Enfilade

New Book | Jean–Bernard Restout (1732–1796)

Posted in books by Editor on January 21, 2018

From Arthena:

Nicole Willk-Brocard, Jean–Bernard Restout (1732–1796) (Paris: Arthena, 2018), 240 pages, ISBN: 978-2903239596, 86€.

Fils de Jean II Restout, grand peintre religieux du xviiie siècle, apparenté à Noël Hallé et à Jean Jouvenet, Jean-Bernard Restout reçoit une solide formation artistique et littéraire. Pensionnaire à l’Académie de France à Rome, il exprime d’emblée un talent novateur, sobre et vigoureux.

Agréé à l’Académie royale comme peintre d’histoire en 1765, il connaît ses premiers succès. Il s’insurge contre le refus du jury d’exposer une de ses oeuvres au Salon de 1769 ; son ressentiment envers l’Académie et les institutions ne fera que croître. Il peint peu, tarde à honorer ses commandes, mais ses oeuvres de la maturité confirment les exceptionnelles qualités de l’artiste, également subtil et intelligent portraitiste. La Révolution à laquelle il adhère avec enthousiasme lui permet, aux côtés de David, d’assouvir sa vengeance contre l’Académie. Il côtoie Robespierre et Fabre d’Églantine mais signe ainsi sa perte : nommé inspecteur général du Garde-Meuble, il est injustement impliqué dans le vol des bijoux de la Couronne et incarcéré avant d’être libéré après le 9 Thermidor. La redécouverte de son oeuvre—largement inédit—fait regretter son choix de la politique au détriment de la peinture.

Docteur ès lettres, membre du conseil d’administration de la Société des Amis du Louvre, ancienne chargée de mission au département des Peintures du musée du Louvre, Nicole Willk-Brocard est spécialiste de la peinture française du XVIIIe siècle. Elle a publié deux monographies de référence : François-Guillaume Ménageot (Arthena, 1978) couronnée par le prix de la Fondation Paul Cailleux, et Une dynastie. Les Hallé (Arthena, 1992) ainsi que de nombreux articles dans des revues scientifiques (Revue des musées de France, Bulletin de la Société de l’Histoire de l’art français, Gazette des Beaux-Arts).

New Book | Joseph-Benoît Suvée (1743–1807)

Posted in books by Editor on January 21, 2018

From Arthena:

Sophie Join-Lambert and Anne Leclair, Joseph-Benoît Suvée (1743–1807) (Paris: Arthena, 2017), 440 pages, ISBN : 978 2903239 602, 129€.

Formé à Bruges, Suvée se perfectionne à Paris dans l’atelier de Bachelier. En 1771, il est lauréat du Grand Prix de l’Académie, devançant David qui lui en gardera une rancune tenace. À Rome, le pensionnaire de l’Académie de France montre une vive curiosité pour les sites antiques. Il réalise de très nombreux dessins dont certains, admirables, révèlent un des dessinateurs les plus doués de sa génération. En 1779, de retour à Paris, il est reçu à l’Académie royale. Il jouera désormais un rôle de premier plan. Les tableaux qu’il expose régulièrement au Salon de 1779 à 1796 témoignent d’une adhésion sans réserve au néoclassicisme. Certaines oeuvres remportent un vif succès, qu’il s’agisse de tableaux d’histoire nationale, d’histoire antique ou de tableaux religieux. Parallèlement, il peint de nombreux portraits avec un réalisme émouvant, les plus célèbres étant ceux de ses compagnons d’infortune détenus avec lui pendant la Terreur dans la prison Saint-Lazare, en particulier celui du poète André Chénier. En 1801, Suvée prend la direction de l’Académie de France à Rome. C’est sous sa houlette qu’une nouvelle génération d’artistes, parmi lesquels Ingres, complète sa formation. Dessinateur hors pair, peintre délicat et novateur, pédagogue reconnu, Suvée, artiste européen entre Bruges, Paris et Rome, appartient pleinement au monde des Lumières.

