Enfilade

The Burlington Magazine, March 2013

Posted in books, journal articles, reviews by Editor on March 31, 2013

The eighteenth century in The Burlington:

The Burlington Magazine 155 (March 2013)

E D I T O R I A L

cover• “Mind Your Language,” p. 151. The incorrect and exaggerated use of language in the art press.

. . . A recent article in the Guardian [Andy Beckett, “A User’s Guide to Artspeak,” The Guardian (27 January 2013)] reported on a private initiative by two Americans, an artist and a critic/sociologist, who have investigated the language of contemporary art description, culled from wall labels and gallery press releases from 1999 onwards [David Levine and Alix Rule, “International Art English,” Triple Canopy 16 (July 2012)]. Their survey is analytic rather than satiric, and they trace the origins of what they call ‘International Art English’ to much French post- structuralist theory. They make excellent, deadpan fun of the commercial gallery press release which now goes well beyond its earlier professional constituency to reach a broad emailed audience. At the Burlington, where we receive thousands of such releases each year from many countries, we can testify to the universality of this artspeak obscurantism. But even in the more comprehensible releases, for exhibitions or books, the clichés mount up: the works are ‘brand new’; the exhibits are ‘iconic’; the paintings are ‘vibrant’ (and also, of course, ‘masterful’); the artist is never less than ‘award winning’; and the new book (invariably a ‘comprehensive overview’) is ‘groundbreaking’, ‘lavishly illustrated’ and ‘thought-provoking’. These all accumulate into a prose of deadly conformity. . . Keep reading here»

A R T I C L E S

• Perrin Stein, “Greuze’s L’Accordée de Village: A Rediscovered Première Pensée,” pp. 162-66. The rediscovery of a watercolour study (c.1761) of Jean-Baptiste Greuze’s L’Accordée de Village.

R E V I E W S

• Antony Griffiths, Review of Ad Stijnman, Engraving and Etching 1400–2000: A History of the Development of Manual Intaglio Printmaking Processes (London: Archetype Books, 2012), p. 177.

This monument book is  the result of twenty-five years’ work on the part of the author who has produced a text far ahead of anything yet written on this aspect of printmaking. . . His conclusions have an authority that immediately makes this a standard work, and it can confidently be recommended to any reader. . .

• Claudia Nordhoff, Review of the exhibition Johann Christian Reinhart (1761–1847): Ein deutscher Landschaftsmaler in Rom,” pp. 199-200.

London Art Week 2013

Posted in Art Market by Editor on March 31, 2013

Press release (January 2013) . . .

London Art Week
London, 28 June — 5 July 2013

Screen shot 2013-03-27 at 3.06.23 PMLondon Art Week is an exciting joint venture that unites Master Paintings Week and Master Drawings and Sculpture Week (formerly Master Drawings London). The new collaboration will provide a coherent platform, sharing advertising and creating a new online portal through which the individual websites can be accessed. London Art Week will also produce a map with the locations of all the participants making it easier for collectors to navigate the week. More than 50 specialist dealers across the fine art disciplines and the major London auction houses will take part in this new initiative.

“We welcome this initiative which strongly underlines the unique and unrivalled connoisseurship and expertise to be found in the art trade in London,” comments Johnny Van Haeften, co-founder of Master Paintings Week. “The old cliché of the fusty gallery is totally out of date and we want people to discover just how accessible we are and what treasures we hold.”

The strength of the format of London Art Week lies in its simplicity. By joining together to hold a series of coordinated exhibitions in galleries throughout the West End at the same time that the auction houses hold their major sales, specialist dealers in these disciplines are giving collectors, both private and institutional, the opportunity to view the full range of works available on the market. During the first weekend, all the participants’ doors will be open giving visitors the opportunity to look at works of art at their leisure.

London Art Week will serve to promote specialist dealers and their works in all three disciplines, while encouraging collectors and enthusiasts to visit exhibitions in the galleries. By displaying the objects in intimate gallery settings located in Mayfair and St James’s, the event will encourage the building of relationships between clients and dealers.

Exhibition | Colors of Seduction: Tiepolo and Veronese

Posted in exhibitions by Editor on March 31, 2013

This is, unfortunately, the last weekend for the exhibition, though it is slated to be reviewed by The Burlington.

