Enfilade

Exhibition | Drawings from the Osiris Donation at Malmaison

Posted in exhibitions by Editor on October 24, 2012

From the Château de Malmaison:

Un Semblant de Bonheur: Dessins de la Donation Osiris
Musée National du Château de Malmaison, Rueil-Malmaison, 24 October 2012 — 21 January 2013

Curated by Céline Meunier and Alain Pougetoux

Château de Malmaison (Wikimedia Commons)

This exhibition presents, for the first time together, all the [47] drawings of Daniel Iffla, called ‘Osiris’, who donated Malmaison to the French State in 1906. This unique collection contains drawings from the 16th, 17th, 18th and 19th centuries, from Dutch, Flemish, Italian and French masters. Among the most famous you will find Aelbert Cuyp and Frans van Mieris, Francesco Guardi, Giambattista Tiepolo and Giulio Romano, Jacques Callot and François Boucher… But also some of Osiris’s contemporaris as the Orientalist artist Alexandre Bida or the animalier Antoine-Louis Barye. Several techniques are represented among them, as you will see with the delicate watercolors of Eugène Lami, illustrator of Alfred de
Musset’s poems.

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The more complete, French description:

En 1906 Daniel Iffla dit Osiris, après avoir offert en 1903 le château de Malmaison à l’Etat, lui fait don de sa collection personnelle d’œuvres d’art, à charge pour celui-ci de l’exposer dans un pavillon à son nom. Après la réouverture en 2011 du pavillon consacré à la présentation de cette collection (200 peintures, sculptures, meubles et objets d’art) le musée a souhaité mettre en valeur l’ensemble des dessins dont la trop grande fragilité ne permet pas une présentation permanente dans cet espace.

Ces quarante-sept dessins et aquarelles, font ainsi l’objet d’une exposition exceptionnelle qui va permettre de les présenter au public tous réunis pour la première fois. Une part importante d’entre eux appartient aux XVIIème et XVIIIème siècles. Parmi ces dessins anciens on rencontre des maîtres hollandais et flamands comme Hendrick de Clerck, Aelbert Cuyp ou Frans van Mieris, des artistes italiens comme Francesco Guardi et Giambattista Tiepolo, ou Giulio Romano, mais aussi des français tel Jacques Callot, et surtout une magnifique série de quatre dessins de
François Boucher. (more…)

Fellowships | Winterthur Fellowship Program, 2013–14

Posted in fellowships by Editor on October 23, 2012

Winterthur Museum, Garden & Library Fellowship Program, 201314
Applications due by 15 January 2013

Winterthur Museum, Garden & Library is pleased to announce its Research Fellowship Program for 2013–14. Winterthur offers an extensive program of short- and long-term fellowships open to academic, independent, and museum scholars, including advanced graduate students, to support research in material culture, architecture, decorative arts, design, consumer culture, garden and landscape studies, Shaker studies, travel and tourism, the Atlantic World, childhood, literary culture, and many other areas of social and cultural history.

Fellowships include 4–9 month NEH fellowships, 1–2 semester dissertation fellowships, and 1–2 month short-term fellowships. Fellows have access to library collections of more than 87,000 volumes and one-half million manuscripts and images. Resources for the 17th to the early 20th centuries include period trade catalogues, auction and exhibition catalogues, an extensive reference photograph collection of decorative arts, printed books, and ephemera, searchable online at winterthur.org. Fellows may also conduct research in the museum’s collections, which include 90,000 artifacts and works of art made or used in the colonies or young U.S. republic to 1860. Fellowship applications are due January 15, 2013. For more details and to apply, visit the Winterthur website or e-mail Rosemary Krill at rkrill@winterthur.org.

Exhibition | Benjamin West: General Wolfe and the Art of Empire

Posted in exhibitions by Editor on October 22, 2012

From UMMA:

Benjamin West: General Wolfe and the Art of Empire
University of Michigan Museum of Art, Ann Arbor, 22 September 2012 — 13 January 2013

Benjamin West, The Death of General Wolfe, 1776 (William L. Clements Library, University of Michigan)

How is it that an American painter came to define the British Empire? Benjamin West’s iconic painting The Death of General Wolfe (1776) depicts the death of James Wolfe, the British commander at the 1759 Battle of Quebec, one of Great Britain’s most famous military victories, during what in this country is known as the French and Indian War. In conflating a momentous contemporary event with the genre of large-scale history painting, West flouted the conventions of academic painting and the work became one of the most celebrated paintings in Britain. The artist went on to produce six versions of the painting, one of which belongs to the William L. Clements Library at the University of Michigan. Through approximately 40 works, from Michigan, Canadian, and British collections, this ambitious and thematically focused exhibition will include the Clements canvas as well as other depictions of James Wolfe and his death on the battlefield. A fully illustrated catalogue published by the Museum as part of its UMMA Books series accompanies the exhibition.

