Enfilade

Conference: ‘Visual & the Verbal’ Occasioned by Barry Exhibition

Posted in conferences (to attend), exhibitions by Editor on August 31, 2010

The Visual and the Verbal in the Eighteenth Century
University of Kent, 5 November 2010

Sponsored by the Paul Mellon Centre

The conference is being organised in conjunction with the exhibition In Elysium: Prints by James Barry, co-curated by Ben Thomas and Jon Kear. The conference will conclude with a drinks reception and exhibition viewing. Attendance at the conference, reception and exhibition is free but spaces are limited to 50. Please contact Jennie Batchelor (J.E.Batchelor@kent.ac.uk) to reserve a place. Places will be allocated in order of date of application.

Programme
9:00-9:30 Registration
9:30-10:00 Jenny Uglow (Kent), ‘Hogarth and Fielding: an Irregular Alliance’
10:00-11:00 Peter de Bolla (King’s College, Cambridge), ‘The Necessity of Judgement’
11:00-11:30 Coffee/tea break
11:30-12:30 John Barrell (York), ‘War and the Moral Economy in North East Wales, 1794’
12:30-13:30 Lunch (provided for speakers only)
13:30-14:30 Harriet Guest (York), ‘The Death of James Cook and the American Crisis’
14:30-15:30 Michael Rosenthal (Warwick), ‘Describing the Colony: The British in New Holland, c. 1788-1823’
15:30-16:00 Coffee/tea break
16:00-17:00 Michael Phillips (York), ‘No. 36 Castle Street East: A Reconstruction of James Barry’s House, Painting and Printmaking Studio’
17:30 Drinks reception and viewing of the exhibition In Elysium: Prints by James Barry

North Carolina Earthenware Opens in Milwaukee

Posted in exhibitions by Editor on August 31, 2010

From the Milwaukee Art Museum:

Art in Clay: Masterworks of North Carolina Earthenware
Milwaukee Art Museum, 2 September 2010 — 17 January 2011

Old Salem Museum & Gardens, 21 March — 14 August 2011
Colonial Williamsburg, 26 September 2011 — 24 June 2012

Sugar Pot, Alamance County, North Carolina, 1790–1800. Lead-glazed earthenware. H. 10 in. Courtesy, Old Salem Museums & Gardens. Photo by Gavin Ashworth.

Slipware, sculptural bottles, faience, and creamware are all part of the rich artistic legacy of North Carolina’s first earthenware potters. During the last half of the eighteenth century, artisans of European descent introduced a variety of old-world ceramic traditions to the Carolina backcountry. From storage and cooking vessels with deeply rooted antecedents to sophisticated ornamental ware with Islamic, Asian, and European overtones, the work of these artisans was as diverse as the culture it helped sustain. North Carolina potters transformed the simplest of materials into vessels of practical utility, astonishing beauty, and cultural and religious significance.

Art in Clay is the first major survey of these earthenware traditions and features more than 150 objects. The exhibition explores, among others, work related to the multi-generational Loy family tradition, which originated in France, and that by Moravian immigrant potters who were trained (or influenced) by Gottfried Aust. Aust (American, b. Germany, 1722–1788) was a master potter trained in Saxony, Germany, who later found a home in the North Carolina Moravian missionary settlement. Superior in quality to the pottery the early American colonists were creating, the slip-decorated earthenware, though utilitarian, represented the religious beliefs for which their makers had once been persecuted, and allowed the settlers to maintain a sense of cultural identity in the new world.

Exhibition: Hendrix at the Handel House

Posted in exhibitions by Editor on August 30, 2010

Press release (PDF) from the Handel Museum:

Hendrix in Britain
Handel House Museum, London, 25 August — 7 November 2010 (flat visits from 15-26 September)

Jimi Hendrix at his flat at 23 Brook Street, ©Barrie Wentzell

Commemorating the 40th anniversary of Jimi Hendrix’s death on 18 September 1970, Hendrix in Britain takes place at Handel House Museum at 25 Brook Street, the Mayfair townhouse in which composer George Frideric Handel lived and worked for 36 years. Handel wrote his most popular and enduring music, including Messiah, in the house and died there in 1759. In 1968, Jimi Hendrix moved into the top floor flat of 23 Brook Street, with his English girlfriend Kathy Etchingham, and it became his home during long periods of playing in many venues across town.

