Search for ‘Eighteenth-Century Studies’ Book Review Editor
Book Review Editor, Eighteenth-Century Studies
The Executive Board of ASECS seeks nominations and applications for a three-year (renewable) appointment as Book Review Editor for Eighteenth-Century Studies, beginning July 1, 2011. The Book Review Editor receives and requests books from U.S. and foreign publishers, decides which books will be reviewed, solicits reviews from appropriate scholars, enforces word limits and deadlines, edits reviews, organizes and solicits review essays, and works closely with the ECS editorial staff. Since ECS reviews books of importance in a variety of disciplines and of interest to ASECS members in general, the Book Review Editor must have wide familiarity with the field of eighteenth-century studies, extensive professional contacts, and demonstrated organizational skills. The search committee is especially interested in interdisciplinary teams of at least two people from the same institution or location. Teams of two or more people should designate one of their number as a chief editor. The Society currently provides $4,000 annually to help defray the cost of postage, telephone, and related operating expenses. In addition, travel support for the editor or a member of the editorial team to the annual meeting may be requested. Please submit nominations and applications (letter of interest that outlines the applicant’s qualifications and CV) by December 1, 2010 to:
Byron R. Wells, Executive Director, ASECS
PO Box 7867
Wake Forest University
Winston-Salem, NC 27109
Phone: 336-727-4694
E-mail: asecs@wfu.edu
Silver Playing Cards Fit for a Princess
As reported at ArtDaily, this set of seventeenth-century silver playing cards up for auction at Christie’s belonged, in the eighteenth century, to Princess Carlota, the daughter of King Carlos IV (as the wife of King João of Portugal, she was Princess of Portugal and Brazil). The cards are estimated to sell for between $150,000 and $250,000. From Christie’s:
Sale 2349, Lot 56
Important Silver Including The Stuart Collection of Magnificent Regency Silver , 19 October 2010, New York
An Extremely Rare Set of German Engraved and Parcel-Gilt Silver Playing Cards, signed Michael Frömmer, Augsburg, 1616
A complete set of 52 cards engraved in the four Italian suits: swords, batons, cups, and coins, each suit with a king, a knight, a knave, and pip cards ace through ten; the Knave of Swords signed M. frömmer fec, the Ace of Batons dated 1616; with a tooled-leather shadowbox case set with a brass plaque engraved with provenance. Each card is 3 3/8 inches (8.6 cm) high by 1 15/16 inches (5 cm) wide.
These cards, according to family tradition, were given to Josefa Oribe y Viana de Contucci, ancestor of the present owner, by Infanta Carlota Joaquina of Spain (1775-1830). Princess Carlota was daughter of King Carlos IV and, as wife of King João of
Portugal, Princess of Portugal and Brazil.
During Napoleonic struggles, Carlota was exiled to Brazil with the Portuguese Court. When Napoleon forced her father to abdicate in Spain, she became claimant to the throne of Spain and Spanish America. Following the patriotic revolution in Buenos Aires in 1810, she ordered Portuguese-Brazilian troops into Montevideo to protect the interests of the Spanish monarchy. Carlota’s emissary in South America and the director of her military efforts there was Felipe Contucci. Carlota presented these cards to Contucci’s wife, and they descended to the present owner. . . .
The full catalogue entry is available here»
◊ ◊ ◊ ◊ ◊
Lots 158 and 121
Much of the sale is dedicated to nineteenth-century silver, but there are some lovely eighteenth-century pieces such as a Queen Anne teapot-on-stand (mark of William Pearson, 1712) and this George III honey pot (marks of Paul Storr, 1798). Each is estimated to fetch between $20,000 and $30,000. (For more information click on the images.)
Avenues in the Garden
From The Garden History Society’s website:
Sarah Couch, “Avenues in the Landscape in the 17th and 18th Centuries”
Glasite Meeting House, Barony Street, Edinburgh, 1 November, 6:30pm
Couch has expertise in heritage landscape, horticulture and architecture, with a particular interest in historic avenues and their planting.