Exhibition | Discovering Eighteenth-Century British America

Posted in exhibitions by Editor on October 22, 2012

From UMMA:

Discovering Eighteenth-Century British America: The William L. Clements Library Collection
University of Michigan Museum of Art, Ann Arbor, 22 September 2012 — 13 January 2013

Mark Catesby, The Natural History of Carolina, Florida, and the Bahama Islands, 1731-43, hand-colored engravings (William L. Clements Library, 16791)

This significant exhibition provides glimpses of British America in the 1700s and is designed to complement the Museum’s concurrent exhibition Benjamin West: General Wolfe and the Art of Empire, which features the Clements collection’s major painting The Death of General Wolfe. William L. Clements assembled an outstanding array of primary sources on North America dating between 1492 and 1800, with a heavy emphasis on early European exploration and discovery and the eighteenth-century wars for control of the continent. The exhibition features a mix of rare items from Mr. Clements’s original donation and pieces the Library has acquired since 1923 to complement and enhance its strength in eighteenth-century American history.

This exhibition is part of the UM Collections Collaborations series, co-organized by and presented at UMMA and designed to showcase the renowned and diverse collections at the University of Michigan. The UM Collections Collaborations series is generously supported by the Andrew W. Mellon Foundation.

Display | The Geometry of War: Fortification Plans

Posted in exhibitions by Editor on October 22, 2012

From the University of Michigan:

The Geometry of War: Fortification Plans from Eighteenth-Century America
William L. Clements Library, University of Michigan, 15 October 2012 — 15 February 2013

The eighteenth century was a time of intensive military activity in Europe and in the Americas. Much of this centered on fortified towns or positions. The period from the 1680s to the French Revolution has been called the “classic century of military engineering,” a time when earlier forms of artillery fortifications were perfected and frequently tested in battle.

Designing, constructing, and recording fortifications was the job of the military engineer. He followed well-tested principles of design, based on geometry, to construct fortified places. These were recorded in detailed plans, many of surprising beauty and complexity. The Clements Library is rich in examples, manuscript and printed, and offers a sample illustrating the science of fortification in eighteenth-century America.

Conference | The Cultural History of Cartography

Posted in conferences (to attend) by Editor on October 22, 2012

From the conference website:

The Cultural History of Cartography
University of Michigan, Ann Arbor, 25-26 October 2012

This two-day interdisciplinary symposium on the cultural history of cartography intends to facilitate discussion among scholars of history, art history, literary criticism, area studies, and architecture and urban planning. To develop comparative modes of inquiry, each panel will address specific concerns across geographical spaces and temporal periods. Topics include the relations of mapmaking, map reception, and map use to perception, fantasy, temporality, indigeneity, travel, migration, the slave trade, colonialism, citizenship, costume books, and poetry and drama. The symposium is free and open to the public.

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T H U R S D A Y ,  2 5  O C T O B E R
Palmer Commons, Forum Hall

9:00  Welcome
Valerie Traub, Karl Longstreth, Brian Dunnigan, and Kevin Graffagnino

9:15  Travel, Commerce, Tourism
Chair:  Scotti Parrish
• Jordana Dym: “‘A Prick’d Line’: Route Maps and Travel Accounts, 1600-1930”
• Laura Williamson Ambrose: “Moved to Travel: Dislocation and Domestic Mobility in Anna Trapnel’s Report and Plea
• Jyotsna Singh:“Cartographies of the Guinea Coast and the Early Modern Slave Trade”
• James Akerman: “Rivers, Roads, and Rails: Travelers and Maps in the Early United States”

11:15  Break

11:30  Technologies
Chair: Mary Pedley
• Stephanie Leitch: “Us and Them: Vespucci’s Triangle and the Geometry of Difference”
• Lydia Soo: “Early Modern Maps of London”

12:30  Lunch

1:30  The History of Cartography Project
Chair: Karl Longstreth
• Mary Pedley
• Matthew Edney

