Enfilade

The Burlington Magazine, July 2017

Posted in exhibitions, books, reviews, catalogues, journal articles by Editor on July 27, 2017

The eighteenth century in The Burlington:

The Burlington Magazine 159 (July 2017), Decorative Arts

E D I T O R I A L

• “Furniture History: The Digital Future,” p. 519.
On the eve of the 300th anniversary of the birth of Thomas Chippendale in 2018, the editorial addresses the British and Irish Furniture Makers Online Project (BIFMO), which updates the The Dictionary of English Furniture Makers 1660–1840, edited by Geoffrey Beard and Christopher Gilbert and published by the Furniture History Society in 1986. The BIFMO—a collaboration between the FHS and the Centre for Metropolitan History (CMH) at the Institute of Historical Research, University of London—is an open-access searchable database of all the entries from The Dictionary, together with the names of furniture makers from Laurie Lindey’s recent PhD thesis (Lindey, as a post-doctoral research fellow is overseeing the project at the IHR with Mark Merry of the CMH). The first phase of the BIFMO’s launch is scheduled for 30 September.

A R T I C L E S

• Koenraad Brosens and Astrid Slegten, “Creativity and Disruption in Brussels Tapestry, 1698–1706: New Data on Jan van Orley and Judocus de Vos,” pp. 528–35.
• Francesco Morena, “The Emperor of Mexico’s Screen: Maximilian I’s ‘Biombo’ in Trieste,” pp. 536–43.

R E V I E W S

• Simonetta Prosperi Valenti Rodinò, Review of Sabina de Cavi, ed., Dibujos y ornamento: Trazas y Dibujos de Artes decorativas entre Portugal, España, Italia, Malta y Grecia: Estudio en honor de Fuensanta García de la Torre (De Luca Editori d’Arte, 2015), pp. 559–60.
• Pierre Terjanian, Review of A. V. B. Norman and Ian Eaves, Arms & Armour in the Collection of Her Majesty The Queen, European Armour (Royal Collection Trust, 2016),” pp. 560–61.
• Robin Hildyard, Review of Brian Gallagher, Barbara Stone Perry, Letitia Roberts, Diana Edwards, Pat Halfpenny, Maurice Hillis and Margaret Ferris Zimmerman, British Ceramics, 1675–1825: The Mint Museum (D. Giles, 2015), pp. 561–62.
• Gauvin Alexander Bailey, Review of Christopher M.S. Johns, China and the Church: Chinoiserie in Global Context (University of California Press, 2016) and Marco Musillo, The Shining Inheritance: Italian Painters at the Qing Court, 1699–1812 (Getty Publications, 2016),” pp. 562–63.
• Philippa Glanville, Review of James Rothwell, Silver for Entertaining: The Ickworth Collection (Philip Wilson, 2017), pp. 563–64.
• Humphrey Wine, Review of the exhibition Le Baroque des Lumières: Chefs-d’œuvre des églises parisiennes au XVIIIe siècle (Paris: Petit Palais, 2017), pp. 572–73.
• Patrick Bade, Review of the exhibition La Quête de la ligne: Trois siècles de dessin en Allemagne (Hamburg: Kunsthalle, 2016 and Paris: Fondation Custodia, 2017), pp. 574–75.
• Jamie Mulherron, Review of the exhibition Marie Madeleine: La Passion révélée (Bourg-en-Bresse: Monastère Royal de Brou; Carcassonne: Musée des Beaux Arts; and Douai: Musée de la Chartreuse, 2017), pp. 577–79.
• Elsje van Kessel, Review of the newly refurbished gallery of Portuguese painting and sculpture at the Museu Nacional de Arte Antiga (MNAA), pp. 579–80.
• Philippe Bordes, Review of the exhibition Charles Percier: Architecture and Design in an Age of Revolutions (New York, Bard Graduate Center Gallery; and Château de Fontainebleau, 2016–17), pp. 583–84.

Judocus de Vos, after Lambert de Hondt, Lucas Achtschellinck, and Jan van Orley, Naval Battle from the Art of War series, ca. 1715–20; wool and silk, 344 × 400 cm (Amsterdam: Rijksmuseum).