◊ ◊ ◊ ◊ ◊
As noted at Couch’s website:
Sarah is part of Historic Environment Associates, a new interdisciplinary consultancy, specialising in the conservation of historic buildings and landscapes. As an architect, Sarah is also qualified in heritage landscape and horticulture. She has worked on many historic landscape projects, either on her own account or as part of a team, combining this with teaching and lecturing. . . She has undertaken conservation work for English Heritage and the Garden History Society.
Her publications on avenues include:
- “Avenue Planting 1660-1850: A Framework for Conservation Practice,” thesis, London, Architectural Association, 1991.
- “The Practice of Avenue Planting in the Seventeenth and Eighteenth Centuries,” Garden History 20 (Autumn 1992): 173-200.
- “Trees in Line for Conservation,” Landscape Design (October 1992): 43-46.
- “Conservation of Avenue Trees,” Arboricultural Journal 18 (1994): 307-20.
- “The Conservation of Avenues in the Historic Landscape: Issues, Method, and Practice,” in Giardini, contesto, paesaggio (Milan 2005).
Messerschmidt Exhibition Now in New York, Then Paris
The Messerschmidt exhibition noted in yesterday’s posting is currently in New York. From the Neue Galerie:
Franz Xaver Messerschmidt, 1736-1783: From Neoclassicism to Expressionism
Neue Galerie, New York, 16 September 2010 — 10 January 2011
Musée du Louvre, Paris, 26 January — 25 April 2011
catalogue, ISBN: 9788889854549, $55
Franz Xaver Messerschmidt is the first exhibition in the United States devoted exclusively to this major late 18th-century Bavarian-born Austrian sculptor. It focuses on the artist’s so-called “character heads,” among the most important works of sculpture from their era. The exhibition is organized by Guilhem Scherf, chief curator of sculpture at the Musée du Louvre.
The show will be on view at the Neue Galerie New York from September 16, 2010, to January 10, 2011, then travel to the Louvre, where it will be on view from January 26 to April 25, 2011. This is the first collaboration between the Neue Galerie and the Louvre. It is accompanied by a full-scale catalogue, with essays by Guilhem Scherf, Maria Pötzl-Malikova, Antonia Boström, and Marie-Claude Lambotte.
Messerschmidt made his mark at first in Vienna, where he enjoyed a successful career, including several royal commissions. Working in a neoclassical vein, Messerschmidt produced some of the most important sculptures of the eighteenth century. He presented the individual features of his models in a way “true to nature,” in keeping with their age and without idealizing them. No other sculptor in Vienna at the time was similarly uncompromising when producing portraits.
Around 1770, there was a rupture in Messerschmidt’s life. The artist was thought to have psychological problems, lost his position at the university, and decided to return to Wiesensteig, his native Bavarian town. From that period on, Messerschmidt devoted himself to the creation of his “character heads,” the body of work for which he would become best known. To produce these works, the artist would look into the mirror, pinching his body and contorting his face. He then rendered, with great precision, his distorted expressions. Messerschmidt is known to have produced more than 60 of these astonishing works before he died in 1783 at the age of 47.
Messerschmidt can be seen in relation to artists such as William Blake and Francisco Goya for his explorations of the dark side of the human soul. His “character heads,” in particular, are masterly works of sculpture, whose expressive intensity anticipates several later developments in art. This exhibition will extend the mission of the Neue Galerie, showing the roots of Expressionism and provide for a more complete understanding of the works in the museum collection.
◊ ◊ ◊ ◊ ◊
Willibald Sauerländer writes about “Messerschmidt’s Mad Faces” for The New York Review Blog. His article on the artist will appear in the October 28 issue of The New York Review of Books . . .
