Colonial Williamsburg Acquires Revolutionary War Portrait

Posted in museums by Editor on November 12, 2018

Press release (8 November 2018) from the Colonial Williamsburg Foundation, via Art Daily.

Unidentified artist, Portrait of Major Patrick Campbell, 1775–76, oil on canvas (Williamsburg: Colonial Williamsburg Collections, 2018-26).

Likenesses of British officers who served in the Revolutionary War are rare. Therefore, the Colonial Williamsburg Foundation’s recent acquisition of the first bust-length, British military portrait for its collection is significant especially given the connection of this oil on canvas to events that happened nearby. The subject, Major Patrick Campbell, was a Scottish officer who served in the British lines at the Siege of Yorktown. Until the last few decades, the portrait descended through the family of Major Campbell’s sister.

“To be able to accurately depict our nation’s enduring story, especially the individuals who participated in events that happened in such close proximity to Williamsburg, is essential to our mission,” said Mitchell Reiss, president and CEO of the Colonial Williamsburg Foundation. “The exceptional portraits in our collection, such as that of Major Campbell, enable us to fulfill this duty in an authentic way.”

The portrait of Major Campbell joins Colonial Williamsburg’s important collection of militaria pertaining to the Siege and Surrender of Yorktown, which took place approximately 13 miles away. The collection includes maps such as Joseph Frederick Wallet Des Barres’s A Plan of the Posts of York and Gloucester (1782) and Major General Marquis de Lafayette’s manuscript field map used during the Virginia Campaign. Among the paintings are James Peale’s group portrait of George Washington and his generals after the Surrender and two by French artist Louis-Nicholas Van Blarenberghe after drawings from eyewitnesses to the Siege and Surrender. The collection also features objects relating to other regions where the Revolutionary War occurred.

“Our goal is to tell the whole story of the Revolution in Virginia,” said Ronald Hurst, the Foundation’s Carlisle H. Humelsine chief curator and vice president for collections, conservation and museums. “Objects such as the portrait of Patrick Campbell allow us to put faces on the players and therefore humanize these events that changed the course of American history.”

The portrait of Major Campbell was painted in Scotland by an unidentified Scottish artist in late 1775 or early 1776 after Campbell was commissioned into the 71st Regiment to see action in the Revolutionary War. (He also sat for two portraits by John Singleton Copley.) The Major is shown in the uniform of the 71st Regiment prior to receiving command of the Grenadier Company of the 2nd Battalion, at which point a second silver epaulette was added to his uniform. His military career in America was vast: he served in the New York Campaign of 1776, the Philadelphia Campaign of 1777, and sailed to Savannah in late 1778 where he fought in the Campaign of 1779. In December of that year, he was captured aboard a sloop sailing to New York and taken as a prisoner of war to Newport, Rhode Island. He was exchanged back to the British for an American officer of the 2nd Virginia Regiment in 1780. On January 1, 1781, Campbell married Sarah Pearsall, a young woman from a prominent Loyalist Quaker family in New York City, with whom he fathered a son. Major Campbell survived in the British lines at Yorktown in October 1781, where he surrendered as part of the garrison of Redoubt #10, the earthwork fortification in the British defensive line protecting the town. He died in New York City in 1782 and was buried there.

The acquisition of Major Campbell’s portrait also exemplifies the collaborative efforts between two Colonial Williamsburg curators, who each brought forth their expertise in different media: Laura Pass Barry, Juli Granger curator of paintings, drawings and sculpture, and Erik Goldstein, senior curator of mechanical arts and numismatics. “It’s always a win-win situation for Colonial Williamsburg when two specialists can join forces on a project. I am fortunate to be able to rely on Erik for his expertise in military history, especially the people and events of the American Revolution,” said Barry. Added Goldstein, “And, I am appreciative for Laura’s insight into the context for which this portrait was made. Together, we’re able to better understand and therefore tell a more comprehensive story about objects like this in our collection.”

Generous donations by the Friends of Colonial Williamsburg Collections made this acquisition possible.

