The Wellcome Library Open Access Fund

Posted in journal articles, resources by Editor on October 26, 2013

With the move toward open access gaining more momentum, even as questions regarding who funds the access remain, this is a particularly interesting example from the Wellcome Library:

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The Wellcome Library is a free resource and is open to anyone who wants to use our collections. We know that lots of our users publish the outcome of their Library research. We want to encourage and support this research, and to ensure that it can be read and enjoyed by as many people as possible.

The Wellcome Trust has a long-standing commitment to Open Access, and provides funding to grant-holders to help them make their research accessible. We’re extending this principle to users of the Wellcome Library in a new scheme aimed at independent scholars, as well as students and university-based researchers who don’t have funding to cover the costs of open-access publishing.

The new Wellcome Library Open Access Fund is (and will always be) entirely voluntary – it’s up to library users whether they want to take advantage of it. We will pay the costs associated with open-access publishing for peer-reviewed journal articles, scholarly monographs or book chapters aimed at academic audiences. To qualify, you’ll need to have made substantial use of our collections; to have had your research accepted for publication; and to be ineligible for open-access funding from any other source.

In the Fall 2013 Issue of ‘Konsthistorisk Tidskrift’

Posted in journal articles by Editor on October 26, 2013

Konsthistorisk Tidskrift / Journal of Art History 82 (Fall 2013)

A special issue of Konsthistorisk Tidskrift / Journal of Art History, guest edited by Peter McNeil (Faculty of Design, Architecture and Building University of Technology Sydney, Australia and Centre for Fashion Studies, Stockholm University) and Patrik Steorn (Centre for Fashion Studies, Stockholm University), addresses the theme of “Fashion and Print Culture: Translation and Transformation.”

From the editorial:

Print itself is both a materiality as well as a vehicle of representation. How did the meaning of various forms of fashion-related prints change as they were circulated in new contexts? What was the relationship of ‘fashion words’ and images? What were the mechanisms through which print – as newsprint, almanac, trade-card, respectful or satirical image – supported or undermined the spread of fashions, from ‘head-piece’ to ‘borders’? A pluralistic perspective is needed to better understand the transmission of ideas about fashion in print as well as in practice – and their interrelationship for the new readers and viewers of the period from the renaissance to the eighteenth century. This theme issue of Konsthistorisk tidskrift publishes some of the findings related to the Humanities in the European Research Area (HERA)/European Science Foundation funded project ‘Fashioning the Early Modern: Innovation and Creativity in Europe, 1500–1800’ (FEM) and the portfolio ‘Print Culture and Fashion Products’ managed therein by Peter McNeil and Patrik Steorn. HERA FEM was a three-year major funded project conducted from 2010 to 2013.


· Peter McNeil and Patrik Steorn, The Medium of Print and the Rise of Fashion in the West, pp. 135–56.
· Chia-hua Yeh, From Classical to Chic: Reconsidering the Prints from Varie acconciature di teste usate da nobilissime dame in diverse città d’Italia by Giovanni Guerra, c. 1589, pp. 157–68.
· Lena Dahrén, Printed Pattern Books for Early Modern Bobbin-made Borders and Edgings, pp. 169–90.
· Cecilia Candréus, The Use of Printed Designs in Seventeenth-Century Embroidery: Layers of Transfer and Interpretation, pp. 191–204.
· Mark de Vitis, Sartorial Transgression as Socio-political Collaboration: Madame and the Hunt, pp. 205–18.
· Patrik Steorn, Migrating Motifs and Productive Instabilities: Images of Fashion in Eighteenth-Century Swedish Print Culture, pp. 219–34.
· Carolina Brown, Portraits en savoyarde and the Shepherdess of the Alps: Portraits, Prints, Literature, and Fashion in Eighteenth-Century Sweden, pp. 235–51.
· Arlene Leis, Displaying Art and Fashion: Ladies’ Pocket-Book Imagery in the Paper Collections of Sarah Sophia Banks, pp. 252–71.
· Audrey Millet, Dessiner La Mode En Régime De Fabrique: L’imitation Au Cœur Du Processus Créatif, pp. 272–86.