2:00  Difference, Similarity, Classification
Chair: Ellen Poteet
• Marjorie Rubright: “The Il-logic of Location: Getting Lost in Early Modern Atlases”
• Susan Schulten: “Mapping the Population in the Aftermath of the American Civil War”
• Martha Jones: “Race, Space, and Citizenship in Antebellum Detroit: Rethinking the Power of Maps”

3:30  Break

3:45  Ornamentation
Chair: Betsy Sears
• Kathryn Will: “Mapping the Heraldic Field”
• Ann Rosalind Jones: “Allegories of the Continents in Sixteenth-Century Costume Books”

F R I D A Y ,  2 6  O C T O B E R
University of Michigan Museum of Art, Helmut Stern Auditorium

10:00  Welcome
Valerie Traub and Karl Longstreth

10:15  Maps, Theater, and the Literary
Chair: Valerie Traub
• Gavin Hollis: “‘Bed Work, Mappery, Closet War’: Shakespearean Anti-Cartography”
• Julia Carlson: “Poetry, Print Culture, and the Making of the ‘Lake-District’”
• Jonathan Zwicker: “Stage and Spectacle in an Age of Maps: Kabuki and the Cartographic Imagination in Nineteenth-Century Japan”

11:45  Relocate to 1014 Tisch Hall for panel and lunch

12:00  Mapping the Americas
Chair:  Michael Witgen
• Neil Safier: “Fugitive Landscapes in Deep Time: Mapping Indigenous Migrations in Amazonia”
• Jon Parmenter: “The Spatial Reconnaissance of Iroquoia, 1600-1775: Who Knew What, and When Did they Know It?”
• Martin Brückner: “Cartography and the Gigantic: Wall Maps, Aesthetics, and Technology in Nineteenth-Century America”

2:00 Relocate to Art Museum

2:30  Perception, Fantasy, Time
Chair: Celeste Brusati
• Gottfried Hagen: “Time and Narrative in Ottoman Maps”
• Bronwen Wilson: “Insular Navigations”
• Tom Conley: “The Baroque Hydrographer”
• Anne Herrmann: “‘Naive Geography’:  Aleksandra Mir’s ‘Switzerland and Other Islands’”

Exhibition | Guglielmo Du Tillot and the Enlightenment

Posted in exhibitions by Editor on October 21, 2012

From the University of Parma:

Guglielmo Du Tillot Regista delle Arti nell’Età dei Lumi
Palazzo Bossi Bocchiarma, Parma, 28 October 2012 — 27 January 2013

Curated by Gianfranco Fiaccadori, Alessandro Malinverni, and Carlo Mambriani

La mostra Guglielmo Du Tillot, regista delle arti nell’età dei Lumi si terrà a Palazzo Bossi Bocchi dal 28 ottobre 2012 al 27 gennaio 2013 (inaugurazione sabato 27 ottobre ore 18,00). L’esposizione, che si fregia del patrocinio delle ambasciate di Francia e di Spagna in Italia, è stata realizzata in collaborazione con Biblioteca Palatina di Parma, Soprintendenza per i Beni Storici Artistici ed Etnoantropologici di Parma e Piacenza, Archivio di Stato di Parma e IPSIA “Primo Levi” di Parma; l’obiettivo è di raccontare a un vasto pubblico l’impatto culturale e artistico della figura di Du Tillot, Intendente della Real Casa inizialmente e Primo ministro in seguito. Attraverso un ricco panorama di opere, talvolta inedite, di pittura, scultura, architettura, incisione, numismatica e arti decorative, nonché di preziosi volumi conservati nei fondi antichi della Biblioteca Palatina e della Biblioteca di Busseto, verrà illustrata la riforma artistica e culturale che permise al piccolo stato borbonico di emergere in Italia e in Europa come non era accaduto nemmeno sotto la dinastia farnesiana, facendo di Parma l’«Atene d’Italia».

Il percorso della mostra – ideata e curata da Gianfranco Fiaccadori e Alessandro Malinverni (Università di Milano) e Carlo Mambriani (Università di Parma) – si articola in due sezioni: la prima, preceduta da un inquadramento biografico del protagonista, è incentrata sulla trasformazione di Parma in «Atene d’Italia»: il ruolo del ministro, di Annetta Malaspina e della loro cerchia; le nozze dei principi come eventi di propaganda artistica e dinastica; l’istituzione dell’Accademia e l’appoggio fornito ai suoi artisti; il rinnovo delle residenze, delle manifatture e del tessuto urbano. La seconda sezione è dedicata alla committenza privata di Du Tillot a Parma e a Parigi, durante il breve esilio: l’allestimento delle sue residenze, gli acquisti di libri e di opere d’arte, gli artisti prediletti.