Franz Xaver Messerschmidt (1736–1783) is one of those elusive eighteenth-century figures who confront us with the nocturnal side of the enlightenment. In the eyes of his contemporaries, he was not only a madman but also a mad artist. At the same time that he began to withdraw from society, he started to work on the project that would isolate him artistically as well, the Kopfstücke, or “character heads,” in which he concentrated his efforts to depict the passions and emotions of humanity. The trivial titles assigned to them by an anonymous writer ten years after Messerschmidt’s death—Afflicted by Constipation, A Hypocrite and Slanderer, The Incapable Bassoonist—are nothing but an attempt to resist their social illegibility.
The Neue Galerie’s exhibition of no fewer than twenty-one character heads displays the full spectrum of Messerschmidt’s studies of expression. Facial muscles contract, eyes squint, eyebrows rise, mouths contort. These distorted faces are disturbing because we cannot place them in any familiar social setting or assign them to any known psychic condition. . . .
The full essay is available here»
Eighteenth-Century Season at the Louvre: Now and Upcoming
Saison XVIIIe au Louvre
In Paris, there has recently been a grand revival of some canonical French artists and historical periods of art including exhibitions on Claude Monet at the Grand Palais and Musée Marmottan and one on France 1500, re-emphasizing European traditions for better or for worse. The Louvre has also decided to return to its own classical heritage staging a series of four small exhibitions centered around the eighteenth century:
- Musée de papier, L’Antiquité en livres, 1600-1800 (opened September 25)
- Le Louvre au temps des Lumières
- L’Antiquité rêvée
- Franz Xaver Messerschmidt
A special website for the current show on paper museums features pop-up interactive dialogue boxes with detailed information on highlighted drawings, book plates, and other materials in the exhibitions, some of which are taken from the Jacques Doucet Collections at the INHA and the Bibliothèque Nationale de France. -JF.
Colloquium on French Agrarian Architecture
From the INHA website:
L’art de bâtir aux champs: Modernité du patrimoine rural et théorie des constructions agricoles
Institut national d’histoire de l’art, Paris, 14-15 October 2010
Vue aérienne d’ensemble de la ferme de Platé d’Armand Moisant. Archives départementales d’Indre-et-Loire.
Le colloque L’art de bâtir aux champs, organisé en partenariat par l’Institut national d’histoire de l’art et la Direction des patrimoines du ministère de la Culture et de la Communication, rassemble des chercheurs ayant contribué aux travaux des services de l’Inventaire, dans le domaine du bâti rural et agricole, et des chercheurs participants au programme de l’INHA sur la théorie et la bibliographie du livre d’architecture français.
Il s’agit de mettre en exergue une période durant laquelle, à partir de la fin du XVIIIe siècle, l’architecture agricole donne lieu à un nombre croissant de publications. Celles-ci témoignent à la fois de l’actualité de ce domaine et de l’intérêt que lui portent des auteurs variés, architectes, ingénieurs ou propriétaires souvent rassemblés au sein des sociétés d’agriculture. Elles défi nissent également le cadre d’une production qui abandonne les pratiques traditionnelles, au profi t de méthodes plus rationnelles.
Aux marges du domaine qui était alors celui de l’art architectural, cette production imprimée coïncide avec une certaine démocratisation de la maîtrise d’ouvrage : les édifices « propres à loger les animaux » ou les granges et les hangars construits avec soin dans quelques demeures aristocratiques depuis la Renaissance italienne, étaient désormais un enjeu, pour un nombre croissant de commanditaires.
The colloquium program is available here»
Call for Papers: The Unconscious
Tenth Annual Workshop: The Eighteenth Century and the Unconscious
Center for Eighteenth-Century Studies, Indiana University Bloomington, 11-13 May 2011
Applications due by 7 January 2011
Eighteenth-century studies in many ways emerged from and remains beholden to “the Enlightenment”-a category often understood in terms of rationality, reason, and the exercise of conscious decision making. Reason may be celebrated (see Jonathan Israel) or it may be critiqued (see Horkheimer and Adorno): in either case, it remains central to most accounts of the period. Yet the eighteenth century was also the era of empirical psychology, sentimentalism’s triumph, and the emergence of what we now call Romanticism. It may even be the era of the discovery or the invention of the unconscious (Sloterdijk). By focusing on “unconscious” eighteenth centuries, this workshop therefore asks participants to reconsider the relation of reason to un-reason and of theory to historically inclined analyses.
