Mauritshuis Acquires Pastel Portrait by Perronneau

Posted in museums by Editor on March 20, 2019

Press release (18 March 2019) from the Mauritshuis:

Jean-Baptiste Perronneau, ‘Portrait of Jacob van Kretschmar’, 1754, pastel and crayon on paper, 60 × 45 cm (The Hague: Mauritshuis, Gift of Jonkheer F.G.L.O. van Kretschmar, 2018).

Last year the Mauritshuis received a generous gift from Jonkheer F.G.L.O. van Kretschmar: a magnificent pastel portrait from 1754 by the French artist Jean-Baptiste Perronneau (ca. 1715–1783). The portrait shows Jacob van Kretschmar of The Hague, the donor’s ancestor. The pastel, which had remained in the family, is a superb example of Perronneau’s work. Pastels are extremely sensitive to light, and so cannot be on permanent display, but from today the new acquisition will be exhibited for several months in Room 13.

Emilie Gordenker, Mauritshuis Director: “We are deeply grateful to Jonkheer van Kretschmar. The Mauritshuis has a small, but fine collection of eighteenth-century pictures—in particular pastels—and this acquisition enhances our holdings in this area significantly.”

Travelling Pastel Artists

The eighteenth century in the Netherlands is often described in art historical literature as the century of Cornelis Troost (1696–1750). The Mauritshuis has a unique collection of pastels by Troost, including the well-known NELRI series (a set of five humorous pastels). Troost was only one of many artists working at that time. The art world was extremely international in the eighteenth century and artists travelled throughout Europe. There were many foreign portrait painters working in the Netherlands for varying lengths of time. With the arrival of talented artists such as the Parisian Jean-Baptiste Perronneau, the Swiss Jean-Étienne Liotard (1702–1789) and the German Johann Friedrich August Tischbein (1750–1812), pastel portraits became popular in the Netherlands. Perronneau was the first foreign pastel artist to come and work in the Netherlands, and it was during his first stay that he produced the portrait of Van Kretschmar.

Today we know of some 45 portraits that Perronneau made in the Netherlands, thirty of which are pastels and the rest oil paintings. After his first visit in 1754, the artist regularly returned to the Netherlands, where he was extremely successful. Almost half of the extant Dutch portraits were created during Perronneau’s second stay in 1761 in Amsterdam and The Hague. He also made portraits of the young Orange prince William V and his sister Princess Wilhelmina Carolina at that time, but further commissions from the court never materialised. Perronneau died in 1783 in Amsterdam.

Portrait of Jacob van Kretschmar

Perronneau signed and dated the pastel in elegant letters in the top left-hand corner: “Perronneau / Peintre du Roy / en 1754 / à La Haye.” The composition of the portrait is simple, yet powerful. The 33-year-old military man Jacob van Kretschmar (1721–1792) is portrayed half-length. The loose, but convincing way in which Perronneau rendered the details in the powdered hair and the jabot—the frill of lace at the neck—demonstrate his great talent. The portrait’s appeal is further enhanced by the elegant, seemingly relaxed pose, the bright colours and the serene light. The blue tailcoat edged with gold thread stands out against the light background, where the blue of the paper still shimmers through.

About the Donor

The donor of the pastel by Perronneau is a well-known figure in the Dutch museum world. Jonkheer F.G.L.O van Kretschmar (1919–2019) was a Dutch art historian and genealogist. He was the director of the Iconographic Bureau for many years, which today forms part of the Netherlands Institute for Art History—RKD in The Hague. Van Kretschmar was of great value to the Iconographic Bureau—he saw to it that the institution did not solely concentrate on collecting documentation about Dutch portraits, but also focused on their scientific study. He also made a great personal contribution with his publications on Dutch portrait art—published over many decades—and the inventories he made of private collections of family portraits, usually depicting members of the aristocracy. Van Kretschmar’s great dedication to and keen interest in Dutch cultural heritage were recognised when he was awarded the silver museum medal on his retirement as director in 1984.