The flat is now used as the administrative offices of Handel House Museum. But, to mark the anniversary, it will be opened to the public for a 12-day stretch during the run of the exhibition, including the 18 September anniversary date (15-26 September). Previously, the flat has only been open for guided tours on specific one-off dates. To accommodate the special opening, Museum staff will move out temporarily, taking their office furniture and equipment with them, to allow visitors to tour the rooms in which Hendrix lived, wrote, played and entertained many of his contemporaries during an important and prolific period in his life.

Hendrix in Britain will explore several aspects of Jimi Hendrix’s life and career. Featuring exhibits rarely seen or never previously displayed in the UK, as well as a host of images, film clips and music, the exhibition will trace his rise to fame, his songwriting craft, his extraordinary guitar playing and his lasting impact on music and popular culture. Among the items on display will be handwritten lyrics; a distinctive orange velvet jacket and Westerner hat worn by Hendrix in performance, on film and in album photography; Hendrix’s scrawled travel directions to the Isle of Wight Festival, scene of his final significant performance in August 1970; and UK concert memorabilia.

Sarah Bardwell, Director of Handel House Museum, said “We are excited to be celebrating the life of Jimi Hendrix. After moving to Brook Street in 1968, Hendrix learned of the Handel connection with the building and headed to One Stop Records in South Molton Street and HMV in Oxford Street to pick up whichever records of Handel music he could find. Clearly he was intrigued by the connection and we’re pleased to be celebrating his own legacy today. We are delighted to be opening up the flat which was a true home base to Hendrix during his seemingly endless schedule of touring in the UK and elsewhere.”

Brought to London by manager Chas Chandler in September 1966, Jimi Hendrix quickly established a reputation as a spectacular live performer, based on an intensive period of playing such London clubs as the Speakeasy, Bag o’ Nails and Marquee, as well as venues across the UK, often delivering more than one set per night. The success of his first two single releases, Hey Joe (December 1966) and Purple Haze (March 1967), and his first album with the Jimi Hendrix Experience, Are You Experienced? (May 1967), coupled with the reputation established by his UK shows, led to fame, ensuring that when he returned to play shows in the USA, only nine months after he had arrived in London, he was already a European star.

23 Brook Street, which carries an English Heritage Blue Plaque in memory of Hendrix (alongside the Blue Plaque for Handel), is the only Hendrix site anywhere in the world to be officially recognised. When he moved in with Kathy Etchingham in 1968, the rent charge was £30 per week; when Handel lived in the building next door he paid rent of £60 per year.

Call for Papers: Philosophy of the Enlightenment

Posted in Calls for Papers by Editor on August 30, 2010

The British Society for the History of Philosophy Annual Conference 2011
University of Sussex, 29-31 March 2011

Proposals due by 31 December 2010

Papers relating to any aspect of the philosophy of the enlightenment will be considered. The topic will be interpreted broadly, but we particularly
welcome papers in the following areas:

  • Philosophy and Political Thought in the Enlightenment
  • The Enlightenment and Kant
  • Aesthetics and the Enlightenment

There will be a panel on ‘Jewish Thought in the Enlightenment’, and papers on this topic are also welcome. Plenary speakers will include Jonathan Friday (Kent), Knud Haakonssen (Sussex), James Harris (St Andrews), Ian Hunter (Queensland), and Quentin Skinner (Queen Mary, London). The conference is being hosted by the Department of Philosophy and the Sussex Centre for Intellectual History.Papers, suitably formated for blind review, should be sent to Lucy Allais: L.L.Allais@sussex.ac.uk

Inquiries:
Lucy Allais: L.L.Allais@sussex.ac.uk  or
Knud Haakonssen: k.haakonssen@sussex.ac.uk

In This Month’s ‘Burlington Magazine’

Posted in books, journal articles, reviews by Editor on August 30, 2010

From this month’s issue of The Burlington Magazine 152 (August 2010):

  • Teresa Leonor M. Vale, “An Eighteenth-Century Roman Silver Altar Service in the Church of S. Roque, Lisbon,” pp. 528-35.
  • Louise Rice, “Art History Reviewed: Francis Haskell’s Patrons and Painters: A Study in the Relations between Italian Art and Society in the Age of the Baroque (1963),” pp. 543-46
  • Margaret Scott, review of The Borghese Collections and the Display of Art in the Age of the Grand Tour by R. Duits.
  • John Brewer, review of The Arts of Industry in the Age of Enlightenment by C. Fox, pp. 554-55.

New Title: ‘British Art and the Seven Years’ War’

Posted in books, Member News by Editor on August 29, 2010

Douglas Fordham, British Art and the Seven Years’ War: Allegiance and Autonomy (Philadelphia: University of Pennsylvania Press, 2010), 352 pages, ISBN 9780812242430, $65.00s / £42.50.