Exhibition | The Art of London Firearms

Posted in exhibitions by Editor on November 12, 2018

Opening next month at The Met:

The Art of London Firearms
The Met Fifth Avenue, New York, 29 January 2019 — 29 January 2020

Samuel Brunn, detail of one of a pair of flintlock pistols, with silver mountings attributed to Michael Barnett, ca. 1800 (New York: The Metropolitan Museum of Art, 1992.330.1,.2).

This exhibition will explore a fascinating and often overlooked chapter in the art of European gunmaking through a selection of important London-made firearms, dating from around 1760 through 1840, drawn exclusively from The Met collection. Many of the works have rarely, or never, been on public display. This will be the first focus exhibition in the United States in nearly fifty years to examine London firearms and will celebrate the in-depth recataloguing of this important section of the Museum’s collection.

Beginning around 1780, a small group of talented gunmakers set up workshops on the outskirts of the London city center. Their names—Durs and Joseph Egg, John and Joseph Manton, H. W. Mortimer, and Samuel Brunn, among others—are largely unknown to those outside the arms and armor field. But their contributions to the art of firearms are almost without parallel. In fierce competition with one another for lucrative commissions, fame, and prestige, they brought the flintlock gun to a level of refinement never before seen. They developed revolutionary new firearms technologies and, most importantly, a distinctly English style of firearm, wholly different from that of Continental Europe and immediately recognizable by its elegant proportions, restrained use of ornament, and precision workmanship. Indeed, they presided over what one writer of the period termed an ‘Augustine age’ of gunmaking.

Call for Essays | Terra Foundation for American Art Essay Prize

Posted in Calls for Papers, opportunities by Editor on November 12, 2018

Terra Foundation for American Art International Essay Prize
Submissions due by 15 January 2019

The Terra Foundation for American Art International Essay Prize recognizes excellent scholarship by a non-U.S. citizen working in the field of historical American art. Manuscripts should advance the understanding of American art by demonstrating new findings and original perspectives. The prize winner will be given the opportunity to work toward publication in American Art, the peer-reviewed journal copublished by the Smithsonian American Art Museum and the University of Chicago Press. The winner will receive a $1,000 cash award and a travel stipend of up to $3,500 to give a presentation in Washington, D.C., and meet with museum staff and research fellows.

Authors must be non-U.S. citizens who have achieved doctoral candidacy or completed a doctoral degree (or the equivalent), and have not previously had a manuscript accepted for publication in American Art. Essays may focus on any aspect of historical (pre-1980) American art and visual culture; however, architecture and film studies are not eligible. Essays may be submitted in any language; abstracts must be submitted in English.

Submissions for the 2019 prize must be sent to TerraEssayPrize@si.edu by January 15, 2019. For information on the prize, available in Chinese, English, French, German, Italian, and Spanish, please consult AmericanArt.si.edu/research/awards/terra.

Colloquium | Between Belief and Iconoclasm: Sacred Space in France

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

From H-ArtHist:

Entre croyance aux miracles et iconoclasme: L’espace sacré en France au XVIIIe siècle
Deutsches Forum für Kunstgeschichte / Centre allemand d’histoire de l’art, Paris, 3–4 December 2018

Ce colloque se propose d’interroger les témoignages, les expériences religieuses et les transformations esthétiques de l’espace sacré au siècle des Lumières. Dans le contexte d’un débat caractérisé par la critique de l’Église et de l’absolutisme, l’athéisme et la démystification de la religion, mais aussi par la recherche d’une réactualisation crédible du spirituel, les conceptions (syn)esthétiques de l’espace sacré revêtent une pertinence toute particulière. L’art se révèle ici à la fois matrice, sismographe et instrument agissant. Dans quelle mesure l’église du XVIIIe siècle doit-elle être appréhendée non seulement comme un lieu sacré, mais aussi comme un endroit fréquenté par les croyants et les touristes, par les clercs et les artistes, par la noblesse et la bourgeoisie, par les hommes et les femmes, et vécu tout autant comme espace social qu’esthétique ou émotionnel ? Comment expliquer la sécularisation fondamentale, le décloisonnement puis la réactualisation du culte qui s’est opérée dans l’espace sacré entre la mort de Louis XIV et la Révolution française ? Ces questions, au cœur de cette rencontre, seront abordées dans une perspective intermédiale et transdisciplinaire.