The portrait of Jacob van Kretschmar will be on display in Room 13 until 7 July, along with a self-portrait by Cornelis Troost. An engaging pastel portrait of Wilhelmina of Prussia by Tischbein, one of several versions that is rarely on view and is still in its original frame, will also be in Room 13. The three pastels will be accompanied by a number of eighteenth-century painted portraits, including a portrait of a man by Troost and George van der Mijn’s portraits of Cornelis Ploos van Amstel and his wife. There could be no better setting for these works than this room with its eighteenth-century interior.

caa.reviews Seeks Editors, 2019–22

Posted in opportunities by Editor on March 20, 2019

Worth noting that the Field Editor for Eighteenth-Century Art is one of the open positions; from CAA News:

caa.reviews Seeks Editor-in-Chief
Applications due by 1 April 2019

The caa.reviews Editorial Board invites nominations and self-nominations for the position of Editor-in-Chief for a three-year term, July 1, 2020–June 30, 2023. This term is preceded by one year of service on the editorial board as editor designate, July 1, 2019–June 30, 2020, and followed immediately by one year of service as past editor. Candidates should have published substantially in the field and may be academic, museum-based, or independent scholars; institutional affiliation is not required. An online journal, caa.reviews is devoted to the peer review of new books, museum exhibitions, and projects relevant to the fields of art history, visual studies, and the arts.

Working with the editorial board, the editor-in-chief is responsible for the content and character of the journal. The editor-in-chief supervises the caa.reviews Council of Field Editors, assisting them in identifying and soliciting reviewers, articles, and other content for the journal; develops projects; and makes final decisions regarding content.

The editor-in-chief attends the caa.reviews Editorial Board’s three meetings each year—held in New York in May and October and once at the Annual Conference in February—and submits an annual report to CAA’s Board of Directors. CAA reimburses the editor-in-chief for travel and lodging expenses for the two New York meetings in accordance with its travel policy, but the person in this position pays these expenses to attend the conference. The editor-in-chief also works closely with the CAA staff in New York and receives an annual honorarium paid quarterly.

Candidates must be current CAA members and should not be serving on the editorial board of a competitive journal or on another CAA editorial board or committee. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a letter describing your interest in and qualifications for appointment, a CV, at least one letter of recommendation, and your contact information to: caa.reviews Editor-in-Chief Search, CAA, 50 Broadway, 21st Floor, New York, NY, 10004; or email the documents to Publications and Programs Editor Joan Strasbaugh, jstrasbaugh@collegeart.orgDeadline: April 1, 2019; finalists will be interviewed in early May.

caa.reviews Seeks Four Field Editors
Application due by 15 April 2019

In addition, CAA invites nominations and self-nominations for four individuals to join the caa.reviews Council of Field Editors for a three-year term July 1, 2019–June 30, 2022. An online journal, caa.reviews is devoted to the peer review of new books, museum exhibitions, and projects relevant to art history, visual studies, and the arts.

The journal seeks four field editors in the following areas:

  • Design History
  • Eighteenth-Century Art
  • Architecture and Urbanism
  • Theory and Historiography

Working with the caa.reviews editor-in-chief, the caa.reviews Editorial Board, and CAA’s staff editor, each field editor selects content to be reviewed, commissions reviewers, and considers manuscripts for publication. Field editors for books are expected to keep abreast of newly published and important books and related media in their fields of expertise, and those for exhibitions should be aware of current and upcoming exhibitions (and other related projects) in their geographic regions.

The Council of Field Editors meets yearly at the CAA Annual Conference. Field editors must pay travel and lodging expenses to attend the conference. Members of all CAA committees and editorial boards volunteer their services without compensation.

Candidates must be current CAA members and should not be serving on the editorial board of a competitive journal or on another CAA editorial board or committee. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a cover letter describing your interest in and qualifications for appointment, a CV, and your contact information to: caa.reviews Editorial Board, CAA, 50 Broadway, 21st Floor, New York, NY 10004; or email the documents to staff editor Joan Strasbaugh, jstrasbaugh@collegeart.orgDeadline: April 15, 2019.

Call for Papers | Ceramics as Sculpture

Posted in Calls for Papers by Editor on March 19, 2019

Pierre Giovanni Volpato, Personification of the River Nile, ca. 1785–95, hard-paste biscuit porcelain, Giovanni Volpato’s Factory Rome, 30 × 59 × 30 cm (New York: The Metropolitan Museum of Art; Purchase, The Isak and Rose Weinman Foundation Inc. Gift, 2001.456).

