Enfilade

New Book | La peinture en Bourbonnais du XVIe au XVIIIe siècle

Posted in books by Editor on January 23, 2019

Published by PUR and available from Artbooks.com:

Guennola Thivolle, La peinture en Bourbonnais du XVIe au XVIIIe siècle (Rennes: Presses Universitaires de Rennes, 2019), 332 pages, ISBN: 978-2753575813, 35€ / $60.

Cet ouvrage propose une étude des tableaux de chevalet et des décors peints réalisés en Bourbonnais entre 1531 et 1790 mais aussi de leurs commanditaires. Tous investissent l’œuvre d’une fonction, de la dévotion à l’apparat, qui s’exprime à travers les sujets représentés et leur emplacement dans l’édifice. Certains font appel à de grands maîtres de la peinture, d’autres à des artistes locaux alors assimilés à des artisans. La découverte de pièces d’archives relatives à ces peintres permet de comprendre leurs conditions de travail et leur cadre de vie. Quel que soit le niveau de fortune du commanditaire ou le talent du peintre, il apparaît que les réseaux de sociabilité jouent un rôle primordial dans le processus de la commande.

Guennola Thivolle est docteure en histoire de l’art moderne et conservatrice des Antiquités et Objets d’Art du département de l’Allier.

C O N T E N T S

Remerciements

Annie Regond, Préface: Une nouvelle approche de la vie artistique dans le Bourbonnais à l’époque moderne

Introduction
Les commandes religieuses: Entre piété et apparat
Les commandes profanes: Du prestige au raffinement
Les réseaux de sociabilité
Entre Paris et le Bourbonnais
Les peintres locaux
L’artiste au travail

Conclusion
Sources et bibliographie
Dictionnaire des peintres
Index
Crédits photographiques

A fully detailed table of contents is available here»

Call for Essays | Art and Science of Collecting

Posted in Calls for Papers by Editor on January 22, 2019

From H-ArtHist:

The Art and Science of Collecting in Eighteenth-Century Europe
Edited by Arlene Leis and Kacie Wills

Proposals due by 30 January 2019; finished (shorter) essays due by 30 July 2019 and (longer) essays by 30 September 2019

Sarah Stone, Perspective Interior View of Sir Ashton Lever’s Museum in Leicester’s Square, watercolor, London, March 30, 1785 (Sydney: State Library of New South Wales).

We are inviting chapter abstracts for a collection of essays designed for academics, specialists and enthusiasts interested in the interrelations between art, science, and collecting in Europe during the long 18th century. Considering a broad range of collections, (objects) and ideas, our volume will discuss the topic of art, science, and collecting in diverse theoretical contexts, such as art historical, feminist, social, gendered, colonial, archival, literary, and cultural ones. To accompany our existing contributions, we welcome essays that take a global and material approach, and are particularly keen on research that makes use of new archival resources. We encourage interdisciplinary perspectives and are especially interested in essays that reveal the way in which women participated in art, science, and collecting in some capacity.

The compendium will consist of around 15 essays, 6000 words each (including footnotes), with up to four illustrations. In addition to these more traditional essays, we are looking for shorter (circa 1,000 words) case studies on material objects pertaining to collections/collectors from that period, and the subject of art, science and collecting will also be central to these contributions. These smaller pieces will each include one illustration.

The following topics/case studies are particularly desired:
• Women’s collecting interests
• Histories and methodologies of collecting, taxonomies, cataloging, arrangement, and modes of display
• Cabinets of curiosities/Wunderkammer
• Catalogues
• Collections housed in art and/or science institutions
• The boundaries between the natural and the artificial
• Scientific and artistic tools and instruments
• Seriality vs. rare objects
• Transitional objects
• Conservation
• Collecting networks
• The artist collector
• The scientist collector
• Science, art and collecting in domestic spaces
• Antiquarian collections
• Print culture

Essay abstracts of 500 words and 300 word abstracts for smaller case studies are due January 30, 2019 and should be sent along with a short bio to: artsciencecollecting@gmail.com. Finished case studies will be due July 30, 2019, and due date for long essays will be September 30, 2019. All inquiries should be addressed to Arlene Leis, aleis914@gmail.com or Kacie Wills, kacie.wills@gmail.com
.

Exhibition | The Yoke of Bondage

Posted in exhibitions by Editor on January 21, 2019

Interesting as both an exhibition and a pedagogical approach, with details of the latter in this article from The Harvard Gazette:

The Yoke of Bondage: Christianity and African Slavery in the United States
Andover-Harvard Theological Library, Cambridge, 5 December 2018 –15 March 2019

The exhibit is curated by Freshman Seminar 43D: Christianity and Slavery in America, 1619–1865 taught by Professor Catherine Brekus. On display are original materials from the Special Collections of AHTL, as well as reproductions from materials held at other Harvard libraries.

Most people today assume that Christianity and slavery are incompatible. For most of Christian history, however, the opposite was true. Christians not only owned slaves, but they also argued that slavery was sanctioned by the Bible. This exhibit explores the relationship between Christianity and African slavery in the United States from the late eighteenth century, when the first antislavery societies were organized, until the onslaught of the Civil War.