Between the Jacobite Rebellion of 1745 and the American Declaration of Independence, London artists transformed themselves from loosely organized professionals into one of the most progressive schools of art in Europe. In British Art and the Seven Years’ War Douglas Fordham argues that war and political dissent provided potent catalysts for the creation of a national school of art. Over the course of three tumultuous decades marked by foreign wars and domestic political dissent, metropolitan artists—especially the founding members of the Royal Academy, including Joshua Reynolds, Paul Sandby, Joseph Wilton, Francis Hayman, and Benjamin West—creatively and assiduously placed fine art on a solid footing within an expansive British state.

London artists entered into a golden age of art as they established strategic alliances with the state, even while insisting on the autonomy of fine art. The active marginalization of William Hogarth’s mercantile aesthetic reflects this sea change as a newer generation sought to represent the British state in a series of guises and genres, including monumental sculpture, history painting, graphic satire, and state portraiture. In these allegories of state formation, artists struggled to give form to shifting notions of national, religious, and political allegiance in the British Empire. These allegiances found provocative expression in the contemporary history paintings of the American-born artists Benjamin West and John Singleton Copley, who managed to carve a patriotic niche out of the apolitical mandate of the Royal Academy of Arts.

Douglas Fordham teaches art history at the University of Virginia.

Spanish Drawings at The Frick This Fall

Posted in books, catalogues, exhibitions, Member News by Editor on August 28, 2010

Press release (PDF) from The Frick:

The Spanish Manner: Drawings from Ribera to Goya
The Frick Collection, New York, 5 October 2010 — 9 January 2011

Catalogue by Jonathan Brown, Lisa Banner, Susan Grace Galassi, Reva Wolf, and Andrew Schulz (Scala, 2010), ISBN: 9781857596519, $65

The greatest Spanish draftsmen from the seventeenth through the nineteenth century—Ribera, Murillo, and Goya, among them—created works of dazzling idiosyncrasy. These diverse drawings, which may be broadly characterized as possessing a specifically “Spanish manner,” will be the subject of an exclusive exhibition at The Frick Collection in the fall of 2010. The presentation will feature more than fifty of the finest Spanish drawings from public and private collections in the Northeast, among them The Metropolitan Museum of Art, The Hispanic Society of America, The Morgan Library & Museum, the Princeton University Art Museum, and the Philadelphia Museum of Art. Opening the show are rare sheets by the early seventeenth-century masters Francisco Pacheco and Vicente Carducho, followed by a number of spectacular red chalk drawings by the celebrated draftsman Jusepe de Ribera. The exhibition continues with rapid sketches and painting-like wash drawings from the rich oeuvre of the Andalusian master Bartolomé Esteban Murillo, along with lively drawings by Francisco de Herrera the Elder and his son and the Madrid court artist Juan Carreño de Miranda, among others.

The second part of the exhibition will present twenty-two sheets by the great draftsman Francisco de Goya, whose drawings are rarely studied in the illuminating context of the Spanish draftsmen who came before him. These works, mostly drawings from his private albums, attest to the continuity between his thematic interests and those of his Spanish forebears, as well as to Goya’s own enormously fertile imagination. The exhibition is organized by Jonathan Brown, Carroll and Milton Petrie Professor of Fine Arts, New York University; Lisa A. Banner, independent scholar; and Susan Grace Galassi, Senior Curator at The Frick Collection. It will be accompanied by a fully illustrated catalogue with entries by the show’s organizers and by Reva Wolf, Professor of Art History, State University of New York at New Paltz, and author of Goya and the Satirical Print in England and on the Continent, 1730–1850, and by Andrew Schulz, Associate Professor of Art History and Department Head at the University of Oregon and author of Goya’s Caprichos: Aesthetics, Perception, and the Body. The exhibition is made possible, in part, by the David L. Klein Jr. Foundation, Elizabeth and Jean-Marie Eveillard, and the Samuel H. Kress Foundation. The accompanying catalogue has been generously underwritten by the Center for Spain in America.

Back to the Classroom — Graduate Seminar

Posted in teaching resources by Editor on August 27, 2010

Today closes our special week on teaching the eighteenth century. Warm thanks to Georgina Cole, Jennifer Germann, and Susan Dixon for commenting on Professor Plax’s undergraduate survey course. We owe Julie a great debt of gratitude for her willingness to share that syllabus as well as this one for a graduate course on the French Rococo! All the best to those of you who are, in fact, still finalizing your own syllabi for the fall and thinking about that first day of class . . .  -C.H.