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

14.45  Begrüßung, Thomas Kirchner (Direktor des DFK Paris)

15.00  Introduction, Markus Castor (DFK Paris), Martin Schieder (Universität Leipzig), und Wiebke Windorf (Heinrich-Heine-Universität Düsseldorf)

15.15  1. L’espace sacré comme lieu public
Moderation: Markus Castor (DFK Paris)
• Guillaume Kazerouni (Musée des Beaux-Arts de Rennes), Les aléas des dispersions révolutionnaires: Questions autour du décor de la salle du chapitre du prieuré Saint-Martin-des-Champs
• Martin Schieder (Universität Leipzig), «Un salon continuellement ouvert aux étrangers & aux curieux»: La mise en scène de la peinture religieuse au XVIIIe siècle
• Hannah Williams (Queen Mary University of London), Du salon à l’autel: Peindre les saints dans le Paris des Lumières
• Émilie Chedeville (Université Paris 1 Panthéon-Sorbonne), Partage de la Grâce et esthétique de la communion: Les embellissements de Saint-Jean-en-Grève, paroisse janséniste du XVIIIe siècle

M A R D I ,  4  D É C E M B R E  2 0 1 8

9.30  2. Sculpture et espace sacré
Moderation: Wiebke Windorf (Heinrich-Heine-Universität Düsseldorf)
• Hans Körner (Heinrich-Heine-Universität Düsseldorf), Edme Bouchardons Silbermadonna für Saint-Sulpice: Materialwert, Kunstwert und religiöses Prestige
• Étienne Jollet (Université Paris 1 Panthéon-Sorbonne), Les limites du sacré: Des colosses dans et devant Notre-Dame de Paris au XVIIIe siècle
• Julie Laval (Heinrich-Heine-Universität Düsseldorf), Die Evidenz des Sakralen: Die Glorie als Vermittlungsmöglichkeit von Transzendenz im französischen 18. Jahrhundert
• Cécilie Champy-Vinas (Petit Palais, Paris), Perpétuer la mémoire d’un individu exemplaire: Le tombeau de Mignard et le monument au cardinal de Fleury par Jean-Baptiste Lemoyne

12.45  Pause déjeuner

14.15  3. Transformations de l’espace sacré
Moderation: Martin Schieder (Universität Leipzig)
• Wiebke Windorf (Heinrich-Heine-Universität Düsseldorf), Zwischen Modernisierung und Reaktualisierung des Kultes im 18. Jahrhundert: Das Martyrium des Hl. Savinianus und der Kardinal de Luynes in Sens
• Markus Castor (DFK Paris), «Grand goût» pour le gothique – illuminer Saint-Germain-l’Auxerrois
• Emmanuel Lacam (École nationale des chartes; Université de Picardie-Jules Verne, Amiens), Les mutations d’un espace sacré en Révolution: l’église Saint-Eustache à Paris, 1789–1804
• Sébastien Bontemps (Université de Bourgogne, Dijon), Vers une révolution des espaces? De l’Église catholique au temple de la Raison
• Philipp Stenzig (Heinrich-Heine-Universität Düsseldorf), Le pèlerinage de Port-Royal – créer un espace sacré virtuel

18.00  Conclusion

Konzept und Organisation
Markus A. Castor (DFK Paris), mcastor@dfk-paris.org
Martin Schieder (Universität Leipzig), schieder@uni-leipzig.de
Wiebke Windorf (Heinrich-Heine-Universität Düsseldorf), windorf@phil.hhu.de

Call for Papers | MAHS 2019, Cincinnati

Posted in Calls for Papers by Editor on November 11, 2018

Cincinnati Art Museum, with Pinocchio (Emotional) by Jim Dine.

◊  ◊  ◊  ◊  ◊

From the MAHS Fall 2018 Newsletter:

46th Annual Conference of the Midwest Art History Society
Cincinnati Art Museum and Taft Museum of Art, 21–23 March 2019

Proposals due by 14 December 2018

The Midwest Art History Society (MAHS) will hold its 46th Annual Conference in Cincinnati, Ohio 21–23 March 2019, with sessions hosted by the Cincinnati Art Museum (CAM) and Taft Museum of Art and with a reception hosted by the Contemporary Arts Center.

