New Book | The Architecture of Art History

Posted in books by Editor on December 18, 2018

From Bloomsbury:

Mark Crinson and Richard Williams, The Architecture of Art History: A Historiography (London: Bloomsbury, 2018), 168 pages, ISBN: 9781350020917, $82.

What is the place of architecture in the history of art? Why has it been at times central to the discipline, and at other times seemingly so marginal? What is its place now?

Many disciplines have a stake in the history of architecture—sociology, anthropology, human geography, to name a few. This book deals with perhaps the most influential tradition of all—art history—examining how the relation between the disciplines of art history and architectural history has waxed and waned over the last one hundred and fifty years.

In this highly original study, Mark Crinson and Richard J. Williams point to a decline in the importance attributed to the role of architecture in art history over the last century—which has happened without crisis or self-reflection. The book explores the problem in relation to key art historical approaches, from formalism, to feminism, to the social history of art, and in key institutions from the Museum of Modern Art, to the journal October. Among the key thinkers explored are Banham, Baxandall, Giedion, Panofsky, Pevsner, Pollock, Riegl, Rowe, Steinberg, Wittkower and Wölfflin. The book will provoke debate on the historiography and present state of the discipline of art history, and it makes a powerful case for the reconsideration of architecture.

Mark Crinson is Professor of Art History at the University of Manchester, where he teaches on the history of modern architecture and photography. He won the 2004 Spiro Kostof Prize for his work Modern Architecture and the End of Empire, and the 2012 Historians of British Art Prize for Stirling and Gowan: Architecture from Austerity to Affluence.

Richard Williams is Professor of Contemporary Visual Cultures at the University of Edinburgh. He has written and edited several books, including Regenerating Culture and Society (2011) and After Modern Sculpture (2000), and is a frequent contributor to The Times Higher on architecture and urbanism related topics.


1  The German Tradition
2  The Architectural Unconscious — Steinberg and Baxandall
3  Modernism- Institutional and Phenomenal
4  From Image to Environment — Reyner Banham’s Architecture
5  The New Art History
October’s Architecture

Exhibition | Ruben and Isabel Toledo: Labor of Love

Posted in exhibitions by Editor on December 17, 2018


Press release (6 December 2018) from the DIA:

Ruben and Isabel Toledo: Labor of Love
Detroit Institute of Arts, 16 December 2018 — 7 July 2019

Organized by Laurie Ann Farrell

The Detroit Institute of Arts (DIA) presents Ruben and Isabel Toledo: Labor of Love, a major exhibition of new works created by the artistic couple in response to works in the DIA’s permanent collection. This three-part exhibition project includes a large-scale installation designed by the Toledos in response to iconic Diego Rivera cartoons from his Detroit Industry Murals; additional new works by the Toledos responding to works in the DIA’s collection, located throughout the museum; and a collaboration with local nonprofit Sew Great Detroit, through which the Toledos worked with seamstresses from the organization to generate a collection of handmade limited-edition tote bags to complement the exhibition.

Francisco de Goya, Dona Amalia Bonells de Costa, ca. 1805, oil on canvas (Detroit Institute of Arts).

For Labor of Love, Ruben and Isabel Toledo produced an innovative range of new works that highlight their creative synergy, connect the past with the present, and will inspire the DIA’s visitors to understand connections between fashion and art with the works in the DIA’s collection—in new and unexpected ways.

Ruben and Isabel Toledo: Labor of Love will open at the DIA on December 16, 2018, and run through July 7, 2019. The exhibition is organized by Laurie Ann Farrell, the DIA’s Curator and Department Head for The James Pearson Duffy Department of Modern & Contemporary Art. The exhibition is free with museum admission, which is free for residents of Wayne, Oakland and Macomb counties.

Isabel Toledo (Cuban-American, b. 1961) is a renowned fashion designer and artist whose oeuvre includes the dress that Michelle Obama wore to President Barack Obama’s 2009 Inauguration. Ruben Toledo (Cuban-America, b. 1961) is an artist whose paintings and illustrations also have strong connections to fashion and style.