◊  ◊  ◊  ◊  ◊

Professor Julie-Anne Plax

Pleasures, Pastimes, Parks and Pavilions:
The Spaces and Spectacles of Sociability in the French Rococo

This seminar will focus on French eighteenth-century art and architecture. In particular we will explore the intersection of art and shifting modes of social relationships and hierarchies in what could be termed “Rococo culture.”

TEXTS

I have not ordered any texts for this class. The books for the course will be on reserve at the main library and many of the shorter readings will be available as PDFs located in the D2L course site. We will be reading all, or substantial portions of the following books in case would like to order any of them from a preferred source.

  • William Reddy, The Navigation of Feeling: A Framework for the History of Emotions
  • Daniel Gordon. Citizens without Sovereignty: Equality and Sociability in French Thought, 1670-1789
  • François Bastide, The Little House
  • Jennifer Milam, Fragonard’s Playful Paintings: Visual Games in Rococo Art
  • Katie Scott, The Rococo Interior
  • Mary Sheriff, Moved by Love: Inspired Artists and Deviant Women in Eighteenth-Century France

COURSE REQUIREMENTS

This course requires extensive reading.  Weekly reading assignments must be done in advance of the Tuesday class meeting, since they will be discussed at that time.

  • seminar participation                                         25.5%
  • opinion papers                                                     32.5%
  • seminar paper                                                      32%
  • oral presentation based on the term paper    10%

Seminar Participation

A seminar can be successful only when all participants are prepared and ready to discuss the readings. It is expected that students will have completed all the assigned readings and at least perused the suggested readings. View this seminar as a time to clarify issues, to thrash out points of views, and to hash out new ideas with a sympathetic and engaged audience. Each week a pair of students will be responsible for leading the discussion. We will determine the grouping of students and the meetings for which they will be responsible during the first meeting. Discussion leaders will be responsible for framing the course of discussion, based on the required reading. The weekly discussion leaders should be flexible enough to allow the discussion to meander into uncharted waters when it proves fruitful to the seminar as a whole; I also expect the leaders to pull the discussion back on track if it begins to flounder. At the end of each meeting, I will spend a few minutes previewing the readings for the next week.

Opinion Papers

Each week you will turn in a 5-page minimum 6-page maximum “opinion” paper discussing the weeks reading. I am more interested in your thoughtful response to the readings than a description or summary of the content.  Each paper is worth 2.5 percentage points. They will not be graded but if the paper is not turned in, or deemed unacceptable, I will reduce the point value. Here are some questions that might be useful in thinking about the readings:

  • What sorts of concerns do the authors presuppose?  Do they present these concerns in a straightforward manner, or do they remain as simply implied assumptions?
  • How does the author frame the argument, and what strategies are used to make (or not) the argument?
  • In the case of the readings that do not refer specifically to the visual arts, how do you see them as applicable to the study of the history of art?
  • What are the larger issues the author addresses and how does the reading relate to previous readings.

Seminar Paper

The seminar paper will be the major project for the semester. This project is intended to help the art history student’s work toward publication; hence, the art history students should attempt to undertake original research. Art education and studio students’ papers should explore a topic that will enhance and expand their professional goals or artistic practice. All students in the seminar should view this paper as a means to articulate new ideas.  It is perfectly acceptable if conclusions are tentative. What is more important is the explanation of why they are so. The topic of the paper is your choice; however, you will need to consult with me about your paper topic.

  • Date Due: The last seminar meeting.
  • Length: Aim for 20 typewritten pages of text (not counting notes or illustrations).
  • Notes: You may use either footnotes or endnotes. Proper end note format must be followed; in-text parenthetical citations will not be accepted. Models for standard format can be found in Kate Turabian, A Manual for Writers of Term Papers, Theses and Dissertations, which is available at the bookstore.
  • Bibliography: A bibliography, following proper form, must be included at the end of the paper.
  • Illustrations: Please include photocopies of the art works you discuss in your paper. Indicate the illustrations in the text by: (fig. 1) after you first mention the work. The captions for the illustration should include the following information whenever possible: figure number, artist, name of work, date, location.

Oral Presentation

Each of you will present a 20-minute oral report based on your seminar paper.

GRADING

Grading will be based on the Art Department Grading System:

A = Excellent. One who answers all of the course requirements and performs at a level which is clearly outstanding.