This year’s keynote lecture will be given by Dr. S. Hollis Clayson, Bergen Evans Professor in the Humanities at Northwestern University, in association with CAM’s exhibition Paris 1900: City of Entertainment. Special behind-the-scenes programs at partner museums will make this conference a particularly memorable experience, including tours of the newly renovated Union Terminal, an iconic Art Deco train station now home to the Cincinnati Museum Center.

The following is a selection of sessions potentially relevant for eighteenth-century studies; please see the newsletter for the full listing.

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Does Size Matter?
Chair: Marjorie Wieseman (Paul J. and Edith Ingalls Vignos Curator of European Paintings and Sculpture, 1500-1800, Cleveland Museum of Art), bwieseman@clevelandart.org
This session invites papers that consider issues of scale in a work of art. How does the relative size of a work of art impact our understanding of it and our response to it? What are the artist’s considerations in determining the scale of a particular work? Proposals from all eras, media and cultures will be considered.

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In a New Context: The Movement and Reinterpretation of South and Southeast Asian Art
Chair: Kimberly Masteller (Jeanne McCray Beals Curator of South and Southeast Asian Art, The Nelson-Atkins Museum of Art), kmasteller@nelson-atkins.org
This session examines shifting functions and meanings of works of art and architecture from South and Southeast Asia. Papers may address the re-contextualizing of works of art and architecture in many ways, such as explorations of works that have shifted collections or are now in museum settings, to studies of architectural structures that were repurposed to serve di erent communities and functions. Paper proposals from students as well as from junior and senior scholars and museum professionals are encouraged.

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It’s All Academic: Reassessing Academies and Their Place in the Ecology of Art
Chair: Cheryl Snay (Curator of European Art, Snite Museum, University of Notre Dame), csnay@nd.edu
This session invites papers that investigate historical, pedagogical or theoretical aspects of art academies from their inception in the Renaissance through today in an effort to further the discussion on their (continued?) relevance and role in forming artists and producing art.

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Revising Architectural History in the Age of Globalization
Chair: Edson Cabalfin (Associate Professor, University of Cincinnati), edson.cabalfin@uc.edu
This panel explores new approaches in the historiography of architecture particularly in the age of globalization and neoliberalization. The panel seeks papers that address challenges and issues brought about by recent discussions on the engagement of local and regional histories with global architecture histories especially within the context of transnational flows and exchanges. Some possible questions that can be addressed include: How are local and regional architectural histories positioned in relation to larger global stories? What are possible new approaches in addressing diversity in architectural histories? How do you incorporate interdisciplinary and transnational approaches in architecture histories? How do you teach local architecture histories in relation to larger global architectural history surveys?

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Black Visual Networks: African American and Diasporic Art
Chair: Theresa Leininger-Miller (Professor of Art History, University of Cincinnati), theresa.leininger@uc.edu
Linking to ‘Spaces of Exchange’, this session concerns art by people of African descent that expresses connectivity. Papers might examine collaboration between artists, patronage, or work inspired by specific sites, concepts, visual images, or people. In what ways are artists of the African diaspora connected to each other or places outside the spaces where they live? How does that art serve/speak to varied communities? Topics from all periods are welcome.

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Textiles and Trade
Chair: Erica Warren (Assistant Curator of Textiles, Art Institute of Chicago), ewarren2@artic.edu
This session invites papers from all areas and periods of art history and will consider textiles as objects of global trade. Presentations might examine textiles and their role in transmitting information about design and technology between cultures or the way in which imported textiles informed domestic production.

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Europe in the 17th and 18th Centuries
Chair: Emily Everhart (Assistant Professor of Art History, Art Academy of Cincinnati), eeverhart@artacademy.edu
This session seeks papers on any topic in the history of art, architecture, and visual culture in seventeenth- or eighteenth-century Europe. Papers addressing intersections and exchanges between European and global art also are welcome.

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Decorative Arts and Design
Chair: Amy Dehan (Curator of Decorative Arts and Design, Cincinnati Art Museum), amy.dehan@cincyart.org
This session invites papers on topics of American or European decorative arts and design ranging from the eighteenth century to the present.

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East Asian Art
Chair: Miki Hirayama (Associate Professor, University of Cincinnati), miki.hirayama@uc.edu
This session welcomes papers on East Asian art from any time period in any medium.

