Exhibition | The First Georgians: Art & Monarchy 1714–1760

Posted in books, catalogues, exhibitions by Editor on February 25, 2014

Press release (29 January 2014) from The Royal Collection:

The First Georgians: Art & Monarchy 1714–1760
The Queen’s Gallery, Buckingham Palace, London, 11 April — 12 October 2014

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In 1714 Georg Ludwig, Elector of Hanover in Germany, acceded to the British throne as George I, the country’s first constitutional monarch. Despite many stronger genealogical claims to the crown than his, the 1701 Act of Settlement had declared that the choice of sovereign was the gift of Parliament alone and that only a Protestant could sit on the British throne. With this unprecedented decision, the Georgian era began, ushering in an unbroken line of succession to Her Majesty Queen Elizabeth II.

Marking the 300th anniversary of the Hanoverian succession, The First Georgians: Art & Monarchy 1714–1760 explores the reigns of George 1 (r.1714–27) and his son George II (r.1727–60), shedding light on the role of this new dynasty in the transformation of political, intellectual and cultural life. Through over 300 works from the Royal Collection, it tells the story of Britain’s emergence as the world’s most liberal, commercial and cosmopolitan society, embracing freedom of expression and the unfettered exchange of ideas.

The Hanoverians’ right to rule was fiercely disputed by the Jacobites, supporters of the Stuart claim to the throne. The ‘Old Pretender’, Prince James Francis Edward Stuart, set up a rival court in Paris and Rome, and his son, Prince Charles Edward—Bonnie Prince Charlie—led an uprising in 1745–46 on behalf of his father’s cause. The continuous threat to Hanoverian rule, both at home and overseas, is reflected in the exhibition’s military maps and battle plans. They include a draft order of battle at Culloden, thought to have been produced by George II’s son, the Duke of Cumberland, who led the King’s troops to victory in 1746.


Vanderbank, Equestrian Portrait of George I, 1726
(Royal Collection 404412)

Although St James’s Palace remained the principal royal residence, the newly installed George I focused his artistic attention on Kensington Palace–its location outside London provided some shelter from the scrutiny of his more sceptical subjects. Here he appointed William Kent to decorate a new suite of State Rooms. The King filled Kensington with the best British furniture of the day, including pieces by James Moore and Old Master paintings, such as Don Roderigo Calderón on Horseback, 1612–15, and The Holy Family with St Francis, 1620–30, by Peter Paul Rubens.

The reigns of both Georges were fraught with familial strife. In 1717 George I expelled the Prince of Wales, the future George II, from St James’s Palace. Far from enduring a humiliating exile, the Prince established an alternative court, hosting ‘drawing rooms’, evening parties and balls, and regularly dining in public. Some 20 years later, George II’s son, Frederick, Prince of Wales (whose son George William Frederick became George III) was similarly banished and set up rival headquarters. Furnishing his private residences, the Prince could indulge his enthusiasm for the Old Masters. Among his acquisitions were Guido Reni’s Cleopatra with the Asp, c.1628, Anthony van Dyck’s Thomas Killigrew with an unidentified Man, c.1630, and ‘The Jealous Husband’, c.1660, by David Teniers.

Frederick presented himself as a fashionable man about town, entertaining freelyand informally—a typical supper party offered a menu of larks, pigeons, partridges, truffles, veal, turkey, lamb, turbot, salmon, teal, blackbird, asparagus, broccoli, sweetbreads, coffee cream and jelly. To dress his table, he commissioned dining plate in the new Rococo style, including the spectacular marine service by Paul Crespin and Nicholas Sprimont. Frederick’s mother, Queen Caroline, despised her son’s relaxed manner: “popularity always makes me sick,” she is reported to have said, “but Fretz’s popularity makes me vomit.”


