required)
◊ ◊ ◊ ◊ ◊
Jennifer Potter, “Before Arcadia: Review of Gordon Campbell, The Hermit in the Garden: From Imperial Rome to Ornamental Gnome (Oxford University Press, 2013),” p. 31.
Ornamental hermits, like garden gnomes, are great dividers of taste. Dorothy and William Wordsworth sneered at the “distressingly puerile” theatrics of an Ossian-inspired hermitage in the rugged landscapes of Perthshire. Horace Walpole, despite his architectural predilection for Strawberry Hill Gothic, poked fun at the notion of setting aside a quarter of one’s garden in which to be melancholy. Even Gordon Campbell, in The Hermit in the Garden, describes his subject as “Pythonesque.” Yet the story of how Georgian Britain peopled its gardens with real, imaginary and occasionally stuffed hermits of a secular rather than religious nature is one he rightly wills us to take seriously.
As defined by Campbell, the British craze for keeping a pet hermit in your garden began at Richmond with William Kent’s ornamental hermitages for Queen Caroline, consort to George II (first a ruined hermitage, begun in 1730, and then a druidic Merlin’s cave). It ended a century later with the death of George IV, although a venal, fortune-telling hermit lingered on in London’s pleasure gardens at Vauxhall. Casting his eye beyond Britain’s shores, Campbell looks first for origins and antecedents, principally religious garden hermits in Renaissance Italy, northern France, Spain and Bohemia; and garden retreats of Europe’s rulers, starting with Emperor Hadrian’s island pavilion at his magnificent villa complex near Rome, the Villa Adriana, where so much of garden history began. While the Reformation swept away England’s religious hermits for three centuries or more, secular hermits emerged with the transitional figure of Thomas Bushell, a mining engineer and one-time secretary to Francis Bacon. . .
The full review is available here (subscription required)