Enfilade

Richard Wilson Online Catalogue Now Available

Posted in exhibitions, resources by Editor on October 27, 2014

Wilson_Online_CoverThe Richard Wilson Online catalogue raisonné has been compiled by Dr Paul Spencer-Longhurst (Senior Research Fellow) with the collaboration of Professor David Solkin (Curator of the exhibition, Richard Wilson: The Landscape of Reaction, 1982–83) and Kate Lowry (formerly Chief Conservator at the National Museum Wales, Cardiff), with the assistance of Maisoon Rehani (Project Coordinator) and Peter Thomas (Technical Project Consultant).

Richard Wilson Online is the outcome of intensive ongoing research undertaken since 2009 to re-establish Richard Wilson’s (1713/14–1782) status and redefine his output in celebration of the tercentenary of his birth. The website is launched as a work-in-progress designed to provide an up-to-date and freely accessible record of Wilson’s autograph paintings and works on paper. It complements and extends the public interest in and academic focus on his achievements stimulated by the exhibition, Richard Wilson and the Transformation of European Landscape Painting, on show at the Yale Center for British Art, New Haven, USA, and Amgueddfa Cymru – National Museum Wales, Cardiff in 2014.

Accessing Richard Wilson Online

 

Call for Papers | ISECS 2015 Panel—For the Greater Glory of Portugal

Posted in Calls for Papers by Editor on October 27, 2014

call for papers

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Now accepting proposals for this panel for next year’s ISECS Congress in Rotterdam:

For the Greater Glory of Portugal: Cultural Policy and Artistic Trade in the Age of João V
ISECS Congress, Rotterdam, 26–31 July 2015

Proposals due by 12 January 2015 (though earlier submissions are very much encouraged)

Organiser: Dr. Pilar Diez del Corral Corredoira, Art History Institute, New University of Lisbon: pilarddcc@gmail.com; pcorral@fcsh.unl.pt

João V (1689–1750) propelled Portugal into the arena of international politics and raised the country’s prestige to new and unprecedented levels. His imperial policies affected vast swathes of territory in Africa, Asia, and Latin America. With his huge spending on art, music, and luxury items—intended to strengthen his position within European—he can be seen as a second Sun King. It is surprising, therefore, that relatively little interest has been shown in his kingship by non-Portuguese historians.

This panel will be devoted to analyzing Joao’s V artistic policy in Europe after the Treaty of Utrecht. One example of this was his massive print collection, intended to cover all areas of knowledge in a kind of Encyclopédie avant la lettre. The king used diplomatic channels to gather this, putting some of his best ambassadors and diplomats in Rome, Paris, London, and The Hague in charge. He was also extremely interested in developing strong ties with the Church in Rome. He supported lavish ambassadorial entrées, made substantial donations to the Pope and became (in absentia) one of the most generous patrons of art in Rome. He commissioned hundreds of masterpieces, namely the magnificent sculptures for his palace in Mafra and the sumptuous chapel of San Rocco in Lisbon, and he and his courtiers became some of the most influential collectors in the new Grand Tour.

Topics might include (but are not restricted to):

• The cultural milieu and artistic trade involving the embassies
• The print collection and the Mariettes
• The Boendermaker Atlas
• The art markets in Rome, Paris, and The Hague
• Collectors and diplomats as trading agents for the king

Exhibition | Anne Seymour Damer: Sculpture and Society

Posted in exhibitions by Editor on October 26, 2014

Now on view at Strawberry Hill:

Anne Seymour Damer: Sculpture and Society
Strawberry Hill, Twickenham (London), 11 August — 9 November 2014

Shock-Dog-Teracotta-1780-Anne-Damar

Anne Seymour Damer, Shock Dog, 1780

Anne Damer was the daughter of Horace Walpole’s favourite cousin, Henry Seymour Conway. Born into a life of luxury in 1748, Anne was subjected to an arranged marriage in 1767 to John Damer, a man she neither knew or liked. Her husband’s bankruptcy and subsequent suicide led her to turn to a different life as a sculpture. In marble, terracotta or bronze, Anne Damer modelled friends, family and their animals, and also political heroes, including Admiral Nelson. Anne Damer’s art provides a wealth of insight into nineteenthcentury British sculpture, including the negative reactions towards the work of a woman. Living through the turbulent times, Anne Damer mixed sculpture with acting, writing and travel. Many of her friends included leading members of the political, arts and theatre world and with Georgiana, Duchess of Devonshire she became known as one of the fashionable set of ladies of London.

halloween The 3 Witches from Shakespeare’s Macbeth Daniel Gardner 1775 Georgiana, Duchess of Devonshire,Elizabeth Lamb, Viscountess Melbourne sculptor Anne Seymour Damer

Daniel Gardner, The Three Witches from Macbeth (Elizabeth Lamb, Viscountess Melbourne; Georgiana, Duchess of Devonshire; Anne Seymour Damer), 1775 (London, National Portrait Gallery).

