The Clark Art Institute in Williamstown, Massachusetts opened the Henry Morris and Elizabeth H. Burrows Gallery on Sunday, February 19. The American decorative arts gallery—housed in 3,275 square feet of newly renovated space in the Manton Research Center—contains the Clark’s important collection of early American paintings and furniture in addition to its exceptional Burrows collection of American silver. Designed by Selldorf Architects, the gallery includes new exhibition cases and an improved layout that enhance the experience of viewing the Clark’s important collection of colonial to early-nineteenth-century American art.
The gallery features more than 300 objects, many which have been off view since 2012 and some of which have never been exhibited. Highlights of the display include an iconic portrait of George Washington (1796–1803) by Gilbert Stuart (1755–1828); a beautifully scaled sugar bowl and cover (c. 1795) by Paul Revere, Jr. (1735–1818); and a graceful Sheraton-style secretary (c. 1800) attributed to Nehemiah Adams (1769–1840). The gallery also includes a study center containing additional displays of silver, a computer station, and a small library of books on American silver and furniture, allowing scholars and visitors to further their study of the works on view.
“The Clark’s collection of American decorative arts has been assembled largely through generous donations of important collections,” said Olivier Meslay, Felda and Dena Hardymon Director of the Clark. “We are so pleased to be able to honor the Burrowses, whose keen eyes and collecting acumen built an exemplary collection, and are indebted to them for their generosity in making such an important gift to the Clark. This new gallery, named in their honor, allows us to provide well-deserved prominence to this lesser-known facet of our collection.”
Very little of the Clark’s early American collections stems from the Institute’s founders. It has been developed over time through gifts, most significantly the 2003 Burrows bequest of more than 272 pieces of American silver. In 2001 thirty pieces of colonial and Federal furniture and small decorative arts assembled by distinguished collector George Cluett were received through a bequest from his daughter Florence Cluett Chambers. In 2010 and 2013, Phoebe Prime Swain donated twenty-eight pieces of Chinese export porcelain from the George Washington Memorial Service, each decorated with a memorial to the first president. While several museums own one or two pieces from this noted service, the Clark now has the largest holding of any public institution, featuring diverse forms such as platters, bowls, sauceboats, and custard cups.
“With the leadership of Selldorf Architects, we have converted our former temporary exhibition space into a suite of permanent collection galleries,” said Kathleen Morris, Sylvia and Leonard Marx Director of Exhibitions and Curator of Decorative Arts. “It is exciting to see these objects, many of which were formerly in storage due to lack of space, assembled in such a warm and welcoming environment.”
The reinstallation project included extensive object research conducted by Morris and Curatorial Research Associate Alexis Goodin. This research revealed important information about the collections. For example, a looking glass purchased by Cluett, thought to be a rare example from New York, was actually made in Bremen, Germany. Most likely made for the American market, the looking glass was the subject of an intensive research and conservation project in 2015.
The items housed in the Burrows Gallery reflect how early American artists and craftsman created a new artistic identity for the fledgling nation through the creation of beautiful, but functional, objects. Their designs demonstrate a knowledge and appreciation of luxury objects being made at the time in Europe, especially in England, but also show a tendency toward a greater simplicity in form and decoration. The Burrows collection provides a rich overview of silver production in the colonial and Federal periods. The collection is installed with three themes in mind: historic connections; the development of distinct styles in the major centers of silver production (Boston, New York, and Philadelphia); and social uses of silver for serving tea and coffee, drinking alcoholic beverages, dining, presentation, and personal use. Major silversmiths such as Paul Revere, Jr., Myer Myers (1723–1795), and the Richardson family of Philadelphia are well represented, as are many silversmiths working in smaller cities. The installation features nearly the entire Burrows collection.