I Colori della Seduzione: Giambattista Tiepolo & Paolo Veronese
Castello di Udine, 17 November 2012 — 1 April 2013

Curated by William Barcham, Linda Borean, and Caterina Furlan

mostra_immagine215x132mm

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Un’occasione unica per vedere riunite, dopo quasi duecento anni, le due tele che compongono il Mosè salvato dalle acque  di Giambattista Tiepolo. L’opera, tagliata negli anni ’20 dell’800, viene proposta nella sua composizione originaria, riaccostando il Mosè della Scottish National Gallery di Edimburgo con l’Alabardiere della collezione Agnelli di Torino, così come  documentato da una copia coeva attribuita a Giandomenico Tiepolo della Staatsgalerie di Stoccarda. Le due parti della tela, che hanno avuto destini conservativi diversi, presentano oggi colori leggermente diversi.

Un sistema di illuminotecnica all’avanguardia renderà possibile vedere l’opera sia come è realmente, che secondo una colorazione uniforme. Ideale risulta l’accostamento al Mosè salvato dalle acque di Paolo Veronese del Musée des Beaux Arts di Digione, per rilevare le assonanze e la personale soluzione adottata da Tiepolo. Il confronto diretto tra le due opere vuole riportare l’attenzione sullo speciale rapporto intessuto da Tiepolo con uno dei più importanti esponenti della tradizione pittorica veneziana del Cinquecento. Tiepolo trovò infatti nell’arte di Veronese lo stimolo al superamento della “maniera scura” e il punto di partenza per la maturazione di un linguaggio che lo avrebbe trasformato in uno dei grandi protagonisti della pittura europea del Settecento.

A partire dagli affreschi del Palazzo arcivescovile di Udine, una sorta di prologo e punto di partenza della mostra, Tiepolo intraprende un percorso di ‘emulazione’ di Veronese.  Il critico Francesco Algarotti definì l’amico Tiepolo ‘l’emulo di Paolo’. Guardare a Veronese significò per Tiepolo rivisitarne l’interpretazione di temi religiosi o di storia antica, mediante scenografiche impostazioni di natura teatrale, prospettive architettoniche e opulenza decorativa, ed appropriarsi di una tavolozza squillante di colori puri e ombre colorate.

La mostra è articolata in quattro sezioni nelle quali Tiepolo e Veronese vengono messi a confronto nella trattazione di alcuni temi religiosi, mitologici e della storia antica: il Mosè salvato dalle acque, il Ratto d’Europa, le Cene e i Banchetti e l’Adorazione dei Magi.

Il complesso terreno di confronto tra i due artisti è messo in luce anche dai bozzetti e dai disegni, che illustrano le varie modalità con cui Tiepolo ha riletto l’eredità figurativa di Veronese nei vari momenti del processo creativo. Oltre alle tele, la mostra vanta infatti un gruppo straordinario di fogli di Tiepolo e Veronese, prestati da musei nazionali e internazionali di primo piano (Galleria degli Uffizi,  Victoria and Albert Museum di Londra, Ashmolean Museum di Oxford,  Département des Arts Graphiques del Louvre, Schlossmuseum di Weimar e Städel Museum di Francoforte). Un dialogo visivo che vede, ad esempio, il disegno d’insieme approntato da Tiepolo per il Banchetto di Antonio e Cleopatra esposto insieme ai pensieri di Veronese sul tema dei banchetti, rappresentati dallo studio preparatorio per le Nozze di Cana  e al modello a olio della National Gallery di Londra.

Call for Papers | Modern British History since 1750

Posted in Calls for Papers by Editor on March 31, 2013

From the Modern British History Network:

Conference on Modern British History: Society, Culture, Politics and Religion since 1750
University of Edinburgh, 10-11 June 2013

Proposals due by 6 May 2013

Following the success of the conferences held at Strathclyde (2007-2009), at St Andrews in 2010, at Dundee in 2011, and at Stirling in 2012, the Modern British History Network will host a seventh major Conference on Modern British History at New College, University of Edinburgh, on 10-11 June 2013. The event is particularly aimed at members of the Scottish universities and the northern English universities although all historians are very welcome. Previous conferences have attracted delegates from across the UK and from overseas.

Proposals for papers or registration to attend the event are now invited from researchers working on all aspects of modern British history. The conference aims to represent work covering the whole period since the late eighteenth century with topics in social, cultural, political and religious history. Proposals should be submitted by 6 May 2013 to Dr Juliette Pattinson (juliette.pattinson@strath.ac.uk). Over two days there will be three main papers from senior academics and short papers by other academics and postgraduates, who are equally welcome to speak. (more…)