The Burlington Magazine, October 2013

Posted in journal articles, reviews by Editor on October 26, 2013

The eighteenth century in The Burlington:

The Burlington Magazine 155 (October 2013)

1327_201310_1A R T I C L E S

• Simon Lee, “A Newly Discovered Portrait of Napoleon by Jacques-Louis David,” pp. 687–92.

Discusses the various versions of David’s portrait of the emperor, including a previously unknown example.


• François Marandet, Review of Karen Chastagnol, Nicolas Colombel, 1644–1717 (Editions Nicolas Chaudun, 2012), p. 711.

Painting in France at the end of Louis XIV’s reign has for many years been regarded as the precursor of the Rococo era. Charles de La Fosse’s aimables figures anticipate Antoine Watteau’s world of the fêtes galantes, who himself was the precursor of the peintre des grâces François Boucher. One of the merits of the exhibition devoted to Nicolas Colombel recently at the Musées des Beaux-Arts, Rouen (closed 24th February), was to demonstrate that the story of history painting c. 1700 was much more complex. Karen Chastagnol, curator of the exhibition, rightly insists on the direct link between early eighteenth-century French artists and the art of Poussin: as well as François Verdier, René-Antoine Houasse and Daniel Sarrabat, to which could be added the names of Sébastien II Leclerc of Henri de Favanne. . .

• Willibald Sauerländer, Review of Guilhem Scherf and Séverine Darroussat, Jean-Jacques Rousseau et son image sculptée, 1778–1798 (Paris: Varia, 2012), pp. 711–12.

The iconography of the grands hommes des Lumières has become a fashionable topic. In 1994 Guilhem Scherf wrote an important essay on the iconographie sculptée of Voltaire; now he has added a substantial text on Jean-Jacques Rousseau et la Révolution: Les avatars d’une representation sculptée. . .

• Robin Middleton, Review of John Martin Robinson, James Wyatt, 1746–1813: Architect to George II (London: The Paul Mellon Centre for Studies in British Art, 2012), pp. 712–13.

The range and diversity of James Wyatt’s designing, the sheer number of buildings with which he was involved (the Catalogue of Works lists 283 sites) makes any attempt to chart his career a task of the utmost difficulty. Anthony Dale’s pioneering but nonetheless solid account of Wyatt’s career is, however, quite overtaken by John Martin Robinson’s new book. Dates and attributions are sharpened. The nature of the ordnance work is fully revealed — all quite decent. But the most significant revelations are contained in the chapter on Wyatt’s activity as an industrial and furniture designer. . .

• Ann Massing, Review of Noémie Etienne, La Restauration des peintures à Paris, 1750–1815: Pratiques et discours sur la matérialité des œuvres d’art (Rennes: Presses Universitaires de Rennes, 2012), p. 713.

The period before and after the French Revolution in Paris was one of enormous change and, due to the French centralised administration, the French National Archives and the AMN (Archives des musées nationaux) are a fertile source of information for one of the most interesting periods of the history of painting restoration — when the King’s painters became professional art restorers. Noémie Etienne’s book contributes much to our knowledge of this fascinating period. Her archival research encompasses not only the rich resources in Paris, but also those in Rome, Venice, Madrid, Antwerp and Brussels. Her approach is mainly based on eighteenth- and nineteenth-century written sources, and the wealth of information she has culled is presented not as a chronological series of events but by theme. . .

• Shearer West, Review of Marcia Pointon, Portrayal and the Search for Identity (London: Reaktion, 2013), p. 714.

Marcia Pointon has a distinguished record of scholarly publication about portraiture, since Hanging the Head (1993) revolutionised and enlivened a historiography that had somewhat fallen in the doldrums. There are few historians of British art who have not been inspired by her nimble imagination, unexpected visual analysis and deep intellectual engagement with her textual and visual sources past and present. Her latest collection of essays on portraiture will not disappoint her admirers, although the more dazzling parts of her analysis are intertwined with sections that have the flavour of a work in progress . . .

• Rüdiger Joppien, Review of Olivier Lefeuvre, Philippe-Jacques de Loutherbourg (Paris: Athena, 2012), pp. 714–15.