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New Book | Pour la plus grande gloire du roi: Louis XIV en thèses

Posted in books by Editor on July 26, 2017

As Pierre-Henri Biger notes on his Facebook page (with thanks to him for forwarding the notice for publication here at Enfilade) . . .

Comment réaliser des ouvrages traitant de l’Art abondamment illustrés et savants sans qu’ils coûtent une fortune ? Cela les écarte de leur public, car les savants sont rarement riches, et les riches rarement savants dans ce domaine. Mme Véronique Meyer, qui me fit l’honneur d’être membre de mon jury de thèse (et donné le plaisir de lire son élogieux pré-rapport) a élégamment, intelligemment et généreusement résolu le problème. Pour accompagner l’ouvrage Pour la plus grande gloire du Roi qu’elle publie aux Presses Universitaires de Rennes, elle met en ligne un impressionnant catalogue, plein d’images de thèses à la gloire de Louis XIV et de commentaires détaillés. Et ce document a vocation à s’enrichir. Bravo, Madame (et bravo aux PUR et au Centre de Recherches du Château de Versailles) !

From PUR:

Véronique Meyer, Pour la plus grande gloire du roi: Louis XIV en thèses (Rennes: Presses Universitaires de Rennes, 2017), 372 pages, ISBN: 978 27535 54641, 23€.

C’est au xviie siècle en France que la thèse illustrée connaît son apogée. À l’exemple de Richelieu et de Mazarin, Louis XIV accorda aux thèses une place de choix dans la di usion de son image. De 1638 à 1704, plus de 130 thèses de philosophie, théologie, droit et médecine lui furent dédiées. Même si certaines sont destinées à son père, à sa mère ou aux parlements de province, il apparaît en haut de l’a che en personne ou par ses armoiries. Les étudiants étaient issus de l’entourage royal, ls de ministres ou de parlementaires, membres de congrégations religieuses, et quelquefois même étrangers. Courtisans, parlementaires et ecclésiastiques de haut rang participaient à la soutenance publique où le candidat et sa famille adressaient des éloges au roi. On y distribuait des a ches ornées de son portrait ou d’une allégorie à sa gloire exécutées par les meilleurs artistes du temps, aussi les dépenses engagées étaient-elles considérables. Soutenues à Paris, mais également en province et à l’étranger, les thèses, et avec elles l’image du roi, pénétraient les demeures des Français et se di usaient à l’extérieur du royaume. Cet ouvrage décrit successivement la place des thèses dans le cursus universitaire, leur soutenance, leur dédicace et leur di usion ainsi que l’élaboration de leurs illustrations, en insistant sur le rôle des peintres, graveurs et éditeurs. Il montre comment elles rendent compte de l’histoire du roi et de l’évolution de son portrait physique et moral. Ce volume est accompagné d’un catalogue raisonné, abondamment illustré, des thèses dédiées au roi, consultable sur les sites du Centre de recherche du château de Versailles et des Presses universitaires de Rennes.

Veronique Meyer, professeur d’histoire de l’art à l’université de Poitiers, est spécialiste de l’estampe à l’époque moderne. Elle a publié notamment avec la Commission des travaux historiques de la Ville de Paris L’illustration des thèses à Paris dans la seconde moitié du xviie siècle. Peintres, graveurs, éditeurs (2002) et L’œuvre gravé de Gilles Rousselet (2004), et participé à l’exposition Images du Grand Siècle. L’estampe française au temps de Louis XIV (1660–1715), (Bnf-Getty Research Institute, 2015–16).

T A B L E  D E S  M A T I È R E S

Remerciements
Avertissement
Introduction

Première partie: LA THÈSE : L’UNIVERSITÉ, LE CANDIDAT ET LE DÉDICATAIRE

1  Les thèses dans le cursus universitaire
La faculté des arts
La faculté de théologie
La faculté de médecine et de pharmacie
La faculté de droit

2  La soutenance
Les candidats
L’invitation à la soutenance
Le décor de la salle: tapisseries et tentures
Le dais et le portrait du roi
Le public
Protocole et préséance
Panégyriques, harangues et odes