The Cluett Chambers collection of furniture and decorative arts includes fine examples of case furniture, looking glasses, and clocks. Notable pieces include an imposing desk and bookcase (c. 1770) made in Massachusetts with exuberantly carved ‘hairy-paw’ feet and some fifty-two interior drawers and pigeonhole dividers. An elegant Sheraton-style secretary (1800–1810) attributed to Nehemiah Adams represents the most expensive type of furniture sold in Salem, Massachusetts furniture shops of the time, designed to emphasize the wealth, taste, and erudition of its owner. The Cluett Chambers collection also reveals that imported goods continued to have a place even as the furniture industry in America developed. The collection features, for example, looking glasses made for the American market in England and Germany, a gilded bronze clock made in Paris celebrating George Washington, and porcelain and silver imported from China.
The installation is enriched by loans from four private collections. Among these works is the portrait of Catherine Couenhoven Clark (1819–20) of Troy, New York by Ammi Phillips (1788–1865), which complements the Clark’s portrait of Harriet Campbell (c. 1815). The painting is on loan from Nathan Kernan (Couenhoven’s great-great-grandson) and Thomas Whitridge. Another loan object, an elegant pie-crust tea table, stands near a large display of silver made for serving tea and coffee. Additional loans include a mid-eighteenth-century Connecticut side chair; a high chest of drawers (c. 1780–85) attributed to Eliphalet Chapin (1741–1807) and also from Connecticut; another high chest of drawers from Philadelphia of the late 1750s with carving attributed to Nicholas Bernard (d. 1789); and a pair of c. 1789 portraits by Christian Gullager (1759–1826), depicting Major Benjamin Shaw and Mehitable Shaw.
The installation of the Henry Morris and Elizabeth H. Burrows Gallery is supported by a grant from the Henry Luce Foundation.
Constructed between 1848 and 1884—precisely when Mount Vernon was being preserved as a crucial part of America’s history—the obelisk at 555 feet high remains the tallest stone structure in the world. From Bloomsbury:
John Steele Gordon, Washington’s Monument and the Fascinating History of the Obelisk (New York: Bloomsbury, 2016), 224 pages, ISBN: 978 1620 406502, $27.
Conceived soon after the American Revolution ended, the great monument to George Washington was not finally completed until almost a century later; the great obelisk was finished in 1884, and remains the tallest stone structure in the world at 555 feet. The story behind its construction is a largely untold and intriguing piece of American history, which acclaimed historian John Steele Gordon relates with verve, connecting it to the colorful saga of the ancient obelisks of Egypt.
Nobody knows how many obelisks were crafted in ancient Egypt, or even exactly how they were created and erected since they are made out of hard granite and few known tools of the time were strong enough to work granite. Generally placed in pairs at the entrances to temples, they have in modern times been ingeniously transported around the world to Istanbul, Paris, London, New York, and many other locations. Their stories illuminate that of the Washington Monument, once again open to the public following earthquake damage, and offer a new appreciation for perhaps the most iconic memorial in the country.
John Steele Gordon is one of America’s leading historians, especially in the realm of business and financial history. He is the author of The Scarlet Woman of Wall Street, Hamilton’s Blessing, A Thread Across the Ocean, An Empire of Wealth, and The Great Game. He has written for Forbes, Worth, The New York Times, and The Washington Post, and his columns appear regularly in The Wall Street Journal. He lives in North Salem, New York.
Kaiserin Maria Theresia (1717–1780): Repräsentation und visuelle Kommunikation
Österreichische Akademie der Wissenschaften / Kunsthistorisches Museum, Vienna, 29–31 March 2017
Registration due by 28 March 2017
Am 13. Mai 2017 jährt sich die Geburt von Maria Theresia zum 300. Mal. Als “Österreichs starke Frau” prägen ihre Person und ihre Bildnisse das kulturelle und politische Erbe der Habsburgermonarchie bis heute. Die mit ihr in Verbindung stehenden Mythen sind nicht nur historische Nachwehen eines vermeintlichen “österreichischen Heldenzeitalters”, sondern auch Produkte einer erfolgreichen Inszenierung ihrer Herrschaft, deren Mechanismen und Strategien im laufenden FWF-Forschungsprojekt “Herrscherrepräsentation und Geschichtskultur unter Maria Theresia (1740–1780)” an der Österreichischen Akademie der Wissenschaften (ÖAW) entschlüsselt werden. Das Projekt, das gemeinsam vom Institut für kunst- und musikhistorische Forschungen der ÖAW (Abteilung Kunstgeschichte) und dem Münzkabinett des Kunsthistorischen Museums Wien durchgeführt wird, veranstaltet anlässlich dieses Jubiläumsjahres vom 29. bis zum 31. März 2017 eine internationale und interdisziplinäre Tagung, die sich der Selbst- und Fremdinszenierung Maria Theresias aus kunsthistorischer, numismatischer und historischer Perspektive nähert.