. . . The catalogue raisonné is of exceptional value, and lies at the very heart of the book, . . . [which] gives a splendid account of Loutherbourg’s career as a painter, as well as a thoroughly documented, reliable idea of his artistic output. That this monograph could be published so fully and handsomely is due to the assistance of the Athena publishing house. Its appearance coincided with the retrospective exhibition devoted to the artist at the Musée de Beaux-Arts in Strausbourg (17th November 2012 to 18th February 2013), which the author organized. Both the book and the exhibition are indicative of the esteem in which France still holds the artist, even though he worked less than ten years in Paris and almost forty years in London.

David Adjmi’s Marie Antoinette

Posted in the 18th century in the news by Editor on October 25, 2013


Photo by Pavel Antonov

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In the October 28 issue of The New Yorker (“Wigstock,” pp. 70-72), Hilton Als reviews Marie Antoinette, written by David Adjmi, directed by Rebecca Taichman, and featuring Marin Ireland in the queen’s role (at New York’s SoHo Rep, 9 October — 24 November).

That the piece amounts to a kind of collaboration between Adjmi and Ireland–she writes in space with her body as Adjmi’s words fill the stage–is one of the production’s unexpected pleasures; in our generally director-driven theatre, it’s fascinating to watch a great actress assume the mantle of muse and run with it. . .

Right off we know that Adjmi’s Marie isn’t Marie; her language isn’t in the tradition of stage royals, particularly as imagined by American actors performing the “classics.” Rather we’re in something more modern . . . Adjmi’s brilliance is to use trashy vernacular speech to allude to the way history trashes us. . .

The full review (along with lots more) is available as a PDF file at the SoHo Rep website.

Exhibition | Soufflot: An Architect of the Enlightenment

Posted in exhibitions by Editor on October 25, 2013

From the press release:

Soufflot: Un architecte dans la lumière
Panthéon, Paris, 11 September — 24 November 2013

Curated by Alexandre Gady

294965_expo-soufflot-un-architecte-dans-la-lumiereLe troisième centenaire de la naissance de Jacques-Germain Soufflot (1713–1780), que le Ministère de la Culture a inscrit parmi les célébrations nationa les 2013, est l’occasion pour le Centre des monuments nationaux (CMN) de revenir sur cet architecte majeur des Lumières, dont le chef d’œuvre, Sainte-Geneviève, devenu le Panthéon, est un des monuments emblématiques du réseau du CMN.

Alors qu’une grande campagne de restauration est en cours au Panthéon, Alexandre Gady, commissaire de l’exposition y présente Jacques-Germain Soufflot et ses ambitions créatrices en combinant rigueur scientifique et accessibilité pour un large public. Cette figure majeure de l’architecture française du XVIIIe siècle est ainsi remise en lumière, en montrant la richesse de son œuvre, qui ne se limite pas au Panthéon. L’exposition suit un double parti, chronologique mais surtout thématique, afin d’éclairer la création de l’architecte et ses enjeux intellectuels.
Près de 150 œuvres sont présentées: peintures, sculptures, dessins, gravures, livres anciens, objets d’art, maquettes, provenant de grandes institutions françaises, ainsi que de particuliers : outre le CMN lui-même, citons les musées du Louvre, du château de Versailles, le Musée Carnavalet, les Archives nationales, la Bibliothèque nationale de France, le musée Gadagne de Lyon, le musée archéologique de Rouen…

Le Panthéon est enfin lui-même mis en scène, depuis la maquette de Rondelet jusqu’à la tombe de Soufflot dans la crypte, pour parachever la visite et sa démonstration.

Additional information is available here»

The Getty Announces Gift of Rare Botanical Books

Posted in museums by Editor on October 24, 2013

Press release (23 October 2013) from The Getty:

Johann Christoph Volkamer 1708 From Johann Christoph Volkamer, Nürnbergische Hesperides (Nuremberg, 1708) The Getty Research Institute, 2885-927 Donated by Tania Norris

From Johann Christoph Volkamer, Nürnbergische Hesperides (Nuremberg, 1708). The Getty Research Institute, 2885-927, donated by Tania Norris.

The Getty Research Institute (GRI) announced today the acquisition of The Tania Norris Collection of Rare Botanical Books, a gift from collector Tania Norris. Assembled over the last 30 years by Ms. Norris through individual acquisitions from booksellers in the US, Europe, and Australia, the collection consists of 41 rare books that provide unparalleled insight into the contributions of natural science to visual culture in Europe from the sixteenth through the nineteenth centuries.