3  L’illustration des thèses
Le placard et le livret
La dédicace et ses raisons d’être
Les cadres
La réception

Deuxième partie: ÉLABORATION, DIFFUSION, RÉCEPTION

4  Les peintres
Charles Le Brun
Pierre Mignard
Nicolas Mignard
Pierre-Paul Sevin
Antoine Paillet

5  Les graveurs
Les portraitistes
Les graveurs d’histoire
Les graveurs en lettres

6  Contrats et dépenses
Le prix des gravures
Diffusion et réutilisation

Troisième partie: LE ROI, SON HISTOIRE ET SON PORTRAIT

7  L’histoire du roi
De la naissance au règne personnel, 1638–1660
Célébration du roi en province et à l’étranger, 1649–1653
Vers l’affirmation du pouvoir royal, 1653–1660
Le pouvoir personnel : le roi triomphant, 1661–1715

8  Le portrait du roi
Le portrait physique : du visage au costume
Le portrait moral dans les sujets d’histoire : l’allégorie et l’emblème
Les vertus
Le portrait en buste : attributs et symboles

Conclusion

Abréviations
Table des thèses dédiées au roi
Annexe : table des thèses dédiées à la famille royale, aux fils légitimés de Louis XIV et aux favorites
Sources et bibliographie
Table de concordance
Table des illustrations
Crédits photographiques
Index des noms de personnes

More information about the online Catalogue des theses dediees à Louis XIV is available here»

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Exhibition | Mary Magdalen: Passion Revealed

Posted in exhibitions by Editor on July 26, 2017

Laurent Pécheux, Penitent St Mary Magdalene, 1768, oil on canvas
(Lyon: Galerie Michel Descours)

◊  ◊  ◊  ◊  ◊

Now on view at the Musée de la Chartreuse:

Marie Madeleine: La Passion Révélée
Monastère Royal de Brou, Bourg-en-Bresse, 29 October 2016 — 5 February 2017
Musée des Beaux Arts, Carcassonne, 24 February — 24 May 2017
Musée de la Chartreuse, Douai, 17 June — 24 September 2017

Intercesseur majeur entre le terrestre et le céleste, pécheresse et repentante, voluptueuse et ascète, mondaine et ermite, Marie Madeleine est à la fois inclassable et mystique. Synthèse de trois figures féminines qui apparaissent dans les Évangiles, elle a inspiré de très nombreux artistes depuis l’époque médiévale jusqu’à nos jours. Ces derniers ont été sensibles aux mystères de cette femme et aux thèmes qui l’entourent : l’amour du péché, la féminité et le sacré. Tous ont été marqués par sa beauté, par l’évocation de sa solitude dans le désert ou encore par sa représentation en méditation ou en extase. Ce personnage biblique présente ainsi plusieurs facettes et chaque époque a inventé « sa » Madeleine : du XIIe siècle—quand le culte lié à ses reliques se développe et sa légende s’étoffe—jusqu’à notre époque contemporaine, où les amateurs de secrets et de mystères s’emparent du personnage et lui font porter leurs goûts pour l’ésotérisme, dont le Da Vinci Code de Dan Brown est un exemple retentissant. Dans cette exposition, peintures, sculptures et objets d’art retracent l’évolution de cette figure du Moyen Âge à nos jours, en mettant en lumière les différentes utilisations du personnage par les courants artistiques, spirituels et théologiques, tout en montrant comment chacun l’a adapté à ses aspirations.

Commissariat de l’exposition
Marie-Paule Botte, historienne de l’art ; Magali Briat-Philippe, conservatrice du patrimoine, responsable du service des patrimoines au Monastère Royal de Brou ; Pierre-Gilles Girault, administrateur du Monastère Royal de Brou ; Anne Labourdette, directrice du musée de la Chartreuse de Douai ; Marie-Noëlle Maynard, directrice du musée des Beaux-Arts de Carcassonne.

Bernard Ceysson, François Ceysson, Loïc Bénétière, Marie-Paule Botte, Magali Briat-Philippe, and Marie-Noëlle Maynard, Marie Madeleine: La Passion Révélée (Saint-Etienne: IAC Éditions d’Art, 2016), 220 pages, ISBN: 978 291637 3935, 25€.