Horace Walpole played a significant role in Anne Damer’s life as he was her godfather and encouraged her interest in sculpture. Indeed, she developed a triangular friendship with her godfather and his protégée, Mary Berry. Horace’s affection for Anne Damer was shown in the bequest of his house to her, enabling her to live and work at Strawberry Hill until 1811. Her studio was part of Walpole’s printing house, part of which still survives today.

For the first time, Anne Damer’s life and work will be formally shown to the general public at Strawberry Hill. The exhibition, which is supported by The Henry Moore Foundation and Rainer Zietz, will showcase some of her sculptures, many from private collections and her anatomy drawing book, personal objects and a rare set of her prompt copies of plays performed at Richmond House and Strawberry Hill. The painting of The Three Witches from Macbeth (Elizabeth Lamb, Viscountess Melbourne, Georgiana, Duchess of Devonshire, Anne Seymour Damer) by Daniel Gardner will also be displayed courtesy of the National Portrait Gallery, London.

Michael Snodin, Chairman of the Trustees of Strawberry Hill Trust said, “Anne Seymour Damer: Sculpture and Society is one of a series of exhibitions on subjects related to Horace Walpole and Strawberry Hill. Anne Damer was a leading light for women of her generation and with the current interest in Georgian England, her life and work will interest many visitors to Strawberry Hill.”

New Book | The Life of Anne Damer: Portrait of a Regency Artist

Posted in books by Editor on October 26, 2014

Published last year by Rowman & Littelfield:

Jonathan Gross, The Life of Anne Damer: Portrait of a Regency Artist (Washington, DC: Lexington Books, 2013), 410 pages, ISBN: 978-0739167656, £52 / $85.

0739167650The first biography of Anne Damer since 1908, The Life of Anne Damer: Portrait of a Regency Artist, by Jonathan Gross, draws on Damer’s notebooks and previously unpublished letters to explore the life and legacy of England’s first significant female sculptor. Best known for her portraits of dogs and other animals, Damer also created busts of England’s most important political heroes, sometimes within days or hours of their historical accomplishments.

This in-depth biography traces her life during the American Revolution, the French Revolution, the Peace of Amiens and the Hundred Days. Damer was convinced that art could have significant political influence, sending her bust of Nelson to the King of Tanjore to encourage trade with India. Her art stands at the transition between neoclassicism and romanticism and provides a wealth of insight into nineteenth-century British sculpture. In the last twenty years, there has been a strong revival of interest in Damer’s life, particularly in gay and lesbian studies due to her famous relationship with author Mary Berry. This text serves as a deeper investigation of this fascinating and important figure of British art history.

The emotional ménage a trois of Anne Damer, Mary Berry, and Horace Walpole forms the heart of this new biography. Gross contends that all three individuals, had they led more conventional lives, would never have given the world the literary and artistic gifts they bestowed in the form of Strawberry Hill, Belmour, and Fashionable Friends. The struggles they faced will encourage modern readers to appreciate anew the fluidity of sexual identity and passionate friendship, as well as the restraints put in place by society to control them. Anne Damer’s life has much to teach a new generation concerned with the complex relationship between love, art, and politics. The Life of Anne Damer will interest historians of Georgian England, and readers in the fine arts, literature, and history.

Jonathan Gross is professor of English at DePaul University.

New Book | Diplomats, Goldsmiths, and Baroque Court Culture

Posted in books by Editor on October 25, 2014

2024 NE05A-12-01-16

Philip Rollos the Elder, Great Silver Wine Cistern of Thomas Wentworth, Lord Raby, 1705–1706. On display at Temple Newsam House, Leeds. This enormous cistern sold for more than £2million at Sotheby’s in 2010.
More information is available here»

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This collection of essays grows out of a 2012 conference at Wentworth Castle, Yorkshire. From the New Arcadian Press:

Patrick Eyres and James Lomax, eds., Diplomats, Goldsmiths, and Baroque Court Culture: Lord Raby in Berlin, The Hague, and Wentworth Castle (Stainborough: Wentworth Castle Heritage Trust, 2014), 196 pages, ISBN: 978-1909837171, £20.