Docteur en histoire de l’art, conservateur en chef, directrice du musée des Beaux-Arts de Tours, Sophie Join-Lambert a été commissaire de nombreuses expositions en particulier Les peintres du Roi (2000) et L’Apothéose du geste, l’esquisse peinte au siècle de Boucher et Fragonard (2003–2004). Travaillant plus particulièrement sur le xviiie siècle français, elle a publié le catalogue raisonné des Peintures françaises xviiie siècle, du musée des Beaux-arts de Tours et du château d’Azay-le-Ferron (2008). Elle a réalisé en 2017 la première exposition consacrée à Joseph-Benoît Suvée.
Spécialiste de la peinture française du xviiie siècle, Anne Leclair a publié une monographie sur le peintre Louis-Jacques Durameau (Arthena, 2001), couronnée par la Fondation del Duca. Ses recherches ont notamment porté sur la peinture d’histoire (cycle de la Vie de saint Louis à l’École militaire) et sur les décors peints de la Chancellerie d’Orléans; elle a écrit des articles remarqués sur le marché de l’art et sur les cabinets d’amateurs au siècle des Lumières (Mariette, Choiseul et Voyer d’Argenson).

New Book | The Painter’s Touch

Posted in books by internjmb on January 20, 2018

From Princeton UP:

Ewa Lajer-Burcharth, The Painter’s Touch: Boucher, Chardin, Fragonard (Princeton: Princeton University Press, 2018), 336 pages, ISBN 978 06911 70121, $65 / £55.

A new interpretation of the development of artistic modernity in eighteenth-century France.

What can be gained from considering a painting not only as an image but also a material object? How does the painter’s own experience of the process of making matter for our understanding of both the painting and its maker? The Painter’s Touch addresses these questions to offer a radical reinterpretation of three paradigmatic French painters of the eighteenth century. In this beautifully illustrated book, Ewa Lajer-Burcharth provides close readings of the works of François Boucher, Jean-Siméon Chardin, and Jean-Honoré Fragonard, entirely recasting our understanding of these painters’ practice. Using the notion of touch, she examines the implications of their strategic investment in materiality and sheds light on the distinct contribution of painting to the culture of the Enlightenment.

Lajer-Burcharth traces how the distinct logic of these painters’ work—the operation of surface in Boucher, the deep materiality of Chardin, and the dynamic morphological structure in Fragonard—contributed to the formation of artistic identity. Through the notion of touch, she repositions these painters in the artistic culture of their time, shifting attention from institutions such as the academy and the Salon to the realms of the market, the medium, and the body. Lajer-Burcharth analyzes Boucher’s commercial tact, Chardin’s interiorized craft, and Fragonard’s materialization of eros. Foregrounding the question of experience—that of the painters and of the people they represent—she shows how painting as a medium contributed to the Enlightenment’s discourse on the self in both its individual and social functions.

By examining what paintings actually ‘say’ in brushstrokes, texture, and paint, The Painter’s Touch transforms our understanding of the role of painting in the emergence of modernity and provides new readings of some of the most important and beloved works of art of the era.

Ewa Lajer-Burcharth is the William Dorr Boardman Professor of Fine Arts at Harvard University. Her books include Chardin Material and Necklines: The Art of Jacques-Louis David after the Terror.

C O N T E N T S

Acknowledgments
Introduction

1  Boucher’s Tact
Materiality and Personality
Touch and Tact
The Commercial Imagination
Personal Mythologies
The Promiscuous Self
The Artist as Consumer
Pompadour’s Painter

2  Chardin’s Craft
Deep Materiality
The Object (Inside/Out)
The Blind Touch
Underneath the Visible
The Subject
The Return to the Object
The Painter

3  Fragonard’s Seduction
Eros and Individuality
The Unseen
Being and Becoming
Pictorial Seduction
The Erotic Mother
The Artist’s Pleasure
The Painter’s Touch
Love and Life
Ars Erotica