B = Good. One who answers all of the course requirements and performs at a level measurably above average.

C = Fair. One who answers all of the course requirements and performs adequately in so doing.

D = Poor. One who answers all of the course requirements but performs on a level measurably below the average.

E = Failure. One who either does not complete all of the course requirements or does so inadequately or both.

Grades will take into consideration the subjective criteria normal to academic grading which accords attention to the difficulty of the material considered and the students’ improvement, development, attendance, and performance. Attendance at all seminar meetings is mandatory. Students are cautioned that a grade of C or below in Graduate work is considered inadequate.

Plagiarism, that is, copying of the language, ideas, and thoughts of others and passing them off as one’s original work is contrary to scholarly practice.  Please acknowledge the words of others with quotation marks and footnotes, but try to put thoughts into your own words and avoid excessive quotations. For the code of academic integrity see: http://studpubs.web.arizona.edu/policies/cacaint.htm.

COURSE CALENDAR

August 25: Introduction to the 18th Century

  • Professor Plax lectures

September 1: Sociability and Slippery Hierarchies

  • Daniel Gordon, Citizens without Sovereignty: Equality and Sociability in French Thought, 1670-1789, pp. 3-126.
  • William Reddy, The Navigation of Feeling: A Framework for the History of Emotions, pp. 112-72.
  • Thomas Crow, “A Public Space in the Making,” chapter 1 in Painters and Public Life in Eighteenth-Century Paris, pp. 22-44.
  • Dena Goodman, “Public Sphere and Private Life: Toward a Synthesis of Current Historiographical Approaches to the Old Regime,” History & Theory 31 (1992): 1-20.

September 8: Watteau’s fêtes galantes and the fêting of Watteau

  • Donald Posner, “Fêtes Galantes,” chapter 4 in Antoine Watteau, pp. 116-95.
  • Norman Bryson, “The Legible Body: LeBrun,” chapter 2 in Word and Image: French Painting of the Ancien Régime, pp. 29-57.
  • Norman Bryson, “Watteau and Reverie,” chapter 3 in Word and Image: French Painting of the Ancien Régime, pp. 58-88.
  • Mary Vidal, “Not Just Talk: The Recurring Theme of Conversation in Watteau’s Art,” chapter 1 in  Watteau’s Painted Conversations, pp. 11-43.
  • Colin Bailey, “Toute seule elle peut remplir et satisfaire l’attention: The Early Appreciation and Marketing of Watteau’s Drawings, with an Introduction to the Collecting of Modern French Drawings During the Reign of Louis XV,” in Watteau and his World, ed. Alan Wintermute, pp. 68-92.
  • Julie Anne Plax, “”Belonging to the In Crowd: The Bonds of Art and Friendship,” in French Genre Painting in the Eighteenth Century ed. Philip Conisbee, pp. 48-71.

September 15: New Genre, New Money

  • Denise Baxter, “Fashions of Sociability in Jean-François de Troy’s tableaux de mode, 1725-1738: Defining a Fashionable Genre in Early Eighteenth-Century France,” in Performing the “Everyday:” The culture of Genre in the Eighteenth Century ed. Alden Cavanaugh, pp. 27-46.
  • Jorg Ebeling, “Upwardly Mobile: Genre Painting and the Conflict between Landed and Moneyed Interests,” in French Genre Painting in the Eighteenth Century ed. Philip Conisbee, pp. 72-89.
  • Wolfgang Stechow and Christopher Comer, “The History of the Term Genre,” Bulletin of the Allen Memorial Art Museum 33, no. 2 (1975-76): 89-94.
  • JoLynn Edwards, “John Law and His Painting Collection: Connoisseur or Dupe?” in Art and Culture in the Eighteenth Century: New Dimensions and Multiple Perspectives ed. Elise Goodman, pp. 59-75.
  • Mary Salzman, “Decoration and Enlightened Spectatorship,” in Furnishing the Eighteenth Century: What Furniture can Tell Us bout the European and American Past, ed. Dena Goodman and Kathryn Norberg, pp. 155-65.