Wentworth-2-Cover-305x385Lord Raby’s celebrated silver wine cistern was saved for the nation after a major appeal in 2011. It was part of the spectacular group of silver provided by the government for his important embassy to Berlin (1705–1711). He received even more silver as ambassador to the Dutch Republic (1711–1714) when he was Britain’s co-negotiator of the Peace of Utrecht. This book explores the political contexts to Lord Raby’s embassies; the craftsmanship, ritual function and cultural politics of Baroque court Goldsmiths’ work in England, Germany and Holland; as well as the influence of Prussia and peacemaking on the architecture, collections and gardening of Lord Raby’s Wentworth Castle estate in Yorkshire, which he had acquired in 1708.

“The book is particularly strong on the role of goldsmiths work in European diplomacy … [and] is delightfully wide-ranging, offering new scholarship on aspects of cultural politics and dining.” Susan Jenkins, The Art Newspaper (October 2014): 86.

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C O N T E N T S

• Patrick Eyres and James Lomax, Diplomats, Goldsmiths and Baroque Court Culture: Lord Raby in Berlin and at Wentworth Castle
• Alfred Hagemann, The Cultural Milieu of the Berlin Court of Frederick I
• Michael Charlesworth, Lord Raby’s Prussians: Art, Architecture and Amour, 1703–1713
• Patrick Eyres, Lord Raby’s Embassies and their Representation at Wentworth Castle
• James Lomax, The Ambassador’s Plate
• Jet Pijzel-Dommisse, Ambassadorial Plate, Embassies and the Dutch Court
• Philippa Glanville, Goldsmiths and Diplomats in Baroque Europe
• Ellenor Alcorn, Silver and the Early Hanoverians
• James Lomax, Baroque Silver Fountains, Cisterns, and Coolers in England
• Christopher Hartop, German Silver in England
• Jane Furse, Lord Raby and His Scientific Instruments

 

Call for Papers | Think ‘Small’: Artistic Miniaturization

Posted in Calls for Papers by Editor on October 24, 2014

From the Call for Papers (avec l’Appel à communication en français). . .

Think ‘Small’: Textual Approaches and Practices
of Artistic Miniaturization from Antiquity to the Nineteenth Century
Université de Toulouse – Jean Jaurès, Maison de la recherche, 1–2 October 2015

Proposals due by 15 January 2015

Greuze

D’après Jean-Baptiste Greuze, Fillette au capucin
(Montauban: Musée Ingres). Commentaire de Diderot sur le tableau original de Greuze, Salon de 1765: “Approchez, voyez-vous cette enfant ? C’est de la chair ; ce capucin, c’est du plâtre. Pour la vérité et la vigueur de coloris, petit Rubens.”

From the Tanagra statuettes to the scientific automata of the industrial age, there are many material manifestations of the ancient fascination with shapes, images, and tiny objects. The examples abound: carved micro-architectures of Gothic buildings, small engravings by Stefano della Bella or Sébastien Leclerc, the objects of vertu of the eighteenth-century upper classes, and the Lilliputian creatures of children’s literature.

Rare, however, are the historical sources that allow us to understand their cultural foundations. While the written sources usually consider the ‘small’ only in its hierarchical relationship to the ‘big’, the analysis of the consumption of these objects reveals a set of practical, symbolic, and artistic skills such as manoeuvrability, mobility, economy, poverty, preciousness, thoroughness, prettiness, and strangeness. Too often, the dominant sources focus on the size of the objects, which diminishes the presence of other considerations. At times miniaturization reduces the scale of a given object, while at other times it may be an independent creation governed by specific criteria. Whatever the case, miniaturization is based on a set of justifications, usages, and judgments that this conference aims to clarify.

This area of research is nourished by recent scientific trends and interest which have benefited the European production of miniatures, notably through the recent conferences: The Gods of Small Things (Reading, 21–22 September 2009); La miniature en Europe, XVIIe–XIXe siècles (Paris, 11–12 October 2012); L’automate: Enjeux historiques, techniques et culturels (Neuchâtel, 6–7 September 2012); and Micro-architecture et figures du bâti: l’échelle à l’épreuve de la matière (Paris, 8–10 December 2014). Our conference will consider the multiple reasons that explain the taste and interest in miniaturization over time, without favouring any particular medium. We will therefore discuss architecture, painting, sculpture, decorative arts, folk art, as well as poems and epigrams. Crossing disciplinary approaches (art history, history, anthropology, philosophy, literature, philology), this conference will focus in the first place on the theoretical reflections underlying the examination of a body of works. Secondly, we will examine those texts that, even if they comment on the ‘small’ in marginal and critical terms, are nonetheless important in the context of an anthology project in which the presenters will participate.