After John Michael Rysbrack and Joseph Highmore, Posthumous Portrait of Queen Caroline, Consort of George II, 1739
(Royal Collection, 31317)

Queen Caroline, consort of George II, was the most intellectual member of the Hanoverian dynasty. Her interests combined art, genealogy and a passion for gardening. She undertook major landscape projects at Kensington Palace and at her private retreat in Richmond, where she commissioned Charles Bridgeman to lay out the new gardens, complemented by follies created by William Kent. The most remarkable of these was the Hermitage, a picturesque temple devoted to British scientists and theologians, encapsulating Caroline’s belief in the interdependence of science and religion.

During the course of the 18th century, the focus of British cultural life began to shift away from court. Artists achieved success and fame through their own efforts, without the traditional support of a royal patron. William Hogarth’s portrait of David Garrick and his Viennese dancer wife, Eva-Marie Veigel, captures one of the most high-profile couples of the age. When the portrait was painted, in c.1757–64, Garrick had already combined great financial success as an actor-manager with international celebrity. Hogarth himself was not only a prominent artist, but
also a writer on art and a noted philanthropist.

The favourite genre of the early Georgian period was satire, both pictorial and literary. In 1724, its greatest practitioner, William Hogarth, published The Bad Taste of the Town, ridiculing British taste for foreign forms of art, such as Italian opera. London’s leading exponent of Italian opera was the German composer George Frideric Handel, who was employed in many royal roles. He was music teacher to George II’s daughter, Princess Anne, who is seen playing the cello with her two sisters and brother, Frederick, Prince of Wales, in Philippe Mercier’s The Music Party, 1733.


Meissen, Tea and coffee service with chinoiserie figures, 1720s
(Royal Collection, 5000106)

The desire for fashionable luxury goods drove Britain’s commercial enterprise and turned London into the most important trading city in the world. The Chelsea porcelain works, one of several new ventures set up to compete with the newly established Meissen factory in Germany, typified the entrepreneurialism of the time. With the emergence of a new leisure class came an explosion of coffee houses, gaming haunts, assembly rooms, theatrical entertainments and pleasure gardens. In the painting St James’s Park and the Mall, c.1745, all elements of cosmopolitan Georgian society mix together, with Frederick, Prince of Wales at the centre, rubbing shoulders with his future subjects.

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The catalogue is published by the Royal Collection and distributed by the University of Chicago Press:

Desmond Shawe-Taylor, ed., The First Georgians: Art & Monarchy 1714–1760 (London: Royal Collection Trust, 2014), 496 pages, ISBN 978-1905686797, £45 / $90.

97819056867972014 marks the three-hundredth anniversary of the succession of the House of Hanover to the British throne. In celebration of this historic milestone, The First Georgians explores the rich artistic culture of the early Hanoverian period.

This publication showcases more than three hundred of the finest works of this period, many of which have never been on public display before. Created in Germany, France, and Britain during one of the most dramatic periods of change across all aspects of political, intellectual, and cultural life, they reflect changing views of science, politics, and art throughout the early to mid-eighteenth century—the period when modern Britain was coming into being.

New Book | The Great Mirror of Folly

Posted in books by Editor on February 25, 2014

Published in November 2013 by Yale University Press:

William N. Goetzmann, Catherine Labio, K. Geert Rouwenhorst, and Timothy G. Young, eds., The Great Mirror of Folly: Finance, Culture, and the Crash of 1720, with a foreword by Robert J. Shiller. Yale Series in Economic and Financial History (New Haven: Yale University Press, 2013). 360 pages, ISBN: 978-0300162462, $75.

9780300162462The world’s first global stock market bubble suddenly burst in 1720, destroying the dreams and fortunes of speculators in Paris, London, and Amsterdam. Their folly and misfortune inspired the quasi-simultaneous publication of an extraordinary Dutch collection of texts and images, including financial prospectuses, satirical prints, plays, poems, and suites of playing cards: Het groote Tafereel de Dwaasheid (The Great Mirror of Folly), the most aesthetically pleasing and historically valuable record of a financial crisis and its cultural dimensions.

