London’s Rare Book Fair | Revolution

Mal Lui Veut mal Lui Tourne dit le Bon Homme Richard. Sujet Mémorable des Révolutions de l’Univers. Le Commerce de la Grande Bretagne sous la forme d’une Vache, engraving 225 × 265mm. A cow representing Britain’s commerce is having its horns cut off by an American, as a Dutchman milks it and a Spaniard and Frenchman wait with bowls. An Englishman wrings his hands. A British lion lies asleep as a pug urinates on it. In the background brothers Admiral Richard Howe and General William Howe sit at a table at Philadelphia, with Admiral Howe’s flagship Eagle in dry dock, the two bogged down in the occupation of the city (abandoned after 266 days on June 18th 1788). A reverse copy of a satire published in the Westminster Magazine, 1 March 1788 (BM 5472). See BM Satires 5727. Offered by Grosvenor Prints, £950.
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From the press release for the book fair:
Revolution | Firsts: London’s Rare Book Fair
Saatchi Gallery, London, 14–17 May 2026
This year’s Firsts: London’s Rare Book Fair will take place at the Saatchi Gallery in Chelsea from 14 to 17 May. The theme for 2026 is ‘Revolution’, highlighting books, manuscripts, maps, and ephemera relating to all types of revolutions—whether political, cultural, social, or scientific—from approximately 100 international booksellers.
American Revolution
A letter by one of the Founding Fathers of the United States, Thomas Paine (1737–1809), whose publication of Common Sense and other pamphlets in the 1770s proved crucial in building support for independence, will be offered by Shapero Rare Books for a six figure sum. Paine was a French Revolutionary, inventor, political philosopher, and statesman, and this letter is from January 1797, written in Paris to Colonel John Fellows (1735–1808), who participated in several major battles during the American Revolutionary War. In this letter he discusses his publications and shares his view that George Washington should retire as president. A first American edition of Adam Smith’s Theory of Moral Sentiments with an asking price of £15,000 will also be available.
Daniel Crouch will be bringing several Revolutionary War maps including a Plan of Boston and its Environs, which “reflects the true situation of His Majesty’s Army and also those of the Rebels.” It was drawn by an engineer in Boston in October 1775 and carries a price of £45,000. Quaritch is offering the first edition in book form of The Federalist Papers, the single most important work of American political philosophy, making the case for ratifying the US Constitution in the wake of the Revolution. This copy is preserved in its original boards, as issued, uncut and largely unopened.
A copper engraving by Edinburgh-born engraver and reform-leaning Whig Malcolm Rymer (1775–1835), printed on a vivid yellow silk ‘handkerchief’ from 1812 maps the Age of Revolutions during the Reign of George III, including the American Revolution. This visually arresting and minutely detailed chronology presents two concentric spirals radiating from a central portrait of George III, offering a spectacular timeline of a half-century of conflict and “various administrations formed during his reign” embellished with portraits of the King, Pitt, Fox, Nelson, and Wellington. It is available at Peter Harrington Rare Books for £2,500.
French Revolution
Harrison-Hiett Rare Books will be selling a first edition of the scarce album Patrioty, Album politique et allégorique de 1850. It bears the arms of Guillaume Gabriel Pavée de Vendeuvre (1779–1870). Pavée de Vendeuvre was a deputy representing Aube, an industrialist, and noted bibliophile. He owned a Faience and a glass factory. The caricatures here would have appealed to him. Having served as an auditeur under Napoléon, he sat in constitutional opposition and notably signed the “Adresse des 221” that challenged Charles X (£1,150).
Fold the Corner Books offers a handwritten letter from a British spy during the French Revolution, recounting the events on the streets of Paris in January 1791. The first edition of Mary Wollstonecraft’s history of the French Revolution, will be available at Quaritch. The book is based in-part on her own observations in Paris in the 1790s—she was at first sympathetic to the cause but later appalled by the excesses of the Terror. This copy is annotated by William Michael Rossetti, and includes advertisements for Wollstonecraft’s own revolutionary work, A Vindication of the Rights of Woman.
