Symposium | Architect as Furniture Designer
From RIBA:
Symposium of the Furniture History Society: The Architect as Furniture Designer
The Wallace Collection, London, 9 March 2013
The 37th Annual Symposium of the Furniture History Society in association with the Royal Institute of British Architects
The subject of architects designing furniture, for their own buildings or for commercial sale, was first investigated by Charles Handley-Read in the 1960s in his researches into 19th-century architects and interiors. However, there have been few attempts to take a broad look at the subject since the exhibition and associated catalogue by Jill Lever in the RIBA Heinz Gallery in 1982.
This symposium brings together a number of distinguished scholars and curators to speak on architects from the 18th century to the 21st century and their moveable contributions to the interiors of their buildings. The sessions will be chaired by Charles Hind, Chief Curator, RIBA Library and Julius Bryant, Keeper of the Word and Image Department, Victoria and Albert Museum.
S P E A K E R S
• Susan Weber (Director, Bard Graduate Center, New York), The Furniture of William Kent
• John Harris (Curator Emeritus, Drawings Collection, RIBA Library), Sir William Chambers and the French Connection
• James Yorke (Furniture Historian), H.W. Inwood (1794-1843), the Erectheion and the Grecian Furniture of St Pancras Church
• Max Donnelly (Curator of 19th-Century Furniture, Victoria and Albert Museum), John Pollard Seddon and the Medieval Court of 1862
• Matthew Williams (Curator, Cardiff Castle), William Burges and the Marquess of Bute: The Furniture at Cardiff Castle and Castell Coch
• Irena Murray (Sir Banister Fletcher Director and Research Director, British Architectural Library), Modern Movement Furniture in Central Europe between the Two World Wars
• Alan Powers (School of Architecture, Design and Construction, University of Greenwich), The Furniture of Raymond Erith (1904-73)
• Abraham Thomas (Curator of Designs, Victoria and Albert Museum), Contemporary Architects and Limited Edition Furniture
Tickets must be purchased in advance and early booking is recommended. Fee: £40 for FHS and RIBA members (£35 for FHS / RIBA student members and FHS / RIBA OAP’s) All non-members £45.Ticket price includes morning coffee and afternoon tea. A light lunch will be available for FHS members in the Meeting Room at the Wallace Collection at a cost of £20 to include a glass of wine. Tickets for lunch must be purchased at least 7 days in advance from the Events Secretary. The Wallace Collection Restaurant will be open for bookings (Tel: 0207 563 9505) and there are plenty of local cafes/restaurants. All ticket bookings must be made via the Events Secretary, e-mail events@furniturehistorysociety.org, www. furniturehistorysociety.org.
Conference | Objects in Motion in the Early Modern World
Objects in Motion in the Early Modern World
The Getty Center, Los Angeles, 10-11 May 2013
Mounted Vase, Chinese porcelain ca. 1662–1722, French mounts, ca. 1745–49. J. Paul Getty Museum (79.DI.121.1)
The Getty Research Institute and the USC-Huntington Early Modern Studies Institute are co-sponsoring a two-day conference, “Objects in Motion in the Early Modern World,” on Friday, May 10 and Saturday, May 11, 2013, at the Getty Center in Los Angeles, California.
An international group of scholars will examine the circulation of objects across regions and cultures in the early modern period (1500-1800), addressing the ways in which mobility led to new meanings, uses, and interpretations. Break-out sessions will invite the audience to consider these questions as we examine objects from the Getty’s collections. A closing roundtable will provide an opportunity to discuss the methodological and theoretical potential of this line of inquiry for the study and teaching of art history. The symposium is organized by Daniela Bleichmar (University of Southern California), Meredith Martin (Wellesley College), and Joanne Pillsbury (Getty Research Institute).
Vallard Atlas (detail), 1547. Courtesy of the Huntington Library (HM29.f12)
Admission to this event is free. Reservations are required and can be made online when the website goes live in early March. Graduate students writing dissertations on related subjects can apply for a limited number of travel grants to defray the cost of travel to the conference. To request an application, email emsi@usc.edu. Applications will be due March 1, 2013.