Notes
Bibliography
Index
Image Credits

The Burlington Magazine, January 2018

Posted in books, journal articles, reviews by Editor on January 20, 2018

The eighteenth century in The Burlington, which includes, as noted last week, mention of HECAA and J18 in the editorial in connection with the new scholarship:

The Burlington Magazine 160 (January 2018)

E D I T O R I A L

“The Burlington Magazine Scholarship for the Study of French Eighteenth-Century Fine and Decorative Art,” p. 3. This month The Burlington Magazine launches an annual scholarship for the study of French eighteenth-century fine and decorative art. Initiated and funded by Richard Mansell-Jones, a trustee of The Burlington Magazine Foundation, the scholarship offers £10,000 to a student based anywhere in the world who has embarked or is about to embark on an M.A. or Ph.D. or is undertaking research in a post-doctoral or independent capacity. The full review is available here (also see below).

A R T I C L E S

• Aloisio Antinori, “New Light on the Production of Il Tempio Vaticano,” pp. 22–30.

R E V I E W S

• Susan Walker, Review of Elizabeth Bartman, The Ince Blundell Collection of Classical Sculpture, Volume 3: The Ideal Sculpture (Liverpool University Press, 2017), pp. 64–5.
• Elizabeth Savage, Review of Mark Stocker and Phillip Lindley, eds., Tributes to Jean Michel Massing: Towards a Global Art History (Harvey Miller, 2016), p. 74. [The volume includes Robin Middleton’s essay, “A Cautionary Tale: The History of Eighteenth-Century Architecture in France.”]
• Jeremy Warren, Review of Giovanna Baldissin Molli and Elda Martellozzo Forin, eds., Gli inventari della Sacrestia della Cattedrale di Padova, secoli XIV–XVIII (Il Prato Publishing House, 2016), p. 75.

◊  ◊  ◊  ◊  ◊

The Burlington Magazine Scholarship for the Study of French Eighteenth-Century Fine and Decorative Art
Applications due by 1 March 2018

The Burlington Magazine is pleased to announce the launch of The Burlington Magazine scholarship for the study of French 18th-century fine and decorative art. The scholarship has been created to provide funding over a 12-month period to those engaged in the study of French 18th-century fine and decorative art to enable them to develop new ideas and research that will contribute to this field of art historical study.

Applicants must be studying, or intending to study, for an MA, PhD, post-doctoral or independent research in the field of French 18th-century fine and decorative arts within the 12-month period the funding is given. Applications are open to scholars from any country. A grant of £10,000 will be awarded to the successful applicant.

More information is available here»

Lecture | Marie-Antoinette and Josephine as Garden Patrons

Posted in lectures (to attend) by Editor on January 20, 2018

From the BGC:

Susan Taylor-Leduc | Designing Legacy: Marie-Antoinette and Josephine as Garden Patrons
Bard Graduate Center, New York, 7 February 2018

During the tumultuous forty years from 1774 until 1814, when the French government was transformed from monarchy to empire, Queen Marie-Antoinette and Empress Josephine Bonaparte created picturesque gardens at the Petit Trianon, Versailles, and Malmaison respectively. The captivating life stories of both women have elicited critiques of their garden patronage, suggesting that they pursued insatiable desires unfettered by financial constraints, detached from political and social realities. This talk suggests an alternative reading: Taylor-Leduc contends that both women constituted living legacies of female empowerment that were essential to the creation and dissemination of the picturesque garden and as such contributed to the evolution of modern landscape architecture in France. This Brown Bag Lunch presentation is scheduled for Wednesday, February 7, at 12:15pm.

Susan Taylor-Leduc earned both her masters and doctoral degrees from the University of Pennsylvania. Since 1992, she has worked as a teacher, curator, university administrator, and tour guide in Paris. A specialist in eighteenth-century French gardens, she is currently working on a book tentatively entitled Designing Legacy: Marie-Antoinette, Josephine and the French Picturesque Garden 1774–1814.

This event will be livestreamed. Please check back the day of the event for a link to the video. To watch videos of past events please visit the BGC YouTube page.