In sermons, poems, pamphlets, and memoirs, American Christians fought over the meaning of their faith. In contrast to proslavery theologians, who described Christianity as a religion of hierarchy, order, and submission, opponents of slavery—including large numbers of black Christians—argued that the Bible is a story about liberation. “Stand fast therefore in the liberty wherewith Christ hath made us free,” they read in Paul’s Letter to the Galatians, “and be not entangled again with the yoke of bondage.”

Additional information is available in this story from The Harvard Gazette.

Exhibition | The Slave Bible: Let the Story Be Told

Posted in exhibitions by Editor on January 21, 2019

From the press release (26 November 2018) for the exhibition:

The Slave Bible: Let the Story Be Told
Museum of the Bible, Washington, D.C., 28 November 2018 — April 2019

The Slave Bible: Let the Story Be Told spotlights an abridged version of the [Christian] Bible used by British missionaries who worked with enslaved Africans in the Caribbean. The exhibition provides insight into a dark moment in history in which the Bible and religion were used for imperial and economic gain.

Parts of the Holy Bible, selected for the use of the Negro Slaves, in the British West-India Islands, an abridged version of the Bible, which became known as the Slave Bible, was published in London in 1807 and used by some British missionaries to convert and educate enslaved Africans about Christianity—while instilling obedience and preserving their system of slavery throughout their colonies. Only three surviving copies are known to exist. British colonists created the Slave Bible by removing sections—and in some cases entire books—from the Bible out of fear that the full Bible would promote rebellion among slaves or offer hope for a better life. The story of the Exodus from Egypt and the book of Revelation were stripped from this truncated version of the Bible. The results were drastic. A typical Protestant edition of the Bible contains 66 books, a Roman Catholic version has 73 books, and an Eastern Orthodox translation contains 78 books. By comparison, the astoundingly reduced Slave Bible contains only parts of 14 books.

“The Slave Bible was used to push a specific message to enslaved people. But this important artifact raises questions about much more than just this moment in history of human enslavement and Christian missions; it raises questions about how we understand and use the Bible today,” said Seth Pollinger, Director of Museum Curatorial.

Some examples of texts omitted from the Slave Bible include
• Exodus 21:16  “And he that stealeth a man, and selleth him, or if he be found in his hand, he shall surely be put to death.”
• Galatians 3:28  “There is neither Jew nor Greek, there is neither bond nor free, there is neither male nor female: for ye are all one in Christ Jesus.”
• Jeremiah 22:13  “Woe unto him that buildeth his house by unrighteousness, and his chambers by wrong; that useth his neighbour’s service without wages and giveth him not for his work.”

For many African Americans, the book of Exodus is a cultural touchstone and continues to be exceedingly influential. The story of the suffering of Israelites as Egyptian slaves and their deliverance spur comparisons of the capture of Africans, the experiences of African Americans in the United States, and their hope for a better tomorrow through emancipation and civil rights legislation.

“I urge people of faith to see the Slave Bible exhibit, which provides an important historical view on how religion was distorted for man’s profit. While the abridged Bible was used as a book of oppression, the Bible today, indeed, is a book of freedom and hope for all communities, across the globe,” said Reverend Matthew Watley, Executive Minister of Reid Temple in Washington, D.C.

The exhibit is presented in coordination with Museum of the Bible partners Fisk University and the Center for the Study of African American Religious Life at the Museum of African American History and Culture. Museum of the Bible will hold a series of cultural events and panel discussions with clergy, historians, educators, and thought leaders to highlight the artifact and its impact on religion today.

Nationalmuseum Sweden Acquires Two Portrait Drawings

Posted in museums by Editor on January 20, 2019

Press release (18 January 2019) from Sweden’s Nationalmuseum in Stockholm:

Nationalmuseum has acquired two 18th-century portrait drawings. One is a self-portrait of Louis-Jean-François Lagrenée, while the other, by Johann-Ernst Heinsius, depicts an unknown woman. Both works are fully elaborated and demonstrate a technical virtuosity which captures both the personality and vitality of their subjects.

Louis-Jean-François Lagrenée, Self-Portrait, 23.5 × 17.5 cm (Stockholm: Nationalmuseum, NMH 217/2017; photo by Cecilia Heisser).

Louis-Jean-François Lagrenée (1725–1805) studied under Carle van Loo (1705–1765) in Paris in the late 1740s. In 1749 he won the Royal French Academy of Art’s travel scholarship for studies in Rome, and in the course of the ensuing years spent in Italy he was influenced by Guido Reni (1575–1642) and Francesco Albani (1578–1660), among others. For a period at the beginning of the 1760s, he was Court Painter in Saint Petersburg and also served as the Director of the Imperial Academy of Arts. Much later, between 1781 and 1787, Lagrenée returned to Rome as the Director of the French Academy of Fine Arts.