Thomas Heneage Art Books is bringing a fascinating record of the systematic looting—or ‘extraction’ as the French called it—of Italy during the Napoleonic conquest, printed prior to the looting of Florence and Naples in Venice in 1799. Page twelve alone lists the removal of the Apollo Belvedere and Laocoön from the Vatican and the four horses from St. Marks, Venice. The removal of art and antiquities began from the spring of 1796 until the Congress of Vienna ordered the restitution of the works in 1815. Over 110 artworks were brought to France from Italy in 1796 alone.
Camden Lock Books specialises in miniature books and among them is a beautifully bound work of a profoundly influential 19th-century Italian revolutionary called Silvio Pellico, a writer, poet, dramatist, and patriot active in the Italian unification. His activism led him to be arrested on the charge of being a member of a secret revolutionary society or carbonari, and was imprisoned for 15 years in Austrian dungeons for conspiring against Habsburg rule. ‘Mes Prisons’ is his memoir of that experience. As a seminal piece of prison literature, it connected the ‘inside’ of confinement to the ‘outside’ world, highlighting the power of writing as resistance. It is priced at £255.
Communist Revolutions
Quaritch will bring a copy of Zritel’, the literary and artistic journal printed, and indeed suppressed during the 1905 Revolution in Russia. It has striking illustrations printed in three colours, with its cover illustration depicting the alliance between workers, soldiers, and sailors and was confiscated by the authorities and shut down soon after this issue.
A fantastic association copy of Cuban revolutionary Fidel Castro’s conversations on religion with Dominican friar Frei Betto from 1985, warmly inscribed by Castro to the female revolutionary Asela de los Santos, is available at Fold the Corner Books for £2,000.
Other Revolutionary Items

Peter Harrington Rare Books is offering an original flag produced in late 1960s San Francisco to protest American state-sanctioned violence, especially the war in Vietnam. It was probably created by staff of the left-wing magazine Ramparts, who used it as the cover image for their May 1968 issue (£2,750).
In 1901, Mark Twain published a satirical essay in the North American Review titled “To the Person Sitting in Darkness,” which attacked American violence and imperialism in the Philippines. He concluded it by suggesting a new American flag, “with the white stripes painted black and the stars replaced by the skull and crossbones.” A Ramparts article by Twain critic Maxwell Geismar suggested that, had Twain been listened to, “the new century might have been spared 50 years… of what is essentially a race war under the guise of such ambiguous and shifting concepts of nationalism and capitalism” (p. 65). Peter Harrington Rare Books is offering an original flag produced in late 1960s San Francisco to protest American state-sanctioned violence, especially the war in Vietnam. It was probably created by staff of the left-wing magazine Ramparts, who used it as the cover image for their May 1968 issue (£2,750).
Lucius Books will bring the original album cover artwork for the U.S. issue of Jimi Hendrix’s 1968 masterpiece, Electric Ladyland. This album fundamentally changed the landscape of rock music and studio production and pushed the boundaries of psychedelic rock, blues, and experimental soundscapes to new, futuristic heights. It was a groundbreaking album introducing audiences to a style of psychedelic rock rooted in the blues. There will be several dealers bringing items relating to the revolutionary movements during the 1960s and 1970s.
Among the scientific revolution items will be a first edition of Richard Dawkins’s debut book The Selfish Gene, which was published in 1976 and introduced the idea that evolution is best understood from the perspective of genes trying to replicate, rather than organisms struggling to survive. It debunked the then-popular idea that animals behave “for the good of the species,” providing a clear, logical alternative centered on individual gene survival. On its 50th anniversary a copy will be available at Ashton Rare Books for £2,250.
Finally, Butler Rare Books will show the earliest ‘Book of the Dead’ currently in private hands. All other pieces from this manuscript are now housed in museums. It is a large piece of Egyptian papyrus scroll from around 1,500 BCE with hieroglyphics and paintings of Anubis and Horus supervising the weighing of the heart against the figure of Maat.
The fair’s charity partner for 2026 is the Senate House Library and some of the library’s huge archive of materials relating to the theme of revolution in all its forms—from Civil War to the Suffragettes will be on view during Firsts.