Highlights of the collection include Crispin Van de Passe’s Hortus Floridus (1614), apparently the first illustrated book to apply the microscopy of magnifying lenses to botanical illustration; and Johann Christoph Volkamer’s Nürnbergische Hesperides (1708), documenting both the introduction of Italian citrus culture to Germany, and the revolution in urban planning which ensued from the parks designed for their cultivation and irrigation. Also found in the collection is a copy of Maria Sibylla Merian’s Derde en laatste deel der Rupsen Begin (1717), the first book to depict insect metamorphosis, reputedly hand-colored by her daughter.

“The Getty Research Institute is deeply honored to receive the donation of the Tania Norris Collection of Rare Botanical Books from one of the founding members of our GRI Council. This gift promises to open novel paths to explore the complex historical intersections between science and art,” said Marcia Reed chief curator at the Getty Research Institute. “Tania’s passionate interests and her collecting instincts have created a very generous gift which has also served to raise the profile of an important subject with strong relevance for researchers who use our special collections.”

David Brafman, curator of rare books at the GRI, said “The Norris Collection offers inestimable rewards for scholars researching global botanical trade and the ensuing stimulus of cultural exchange to the trend of collecting curiosities spawned in Renaissance and Baroque European culture. Other books in the collection document the codependent progress of technologies in the history of medicine, pharmacology, and the color and textile industries from the sixteenth to nineteenth centuries. No less important are the opportunities to study the complex artistic relationship between physiognomy and ‘naturalism’ in visual representation, as well as developments in urban planning and landscape architecture. Ms. Norris’ generous donation enhances significantly GRI’s existing collections in such subjects and promises to transform  the way art historians examine the past in the future.”

In particular, the unique hand-colored copy of Maria Sibylla Merian’s Der Rupsen Begin (Birth of the Butterfly) from the Norris Collection will find a companion in the GRI vaults: Merian’s stunning Metamorphosis of the Insects of Surinam (1719), the self-published book which documented the watercolors, drawings, and scientific studies she executed and conducted while exploring the wildlife of the South American jungles. The GRI copy was featured prominently in the Getty Museum’s exhibition, Merian and Daughters, which celebrated the extraordinary pioneering contributions of the artist-naturalist, the first European woman to travel to America expressly for artistic purposes.

The Norris Collection will also prove an invaluable complement for research in landscape- and still-life painting, as well as mention the insights it will provide to conservators and conservation scientists about recipes and global trade in color-pigments and other preparations in the decorative arts.

In addition to being a founding member of the Getty Research Institute Collections Council, Ms. Norris also serves on the J. Paul Getty Museum Disegno Drawing Council and Paintings Conservation Council.

“It was one of the proudest moments of my life when the Getty Research Institute accepted my books for their library. I never collected expecting anyone else to think my books of interest, “ said Ms. Norris. “But now at the GRI, anyone can view them; some have been or will soon be in exhibitions and programs. More importantly, they will be preserved for generations to come. You don’t need much money, just passion to collect, and you just never know what treasures you may have.”

Much of the collection has been on deposit at the GRI and available to researchers; the remaining materials will be cataloged and available by the end of year

New Book | Slavery and the British Country House

Posted in books by Editor on October 24, 2013

From English Heritage, with free download (admirably!) available:

Madge Dresser and Andrew Hann, eds., Slavery and the British Country House (English Heritage, 2013), 180 pages, ISBN: 978-1848020641, £50. Available for free download at English Heritage»

Slavery-British-Country-HouseThe British country house has long been regarded as the jewel in the nation’s heritage crown. But the country house is also an expression of wealth and power, and as scholars reconsider the nation’s colonial past, new questions are being posed about these great houses and their links to Atlantic slavery.

This book, authored by a range of academics and heritage professionals, grew out of a 2009 conference on Slavery and the British Country House: Mapping the Current Research organised by English Heritage in partnership with the University of the West of England, the National Trust and the Economic History Society. It asks what links might be established between the wealth derived from slavery and the British country house and what implications such links should have for the way such properties are represented to the public today.