The flyer (as a PDF) is available here»
Note (added 6 March) — Confirmed speakers include:
Gauvin Alexander Bailey, Queen’s University, Ontario
Daniela Bleichmar, University of Southern California
Zirwat Chowdhury, University of California, Los Angeles
Chanchal Dadlani, Wake Forest University
Jessica Keating, University of Southern California
Dana Leibsohn, Smith College
Meredith Martin, Wellesley College
Sandy Prita Meier, University of Illinois at Urbana-Champaign
Avinoam Shalem, Institut für Kunstgeschichte, Munich
Mary Sheriff, University of North Carolina, Chapel Hill
Claudia Swan, Northwestern University
Nancy Um, Binghamton University
Gerhard Wolf, Kunsthistorisches Institut, Florence
New Book | Anton Maria Maragliano (1664-1739)
From Sagep:
Daniele Sanguineti, Anton Maria Maragliano (1664-1739): Insignis Sculptor Genue (Genoa: Sagep, 2012), 480 pages, ISBN: 978-8863731989, €100 / $160.
Il nome di Anton Maria Maragliano, per un caso di eccezionale fortuna critica, è diventato sinonimo di scultura in legno a Genova e in Liguria. La nuova monografia dedicata a questo protagonista del Barocco genovese, attivo tra la fine del Seicento e il 1739, indaga nel dettaglio l’intero percorso artistico, soffermandosi, grazie a numerosi documenti inediti, sulla fase della formazione, sul contesto culturale di riferimento, sulla diversificata committenza (confraternite, famiglie aristocratiche, ordini religiosi) e sulla prassi gestionale di una bottega assai complessa e fitta di allievi. Il corpus delle opere raccoglie, attraverso schede articolate, l’intera produzione nota, suddivisa in quattro sezioni che danno conto delle numerose aggiunte: le opere scolpite dal maestro, i bozzetti (attraverso un nuovo nucleo recentemente scoperto), le opere della bottega e quelle disperse. Il regesto e la trascrizione dei documenti costituiscono un importante approfondimento, mentre una sezione finale è dedicata, nello specifico, agli aspetti della tecnica scultorea e della stesura della policromia. Bellissime immagini a colori accompagnano la lettura del testo.
Daniele Sanguineti è funzionario Storico dell’Arte presso il Ministero per i Beni e le Attività Culturali, con il ruolo di Conservatore del Museo di Palazzo Reale di Genova.
Available from Artbooks.com»
Call for Papers | Artistic and Social Practices, Oslo
Laura Auricchio seeks proposals on the subject of “Artistic and Social Practices,” for an August conference in Oslo: The Eighteenth Century in Practice, the fourth Nordic Conference for Eighteenth-Century Studies.
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Artistic and Social Practices in the 18th Century
Proposed Session at the Nordic Conference for Eighteenth-Century Studies
Oslo, 28-31 August 2013
Proposals due by 15 February 2013
At present, there are plans to include in the session a talk addressing drawing as practice rather than product through consideration of a little-known suite of drawings produced in New York between 1807 and 1814 by a royalist émigré from Napoleonic France, Anne Marguerite-Henriette Rouillé de Marigny, Baroness Hyde de Neuville. A second paper will address artistic and religious practices vis-à-vis artists’ social networks in 18th-century Paris. Please write with ideas or questions to Laura Auricchio, AuricchL@newschool.edu.
Conference | Loyal Subversion: Anglo-Hanoverian Caricature
The third Herrenhausen Symposium addresses caricature within the context of Anglo-Hanoverian relations (with plenty more such observances on the way next year) . . .
Loyal Subversion: Caricatures from the Personal Union between England and Hanover, 1714-1837
Herrenhausen Palace, Hanover, 21-23 February 2013
The political constellation of the personal union between England and Hanover with the figure of a foreign king as a mediator between separate states became a determining factor and was in itself a historical condition for the emergence and the development of caricatures in England after the Glorious Revolution. As a political weapon of the opposition and as a manifestation of public opinion, the caricatures affected the establishment: one the one hand, their visual potential was a threat to the sovereign, on the other hand they helped to stabilize his leadership. What contents do they show? Does the artistic become political? Is there something like an institutionalized form of political perception? Or is this visual criticism nothing else but a loyal subversion of their subjects?