This exhibition marks the first time the artists have made works inspired by a major museum’s collection. Working within the framework of the DIA’s world-class, encyclopedic collection, the Toledos engaged with works by Francisco Goya, Alison Saar, Eva Hesse, Donald Judd, Robert Motherwell, and others from Central Africa and ancient Egypt. By mining the DIA’s collection as inspiration for new sculptures, paintings, drawings, and installations, the Toledos, together with the DIA, present the Museum’s collection in a new light.

Explains Farrell, “The cumulative experience of a large exhibition and the discovery of works across a variety of galleries will introduce visitors to the power and poetry of the Toledos’ collaborative process while simultaneously offering new insights into works that span cultures and time.”

Adds Salvador Salort-Pons, the DIA’s Director, President, and CEO, “Isabel and Ruben’s inspiring work in dialogue with our world class collection will infuse our building with ‘a Cuban accent.’ I am excited to see the energy of this dialogue, which together with our impactful interpretive models will help the museum fulfill its mission to ‘help visitors find personal meaning in art, individually and with each other.’ This exhibition is a good example of the ways that the DIA can resonate with a broad and diverse audience, and find new opportunities to engage people with art and fashion.”

The museum’s expansive holdings are displayed in 130 galleries spanning three floors of the 658,000-square-foot museum. Visitors will have the opportunity to discover original Toledo creations positioned alongside the works that inspired their conception within 10 different galleries ranging from ancient Egyptian through contemporary art, throughout the entire museum. A printed gallery guide will include a map of where the Toledo works are located within the galleries along with a short introductory text in both English and Spanish.

For example, in the Egyptian Galleries, Ruben and Isabel collaborated on a linen sculpture that invites viewers to consider the way ancient Egyptians took such great care of the dead, protecting the body with bandaging to prepare it for the afterlife. The Toledos’ work, Human Remains, displays how linen records the shape of the wearer by molding to the body. The geometric patterns on their sculpture are inspired by the mummy on view in the center of the gallery.

Another example is First Lady Silhouette, created by Isabel, which holds court in an Early American period room. Viewers will delight in seeing fabric used to create Michelle Obama’s lemongrass colored coat and dress adorning this new work’s breastplate on a dress that is designed to mirror those worn in the late 18th and early 19th centuries. The skirt of the dress also features Ruben’s illustrations reimagining President Barack Obama and the Former First Lady on their historic promenade to the White House in 2009.

In addition, the Toledos have designed an immersive experience set within a 10,000-square-foot temporary exhibition space. The gallery will present five original, rarely seen cartoons from Diego Rivera’s Detroit Industry Murals in the DIA’s collection alongside new works by the Toledos that explore Detroit’s history of industry and modernization. While interpreting the epic Rivera murals, the Toledos creatively draw parallels to their worlds of fashion and art. Extrapolating on the past, present, and future in art, the artists project and distill the poetic and spiritual essence that they see as essential to all of the arts.

Ruben Toledo’s Color Code paintings line the first gallery of the Labor of Love special exhibition, with four paintings of reclining women that recall Diego Rivera’s monumental women known as the Four Races in the Detroit Industry Murals. Ruben’s larger-than-life figures are artfully camouflaged through the patterned surface of their skin. The artist notes that his women have been weaponized as a commentary on our current political climate. His contemporary adaptations of Rivera’s women offer insight into the various ways that Ruben’s work bridges gaps between art and fashion.

The DIA and the Toledos partnered with the nonprofit Sew Great Detroit (SGD), a branch of Alternatives for Girls (AFG), as another component of the exhibition. The Sew Great Detroit seamstresses’ interaction with the artists offered many insights into the realities of the fashion industry—a field in which many of the participants have strong interest. This year-long partnership has been documented and will be presented as part of the exhibition. This is an unprecedented partnership for both the Toledos and the DIA.