Im Fokus steht die Frage nach einer spezifischen Repräsentationspraxis Maria Theresias, die sich aufgrund ihres weiblichen Geschlechts und der dynastischen und politischen Notwendigkeiten sowie unter dem ideengeschichtlichen Einfluss der Aufklärung konstituierte. Dabei wird Herrschafts- und Herrscherrepräsentation als Kommunikationsprozess verstanden, in dem Sender und Empfänger in einem ständigen Dialog stehen. Die Repräsentation der Monarchin und der Dynastie erforderte Medien, Symbole und Narrative, um Herrschaft konstituieren und stabilisieren zu können. Inhaltliche Schwerpunkte werden die unterschiedlichen Kunstgattungen (wie etwa Gemälde, Medaillen und Kupferstiche), Rangfragen, Zeremoniell sowie die Ausprägungen symbolischer Politik bilden. Durch Einbeziehung internationaler Fallbeispiele (Russland, Preußen und Frankreich) soll eine Diskussion zur monarchischen Repräsentation im Europa der Aufklärung intensiviert werden.
Kontakt: Dr. Sandra Hertel, Sandra.Hertel@oeaw.ac.at
M I T T W O C H , 2 9 M Ä R Z 2 0 1 7
14.00 Begrüßung: Michael Alram – Direktor des Münzkabinetts (KHM) und Vizepräsident der Österreichischen Akademie der Wissenschaften Einführung: Werner Telesko – Direktor des Instituts für kunst- und musikhistorische Forschungen der ÖAW
14.30 Panel: Inszenierung von Herrschaft und rituelle Politik
• Thomas Lau (Fribourg), Schwieriges Erbe – der Herrschaftsantritt Maria Theresias
• Barbara Stollberg-Rilinger (Münster, Westfalen), ‘Zugänglich für den Geringsten der Untertanen’. Von der Logik des Mythos
• Katrin Keller (Wien), Kaiserin und Reich. Warum Maria Theresia 1745 nicht gekrönt wurde
• Marina Beck (Passau), Das Hofzeremoniell als Medium der Herrschaftsinszenierung Maria Theresias
• Wolfgang Schmale (Wien), Maria Theresia, das 18. Jahrhundert und Europa
D O N N E R S T A G , 3 0 M Ä R Z 2 0 1 7
9.00 Panel: ‘Die Erbin so vieler Länder und Reiche’ – Das Kaiserpaar und seine Herrschaften
• Sandra Hertel (Wien), Ein einzigartiges Erzhaus. Das Geschichtsbewusstsein Maria Theresias am
• Renate Zedinger (Wien), Kongeniale Partner? Maria Theresia und Franz Stephan von Lothringen im Spiegel zeitgenössischer Quellen
• Klaas Van Gelder (Gent), Die Herrscherin auf der städtischen Bühne. Städtisches Zeremoniell und die Repräsentation Maria Theresias in den Österreichischen Niederlanden
• Szabolcs Serfőző (Budapest), Bilder und Konzepte des ‘Regnum Hungaricum’ zur Regierungszeit Maria Theresias
14.00 Panel: ‘Je öfter Du dich zeigst, je mehr gewinnt dein Ruhm’. – Akteure und Adressaten der maria-theresianischen Repräsentation
• Michaela Völkel (Potsdam), ‘Sehen wollte und sollte man alles’. Kupferstiche als Form medialer repräsentativer Öffentlichkeit im Zeitalter Maria Theresias
• Marian Füssel (Göttingen), ‘Theresia fiel nieder und tanzt seitdem nicht wieder’. Die ‘Königin von Ungarn’ in der preußischen Propaganda während der Schlesischen Kriege
• Stefanie Linsboth (Wien), Herrscherin und Heilige? Religiöse Visualisierungen Maria Theresias im Spannungsfeld der Akteure