The Herrenhäuser Symposium Loyal Subversion: Caricatures from the Personal Union between England and Hanover 1714-1837 is organized by the Volkswagen Foundation and the Wilhelm Busch – Deutsches Museum für
Karikatur und Zeichenkunst. Please register online at caricature@volkswagenstiftung.de.
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T H U R S D A Y , 2 1 F E B R U A R Y , 2 0 1 3
Wilhelm Busch — Deutsches Museum für Karikatur und Zeichenkunst
7:00 Gisela Vetter-Liebenow (Director, Wilhelm Busch – Deutsches Museum für Karikatur und Zeichenkunst) and Wilhelm Krull (Secretary General, Volkswagen Foundation), Opening Addresses
7:20 Werner Busch (Department of Art History, Free University of Berlin), Keynote Lecture
9:00 Reception
F R I D A Y , 2 2 F E B R U A R Y 2 0 1 3
Herrenhausen Palace
9:30 Images and Caricatures of Kingship
• Ian Haywood (University of Roehampton, London), Milton’s Monsters: Monarchy and Iconoclasm
• Sheila O’Connell (Assistant Keeper, British Prints before 1880, British Museum), Attacks on the Guelph Dynasty: From the Jacobite Caricatures to the London Radicals and Cruikshank
11:00 Coffee
11:30 Images and Caricatures of Kingship, continued
• Christina Oberstebrink (Berlin), James Gillray
• Brian Maidment (John Moores University, Liverpool), The Satirical Image, Politics, and Periodicals, 1830–37
1:00 Lunch
2:30 Royal Representation, Court Culture, and Bourgeois Public
• Sune Schlitte (University of Göttingen), Politics Beyond Caricature: Practices of the Artistic Field in the Long Eighteenth Century
• James Baker (The Paul Mellon Centre for Studies in British Art), The Royal Brat: Making Fun of George Augustus Frederick
4:00 Coffee
4:30 Counterparts
• Karl Janke (Curator, Hamburg), The Republic and the Sovereignty of the People as Antithesis, Anathema, Frightful Vision
• Temi Odumosu (Marie Curie Postdoctoral Fellow, The Natural History Museum, University of Copenhagen), The Image of the Other: The ‘Non-English’ as Identification Marks in the Personal Union
7:00 Conference Dinner
S A T U R D A Y , 2 3 F E B R U A R Y 2 0 1 3
Herrenhausen Palace
9:30 The Reception on the Continent
• Timothy Clayton (Worcester College Oxford), Transfer of Caricatures: The London Printing Trade and the Export of English Graphic Prints
10:30 Coffee Break
11:00 The Reception on the Continent, continued
• Thomas Schwark (Historical Museum Hanover), Johann Heinrich Ramberg (1763-1840): Painter, Borderliner, and
Contemporary with the Nascent Hanover Kingdom
• Christian Deuling (MA, University of Nottingham), The Reception of English and French Caricatures in the German Magazine London und Paris (1798-1815)
12:30 Wilhelm Krull (Secretary General, VolkswagenStiftung), Closing Remarks
12:40 Lunch
At Auction | Recapping Old Masters at Sotheby’s
As Nord Wennerstrom notes at Nord on Art, while it was a fine week for Batoni and Fragonard, “Goya tanked,” and nearly 50 of 104 lots failed to sell at the auction of Important Old Master Paintings and Sculpture. The Sotheby’s press release (1 February 2013), understandably, stresses only the successes:
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Sotheby’s Old Masters Week Sales Bring More Than $80 Million
Important Old Master Paintings & Sculpture sale highlighted by an $11 million record-setting work by Batoni and a painting by French Rococo master Fragonard sold to the Museum of Fine Arts, Boston
Sotheby’s Sale N08952, Lot 73 — Pompeo Girolamo Batoni, Susanna and the Elders. Signed lower left on wall P.B. 1751.
It sold for $11,394,500.
Sotheby’s annual Old Masters Week auctions in New York brought a total of $80,083,199* as of 1 February 2013. Thursday and Friday’s sale of Important Old Master Paintings and Sculpture [Sale N08952] totaled $58,230,315, highlighted by an exceptional work by Pompeo Girolamo Batoni from 1751, Susanna and the Elders, which exceeded the pre-sale estimate of $6-9 million. Five bidders battled for this major work, and two determined phone bidders drove the final price to $11,394,500, a record for the artist at auction. Ten bidders fought for an unrecorded, recently discovered Hans Memling devotional panel, Christ Blessing, which realized $4,114,500, also a record for the artist at auction (est. $1-1.5 million). The panel, which has been in the same New England collection for over 150 years, was
completely unknown to scholars and collectors alike before it
was discovered earlier this year.