Isabel Toledo and Ruben Toledo, Synthetic Cloud, 2018, nylon, as installed at the DIA, 2018.

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About Ruben and Isabel Toledo

The Cuban-born Toledos met in high school in New Jersey and married in 1984. Andy Warhol was a guiding light for them; they met him as teenagers at a Fiorucci store. Traversing the fashion, illustration and the fine art world, Warhol taught them by example the value and cultural richness of a borderless artistic world. They have utilized this creative freedom and risk-taking approach in both of their individual works and their collaborative projects. This exhibition will further advance this fearless approach by allowing them to incorporate illustration, photographic research and social anthropology as well as film-making techniques to explore new ways of demonstrating the creative cross pollination they thrive on.

A muse to her husband’s sculpture, painting and illustration, Isabel Toledo’s sculptural designs are often influenced by her husband’s creative sketches for her designs. Ruben’s surreal view of life brings humor and unconventionality to his wife’s industrial world. The Toledos’ long history of collaboration includes creating original costumes and scenography for the Broadway musical After Midnight (2014) for which Isabel Toledo received a Tony nomination for costume design. Most recently, the couple reimagined George Balanchine’s The Nutcracker for the Miami City Ballet and Music Center in Los Angeles in 2017. Their combined work over the past 30 years both inside and outside the art world has resulted in a highly personal visual language with a diverse and cohesive rhythm.

In 1985 Isabel Toledo presented her first fashion collection. She went from being a designer’s designer with an underground cult-like following to being a global household name when Michelle Obama wore her lemongrass lace ensemble to President Barack Obama’s inauguration ceremony in 2009. Isabel Toledo was presented with the third annual Couture Council Award for Artistry of Fashion from the Museum at the Fashion Institute of Technology in 2008.

Ruben is a painter, sculptor and fashion chronicler who creates incisive illustrations for top international magazines, journals and fashion retailers, including the New Yorker, Vogue, Louis Vuitton, Nordstrom, Harper’s Bazaar, Visionair and The New York Times. His work has been shown at prestigious institutions including the Costume Institute of the Metropolitan Museum of Arts, New York, the Victoria and Albert Museum in London, and the Pitti Palace in Florence.

Along with her husband, Ruben Toledo, Isabel was the recipient of the Cooper-Hewitt Design Award for their work in fashion in 2005, she was also the recipient of an Otis Critics’ award by the Los Angeles-based Otis College of Art and Design. In 2010, the Toledos were awarded honorary doctoral degrees in fine arts by Otis College in Los Angeles, CA.

About Alternatives For Girls’ Sew Great Detroit Program

Alternatives For Girls (AFG) is a Detroit-based 501(c)3 nonprofit serving homeless and high-risk girls and young women through safe shelter, street outreach, educational support, crisis intervention, and counseling. AFG’s Sew Great Detroit is a social enterprise program that provides sewing and employment training. Women in the program learn valuable skills, like machine sewing and hand finishing techniques, understanding characteristics of fabric, fabric cutting methods, and beginning design concepts. The women earn an hourly wage for their work, which is supported through contracted sewing projects.

Lecture Series | Six Georgian Cities

Posted in lectures (to attend) by Editor on December 15, 2018

From The Georgian Group:

Six Georgian Cities
Art Workers’ Guild, London, February – March 2019

The Georgian Group is pleased to announce details of its Spring 2019 lecture series, Six Georgian Cities. Each of the six lectures will explore aspects of the Georgian architecture of a different English town or city in the context of its social and economic history. Lectures will be held at the Art Workers’ Guild (London WC1N 3AT) with tickets costing £15 (including wine). The dates, speakers, and locations covered are as follows:
26 February — Oxford, Geoffrey Tyack
12 March — Nottingham, Pete Smith
19 March — Bury St Edmunds, Caroline Knight
2 April — Exeter, Rosemary Yallop
9 April — Bristol, Andrew Foyle
16 April — Derby, Max Craven

Doors open at 6.00pm, lectures start at 6.30. The nearest tube stations are Russell Square and Holborn. Details, along with booking information, are available here.