Lagrenée specialized in mythological motifs characterized by a relatively austere classicism, but also created a smaller number of captivating portraits. The latter include a celebrated self-portrait, now housed in the collections of the Sinebrychoff Art Museum in Helsinki. In the profile portrait drawing recently acquired by Nationalmuseum, Lagrenee seems to depict himself with a certain amount of objectivity—a distance from his own personality and role as an artist. Despite his supposedly young years, he appears both urbane and somewhat sophisticated. This impression may also be amplified by the artist’s technique. While the profile is drawn with distinct contours, in the lines of the work as a whole the artist demonstrates a certain lightness of touch. This is a typical feature of the skillful draughtsmanship that Lagrenée developed during his studies in Italy.

Johann-Ernst Heinsius, Portrait of a Woman Looking to the Right, 35 × 25 cm (Stockholm: Nationalmuseum, NMH 8/2018; photo by Cecilia Heisser).

Like his brother Johann-Julius Heinsius (1740–1812), Johann-Ernst Heinsius (1731–1794) was active as a portrait painter at the princely court in Weimar. Later, Johann-Ernst also worked in Hamburg, where he was commissioned to execute portraits of members of the city’s burghers. Nationalmuseum’s portrait depicts a young, vibrant woman looking over her shoulder to her left (from the viewer’s point of view she looks to the right, and this is the basis for the work’s title). She is dressed in an expensive dress, possibly made of silk and adorned with a lace collar. Her hair is extravagantly styled and graced with a large bow and a cap. With a seemingly light and free hand, the artist has captured the young woman’s lively and cheerful temperament. This applies not only to the slight smile that plays upon her lips, but also to the joy radiated in her gaze. By contrasting sharp contours in black crayon, shaded sections and white highlights, the artist creates volume and texture. Nationalmuseum’s acquisition is an exquisite example of Heinsius’s portrait drawing. He masterfully instils the woman’s gaze with such vitality that she virtually vibrates on the page.

Nationalmuseum receives no state funds with which to acquire design, applied art and artwork; the collections are enriched through donations and funds from private foundations and trusts. The acquisitions were made possible by grants from the Hedda & N.D. Qvist Memorial Fund and the Magda and Max Ettler Fund.

Conference | CAA 2019, New York

Posted in conferences (to attend) by Editor on January 19, 2019

Please pay particular attention to the HECAA session The Versatile Artist, chaired by Daniella Berman and Jessica Fripp, which takes place Wednesday afternoon at 4:00, and the ASECS session Anonymity in the Eighteenth Century, chaired by Kee IL Choi and Sonia Coman, also on Wednesday at 2:00. With more and more thematic offerings, I’ve inevitably missed material relevant to the eighteenth century; so, please don’t be bashful about noting panels omitted below. –CH

107th Annual Conference of the College Art Association
New York Hilton Midtown, 13–16 February 2019

CAA’s 2019 Annual Conference will feature over 300 sessions reflecting the unprecedented range of subject areas proposed and selected by CAA members from a record-breaking 900 plus submissions. Over four days in the spectacular setting of New York City, CAA will host 500 events on site and off, including distinguished speakers, business meetings, art making and professional development workshops, gallery tours, a book and trade fair, receptions, and more.

◊  ◊  ◊  ◊  ◊

Historic Libraries and the Historiography of Art
Wednesday, 13 February, 8:30–10:00am
Chair: Jeanne-Marie Musto (Queens College, City University of New York)
• Barbara Steindl, The Library of Leopoldo Cicognara: From Bibliophilic Collection to Scholarly Instrument
• Susan Dixon (La Salle University), Rodolfo Lanciani’s Revenge
• Dominique Polanco (University of Arizona), Colonial, Imperial, and National Collecting: Mexican Manuscripts and Their Historical Positions in the Biblioteca Nacional de España
• Jennifer Purtle (University of Toronto), Borrowing from Books: The Xu Family Library and the Use of Art History against Empire

◊  ◊  ◊  ◊  ◊

Anonymity in the Eighteenth Century (American Society for Eighteenth-Century Studies)
Wednesday, 13 February, 2:00–3:30pm
Chairs: Kee IL Choi (Leiden University) and Sonia Coman (Columbia University)
Discussant: Anne Higonnet (Columbia University and Barnard College)
• Margot Danielle Bernstein (Columbia University), Carmontelle and the Art of Furnishing Identity
• Alessandro Bianchi (Haverford College), Sine Nomine: Nameless Partners, Anonymous Writers, and Unknown Artists in Eighteenth-Century Japanese Book Production
• Nicholas Dandridge Stagliano (Cooper Hewitt/ Parsons School of Design, New School), Sèvres Porcelain on Paper