Any mention of the unconscious immediately invites psychoanalytic interpretation. Yet the framework and vocabulary of psychoanalysis were unknown to eighteenth-century protagonists. For the purposes of this workshop, we therefore propose a broad starting definition of the unconscious as that which is unavailable to consciousness: it may be simply invisible or it may be actively produced by some “invisibilizing” mechanism, such as repression, suppression, or forgetting. It may operate within an individual or text, or it may function throughout a culture; its effects may be social, political, legal, literary, pedagogical, or psychological. There may be structurally different forms of unavailability. While the unconscious and its effects may be analyzed in terms derived from Freud, they do not need to be-indeed, it is our hope that this workshop will provoke participants to rethink both their understandings of the eighteenth century and their accounts of conscious and unconscious processes.
We invite participants to be explicit about their methodological choices. Papers might address one or all of the following concerns:
- Was there an unconscious according to eighteenth-century protagonists; if so, how did it emerge and what functions did it serve?
- Can we historicize a concept or structure such as the unconscious? What would be gained from doing so? What would be lost?
- If there is something “eighteenth-century” about current theories of the unconscious, need their origins be found in this period, broadly construed?
- To what extent do eighteenth-century examples challenge or complicate common models of unconscious life? With its focus on oedipal dramas within the nuclear family has psychoanalysis itself blinded us to the effect of extended families, the importance of social modes of remembering and forgetting, and the emotional work of religious affiliation?
The workshop format will consist of focused discussion of four to six papers a day, amid socializing and refreshment. The workshop will draw both on the wide community of eighteenth-century scholars and on those working in this field at Indiana University-Bloomington. The workshop will cover most expenses of those scholars chosen to present their work: accommodations, travel (up to a certain limit), and most meals. We are asking for applications to be sent to us by Friday, January 7, 2011. The application consists of a two-page description of the proposed paper as well as a current brief CV (no longer than three pages). Please email or send your application to Dr. Barbara Truesdell, 400 North Sunrise Drive, Weatherly Hall North, Room 122, Bloomington, IN 47405, Telephone 812/855-2856, voltaire@indiana.edu. Papers will be selected by an interdisciplinary committee. All submissions will be acknowledged by e-mail within a fortnight: if you have not received an acknowledgment by the January 7th application deadline, please contact Barbara Truesdell or Mary Favret. We will make final decisions on participants in early February. Further information can be found on our website, or you can find us on Facebook. For additional details and queries, please contact the director of the Center, Mary Favret, Department of English, Indiana University, Bloomington, IN 47405, favretm@indiana.edu.
Call for Papers: Art and/or Pornography?
Aesthetics, Art, and Pornography
Institute of Philosophy, London, 16-18 June 2011
Proposals due by 1 February 2011
The aim of this conference is to investigate, from an interdisciplinary perspective, the artistic status and aesthetic dimension of pornographic pictures, films, and literature. Is there such a thing as pornographic art? Or are pornography and art mutually exclusive? Can a line be drawn between these two domains of representation? Or is there perhaps some interesting overlap, some common ground worth exploring? To answer these questions certain fundamental issues in the philosophy of art need to be addressed. One cannot hope to critically examine the middle ground between art and pornography without seriously engaging with current research on the definition of art, the nature of aesthetic value, aesthetic experience, aesthetic properties, the relation between art and morality, the psychology of picture perception, and the role of imagination in art. However, more is involved than just an abstract philosophical problem. In the history of art, and especially also in the contemporary world of art (construed in the broadest sense), there are many paintings, photographs, prints, films, poems, short stories, novels and graphic novels which have been labelled ‘pornographic art’. Any investigation of the artistic status and potential of pornographic representations would not be complete without a careful examination of such works that consciously explore the boundaries between art and pornography.