September 22: Dealers and Display, Consumers and Connoisseurs

  • Andrew McClellan, “Watteau’s Dealer : Gersaint and the Marketing of Art in Eighteenth-Century Paris,” Art Bulletin 78 (September 1996): 439-53.
  • Julie-Anne Plax, “The Meeting of High and Low Culture in Watteau’s Gersaint’s Signboard,” Watteau and the Cultural Politics of Eighteenth-Century France, pp. 154-82.
  • Krzysztof Pomian, “Dealers, Connoisseurs and Enthusiasts in Eighteenth-century Paris,” chapter 5 in Collectors and Curiosities: Paris and Venice, 1500-1800, pp. 139-168.
  • Colin Bailey, “Conventions of the Eighteenth-Century Cabinet de tableaux: Blondel d’Azincourt’s La première idée de la curiosité,” Art Bulletin 60 (September 1987): 431-47.
  • Denise Baxter, “Parvenu or honnête homme: The Collecting Practices of Germain-Louis de Chauvelin,” Journal of the History of Collections 20, (November 2008): 273-89.

September 29: Architecture  & Arrangements

  • Katie Scott. The Rococo Interior: Decoration and Social Spaces in Early Eighteenth-Century Paris, pp. 1-10; 81-117; 147-239.
  • Rochelle Ziskin, The Place Vendôme: Architectural and Social Mobility in Eighteenth-Century Paris, pp. 1-64.

October 6: Furniture & Furnishings

  • Mimi Hellman, “Furniture, Sociability and the Work of Leisure in Eighteenth-Century France,” Eighteenth-Century Studies 32 (1999): 414-45.
  • Mimi Hellman, “ The Joy of Sets,” in Furnishing the Eighteenth Century : What Furniture can Tell Us bout the European and American Past, ed. Dena Goodman and Kathryn Norberg, pp. 129-53.
  • Mimi Hellman, “Interior Motives: Seduction by Decoration in Eighteenth-Century France,” in Dangerous Liaisons: Fashion and Furniture in the eighteenth Century ed. by Harold Koda and Andrew Bolton, pp. 15-23.
  • Carolyn Sargentson, “Looking at Furniture Inside Out: Strategies of Secrecy and Security in Eighteenth-Century French Furniture,” in Furnishing the Eighteenth Century: What Furniture can Tell Us bout the European and American Past, ed. Dena Goodman and Kathryn Norberg, pp. 205-36.
  • Natcha Coquery, “The Language of Success: Marketing and Distributing Semi-luxury Goods in Eighteenth-Century Paris,” Journal of Design History 17 (2004): 71-81.
  • Dena Goodman, “The Secrétaire and the Integration of the Eighteenth-Century Self,” in Furnishing the Eighteenth Century: What Furniture can Tell Us bout the European and American Past, ed. Dena Goodman and Kathryn Norberg, pp. 183-203.

October 13: Pavilions of Seduction (Students will be asked to report on research progress)

  • François Bastide, The Little House, all.
  • Paula Radisch, “Performing the Libertine: Hubert Robert in the Bagatelle”, chapter 4 in Hubert Robert: Painted Spaces of Enlightenment, pp. 78-96.
  • Jill Casid “Commerce in the Boudoir,” in Women, Art and the Politics of Identity in Eighteenth-Century Europe ed. Melissa Hyde and Jennifer Milam, pp. 91-114.

October 20: Madame de Pompadour

  • Donald Posner, “Madame de Pompadour as a Patron of the Visual Arts,” Art Bulletin 72 (March 1990): 74-105.
  • Katie Scott, “Framing Ambition: The Interior Politics of Mme de Pompadour,” in Between Luxury and the Everyday: Decorative Arts in Eighteenth-Century France ed. Katie Scott and Deborah Cherry, pp. 110-52.
  • Colin Jones, Mme de Pompadour: Images of a Mistress, all.
  • Melissa Hyde, “The ‘Makeup’ of the Marquise: Boucher’s Portrait of Pompadour at her Toilette,” Art Bulletin 82 (September 2000): 453-75.
  • Perrin Stein, “Madame de Pompadour and the Harem Imagery at Bellevue,” Gazette des Beaux-arts 123 (January 1994): 29-44.

October 27: Luxury, Ladies, Rococo

  • Katie Scott, “The Rococo Exposed,” chapter 10 in The Rococo Interior, pp. 241-65.
  • Rémy Saisselin, “Neo-Classicism:  Images of Public Virtue and Realities of Private Luxury,” Art History 4 (March 1981): 15-36.
  • Jacqueline Lichtenstein, “Making Up Representation: The Risks of Femininity,” Representations 20 (Fall 1987): 77-87.
  • Madelyn Gutwirth, “Gendered Rococo as Political Provocation,” chapter 1 in The Twilight of the Goddesses: Women and Representation in the French Revolutionary Era, pp. 3-22.
  • Paula Radisich, “Deconstructing Dissipation,” Eighteenth-Century Studies 29 (Winter 1995-96): 222-25.
  • Melissa Hyde, “Boucher, Boudoir, Salon: cherchez la Femme,” chapter 1 in Making Up the Rococo: François Boucher and his Critics, pp. 45-81.