Dame Mary Beard, an Honorary Graduate and supporter of Senate House Library, says: “Revolutionary works on paper don’t just recount history—they create it. They show the courage of writers who reshaped ideas and overturned conventions, while imagining better futures. Firsts London celebrates these extraordinary treasures. It gives everyone—not only scholars—a chance to thrill to the dangerous power of words that changed the world.”
Journal18, Spring 2026 — Revolutions

Benjamin West, American Commissioners of the Preliminary Peace Negotiations with Great Britain, 1783–1820, oil on canvas, 72 × 92 cm (Winterthur Museum, Garden & Library).
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The latest issue from J18:
Journal18, Issue #21 (Spring 2026) — Revolutions
Issue edited by Wendy Bellion and Kristel Smentek
Published in alignment with the 250th anniversary of the United States Declaration of Independence, the three articles and four shorter re-presentations explore the material and visual cultures of this and subsequent eighteenth-century Atlantic revolutions: the French Revolution (1789–99), the Haitian Revolution (1791–1804), the United Irishmen’s Rebellion (1798), and the Latin American Wars of Independence (1808–26).
a r t i c l e s
Emily C. Casey — Revolution’s Ends: American War, Patriotism, and Culture in a Dilating Eighteenth Century
Matthew Gin — The Revolution’s Sanctuary: Designing the La Réole Temple of Reason, Year II
Monica Anke Hahn — Three-Fingered Jack: Staging Resistance in the Toy Theater
r e – p r e s e n t a t i o n s
Zara Anishanslin — Finding William Lee: A Black Founder in Early American Portraiture
Daniella Berman — Contingent Truths of the French Revolution: Representing the Abolition of Slavery of 1794
Firelei Báez in conversation with J. Cabelle Ahn — ‘My interventions project back what has been erased’
Thomas Crow — Jacques-Louis David at the Louvre with Keith Michael Baker, Jean-Paul Marat: Prophet of Terror: A Review
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Reflections on a Decade of Journal18
Virtual Event in the HECAA Great Conversations Series
7 May 2026, 9.30am PDT / 12.30pm EDT / 5.30pm BST
Join the Journal18 editorial team for a reflection on the creation and aims of J18 and how it has developed over time, as well as an open-ended discussion about future possibilities. We are excited to come together for conversation about a decade of J18 and to look ahead. Registration is available here.
ASECS 2026 Prize Winners
Exemplary work in art history as recognized by this year’s recently announced ASECS awards:
Gottschalk Prize
Mei Mei Rado, The Empire’s New Cloth: Cross-Cultural Textiles at the Qing Court (Yale UP, 2025).
Dan Edelstein, The Revolution to Come: A History of an Idea from Thucydides to Lenin (Princeton UP, 2025).
For an outstanding historical or critical study
Chair, Amelia Rauser, with Logan Connors and Rachel Carnel
This year the prize is split between two very different, yet equally impressive and important books.
Mei-Mei Rado’s The Empire’s New Cloth dazzles with its deep research into textiles and their cross-cultural uses in both Asia and Europe, demonstrating mastery of different languages, cultures, and archives in both China and France, as well as the technical aspects of silk manufacture and tapestry weaving. She rewrites the received understanding of Orientalism, arguing instead that chinoiserie is a shared, fluid, global style “floating back and forth between China and Europe, evoking in each place something foreign and exotic while also adapting to local cultural desires and expectations.” Rado synthesizes impressive archival research with close readings of visual and literary sources, situating material practices within broader debates about race, labor, and sovereignty. The book’s argument reframes familiar narratives of empire by foregrounding material practices that linked plantation economies, powerful empires, artisanal production, and elite display. The result is a study that speaks across disciplines while remaining focused on such a diverse and unique corpus.
Dan Edelstein’s The Revolution to Come is a tour de force across time and space. Its central insight is that revolutions are conceptual, not sociological, events—thus, it is also a potent defense of the history of ideas. By mapping the circulation of ideas about sovereignty, rights, and regeneration, he shows how Enlightenment thinkers created a horizon of anticipation that reoriented political time. The book situates canonical figures alongside lesser-known writers to reveal the broader discursive field in which revolutionary futures were articulated. The book is a timely reminder of the limits of political moderation as well as a caution against jumping at every revolutionary call. It is breathtaking in its temporal and geographic scope while all the while grounding the fundamental traits of modern revolution in the eighteenth century. Most important are his powerful concluding observations about how a regime shifts seamlessly from democracy to dictatorship. He ends the book with a prescient warning: “Our biggest fear should be that no one even notices the revolution to come.”