Call for Papers | Women and Architecture, 1660–1830

Posted in Calls for Papers by Editor on December 15, 2018

From The Georgian Group:

Embroidered with Dust and Mortar: Women and Architecture, 1660–1830
2019 Georgian Group Symposium
Society of Antiquaries, Burlington House, London, 28 September 2019

Proposals due by 31 January 2019

Henry Robert Morland, Charlotte Sophia, Queen Consort of George III (The Queen’s College Oxford).

The Georgian Group is organising a day-long symposium on the theme of Women and Architecture, 1660–1830, which will be held at the Society of Antiquaries at Burlington House, London, on Saturday 28 September 2019. Following successful conferences run by the Group in previous years on James Gibbs and the Adam brothers, the symposium will explore how women contributed to and interacted with architecture in the period 1660–1830, including, but not limited to, the following topics:
• Building, remodelling, and the repairing of country houses, town houses, churches, almshouses, and villas
• Relationships with architects and contractors
• Architectural discourse, drawing, and design
• The creation of identity through the medium of architectural space

Proposals are invited for 15- to 30-minute papers based on original research. Please send abstracts of no more than 200 words and a copy of your CV to Dr Amy Boyington (education@georgiangroup.org.uk) by the end of January 2019. Any questions regarding the symposium should be sent to the same address. Further details will be made available, and tickets will go on sale, in the spring.

Launch of Royalpalaces.com

Posted in resources by Editor on December 15, 2018

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From The Society of Antiquaries of London Online Newsletter (Salon) issue 419 (11 December 2018) . . .


Simon Thurley FSA, one-time Curator of Historic Royal Palaces (1989–97) and Chief Executive of English Heritage (2002–15) . . . has launched Royalpalaces.com, which he describes as

“an encyclopaedic website about British royal residences . . . There is currently nowhere online that people can go to find authoritative information about royal residences from the Saxons to the present, or to find out quickly and easily about royal domestic architectural patronage. RoyalPalaces.com will eventually have nearly 150 place entries covering royal residences from Abingdon to York; most entries have an image and a plan in addition to explanatory text. The website has launched with the first 50 entries. There will also be nearly 30 monarch entries for the greatest British royal architectural patrons—the website launches with ten, including one for Queen Elizabeth II. There will also be podcasts covering various thematic issues. The first podcast deals with the tricky issue of ‘what is a palace?’—and the answer is not ‘a royal residence’. Hopefully of use to the more scholarly-minded will be the bibliographies attached to each entry. All contributions or omissions in these will be gratefully received as will notification of errors spotted.”

New Book | Pierre Guérin

Posted in books by Editor on December 14, 2018

Published by Mare et Martin and available from Artbooks.com:

Mehdi Korchane, Pierre Guérin (1774–1833) (Paris: Mare et Martin, 2018), 400 pages, ISBN: 979-1092054705, 65€ / $110.

De tous les peintres qui dominent la scène française au début du XIXe siècle, Pierre Guérin (1774–1833) est le plus méconnu. L’évolution de la peinture d’histoire du Directoire à la monarchie de Juillet ne peut pourtant se comprendre sans cet artiste capital, passeur entre la modernité de David, qu’il a transformée en l’assimilant, et celle des peintres romantiques qu’il a formés. Guerin doit au Retour de Marcus Sextus, mémorial des peines endurées par la famille France au cours de la Révolution, des débuts mythiques au Salon de 1799, et l’extraordinaire succès de Phèdre et Hippolyte en 1802, lui assure un statut équivalent à celui de Chateaubriand dans la sphère publique. Il produit au cours de l’Empire et de la Restauration des oeuvres qui ont marqué la mémoire collective et occupent, de longue date, les cimaises du musée du Louvre (Aurore et Céphale, Didon et Enée…). Membre de l’Académie de beaux-arts, promoteur d’un beau idéal prenant sa source dans l’Antiquité, tout en favorisant par son action pédagogique l’essor de la peinture romantique, il incarne tous les paradoxes de cette époque en rupture.