Display | New Discoveries in Philadelphia Slipware

Posted in exhibitions by Editor on January 20, 2018

18th-century Slipware Ceramics, excavated from the site of the new Museum of the American Revolution in Philadelphia.

◊  ◊  ◊  ◊  ◊

Press release, via Art Daily:

Buried Treasure: New Discoveries in Philadelphia Slipware from the Collection of the Museum of the American Revolution
New York Ceramics and Glass Fair, 18–21 January 2018

A remarkable assemblage of 18th-century slipware ceramics uncovered during an archaeological excavation in Philadelphia has been revealed to the public for the first time. Nearly a dozen pieces of slipware, a form of decorative lead-glazed pottery, are on view at the 2018 New York Ceramics and Glass Fair from Thursday, January 18 until Sunday, January 21, at Bohemian National Hall in Manhattan. Buried Treasure: New Discoveries in Philadelphia Slipware from the Collection of the Museum of the American Revolution is sponsored by Ceramics in America, which is published by the Chipstone Foundation of Milwaukee, Wisconsin, and the Museum of the American Revolution. After the exhibit, the items will be returned to the Museum for future display.

The slipware was uncovered during excavations on the site of the new Museum of the American Revolution in Philadelphia, during which archaeologists from Commonwealth Heritage Group recovered nearly 85,000 artifacts. Among these was a group of slipware ceramics, including large dishes and other items, distinguished by vivid abstract patterns created using a specialized skill known as ‘slip trailing’, which involves pouring liquid clay onto an object.

The pieces were discovered in a brick-lined privy shaft associated with one or more taverns. Current research suggests that these previously undocumented slipwares were made in Philadelphia by one or more French or German potters operating within the confines of the historic Old City district. Researchers believe that, although the pieces primarily had display value, they may have been used for serving as well.

“We’ve seen hints of this type of slipware before but nothing that has this degree of intactness and comprehensiveness as far as the patterns exhibited here,” said Robert Hunter, editor of the annual journal Ceramics in America, an author, and archaeologist. “Nothing else has been this complete. By virtue of that intactness, we have been able to make great bounds in what we can learn from them about who made them and how they were used.”

“The site of the Museum of the American Revolution is the gift that keeps on giving,” said Hunter. “There is no question that it has been an extremely rich deposit of 18th-century material culture. And we’ve only scratched the surface—I believe it will be many years before we fully realize the research potential from the materials from the site.”

In addition to the slipware, a newly analyzed decorated porcelain teapot is on display. The teapot was discovered to be only the second-known example of American-made hard-paste porcelain. The first example was the ‘Holy Grail’ bowl exhibited last year. Historical research by Hunter and Miller has now suggested that this porcelain was being made in the period around 1765–68, earlier than the previously known Bonnin and Morris porcelain Factory which opened in 1770. This new discovery changes the complexion of the history of porcelain making both in Philadelphia and the larger American context. The findings will be discussed in depth in an upcoming article in Ceramics in America.

“What is so exciting about this discovery is that it is a reminder of the importance of archaeology in colonial urban sites like Philadelphia,” said Dr. R. Scott Stephenson, Vice President of Collections, Exhibitions, and Programming at the Museum of the American Revolution. “The materials recovered on these sites require years of research to fully appreciate, and so these treasures from the Museum site will continue to provide new insight into Revolutionary America.”

Archaeologists from Commonwealth Heritage Group, Inc. conducted fieldwork at the site of the new Museum of the American Revolution from July through October 2014 and briefly in April 2015 and May 2016, uncovering a record of occupation from the earliest settlement of Philadelphia through the mid-20th century. Most of the artifacts were found in brick-lined privy and well shafts. The features contained an enormous quantity of of ceramics, including locally made Philadelphia objects and imported English, German, and Chinese wares, among other artifacts.

New Acquisitions at the DIA

Posted in museums by Editor on January 19, 2018

Press release (18 December 2017) from the DIA:

Out of the Crate: New Gifts and Purchases
Detroit Institute of Arts, opened January 12

Attributed to Juan Pascual de Mena, Saint Benedict of Palermo, 1770–80, coniferous wood, pigment, gold (Detroit Institute of Art).