◊  ◊  ◊  ◊  ◊

From the Call for Papers:

Ceramics as Sculpture, French Porcelain Society
Study Day, with Journal Issue to Follow
Masterpiece London, 28 June 2019

Abstracts for the Study Day due by 1 May 2019

Article Proposals for the Journal due by 24 May 2019, with finished drafts due by 30 September 2019

The French Porcelain Society is pleased to announce that it will be holding a study day entitled Ceramics as Sculpture, celebrating figurative art, at this year’s Masterpiece London, on Friday, 28 June 2019, 10:00–1:30. This conference aims to open up wider discussion about the contemporary and historical contexts for ceramic sculpture and its place within art history. It also seeks to underline the primacy of sculpture in all the decorative arts, bringing together scholars, curators, artists, and dealers working in the interconnected fields of ceramics and sculpture. The subject will be explored in more depth in The French Porcelain Society’s 2020 journal, the leading academic, peer-reviewed English-language publication on European ceramics and their histories, illustrated in full colour.

The Society invites submissions for 20-minute conference papers and/or 6,000-word journal articles. Topics for consideration may include, but are not limited to the following:
• Replication as a craft strategy
• Intersections between ceramics and sculpture
• Sculptors: Della Robbia, Kaendler, Bustelli, Falconet, Willems, Gricci, Carrier-Belleuse, Scheurich, et al.
• Collectors of porcelain sculpture and methods of display
• Curation and museum presentations or exhibitions of ceramic sculpture
• Impact of material on sculpture, i.e. biscuit porcelain
• Production techniques
• Silver, porcelain, and gilt bronze: a joined-up art
• Contemporary ceramics as sculpture, including practice-led approaches
• Sculpture in the digital age

Call for Papers for Study Day
Deadline: 1 May 2019, with successful notification by 7 May 2019
Please submit a summary of no more than 300 words with a short biography to Caroline McCaffrey-Howarth c.mccaffrey-howarth@leeds.ac.uk.

Call for Articles for Journal
Deadline: 24 May 2019, with successful notification by 7 June 2019
Submissions in the first instance should be a summary of no more than 500 words, with a brief description of the argument, a historiography and a note of the research tools and sources used. Please include a brief biography. The journal accepts articles in French as well as in English. The volume will comprise about 15 articles which will be peer reviewed by the editorial board and the FPS council of academic and museum specialists which includes: Dame Rosalind Savill, DBE, FBA, FSA (Curator Emeritus, The Wallace Collection, London); Oliver Fairclough, FSA; John Whitehead, FSA; Errol Manners, FSA; Patricia Ferguson; Dr. Diana Davis; and Caroline McCaffrey-Howarth (University of Leeds). Articles should be no more than 6,000 words in length excluding endnotes. Up to 15 high-resolution images per article will be accepted. Please send abstracts as an email attachment to Patricia Ferguson patricia.f.ferguson@gmail.com, Caroline McCaffrey-Howarth c.mccaffrey-howarth@leeds.ac.uk, and Diana Davis diana_davis@hotmail.co.uk, by 24 May 2019. If your abstract is accepted, articles and images will be due by 30 September 2019.

For more details about the Study Day and to book a place at £45, please visit the Society’s website.

Exhibition | Paper Revolutions: French Drawings

Posted in exhibitions by Editor on March 18, 2019

Opening next month at NOMA:

Paper Revolutions: French Drawings from the New Orleans Museum of Art
New Orleans Museum of Art, 10 April — 14 July 2019

Nicolas Lejeune, ‘Rejoicing at the Announcement of the Abolition of Slavery, 30 Pluviôse, Year II / 18 February 1794’, 1794, India ink and gouache on paper, 14 × 11 inches (New Orleans Museum of Art).

Paper Revolutions: French Drawings from the New Orleans Museum of Art traces the politics of draftsmanship in the eighteenth and nineteenth centuries. This selection features works on paper by celebrated painters Jacques-Louis David, Jean-Auguste-Dominique Ingres, and Eugène Delacroix, as well as lesser-known artists, such as Nicolas Lejeune.