New Book | Le Voyage pittoresque de la Flandre et du Brabant

Posted in books by Editor on December 13, 2018

From Brepols:

Gaëtane Maës, ed., Le Voyage pittoresque de la Flandre et du Brabant de Jean-Baptiste Descamps (1769) (Turnhout: Brepols, 2018), 492 pages, ISBN: 978-2503577036, 125€.

Cette édition du Voyage pittoresque de la Flandre et du Brabant (1769) de Jean-Baptiste Descamps permet non seulement de comprendre l’importance de l’ouvrage dans l’émergence du tourisme d’art, mais elle est aussi la première à fournir la localisation actuelle des oeuvres commandées par les églises aux anciens maîtres flamands.

En publiant Le Voyage pittoresque de la Flandre et du Brabant à Paris en 1769, Jean-Baptiste Descamps (1715–1791) a fait connaître au public européen les richesses artistiques conservées dans les églises des Pays-Bas du Sud (actuelle Belgique). Alors qu’il était d’usage de se rendre en Italie depuis la Renaissance, son livre était le premier à imposer une autre destination culturelle aux amateurs d’art. A ce titre, il a connu un succès considérable, ne s’éteignant qu’à l’époque napoléonienne en raison du nombre important d’oeuvres disparues ou déplacées.

A cet égard, l’ouvrage de Descamps conserve une importance unique, car il fournit un état des lieux du patrimoine visible dans la Flandre et le Brabant jusqu’au XVIIIe siècle, avant les trois événements qui le bouleversèrent à jamais. Il y eut, d’abord, les édits autrichiens supprimant l’ordre des Jésuites en 1773, puis les couvents en 1783, qui aboutirent tous deux à des ventes massives d’oeuvres d’art ; il y eut, ensuite, les saisies effectuées par les troupes françaises de la République en 1794. Par ces dépouillements successifs, le guide écrit par Descamps pour une banale vocation touristique est devenu un document irremplaçable que l’édition critique vise à actualiser et à enrichir. Celle-ci donne, en effet, les moyens de visualiser cet état originel du patrimoine belge décrit par l’auteur grâce aux nombreuses illustrations et aux notes fournissant les localisations actuelles des oeuvres. Un index complète ces éléments en répertoriant la production personnelle des artistes cités par Descamps afin de contribuer à une meilleure connaissance de chacun d’entre eux.

Gaetane Maes est Maître de conférences habilitée à diriger des recherches, et elle enseigne l’Histoire de l’Art des Temps modernes à l’université de Lille. Spécialiste des échanges artistiques entre la France et les anciens Pays-Bas (Flandre et Hollande), elle a notamment publié De l’expertise à la vulgarisation au siècle des Lumières: Jean-Baptiste Descamps (1715–1791) et la peinture flamande, hollandaise et allemande (Brepols, 2016). Elle est également l’auteur de nombreux articles sur l’historiographie des peintres et les fonctions sociales de l’art aux XVIIe et XVIIIe siècles.

PhD Research Residencies | Naples, 2019–20

Posted in graduate students by Editor on December 12, 2018

Pierre-Jacques Volaire, Eruption of Vesuvius, oil on canvas, 1769
(Naples: Museo di Capodimonte)

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For PhD students working on the cultural history of Naples who need access to materials in southern Italy including artworks, sites, archives, and libraries. From H-ArtHist:

Research Residencies, 2019–20
Center for the Art and Architectural History of Port Cities, Naples

Applications due by 15 February 2019

Opened in Fall 2018, the Center for the Art and Architectural History of Port Cities / Centro per la Storia dell’Arte e dell’Architettura delle Città Portuali is a collaboration between the Museo e Real Bosco di Capodimonte in Naples and the Edith O’Donnell Institute of Art History at the University of Texas at Dallas, with the participation of the Université Paris-Sorbonne.