No one discipline has been able to give a definitive account of the causes and effects of the bouts of “irrational exuberance” that have taken stock market participants and observers by surprise since 1720, when the collapses of the Mississippi, South Sea, and a host of smaller companies stunned Europe’s burgeoning financial markets. In this new and richly illustrated volume scholars from fields as diverse as economics, history, the history of art, literature, and cultural studies bring a wide variety of perspectives to bear on the Tafereel in order to provide a definitive account of the events of 1720 and of the mix of economic and cultural factors behind the financial crashes that have caused widespread economic and cultural shock for almost 300 years. The book also reproduces many of the engravings included in the Tafereel to give readers an approximation of the original volume and of the dramatic rise, progress, and fall of the first international stock market crash.

William N. Goetzmann is the Edwin J. Beinecke Professor of Finance and Management at the Yale School of Management. Catherine Labio is associate professor of English at the University of Colorado Boulder. K. Geert Rouwenhorst is Robert B. & Candice J. Haas Professor of Corporate Finance at the Yale School of Management. Timothy G. Young is curator of modern books and manuscripts at Beinecke Rare Book and Manuscript Library at Yale University.

IFA’s Rendez-Vous Seminars, March and April 2014

Posted in lectures (to attend) by Editor on February 24, 2014

Rendez-vous: An International Seminar on French Art, 18th–20th Centuries

Rendez-vous is a seminar on French art (18th–20th centuries) held monthly throughout the 2013–14 academic year at the Institute of Fine Arts, NYU. International scholars are invited to present their research in an informal and creative setting for approximately 30 minutes, followed by an open discussion with students and colleagues. Rendez-vous focuses on French art in the broadest sense: ‘French’ is interpreted in an extensive way, including global exchanges, political dimension and colonial history, and ‘Art’ includes painting, architecture and sculpture, but also material and visual culture. Rendez-vous offers an occasion to learn about current innovative research by international and engaging scholars. The seminar aims to open up an exchange of methodologies, thoughts and ideas in a participatory atmosphere.

Rendez-vous is organized by Noémie Etienne, IFA/Mellon Postdoctoral Fellow (2013–15). These lectures begin at 12:30pm in the Loeb room at the Institute of Fine Arts. They are open to the public, but RSVPs are required.

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Frédérique Baumgartner | Women Artists in Hubert Robert’s Views of the Louvre’s Grande Galerie
Institute of Fine Art, New York University, Friday, 14 March 2014

Hubert Robert (1733–1808), one of the most versatile artists of his generation, managed to combine the careers of a painter and museum curator during the French Revolution. Using his painter’s talent to express his curatorial vision, Robert painted numerous views of the Louvre’s Grande Galerie, which opened to the public for the first time in 1793. This paper examines the place that Robert attributed to women artists in these views, in light of the rules and regulations that he and other Louvre curators were in the process of developing for this new public space. In doing so, it aims to assess how the Revolution’s gendered discourse pervaded the construction of the museum space and the degree to which Robert’s representation of women artists in the Grande Galerie challenged this discourse.

Frédérique Baumgartner is a lecturer and the director of MA in Art History in the Department of Art History and Archaeology at Columbia University. She received her PhD from Harvard University in 2011 and was a Postdoctoral Mellon Fellow at Columbia in 2011–13. Her research focuses on eighteenth- and nineteenth-century European art, with a particular emphasis on the convergence of art and politics. Her current book project, stemming from her dissertation, examines the politicization of the art of Hubert Robert during the French Revolution in relation to notions of cultural experience.

Open to the public, RSVP required. For reservations click hereOpen Link in New Window

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Jessica Fripp | Caricature and Rebellion in Rome in the Eighteenth Century
Institute of Fine Arts, New York University, Tuesday, 8 April 2014

Winning the Prix de Rome was the capstone in an aspiring artist’s career in eighteenth-century France. But alongside the professional training a stay in the Eternal City offered, studying abroad also provided artists an opportunity to escape the hierarchy and competition of the Royal Academy and forge friendships with other young artists from all over Europe. This paper examines the effect of these new networks on artistic practice in Rome. It focuses on a group of caricatures produced by the French painter François-André Vincent, the French sculptor Jean-Baptiste Stouf, and the Swedish sculptor Johan-Tobias Sergel. These caricatures were copied, etched, and exchanged between the artists represented in them, and served to define these artists as a group of friends. Fripp argues that caricature was a form of representation well-suited to memorializing the homosocial bonds formed in Rome, and an act of rebellion for these young artists as they transitioned from students to full-fledge artists.