The Age of Revolutions in France (1789–1870) was defined by political instability. In less than a century, wars and violent uprisings provoked radical changes in regime, from monarchy to republic to empire. This period also witnessed the emergence of new, hybrid styles of art: Neoclassicism, inspired by ancient Greece or Rome, mingled with Romanticism, distinguished by more fluid, expressive responses to nature. While navigating political shifts and experimenting with different forms, artists continued to draw obsessively—producing rough sketches, detailed studies, and independent works on paper.


Conference | Rome and Lisbon in the 18th Century

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

From the conference programme:

Rome and Lisbon in the 18th Century: Music, Visual Arts, and Cultural Transfers
Roma e Lisboa no século XVIII: música, artes visuais e transferências culturais
Biblioteca Nacional de Portugal, Lisbon, 28–29 March 2019

Political, diplomatic, cultural, and artistic relations—including music and the visual arts—between Rome and Lisbon in the 18th century have, at different times, aroused the interest of several scholars. However, these research fields have often been approached in parallel paths within the traditions of each of the disciplines, without establishing in most cases a true dialogue between the different areas of knowledge and disregarding cross-cutting issues. On the other hand, the study of artistic relations and cultural transfers presupposes an in-depth and up-to-date view of the historical and social context of each city in their own peculiarities. This international conference intends to promote new approaches to the history of music and the arts through multidisciplinary dialogue that involves different points of view.

T H U R S D A Y ,  2 8  M A R C H  2 0 1 9

9.30  Opening Session
• Inês Cordeiro (Director of the BNP)
• Pilar Diez del Corral and Cristina Fernandes (conference board of directors)

10.00  Ceremonial and Diplomacy
Chair: Pilar Diez del Corral
• John E. Moore (Smith College, Northampton, Massachusetts), Obsequies for Peter II (1707) and John V (1751) in S. Antonio dei Portoghesi, Rome
• Rodrigo Teodoro de Paula (CESEM-NOVA FCSH), Imitando Roma: Música e outros sons no cerimonial fúnebre por D. João V (1750)
• Christopher M. S. Johns (Vanderbilt University, Nashville, Tennessee), Queen Maria I, Pope Pius VI, and the Sacred Heart of Jesus: Lisbon, Rome, and the Counter-Enlightenment

11.30  Coffee Break

12.00  Ceremonial and Diplomacy, continued
Chair: Pilar Diez del Corral
• Maria João Ferreira (CHAM – NOVA/FCSH – UAc), Da Roma pontifícia para a Lisboa joanina: Abordagem das encomendas de têxteis através da correspondência trocada entre José Correia de Abreu e Fr. José Maria da Fonseca Évora
• Rosana Brescia (CESEM – NOVA FCSH), ‘Teatro alla Moda’: Opera Costumes for Portuguese Royal Theatres during the Reign of D. José I

13.00  Lunch

14.30  Working for Portuguese Patrons: From Italy to Portugal
Chair: Manuel Carlos de Brito
• Giuseppina Raggi (CES – Universidade de Coimbra), Roma e le traiettorie artistiche di Filippo Juvarra e Domenico Scarlatti nella penisola iberica
• Ricardo Bernardes (CESEM/NOVA FCSH), Giovanni Giorgi (d. 1762) and the ‘Roman Musical Style’ in Lisbon in the First Half of the 18th Century
• Fabrizio Longo (MIUR), I solfeggi di Giovanni Giorgi (d. 1762), valide ed ispirate lezioni di violino

16.00  Coffee Break

16.30  Working for Portuguese Patrons: From Italy to Portugal, continued
Chair: Manuel Carlos de Brito
• Aline Gallasch-Hall de Beuvink (Universidade Autónoma de Lisboa/CIAUD/CICH), O arquitecto Giovanni Sicinio Galli Bibiena: novos contributos biográficos
• Marco Brescia (CESEM/NOVA FCSH), Niccolò Nasoni and Visual and Sound Symmetry on Portuguese Organs

17.30  Book Presentation
Politics and the Arts in Lisbon and Rome: The Roman Dream of John V of Portugal (The Voltaire Foundation, 2019) for Pilar Diez del Corral