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Gender and Identity in Art and Art History
Chair: Cynthia Amneus (Chief Curator/Curator of Fashion Arts and Textiles,
Cincinnati Art Museum), cynthia.amneus@cincyart.org
Gender and identity issues are top-of-mind today but certainly relate to art of the past as well. This session invites new research that explores gender and identity in a historical context or as these concepts relate to present social discussions. Papers addressing LGBTQ concerns including dress, male/female equality, sexuality or related topics are welcome.

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New Research on Midwestern Collections
Chair: Tamera Lenz Muente (Associate Curator, Taft Museum of Art), tmuente@taftmuseum.org
This session will feature research that sheds new light on objects in Midwestern public or private collections. Papers may focus on specific works in a collection, examine a collection in its entirety, or explore the collecting habits or history of an institution or individual.

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Prints and Drawings
Chair: Kristin Spangenberg (Curator of Prints, Cincinnati Art Museum), kristin.spangenberg@cincyart.org
This session invites new research or perspectives on American and European prints and drawings from the fifteenth century to the present. A focus on Midwestern artists, collectors, or collections is welcome.

New Book | Early Modern Media and the News in Europe

Posted in books by Editor on November 10, 2018

From Brill:

Joop W. Koopmans, Early Modern Media and the News in Europe: Perspectives from the Dutch Angle (Leiden: Brill, 2018), 262 pages, ISBN: 978-9004379329, €140 / $169.

During the seventeenth and eighteenth centuries, the Dutch Republic was one of the main centers of media in Europe. These media included newspapers, pamphlets, news digests, and engravings. Early Modern Media and the News in Europe brings together fifteen articles dealing with this early news industry in relation to politics and society, written by Joop W. Koopmans in recent decades. They demonstrate the important Dutch position within early modern news networks in Europe. Moreover, they address a variety of related themes, such as the supply of news during wars and disasters, the speed of early modern news reports, the layout of early newspapers and the news value of their advertisements, and censorship of books and news media.

Joop W. Koopmans is Senior Lecturer of Early Modern History at the University of Groningen. He has published on early modern Dutch history in a European context, including the Historical Dictionary of the Netherlands.



Storehouses of News: The Meaning of Early Modern News Periodicals in Western Europe
Restricted Access: The Presentation of News in the Europische Mercurius, 1690–1756
The Glorification of Three Prussian Sovereigns in the Europische Mercurius, 1690–1756
Politics in Title Prints: Examples from the Dutch News Book Europische Mercurius, 1690–1756
Publishers, Editors, and Artists in the Marketing of News in the Dutch Republic, ca. 1700: The Case of Jan Goeree and the Europische Mercurius
Research in Digitized Early Modern Dutch Newspapers and the News Value of Advertisements
Anything but Marginal: The Politics of Paper Use and Layout in Early Modern Dutch Newspapers
A Sense of Europe: The Making of This Continent in Early Modern Dutch News Media
Supply and Speed of Foreign News to the Netherlands during the Eighteenth Century: A Comparison of Newspapers in Haarlem and Groningen
The Early 1730s Shipworm Disaster in Dutch News Media
The Varying Lives and Layers of Mid-Eighteenth-Century News Reports: The Example of the 1748 Peace of Aix-la-Chapelle in Dutch News Media
The 1755 Lisbon Earthquake and Tsunami in Dutch News Sources: The Functioning of Early Modern News Dissemination
Wars in Early Modern News: Dutch News Media and Military Conflicts
Dutch Censorship in Relation to Foreign Contacts, 1581–1795
Spanish Tyranny and Bloody Placards: Historical Commonplaces in the Struggle between Dutch Patriots and Orangists around 1780?


Publication Grant, Historians of British Art

Posted in opportunities by Editor on November 10, 2018

HBA Publication Grant
Applications due by 15 January 2019

Each year HBA awards a grant to offset publication costs for a book manuscript or peer-reviewed journal article in the field of British art or visual culture that has been accepted for publication. To be eligible for the $600 award, applicants must be current members of HBA who can demonstrate that the HBA subvention will replace their out of pocket costs. Applications are not accepted from institutions. To apply, send a 500-word project description, publication information (correspondence from press or journal confirming commitment to publish and projected publication date), budget, and CV to Kimberly Rhodes, HBA Prize Committee Chair, krhodes@drew.edu by 15 January 2019.