In order to define the ‘small’ in art and question its varied reception through the ages, each presentation, lasting 20 minutes, will explore three registers of perception, by no means reductive:

Consumption and contexts of use
Economic, marketing and circulation (reproducible series or unique work, mobility, swarming); conservation and presentation (curio cabinets, boxes, editing); functionality, usability, destinations and meanings (private / public; domestic / fun / political; secular / sacred / memorial).

Artistic and aesthetic aspects
Ideological tensions between ‘small’ and ‘high’ art; the issue of miniature reproduction of the human figure (dwarf, pygmy, monsters); characters of courtesy, refinement, oddity, impoverishment, etc., specific to the ‘small’; intercultural relations (exchanges and influences between East, the Americas and the West, exotic).

Human and emotional dimensions
Individuals, human categories and social structures involved in the ‘small’ (women, children, ‘ignorant’, princes, peasants, etc.); an attempt at classification; challenges of physical manipulation and microscopic observation; moral criticism (worship and fetishism); imaginary fables and tales and history of mentalities.

Proposals for papers up to one page and a brief bio-bibliographical record in English or French should be sent to Colloque.Petit.Toulouse.2015@gmail.com before January 15, 2015. The proceedings of the symposium will be published along with an anthology of textual sources dealing with the ‘small’; the papers and the list of references and possible sources for the anthology should be sent by December 15, 2015. Languages used in the symposium: French and English.

Organizers
Sophie Duhem (université Toulouse – Jean Jaurès, FRAMESPA UMR 5136); Estelle Galbois (université Toulouse – Jean Jaurès, PLH-CRATA); Anne Perrin Khelissa (université Toulouse – Jean Jaurès, FRAMESPA UMR 5136)

Scientific Committee
Jean-Pierre Albert (EHESS, LISST, Toulouse); Lorine Bost (Centre de recherches en Littérature et Poétique comparées, EA 3931); Quitterie Cazes (université Toulouse – Jean Jaurès, FRAMESPA); Pierre-Olivier Dittmar (EHESS, GAHOM); Jean-Marie Guillouët (université de Nantes); Pascal Julien (université Toulouse – Jean Jaurès, FRAMESPA); Jean-Marc Luce (université Toulouse – Jean Jaurès, PLH-CRATA); Christian Michel (université de Lausanne); Jean Nayrolles (université Toulouse – Jean Jaurès, FRAMESPA); Odile Nouvel (Les Arts décoratifs, Paris); Nathalie Rizzoni (CELLF 17e-18e UMR 8599 CNRS et université Paris – Sorbonne)

Penser le « petit » de l’Antiquité au XIXe siècle.
Approches textuelles et pratiques de la miniaturisation artistique

The Call for Papers in French is available here»

 

Call for Articles | Irish Fine Art in the Early Modern Period

Posted in Calls for Papers by Editor on October 24, 2014

From the Call for Papers:

Collection of Essays | Irish Fine Art in the Early Modern Period
Proposals due by 12 January 2015

Papers are invited for a forthcoming book which will showcase new scholarship focused on the history of fine art in Ireland in the early modern period (c.1600–c.1815). Publication by Irish Academic Press is due in 2016. Dedicated research in the past decade into Irish fine art of this period has produced some excellent—though isolated—examples in the form of displays, publications, and articles. In notable contrast are coeval fine art studies in Britain which currently enjoy a revival in research funding, museum partnerships, publishing opportunities, exhibitions, and active expertise networks, all of which provide vital scholarly momentum to the field.

While a more sustained format for focused scholarly output in this area remains a desideratum, this project provides an opportunity to draw together and highlight substantial new work on the production and reception of fine art in Ireland in this period and its contemporary discourse. Contributions are warmly welcomed from academics and graduate students working in art history and associated humanities disciplines, curators, and independent scholars actively engaged in related research. Papers should engage with fine art media—painting, drawing, miniatures, sculpture, and print culture—and demonstrate original and previously unpublished research.