• Anna Fabiankowitsch (Wien), ‘zur sache immerwehrenden gedächtnus’. Direktiven zur Produktion von Medaillen unter Maria Theresia
F R E I T A G , 3 1 M Ä R Z 2 0 1 7
9:00 Panel: Herrschaft auf Augenhöhe? Repräsentation im europäischen Vergleich
• Michael Schippan (Wolfenbüttel), Maria Theresia und Katharina die Große. Die Herrscherrepräsentation zweier europäischer Regentinnen im Vergleich
• Michael Yonan (Columbia, Missouri), Picturing Empress Maria Theresa in Eighteenth-Century Denmark, Sweden, and Russia
• Heinz Winter (Wien), Die Medaillen Maria Theresias im europäischen Vergleich
• Christina Kuhli (Hamburg), ‘La gloire de Louis XIV et XV’. Medien und Inszenierungen von Herrschaft zwischen Absolutismus und Ancien Régime
• Werner Telesko (Wien), Die ‘aufgeführte’ Kaiserin. Maria Theresia und die habsburgische Herrscherrepräsentation
13.15 Abschluss und Ergebnissicherung
From Princeton UP:
Craig Clunas, Chinese Painting and Its Audiences (Princeton: Princeton University Press, 2017), 320 pages, ISBN: 978 0691 171937, $60 / £50.
What is Chinese painting? When did it begin? And what are the different associations of this term in China and the West? In Chinese Painting and Its Audiences, which is based on the A. W. Mellon Lectures in the Fine Arts given at the National Gallery of Art, leading art historian Craig Clunas draws from a wealth of artistic masterpieces and lesser-known pictures, some of them discussed here in English for the first time, to show how Chinese painting has been understood by a range of audiences over five centuries, from the Ming Dynasty to today. Richly illustrated, Chinese Painting and Its Audiences demonstrates that viewers in China and beyond have irrevocably shaped this great artistic tradition.
Arguing that audiences within China were crucially important to the evolution of Chinese painting, Clunas considers how Chinese artists have imagined the reception of their own work. By examining paintings that depict people looking at paintings, he introduces readers to ideal types of viewers: the scholar, the gentleman, the merchant, the nation, and the people. In discussing the changing audiences for Chinese art, Clunas emphasizes that the diversity and quantity of images in Chinese culture make it impossible to generalize definitively about what constitutes Chinese painting. Exploring the complex relationships between works of art and those who look at them, Chinese Painting and Its Audiences sheds new light on how the concept of Chinese painting has been formed and reformed over hundreds of years.
Craig Clunas is Professor of the History of Art at the University of Oxford. His books include Screen of Kings: Royal Art and Power in Ming China; Empire of Great Brightness: Visual and Material Culture and Social Status in Early Modern China; and Art in China.
C O N T E N T S
1 Beginning and Ending
2 The Gentleman
3 The Emperor
4 The Merchant
5 The Nation
6 The People
Photography and Copyright Credits
Installation view of the exhibition Good Hope: South Africa and The Netherlands from 1600 at the Rijksmuseum in Amsterdam, 14 February 2017; photo by Olivier Middendorp.