Tra i numerosi artisti presenti in mostra, oltre all’architetto Ennemond Alexandre Petitot, fedele collaboratore del ministro, e ai vincitori dei concorsi accademici degli anni Sessanta, si segnalano i protagonisti della ritrattistica settecentesca parmense, come Giuseppe Baldrighi e Pietro Melchiorre Ferrari, ed europea, del rango di Jean-Marc Nattier, Anton Raphael Mengs, Laurent Pecheux e Louis-Michel Van Loo.

Conference | Guglielmo Du Tillot and the Enlightenment

Posted in conferences (to attend) by Editor on October 21, 2012

From the University of Parma:

Tillot e i Ministri delle Arti nell’Europa dei Lumi
Parma e Colorno, 25-27 October 2012

Convegno organizzato da Gianfranco Fiaccadori, Alessandro Malinverni, e Carlo Mambriani

A due anni di distanza dalle celebrazioni in onore della duchessa di Parma Luisa Elisabetta di Borbone, la Fondazione Cariparma, in collaborazione con il Dipartimento di Ingegneria Civile, Ambiente, territorio e Architettura dell’Università di Parma, prosegue l’approfondimento della storia dei ducati parmensi nel Settecento, attraverso un doppio appuntamento dedicato al ministro riformatore Guglielmo Du Tillot e al suo ruolo nello sviluppo delle arti a Parma negli anni Sessanta.

L’evento, che prepara e apre la mostra, è il convegno internazionale di studi Guglielmo Du Tillot e i ministri delle arti nell’Europa dei Lumi, articolato su tre giorni: 25 ottobre (Biblioteca Palatina), 26 ottobre (Reggia di Colorno) e 27 ottobre (Università, Aula dei Filosofi). Il convegno offrirà una panoramica esaustiva del secondo decennio di dominazione borbonica a Parma e un raffronto tra i principali ministri delle arti in Europa. Di storia, letteratura, pittura, musica, architettura e urbanistica, arti decorative e costume tratteranno una trentina di studiosi, afferenti a centri di ricerche e atenei italiani ed esteri.

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Giovedì, 25 Ottobre 2012 – Parma, Biblioteca Palatina
PARMA 1759-1771: L’«ATENE D’ITALIA»

9.00  Accoglienza e registrazione dei Relatori
Saluti delle Autorità, CARLO MAMBRIANI (Università degli Studi di Parma), Introduzione

9:30  Presiede Sabina Magrini, Direttrice della Biblioteca Palatina

• GIUSEPPE GALASSO (Accademia Nazionale dei Lincei), L’Italia degli anni Sessanta

• MARCELLO VERGA (Università degli Studi di Firenze), Modelli di governo e politiche riformatrici negli stati italiani (gli anni Sessanta del XVIII secolo)

• MARC FUMAROLI (Académie Française, Collège de France), La Parma illuminista e neoclassica nelle geopolitica di Choiseul

14.45  Presiede Giuseppe Galasso, Accademia Nazionale dei Lincei

• CLAUDIO MADDALENA (Università degli Studi di Padova), Le riforme amministrative ed ecclesiastiche: forza e debolezza del governo Du Tillot

• GIOVANNI FRACASSO (Università degli Studi di Bologna), La politica economica di Du Tillot: riforme e sostegno alla manifattura

• MERCEDES SIMAL LÓPEZ (Istituto Universitario La Corte en Europa, Madrid), Le nozze di Luisa Maria di Parma con il principe delle Asturie: un’altra parmigiana alla corte di Spagna

• GIORGIO FEDERICO SIBONI (Università degli Studi di Milano), Giochi di potere. Du Tillot e il matrimonio di don Ferdinando con Maria Amalia

• GIUSEPPE BERTINI (Parma), La cultura francese a Parma dopo la caduta di Du Tillot

Venerdì, 26 Ottobre 2012 – Colorno, Reggia, Sala Grande
DU TILLOT REGISTA DELLE ARTI