Exhibition | Witnesses: Émigré Medallists in Britain

Posted in exhibitions by Editor on November 10, 2018

From the press release (18 September 2018) for the exhibition:

Witnesses: Émigré Medallists in Britain
The British Museum, London, 4 October 2018 — 7 April 2019

Curated by Philip Attwood

Danuta Solowiej, Oxford University Department of Plant Sciences Sibthorp Prize Medal, bronze, 2001 (London: The British Museum); John Roettiers, Charles II Naval Reward Medal, gold, 1665 (London: The British Museum).

The British Museum presents a new exhibition called Witnesses: Émigré Medallists in Britain, sponsored by Spink. This focused exhibition uncovers the invaluable role played by artists from abroad in the development of British medallic art. On display are medals that span six centuries, documenting significant historical moments and commemorating famous British figures. The exhibition uses objects to tell an international story, as it explores the motivations that brought artists to Britain and the ways in which they enlivened this country’s medallic landscape.

The earliest works in the exhibition are from Elizabethan England. It was the Dutch artist Steven van Herwijck who, in 1562, introduced the art of the medal, already well-established on the continent, to Britain’s urban elite. Van Herwijck’s first visit to England was of short duration, but three years later, in 1565, he returned with his wife and children. Medals have been made continuously in this country ever since.

Benedetto Pistrucci, Coronation of George IV, 1821, gold (London: The British Museum).

One of the star objects on display will be a spectacular Waterloo medal conceived by 19th-century Italian gem engraver Benedetto Pistrucci (1783–1855). The medal took 30 years to complete and bears the image of the four allied sovereigns: George, Prince Regent, Francis II of Austria, Alexander I of Russia, and King Frederick William III of Prussia.

Although the story of each medallist who arrived over the centuries is unique, for many a position at the Royal Mint was coveted and considered the ultimate goal. Pistrucci was successful in this ambition as he arrived from Italy in 1815 and became Chief Medallist at the Royal Mint. He remains a well-known medalist and coin-engraver, renowned for producing a number of famous designs during his career, most notably the George and Dragon for the sovereign.

During the 1930s a number of medallists fleeing Nazi oppression sought refuge in Britain. This was a time when few British artists engaged with the medium, and so the contributions made to medallic art by Fred Kormis, Artur Loewental, and Paul Vincze (from Germany, Austria and Hungary respectively) have a special significance. Vincze summed up the question of nationality in 1975 when he stated, “I am Hungarian. My wife is French. We are British.” This exhibition will showcase Vincze’s medals commemorating victory in 1945, the coronation of 1953, and anniversaries of the battle of Trafalgar and the resettlement of Jews in Britain. Alongside these will be Loewental’s commemorative medal of Winston Churchill, inscribed “his spirit saved Britain.” Together these objects reveal the ways in which artists from abroad identified strongly with the country to which they had come.

This display will also reveal that while their skill was undeniable, the presence of artists from abroad sometimes led to rivalry with British-born medallists. Following the restoration of Charles II in 1660, London-born Thomas Simon (c.1623–1665) found himself in direct competition with John (formerly Jan) Roettiers (1631–1703), whilst the hostility between Pistrucci and William Wyon remained in place throughout the first half of the 19th century.

Bringing the exhibition up to present times, medals conceived by artists working today will also be on display. Medals by contemporary artist Danuta Solowiej will include a commission from the University of Oxford’s Department of Plant Sciences, with a beautiful rendition of the Iris germanica. Solowiej learned the art of medal making in Poland and has now been working in London for thirty years. The exhibition also celebrates works by Asian artists Dhruva Mistry RA from India and a young silversmith from Korea, Kyosun Jung, who is currently working in London.

It is generally recognised that the story of British art before the 19th century is, to a great extent, the story of artists arriving from other countries. Witnesses: Émigré Medallists in Britain brings together a selection of objects to reveal that this also true of medallic art. Drawing on the British Museum’s rich medal collection, this exhibition celebrates the contributions made by foreign artists both past and present.