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Now on view at the Rijksmuseum:
Good Hope: South Africa and the Netherlands from 1600
Rijksmuseum, Amsterdam, 17 February — 21 May 2017
Curated by Martine Gosselink
The arrival of the Dutch changed South Africa forever. The population’s composition and the introduction of slavery by the VOC (the Dutch East India Company) resulted from ties with the Netherlands. But this also applies to the language, Afrikaans, the legal system, the protestant church, the introduction of Islam, the typical façades, and Dutch names on the map. The relationship with South Africa also changed the Netherlands. The Boer Wars around 1900, countless ‘Transvaal districts’ in Dutch cities, and the violent anti-apartheid struggle of the 1980s symbolise a continuously tempestuous relationship. In this exhibition, around 300 paintings, drawings, documents, photos, items of furniture, souvenirs, tools, and archaeological discoveries give a vivid impression of the culture shared and the influence reciprocated by the two countries.
Robert Jacob Gordon’s landscape panoramas, several metres long, occupy a prominent place in the exhibition. This Dutch traveller illustrated 18th-century South Africa, giving the country an identity. The imposing portraits of children born after 1994—when apartheid was abolished—by the South African photographer Pieter Hugo illustrate South Africa’s future. Along with the exhibition, the NTR (Dutch public-service broadcaster) will be broadcasting a seven-part TV series presented by Hans Goedkoop. The exhibition is produced under the directions of Martine Gosselink, Head of the History Department at the Rijksmuseum.
“The Good Hope exhibition illustrates a significant aspect of Dutch colonial history in all its nuances—a tale that is both painful and striking, but more especially disturbing and recognisable.”
–Adriaan van Dis, Dutch writer, Africa specialist, and the exhibition’s narrator
Symposium—Good Hope for a New Generation: Reflections on Diversity and Change in South Africa and the Netherlands, 5 April 2017
The aim of this symposium is for the Dutch and South Africans to learn from each other in building an open and diverse nation where talents can develop. For this symposium, two South African speakers are invited to reflect on the past and especially on the future of the new generation.
Martine Gosselink, Maria Holtrop, and Robert Ross, eds., Good Hope: South Africa and the Netherlands from 1600 (Amsterdam: Rijksmuseum, 2017), 376 pages, ISBN: 978 94600 43130, €35.
A richly illustrated book accompanies the exhibition, containing 56 contributions from 26 authors from the fields of literature, language, art history, archaeology, politics, and journalism.
Attributed to Robert Jacob Gordon, Upper (Northern) Half of Gordon’s ‘Great Map of Southern Africa, ca. 1786; ink, pencil, and watercolor on paper, 91.5 × 203 cm (Amsterdam: Rijksmuseum, RP-T-1914-17-3-A). More information and a high resolution image is available here»
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Press release (14 February 2017) from the Rijksmuseum:
Today the Rijksmuseum launches www.robertjacobgordon.nl through which all of Robert Jacob Gordon’s drawings, diaries and letters are made accessible to all for the first time. The 18th-century Dutch explorer documented South Africa’s inhabitants, flora, and fauna in more than 450 detailed drawings. He meticulously noted down in his diaries and letters everything he experienced during his expeditions. The drawings, which include unique 8-metre-long panoramas, form part of the collection at the Rijksmuseum. The diaries and letters are kept in the Brendhurst Library in Johannesburg. On the occasion of the exhibition Good Hope: South Africa and the Netherlands from 1600, all of Gordon’s diaries and drawings are reunited for the first time and thus present a comprehensive view of 18th-century South Africa.
Zoom in on 18th-Century South Africa
Through robertjacobgordon.nl, visitors are given a complete portrait of what Gordon encountered, and where. The site enables visitors to zoom in on the 18th-century map Gordon created alongside contemporary South Africa via Google Maps. The comparison revealed the uncanny accuracy of Gordon’s measurements. His diaries and letters are also made available digitally for the first time via the website. Gordon’s travel notes, discovered in 1960, are kept in the Brandhurst Library in Johannesburg. Through the website, these documents are made accessible for the first time. The original texts have been transcribed and translated into English for the occasion, with special functions linking Gordon’s texts to his drawings.