◊  ◊  ◊  ◊  ◊

The Versatile Artist (Historians of Eighteenth-Century Art and Architecture)
Wednesday, 13 February, 4:00–5:30pm
Chairs: Daniella Berman (New York University Institute of Fine Arts) and Jessica Lynn Fripp (Texas Christian University)
• Changduk (Charles) Kang (Columbia University), A Chronicler of Royal Likenesses: Benoist and Portraits of Louis XIV
• Tracy Lee Ehrlich (New School), Drawing within and without Rules
• Yuriko Jackall (Wallace Collection), Managing the Market: Greuze, Artist and Art Dealer
• Elyse Nelson (Institute of Fine Arts, New York University), Changing Patrons: The Post-Napoleonic Politics of Canova’s Three Graces

◊  ◊  ◊  ◊  ◊

Image Reiterated
Thursday, 14 February, 8:30–10:00am
• Alexander Coyle (Yale University), The Recursive Crucifix: Giunta Pisano and the Byzantine Icon
• Davide Stefanacci, Humility as a Virtue: Saintly Teachings and the Iconographic Humanization of the Madonna to Purify the Female Gender in Italy during the Early Quattrocento
• Emma Steinkraus (Hampden-Sydney College), God’s Lowliest Creatures: The Insect Paintings of Maria Sibylla Merian and Giovanna Garzoni in the Context of Seventeenth-Century Female Advocacy and Exchange
• Rachel Robertson Harmeyer (Rice University), After Angelica Kauffman: Early Mechanical Reproduction and the ‘Angelicamad’ World

◊  ◊  ◊  ◊  ◊

Early Modern Craftsmanship and Contemporary Techniques
Thursday, 14 February, 6:00–7:30pm
Chair: Estelle Lingo (University of Washington, Seattle)
• Jason Eugene Nguyen (University of Southern California), Matters of Form: Mathurin Jousse’s Material Theory of Metalworking
• Isabelle Masse (McGill University, Montreal), The Transmission of Craftsmanship: Making Pastel Sticks in Eighteenth-Century Lausanne
• Michael D. Price, A Contemporary Solution to Making Renaissance Blue Pigments
• Bryan Robertson (Jefferson College), Egg Tempera, Modern Surfactants, and Painting the Mixed Technique with Water-Soluable Oils

◊  ◊  ◊  ◊  ◊

Ceramics and the Global Turn
Friday, 15 February, 8:30–10:00am
Chair: Meghen Jones (Alfred University)
Discussant: Edward Cooke (Yale University)
• Rachel Gotlieb (Gardiner Museum and Sheridan College), Ceramics and the Portland Vase: Global Networks
• Feng He (Heidelberg University), The Dragoon Vases and Monumentality at the Global Turn of Ceramic Studies
• Yasuko Tsuchikane (The Cooper Union and Waseda University), Contact, Diversion, and Merger: Lucio Fontana’s Ceramics Displayed in Tokyo, 1964
• Elizabeth Perrill (University of North Carolina, Greensboro), Zulu Ceramics: A Label, a Tool, a Tradition

◊  ◊  ◊  ◊  ◊

Visualizing Scientific Thinking and Religion in the Early Modern Iberian World
Friday, 15 February, 8:30–10:00am
Chairs: Brendan C. McMahon and Emily Floyd (University College London)
• Tomas Macsotay (Universitat Pompeu Fabra), The Miracle and the Sanctuary: Transformations of Matter and Light in the Spanish Retablo and Camarín, ca. 1700–1785
• Emily Floyd (University College London), The Monster and the Saint: Religion, Science, and the Printed Image in Colonial Peru
• Brendan C. McMahon, The First Phoenix of New Spain: Natural Theology and Seventeenth-Century Mexican Feathered Microcarvings
• Kristi Marie Peterson (Skidmore College), Antonio de Herrera y Tordesillas and the Picturing and Displaying of New World Sacrality in the Early Modern World

◊  ◊  ◊  ◊  ◊

North American Landscapes and Counter-histories
Friday, 15 February, 10:30–noon
Chairs: Jocelyn Anderson (University of Toronto) and Julia Lum (University of Toronto)
• Jolene Rickard (Cornell University), Point Zero: The Emergence of America as Empire and the Intended Erasure of the Haudenosaunee (Iroquois)
• Caroline Laura Gillaspie (The Graduate Center, City University of New York), Coffee House Slip: Global Trade and Environmental History in Francis Guy’s Tontine Coffee House, N.Y.C.
• Elizabeth Bacon Eager (Southern Methodist University), Sewn in Place: Embroidered Maps of the Early Republic
• Samantha Noel (Wayne State University), The Alternative Geographic Formulations of Robert S. Duncanson’s Landscapes
• Anna Evangeline Arabindan-Kesson (Princeton University), From Poetry into Paint: Narrative, Natives, and Freedom in Robert S. Duncanson’s Landscapes

◊  ◊  ◊  ◊  ◊

Visions of Mexico and the Iberian Peninsula (American Society for Hispanic Art Historical Studies)
Friday, 15 February, 10:30–noon
Chair: Jeffrey Schrader (University of Colorado Denver)
• Kate Holohan (Cantor Arts Center, Stanford University), ‘If he is converted’: A Mexican Feather Work Ecce Homo in Southeastern Africa
• Orlando Hernandez-Ying, Earthly and Heavenly Hierarchies: The Seven Archangels of Palermo in the Cathedral of Mexico City
• Luis Javier Cuesta (Universidad Iberoamericana), Marian Devotions and Patronage in Eighteenth-Century Mexico City: Between Italy, Spain, and America