Jessica Fripp is a Post Doctoral Fellow in Material and Visual Culture at Parsons the New School for Design. She received her MA from Williams College and a PhD from the University of Michigan with a dissertation entitled  “Portraits of Artists and the Social Commerce of Friendship in Eighteenth-Century France.” Her work examines the intersection between visual culture and sociability in the eighteenth century, focusing on the role art played in creating, defining, and sustaining personal relationships.

Open to the public, RSVP required. For reservations click hereOpen Link in New Window

Design History 27 (March 2014)

Posted in journal articles by Editor on February 24, 2014

A selection of offerings from the latest issue of Design History:

Design History 27 (March 2014).

Julie Bellemare, “Design Books in the Chinese Taste: Marketing the Orient in England and France, 1688–1735,” pp. 1–16.

1.coverThis article examines design books replicating Asian and Asian-inspired imagery in seventeenth- and eighteenth-century England and France. Often created to provide craftsmen with new sets of decorative patterns, the designs compiled in these books served to imitate a range of new manufactured products imported from Asia, for which local demand was growing at a steady pace. Design books provide a particularly fruitful entry point into the European conception of the ‘orient’ by synthesising exotic images from a variety of pictorial sources into convenient formats. The present discussion focuses on two specific books: A Treatise of Japaning and Varnishing, by John Stalker and George Parker, published in London and Oxford in 1688, and Livre de desseins chinois, tirés d’après des originaux de Perse, des Indes, de la Chine et du Japon by Jean-Antoine Fraisse, which appeared in Paris in 1735. Using these case studies, I argue that not all patterns found in design books were intended to be replicated on real objects; some also circulated independently as images available to a broader consumer base than previously thought. I examine the books’ contents, publishing history and the marketing strategies employed for reaching wide audiences and generating a desire for the ‘orient’.


• Deborah Sugg Ryan, Review of Tatiana C. String and Marcus Bull, eds., Tudorism: Historical Imagination and the Appropriation of the Sixteenth Century (2011); and Andrew Ballantyne and Andrew Law, Tudoresque: In Pursuit of the Ideal Home (2011), pp. 97–101.

• Susan House Wade, Review of Liza Antrim, Family Dolls’ Houses of the 18th and 19th Centuries (2011), pp. 103–04.

• Galen Cranz, Review of Anne Massey Chair (2011), pp. 104–06.

• Dominique Grisard, Review of Chris Horrocks, ed., Cultures of Colour: Visual, Material, Textual (2012), pp. 106–08.

C F P :  S P E C I A L  I S S U E S

Beyond Dutch Design: Material Culture in the Netherlands in an Age of Globalization, Migration and Multiculturalism, p. 114.

Articles due by 1 December 2014 (more…)

New Book | The Duchess’s Shells

Posted in books by Editor on February 24, 2014

Due out in April from Yale UP:

Beth Fowkes Tobin, The Duchess’s Shells: Natural History Collecting in the Age of Cook’s Voyages (London: The Paul Mellon Centre for Studies in British Art, 2013), 328 pages, ISBN: 978-0300192230, $55.

9780300192230Margaret Cavendish Bentinck, the 2nd Duchess of Portland (1715–1785), was one of the wealthiest women in eighteenth-century Britain. She collected fine and decorative arts (the Portland Vase was her most famous acquisition), but her great love was natural history, and shells in particular. Over the course of twenty years, she amassed the largest shell collection of her time,  which was sold after her death in a spectacular auction.