The conference will bring together philosophers and aestheticians, art historians and film theorists, to explore these topics. This interdisciplinary approach is intended to throw new light on these general questions, and to lead to a more accurate and subtle understanding of the range of representations that incorporate explicit sexual imagery and themes, in both high art and demotic culture, in Western and non-Western contexts.
Confirmed Speakers
MARTIN KEMP History of Art, Oxford University (Emeritus Research Professor)
PAMELA CHURCH-GIBSON Film & Cultural Studies, University of the Arts London
JERROLD LEVINSON Philosophy, University of Maryland
JESSE PRINZ Philosophy, University of North Carolina Chapel Hill
ELISABETH SCHELLEKENS Philosophy, University of Durham
Call for Papers
We invite submissions on any issue related to this topic, ranging from abstract philosophical questions to detailed analyses of particular films, paintings, photographs, novels, etc. Papers from different disciplines and theoretical perspectives are encouraged. Speakers will have a presentation time of approximately 40 minutes. Papers should not exceed 5000 words and should be accompanied by a 100-word abstract and a short CV. Please send papers to conference organiser Hans Maes (H.Maes@kent.ac.uk) by February 1, 2011. Communication of acceptance: March 15, 2011. Submissions will be refereed by an international committee, and selected on the basis of general quality and relevance to the special topic of the conference. The organisers plan to publish (a selection of) the conference papers. We welcome volunteers to serve as session chairs and commentators. We regret that we cannot cover travel or other expenses.
Organising committee: Hans Maes, Michael Newall, Murray Smith, Barry C. Smith, Jerrold Levinson, Jonathan Friday.
We gratefully acknowledge financial support from the The American Society for Aesthetics, The School of Arts and the Faculty of Humanities at the University of Kent.
‘Fashioning Fashion’ Exhibition in Los Angeles
From the LACMA website:
Fashioning Fashion: European Dress in Detail, 1700-1915
Los Angeles County Museum of Art, 2 October 2010 — 6 March 2011
Curated by Sharon Takeda and Kaye Spilker
Vest, France, 1789-94, Photo © 2010 LACMA
Man’s Suit, France, ca. 1760, Photo © 2010 LACMA
Fashioning Fashion: European Dress in Detail, 1700-1915 celebrates the museum’s groundbreaking acquisition of a major collection of European men’s, women’s, and children’s garments and accessories.The exhibition tells the story of fashion’s aesthetic and technical development from the Age of Enlightenment to World War I. It examines sweeping changes in fashionable dress spanning a period of over two hundred years, and evolutions in luxurious textiles, exacting tailoring techniques, and lush trimmings.
Highlights include an eighteenth-century man’s vest intricately embroidered with powerful symbolic messages relevant to the French Revolution; an evening mantle with silk embroidery, glass beads, and ostrich feathers designed by French couturier Émile
Pingat (active 1860-96); and spectacular three-piece
suits and gowns worn at the royal courts of Europe.
◊ ◊ ◊ ◊ ◊
Fashioning Fashion: European Dress in Detail, 1700-1915, by Sharon Takeda, Kaye Spilker and Kimberly Chrisman-Campbell, preface by John Galliano (Prestel, 2010), ISBN: 978-3791350622 $55.
Luxurious textiles, exacting tailoring, and lush trimmings abound in this glorious volume that celebrates the Fashioning Fashion: European Dress in Detail, 1700-1915 exhibition at LACMA. Fashion is in the details. Textiles, tailoring, and trimmings all work together in the creation of the finest pieces. Drawing on the Los Angeles County Museum of Art’s internationally known fashion collection, this gorgeous book tells the story–in words and beautiful pictures–of fashion’s aesthetic and technical development from the Age of Enlightenment to World War I, a period when fashionable dress underwent sweeping changes. Many remarkable examples of men’s, women’s, and children’s garments are featured here for the first time, including an extraordinarily rare 1790s man’s vest designed to promote sympathy with the French Revolution; a stunning 1845 black satin gown from the royal court of Portugal heavily embroidered with gold; and an 1891 evening mantle with silk embroidery, glass beads, and ostrich feathers designed by French couturier Aemile Pingat. An invaluable resource for anyone interested in the evolution of fashion, this generously illustrated book provides a rich visual history of the changes that occurred in fashionable dress spanning a period of more than two hundred years.