The Detroit Institute of Arts opened a gallery dedicated to some of the museum’s newest acquisitions while also providing the public with a look at the art acquisition process. The gallery, called Out of the Crate: New Gifts & Purchases, opened January 12.

A selection of recent purchases and gifts chosen by DIA Director Salvador Salort-Pons are on view for approximately six months, after which they will be replaced with newer acquisitions. “The DIA has one of the most significant art collections in the United States, and one way we maintain this quality is by acquiring new artworks every year,” said Salort-Pons. “Thanks to generous donors, the DIA has been able to establish funds designated for art acquisitions only, with which we are able to strengthen our collection. This gallery offers a transparent look at the DIA’s collecting process and policies while giving visitors a first look at both recent purchases and gifts.”

Before the DIA acquires a work of art, it goes through a rigorous assessment to ensure its quality and authenticity. Informational materials will provide an overview of the entire process, from initial research to approval by the board of directors, and the roles various experts play along the way.

Seven artworks are featured in the first installation:
• Attributed to Juan Pascual de Mena, Saint Benedict of Palermo, 1770–80, coniferous wood, pigment, gold. Museum purchase.
• Unknown artist, Maternity Figure (Obaahemaa), 19th century, Akan (Asante), African, wood with pigment. Museum purchase.
• James Abbott McNeill Whistler, Salute Dawn, 1879, etching with drypoint. Museum purchase.
• Lajos Mack, Vase, ca. 1900, slip-cast ceramic with eosin glazes. Gift of Dr. Theodore and Diana Golden.
• Hiroshi Sugimoto, Fox, Michigan, 1980, gelatin silver print. Museum purchase.
• Cristina Iglesias, Untitled (Room 11 [-1999], edition 1/15, 1999, ink on copper plate. Gift of Janis and William M. Wetsman.
• Cornelia Parker, There must be some kind of way outta here, 2016, mixed media. Museum purchase.

Lecture | Anne Lafont on Portraits of African Women

Posted in lectures (to attend) by Editor on January 19, 2018

Next week at the Warburg Institute:

Anne Lafont | Portrait of the African Woman from Atlantic to Mississippi:
A New Topography of the Art of Enlightenment
The Warburg Institute, London, 24 January 2018

Marie-Guillemine Benoist, Portrait d’une femme noire, shown at the Salon of 1800 under the title Portrait d’une négresse (Paris: Musée du Louvre, 2508, acquired in 1818).

The figures of Africans in the early modern arts trouble the traditional chronology and geography of art history and sometimes disturb the hierarchical circulation of commodities between European metropolises and colonial territories. One cannot study art of colonial times and places with the exact same categories used to define the Italian Renaissance, the British Landscape and even the mobile case of El Greco. Authorship, centre versus periphery, the picture, the unicum… all these units need to be renegotiated in the imperial context. This lecture will focus on these issues through case studies based on the painting of female black figures in France and the French Americas at the end of the eighteenth century and in the first decades of the nineteenth century. Wednesday, 24 January 2018, 17:30.

Anne Lafont, Directrice d’études, EHESS, l’Ecole des hautes études en sciences sociales, Paris.

Book here»

New Book | Schenau (1737–1806)

Posted in books by Editor on January 18, 2018

From Imhof:

Anke Fröhlich-Schauseil, Schenau (1737–1806): Monografie und Werkverzeichnis der Gemälde, Handzeichnungen und Druckgrafik von Johann Eleazar Zeissig, gen. Schenau (Petersberg: Imhof, 2018), 640 pages, ISBN: 978  373190  5684, 78€ / $135.