Beth Fowkes Tobin illuminates the interlocking issues surrounding the global circulation of natural resources, the commodification of nature, and the construction of scientific value through the lens of one woman’s marvelous collection. This unique study tells the story of the collection’s formation and dispersal—about the sailors and naturalists who ferried rare specimens across oceans and the dealers’ shops and connoisseurs’ cabinets on the other side of the world. Exquisitely illustrated, this book brings to life Enlightenment natural history and its cultures of collecting, scientific expeditions, and vibrant visual culture.

Beth Fowkes Tobin is a professor of English and
women’s studies at the University of Georgia.

Exhibition | Shells: Magic and Science

Posted in exhibitions by Editor on February 23, 2014

From the MIA:

Shells: Magic and Science
Minneapolis Institute of Arts, 23 November 2013 — 8 June 2014

eorge Wolfgang Knorr German, 1705-1761 Plate B. II., from “Deliciae Naturae Selectae,” 1750-1772 Etching, hand-colored The Minnich Collection, The Ethel Morrison Van Derlip Fund P.19,046

George Wolfgang Knorr, Plate B. II., from Deliciae Naturae Selectae, 1750–72, etching, hand-colored.

Shells are common yet precious, abundant yet desirable—among the first things a child instinctively collects. From prehistoric shacks to the courts of Baroque Europe, their translucent texture and fantastical forms have been integrated into everyday objects, decoration, and an incredible variety of art. They are also as central to modern studies of the natural world as the discovery of new lands, their perfection embodying—and ultimately resolving—the dilemma of creation and evolution. This importance is reflecting in the mania for shell collecting, particularly during the late 16th and early 17th centuries when nautilus and conches were mounted in precious metals, adorned with gems, and displayed in magnificent Wunderkammern—the “wonder rooms” or “cabinets of curiosities.”

This exhibition encompasses our passion for shells throughout the ages, gathering treasures from such Twin Cities institutions as the Wangensteen Historical Library, the James Ford Bell Library, the Bell Museum of Natural History, and the MIA itself. Together, they comprise an intriguing patrimony
of prints and precious antique books on natural history, while testifying to
the still-burning fever of shell-collecting.

Exhibition | Imperial Nature: Flora, Fauna, and Colonialism in India

Posted in exhibitions by Editor on February 23, 2014

Press release (23 January 2014) from the MIA:

Imperial Nature: Flora, Fauna, and Colonialism in India
Minneapolis Institute of Arts, 18 January — 20 April 2014

Curated by Risha Lee

mia_6011339-300x215European and Indian histories have long been interlaced. During the 17th and 18th centuries, as English colonial rule intensified, the two cultures melded and converged, producing bold depictions of nature. Imperial Nature: Flora, Fauna, and Colonialism in India at the Minneapolis Institute of Arts (MIA) showcases these representations, commissioned by Indian princes and increasingly powerful European colonial patrons, to reveal an artistic and scientific confluence that reshaped the way we view the natural world. The exhibition features twenty-nine works on paper, two textiles, a film, and multimedia elements.

One of the MIA’s newest curators, Dr. Risha Lee, Jane Emison Assistant Curator of South and Southeast Asian Art, organized the exhibition. “Imperial Nature will be the first exhibition of historical Indian art in nineteen years at the museum,” she stated. “Beautiful works of art grew out of this complex period in Indian history, and we are thrilled to present such rare depictions of nature to Minnesota audiences.”

At the heart of the exhibition are eleven ‘Lady Impey’ paintings on loan from the private collection of Elizabeth and Willard Clark, major collectors of Asian art from whom the MIA received a large gift of Japanese works in 2013. A British colonialist in Calcutta, Lady Mary Impey commissioned Indian painters to illustrate birds from her private menagerie, resulting in several hundred images that owe as much to European natural science as India’s rich painterly tradition. Before Lady Impey’s time, botany had a colonial enterprise in India, owing to the commercial and medicinal value of Indic plants. In the time of Lady Impey’s bird paintings, botany became an elevated science, lifted above the realm of mere commodity. In Imperial Nature at the MIA, the paintings will be exhibited for the first time. The exhibition will also feature artworks on loan from the Nancy Wiener Gallery and Arader Gallery.