F R I D A Y ,  2 9  M A R C H  2 0 1 9

9.30  Aristocratic Power and Performing Arts in Baroque Rome: Portuguese Connections
Chair: Rui Vieira Nery
• Teresa Chirico (Conservatorio di musica ‘S. Cecilia’ di Roma- Performart), l cardinale Pietro Ottoboni (1667–1740), i portoghesi e la musica
• Cristina Fernandes (INET-md, NOVA FCSH, PerformArt – Rome), ‘When in Rome, Do as the Romans Do’: Portuguese Cardinals’ Musical Patronage and Their Artistic Networks after the Conclave of 1721
• Diana Blichmann (PerformArt –Rome), Alessandro nell’Indie as Opera Event in Rome (1730) and Lisbon (1755): Examples of Different Multimedia Strategies for Staging Power

11.00  Coffee Break

11.30  Images, Treatises, and Books
Chair: James W. Nelson Novoa
• Alexandra Gago da Câmara (UAb / IHA / CHAIA ) + Carlos Moura (IHA- UNL), Uma imagem da Roma Pontifícia no fausto da Lisboa Joanina: Os azulejos do Terraço superior do Mosteiro de São Vicente de Fora
• João Cabeleira (Lab2PT, Escola de Arquitetura, Univ. De Minho), Perspectiva Pictorum et Architectorum: Science and Architectural Image Propagation
• Leonor Antunes (BNP, Lisboa), From Lisbon to Rome, Passing through Parma: Portuguese Artists and patrón Diplomats in Bodonian Editions

13.00  Lunch

14.30  From Portugal to Rome
Chair: TBA
• James W. Nelson Novoa (Otawa University, Canada), Forging Portuguese National Memory in 18th-Century Rome
• Maria Onori (Univ. di Roma ‘La Sapienza’), Dos Santos/De Sanctis: Notizie di un architetto lusitano a Roma dagli archivi romani
• Giada Lepri (Univ. di Roma ‘La Sapienza’), Un inedita committenza portoghese nella Roma del 700’: La vigna da Gama de Padua sulla via Salaria ed i suoi legami con l’ambiente architettonico romano dell’epoca
• Michela Degortes (ARTIS-UL), Giovanni Gherardo De Rossi and the Portuguese in Rome at the End of the 18th Century: Artistic Relations and Cultural Network

16.30  Coffee Break

17.00  Roman Taste for Lisbon Court
Chair: Maria João Albuquerque
• Fernando Miguel Jalôto (INET-md, NOVA FCSH), Antonio Tedeschi: An Italian Musician at the Court of John V
• Vicenzo Stanziola (Univ. degli Studi di Roma, Tor Vergata), Arte romana per Joao V: Il caso di Pietro Bianchi

18.00  Closing Session
• Guided tour of the library exhibition From Tagus to Tiber: Portuguese Musicians and Artists in Rome in the 18th Century

Scientific Committee
• Manuel Carlos de Brito (NOVA FCSH, Lisboa)
• Elisa Camboni (Accademia Nazionale di San Luca, Roma)
• Pilar Diez del Corral Corredoira (UNED, Madrid)
• Cristina Fernandes (INET-md, NOVA FCSH, Lisboa)
• Anne-Madeleine Goulet (CNRS, Projecto Performart-Roma)
• Teresa Leonor M. Vale (ARTIS, Universidade de Lisboa)
• Rui Vieira Nery (INET-md, NOVA FCSH/Fundação Gulbenkian, Lisboa)

Board of Directors
• Pilar Diez del Corral Corredoira
• Cristina Fernandes

New Book | Politics and the Arts in Lisbon and Rome

Posted in books by Editor on March 17, 2019

From Liverpool UP:

Pilar Diez del Corral Corredoira, ed., Politics and the Arts in Lisbon and Rome: The Roman Dream of John V of Portugal (Oxford: Voltaire Foundation/Oxford University Studies in the Enlightenment, 2019), 276 pages, ISBN: 978-1789620122, £65.