Sotheby’s Sale N08952, Lot 84 — Jean-Honoré Fragonard, The Goddess Aurora Triumphing over Night, ca. 1755-56. Selling for $3,834,500, it was acquired by the MFA in Boston.
George Wachter, Co-Chairman of Sotheby’s Old Master Paintings Worldwide, and Christopher Apostle, Head of Sotheby’s Old Master Paintings department in New York, commented: “We were delighted to see that works by major hands like Batoni, Fragonard, and Memling sold incredibly well, and collectors understand that these rare works do not come to the market often. There was tremendous international bidding throughout the week, particularly from Russian collectors, who are extremely interested in French and Italian eighteenth-century work. There was international underbidding for French Rococo master Fragonard’s The Goddess Aurora Triumphing over Night; however, we’re pleased to announce that the Museum of Fine Arts, Boston, was the eventual winner of this wonderful work.”
Sotheby’s Sale N08952, Lot 91 — François Boucher, Sleeping Bacchantes Surprised by Satyrs, 1760.
It sold for $2,098,500.
Heidelberg with a Rainbow, commissioned from Joseph Mallord William Turner in 1840, sold for $4,562,500, while The Goddess Aurora Triumphing over Night by Jean-Honoré Fragonard surpassed its estimate of $1.8/2.5 million, realizing $3,834,500, and was purchased by the Museum of Fine Arts, Boston. An additional record for an artist at auction was made for The Master of the Legend of Saint Barbara with Saint Ursula Protecting the Eleven Thousand Virgins with Her Cloak, selling for $3,050,500, above the high estimate of $2.5 million. A further highlight was Claude-Joseph Vernet’s Mediterranean Harbor at Sunset with the artist, his daughter Emilie Chalgrin, his son Carle Vernet, his daughter-inlaw, Fanny Moreau, and his servant Saint-Jean, on a pier, a lighthouse and a natural arch beyond which fetched $2,546,500, well within estimate. During this sale, Sotheby’s set seven artist records at auction including ones for François Boucher, whose Sleeping Bacchantes Surprised by Satyrs sold for $2,098,500, Gerard van Spaendonck, whose Still life of roses, hyacinth, wallflower and other flowers in a lapis lazuli vase; Still life of narcissus, hyacinth and other flowers in a brown porphyry vase brought $1,650,500, Pietro Longhi whose The Elephant achieved $1,314,500, and Jean-Baptiste Greuze, whose The Hermit, or the Distributor of Rosaries brought $1,082,500.
Sixteen lots from The Metropolitan Museum of Art sold for the Acquisitions Fund achieved strong results, totalling $2.4 million; in particular Portrait of a Young Girl, possibly Clara Serena Rubens by a Follower of Peter Paul Rubens, which sold for 20 times its pre-sale high estimate of $30,000, realizing $626,500. (more…)
New Book | Autour des Van Loo
From PURH:
Christine Rolland, ed., Autour des Van Loo: Peinture, commerce des tissus et espionnage en Europe (1250-1830), (Mont-Saint-Aignan: Publications des Universités de Rouen et du Havre, 2012), 402 pages, ISBN: 9782877755016, 49€/ $95.
Puissante dynastie de peintres qui s’est constituée au cours des XVIIe et XVIIIe siècles, les Van Loo ont été au cœur des grands événements culturels de leur temps. Jacob Van Loo (1614-1670) a fréquenté Vermeer et Rembrandt, avant de s’enfuir vers la France et d’y devenir membre de l’Académie royale de peinture. On retrouve ses descendants dans toutes les cours et les académies de peinture d’Europe. Les Van Loo ne s’en tiennent cependant pas à la peinture. Louis-Michel Van Loo (1707-1771), premier peintre du roi d’Espagne, représentait en même temps l’une des grandes entreprises textiles lyonnaises : il avait pour clients la famille royale, des aristocrates, des ambassadeurs et des agents secrets. À partir de l’exemple de Louis-Michel, sont mis en lumière les liens entre les réseaux des artistes, des marchands, des diplomates et des espions, du Moyen Âge au début du XIXe siècle. Ce volume est surtout la première étude moderne portant sur l’ensemble de la dynastie des Van Loo, de 1617 à 1830, depuis Jacob, le pater familias, jusqu’à Jules-César-Denis, le « peintre des neiges ». Les principales œuvres de chacun des peintres y sont reproduites, souvent pour la première fois. On y trouve aussi un arbre généalogique complet de la famille, des notices biographiques sur chacun de ses membres et des documents issus des archives familiales, sans oublier des tissus et des costumes jamais vus du XVIIIe siècle.