◊  ◊  ◊  ◊  ◊

Reconsidering the Status of the Artist in Early Modern Spain and Latin America, 1600–1715
Friday, 15 February, 2:00–3:30pm
Chair: Lisandra Estevez (Winston-Salem State University)
• Laura Bass (Brown University), Vicencio Carducho’s Last Wills and Testaments: Affective Ties and Professional Success
• Sabena Kull (University of Delaware, Denver Art Museum), Race, Rhetoric, and Reality in Art Historical Discourse: Reconsidering Painters of African Descent in the Seventeenth-Century Spanish World
• Alessia Frassani, Gregorio Vázquez de Arce y Ceballos, Painter of Nueva Granada (1638–1711)
• Catherine Burdick (Centro de Investigación en Artes y Humanidades (CIAH) y Facultad de Arte, Universidad Mayor, Santiago, Chile), Beyond Bread and Roses: Indigenous Innovation in Andean Paintings of San Diego de Alcalá, ca. 1715

◊  ◊  ◊  ◊  ◊

Between Object and Viewer: Spectatorship, Theatricality, Mediation
Saturday, 16 February, 8:30–10:00am
• Jamie Richardson, Framing Collections, Painting the Frame: On the Still-Life Paintings of Frans II Francken (1581–1642)
• Aaron Wile (University of Southern California), In Defense of Theatricality: The Politics of Affect in Early Eighteenth-Century France
• Monica Zandi, Tales from the Table: The Politics of Dessert in Franz Anton Bustelli’s Harlequin
• Katherine Brunk Harnish (Washington University), Paintings of Prints and Photographs: The Temporality of Trompe l’Oeil and the Enduring Value of Painting

◊  ◊  ◊  ◊  ◊

Design History / Design Heritage
Saturday, 16 February, 8:30–10:00am
Chairs: Rebecca Houze (Northern Illinois University) and Grace Lees-Maffei (University of Hertfordshire)
• Freyja Hartzell (Bard Graduate Center), Poets of Wood: Dürer, Goethe, and Modern German Design
• Ashley Miller (UC Berkeley), Designing Identities at the Franco-Moroccan Exposition
• Jacqueline June Naismith (Massey University, New Zealand), Spectacular Enchantment: The Design and Heritage of the Public Wintergardens at the Auckland Domain
• Samuel Dodd (Ohio University), Mining Southeastern Ohio: The Production of Regional Identities

◊  ◊  ◊  ◊  ◊

Ecocritical Approaches to Colonial Art History
Saturday, 16 February, 8:30–10:00am
Chairs: C. C. McKee (Northwestern University) and Claudia Swan (Northwestern University)
• Laura Igoe, A Mass of Materials: Expanding the Boundaries of a High Chest
• Dwight Carey (UCLA), Coral, Sand, Sea Shells, Data: Testing the Building Materials and the Indigenous Knowledge of Eighteenth-Century Mauritius
• Maura Coughlin (Bryant University), The Last Fish: an Ecomaterialist Visual Culture of Ocean Commons
• Yang Wang (University of Colorado Denver), Through the Yellow Haze: Land Rehabilitation and the Art of the Chang’an School

◊  ◊  ◊  ◊  ◊

Empires of Pleasure across Eighteenth-Century Cultures
Saturday, 16 February, 10:30–noon
Chairs: Dipti Khera (New York University) and Meredith Martin (New York University)
• Farshid Emami (Oberlin College), Disguised as Paradise: Representations of Courtesans and their Beholders in Safavid Isfahan, 1590–1722
• Mei Mei Rado (Parsons School of Design), Delight in Otherness: Western Figures in Qing Palace Interiors
• Zirwat Chowdhury, Independent Scholar), ‘Let him esteem the English as his best and only friends’: Cross-Cultural Friendship as a Pictorial Problem in Eighteenth-Century British Painting

◊  ◊  ◊  ◊  ◊

Frenemies: Unlikely Cultural Exchange in the Pre- and Early Modern World (International Committee)
Saturday, 16 February, 10:30–noon
Chair: Noa Turel (University of Alabama at Birmingham)
Discussant: Brigit Ferguson (Hamilton College)
• Theresa Kutasz Christensen (Penn State), Sweden and Rome in the 17th Century: Christina, Queen of Sweden, the Goths and the Vandals. Collector, Patron, Barbarian Cultural Ambassador
• Noa Turel (University of Alabama at Birmingham), Subsuming the Saracens: The Rhetoric of Luxury Exotica in Early Renaissance France and the Netherlands
• Ashley Bruckbauer (University of North Carolina Chapel Hill), Citizen Franklin: Picturing a Revolutionary Ambassador in Louis XVI’s France