9.15  Saluti delle Autorità

9.30  Presiede Maria Letizia Sebastiani, Direttrice della Biblioteca Nazionale Centrale di Firenze

• CARLO MAMBRIANI (Università degli Studi di Parma), Le strategie architettoniche e urbane di Du Tillot

• ALESSANDRO MALINVERNI (Università degli Studi di Milano),  Du Tillot e la pittura a Parma 1759-1771

• GUILHEM SCHERF (Musée du Louvre), La scultura a Parma tra 1749 e 1771

• FRANCESCA FEDI (Università degli Studi di Parma), Il teatro e le lettere a Parma

• CLAUDIO TOSCANI (Università degli Studi di Milano), La musica nei ducati

• CHIARA TRAVISONNI (Università degli Studi di Parma), Du Tillot, Valdrè e Palmieri: un collezionista e i suoi pittori tra Parma e Parigi

15.00  Presiede Maria Utili, Soprintendente per i Beni Storici, Artistici ed Etnoantropologici di Parma e Piacenza

• ENRICO COLLE (Firenze), Du Tillot e la promozione delle arti decorative a Parma

• CRISTINA CAMPANELLA (Milano), La Real Fabbrica della Maiolica e Vetri e la ceramica nel Settecento a Parma

• ANDREINA GALLEANI D’AGLIANO (Roma), Ordinativi di porcellana per i duchi di Parma (1755-1770): un confronto con le principali corti europee

• FRANÇOISE TETART VITTU (Musée Galliera, Paris), La mode à Parme entre 1749 et 1771

Sabato, 27 Ottobre 2012 – Parma, Università, Aula dei Filosofi
I MINISTRI DELLE ARTI NELL’EUROPA DEI LUMI

9.00  Saluti delle Autorità

9.15  Presiede Carlo Mambriani, Università degli Studi di Parma

• CHRISTOPHE HENRY (Groupe Histoire Architecture Mentalités Urbaines, Paris), Une renaissance manufacturière des arts : la contribution de Philibert Orry et de Guillaume du Tillot à la théorie économique des Lumières (1730-1774)

• ALESSANDRO MALINVERNI (Università degli Studi di Milano), Tournehem e la Direction des Bâtiments du Roi (1745-1751)

• MARIE-LAURE DE ROCHEBRUNE (Château de Versailles), Le duc de Choiseul et les arts

• XAVIER SALMON (Château de Fontainebleau), Madame de Pompadour et les arts

• CHRISTOPHE MORIN (Université de Tours), Marigny entre cour et jardin: le goût d’un ministre des arts à la ville et aux champs

• JOSÉ Luis SANCHO (Patrimonio Nacional, Madrid), I “ministri delle arti” in Spagna da Filippo V a Carlo III

14.45  Presiede Bruno Adorni, Decano del DICATeA, Unversità di Parma

• IMMA ASCIONE (Archivio di Stato di Napoli) e GINA ASCIONE (Palazzo Reale di Napoli, Appartamento storico), Le arti a Napoli durante la Reggenza (1759-1767) nelle lettere di Bernardo Tanucci e Domenico Cattaneo

• PAOLO CORNAGLIA (Politecnico di Torino), Intendenti Generali delle Fabbriche e Governatori dei Reali Palazzi alla corte di Torino: 1737-1783

• LAURA FACCHIN (Università degli Studi di Verona), Carlo Gottardo Firmian ministro plenipotenziario della Lombardia Asburgica: politiche artistiche tra Milano e Vienna

• ORONZO BRUNETTI (Università degli Studi di Parma), Il potere e le arti in Toscana

• CRISTINA RUGGERO (Bibliotheca Hertziana, Roma), Il conte Heinrich von Brühl, primo ministro del principe elettore di Sassonia

• GIANFRANCO FIACCADORI (Università degli Studi di Milano), Chiusura del convegno

18.00  Inaugurazione della Mostra Guglielmo Du Tillot Regista delle Arti nell’Età dei Lumi

Exhibition | Bronze at The Royal Academy

Posted in books, catalogues, exhibitions, reviews by Editor on October 20, 2012

Reviewed for Enfilade by Craig Ashley Hanson

Bronze
Royal Academy of Arts, London, 15 September — 9 December 2012

Curated by David Ekserdjian and Cecilia Treves

Critics have been raving about Bronze since it opened last month at the Royal Academy of Arts in London. Notwithstanding the exhibition’s sweeping coverage–in terms of geography and history–I didn’t initially include it here at Enfilade as I had trouble finding eighteenth-century points of relevance. Indeed, out of dozens of objects shown across ten rooms, only a handful of works were produced during the period. And yet, now that I’ve seen the exhibition, I’m convinced dix-huitièmistes should pay attention.