Ont collaboré à ce volume : Cinzia Maria Sicca, Bruna Niccoli, David Mandrella, Christophe Henry, Lesley Ellis Miller, Serge Chassange, Gérard Gayot, Alain Becchia, Simonne Abraham-Thisse, Sjoukje Colenbrander, Corine Maitte, Jean-Paul Leclercq, Ulrich Leben, Fabienne Camus, Michel Van de Laar, Arie Wallert, Cyrille Sciama, Michelle Sapori, Françoise Thelamon.
The full list of contents is provided here»
Graduate Student Seminar | Coloring Color at YCBA
Summer seminar at the YCBA:
Coloring Color: The History, Science, and Materiality of Paint
Yale Center for British Art, New Haven, 17-21 June 2013
Applications due by 4 March 2013
In June 2013, the Yale Center for British Art (YCBA) will offer a week-long graduate student seminar, open to doctoral candidates interested in learning about color and its historical development, manufacture, and use in a range of art works in the eighteenth, nineteenth, and twentieth centuries. The seminar, which is organized by the YCBA’s Conservation Department, will concentrate on the physical materials of color. The long eighteenth century plays a central role in the history of color, as the scientific revolution and the development of chemistry were, in part, fueled by the urge to synthesize pigments and dyes. The seminar will examine color from historic and scientific perspectives, explore its physical definitions and biological responses, and create a familiarity with the language of color as it evolved historically. Studio demonstrations and some practice will be used to help inform art history students who may have had little or no experience in handling pigments and mediums in the studio. The aim of the seminar is to equip students with a fundamental understanding of the history and theory of color, and to develop an understanding of the appearance of color in paintings and works on paper.
Yale historically has been linked to color teaching. From 1950 until his death in 1976, Joseph Albers taught, studied, and painted in New Haven, and it was at the Yale School of Art that he developed his seminal theories and teachings on color. Yale’s superb collections and conservation facilities make the University an ideal setting for color immersion. Students will be able to correlate color theory with the wide range of paintings on view at the YCBA and the Yale University Art Gallery, as well as in the various library collections with extensive holdings of original manuscripts and color ephemera, such as the Faber Birren collection, one of Yale’s gems. Yale’s collections are rich with examples of artists who experimented with color, and many of these paintings present us with technical puzzles, as we consider artistic intention in relation to the aging of paintings.
The lead instructors of the seminar are Mark Aronson, Chief Conservator, and Jessica David, Assistant Paintings Conservator at the ycba. Other specialists, including curators, art historians, scientists, conservators, and artists, will be involved in teaching special sessions during the course. The seminar is open to current PhD students within the United States and internationally, whose doctoral research focuses on issues relating to painterly practice and the materiality of paintings and works on paper. Participants will be provided with economy airfare, ground transportation, meals, and accommodation at Yale. Students are expected to undertake reading assignments in advance of the seminar. A syllabus and details of assignments will be available in late spring 2013. The graduate student summer seminar is generously supported by the Andrew W. Mellon Foundation.
Applications must be submitted electronically. Please include a cv and a statement (no more than two pages) of how your research interests intersect with the focus of the seminar, and what you hope you to gain for your own work by participating. Applications should be emailed to: Marinella Vinci, Senior Administrative Assistant, Department of Research, marinella.vinci@yale.edu. Please also address any queries to Marinella Vinci. The deadline for receipt of
applications is Monday, March 4, 2013.