Possible topics for papers include, but are not confined to, the following themes as considered in an Irish context:
• Artistic patrons, patronage, and collecting
• Modes of acquisition and display
• The impact of contemporary politics and ethnographic change on artistic production and consumption
• Artistic networks
• Artistic genres
• Artist biographies
• Artistic training and education
• Foreign travel for formal or informal artistic education
• Amateur artists and artistic production
• Fashioning an artistic career: artists’ means of self-promotion and engagement with patrons and the art market
• Art writing, published or otherwise
• Art historiography of the early modern period

Please send an abstract of your proposed paper (approximately 400 words) and a brief biographical note (maximum 200 words) to IrishArtCFP@outlook.com by Monday 12 January 2015. If you have any queries, please address them to the same email. Final papers will be in the region of 9,000 words, but abstracts for shorter papers are also welcome (please indicate if possible when submitting your abstract). Authors are welcome to submit more than one abstract for consideration by the editorial committee, which comprises Dr Jane Fenlon, Dr Ruth Kenny, Caroline Pegum, and Dr Brendan Rooney. Final papers will be peer-reviewed.

Call for Papers | Robert Adam and His Brothers

Posted in Calls for Papers by Editor on October 23, 2014

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Information about the chimneypiece is available here       

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From the Call for Papers:

Robert Adam and His Brothers: New Light on Britain’s Leading Architectural Family
London, September 2015

Proposals due by 25 December 2014

The Adam style revolution transformed British architecture in the latter half of the eighteenth century. The brothers’ unique and inventive approach to design, based on a modern reinterpretation of the art of antiquity, found widespread popularity and was to have a lasting impact on European and American architecture. The movement and surface variety inherent in their buildings, combined with the lightness and informality of their interiors, set new standards of elegance and were widely imitated.

This two-day symposium aims to highlight important new research and findings on Robert Adam and his brothers across all aspects of their life and work, including architecture, interior decoration, the use of colour, the influence of classical sources, drawing office procedure, the art market, town-planning and building speculation. The conference will present papers from established scholars as well as new research by a younger generation of historians and doctoral students, and is intended to stimulate further study into this most important of British architectural families.

We welcome proposals for 20-minute presentations on any aspect of the Adams’ oeuvre. Please email abstracts of no more than 250 words and a copy of your CV by 25 December 2014 to Colin Thom (Senior Historian, Survey of London) or Geoffrey Tyack (Director, Stanford University Programme, Oxford, and Editor, Georgian Group Journal) at c.thom@ucl.ac.uk and geoffrey.tyack@kellogg.ox.ac.uk. Notifications of acceptance will be sent by 12 January 2015. The symposium is being hosted by the Georgian Group with the support of the Bartlett School of Architecture, University College London, and will be held in London in September 2015. Further details of the symposium dates, venue and programme will follow by 2 February 2015. It is intended that selected papers will be published in an edited volume in 2016.

Journée d’études | L’architecture des ingénieurs, 1650–1850

Posted in conferences (to attend) by Editor on October 23, 2014

From the conference programme:

L’architecture des ingénieurs, 1650–1850
Bibliothèque municipale, Versailles 8 November 2014

Jacques-Pierre-Jean Rousseau, ingénieur des ponts et chaussées, puis architecte de la ville d’Amiens, reliefs de la façade du théâtre de la ville, 1778, Archives départementales de la Somme

Jacques-Pierre-Jean Rousseau, ingénieur des ponts et chaussées, puis architecte de la ville d’Amiens, reliefs de la façade du théâtre de la ville, 1778, Archives départementales de la Somme

Organisée par les universités Bordeaux-Montaigne, Paris-Sorbonne, Paris-Ouest, avec le concours du Ghamu

Les années 1980 furent propices à l’étude du travail des ingénieurs : en 1981, Anne Blanchard publiait un Dictionnaire des ingénieurs militaires actifs en France entre 1691 et 1791, témoignant par son volume de l’importance de leur activité, tandis qu’en 1988, Antoine Picon, dans son ouvrage Architectes et ingénieurs au siècle des Lumières, accordait enfin aux ingénieurs des Ponts l’attention qu’ils méritaient et examinait leur formation et leurs méthodes de travail au regard de celles des architectes de l’Académie royale d’architecture.

Au-delà des programmes attendus, fortifications, ouvrages hydrauliques, ponts et routes, les ingénieurs, militaires et des Ponts et Chaussées, honorèrent des commandes dans le domaine de l’architecture publique monumentale, de l’architecture religieuse et hospitalière, mais aussi dans celui de l’architecture domestique et de l’art des jardins. L’historiographie fait la part belle aux architectes dans les embellissements de la capitale, tandis que les études récentes sur la province accordent aux ingénieurs une place de plus en plus importante : le tableau est en réalité bien plus nuancé. Cette journée sera l’occasion de présenter les limites de cette opposition et d’initier un travail systématique sur l’activité des ingénieurs du règne de Louis XIV à la monarchie de Juillet.