Met Names Andrea Bayer Deputy Director for Collections, Administration

Posted in museums by Editor on November 10, 2018

Press release (8 November 2018) from The Met:

Andrea Bayer (Photo courtesy of The Metropolitan Museum of Art).

Max Hollein, Director of The Metropolitan Museum of Art, announced today that Andrea Bayer has been appointed Deputy Director for Collections and Administration. In May 2018, Dr. Bayer was appointed Interim Deputy Director for Collections and Administration, continuing in her position as Jayne Wrightsman Curator in the Department of European Paintings.

“Andrea Bayer is a highly respected scholar, an imaginative exhibition curator, and an esteemed colleague at The Met,” said Hollein. “Throughout her time as Interim Deputy Director and before, she has shown exceptional leadership and great loyalty to our beloved Museum. I have been deeply impressed by her commitment and capabilities during my first few months as Director of the Museum and am excited that she has just accepted our offer to become Deputy Director.”

“As Curator in the Department of European Paintings, often working on projects that went across multiple departments, I know how rewarding it is to work alongside colleagues throughout the Museum,” said Bayer. “I am thrilled to take on this new role, one which will allow me both to support the Director and continue to collaborate with these colleagues on an institutional level.”

Since joining The Met’s Department of European Paintings in 1990 as a scholar of Italian Renaissance art, Andrea Bayer has curated groundbreaking exhibitions including Dosso Dossi, Court Painter in Renaissance Ferrara (1999); Painters of Reality: The Legacy of Leonardo and Caravaggio in Lombardy (2004); Art and Love in Renaissance Italy (2008–09); and the current exhibition Celebrating Tintoretto: Portrait Paintings and Studio Drawings, with Alison Manges Nogueira, Associate Curator in the Robert Lehman Collection. Bayer also co-curated Unfinished: Thoughts Left Visible, one of the inaugural exhibitions at The Met Breuer.

Bayer was named Curator in European Paintings in 2007 and was appointed Jayne Wrightsman Curator in 2014. She served as Interim Head of Education in 2008–09 and for six years acted as coordinating curator for the Curatorial Studies program with New York University’s Institute of Fine Arts. Bayer is also Co-Chairman of the Director’s Exhibition Committee.

In addition to authoring numerous exhibition catalogs, Bayer has written two Museum Bulletins and recently co-authored two articles for the Metropolitan Museum Journal: “Andrea del Sarto’s Borgherini Holy Family and Charity: Two Intertwined Late Works” and “An Examination of Paolo Veronese’s Portrait of Alessandro Vittoria,” both in volume 52 (2017).

Andrea Bayer studied at Barnard College and Princeton University and received her PhD from Princeton University in 1990.

Conference | HECAA Sessions at UAAC, 2018

Posted in conferences (summary) by Editor on November 10, 2018

Thanks to Christina Smylitopoulos for again chairing this year’s HECAA sessions at UAAC. Next year’s conference is scheduled for Québec City. Full program details for 2018, including abstracts and speaker information, is available here.

Universities Art Association of Canada / l’association d’art des universités du Canada
University of Waterloo, Ontario, 25–27 October 2018

F R I D A Y ,  2 6  O C T O B E R  2 0 1 8

HECAA Open Session, Part 1, 2:00–3:30
Chair | Christina Smylitopoulos (University of Guelph)
1  Sarah Carter (McGill University), Physiognomies of Genius: Competition and Friendship in Aphorisms on Man
2  Andrea Korda (University of Alberta), The Eclipse of Visual Education? Object Lessons from Pestalozzi to Mayo
3  Loren Lerner (Concordia University in Montreal), The Infant, the Mother, and the Breast in the Paintings of Marguerite Gérard

HECAA Open Session, Part 2, 4:00–5:30
Chair | Christina Smylitopoulos (University of Guelph)
1  Caroline Murphy (MIT), Sensation and Sacred History: The Museo Sacro in Eighteenth-Century Rome
2  Alena Robin (Western University), Transatlantic Perspectives of a Passion Series by Mexican Painter José de Ibarra
3  Justina Spencer (Carleton University), Sartorial Alterity and the Cartographic Impulse: Costume Illustrations in French Travel Memoirs of the Ottoman Empire