Exhibition | Eighteenth-Century Book Illustration in the Veneto
The exhibition presents 115 illustrated books and as many loose prints from the likes of Tiepolo, Piazzetta, Novelli, Fontebasso, and Balestra. From Padova Cultura:
Tiepolo, Piazzetta, Novelli: L’Incanto del Libro Illustrato nel Settecento Veneto
Musei Civici agli Eremitani and Palazzo Zuckermann, Padua, 24 November 2012 — 7 April 2013
A Padova una meravigliosa galleria cartacea: 115 volumi illustrati del Settecento esposti accanto ad altrettanti fogli sciolti e incisioni, dipinti e disegni di grandi Maestri. Ecco la più completa mostra mai realizzata sul tema.
E’ dal connubio tra intelligenti editori come Giambattista Albrizzi e Antonio Zatta – per citarne solo alcuni – grandi e celeberrimi artisti come Tiepolo, Piazzetta, Novelli, Fontebasso o Balestra, e di abili incisori capaci di tradurre i segni e lo stile di questi in stampe di straordinaria complessità e varietà luministica, che nascono alcuni dei maggiori capolavori dell’editoria illustrata del Settecento. Un fenomeno ben sviluppato anche nel Seicento ma che nel XVIII secolo raggiunge nel Veneto vertici assoluti d’eleganza e raffinatezza, ammirati a livello internazionale.
Un fenomeno che, dal 24 novembre 2012 al 7 aprile 2013 a Padova, nelle sedi del Museo Civico agli Eremitani e di Palazzo Zuckermann, sarà esplorato e reso accessibile al grande pubblico in una mostra assolutamente unica per vastità e completezza di trattazione e certamente tra le più importanti esposizioni del genere mai realizzate in Italia: un viaggio affascinante e sorprendente, alla scoperta di quello che fu un aspetto fondamentale della vita culturale della Serenissima, ma anche di una produzione artistica spesso parallela a quella più appariscente della pittura da cavalletto o ad affresco, ma non meno suggestiva.
Oltre 115 volumi prodotti in Veneto o che hanno visto la collaborazione d’importanti artisti veneziani del Settecento – edizioni rare e preziose, arricchite da antiporte, incisioni, cornici, testatine, vignette o preziosi finalini – saranno dunque esposti accanto a quasi 120 tra stampe sciolte tratte dagli stessi volumi e incisioni autonome, in modo da favorire un’ampia documentazione della ricchezza illustrativa di questi volumi e dell’attività degli artisti ai quali si deve l’invenzione grafica delle opere. Maestri che saranno ricordati in mostra, ciascuno, anche attraverso uno dei loro significativi dipinti, a sottolineare e rimarcare la stretta connessione esistente tra la produzione artistica dei pittori coinvolti e i disegni da questi approntati per l’editoria: “una comune attitudine per il libero dispiegarsi della fantasia, applicata ora alle pagine di un libro invece che ai cieli dei soffitti affrescati o alle tele di grandi quadri di storia, una medesima audacia compositiva, un precoce interesse per forme di ornato rococò.”
Una mostra dunque ricchissima – realizzata grazie alle opere della Biblioteca Civica, dei Musei Civici agli Eremitani e della Biblioteca Universitaria, oltre a quelli di un’importante collezione privata e di alcuni selezionati istituti culturali del Veneto – che si sviluppa in 9 sezioni, adottando punti di vista diversificati e privilegiando, di volta in volta, un approccio cronologico, monografico e tematico.
The press release (a PDF file) is available here»
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The catalogue is available from ArtBooks.com»
Vincenza Cinzia Donvito and Denis Ton, Tiepolo, Piazzetta, Novelli: L’Incanto del Libro Illustrato nel Settecento Veneto (Crocetta del Montello: Antiga Edizioni, 2012), 480 pages, ISBN: 978-8888997940, $67.50.
Notes & Queries | Image of the British Museum
Yesterday, Arlene Leis posted a question to C18-L regarding this print. Since, however, the list (like most listservs) doesn’t allow for attachments, I thought it might be useful to include the query here. -CH
This small picture (10 x 12 cm) is from a lady’s pocket book, circa 1780. Tents are set-up around the garden wall, but in the middle are rows of tiny triangles. Does anyone know what these might be? Also, I would appreciate any information pertaining to the camp set up in the museum’s garden.
Thanks,
Arlene Leis
Please feel free to respond with comments below.
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