Imperial Nature is composed of five distinct sections:
• India’s global trade networks in the 17th and 18th centuries
• Princely Indian paintings of nature
• Lady Impey’s Menagerie
• Natural History in India, including selections from the Hortus Indicus Malabaricus, a 17th-century Dutch multivolume work on the identification and function of Indian plants
• Charulata, a film by Satyajit Ray depicting the Indo-European encounter in colonial Calcutta

In addition, the exhibition features an ambient soundtrack of birdsong consisting of birds portrayed in Lady Impey’s paintings. As the exhibition is located in the Cargill Gallery in the MIA’s lobby, the subtle sounds will immediately welcome visitors into the alluring elements of Indian depictions of nature.

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Risha Lee and Catherine Asher ǀ Imperial Nature: Flora, Fauna, and Colonialism in India
Minneapolis Institute of Arts, Thursday, 3 April 2014, 7:00pm

Risha Lee and Catherine Asher will speak on topics related to Imperial Nature: Flora, Fauna, and Colonialism in India, on view through April 20. This exhibition showcases representations of nature, commissioned by Indian princes and increasingly powerful European colonial patrons, resulting in an artistic and scientific confluence that reshaped ideas about the natural world. Admission: $10; $5 MIA members; free for members of the Asian Art Affinity Group. To reserve tickets, call (612) 870-6323 or reserve tickets online.

Risha Lee is the Jane Emison Assistant Curator of South and Southeast Asian Art at the MIA. Catherine Asher is a professor of art history at the University of Minnesota.

Lecture | Kimberly Chrisman-Campbell on the Art of Beauty

Posted in lectures (to attend), Member News by Editor on February 23, 2014

From the MIA:

Kimberly Chrisman-Campbell | The Art of Beauty
Minneapolis Institute of Arts, 8 March 2014


Naples, Box for toilet articles, ca. 1745
(Minneapolis Institute of Arts)

Kimberly Chrisman-Campbell reveals four centuries’ worth of beauty secrets using rare surviving toilette objects and images from the MIA and other collections. The tools of the toilette testify to changing tastes and lifestyles as the ostensibly private ritual of dressing has long been a public performance of consumption and display, chronicled in fashion plates, portraits, and caricatures.

Saturday, 8 March 2014 at 11:00am

Kimberly Chrisman-Campbell is an independent scholar and consultant for The Huntington Library Art Collections and Botanical Gardens, and Fashion Institute of Design and Merchandising, and has been a research scholar for the Los Angeles County Museum of Art.

HBA Publication Grant

Posted in opportunities by Editor on February 23, 2014

Historians of British Art Publication Grant
Proposals due by 1 March 2014 (extended from the original date of 15 January 2014)

The Historians of British Art (HBA) invites applications for its Publication Grant. The organization grants a sum of $600 to offset publication costs for a book manuscript in the field of British art or visual culture that has been accepted by a publisher. Applicants must be current members of HBA. To apply, send a 500-word project description, publication information (name of press and projected publication date), budget, and CV to Renate Dohmen, Prize Committee Chair, HBA, brd4231@louisiana.edu. The revised deadline is March 1, 2014.

Exhibition | Caravaggio to Canaletto

Posted in books, catalogues, exhibitions by Editor on February 23, 2014

My apologies for (once again) being so late with this exhibition, which recently closed at the Museum of Fine Arts in Budapest. The catalogue, however, is still available from Artbooks.com. -CH

Caravaggio to Canaletto: The Glory of Italian Baroque and Rococo Painting
Museum of Fine Arts, Budapest, 26 October 2013 — 16 February 2014

Curated by Zsuzsanna Dobos


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The Museum of Fine Arts’ exhibition titled Caravaggio to Canaletto will present the leading styles, outstanding artist figures as well as the extraordinary wealth of genres, techniques, and themes of 17th- and 18th-century Italian painting through more than 140 works by 100 masters, including nine paintings—the highest number by a single artist included in the displayed material—by the period’s prominent painter genius, Caravaggio.