November 3: Theatrics!

  • Julie Anne Plax, “Watteau’s Departure of the Italian Comedians in 1697,” chapter 1 in Watteau and the Cultural Politics of Eighteenth-Century France, pp. 7-52.
  • Melissa Hyde, “Pastoral Make Believe: Gender Play from the Opéra Comique to the Salon,” chapter 4 in Making Up the Rococo: François Boucher and his Critics, pp. 145-78.
  • Mark Ledbury, “Boucher and the Theater,” in Rethinking Boucher, ed. Mark Ledbury and Melissa Hyde, pp. 133-60.
  • Mark Ledbury, “Intimate Dramas: Genre Painting and New Theater in Eighteenth-Century France,” in Intimate Encounters: Love and Domesticity in Eighteenth-Century France, ed. Richard Rand, pp. 49-67.

November 10: Playing!

  • Jennifer Milam, Fragonard’s Playful Paintings: Visual Games in Rococo Art, all.
  • Katie Scott, “Child’s Play,” in The Age of Watteau, Chardin and Fragonard: Masterpiece of French Genre: Painting, ed. by Colin Bailey, pp. 90-105.
  • Donald Posner, “The Swinging Women of Watteau and Fragonard,” Art Bulletin 64 (March 1982): 75-88.

November 17: Enthused!

  • Mary Sheriff, Moved by Love: Inspired Artists and Deviant Women in Eighteenth-Century France, all.

November 24: In the Garden

  • Dora Wiebenson, “French Picturesque Garden Types,” chapter V in The Picturesque Garden in France, pp. 81-107.
  • Kenneth Woodbridge, The Princely Gardens, The Origins and Development of the French Formal style, pp. 267-277.
  • Diana Ketcham, Le Desert de Retz, pp. 1-27.
  • Michel Baridon, “The Garden of the Perfectiobilists: Mereville and the Dessert de Retz,” in Tradition and Innovation in French Garden Art, ed John Hunt, and Michel Conan, pp. 121-34.
  • William Adams, “Labors in Perfection,” chapter 4 in The French Garden 1500-1800, pp. 75-102.
  • William Adams, “After Le Notre: a Sentimental Journey,” chapter 5 in The French Garden 1500-1800, pp. 103-38.
  • Brigitte Weltman-Aron, Introduction and “Natural Nature,” chapter 1 in On Other Grounds: Landscape Gardening and Nationalism in Eighteenth-century England and France, pp. 1-40.

December 1 and 8: Presentations

Back to the Classroom — Thursday

Posted in teaching resources by Editor on August 26, 2010

Susan Dixon wraps up our responses to Julie Plax’s syllabus for an undergraduate course on the eighteenth century. Tomorrow, this special ‘teaching week’ concludes with Julie’s syllabus for a graduate seminar on the French Rococo.

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Susan M. Dixon is Associate Professor of art history at The University of Tulsa. She is interested in the history of archaeology as practiced in Rome, ca. 1500-1900. She has published on Giovanni Battista Piranesi and is currently working on a monograph about Rodolfo Lanciani.

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This is a grand experiment, to have us as a group consider what constitutes a good eighteenth-century art survey, and I thank Julie for her courage in providing us fodder. How each of us might choose to dish up the century’s artistic production for student consumption will necessarily reflect our own tastes and fascinations. The freedom we have in that regard is staggering, not having the weight of a textbook like Hartt’s (Italian Renaissance) or Wittkower’s (Italian Baroque); we are without a table d’hôte. Julie’s lecture topics give her the opportunity to cover the most well-known works of art as they help flesh out major issues by which many define the century, i.e., reflections on aesthetics and taste, definitions of public versus private space, sea changes in economic, social and political structures, and the tension between rational science and religion. It is just what one wants a survey class to be, a nice smorgasbord.

I respond here in a way that I hope a good colleague would respond to me, by suggesting readings that have worked for her, or even lecture topics that he thinks I should not neglect. I think one can sometimes get more value by not choosing the reading that presents the broad view (designing the lecture to provide that), and rather using readings that are more focused in scope and more critical in approach. If the readings are chosen well, they can act to expose students to various methodologies, something that could help them navigate the literature when researching. The tricky part, however, is choosing readings that challenge without alienating, as Jennifer pointed out yesterday.