 

New Book | Tin-Glazed Earthenware

Posted in books by Editor on July 25, 2017

Distributed by The University of Chicago Press:

Ulla Houkjær, Tin-Glazed Earthenware from the Netherlands, France, and Germany, 1600–1800 (Copenhagen: Museum Tusculanum Press, 2017), 415 pages, ISBN: 978 8763545 655, $75.

Designmuseum Denmark is home to a large collection of ceramic works that is quite unique in terms of size and width of representation, since the collection covers all known techniques within the main groups of earthenware, stoneware, tin-glazed earthenware, and porcelain as well as new hybrid materials and techniques. This catalogue covers an extremely important period in the history of European glazed ceramic ware from c. 1600 to 1800 when the technique enjoyed the widest distribution. Ulla Houkjaer focuses on three central areas: the Netherlands, France, and Germany. This comprehensive and highly illustrated introduction to the history of tin-glazed earthenware in these three countries offers an overview of the history of important developments within the field during the period and highlights important changes in aesthetics and usage.

Ulla Houkjær is curator at Designmuseum Denmark. She is the author of Tim-Glazed Earthenware, 1300–1750: Spain, Italy, France.

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Exhibition on Screen | Canaletto & the Art of Venice

Posted in exhibitions, films by Editor on July 24, 2017

As noted at Art Daily (23 July 2017) . . .

Exhibition on Screen open its fifth season with Canaletto & the Art of Venice, an immersive journey into the life and art of Venice’s famous view-painter.

No artist better captures the essence and allure of Venice than Giovanni Antonio Canal, better known as Canaletto. Despite Canaletto’s close relationship with the city in which he lived and died, the world’s largest collection of his works resides not in Italy, but in Britain as part of the Royal Collection. In 1762, George III purchased almost the entire collection amassed by Joseph Smith, British Consul in Venice and Canaletto’s principal agent.

Exhibition on Screen’s latest release will grant unique access to the Royal Collection’s exceptional holdings of Canaletto’s work, much of which is on display as part of the exhibition Canaletto & the Art of Venice at The Queen’s Gallery in London (19 May — 12 November 2017). The remarkable group of over 200 paintings, drawings, and prints on display offer unparalleled insight into the artistry of Canaletto and his contemporaries and the city he became a master at capturing. The film also offers the chance to step inside two official royal residences—Buckingham Palace and Windsor Castle—to learn more about the artist and Joseph Smith, the man who introduced Canaletto to Britain.

From London, Canaletto & the Art of Venice travels to the great Italian city to explore the origins of Canaletto’s art. Whilst appearing to be faithful representations of the city, Canaletto’s skill came from his manipulation of reality. He moved buildings around or opened up vistas to create the perfect composition, and his paintings of Venice were highly sought after by Grand Tourists. His playful imagination extended into a new genre in which he excelled. The capriccio combined real and fantasy architecture into imagined views. In this sense, Canaletto is more than a topographical artist—he is a master storyteller.

Cinema-goers will embark on their very own 21st-century Grand Tour, visiting the sites enjoyed by their 18th-century counterparts and immortalised in Canaletto’s views—from the Rialto Bridge to the Piazza San Marco, and the Palazzo Ducale to the Church of Santi Giovanni e Paolo. Guided by Royal Collection Trust curators and the world’s leading experts in Venetian history, the film is not only a wonderful way to see the exhibition, but an opportunity to get closer to Canaletto and the city that inspired him.

Earlier films from Exhibition on Screen are now available for purchase here»

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New Book | Malleable Anatomies

Posted in books by Editor on July 24, 2017

From OUP:

Lucia Dacome, Malleable Anatomies: Models, Makers, and Material Culture in Eighteenth-Century Italy (Oxford: Oxford University Press, 2017), 320 pages, ISBN: 978 01987 36189, $99.

Malleable Anatomies offers an account of the early stages of the practice of anatomical modeling in mid-eighteenth-century Italy. It investigates the ‘mania’ for anatomical displays that swept the Italian peninsula and traces the fashioning of anatomical models as important social, cultural, and political as well as medical tools. Over the course of the eighteenth century, anatomical specimens offered particularly accurate insights into the inner body. Being colored, soft, malleable, and often life-size, they promised to foster anatomical knowledge for different audiences in a delightful way. But how did anatomical models and preparations inscribe and mediate bodily knowledge? How did they change the way in which anatomical knowledge was created and communicated? And how did they affect the lives of those involved in their production, display, viewing, and handling?