Cette première rencontre se concentre plus particulièrement sur l’architecture privée et son décor, la distribution et le projet urbain. Une deuxième rencontre se déroulera en 2015.

Direction scientifique : Basile Baudez, maître de conférences, Paris-Sorbonne, Alexia Lebeurre, maître de conférences, Bordeaux-Montaigne, et Dominique Massounie, maître de conférences, Paris Ouest-Nanterre.
Contacts : basile.baudez@gmail.com, alexialebeurre@gmail.com, dommassounie@aol.com

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P R O G R A M M E

9:30  Accueil

Matinée: L’ingénieur et l’habitat, 10:00–12:00
Introduction et présidence, Dominique Massounie (maître de conférences, Paris Ouest-Nanterre-La Défense)
• Jean-Loup Leguay (attaché de conservation, musée de Picardie, Amiens), Le château de Saint-Gratien, près Amiens, une merveille de l’ingénieur Rousseau
• Adrian Almoguera (doctorant, allocataire-moniteur, Paris-Sorbonne), L’influence des ingénieurs militaires français sur l’architecture espagnole au XVIIIe siècle : Charles Lemeaur (1720–1785) et le palais Rajoy à Saint-Jacques de Compostelle
• Alexia Lebeurre (maître de conférences, Bordeaux-Montaigne), Charles-François Mandar et la décoration intérieure : les projets pour l’hôtel d’Osuna à Madrid (1799)

Déjeuner

Après-midi: L’art urbain des ingénieurs, 14:00–16:00
Présidente de séance, Alexia Lebeurre, maître de conférences, Bordeaux-Montaigne
• Samuel Bothamy (doctorant, Bordeaux-Montaigne), L’ingénieur militaire Isaac Robelin à Rennes (1721–1724) : plan d’embellissement, transfert foncier, système global des constructions.
• Agueda Iturbe-Kennedy (doctorante, université Laval, Québec), La porte de ville au sein du projet urbain de l’ingénieur
• Linnéa Rollenhagen-Tilly, (UMR AUSSER), Joseph-Marie de Saget, ingénieur des États du Languedoc (1725–1782)
• Raphaël Tassin (doctorant, EPHE), Richard Mique. Chantiers publics et urbanistiques en Lorraine (1755–1766)

New Book | Turquerie: An Eighteenth-Century European Fantasy

Posted in books by Editor on October 22, 2014

From Thames & Hudson:

Haydn Williams, Turquerie: An Eighteenth-Century European Fantasy (Thames & Hudson, 2014), 240 pages, ISBN: 978-0500252062, £40 / $65.

indexAt the end of the 17th century, the long-standing fear of the Turk in Europe was gradually replaced by fascination. Travellers’ accounts of the Ottoman lands, translations of works such as One Thousand and One Nights, and the magnificent spectacle of Ottoman ambassadors and their retinues were among the catalysts that inspired the creation of a European fantasy of this world for the delight of the ruling elite, a reverie that was only shattered by the French Revolution. Turbaned figures appeared in paintings, as ceramic figures, and on the stage; sumptuous boudoirs turcs were created; and crescent moons, palm trees and camels featured on wall panels, furniture and snuff boxes.

Turquerie was a theme that sparked varied responses in different places. Its most intense and long-lasting expression was in France, but its reach was broad—from a mosque folly in Kew Gardens to the Turkish tents erected along the Elbe to celebrate a royal marriage in Dresden in 1719, from an ivory statuette of a janissary created for King Augustus II of Poland to the costumes worn for a procession to celebrate carnival in Rome in 1748.

The subject is explored thematically within a broadly chronological framework, from early contacts between Europe and the Ottomans following the fall of Constantinople in 1453, through the great flourishing of turquerie in the 18th century, to the 19th century, when other interpretations, such as Orientalism, took hold. Focusing on categories, including painting, architecture, interiors and the theatre, Turquerie provides an engaging account of this whimsical European fantasy.

Haydn Williams, formerly a director and head of the objects of vertu and Russian works of art department at Sotheby’s, is now an independent fine art consultant. He was editor and principal author of Enamels of the World 1700–2000, and curator of the related exhibition at the State Hermitage Museum, St Petersburg, in 2009–10.

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