Sharon Sadako Takeda is the Senior Curator and Head, Costume and Textiles Department, Los Angeles County Museum of Art. Kaye Durland Spilker is Curator, Costume and Textiles Department, Los Angeles County Museum of Art. John Galliano, one of the most influential fashion designers of our time, is the chief designer of the haute couture house Christian Dior. Kimberly Chrisman-Campbell is a fashion-research scholar who writes and reviews books and exhibitions for Dress, Costume, and Woman’s Art Journal.
‘Eye for the Sensual’ in Los Angeles
Press release from LACMA:
Eye for the Sensual: Selections from the Resnick Collection
Los Angeles County Museum of Art, 2 October 2010 — 2 January 2011
Curated by J. Patrice Marandel and Bernard Jazzar
Photo © 2010 Museum Associates/LACMA
The Los Angeles County Museum of Art (LACMA) presents Eye for the Sensual: Selections from the Resnick Collection, which features more than 100 paintings, sculptures, and decorative arts from the collection of Lynda and Stewart Resnick, long-time patrons of the museum. Since the early 1980s, the Resnicks have collected in many areas ranging from European to American and modern art. This exhibition reflects their interest in European painting, sculpture, and decorative arts from the sixteenth to the early twentieth century. Eye for the Sensual is one of three inaugural exhibitions to open the new Lynda and Stewart Resnick Exhibition Pavilion, named in honor of the Resnicks’ generous donation to LACMA’s ongoing Transformation campaign. The exhibition — designed by Pier Luigi Pizzi– beautifully illuminates the Resnicks’ broad taste and great love for collecting.
Installation of "Eye for the Sensual" at LACMA, Photo © 2010 Museum Associates/LACMA
Charles-Antoine Coypel, "Portrait of Monsieur Dupillé," 1733 Photo © 2010 Museum Associates/LACMA
The Resnick collection is rich in eighteenth-century French paintings including portraits, landscapes, still lifes, and mythological scenes. François Boucher and his pupil, Jean-Honoré Fragonard, are particularly well represented with three paintings each. Two of the paintings by Boucher—both sensuous representations of Venus—were originally commissioned by the artist’s greatest patron, Madame de Pompadour, for one of her many residences. The third work, Leda and the Swan (1742), was known only through a second version at the Nationalmuseum in Stockholm before the Resnicks acquired the original. Fragonard’s paintings display the artist’s versatile talent and reveal, in turn, a world of playful eroticism, deep passion, and domestic intimacy.
The feminine aspect of the Resnick collection has often been noted: on one hand, many of the paintings’ subjects, whether allegorical or mythological, glorify the female form. On the other, numerous female artists are represented in the collection: Anne Vallayer-Coster with a still life of flowers; Elisabeth Louise Vigée Lebrun whose imposing Portrait of Marie Antoinette, Queen of France (1783), commissioned by the sitter, evokes the doomed splendor of the last days of the French monarchy; and Marguerite Gérard, who, under the guidance of her brother-in-law Fragonard, achieved fame in late eighteenth century for her portraits and genre scenes. Two of the Gérard works on view are small, intimate portraits of sitters who belonged to the artist’s enlightened circle of friends. A larger genre scene shows a female artist in her studio, a personification of Gérard’s own success and social status in the changing art world of early nineteenth-century France.