Examining the circumstances surrounding the creation and early viewing of anatomical displays in Bologna and Naples, Malleable Anatomies addresses these questions by reconstructing how anatomical modeling developed at the intersection of medical discourse, religious ritual, antiquarian and artistic cultures, and Grand Tour display. While doing so, it investigates the development of anatomical modeling in the context of the diverse worlds of visual and material practices that characterized the representation and display of the body in mid-eighteenth-century Italy. Drawing attention to the artisanal dimension of anatomical practice and to the role of women as both makers and users of anatomical models, it considers how anatomical specimens lay at the center of a composite world of social interactions, which led to the fashioning of modelers as anatomical celebrities. Moreover, it examines how anatomical displays transformed the proverbially gruesome practice of anatomy into an enthralling experience that engaged audiences’ senses.

Lucia Dacome is an associate professor and Pauline M.H. Mazumdar Chair in the History of Medicine at the IHPST, University of Toronto. She received her PhD from the University of Cambridge and held postdoctoral fellowships at the Max Planck Institute for the History of Science in Berlin, the Wellcome Trust Centre for the History of Medicine at UCL, the UCLA Centre for seventeenth- and eighteenth-century studies in Los Angeles, and a Marie Curie Intra-European Fellowship supported by the European Commission at the Centre Alexandre Koyre/CNRS in Paris. Her research focuses on themes at the intersection of the history of medicine, the history of the body, the history of visual and material cultures of medicine, gender history, the history of the self, and that of medical practices and exchanges in the Mediterranean world.

C O N T E N T S

Acknowledgments
List of Plates
List of Figures
List of Abbreviation

Introduction
1  Prospero’s Tools
2  Artificer and Connoisseur
3  Anatomy, Embroidery, and the Fabric of Celebrity
4  Women, Wax, and Anatomy
5  Blindfolding the Midwives
6  Transferring Values
7  Injecting Knowledge
Epilogue: Becoming Obsolete

Selected Bibliography
Index

Conference | Beyond Reproductive Printmaking

Posted in conferences (to attend) by Editor on July 24, 2017

From H-ArtHist:

Beyond Reproductive Printmaking: Prints and the Canon of European Painting, ca. 1500–1810
Diesseits und jenseits von Reproduktion: Druckgrafik und der Kanon der europäischen Malerei
Dresden, 18–19 September 2017

Registration due by 8 September 2017

Eine kooperative Veranstaltung des Kupferstich-Kabinetts der Staatlichen Kunstsammlungen Dresden und des Institutes für Kunst- und Musikwissenschaft der TU Dresden (Lehrstuhl für Mittlere und Neuere Kunstgeschichte) / joint conference of the Cabinet of Prints, Drawings and Photographs of the Dresden State Art Collections and the Institute of Art and Music of the Technical University Dresden

Venues
Studiensaal des Kupferstich-Kabinetts und Hans-Nadler-Saal im Residenzschloss, Gemäldegalerie Alte Meister im Zwinger / Print room of the Cabinet of Prints, Drawings and Photographs, Hans-Nadler-Saal and Old Masters Picture Gallery, Dresden

Organization Team
Susanne Magister, M.A.
Sabine Peinelt-Schmidt, M.A.

Contact
beyond-reproduction-2017@gmx.de

For the lectures on 19th September we kindly ask for registration via email no later than 8th September 2017. We would like to invite all interested guests to the public evening lecture of Dr. Rudolf Rieger in the print room of the Cabinet of Prints, Drawings and Photographs on 18th September 2017 at 6.30pm.

