Summer 2014 Issue of the CODART eZine
The 4th issue of the CODART eZine focuses on the eighteenth-century:
CODART eZine 4 (Summer 2014)
Jan Ekels, A Writer Sharpening His Pen, 1784
(Amsterdam: Rijksmuseum)
• Tom van der Molen, “Editor’s Note: Eighteenth-Century Art”
• Gerdien Verschoor, “Welcome: CODART Director Dies under Avalanche of Books”
• Virginie D’haene, “Bruges Artists Abroad: Neoclassicist Drawings in the Printroom of the Groeningemuseum”
• Stefaan Hautekeete, “A Cabinet of the Most Delightful Drawings: Eighteenth-Century Netherlandish Drawings from the Collection of Jean de Grez, To Be Exhibited at the Koninklijke Musea voor Schone Kunsten van België (Royal Museums of Fine Arts in Belgium) in 2016”
• René Dessing, “Historic Country Houses in the Netherlands”
• Silke Gatenbröcker, “Duke Anton Ulrich of Braunschweig-Wolfenbüttel: One of the First Collectors of Dutch Paintings outside the Netherlands”
• Jacek Tylicki, “Collecting at the Court of Poland-Lithuania and the Activities of King Stanislaus II August”
• Curator’s Interview: Paul Knolle interviewed by Andrea Rousová
• Friends: Brian Capstick interviewed by Gerdien Verschoor
• Rebecca Long, “CODART ZEVENTIEN Congress Review”
About CODART
CODART—the international council for curators of Dutch and Flemish art—aims to further the study, care, accessibility and display of art from the Low Countries in museums around the globe. It serves as a platform for exchange and cooperation between curators from different parts of the world, with different levels of experience, and from different types and sizes of institutions. Our organization stimulates international inter-museum cooperation through a variety of activities, including congresses, focus meetings, publications and our website. By these means CODART strives to solidify the cultural ties between the Netherlands and Flanders, and to make the artistic heritage of these countries accessible to the international art-loving public.
Exhibition | How Glasgow Flourished, 1714–1837
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From the Kelvingrove Art Gallery:
How Glasgow Flourished, 1714–1837
Kelvingrove Art Gallery and Museum, Glasgow, 18 April — 17 August 2014
How Glasgow Flourished takes a fresh look at a hugely significant but often overlooked period in Glasgow’s history. Discover how over 300 years ago, Glasgow’s businessmen made their fortunes from trading in colonial goods and through slave labour, and how they manufactured and exported products made in Glasgow, across the world. This was also when ordinary Glaswegians came together in workers’ associations and co-ops to campaign for better working and living conditions for them and their families and paved the way for the Trade Union movement.
The exhibition shows how weaving changed from a cottage industry to a full-blown manufacturing industry and green fields were covered over by some of the largest and most advanced dyeing and smelting factories in the world. You can see a reconstructed weaver’s loom, factory engines and dresses and outfits, which have never been displayed before. Other exclusive displays include new portraits of members of one of Glasgow’s wealthiest families, the Glassfords and a newly conserved music organ made by James Watt, as well as the great man’s steam engine with its condenser unit. There are also many other pieces from Glasgow Museums’ collection that have never been on display before, including art and objects relating to the lives of Glaswegians.
Teixeira’s Topographia de la Villa de Madrid in The Art Bulletin
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In the latest issue of The Art Bulletin (which I’m just now catching up on). . .
Jesús Escobar, “Map as Tapestry: Science and Art in Pedro Teixeira’s 1656 Representation of Madrid,” The Art Bulletin 96 (March 2014): 50–69.
Abstract: Pedro Teixeira’s Topographia de la Villa de Madrid is arguably the greatest representation of a city in the Spanish Habsburg world. Measuring nearly six feet high and more than nine feet wide, the map is a remarkable scientific achievement as well as a sophisticated art object. An exploration of the map’s text and ornament details the efforts of a scientist working in a court setting to shape a grandiose picture of the Spanish capital. Displayed on a wall, Topographia de la Villa de Madrid rivaled paintings and tapestries in their ability to exalt the image of a powerful ruler.
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Though dating to the the mid-seventeenth century, the map caught my attention for Enfilade because of this statement and footnote toward the end of the article:
As testament to the map’s legacy, a derivative map at a smaller scale than Teixeira’s was engraved in four plates in 1683 by the Dutch-Spanish artist Gregorio Fosman (1635–1713) and printed in the Madrid studio of Santiago Ambrona.107 (66).
107. Molina Campuzano, Planos de Madrid, 283–89, notes that the depiction of the city in Fosman’s map is approximately one-seventh the size of Teixeira’s. Fosman’s image would, in itself, serve as a model for a number of eighteenth-century maps of Madrid engraved by foreign artists in Paris, Amsterdam, and Augsburg. . . (69).
If anyone is looking then for the equivalent for Madrid of Giambattista Nolli’s 1748 map of Rome, Teixeira’s Topographia de la Villa de Madrid would seem to be at least part of the answer. -CH
Enfilade 
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