To be brief, if Julie and I were having coffee and cake right now, I might say to her: “how about . . . ?”

Under Nature, David L. Hays, “’This is not a Jardin Anglais’: Carmontelle, the Jardin de Monceau and Irregular Garden Design in late 18th-Century France,” in M. Benes and D. Harris, eds., Villas and Gardens in Early Modern Italy and France (Cambridge University Press, 2001), pp. 294-326. I like this because even though it’s about a quirky garden that might not be taught in a survey course, it engages with perceptions of what makes a French vs. an English garden. If this is too far off the mark, there’s also Michel Conan, “The Coming of Age of the Bourgeois Garden,” in J. Dixon Hunt and M. Conan, eds., Tradition and Innovation in French Garden Art (University of Pennsylvania Press, 2002), pp. 160-83. It’s a nice foil after the students have seen Versailles and even Stowe. The piece ends with a question: “how did changes in landscape garden forms contribute to the construction of the sphere of intimacy in the bourgeois families of the first half of the 19th century?”

Under Grand Tour, Bruce Redford, Venice and the Grand Tour (Yale University Press, 1996), perhaps chapters 1 (who’s touring) and 2 (what they learn on the tour). Both are easy reading. It might be nice to pair them with a quirky article by Ilaria Bignamini on the Italian “take” on the Grand Tourists.

Under Religion, I would look at Jon Seydl, “Contesting the Sacred Heart of Jesus in Late Eighteenth-century Rome,” in Andrew Hopkins and Maria Wyke, eds., Roman Bodies: Antiquity to the Eighteenth Century (British School at Rome, 2005).

I’m sure my predisposition for social history is showing about now. Anyone want to join us for coffee?

Back to the Classroom — Wednesday

Posted in teaching resources by Editor on August 25, 2010

As we continue this week’s focus on teaching the eighteenth century (with Julie Plax’s syllabus serving as a prompter), Jennifer Germann offers these useful observations . . .

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Jennifer Germann is Assistant Professor of Art History at Ithaca College where she teaches visual culture and gender studies. She is currently completing a manuscript on the representation of Marie Leszczinska (1703-1768), Queen of France, and working on a project on homosociality and women artists in the French Revolutionary and Napoleonic periods.

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Thanks to Craig for inviting me to be a part of this forum and to Julie for sharing her syllabus. Reviewing Julie’s syllabus is a bit like being a Grand Tourist, in the best armchair-traveler style – I have all the benefits of the voyage without actually having to do the grading! Julie’s course is an introductory-level survey of eighteenth-century European art and architecture. It covers (from my perspective as a specialist in France) many corners of the Continent across the length of the century. It considers key cultural developments in relation to science, religion, and gender. For our purposes, consideration of this syllabus engages broader pedagogical questions as well as more specific issues relating to the field.

When preparing syllabi for introductory-level classes, I often find myself facing the complex issues around reading and learning. Most significantly, I find myself confronting the questions of what I can expect my students to know when they come into the classroom. What skills do they possess and which do I wish them to develop? Will they understand the reading? And if they can, will they actually do it? Julie’s course utilizes textbook reading mixed with some juicy articles by specialists that students are required to analyze in a graded writing assignment (about which I would be interested in hearing more). This is a useful way to bring undergraduates into a specialist field and to hold them accountable for the work. In my own courses, students often remark that they enjoy encountering ‘real art history’, not just survey books; I imagine Julie’s students feel the same way.

However, this also raises the question of how students are introduced to this field of study. In terms of background reading, Julie relies on a variety of textbook sources but returns most frequently to Petra ten-Doesschate Chu’s textbook, Nineteenth-Century Painting. Is the lack of focused survey (or more choices of one) about eighteenth-century European art and architecture a problem for those teaching the field or for students encountering it for the first time? I certainly recognize that for specialists (as in Julie’s case), this may not be a problem but it may suggest a lack of ‘institutional presence’. I think this issue resonates, for me, with a recent Enfilade discussion about the ‘risk’ of and to eighteenth-century studies that Mary Sheriff raised. Or, as Michael Yonan suggests in the comments section for that posting, would a textbook simply create a confining canon out of our beau désordre?

As I read Julie’s rich syllabus, I am also reminded that the fifteen-week semester looming ahead isn’t actually a very long stretch and there are topics, areas, and works of art that have to be omitted. This raises a final question: how to cover it all? How do other HECAA members choose what to cover and what to leave for a different encounter?