Dealing with a complex king, this edited collection elucidates a monarch’s vision of Rome that deeply affected his political choices and cultural policy during the first half of the eighteenth-century. John (João) V of Portugal (1689–1750) became king in 1707 in a pivotal moment for the European balance of power. The Kingdom of Portugal was still demanding the same privileges as its powerful neighbours and the relation with Rome was considered a vehicle to obtain them. Arts and music had a special and unprecedented place in the king’s plans and this book approaches that dynamic from several interdisciplinary perspectives.

The unifying thread across this book’s chapters remains the omnipresence of Rome as a paradigm on several levels: political, religious, intellectual, artistic, and musical. Rather than providing an exhaustive analysis of the period as a whole, this study offers a fresh approach for English readers to this classic, but little known, topic in Portuguese national historiography.

Pilar Diez del Corral Corredoira is Ramón y Cajal Fellow based at the Art History department of the Universidad Nacional de Educación a Distancia (Madrid). She wrote a PhD on Classical Art and has widely published in international journals including The Burlington Magazine and Storia dell’Arte. Her current research focuses on Iberian cultural identities, artistic mobility, and diplomacy in Rome in the eighteenth century.

Exhibition | From the Tagus to the Tiber

Posted in exhibitions by Editor on March 17, 2019

Now on view at the National Library of Portugal:

From Tagus to Tiber: Portuguese Musicians and Artists in Rome in the 18th Century
Do Tejo ao Tibre: músicos e artistas portugueses em Roma no século XVIII
Biblioteca Nacional de Portugal, Lisbon, 28 February — 31 May 2019

Curated by Cristina Fernandes and Pilar Diez del Corral

Alegoria à Academia Real da História, de Vieira Lusitano (1699–1783) / F. V. Lusitanus invenit et f. ; acabado ao buril por P. de Rochefort, 1735 (Lisbon: Biblioteca Nacional de Portugal, E. 4847 P.).

O fascinante processo de assimilação e adaptação de modelos artísticos e musicais italianos pela corte de Lisboa ao longo do século XVIII é um dos fenómenos mais relevantes a nível cultural do Portugal setecentista, com repercussões que se estendem à maior parte do território. Através das obras conservadas na BNP, esta exposição, comissariada por Cristina Fernandes (INET-md, NOVA FCSH) e Pilar Diez del Corral (UNED – Universidad Nacional de Educación a Distancia, Madrid), pretende dar a conhecer ao grande público como se produziu essa frutífera associação criativa entre o país mais ocidental da Europa e a península itálica, coração do Mediterrâneo, colocando em evidência olhares transversais sobre a música e as artes visuais, dois campos frequentemente abordados de forma separada mas que percorreram caminhos comuns.

A partir do século XVI, Roma começou a atrair artistas de todos os campos, desejosos de aprender a partir do legado das suas ruínas e dos mestres modernos que a converteram no centro artístico da Europa. Ao mesmo tempo, viajantes procedentes num primeiro momento dos países do Norte também chegavam a Roma com o mesmo afã de aprendizagem, tanto no plano mundano como cultural, dando origem ao fenómeno do Gran Tour, que teria a sua eclosão nos séculos XVIII e XIX.

Portugal teve no século XVIII uma idade de ouro graças às fabulosas encomendas artísticas e musicais de D. João V, o Rei Magnânimo. Ainda que o terramoto de 1755 tenha eclipsado uma grande parte do legado arquitetónico e artístico da primeira metade do século, para além da catástrofe humana que causou, a magnificência e o cosmopolitismo de Lisboa deixaram marcas que prevaleceram como sinais identitários nas décadas seguintes. O conjunto das peças expostas pretende mostrar desde a perspetiva da viagem e do intercâmbio artístico e musical como as relações entre Portugal e Itália, centradas num fluxo contínuo de pessoas, livros, partituras e obras de arte criaram uma riquíssima via de comunicação entre Roma e Lisboa.

Estão igualmente programadas várias visitas guiadas, seguidas de momentos musicais. Na inauguração (28 de fevereiro, às 18h00), o agrupamento Cappella dei Signori, dirigido por Ricardo Bernardes, interpreta obras de Giovanni Giorgi e João Rodrigues Esteves. A 19 de março, realiza-se uma visita guiada às 18h00, seguida de um recital de cravo, por Fernando Miguel Jalôto, assinalando os 300 anos da chegada a Lisboa de Domenico Scarlatti. Em data a anunciar brevemente, apresenta-se uma nova visita e um programa centrado na música de Francisco António de Almeida, com interpretação dos Músicos do Tejo, dirigidos por Marcos Magalhães e Marta Araújo.