M O N D A Y ,  1 8  S E P T E M B E R  2 0 1 7

18:30 Öffentlicher Abendvortrag im Studiensaal des Kupferstich-Kabinetts
• Rudolf Rieger (Bonn), Adam von Bartsch (1757–1821) als Graphiker: Die Reproduktion von Handzeichnungen alter Meister zwischen Faksimileanspruch, normativen Rezeptionsvorgaben und künstlerischer Interpretation

T U E S D A Y ,  1 9  S E P T E M B E R  2 0 1 7

9:30  Registration

10.00  Section I | Collecting Interpretative Prints: Now and Then
Moderated by Jürgen Müller (Dresden)
• Gudula Metze (Dresden), Königliches Kunst-Kompetenzzentrum. Das Dresdener Kupferstich-Kabinett als Kunstsammlung, Wissensspeicher und Forschungsstelle im 18. Jahrhundert
• Rieke van Leeuwen (Den Haag), Reproductive Prints in the Collection of the Rijksbureau voor Kunsthistorische Documentatie (RKD)

11.25  Section II | Translation and Technique
Moderated by Stephanie Buck
• Rena M. Hoisington (Baltimore), Étienne Fessard’s Prints of the Chapel of the Hôpital des Enfants Trouvés in Paris, 1751–59
• Caroline O. Fowler (New Haven), Defacing Raphael in the Eighteenth Century

12:30  Lunch

14.00  Section III | Mobile Motifs and Changes of Meaning
Moderated by Susanne Magister (Dresden)
• Ralf Bormann (Frankfurt a.M.), Das Nachleben reproduzierter dionysischer Sarkophagmotive im Kunstbetrieb der Académie Royale
• Christine Moisan-Jablonski (Warsaw), Geographical Metamorphoses: The influence of a composition attributed to Justus van Egmont and that of the “Elements” cycle, engraved by Jeremias Falck, on print series produced by German publishing houses
• Aude-Line Schamschula (Heidelberg), Der Herkules-Zyklus von Frans Floris. Druckgrafik als Medium der Rezeption

15.50  Section IV | Interpretative Prints as Sources for the History of Reception
Moderated by Sabine Peinelt-Schmidt (Dresden)
• Uta Neidhardt (Dresden), Gillis van Coninxloo – ein Meister des Spätwerks? Die Bedeutung grafischer Reproduktionen für die Rekonstruktion und Rezeption des Schaffens eines Hauptmeisters der flämischen Landschaftskunst
• Marina Daiman (New York), ‘Diverse opere grandi le quale vanno in stampa’: Rubens’s Fame, Theft, and the Business of Prints
• Alice Ottazzi (Torino / Paris), The Role of Mezzotint in Shaping International Reputations: An Aspect of the Reception of the English School in France

M O N D A Y ,  1 8  S E P T E M B E R  2 0 1 7

The following lectures of the first day of the conference are reserved for the speakers due to space limitations of the print room.

11:00  Registration

11:45  Welcome by Stephanie Buck, Jürgen Müller, Susanne Magister, and Sabine Peinelt-Schmidt

12:30  Jaqueline Klusik-Eckert (Erlangen), Stichkopien: Phänomen der Rezeption oder Hinweis auf einen Paragone?

12:50  Christien Melzer (Bremen), Im Zeichen der Lilie. Französische Druckgraphik zur Zeit Ludwigs XIV.

13:10  Evelyn Wöldicke (Berlin), Gemäldereproduktionen im Clairobscur-Holzschnitt? John Baptist Jackson und die Geschichte eines gescheiterten Versuchs

13:30  Zalina V. Tetermazova (Moskow), Colour Prints by Gabriel Scorodoomoff (1754–1792): Between Painting and Graphic Arts

13:50  Giorgio Marini (Firenze), Giuseppe Longhi’s La Calcografia: Theory and Techniques of Neoclassical Reproductive Printmaking

14:45  Pause and Change of Location
Gemäldegalerie Alte Meister der Staatlichen Kunstsammlungen Dresden, im Zwinger, Dresden

15:45  Martin Schuster (Dresden), Moderation and Introduction
Visit to the Old Masters Picture Gallery with presentation of preparatory drawings and prints from the Recueil d’Estampes d’après les plus célèbres Tableaux de la Galerie Royale de Dresde

New Book | Cottages Ornés

Posted in books by Editor on July 20, 2017

From Yale UP:

Roger White, Cottages Ornés: The Charms of the Simple Life (New Haven: Yale University Press, 2017), 272 pages, ISBN: 978 03002 26775, $50.