◊  ◊  ◊  ◊  ◊

Art and Diagrams across Cultures
Saturday, 16 February, 2:00–3:30pm
• Zhenru Zhou (University of Chicago), Moses Maimonides’s (1138–1204) Architectural Diagrams of the Second Temple
• Francesca Fiorani (University of Virginia), Leonardo da Vinci’s Book on Painting and Arab Optics
• Catherine Girard (Eastern Washington University), Skin to Skin: Animality and Interconnectedness in the Caribou-Skin Coats Painted by Innu Women during the Eighteenth Century
• Silvia Tita (Center for Advanced Study in the Visual Arts), Bridging the Mediterranean with the Orient: The Catafalque of a Seventeenth-Century Assyrian Woman

◊  ◊  ◊  ◊  ◊

Art and Financial Bubbles
Saturday, 16 February, 2:00–3:30pm
Chair: Maggie M. Cao (University of North Carolina at Chapel Hill)
• Shana Rae Cooperstein (McGill University), How Bubbles Gained Currency: Perception and Economic Speculation in Eighteenth-Century British Print Culture
• Nina Jesse Dubin, University of Illinois at Chicago), Cupid’s Bubbles: Love, Capital and the Culture of Credit
• Richard Taws (University College London), The Most Restless of Capitals: Charles Meryon’s Crypto-Games

◊  ◊  ◊  ◊  ◊

Globalizing the Architectural History Syllabus
Saturday, 16 February, 2:00–3:30pm
Chair: Eliana AbuHamdi Murchie (MIT)
• Shundana Yusaf (University of Utah), Decolonizing Architectural Pedagogy
• Fernando Luis Martinez Nespral (Universidad de Buenos Aires), Mysterious? According to Whom? Globalizing the Architectural History Syllabus
• Eliana AbuHamdi Murchie (MIT), Are We Teaching Global Yet?

New Book | Luigi Garzi (1638–1721)

Posted in books by Editor on January 18, 2019

Published by Officina Libraria and available from Artbooks.com:

Francesco Grisolia and Guendalina Serafinelli, eds., Luigi Garzi (1638–1721): Pittore romano (Milan: Officina Libraria, 2018), 335 pages, ISBN: 978-8899765859, 30€ / $50.

Pittore versatile e abile disegnatore, Luigi Garzi (1638–1721) fu celebrato dalla storiografia settecentesca per la sua lunga e operosa attività artistica all’insegna della grazia, dell’eleganza formale, dell’originalità creativa e della fine elaborazione cromatica.

Si formò giovanissimo a Roma presso «Salomon Boccali pittor di paesi» e completò la propria educazione nella bottega di Andrea Sacchi, dove diede prova di possedere uno spiccato talento artistico che in breve tempo gli permise di conseguire una certa autonomia professionale.

Garzi visse e operò per quasi tutta la sua vita a Roma: nel 1670 divenne accademico di San Luca (di cui fu Principe nel 1682) e successivamente, nel 1680 e nel 1702, Reggente della Congregazione dei Virtuosi al Pantheon. La sua produzione pittorica—pienamente debitrice della lezione sacchiana e orientata a un classicismo sia emiliano sia marattesco con evidenti suggestioni poussiniane—è documentata nella capitale pontificia a partire dagli anni Settanta del Seicento con la realizzazione delle prime opere di destinazione pubblica (San Marcello al Corso, Santa Caterina a Magnanapoli, Santa Croce in Gerusalemme, Santi Ambrogio e Carlo al Corso) e privata (Palazzo Borghese); imprese che contribuirono a consolidare la sua fama di impaginatore di pale d’altare e di decoratore a fresco, aprendogli la strada a nuovi incarichi non esclusivamente limitati all’ambito romano, tra cui le prestigiose commissioni napoletane della seconda metà degli anni Novanta del Seicento (Santa Caterina a Formiello, Galleria del principe di Cellamare, Palazzo Reale e San Carlo all’Arena).

La figura di Garzi è rimasta a lungo relegata ai margini degli interessi critici con rare eccezioni rappresentate da isolati contributi apparsi negli ultimi decenni. Il volume unisce saggi di autorevoli studiosi che, con metodologie diverse, affrontano la carriera del pittore, offrendo un imprescindibile contributo alla comprensione della sua vicenda artistica e biografica e uno strumento scientifico di riferimento in vista di un catalogo ragionato delle sue opere.

Contributors include Stefan Albl, Alessandro Agresti, Dario Beccarini, Paolo Benassai, Michela Di Macco, Mario Epifani, Fabrizio Federici, Francesco Gatta, Francesco Grisolia, Stefania Macioce, Mario Alberto Pavone, Erich Schleier, Guendalina Sera nelli, Stefania Ventra, Jana Zapletalova.

Conference | Romantic Prints on the Move

Posted in conferences (to attend) by Editor on January 17, 2019

From the University of Pennsylvania:

Romantic Prints on the Move
University of Pennsylvania and Philadelphia Museum of Art, 1–2 February 2019

Organized by Cordula Grewe and Catriona MacLeod

Caspar David Friedrich, Woman Seated under a Spider’s Web (Melancholy), detail, ca. 1803, woodcut (Philadelphia Museum of Art 1993-128-1).