Estão igualmente programadas várias visitas guiadas, seguidas de momentos musicais. Na inauguração (28 de fevereiro, às 18h00), o agrupamento Cappella dei Signori, dirigido por Ricardo Bernardes, interpreta obras de Giovanni Giorgi e João Rodrigues Esteves. A 19 de março, realiza-se uma visita guiada às 18h00, seguida de um recital de cravo, por Fernando Miguel Jalôto, assinalando os 300 anos da chegada a Lisboa de Domenico Scarlatti. Em data a anunciar brevemente, apresenta-se uma nova visita e um programa centrado na música de Francisco António de Almeida, com interpretação dos Músicos do Tejo, dirigidos por Marcos Magalhães e Marta Araújo.

Decorre também na BNP, a 28 e 29 de março de 2019, o congresso internacional Roma e Lisboa no século XVIII: música, artes visuais e transferências culturais, organizado pelo grupo «Estudos Históricos e Culturais em Música» do INET-md (NOVA FCSH) e pelo departamento de História de Arte da UNED (Madrid).



Exhibition | Engraving for the King

Posted in exhibitions by Editor on March 16, 2019

Now on view at the Louvre:

Engraving for the King: The Historical Collections of the Louvre Chalcographie
Graver pour le roi: Collection de la Chalcographie du Louvre

Musée du Louvre, Paris, 21 February — 20 May 2019

Curated by Jean-Gérald Castex

Henri-Simon Thomassin after Louis de Boulogne, ‘Louis XIV Protecting the Arts’, 1728 (Paris: Musée du Louvre).

Founded in 1797 under the Directory, the Louvre Chalcographie holds over 14,000 engraved copperplates, used to make prints, and has the mission of disseminating the image of the museum’s masterpieces through the art of engraving. This institution, which is part of the Musée du Louvre, arose from the merging of three collections of engraved plates, established from the second half of the 18th century: the Cabinet du Roi, including nearly 1,000 plates commissioned by Colbert to illustrate the greatness of Louis XIV’s reign; the Menus-Plaisirs collections, which spread the image of great court ceremonies and public festivities of the 18th century; and the Royal Academy of Painting and Sculpture’s collection, comprising pieces submitted by engravers upon their admission, and engraved plates acquired by the institution in the second half of the 18th century to develop its editorial collection.

This exhibition presents preparatory drawings, engraved copperplates, and prints made from them. It aims to trace the history of the three royal collections that each contributed in their own way to the dissemination of the king’s image. It also showcases the copperplates which, regarded until recently as mere tools for printing, are at the core of an engraver’s profession.

Exhibition | Showpiece from the Palmwood Wreck

Posted in exhibitions, on site by Editor on March 15, 2019

I’m posting this seventeenth-century exhibition, showcasing what may be a late sixteenth-century cup, to draw attention to the Museum Kaap Skil more generally; Texel, located some 50 miles north of Amsterdam, was a crucial anchorage, particularly for large VOC vessels. Visiting the Vasa Museum in Stockholm a few years ago (many of you have been there) helped me grasp just how much ‘material culture’ was taken up by ships in the early modern period. Inventory lists—indeed, even seascapes crowded with ships—now come to life for me in a way that they didn’t previously. On the grounds of the Kaap Skil museum, there’s also a working windmill used to process grain: the Traanroeier, which dates to 1727 (originally located on the Weer, at the intersection with the Traanroeyer ditch, it was moved to Texel in 1902). CH

Now on view at Museum Kaap Skil, from the press release:

Diving in Details: Showpiece from the Palmwood Wreck
Museum Kaap Skil, Texel, Netherlands, 9 March — 9 September 2019

Gilt silver cup, likely made in Neurenberg around the end of the 16th century; it was recovered in 2016 from the Palmwood wreck.