Together, these two books stand up for the importance of ideas and proclaim the eighteenth century’s enduring centrality in our understanding of modernity, even as they remind us of the globally interconnected nature of our period. They also represent research excellence of two very different types: archival understanding and close study of material objects on the one hand; and synthetic mastery of a vast corpus of texts and ideas on the other. Between them, they truly represent the best of our field.
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James Clifford Prize
Oliver Wunsch, “The Aesthetic Redemption of the Black Body in Eighteenth-Century France,” Art History 48.1 (February 2025): 14–44.
For an outstanding article
Chair, Masano Yamashito, with Douglas Fordham and Terry Robinson
In his essay, Oliver Wunsch adeptly demonstrates “how the differing goals of artists and philosophers yielded divergent forms of engagement with Blackness.” Wunsch argues that the aesthetic aims of painters, focused on producing ‘visual pleasure’, introduce a disjuncture between a social discourse that would at times marginalize or demean Black subjects and the formal qualities involved in capturing Blackness. Wunsch calls this phenomenon the ‘aesthetic redemption’ of the Black body. Wunsch wonderfully captures of the uniqueness of painting as a discursive field. The article, which complicates “the dichotomy of artistic humanisation and stereotypical objectification” in curatorial assessments of eighteenth-century portraits of Black subjects, is valuable (essential?) reading for anyone interested in visual art, aesthetic theory, natural philosophy, historiography, and exhibition curation.
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Annibel Jenkins Prize
Janis Tomlinson, Goya: A Portrait of the Artist (Princeton UP, 2020).
Awarded every other year for an outstanding book-length biography
Chair, David Alff, with Rebecca Haidt and Robert Paulett
This rigorous account of a landmark visual artist impressed the committee with its ability to immerse readers in the politics, patronage, and courtly intrigue of eighteenth- and nineteenth-century Spain. We especially appreciated Tomlinson’s skill in recovering Goya as a professional painter rather than as a Byronic hero or clandestine revolutionary, as he is sometimes sketched. The resulting portrait raises complex questions of career ambition, artistic expression, and moral complicity that remain evergreen today.
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Women’s Caucus, Catharine Macaulay Prize
Faith Barringer, “The Delineated Breast: Race and the Maternal Body in French Eighteenth-Century Portraiture.”
Graduate Student Paper Prize
Committee: Jacob Myers, Natasha Shoory, Fauve Vandenberghe
Faith Barringer examines the visualization of whiteness in French depictions of breastfeeding women to understand racial stereotypes surrounding motherhood in the eighteenth century. The essay argues that French art rarely depicted Blackness or French colonial realities directly, but instead reinforced racial categories by idealizing white motherhood and marginalizing Black women’s maternal roles. Through meticulous analysis of portraits of breastfeeding women, Barringer reveals how visual representations contributed to stereotypes about motherhood and racial identity, excluding Black women from the ideal of nurturing maternal care. The committee found the paper to be exceptionally well-written and compelling, with a particularly strong analysis of the construction of whiteness in French art and an innovative contribution to current debates about gender and colonialism.