In partnership with the Philadelphia Museum of Art, the Kislak Center for Special Collections, Rare Books, and Manuscripts is pleased to introduce Romantic Prints on the Move. This symposium takes its lead from the 2013 PMA exhibition and corresponding collection catalogue, The Enchanted World of German Romantic Prints, 1770–1850 (Yale University Press, 2017).

In the second half of the nineteenth century John S. Phillips amassed a collection of roughly 8500 German works in all media and all genres, housed today at the Philadelphia Museum of Art. Inspired by recent debates about the circulation and pricing of contemporary art, the conference bridges the nineteenth and the twenty-first century by shedding light on the economic, aesthetic, and geographical aspects of the production, dissemination, and collection of these prints in the era of their burgeoning new technologies, and by bringing together a unique mixture of academics and curators, dealers, and collectors.

For registration (free but kindly requested), announcements, and updates, please visit the conference web pages.

F R I D A Y ,  1  F E B R U A R Y  2 0 1 9

To be held at the Kislak Center for Special Collections, Rare Books, and Manuscripts, University of Pennsylvania Libraries, Van Pelt-Dietrich Library Center, 6th floor, 3420 Walnut Street.

1:30  Introduction by Catriona MacLeod (Edmund J. and Louise W. Kahn Term Professor of German, University of Pennsylvania)

1:45  Print Economies
Moderator: Britany Salsbury (Associate Curator of Prints and Drawings, The Cleveland Museum of Art)
• F. Carlo Schmid (C. G. Boerner, Düsseldorf), Johann Christian Reinhart and the Print Market in Germany and Rome around 1800
• Peter Fuhring (Fondation Custodia/Collection Frits Lugt), Catalogues and Correspondences: The Marketing Tools of German Print Publishers, 1780–1850

3:15  Break

4:00  Collecting German Romanticism Today: Discussion with Contemporary Collectors
Introduction by Cordula Grewe (Associate Professor of Art History, Indiana University Bloomington)
Participants
• Fiona Chalom (Psychotherapist, Board Member of Wende Museum of the Cold War and Chair of the J. Paul Getty Museum Disegno Group/Friends of Drawings, Los Angeles)
• Charles Booth-Clibborn (Founder of Paragon Press, London)

5:30  Reception

S A T U R D A Y ,  2  F E B R U A R Y  2 0 1 9

To be held at Perelman Auditorium, Philadelphia Museum of Art.

1:15  Introduction by Cordula Grewe (Associate Professor of Art History, Indiana University Bloomington)

1:30  Spreading the Print
Moderator: Freyda Spira (Associate Curator, Department of Drawings and Prints, The Metropolitan Museum of Art, New York)
• Kirsten ‘Kit’ Belgum (Associate Professor of German, University of Texas at Austin), Serialized Landscapes: Joseph Meyer and the Transnational Print Market, 1833–1856
• Michael Leja (James and Nan Wagner Farquhar Professor of the History of Art, University of Pennsylvania), From Print to Image Culture

3:00  Break

3:30  Keynote Address
Introduction by Louis Marchesano (Audrey and William H. Helfand Senior Curator of Prints, Drawings, and Photographs, Philadelphia Museum of Art)
• Jay A. Clarke (Rothman Family Curator, Department of Prints and Drawings, The Chicago Art Institute), The Matrix, the Market, and Its Critical Reception in Late Nineteenth-Century Berlin

New Book | Scotch Baronial: Architecture and National Identity

Posted in books by Editor on January 14, 2019

From Bloomsbury:

Miles Glendinning and Aonghus MacKechnie, Scotch Baronial: Architecture and National Identity in Scotland (London: Bloomsbury, 2019), 312 pages, ISBN: 978-1474283472, £65 / $88.

As the debate about Scottish independence rages on, this book takes a timely look at how Scotland’s politics have been expressed in its buildings, exploring how the architecture of Scotland—in particular the constantly-changing ideal of the ‘castle’—has been of great consequence to the ongoing narrative of Scottish national identity. Scotch Baronial provides a politically-framed examination of Scotland’s kaleidoscopic ‘castle architecture’, tracing how it was used to serve successive political agendas both prior to and during the three ‘unionist centuries’ from the early 17th century to the 20th century. The book encompasses many of the country’s most important historic buildings—from the palaces left behind by the ‘lost’ monarchy, to revivalist castles and the proud town halls of the Victorian age—examining their architectural styles and tracing their wildly fluctuating political and national connotations. It ends by bringing the story into the 21st century, exploring how contemporary ‘neo-modernist’ architecture in today’s Scotland, as exemplified in the Holyrood parliament, relates to concepts of national identity in architecture over the previous centuries.