An exceptional object from the Palmwood wreck [palmhout, or boxwood] can be seen for the next six months at Museum Kaap Skil—in Oudeschild on the island of Texel. A gilt silver cup, expertly restored after almost four centuries on the sea bottom, is being displayed in the exhibit Diving in Details. Expert Jan Beekhuizen, known from the television program Kunst & Kitsch (Art & Fake), notes that it is “exceptional, if not unique, that such a find surfaces from a ship wreck.”

A specially designed showcase allows the viewer to observe the gilt cup from all sides. Details can be seen and enlarged on a touchscreen. The cup is decorated with driven flower patterns and mascarons, ornaments representing faces. The cup was unveiled at the Rijksmuseum on March 7 by deputy Jack van der Hoek and museum manager Corina Hordijk, together with the presentation of a report on the Palmwood wreck collection.

The discovery of the Palmwood wreck by divers from Texel and the unusually rich finds surfaced from this wreck created a worldwide sensation in 2016. The lovely silk dress and other luxury garments and personal belongings from the wreck made it clear that the cargo being transported by the ship belonged to very wealthy, perhaps even royal people. Even the gilt silver cup fits this picture. Only the richest could afford such an object.

The wreck of the ship and almost four centuries lying in the sea bottom have taken their toll: the cup surfaced partially flattened and broken into three parts. In addition, there were dark corrosive bumps on the surface. Experts from the restoration workshop Restaura have carefully removed the deposits, reattached the loose parts, and restored the cup to its original shape. The war god Mars, standing on the lid of the cup, has lost his shield, but otherwise the cup is more or less whole.

The exhibition Diving in Details also features a 17th-century painting depicting such a cup, showing how such objects were used to display wealth. The Palmwood wreck was once a heavily armed fluyt (‘straatvaarder’), destined for trade in the Mediterranean. The ship sank in the 17th century on the Roads of Texel. It is still unknown who the owner of the ship and the cargo was.

Documentation of the recovered objects has just been published; from the Museum Kaap Skil:

Arent D. Vos et al., edited by Birgit van den Hoven and Iris Toussaint, Wereldvondsten uit een Hollands schip: Basisrapportage BZN17/Palmhoutwrak (Haarlem: Provincie Noord-Holland, 2019), 443 pages, ISBN: 978-9492428134, €20.

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More information about the discovery of the ship—including its mistaken association in 2016 with a ship that was in 1642 part of a royal British fleet—comes from Jessamyn Hatcher, “Treasure Island: The Extraordinary Finds of an Amateur Diving Club in Holland,” The New Yorker (19 September 2017). Hatcher quotes “Arent Vos, a marine archeologist who specializes in the Texel Roads, [who] estimates that up to a thousand ships wrecked off the island’s coast between 1500 and 1800.”

Also see, Tracy Robey, “Global Cargo,” Archaeology (May/June 2018), where the Palmwood Wreck (Burgzand Noord 17) is described as “the richest cargo of seventeenth-century luxury goods ever found underwater,” owing to its “stunning collection of silk garments and velvet textiles, leather book covers, and pottery.”

2019 Walter Muir Whitehill Prize in Early American History

Posted in opportunities by Editor on March 15, 2019

From the prize announcement:

2019 Walter Muir Whitehill Prize in Early American History
Awarded by The Colonial Society of Massachusetts

Essays due by 15 January 2020

This prize of $2500, established in memory of Walter Muir Whitehill, for many years Editor of Publications for the Colonial Society and the moving force behind the organization, will be awarded for a distinguished essay on early American history (up to 1825), not previously published. The Society hopes that the prize may be awarded annually.

A committee of eminent historians will review the essays. Their decision in all cases will be final. By arrangement with the editors of The New England Quarterly, the Society will have the winning essay published in an appropriate issue of the journal.

Essays are now being accepted for consideration. All manuscripts submitted for the 2019 prize must be postmarked no later than January 15, 2020. The Society expects to announce the winning candidate in the spring of 2020.

Entries submitted for consideration should be addressed to:

Whitehill Prize Committee
c/o The New England Quarterly
Department of History
University of Massachusetts, Boston
100 Morrissey Blvd.
Boston, MA 02125

Additional information, including prize specifications and a list of past winners, is available here»