Conference | A History of Textile Cleanliness
From ArtHist.net, with registration available at the University of Bern:
A History of Textile Cleanliness: Washing and Perfuming Fabrics
from the Medieval to the Modern Period
University of Bern / Abegg-Stiftung, Riggisberg, 27–29 May 2026
Organized by Moïra Dato and Érika Wicky
w e d n e s d a y , 2 7 m a y
University of Bern, Hauptgebaüde, Kuppelraum
13.00 Arrival and coffee
13.30 Introduction by Moïra Dato and Érika Wicky
14.15 Panel 1 | Cultural and Social Attitudes to Cleaning and Textile Care
Moderation: Torsten Korte (Universität Bern)
• Isabella Campagnol (Istituto Marangoni) — Doing the Laundry in 18th-Century Venice: Washing in a City on Water, but without Water
• Marie Charvet (Nantes Université) — Whiteness vs Preservation: Laundresses and Housewives in 19th-Century Urban France Public Washhouses
15.30 Coffee Break
16.00 Panel 2 | The Scent of Cleanliness
Moderation: Érika Wicky
• Océane Fontaine Cioffi (Université de Tours) — The Scent of Clean: Perfuming Linen between Health, Sensuality, and Material Care in 16th-Century Europe
• Pauline Devriese (Universiteit Gent/Modemuseum Hasselt) — The Scent of Dress: Tracing the Separation of Scent and Dress in Daily Hygiene and Health Practices from the 16th to 18th Centuries in Western Europe
• Lucille Lefrang (Université Grenoble Alpes) and Olivier David (Institut Lavoisier/Paris Saclay) — The Contemporary ‘Toxic’ Smell of Clean: The Example of Galaxolide
t h u r s d a y , 2 8 m a y
Abegg-Stiftung, Riggisberg
10.00 Panel 3 | Techniques and Practices of Textile Cleaning
Moderation: Jean-Alexandre Perras (Sorbonne Université / Cellf)
• Vendy Hoppe (University of Manchester/The Delmas Foundation) — Too Precious to Wash? The Care and Cleaning of Velvets in Early Modern Europe
• Audrey Colonel-Coquet (Université Grenoble-Alpes/LARHRA) — The Cleanliness of Gloves in the 19th Century: From Home Cleaning to Washable Gloves
• Eloïse Richard (Université de Genève) — Behind the White Coat: Cleaning and Sterilizing Hospital Textiles in the Early 20th Century
12.00 Lunch
13.30 Visit of the conservation workshop and storage of the Abegg-Stiftung
14.30 Panel 4 | Cleaning in Textile Conservation
Moderation: Regula Schorta (Abegg-Stiftung)
• Bettina Niekamp (Abegg-Stiftung) — Textile Cleanliness: Some Case Studies of Conservation/Restoration Treatments of Soiled Linen Damasks, Burial Textiles, Tapestries, and Liturgical Textiles
• Johanna Nilsson (Göteborg University), Jan Pettersson (Göteborg University), and Karin Tetteris (Armémuseum) — Traces of Environment and Humans: Interdisciplinary Studies of Dirt on Historical Textiles
• Anna Robinson (University of Lincoln) — In the Usual Fashion: Learning from and Deciphering 19th-Century Laundering Instructions
16.15 Coffee break
16.30 Visit of the permanent and temporary exhibition of the Abegg-Stiftung
f r i d a y , 2 9 m a y
University of Bern, Hauptgebaüde, Kuppelraum
9,00 Panel 5 | The Actors and Knowledge of Cleaning
Moderation: Raphaël Morera (CNRS/EHESS)
• Olga Arenga (Università degli Studi di Roma Tor Vergata) — From Soap to Scent: Garment Care and Daily Labor in the Barberini Archive
• Sara van Dijk (Rijksmuseum) and Danielle van den Heuvel (Universiteit Utrecht) — White and Bright: Washing Linens in the Dutch Republic
• Santosh Kumar Rai (University of Delhi) — From Flowers to Chemicals: Textile Cleanliness and Changes in the Handloom Industry of Colonial North India
• Monica Klasing Chen (Universität Heidelberg) — Virtue or Science: Washing and Caring for Textiles in Early-Modern and Modern China
11.00 Coffee break
11.30 Panel 6 | Religious Rituals and Practices of Cleanliness
Moderation: Corinne Mühlemann (Universität Bern)
• Juliette Calvarin (Humbold-Universität zu Berlin) — ‘Lynin cloth of witlé coloure’: Veronica’s Veil, Linen Vestments, and the Laundress
• Patricia Blessing (Stanford University) — Textile Cleanliness in Islamic Law: From Hadith to Ottoman Fatwas
12.30 Lunch
14.00 Panel 7 | Dirt and the Absence of Cleaning
Moderation: Sasha Rossman (Universität Bern)
• Sylvia Houghteling (Bryn Mawr College) — The Soil of Dyes: Ground, Water, and Scent in the Making of Early Modern South Asian Textiles
• Léon Rochard (Sorbonne-Université) — ‘The world is like this cloth, misleading and fake’: Clean, Dirty Textiles, and the Question of Representation in the 17th-Century Netherlands
• Alison Matthews David (Toronto Metropolitan University) — Offenders: Cleanliness and the Scent of Crime
• Julia Guarneri (University of Cambridge) — Dry Clean Only: Dealing with Unwashable Clothing in the 20th-Century United States