Lavishly illustrated and based on the latest scholarship, this wide-ranging and innovative volume provides in-depth examinations of individual houses, regional studies and critical reconsiderations of existing heritage sites, including two studies specially commissioned by English Heritage and one sponsored by the National Trust.

In order to improve access to this research, a complete copy of the text is free to download from English Heritage.

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List of contributors
Notes on measurements

1. Nicholas Draper, Slave ownership and the British country house: the records of the Slave Compensation Commission as evidence

2. Madge Dresser, Slavery and West Country houses

3. Jane Longmore, Rural retreats: Liverpool slave traders and their country houses

4. Roger H. Leech, Lodges, garden houses and villas: the urban periphery in the early modern Atlantic world

5. Simon D. Smith, Slavery’s heritage footprint: links between British country houses and St Vincent, 1814–34

6. Nuala Zahedieh, An open elite? Colonial commerce, the country house and the case of Sir Gilbert Heathcote and Normanton Hall

7. Sheryllynne Haggerty and Susanne Seymour, Property, power and authority: the implicit and explicit slavery connections of Bolsover Castle and Brodsworth Hall in the 18th century

8. Laurence Brown, Atlantic slavery and classical culture at Marble Hill and Northington Grange

9. Victoria Perry, Slavery and the sublime: the Atlantic trade, landscape aesthetics and tourism

10. Natalie Zacek, West Indian echoes: Dodington House, the Codrington family and the Caribbean heritage

11. Caroline Bressey, Contesting the political legacy of slavery in England’s country houses: a case study of Kenwood House and Osborne House

12. Cliff Pereira, Representing the East and West India links to the British country house: the London borough of Bexley and the wider heritage picture

13. Rob Mitchell and Shawn Sobers, Reinterpretation: the representation of perspectives on slave trade history using creative media


Fellowships | American Art and Visual Culture at the Smithsonian

Posted in fellowships by Editor on October 24, 2013

Smithsonian American Art Museum Research Fellowships
Washington, D.C.

Applications due by 15 January 2014

The Smithsonian American Art Museum and its Renwick Gallery invite applications for research fellowships in art and visual culture of the United States. A variety of predoctoral, postdoctoral, and senior fellowships are available. Fellowships are residential and support independent and dissertation research. The stipend for a one-year fellowship is $30,000 for predoctoral fellows or $45,000 for senior and postdoctoral fellows, plus generous research and travel allowances. The standard term of residency is twelve months, but terms as short as three months will be considered; stipends are prorated for periods of less than twelve months. Deadline: January 15, 2014. Contact: Amelia Goerlitz, Fellowship Office, American Art Museum, AmericanArtFellowships@si.edu. For more information and a link to the online application for the Smithsonian Institution Fellowship Program, please visit our website. Applicants should propose a primary advisor from the Smithsonian American Art Museum to be eligible for a fellowship at this unit.

Study Day | Autour de Rose Bertin: Les marchands de mode à Paris

Posted in conferences (to attend) by Editor on October 23, 2013

From the study day programme:

Autour de Rose Bertin : Les marchands de mode à Paris
Hôtel Rohan-Soubise, Paris, 17 December 2013


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Les commémorations nationales 2013 rendent hommage à Rose Bertin, pionnière de la mode. Organisée dans le cadre du comité des célébrations nationales, une journée d’étude « Autour de Rose Bertin, les marchands de mode à Paris » aura lieu le mardi 17 décembre 2013 dans l’hôtel Rohan-Soubise, 61 rue des Francs-Bourgeois à Paris. Cette manifestation est organisée par Michelle Sapori, historienne et biographe de Rose Bertin, et Corinne Thépaut-Cabasset, historienne de la mode.

Rose Bertin est notamment connue pour les liens privilégiés qu’elle entretenait avec la reine Marie-Antoinette, et le rôle qu’elle a joué dans l’invention du métier de styliste de la garderobe royale. Mais Rose Bertin est surtout devenue une figure historique emblématique de l’univers de la mode et du luxe, qu’elle contribua à créer et dans lequel elle innova dès le milieu du 18e siècle.