Robert Jacob Gordon
The 18th-century Dutch scientist Robert Jacob Gordon (1743–1795) travelled through the interior of South Africa during the second half of the 18th century. As a zoologist, cartographer, geographer, linguist, meteorologist, and anthropologist, he recorded his discoveries in an ‘Atlas’—a treasure trove of 450 drawings along with spectacular panoramas, multiple metres in length, that show precisely how Gordon portrayed the land, its inhabitants and the flora and fauna. To record all of this in words and in pictures, he made four extensive expeditions deep into the interior of South Africa, where he was frequently the mediator between the local people and the colonists, resolving conflicts arisen from arson, murders, and cattle thefts. As a representative of the European Enlightenment, Gordon poured his knowledge and expertise into the creation of ‘Great Map’, his compendium which remained unfinished due to his suicide in 1795 post the British invasion. A large number of Gordon’s drawings and metres-long, meticulously drawn panoramas can be seen in Rijksmuseum’s exhibition Good Hope: South Africa and the Netherlands from 1600 (17 February to 21 May 2017).
robertjacobgordon.nl is made possible by Cees en Ingeborg van der Burg and is created by the Rijksmuseum in association with Fabrique and Q42. The web address is obtained thanks to the Doesburgs’ Historical Society HetHuisDoesburg.
From the Terra Foundation:
Terra Foundation for American Art Academic Workshop and Symposium Grants
Fall 2017 Awards
Letters of inquiry due by 15 March 2017
The Terra Foundation for American Art actively supports projects that encourage international scholarship on American art topics, as well as scholarly projects with focused theses that further research of American art in an international context. Academic program funding is available for in-person exchanges such as workshops, symposia, and colloquia that advance scholarship in the field of American art (circa 1500–1980) that take place
• In Chicago or outside the United States, or
• In the United States and examine American art within an international context and include a significant number of international participants.
Additionally, the foundation welcomes applications for international research groups. Such groups should involve 2 to 4 faculty members from two or more academic institutions, at least one of which must be located outside the United States. Groups should pursue specific research questions that will advance scholarship and meet in person two or more times.
Visual arts that are eligible for Terra Foundation Academic Workshop and Symposium Grants include all visual art categories except architecture, performance art, and commercial film/animation. We favor programs that place objects and practices in an art historical perspective.
Note: The foundation funds museum-organized educational programs related to exhibitions through its Exhibition Grants; therefore only organizers from universities and research institutes may apply for exhibition-related programs through the Academic Program area.
Within a given year, the foundation seeks to support a range of topics. Please note that grants in this area are typically capped at $25,000 with exceptions only made for unusual circumstances.
While the Terra Foundation for American Art welcomes recurring requests, organizations that have submitted multiple applications should note that the foundation also attempts to fund programs at a variety of organizations. Due to the competitive nature of this program area, not every request can be funded, regardless of prior support.
New Bloomsbury Academic Book Series: The Material Culture of Art
Series Editor: Michael Yonan, University of Missouri
The Material Culture of Art is devoted to scholarship that brings art history into dialogue with interdisciplinary material culture studies. The material components of an object—its medium and physicality—are key to understanding its cultural significance. Material culture has stretched the boundaries of art history and emphasized new points of contact with other disciplines, including anthropology, archaeology, consumer and mass culture studies, the literary movement called ‘Thing Theory’, and materialist philosophy. The Material Culture of Art seeks to publish studies that explore the relationship between art and material culture in all of its complexity. The series is a venue for scholars to explore specific object histories (or object biographies, as the term has developed), studies of medium, and the procedures for making works of art and investigations of art’s relationship to the broader material world that comprises society. It seeks to be the premiere venue for publishing the growing scholarship about works of art as exemplifications of material culture.
The series encompasses material culture in its broadest dimensions, including the decorative arts (furniture, ceramics, metalwork, textiles), everyday objects of all kinds (toys, machines, musical instruments), and studies of the familiar high arts of painting and sculpture. The series welcomes proposals for monographs, thematic studies, and edited collections.