Tracing the history of cottages ornés (ornamental cottages), this copiously illustrated volume offers an engaging survey of an often-overlooked architectural genre. An invention of mid-18th-century England, these cottages were designed to facilitate a more informal way of living and were built in different guises that range from royal and imperial cottages to the working-class lodges that still dot the English countryside. Analyzing cottage designs by some of the leading architects of late-Georgian England—including Robert Adam, John Soane, and John Nash—Roger White explores the aesthetic values that made the form so appealing. As he follows the development of cottages ornés from the Celtic fringes to the Continent and the British colonies, White reveals the significant impact of the genre on social, cultural, and political history and examines the influence of cottage design on the architectural developments of the Victorian period and even the 20th century.

Roger White is an architectural historian specializing in the Georgian period.

Call for Papers | Seminars on Collecting and Display

Posted in Calls for Papers by Editor on July 19, 2017

From H-ArtHist:

Collecting and Display Seminar Group
Institute of Historical Research, London, 15 October 2017 — 17 June 2018

Proposals due by 8 September 2016

The conveners of the Seminar for Collecting and Display, London, invite applications for papers for their monthly seminars at the Institute of Historical Research between October 2017 and June 2018. The Seminar provides a forum for academics to present new research on any topic related to collecting in its widest understanding, both chronologically and in terms of subject matter. We also welcome papers that look at collecting from different perspectives, given by sociologists, cultural historians, or art historians. Seminar papers are normally 45 minutes in length followed by an extended discussion. We are unable to cover travel costs but may be able to help with accommodation and expenses. Applicants should send an abstract of approximately 300 words together with a short CV to schbracken@btopenworld.com by 8 September 2017. We will then reply to organise the date with the successful candidates.

The Bilbao Fine Arts Museum Acquires Paret’s ‘View of Bermeo’

Posted in museums by Editor on July 18, 2017

Luis Paret y Alcázar, View of Bermeo, 1783
(Bilbao: El Museo de Bellas Artes)

◊  ◊  ◊  ◊  ◊

The Bilbao Fine Arts Museum presents View of Bermeo of 1783 by Luis Paret y Alcázar (1746–1799), acquired from the heirs of José Luis Várez Fisa. The painting has been obtained with an interest-free loan thanks to the sponsorship of BBK, to be repaid over the following years with the contribution from the Friends of the Museum.

In addition to its undoubted artistic value, View of Bermeo of 1783 is of enormous historical interest given that it is considered the first work in a series of paintings depicting the ports of Cantabria and is the first view of the Basque Country painted by this artist from Madrid. Born in the same year as Goya, Paret led a storied life, resulting in his banishment, first to Puerto Rico and then to Bilbao, which prevented him from maintaining his prominent position at Court, a fact that to some extent favoured Goya’s professional success. At that point the Basque Country had almost no artistic tradition, for which reason the presence of a painter of Paret’s importance can be considered a remarkable artistic event and one that was decisive for its artistic and cultural evolution.

View of Bermeo is one of the most outstanding works of 18th-century Spanish painting and can be considered the first surviving modern and purely artistic image of a location in the Basque Country. This oil, which is in excellent condition despite its delicate copper support, perfectly combines a carefully devised composition and setting with an exquisite, detailed finish. Paret presented the scene as a social encounter in which he dignified local people and customs, offering an unprecedented visual record in the context of the Basque Country. The panel was painted in 1783 for the future Charles IV, son of Charles III and at that date Prince of Asturias, possibly with the aim of facilitating the end of Paret’s banishment which was imposed on him in 1775 due to his involvement in the dissolute life of the Infante don Luis, younger brother of Charles III. Paret’s imposed exile was finally repealed in 1785. The artist conceived the work as a pair to another view of Bermeo (present whereabouts unknown) in which he depicted the port during a squall.

The Bilbao Fine Arts Museum has thus increased its holdings of the work of Luis Paret y Alcázar, and its collection now includes View of El Arenal in Bilbao, 1783–84; Scene of Villagers (fragment), 1786; View of Fuenterrabía (fragment), 1786; The Triumph of Love over War, 1784; The Virgin with the Christ Child and Saint James the Greater, 1786; The Holy Shepherd, 1782; and the recently acquired View of Bermeo, 1783.

More information about the painting and the artist are available here»