Das Werk des Malers Johann Eleazar Zeißig, gen. Schenau (1737–1806), erhielt lange Zeit auch von der Kunstgeschichte nur wenig Aufmerksamkeit; dabei war er mit seinem in Frankreich entwickelten, empfindsamen Rokokostil zu Lebzeiten in Deutschland und darüber hinaus bekannt und berühmt. In Sachsen hatte er als Direktor der Dresdner Kunstakademie sowie als Leiter der Zeichenschule der Porzellanmanufaktur in Meißen eine einflussreiche Stellung inne. Sein OEuvre umfasst Gemälde, Radierungen sowie zahlreiche Zeichnungen und Aquarelle. Hinzu kommt eine große Zahl von französischen und deutschen Kupferstichen nach Werken von seiner Hand, die im vorliegenden Band in Wort und Bild vorgestellt werden.

Exhibition | Winckelmann and the Capitoline Museum

Posted in books, catalogues, exhibitions by Editor on January 18, 2018

From the Capitoline Museum:

The Treasure of Antiquity: Winckelmann and the Capitoline Museum in Eighteenth-Century Rome
Musei Capitolini, Rome, 7 December 2017 — 22 April 2018

Curated by Eloisa Dodero and Claudio Parisi Presicce

Una mostra per celebrare gli anniversari della nascita e della morte del fondatore dell’archeologia moderna, Johann Joachim Winckelmann (1717–1768)

La mostra Il Tesoro di Antichità. Winckelmann e il Museo Capitolino nella Roma del Settecento intende celebrare gli importanti anniversari winckelmanniani del 2017 (300 anni dalla nascita) e del 2018 (250 anni dalla morte) e si inserisce nel contesto delle manifestazioni europee coordinate dalla Winckelmann Gesellschaft di Stendal, dall’Istituto Archeologico Germanico di Roma e dai Musei Vaticani. L’esposizione ha una duplice finalità: la prima, offrire ai visitatori il racconto degli anni cruciali che hanno portato, nel dicembre del 1733, all’istituzione del Museo Capitolino, il primo museo pubblico d’Europa, destinato non solo alla conservazione ma anche alla promozione della “magnificenza e splendor di Roma”; la seconda, presentare le sculture capitoline sotto una luce diversa, ovvero attraverso le intuizioni, spesso geniali, del grande Winckelmann.

Arricchita da una selezione di 124 opere e da apparati multimediali realizzati appositamente, il Tesoro di Antichità si sviluppa in tre sedi diverse nell’ottica di una “mostra diffusa”: le Sale Espositive di Palazzo Caffarelli, le Stanze Terrene di Sinistra del Palazzo Nuovo e le Sale museali del Palazzo Nuovo.

Negli anni in cui Winckelmann rivoluziona il modo di studiare le testimonianze del mondo antico dando inizio alla moderna archeologia, il modello di museo pubblico rappresentato dal Museo Capitolino si diffonde rapidamente in tutta Europa, segnando la nascita di modalità del tutto nuove di fruizione dei beni artistici: un Tesoro di Antichità non più concepito come proprietà esclusiva di pochi, ma come luogo destinato all’avanzamento culturale della società.

Eloisa Dodero and Claudio Parisi Presicce, Il Tesoro di Antichità: Winckelmann e il Museo Capitolino nella Roma del Settecento (Rome: Gangemi Editore, 2017), 384 pages, ISBN: 978 884923 5371, 35€.

«Vivo come un artista e come tale sono accolto nei luoghi dove ai nella Roma del Settecento giovani è permesso di studiare, come nel Campidoglio. Qui è il Tesoro delle Antichità di Roma e qui ci si può trattenere in tutta libertà dalla mattina alla sera». È il 7 dicembre del 1755 ed è con queste parole che Johann Joachim Winckelmann (1717–1768) descrive a un amico la sua prima visita al Museo Capitolino. Negli anni in cui Winckelmann rivoluziona il modo di studiare le testimonianze del mondo antico, il modello di museo pubblico rappresentato dal Museo Capitolino si diffonde in tutta Europa, segnando la nascita di nuove modalità di fruizione dei beni culturali: un «Tesoro di Antichità» non più concepito come proprietà esclusiva di pochi, ma come luogo destinato all’avanzamento culturale della società.