Organized by theme rather than time and place, the range of works is staggering. If, in keeping with traditional historiographical models, the show begins with an achingly beautiful example from ancient Greece–a recently recovered Dancing Satyr–it quickly brings an international array of work into open and productive dialogue. On display are works from Ghana and Nigeria, Eturia and Rome, China and Japan, Northern Europe and the United States. Categories one might expect to see are well represented: ritual dining vessels from Shang dynasty tombs, classicizing work from Renaissance Florence, Buddhist work from India (including an extraordinary sixth-century Buddha Shakyamuni from Bihar). Rodin’s Age of Bronze is, of course, included. But there are surprises, too: ancient court objects from Israel (a crown, scepter, and vulture standard), sixteenth-century French spurs, a basketball by Jeff Koons. Works by Giambologna appear next to an oversized spider by Louise Bourgeois (climbing the wall, no less).

François Girardon, Laocoön and His Sons, ca. 1690 Houghton Hall, Norfolk/Photo © Royal Academy of Arts, London, Roy Fox (click for more info)

While it all could have gone horribly wrong, the experience of viewing the exhibition appears to be, for most viewers, one of coherence rather than confusion, coherence derived from the thoughtful attention to the possibilities of bronze as a material. The medium is the subject in an entirely convincing, indeed revelatory manner. The varieties of objects, selected from a global vision of art history, work thanks to careful attention to exploration of seven thematic categories: figures, animals, groups, objects, reliefs, gods, and heads. Scale and texture, color and composition, the tensile strength and resulting artistic flexibility of bronze all become matters of first, rather than passing, interest.

And for the eighteenth-century? The final room of heads includes original choices: Massimiliano Soldani-Benzi’s Damned Soul of 1705 after Bernini and Anne Damer’s Mary Berry from 1793, while François Girardon’s Laocoön from Houghton Hall, ca. 1690, exerts a commanding presence in the gallery dedicated to groups. Particularly compelling for me, in that same room, is the sensitive installation of Francesco Bertos’s 1730s allegorical group of Sculpture, Arithmetic, and Architecture from the Prado. Placed alongside Giambologna’s 1576 Nessus and Deianira (a centaur abduction scene) and Alessandro Algardi’s 1647 St. Michael Overcoming the Devil, Bertos’s work appears as an entirely legible development from Renaissance humanism, to forceful Baroque religious expression, to refined Enlightened optimism. Adrian de Vries’s Hercules, Nessus and Deianira of 1622 dominates the center of the gallery, making the relationships–the similarities and differences within this 150-year period–all the more striking.

Massimiliano Soldani-Benzi, after Bernini, Damned Soul (‘Anima Dannata’), 1705-07. Bronze with golden-red lacquer patina, 39.5 cm. Liechtenstein Museum, Vienna. Photo © Liechtenstein. The Princely Collections, Vaduz-Vienna

And so historical arguments do exist within the exhibition, even if there’s no obvious central argument based on tracking change over time (it is I think one reason material from all over the world can be placed side by side so effectively). One may wish there were more eighteenth-century offerings–I’ll leave those criticisms to the sound judgment of my colleagues. But, for me, it is an exhibition that likely would make a lot more sense to eighteenth-century connoisseurs than the much more tightly focused, monographic approaches dominating exhibitions in the present age. No only is it a show I think many eighteenth-century viewers would understand (with admittedly a bit of instruction), it’s a show I think they would like.

Alongside it, the catalogue offers innovative models for thinking about different ways exhibitions generally might succeed. The book pairs beautifully with the catalogue for the 2009 exhibition Cast in Bronze: French Sculpture from Renaissance to Revolution, available–for anyone regretting that there aren’t more eighteenth-century works on
display–in the Royal Academy gift shop on the way out.

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Catalogue: Bronze (London: Royal Academy Publications, 2012), 248 pages, ISBN: 9781907533280, $65.