Please direct inquiries and proposals to both Michael Yonan, series editor, email@example.com, and Margaret Michniewicz, Visual Arts Acquisitions Editor, Margaret.Michniewicz@bloomsbury.com.
Series Advisory Board
Wendy Bellion, University of Delaware
Claire Jones, University of Birmingham
Stephen McDowall, University of Edinburgh
Amanda Phillips, University of Virginia
John Potvin, Concordia University, Canada
Stacey Sloboda, Southern Illinois University
Kristel Smentek, MIT
Robert Wellington, Australian National University
Norwich and the Medieval Parish Church, ca. 900–2017: The Making of a Fine City
Norwich Cathedral Hostry, 17–18 June 2017 (with site visits on 19 June)
A conference hosted by The Medieval Parish Churches of Norwich Research Project, undertaken at the University of East Anglia and funded by The Leverhulme Trust.
All 58 churches—whether existing, ruined, or lost—are included in the scope of the project, which seeks insight into how the medieval city developed topographically, architecturally, and socially. The project is intended to reveal the interdependent relationship between city, community, and architecture showing how people and places shaped each other during the Middle Ages. The conference—supported by the Paul Mellon Centre for British Art and Purcell—will present the medieval parish churches of Norwich in their immediate local context and in the broader framework of urban churches in Britain and northern Europe. The subject range will include documentary history, the architectural fabric of the buildings themselves and their place in the topography of Norwich, the development of the churches’ architecture and furnishings, the representation of the churches, and their post-Reformation history.
In addition to the medieval lines of inquiry, the conference will include papers addressing the churches of Norwich from a long eighteenth-century perspective. Roey Sweet will discuss the rise of the concept of the historic town, which became established in the nineteenth century. William Jacob will consider the changes that Norwich churches underwent in the Georgian period in relation to the Prayer Book and concepts of politeness. David King will address the evidence for stained glass provided by seventeenth- and eighteenth-century antiquaries, and Clare Haynes will explore the medieval imaginaries that were engaged in the antiquarian, topographical, and archaeological visual record of the churches.
Full details, including timings and costs, to be announced in the coming weeks. Bookings will be taken from early March 2017. Provisional reservations can be made by email to firstname.lastname@example.org.
From Princeton UP:
Michel Pastoureau, Red: The History of a Color (Princeton: Princeton University Press, 2017), 216 pages, ISBN: 978 06911 72774, $40 / £33.
The color red has represented many things, from the life force and the divine to love, lust, and anger. Up through the Middle Ages, red held a place of privilege in the Western world. For many cultures, red was not just one color of many but rather the only color worthy enough to be used for social purposes. In some languages, the word for red was the same as the word for color. The first color developed for painting and dying, red became associated in antiquity with war, wealth, and power. In the medieval period, red held both religious significance, as the color of the blood of Christ and the fires of Hell, and secular meaning, as a symbol of love, glory, and beauty. Yet during the Protestant Reformation, red began to decline in status. Viewed as indecent and immoral and linked to luxury and the excesses of the Catholic Church, red fell out of favor. After the French Revolution, red gained new respect as the color of progressive movements and radical left-wing politics.
In this beautifully illustrated book, Michel Pastoureau, the acclaimed author of Blue, Black, and Green, now masterfully navigates centuries of symbolism and complex meanings to present the fascinating and sometimes controversial history of the color red. Pastoureau illuminates red’s evolution through a diverse selection of captivating images, including the cave paintings of Lascaux, the works of Renaissance masters, and the modern paintings and stained glass of Mark Rothko and Josef Albers.
Michel Pastoureau is a historian and director of studies at the École Pratique des Hautes Études de la Sorbonne in Paris. A specialist in the history of colors, symbols, and heraldry, he is the author of many books, including Green, Black, and Blue (all Princeton) and The Devil’s Cloth: A History of Stripes. His books have been translated into more than thirty languages.