Enfilade

The Burlington Magazine, November 2015

Posted in journal articles, reviews by Editor on November 19, 2015

The eighteenth century in The Burlington:

The Burlington Magazine 157 (November 2015)

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Interior of the Church of Santiago de Surco, Lima, Peru, attributed by Gauvin Alexander Bailey to Johann Rehr and Santiago Rosales, before 1759–1773.

A R T I C L E S

• Gauvin Alexander Bailey, “The Fantastical Rococo Altarpieces of Santiago de Surco, Peru,” pp. 769–75.

R E V I E W S

• Simon Swynfen Jervis, Review of Giuseppe Beretti and Alvar González-Palacios, Giuseppe Maggiolini: Catalogo ragionato dei disegni (In Limine, 2014) and Michael Sulzbacher, Peter Atzig, Sabine Schneider, and Karsten Hommel, Friedrich Gottlob Hoffmann (Grassi Museum, 2014), pp. 790–91.

• David Bindman, Review of William Pressly, James Barry’s Murals at the Royal Society of Arts: Envisioning a New Public Art (Cork University Press, 2014), pp. 791–92.

• Richard Green, Review of Christopher Wright, The Schorr Collection of Old Master and Nineteenth-Century Paintings (The Schorr Collection, 2014), pp. 792–93.

• David Pullins, Review of Carolyn Weekley, Painters and Paintings in the Early American South (Yale University Press, 2013), p. 795.

Exhibition | Alessandro Magnasco (1667–1749)

Posted in exhibitions by Editor on November 19, 2015

Opening next week at Galerie Canesso:

Alessandro Magnasco (1667–1749), The Mature Years of a Nonconformist Painter
Galerie Canesso, Paris, 25 November 2015 — 31 January 2016
Palazzo Bianco, Genoa, 25 February — 5 June 2016

magnascoAlessandro Magnasco (1667–1749), les années de la maturité est une exposition centrée sur les plus belles œuvres de la production tardive de ce peintre anticonformiste. L’exposition a le privilège de bénéficier d’un partenariat exceptionnel avec les Musei de Strada Nuova de la ville de Gênes, lieu de naissance de l’artiste. Elle débute à la Galerie Canesso à Paris (du 25 novembre 2015 au 31 janvier 2016) pour faire ensuite étape au Palazzo Bianco de Gênes (du 25 février 2016 au 5 juin 2016).

Artiste à l’œuvre originale et extravagante, Magnasco a été découvert au début du XXe siècle et il est considéré, à certains égards, comme l’un des précurseurs de Goya (1746–1828), des Expressionnistes et l’un des pères du fantastique et du macabre. La fascination de l’artiste pour les atmosphères sombres, la dissolution des formes et un propos moral sévère met en évidence sa dissidence par rapport à la culture figurative contemporaine. Néanmoins, son œuvre riche et variée ne peut se définir par ces seuls caractères. Les réalisations de l’artiste impressionnent, tant du point de vue du langage pictural extrêmement personnel, que de celui des sujets qu’il est le seul à aborder en Europe entre les XVIIe et les XVIIIe siècles. Ses compositions parcourues de petites figures en mouvement nous portent vers l’art de Guardi (1712–1793) et des Vénitiens du Settecento. L’exposition présentera une vingtaine de tableaux, certains à découvrir pour la première fois en France.

Exhibition | Revolution under a King: French Prints, 1789–92

Posted in exhibitions by Editor on November 19, 2015

From UCL:

Revolution under a King: French Prints, 1789–92
UCL Art Museum, London, 11 January — 10 June 2016

Curated by David Bindman and Richard Taws

22732054810_d34c9d4cae_zWe are pleased to announce that in January 2016 we’ll be opening the exhibition Revolution under a King: French Prints, 1789–92, featuring a selection of prints from the early, highly volatile years of the French Revolution, curated by Professor David Bindman and Dr Richard Taws, in collaboration between UCL Art Museum and UCL History of Art. It is well known that a chain of key historical events characterised the French Revolution, making it effectively the biggest political media event of its time. These events were communicated extensively throughout Europe in print culture and the combination of image and text, employed extensively in newspapers and graphic works, made for powerful satire and caricature.

It is, however, not always realised that the pivotal moment, the Fall of the Bastille, was in fact followed by three years in which the king of France still nominally presided over the dissolution of the old feudal order. It is this period that is the focus of the exhibition, tracing the early years of the Revolution from the ‘June Days’ of 1789, through the Fall of the Bastille, to the eventual deposition of the Louis XVI in 1792. The exhibition will consist of vivid coloured prints of major events from the period, and a selection of medals, including one made from ‘chains of servitude’ supposedly found in the ruins of the Bastille.

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