The Resnick collection also includes important Italian, Flemish, Dutch, and French paintings from the seventeenth and eighteenth centuries. Francesco Guardi’s Ridotto at Palazzo Dandolo (1750s), a recent addition to the collection, is a vivid image of gambling and masquerade in eighteenth-century Venice that evokes the risqué world of Casanova. Among the Northern paintings, the vigorous Revel of Bacchus and Silenus (c. 1615) executed by Jacob Jordaens while still in his twenties exudes verve and passion, and a rare pair of decorative tondos by the little–known Dirk van der Aa reveals an unexpected aspect of late eighteenth-century Dutch painting. Two French masterpieces frame the core group of late eighteenth-century works: Simon Vouet’s dignified representation of the goddess Diana and her companions from around 1640, and Jean Auguste Dominique Ingres’s magisterial The Virgin with the Host (1860). Both paintings, in spite of being worlds apart, lend a note of pure and austere classicism to the collection.
European sculpture has been a long-standing interest of the Resnicks. The couple has assembled a collection that spans more than 400 years and includes Italian and French marble busts, English full-length neoclassical figures, French eighteenth-century terracottas, as well as bronzes dating from the Renaissance to the twentieth century. Some of the best-known sculptors in the collection include Barthélemy Prieur, Giambologna, Claude Michel (Clodion), Jean-Antoine Houdon, and Aristide Maillol.
Eye for the Sensual also includes a selection of Art Deco furniture and decorative arts, a more recent interest of the Resnicks. The couple has favored the elegant creations of such artists as Emile-Jacques Ruhlmann and Jules Leleu, as well as numerous pieces by Italian designer Gio Ponti, whose ceramic plates and vessels include depictions of the female figure in various activities. These modern touches gracefully enhance the setting and set the stage for this engaging and evocative exhibition.
Eye for the Sensual is curated by J. Patrice Marandel, LACMA’s Robert H. Ahmanson Chief Curator of European Art, and Bernard Jazzar, Curator of the Lynda and Stewart Resnick Collection. The installation for the exhibition was designed by the world-famous Studio Pier Luigi Pizzi-Massimo Pizzi Gasparon. Recognized as one of the leading designers of opera productions in the world, Pier Luigi Pizzi’s work has graced all of the great opera stages, including those of the Teatro La Fenice, Venice, and the Teatro alla Scala, Milan. Pizzi has designed many installations, such as those for the 2009 Florence Biennale and Seicento: La Peinture italienne dans les musées de France, a major exhibition of seventeenth-century Italian paintings in French museums held at the Grand Palais in 1992. The presentation for Eye for the Sensual will be the designer’s first project in Los Angeles.
◊ ◊ ◊ ◊ ◊
Eye for the Sensual: Selections from the Resnick Collection, by Pierre Rosenberg, Scott Schaefer, and Bernard Jazzar with contributions by Antonia Boström, Anne-Lise Desmas and Anne Woollett (2010), $39.95.
Published in conjunction with the exhibition Eye for the Sensual: Selections from the Resnick Collection at LACMA, this catalog presents a selection of eighty-three European paintings and sculptures from the renowned collection of Lynda and Stewart Resnick. Comprised of Old Master paintings and sculpture from the sixteenth century to the late nineteenth, each work is discussed in a scholarly entry. The emphasis of the collection is on French eighteenth-century paintings, including works by François Boucher, Jean-Honoré Fragonard, Nicolas Lancret, Élisabeth-Louise Vigée-Lebrun, and Marguerite Gérard. Other works by Flemish and Italian masters are also included: Jacob Jordaens, Hendrick de Clerck, Francesco Albani, and Francesco Guardi. Among the sculptures represented in the Resnick collection are Renaissance works by Giambologna and Barthélemy Prieur, eighteenth-century French figures by Jean-Antoine Houdon and Clodion and Neoclassical sculpture by John Gibson and Joseph Gott. Also included are photographs illustrating the works as they are displayed in the Resnick’s magnificent home in Beverly Hills.
Enfilade 
leave a comment