16.00 Final discussion and closing remarks
Scientific Committee
• Olivier David (Institut Lavoisier / Paris-Saclay)
• Raphaël Morera (CNRS-EHESS)
• Corinne Mühlemann (Universität Bern)
• Helen Wyld (National Museum Scotland)
Call for Papers | Textual Embodiments
From ArtHist.net:
Textual Embodiments: Remediating Meaning across the Disciplines
Link Campus University, Rome, 11–12 September 2026
Proposals due by 1 June 2026
Eighteenth-century philology, as the science of editing and interpreting texts, while evolving in compartmentalised disciplines within the modern university curricula, formalised the analysis of written and visual works according to a shared methodology. Throughout its long history, philology has gone through important changes in the understanding of each component of the hermeneutic circle: author, text and reader. All periods in which philology was formalised as a discipline—i.e. the Hellenistic period, the Renaissance, and the second half of the eighteenth-century in Göttingen—have elaborated a methodology in response to important changes in the material production and dissemination of texts. A focus on the technology of writing, the critical evaluation of the manuscript tradition, and the manufacturing of printed books and critical editions have all accompanied its evolution in response to the ground-breaking technological innovations of the time mediating culture transfer.
As we are undergoing a new technological revolution with the production and dissemination of digital texts, this conference shall focus on the question of mediality in the production and circulation of texts, artistic works, and performances from all periods. What is the role of each medium (writing, printing, digital textuality, artistic practice, embodied performance) in shaping communication strategies, literary and journalistic genres, as well as interactions and synergies with other media accompanying the written text? Which communities are involved in these exchanges? The topics proposed shall ideally contribute to a transhistorical, intermedial and interdisciplinary reflection.
Possible topics include
• the circulation of manuscript texts (including collections of poems, libri amicorum, albums, diaries, etc)
• text/image dynamics from the medieval period to the contemporary era
• genres of periodical fiction and non-fiction
• digital editions of manuscript texts
• the evolving structures of the English language in relation to specific media
• the history of reading, writing and publishing
• the mediators of culture-transfer (printers, booksellers, illustrators, colonial agents)
• serialization (of printed texts and visual narratives)
• the evolving media landscape through the lens of aesthetics—performativity in conceptual art, experimental theatre, modern dance
• literary narratives foregrounding specific media
• self-reflexive transmedial adaptation studies
Please send a 250-word abstract to Alberto Gabriele a.gabriele@unilink.it and Carlo M. Bajetta at c.bajetta@univda.it by 1 June 2026.
Call for Papers | New Research on Venetian Art
From ArtHist.net:
New Research on Venetian Art
A Study Day for Doctoral and Post-Doctoral Researchers
Online, 24 October 2026
Proposals due by 30 June 2026
The Venetian Art History Research Group (VAHRG) invites submissions for its second virtual conference, open to current PhD students and postdoctoral researchers working on any aspect of Venetian art history. The conference will take place online via Zoom on Saturday, 24 October 2026, and will be hosted by members of the VAHRG committee. We welcome proposals for short papers presenting current research on Venetian art. Presentations may be given in either English or Italian, be accompanied by a PowerPoint, and not exceed 20 minutes. Those interested in participating are invited to submit a proposal title and an abstract (maximum 200 words) to venetianahg@gmail.com by Tuesday, 30 June 2026. Please also include your current university affiliation and the contact details of your supervisor(s).
Prado Opens New 18th-C. Galleries, Highlighting Goya

From the press release from the Prado:
The Museo Nacional del Prado has unveiled a fresh look at its 18th-century collections, placing Francisco de Goya at the heart of a thoughtful and immersive re-installation on the south side of its second floor. The highlight is a near-complete presentation of the artist’s celebrated tapestry cartoons, now brought together in rooms 85 and 90–94, offering visitors a rare chance to follow nearly two decades of Goya’s early career in a single, continuous narrative.