The backbone of the selection is formed by the 34 principal works from the internationally highly acclaimed Italian Baroque and Rococo collection of the museum’s Old Masters Gallery, which will be complemented by 106 masterpieces arriving in Budapest from sixty-two collections of eleven countries, such as the National Galleries in Washington and London, the Musée du Louvre in Paris, the Museo del Prado and the Museo Thyssen-Bornemisza in Madrid, the Galleria degli Uffizi in Florence, the Gemäldegalerie in Berlin, the Gemäldegalerie Alte Meister in Dresden, the Kunsthistorisches Museum in Vienna, and the Galleria Borghese in Rome. The material commands international attention since such a large-scale, comprehensive exhibition surveying the entirety of Italian painting as the one in Budapest has not been put on for decades anywhere in the world.

Some years ago the Museum of Fine Arts set itself the ambitious goal of presenting 15th- to 18th-century Italian painting in two consecutive exhibitions, unprecedented in its scope in Hungary. The first one, titled Botticelli to Titian, held in 2009–2010, attracted 230 thousand visitors, and thus became one of the most successful shows in the history of the museum.

The next, representative exhibition devoted to 17th- and 18th-century Italian painting will be the closing event of the Italian-Hungarian Cultural Season 2013 in Hungary. The two centuries of Italian art surveyed by the exhibition were determined by the Baroque style, which prevailed during the period all over Europe. The early Baroque, which had started at the end of the previous century saw the rise of the naturalism of Caravaggio and his followers, as well as the Bolognese School of Classicism linked to the Carracci. High Baroque, which lasted more than fifty years, was characterised equally by the dynamic style of the so-called master decorators, Baroque Classicism, and early Romanticism. We can talk about the Late Baroque period from the last decades of the seicento, when the tradition of the great masters was carried on in a somewhat empty, routine-like way. The Baroque Era ended in the 18th century with the luxurious Venetian Rococo, while in the middle of the century, also referred to as settecento, the beginnings of Neoclassicism started to appear. The artists of the various painting schools and styles of the 17th and 18th centuries were driven by the same desire: to imitate reality, strive for realistic depiction and create the illusion of tangibility, for which they had the whole range of artistic means at their disposal.

The exhibition will survey the period in eight chapters, starting with Caravaggio, whose activity in Rome brought radical change to painting, going on to the Baroque replacing Mannerism, and ending with the development of Rococo and Classicism, and the introduction of their masters. The opening section will display two early works by Caravaggio—one of them Boy with a Basket of Fruit—which will be followed by some religious compositions of Caravaggist painting, including two versions of Caravaggio’s Salome. The third section will showcase classicising Baroque linked to the names of Lodovico, Agostino and Annibale Carracci, while the fourth unit will present the spreading and flourishing of Baroque art. The fifth section will give an overview of the bourgeois genres of the still-life, the landscape, the portrait and the genre portrait, followed by the part devoted to the main stylistic trends of the 18th century. The last two sections will provide a glimpse into 18th-century painting in Venice and introduce the veduta (townscape), which became a popular genre at that time, through four Venetian townscapes by Canaletto.

The exhibition is implemented at the highest standard, thanks to the collaboration of nearly fifty Hungarian and foreign curators specialising in the period, and is accompanied by a Hungarianand English catalogue. The exhibition is curated by Zsuzsanna Dobos, art historian at the Old Masters Gallery, Museum of Fine Arts.

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From Artbooks.com:

Dobos, Zuzsanna, ed., Caravaggio to Canaletto: The Glory of Italian Baroque and Rococo Painting (Budapest: Museum of Fine Arts, 2013), 458 pages, ISBN: 978-6155304187, $130.

127796Contents include

• J. Jernyei-Kiss, Italian Painting in the 17th and 18th Centuries
• J. Spike, Caravaggio and the Caravaggesque Movement
• D. Benati, The Carracci Academy: From Nature to History
• C. De Seta, The Grand Tour: The European Rediscovery of Italy in the 17th and 18th Centuries
• A. Vecsey, The Reception of 17th- and 18th-Century Italian Painting in Hungary: Taste and Collecting

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