Housed within the Capodimonte’s bosco in a rustic eighteenth-century agricultural building called La Capraia (the goat farm), the Center is a laboratory for new research in the cultural histories of port cities and the mobilities of artworks, people, technologies, and ideas. Research and programs at La Capraia are dedicated to exploring global histories of art, architecture, and cultural production, while grounded in direct study of artworks, sites, and materials in Naples as well as southern Italy. Through Research Residencies and regular site-based Research Workshops and Symposia, the Center at La Capraia supports scholarly access to Naples, fosters new research on Naples and on other port cities, and creates a network of students and scholars working on related projects.

The Advisory Committee of the Center for the Art and Architectural History of Port Cities invites applications for Research Residencies for PhD students in the earlier stages of their dissertations. Projects, which may be interdisciplinary, may focus on art and architectural history, music history, archeology, or related fields, from antiquity to the present. All projects must address the cultural histories of Naples as a center of exchange, encounter, and transformation, while making meaningful use of research materials in Naples and southern Italy including artworks, sites, archives, and libraries.

This year, Residencies will run for 9 months (2 September 2019 – 29 May 2020). Residents will be awarded free lodging and work space at La Capraia and, thanks to the logistical support of the Amici di Capodimonte, a modest award of 5,200 EUR to help defray the cost of living during the nine-month period. Residents will be granted privileged access to collections and research resources at the Capodimonte, and access to other sites, collections, and research materials will be arranged as needed. Residents will be responsible for obtaining appropriate visas (the Center will provide official letters of support) and for providing proof of health insurance. During their time in Naples, Residents are expected to share their research in a public lecture, gallery talk, or site visit, to participate fully in the Center’s organized activities, and before the end of the residency period to submit a written report on their progress.

We welcome applications from scholars of any nationality. Applicants are invited to submit a CV, a letter of intent, and a proposal of 1,000–1,500 words that outlines the research project and the resources that will be used in Naples. Materials should be sent in a single PDF file to the Center’s Research Coordinator, Dott.ssa Francesca Santamaria (francesca.santamaria@utdallas.edu). In addition, applicants must invite three recommenders to send letters of support directly to the same email address. All materials, including letters of recommendation, are due by Friday, February 15, 2019.

Colloquium | Venetian Artists and Artistic Exchanges in Europe

Posted in conferences (to attend) by Editor on December 11, 2018

In connection with the exhibition Magnificent Venice! Europe and the Arts in the 18th Century; from H-ArtHist:

La ‘diaspora’ des artistes vénitiens et les échanges artistiques en Europe au XVIIIe siècle
Auditorium du Louvre / Institut Culturel Italien, Paris, 12–13 December 2018

L’exposition Éblouissante Venise: Venise, les arts et l’Europe au XVIIIe siècle (Galeries nationales du Grand Palais, 26 septembre 2018 — 21 janvier 2019) propose un parcours de la civilisation vénitienne du XVIIIe siècle au travers d’un choix de peintures, sculptures, objets d’art, costumes et instruments de musique. À cette occasion l’auditorium du Louvre organise un colloque en collaboration avec l’Institut Culturel Italien et l’Association des Historiens de l’Art Italien (AHAI), qui portera sur la diaspora des artistes vénitiens et les échanges artistiques en Europe au XVIIIe siècle. Ce rayonnement de Venise au-delà de ses frontières constitue une singularité et s’explique par différents facteurs économiques, diplomatiques et politiques au-delà du génie propre aux artistes qui attire les mécènes les plus puissants. Le colloque se propose d’approfondir certains des aspects les plus complexes et les plus riches de ce phénomène.