Painted between 1775 and the mid-1790s, these works were originally designed to decorate royal residences such as El Escorial and El Pardo for the Princes of Asturias, the future Charles IV and María Luisa of Parma. Now reunited in the museum, they reveal not only Goya’s technical brilliance but also the gradual emergence of a distinctive artistic voice—one that would later redefine Spanish painting. The Prado holds 50 of the 57 cartoons he created, making this installation an exceptional opportunity to grasp the full scope of the series, especially given that several others are either lost or dispersed in different collections.
The new layout guides visitors through Goya’s evolution with clarity and intention. Early works show the strong influence of court painters like Anton Raphael Mengs and Francisco Bayeu, under whom Goya began his career in Madrid. But as the rooms unfold, so too does his independence, with later pieces hinting at the originality and psychological depth that would come to define masterpieces such as Los Caprichos and the Black Paintings. A particularly striking moment comes in the final gallery, where a direct comparison between works by Bayeu and Goya underscores just how far the younger artist had pushed beyond his teacher’s shadow.
Beyond the Goya display, the re-installation expands into a broader exploration of 18th-century art. Nearby rooms present a rich mix of painting, sculpture, and decorative arts that evoke the refined interiors of royal palaces. Works by figures such as Corrado Giaquinto, Giambattista Tiepolo, and Louis-Michel Van Loo share space with British masters like Joshua Reynolds and Thomas Gainsborough, painting a vivid picture of a cosmopolitan Europe shaped by courtly taste, classical revival, and artistic exchange. Intricate marquetry and hardstone objects, including pieces from the Royal Laboratory of Buen Retiro, further deepen the sense of material culture from the period.
The museum has also taken the opportunity to open a window into its conservation work, highlighting ongoing restoration efforts supported by Fundación Iberdrola España. Visitors can explore technical insights into how these fragile works are preserved, including a rare glimpse at an X-ray of one of Goya’s cartoons alongside a reproduction of The Blind Guitarist, the only print he created based on this series. These elements bring the creative and physical processes behind the artworks into sharper focus.
In parallel with the physical redesign, the Prado is extending the experience online with a new microsite dedicated to a set of 31 marble reliefs from the royal collections. The digital platform offers updated research, attribution, and historical context, shedding light on an ambitious 18th-century sculptural program tied to Madrid’s Royal Palace. Several of these reliefs can now be seen in the newly arranged galleries, reinforcing the connection between scholarship, display, and public engagement. Altogether, the Prado’s latest re-installation is more than a simple reshuffling of works—it is a carefully crafted narrative that brings visitors closer to the artistic, cultural, and political currents of the 18th century, with Goya’s early genius shining at its center.

New Book | Turning Away: The Poetics of an Ancient Gesture
Saltzman’s wide range of sources include Rousseau and Goya. From The University of Chicago Press:
Benjamin Saltzman, Turning Away: The Poetics of an Ancient Gesture (Chicago: The University of Chicago Press, 2026), 304 pages, ISBN: 978-0226847214 (cloth), $115 / ISBN: 978-0226847221 (paper), $30.
A sweeping account of how we are at our most human when we turn away from the pains of the world.
Why do we look away from the suffering of others? Why do we cover our faces in shame? Why do we lower our heads in grief? Few gestures are as universal as the averted gaze. Fewer still are as ambivalent and inscrutable. In this incisive study, Benjamin A. Saltzman reveals how the kaleidoscopic appearance of these gestures in art, poetry, and philosophy has turned them into an essential language for our uncomfortable engagements with the world, challenging us to reflect on the ways we fundamentally relate to others. Into the horizon of contemporary discourse, Turning Away sets out from five influential scenes in which figures avert their gaze: Timanthes’s Sacrifice of Iphigenia, Plato’s Republic, Augustine’s Confessions, Christ’s Crucifixion, and the Fall and Expulsion of Adam and Eve. The gestures of aversion in these scenes refract across visual media, through philosophy and politics, into modernity and the present day, having been reimagined along the way by thinkers like Hannah Arendt, artists like Marc Chagall and Salvador Dalí, poets like Langston Hughes, and many others. Saltzman offers a timely critique of the privilege of turning away and of the too-easy condemnation of our tendencies to do so.