Bronze, long celebrated for its durability and the wide range of effects that it offers, has been prized as an artistic material in many parts of the world throughout the ages. Magnificent bronze sculptures from the ancient times have emerged unscathed after millennia on the sea bed. It is a material that has been used on all scales, from the minute to the monumental. This sumptuous catalogue examines bronze’s earliest beginnings in North Africa, the Middle East and China as it transcended tools and weaponry to become a medium of fine art. Expert authors chart the virtuousity of artists in ancient Greece and Rome; developments in Asia and Africa; bronze’s great flowering in the European Renaissance and its use in the modern era by artists such as Rodin, Picasso, Brancusi and Bourgeois.

A unique testament to the works of art that one medium has inspired, Bronze contains lavish colour plates of over 150 masterworks arranged chronologically to take the reader on a voyage through time, tracing the work of sculptors, casters and chasers through the centuries.

Conference | New Perspectives on the Romantic Period

Posted in conferences (to attend) by Editor on October 20, 2012

From the conference website:

New Perspectives on the Romantic Period
Tate Britain, London, 6 -7 November 2012

Registration deadline: 26 October 2012

A student-led conference in association with the Tate Research Centre: British Romantic Art

The Tate Research Centre: British Romantic Art aims to promote research on British art from around 1770 to 1850. Tate’s collection of watercolours and drawings, and major holdings of the work of William Blake and John Constable is among the greatest in the world. With a special focus on Blake, Constable and Turner, the Centre offers a programme of events and activities aimed at encouraging research on these artists and on the Romantic era as a whole, as well as the legacy of Romantic art and culture in Britain and around the world.

This two-day conference, organised by PhD students in collaboration with Tate, will feature papers by British and international post-graduates working on the Romantic period with contributions focusing on British art and visual culture of the period c.1770–1850. Papers will offer new perspectives on the iconic artists of the Romantic period: Turner, Constable, Blake, David Wilkie, Edwin Landseer, John Sell Cotman, John Martin, James Barry and Benjamin Robert Haydon, all of whom are represented in the Tate collection. Themes under discussion in the conference will include the material concerns of artists, examining the use of different media artists’ multidisciplinary interests and approaches, and their self-representation and identity, as well as landscape and travel, political and religious themes, and cross-period connections.

The conference will make use of Tate Britain’s resources, with the chance to get up close to works in the collection and see items that are rarely shown in public. Attendance to the conference is free and open to current students. Places are limited, so please book early to secure a place: newperspectives@tate.org.uk

Join the Twitter conversation at: #britishromanticart

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P R O G R A M M E

6 November 2012, 11.30-18.00

Session 1: Travel and Romantic journey
•    Sarah Moulden, Cotman in Yorkshire: Patronage, Pencil, Resistance
•    Aneta Lipska, Word-painting and 19th-century aesthetic discourses in Marguerite Blessington’s Journals

Session 2: Turner’s multidisciplinary practice
•    Marion Martin, Mingling voices: Turner’s early exhibited works
•    Christine Lai, ‘Perpetual Revolution’: J. M. W. Turner & Romantic Architecture

Session 3: Prints
•    Hayley Flynn (née Morris), Landscape in Blake: the Job Illustrations
•    Esther Chadwick, Experiments in Liberty: Barry’s Phoenix and late-18th-century artists’ prints in Britain

Session 4: Iconography of space and place
•    Vivien Estelle Williams, The bagpipe as a national identifier: English v. Scottish Romantic portrayals
•    Jordan Mearns, Romancing the Past: Mary, Queen of Scots and Sentimental Historiography in Late Eighteenth-Century British History Painting
•    María Egea García, Artists’ Studios in English Painting: 1770-1850

7 November 2012, 10.00-16.00

Session 5: Material matters
•    Sarah Gould, The Paradigm of texture in the works of Constable and Turner: redefining matter
•    Alice Coombs, Glass and Paper: Manufacturing Experience in John Martin’s The Last Judgement, The Great Day of His Wrath and The Plains of Heaven
•    Gabriella Szalay, Material Matters: Jan van Eyck in the Age of Romanticism

Session 6: The body
•    Thomas Ardill, Healing Miracles in British Art, c.1812-1823
•    Cora Gilroy-Ware, Turner’s Reclining Venus, 1828

Session 7: Romantic legacy
•    Lee Hallman, Frank Auerbach, Leon Kossoff and the Legacy of British Romanticism
•    Shannon Rollins, Anachronism as Aesthetic: Steampunk and J.M.W. Turner
•    Laura Kuch, The Seed of Romanticism: In Search of the Blue Flower: Exploring the relevance of the German Romantics’ ideas in artistic creation today – An artist’s (re)search