Current Issue of ‘Eighteenth-Century Studies’
Selections from Eighteenth-Century Studies 43 (Summer 2010):
Stacey Sloboda, “Displaying Materials: Porcelain and Natural History in the Duchess of Portland’s Museum,” pp. 455-72.
Abstract: Porcelain in eighteenth-century aristocratic collections was associated with both the curious and the foreign. The Duchess of Portland’s Museum contained large amounts of porcelain along with thousands of natural history specimens. The material and geographic plurality of the collection mirrored its totalizing claims to have a comprehensive display of the world’s natural and artificial materials. This essay explores the relationship between porcelain and natural history, arguing that Portland’s collection attempted to bridge conceptual distinctions between science and art in the eighteenth century, and that this project was particularly important to making sense of eighteenth-century female collecting practices and their sociable display.
Dorothy Johnson, “Review Article — The Matter of Sculpture,” pp. 505-08.
- Erika Naginski, Sculpture and Enlightenment (Los Angeles: Getty Research Institute, 2009).
- Martina Droth and Penelope Curtis, eds., Taking Shape: Finding Sculpture in the Decorative Arts (Leeds and Los Angeles: Henry Moore Institute and the J. Paul Getty Museum, 2008-09).
- Anne Betty Weinshenker, A God or a Bench: Sculpture as a Problematic Art during the Ancien Régime (Bern: Peter Lang, 2008).
Clorinda Donato, “Review Article — Fresh Legacies: Giovanni Battista Piranesi’s Enduring Style and Grand Tour Appeal,” 508-11.
- Mario Vevilacqua, Fabio Barry, and Heather Hyde Minor, eds., The Serpent and the Stylus: Essays on G. B. Piranesi (Ann Arbor: University of Michigan Press, 2006).
- Andelka Galic and Vladimir Malekovic, eds. Piranesi: Vasi candelabri cippi sarcofagi tripodi lucerne ed ornamenti antichi, exhibition catalogue, translated into Italian by William Klinger (Zagreb: Museum of Arts and Crafts, 2007).
A Visual Puzzle at the Yale Center for British Art
Notice of the exhibition appeared here in April, but now that the show is actually on view, here it is again:
Seeing Double: Portraits, Copies, and Exhibitions in 1820s London
Yale Center for British Art, New Haven, 24 June — 19 September 2010
John Scarlett Davis, "Interior of the British Institution Gallery" detail 1829 (YCBA)
In 1829, the young artist John Scarlett Davis sought to make a splash on the London art scene with his painting, Interior of the British Institution. An image of an art exhibition, the painting is also an elaborate visual puzzle. Seeing Double: Portraits, Copies and Exhibitions in 1820s London invites viewers to decode this puzzle and in the process explore the relationship between display and replication in early nineteenth-century Britain. Davis’s painting has long been recognized as a valuable record of an early nineteenth-century exhibition venue, representing in miniature works by Sir Joshua Reynolds and Thomas Gainsborough, among others. What has less often been recognized is that the figures who chat amiably or stoop to examine canvases are themselves replicas of paintings: Davis copied the figures from pre-existing portraits, notably by Sir Thomas Lawrence. By examining this practice, the exhibition reveals hitherto unknown connections between works in the Center’s collection. Seeing Double has been organized by the Yale Center for British Art and curated by Catherine Roach, Postdoctoral Associate, Department of the History of Art, Cornell University. The organizing curator at the Center is Cassandra Albinson, Associate Curator of Paintings and Sculpture.
Politics in the Garden
Political Gardening: Jacobites and Tories, Whigs and True Whigs, ca. 1700-1760
Wentworth Castle, Barnsley, South Yorkshire, 6-8 August 2010
The conference will explore political gardening in Britain, ca. 1700–1760, in order to identify the symbolism and meanings embedded within the country estates of Tory and Jacobite landowners. The papers will discuss whether these landscapes can be distinguished from those of Whig politicians, and whether Tories and Jacobites created an iconography of dissent from the Whig governments that managed Britain on behalf of the Hanoverian Kings George I and George II. The conference will be held at Wentworth Castle in the Palladian wing of the mansion (built 1760–65), and delegates will enjoy meals within the Baroque wing (built 1709–14). Wentworth Castle is also the home of the Northern College for Residential Adult Education which will provide delegates with catering and modern student accommodation.
The Wentworth Castle estate was created by Thomas Wentworth, first Earl of Strafford (second creation) between 1708 and 1739, and further developed by his son William, the second Earl. Although a Tory minister in Queen Anne’s government, Thomas Wentworth became a Jacobite conspirator after the accession of George I in 1714 and employed the Jacobite architect, James Gibbs, to design the interior of his new mansion. It is also likely that Gibbs designed garden buildings for Wentworth Castle. Booking information is available here» (more…)
Portrait of General Wolfe Tops $600,000 at Bonhams
As reported at Art Daily:
Circle of Joseph Highmore (?), "Portrait of General James Wolfe" Photo: Bonhams
Bonhams Old Master Paintings auction (7 July 2010) made £3,403,920 with a packed saleroom and numerous telephone bidders. The highlight was the sale of the last privately owned portrait of General James Wolfe – the soldier from Kent who conquered Canada – which sold to a Canadian buyer for £400,800.
Wolfe led the British assault on Quebec in 1759, with the resulting Battle of the Plains of Abraham (or the Battle of Quebec) being one of the most celebrated events in British military history and a pivotal victory in the Seven Years’ War. He was mortally wounded during the battle and died on the field; yet his victory earned him posthumous fame and it proved to be a deciding moment in the conflict between France and Britain. The portrait is attributed to the Circle of Joseph Highmore.
The top selling lot of the day was ‘A still life of tulips, a crown imperial, snowdrops, lilies, irises, roses and other flowers in a glass vase with a lizard, butterflies, a dragonfly and other insects’. Painted on copper by Jan van Kessel the Elder, it sold for £804,000. . . .
Call for Proposals: CAA in Los Angeles in 2012
College Art Association Annual Conference
Los Angeles, 22-25 February 2010
Panel Proposals due by 1 September 2010
CAA invites individual members to propose a session for the 2012 Annual Conference, taking place February 22–25, 2012, in Los Angeles. Proposals should cover the breadth of current thought and research in art, art and architectural history, theory and criticism, pedagogical issues, museum and curatorial practice, conservation, and developments in technology. The Los Angeles conference closes CAA’s Centennial year, which will begin at the New York meeting in February 2011.
The Annual Conference Committee welcomes session proposals that include the work of established artists and scholars, along with that of younger scholars, emerging and midcareer artists, and graduate students. Particularly welcome are those sessions that highlight interdisciplinary work. Artists are especially encouraged to propose sessions appropriate to dialogue and information exchange relevant to artists.
Proposals are only accepted online; paper forms and postal mailings are not required. To set up an account in CAA’s content management system, please email Lauren Stark, CAA manager of programs, who will register your email address and provide you with a password. For full details on the submission process, please visit Chair a Conference Session. Deadline: September 1, 2010; no late applications are accepted.
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