C’est autour de cette personnalité que s’organise la journée d’étude, avec les interventions de spécialistes internationaux, conservateurs et historiens de la mode du 18e au 21e siècle, reprenant tour à tour l’invention d’un métier, les outils, matériaux et les lieux marchands, et se concentrant sur quelques hommes et femmes qui ont fait de cette activité professionnelle un véritable atelier de création et un outil de négoce efficace.

La langue du colloque est le Français. Inscription préalable obligatoire, dans la limite des places disponibles.
Participation de 10€. Les pré inscriptions peuvent être faites par courriel sur la triple adresse :
michellesapori@hotmail.fr ; c_thepaut@hotmail.com ; rduperray78@gmail.com.


13h30  Accueil et café

14h15  Ornements et agréments : faire la mode au 18e siècle
Johannes Pietsch (historien du costume, Bayerisches Nationalmuseum Münich)

14h45  Soieries françaises, matière première des marchands de modes 1747–1789
Lesley E. Miller (conservateur en chef, département Textile et Mode, Victoria & Albert Museum Londres)

15h15  La boutique de mode au 18e siècle : Le mannequin de Mlle de Saint-Quentin, rue Saint-Honoré à Paris
Corinne Thépaut-Cabasset (chercheur, HERA/V&A Fashioning the Early Modern: Creativity and Innovation in Europe 1500–1800)

15h45  Avant Rose Bertin, La Duchapt …
Michelle Sapori (historienne et biographe de Rose Bertin)

16h15  De Rose Bertin à Christian Dior : de la marchande de modes à la maison de couture
Florence Müller (historienne et commissaire des expositions Yves Saint-Laurent, et Christian Dior)

16h45  Clôture de la journée par la présentation d’un portrait inédit au pastel de Rose Bertin
Une élégante simplicité : un portrait de Rose Bertin par Joseph Boze
Barbara Lasic (attachée de conservation, Galeries Européennes 1600–1800, Victoria & Albert Museum Londres)

17h30  Pièce musicale pour violoncelle baroque donnée par l’association Jeunes Talents

Exhibition | Napoleon’s Three Sisters in Italy

Posted in books, catalogues, exhibitions by Editor on October 22, 2013

Now on view in Paris (with thanks to Hélène Bremer for noting it) . . .

Les Soeurs de Napoléon: Trois Destins Italiens
Musée Marmottan Monet, Paris, 3 October 2013 — 26 January 2014

Curated by Maria Teresa Caracciolo

Les-Sœurs-de-NapoléonLe musée Marmottan Monet consacre, du 3 octobre 2013 au 26 janvier 2014, une exposition exceptionnelle et inédite à Elisa, Pauline et Caroline, soeurs de Napoléon Ier, princesses et reines d’Italie. Grâce à des prêts d’exception provenant des plus grands musées d’Europe et des collections des descendants de la famille, italiens et français, 140 oeuvres sont réunies pour recréer l’univers prestigieux de la vie privée et publique des soeurs Bonaparte. Leurs trois destins hors du commun sont présentés pour la première fois, de leur genèse dans le Paris consulaire à leurs règnes italiens sous l’Empire.

Tableaux, sculptures, mobilier, accessoires, bijoux et parures de cour matérialisent sous nos yeux les destins extraordinaires d’Elisa (1777–1820), princesse de Piombino et de Lucques, puis grande-duchesse de Toscane, de Pauline (1780–1825) épouse du prince romain Camille Borghèse et de Caroline (1782–1839), mariée au général Joachim Murat et qui régna avec lui sur Naples avec un faste inégalé : trois femmes, trois personnalités différentes, l’une primant par la beauté, les deux autres par l’énergie, le charme et l’intelligence. Elles ont été les témoins privilégiés et les actrices de leur époque.

Autour de l’événement-charnière du sacre de Napoléon renaissent à la fois l’intime : leurs rôles de mères et d’épouses, comme l’officiel : leurs vies de princesses et reines d’Italie, dans les cours de Florence, Rome et Naples qui feront des trois soeurs des symboles de l’Europe en construction.