Benjamin A. Saltzman is associate professor of English at the University of Chicago, where he coedits the journal Modern Philology. Saltzman is the author of Bonds of Secrecy: Law, Spirituality, and the Literature of Concealment in Early Medieval England and the coeditor of Thinking of the Medieval: Midcentury Intellectuals and the Middle Ages.
c o n t e n t s
Prologue
1 Parodos
2 Ambivalence
3 Sensation
4 Darkness
5 Retroversion
Exodos
Gratitude
Notes
Bibliography
List of Illustrations
Index
New Book | Anne Vallayer-Coster
From Lund Humphries and The Getty:
Kelsey Brosnan, Anne Vallayer-Coster (London: Lund Humphries Publishers, 2026), 152 pages, ISBN: 978-1848226852, £35 / $45.
Anne Vallayer-Coster (1744–1818) was one of just four female academicians admitted to the French Royal Academy of Painting and Sculpture in the late 18th century. She made her debut at the Paris Salon only a year after joining the academy with her outstanding still-lifes. Later, she secured Queen Marie Antoinette as a patron. This book, the first English-language publication in over 20 years dedicated to this artist, provides a fresh, feminist re-evaluation of her biography and artistic context. Exploring the wide range of objects, materials and textures which the artist depicted—from food and flowers to guns and game—this study offers a new, synaesthetic framework for experiencing the visceral qualities of Vallayer-Coster’s still-life paintings as they were understood in her own time.
Kelsey Brosnan is a writer and art historian specialising in 18th- and 19th-century French paintings, works on paper, and decorative arts. She is Visiting Assistant Professor in the History of Art and Design Department at Pratt Institute, New York and also works as a writer and cataloguer for Christie’s, New York.
c o n t e n t s
Acknowledgements
Introduction
1 Vallayer-Coster, Académicienne / Citoyenne
2 Allegories
3 Food
4 The Hunt
5 Shells
6 Flowers
Conclusion
Appendix: Vallayer-Coster at the Salon, 1771–1817
Notes
Bibliography
Index
New Book | Diplomatic Reception Rooms at the U.S. Department of State
From: Rizzoli:
Virginia Hart, ed., Views of America: The Diplomatic Reception Rooms at the U.S. Department of State (New York: Rizzoli Electa, 2026), 240 pages, ISBN: 978-0847876532, $65. With contributions by Bri Brophy, Laaren Brown, and Mark Alan Hewitt. Principal photography by Durston Saylor and Bruce White.
A book to honor the 250th anniversary of America, uncovering the history of the United States through works of art dating from America’s revolutionary period, from the collection of the Diplomatic Reception Rooms at the US Department of State.
Published as a follow-up to Rizzoli’s America’s Collection, with a new array of objects and original scholarship, this book celebrates the unparalleled collection of the Diplomatic Reception Rooms, one of America’s most astonishing yet little-known treasures, located in the US Department of State’s Harry S. Truman Building in Washington, DC, now in a more accessible price and format. The collection is home to more than 5,000 fine and decorative art objects, mostly from 1740 to 1840, which tell stories from the nation’s founding era and formative decades.
This survey of 100 key works brims with historical provenances: porcelain from the personal collection of George Washington, silverwork by Paul Revere, side chairs that descended through the family of Francis Scott Key, and the tambour writing table upon which the Treaty of Paris was signed and is still used for signing of diplomatic papers today. The book showcases the important paintings by John Singleton Copley, Gilbert Stuart, Thomas Moran, Childe Hassam, and others, as well as examples of fine furniture and porcelain. The collection reflects the craftsmanship and spirit of eighteenth- and early nineteenth-century America and forms a vital link between the past and today’s endeavors to represent the American character through the art of diplomacy.
Virginia B. Hart is director and curator of the Diplomatic Reception Rooms, and Bri Brophy is deputy chief curator. Laaren Brown is a writer and editor for art and natural history topics. Mark Alan Hewitt is an architect and architectural historian.



















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