Miles Glendinning is Professor of Architectural Conservation at the Edinburgh School of Architecture and Landscape Architecture, University of Edinburgh. Aonghus MacKechnie is an architectural historian and Head of Heritage Management at Historic Scotland. Together, they have co-authored numerous books including A History of Scottish Architecture (1996, co-authored with Ranald MacInnes) and Scottish Architecture (2004).

C O N T E N T S

Introduction, Pre-1603 Scotland: Castellated Architecture and ‘Martial Independence’

Part I: Absent Monarchs and Civil Strife
1  1603–1660: Empty Royal Palaces and Castellated Court Architecture
2  1660–1689: From Restitution to Rejection of the Old Order
3  1689–1750: The Architecture of Dynastic Struggle

Part II: From ‘Romantic Scotland’ to ‘Imperial Scotland’
4  1750–1790: Enlightenment and Romanticism
5  1790–1820: Scotland and England in the Age of Revolutionary War
6  1820–1840: Scott, Abbotsford, and ‘Scotch’ Romanticism
7  1840–1870: Billings and Bryce: Mid-Century Baronial

8  1870–1900: Traditionalism
9   External Reflections: ‘National’ Scottish Architecture and the Empire

Part III: The Twentieth Century
10  1914 Onwards: Scottish Architectural Identity in the Age of Modernism

Conclusion, The Architecture of Unionist Nationalism and Its International Significance

Bibliography
Index

Exhibition | Anton Maria Maragliano (1664–1739)

Posted in books, catalogues, exhibitions by Editor on January 13, 2019

On view in Genoa at the Palazzo Reale:

Anton Maria Maragliano (1664–1739), Lo spettacolo della scultura in legno a Genova
Palazzo Reale di Genova, 10 November 2018 — 10 March 2019

Curated by Daniele Sanguineti

From November 10th 2018 to March 10th 2019 Teatro del Falcone in Palazzo Reale Museum hosts the first monographic exhibition dedicated to the Genoese sculptor Anton Maria Maragliano (1664–1739). Viewers can admire the artist’s masterpieces, testaments to the persuasive power of painted and gilded wood to personify the protagonists of Paradise: from the elegant Marian statues, to the graceful Crucifixes, to the great processional machines with the martyrs of the saints.

Maragliano’s ability to meet the needs of clients through beautiful images and strong emotional impacts made possible the obtaining of a monopoly that forced the sculptor to develop a structured business model. Two generations of students were welcomed in the rooms of Strada Giulia, in the heart of Genoa, where Maragliano had his workshop, giving rise to the phenomenon of divulging the master’s language which represents the most fascinating, though problematic, aspect of the approach to sculptor: and the pupils of the students pursued this popularization beyond the end of the century. The exhibition presents a dual approach: on the one hand, it displays a chronological path, with Maragliano’s cultural references, the beginnings, the artist’s workshop; on the other hand, it displays thematic sections, articulated in groups of works divided according to iconography.

The exhibition opens with a section dedicated to artistic precedents for the young Maragliano, from Giuseppe Arata and Giovanni Battista Agnesi, to Giovanni Battista Bissoni and Marco Antonio Poggio. The places that Maragliano evoked through a series of documents, engravings, and watercolors usefully tell the stages of apprenticeship and the environments that hosted the master’s workspace over the years. The magnificent San Michele Arcangelo of Celle Ligure, requested of Maragliano in 1694, and the San Sebastiano for the Disciplinanti of Rapallo, commissioned in 1700, testify to the role of models in tune with the most up-to-date figurative culture rooted in Genoa thanks to the painter Domenico Piola and the French sculptor Pierre Puget. These sculptures, capable of translating into the three-dimensionality of the artefact the engaging grace of contemporary painting and Bernini’s sculpture, reveal the new, delicate dynamism of Baroque culture.

The practice of work, from the manipulation of clay models to the collaboration with painters—especially those of Casa Piola—constitute a deepening of particular interest that make comprehensible the ideational project in the entirety of its process. The progressive juxtaposition of Crucifixes—large and small, from a chapel, from a high altar, or from a procession—shows the substantial renewal conferred by Maragliano on the iconography until obtaining a repeatable formula on the part of the students. A series of spectacular Madonnas seated on the throne and an extraordinary processional chest—the Sant’Antonio Abate contemplates the death of Saint Paul the Hermit now relevant to the brotherhood of Mele—highlight the theatrical values ​​of Maragliano’s compositions, for which the biographer Ratti, reporting the judgment of the people, wrote, “have all the air of Paradise.”

Penitential themes from Holy Week are illustrated in the enthralling section on the Passion. Alongside works of small format, including nativity statues are exhibited refined objects—sacred and profane—commissioned by noble families for their private collections. The journey ends with an allusion to the complex management of Maragliano’s heritage, thanks to the presence of some pieces made by his primary students.

The catalogue is published by Sagep and available from Artbooks.com:

Daniele Sanguineti, et al., Maragliano (1664–1739), Lo spettacolo della scultura in legno a Genova (Genova: Sagep Editori, 2018), 288 pages, ISBN: 978-8863735970, €30 / $60.