Cette exposition qui bénéficie de l’engouement remarquable de nombreuses institutions, collections particulières et musées prestigieux voit le jour aujourd’hui dans l’écrin idéal du musée Marmottan Monet, coeur de l’univers de Paul Marmottan (1856–1932) son fondateur, collectionneur passionné par le Premier Empire. Sont réunies, entre autres, des pièces des musées nationaux des châteaux de Versailles, Fontainebleau, Malmaison, du musée Fesch d’Ajaccio, du musée Fabre de Montpellier, de l’Ambassade de Grande-Bretagne à Paris, du Musée de l’armée, de celui de la Légion d’honneur, des Fondations Napoléon et Dosne-Thiers, du Musée des Beaux-Arts de Liège, du Palazzo Pitti de Florence, du Museo Napoleonico, du Museo Praz, des Musei di Arte Medievale e Moderna de Rome, des musées de Turin, Naples, Lucques, Caserte et de l’Ile d’Elbe, sans omettre les fonds propres de la bibliothèque Marmottan et du musée Marmottan Monet.

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The catalogue, in French and English, is published by Hazan:

Maria Teresa Caracciolo, ed., Les soeurs de Napoléon: Trois Destins Italiens (Paris: Hazan, 2013), 216 pages, ISBN: 978-2754107112, 29€.

9782754107112-TExposition « Les sœurs de Napoléon. Trois destins italiens », au musée Marmottan Monet à Paris, du 03 octobre 2013 au 02 février 2014. Les sœurs de Napoléon Ier, Élisa, Pauline et Caroline, eurent toutes trois un destin italien : la première fut élevée par son frère au rang de princesse de Lucques, puis de grande-duchesse de Toscane, représentante de l’Empereur en Italie. La deuxième épousa un prince romain, Camille Borghèse, et vécut avec lui entre Paris et Rome, en s’attirant dans les deux villes le titre de reine de la beauté. Enfin la cadette, mariée au général Joachim Murat, régna avec lui sur Naples avec un faste inégalé. L’exposition évoque les trois destins des sœurs Bonaparte, forgés dans le Paris consulaire et brillamment parachevés en Italie sous l’Empire. Comme les autres membres de la famille Bonaparte, les sœurs de Napoléon appréciaient les belles résidences et pratiquèrent un mécénat éclairé. A Paris et en Italie, elles laissèrent la marque de leur passage par la création de décors, de peintures, de sculptures et d’objets d’art. La grande-duchesse de Toscane et la reine de Naples stimulèrent la production des manufactures de leurs Etats et encouragèrent dans leurs cours le théâtre, la musique et les arts de la mode, en menant en Italie une politique de conquête pacifique, la conquête par la culture et les idées. L’exposition réunit des portraits des trois sœurs, seules ou en groupe, avec leurs familles et leurs amis, dans les lieux où elles vécurent et qui furent métamorphosés par leur goût. Elle rassemble des œuvres d’art créées sous leur impulsion, des objets et des accessoires de leur vie quotidienne, des bijoux qui relevaient leurs somptueuses tenues de cour. Ces œuvres sont aujourd’hui partagées entre les plus grands musées d’Europe et les collections des descendants de la famille, italiens et français. Leur réunion dans les salles de l’ancien hôtel de Paul Marmottan, devenu musée Marmottan Monet, ressuscite une page d’histoire et la splendeur d’une époque. Elle nous fait entrer dans la vie privée d’une famille qui partagea le destin exceptionnel de l’empereur Napoléon Ier. Version bilngue français/anglais.

Commissaire de l’exposition et auteur du catalogue, Maria Teresa Caracciolo est Historienne de l’art, chargée de recherche au CNRS, spécialiste de la peinture européenne du XVIIIe et du XIXe siècle et des relations franco-italiennes sous la Révolution et l’Empire. Elle est l’auteur, parmi d’autres ouvrages, de Giuseppe Cades (1750–1799) et la Rome de son temps (Paris, Arthena, 1992, ouvrage issu d’une thèse de doctorat); du Romantisme (Citadelles et Mazenod, 2013); du catalogue de l’exposition Jean-Baptiste Wicar: Ritratti della famiglia Bonaparte (Roma, Museo Napoleonico-Napoli, Museo Diego Aragona Pignatelli Cortes, 2004); et du catalogue de l’exposition Lucien Bonaparte (1775–1840): un homme libre, (Ajaccio, Musée Fesch, 2010).

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