M E R C R E D I ,  1 2  D É C E M B R E  2 0 1 8

10.00  Ouverture, Auditorium du Louvre

10.30  Matin
Directeur de séance: Stéphane Loire (Musée du Louvre)
• Catherine Loisel (conservateur général du patrimoine, commissaire de l’exposition), Venise et l’Europe au 18e siècle, de la problématique historique à l’exposition
• Valentine Toutain Quittelier (Université Paris-Sorbonne), Venise et la douloureuse quête de mécènes et de subsides
• Paolo Delorenzi (Università Ca’ Foscari, Venise), Venise et la France: Antonio Maria Zanetti comme intermédiaire

12.00  Débat

15.00  Après-midi
Directrice de séance: Paola Marini (Gallerie dell’Accademia, Venise)
• Monica De Vincenti (Università Internazionale dell’Arte di Venezia), Sculptures vénitiennes du Settecento dans les jardins princiers européens
• Françoise Joulie (historienne de l’art), Les tombeaux des princes, des grands capitaines et autres hommes illustres (1735): Une entreprise franco-anglo-vénitienne
• Adrián Almoguera (Université Paris Sorbonne), L’art vénitien et la cour de Madrid au temps des Lumières: Triomphe et déclin d’une magnificence allégorique
• Viviana Farina (Accademia di Belle Arti, Naples), Passion pour la lumière: Relations entre Naples et Venise au début du XVIIIe siècle

17.00  Débat

J E U D I ,  1 3  D É C E M B R E  2 0 1 8

15.00  Ouverture, Institut Culturel Italien

15.30  Après-midi
Directeur de séance: Sergio Marinelli (Università Ca’ Foscari)
• Massimiliano Simone (École pratique des Hautes Études, Paris), ‘L’eroica poesia’ de La Jérusalem délivrée illustrée par Piazzetta: Chef-d’œuvre de l’imprimerie vénitienne
• Gabriele Rossi Rognoni (Royal College of Music, Londres), Instruments, musique et musiciens: Quand la musique vénitienne conquit l’Europe
• Anne Houssay (Laboratoire du Musée de la musique, Cité de la Musique – Philharmonie de Paris), Des violoncelles vénitiens pour créer un son nouveau: Les innovations de l’atelier de Matteo Goffriller
• Caroline Giron-Panel (École nationale des chartes, Paris), ‘Une école dans le goût des conservatoires d’Italie’: Modèles vénitiens pour le Conservatoire de Paris

17.30  Débat

20.00  Concert — La mandoline baroque à Venise au XVIIIe siècle
Ensemble Pizzicar Galante
• Anna Schivazappa, mandolino veneziano (mandoline vénitienne)
• Daniel de Moraïs, tiorba (théorbe)
• Fabio Antonio Falcone, clavicembalo (clavecin)

New Book | Io Sono ‘700: L’anima di Venezia

Posted in books by Editor on December 11, 2018

Published by Cierre and available from Artbooks.com:

Federica Spadotto, Io Sono ‘700: L’anima di Venezia tra pittori, mercanti e bottegheri da quadri (Caselle di Sommacampagna: Cierre, 2018), 232 pages, ISBN: 978-8898768806, $34 (marked down from $68).

Il volume illustra il mercato dei quadri a Venezia nel Settecento. Per la prima volta l’attenzione critica si sposta dai grandi collezionisti alle dinamiche commerciali vere e proprie, che coinvolgevano gli stessi artisti, oltre a intermediari, diplomatici ed i cosiddetti ‘botegheri da quadri’. Questi ultimi, titolari di negozi/ laboratori per la vendita di dipinti al dettaglio, decreteranno, insieme a figure come il Console Smith o John Strange—di cui è resa nota l’inedita corrispondenza con l’intendente veneziano Giovanni Maria Sasso—le sorti di Michele Marieschi, Canaletto e molti protagonisti del paesaggio e della veduta, ovvero i generi che hanno reso celeberrima Venezia nel suo secolo d’oro. Tra aneddoti, riflessioni e documenti, i dipinti sfilano ad illustrare uno scenario dai risvolti inaspettati, dove luci e ombre del mercato lagunare divengono metafora del nostro tempo.