Exhibition | Jefferson and Palladio: Constructing a New World
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From the Palladio Museum:
Jefferson and Palladio: Constructing a New World / Come costruire un mondo nuovo
Palladio Museum, Vicenza, 23 September 2015 — 28 March 2016
Curated by Guido Beltramini and Fulvio Lenzo
Visitors are introduced to the exhibition by a mirror reflecting the busts of Palladio and Thomas Jefferson. This raises the initial question in the show: how are forms and ideas ‘reflected’? Why, in this case, was an architect from a province in Northern Italy adopted as a model for the construction of the architecture of the New World?
Thomas Jefferson, Plan of the Rotunda of the University of Virginia (Charlottesville: Special Collections, University of Virginia Library)
The answer is linked to another fundamental question: what is Thomas Jefferson (1743–1826), the man who drafted the Declaration of Independence and was the third president of the United States, doing in a museum of architecture? The reason is that he more than any other American shaped the face of the new nation through art, architecture and regional planning. Visionary but also pragmatic, he was both a man of action and an intellectual who knew Latin and Greek. And he was convinced that the New World could only be built through reason and beauty.
Jefferson and Palladio: Constructing a New World is the first-ever exhibition dedicated to the great American Palladian in Europe. It will enable visitors to explore Jefferson’s world, his art collections, architectural designs, dreams, and also his contradictions, through drawings, sculptures, precious books, architectural models, films and multimedia. The exhibition also features 36 photographs by Filippo Romano, the result of a photographic survey specifically conducted in Virginia in Spring 2014. There are also three precious original bozzetti (models) by Antonio Canova for a statue of George Washington, commissioned by Thomas Jefferson. Visitors can enhance their experience of the exhibition by downloading a free smartphone app with descriptions by the curators and so move through the rooms accompanied by their words.
The exhibition is dedicated to the memory of Mario Valmarana, the still greatly cherished professor at the University of Virginia who devoted his life to creating bridges between Palladio’s Veneto and Jefferson’s Virginia. Sponsored by Roberto Coin, the exhibition has been made possible thanks to the support of the Regione del Veneto, the Fondazione Cariverona and Dainese, and is the result of collaboration with the Fondazione Canova di Possagno and the Stiftung Bibliothek Werner Oechslin, Einsiedeln, Switzerland. The exhibition is also part of a joint project developed with the Canadian Centre for Architecture, Montreal, which in October 2014 staged the photographic exhibition Found in Translation: Palladio-Jefferson, A narrative by Filippo Romano.
The exhibition has been curated by Guido Beltramini and Fulvio Lenzo, with the support of an Advisory Committee, chaired by Howard Burns (Scuola Normale Superiore, Pisa), and composed of James Ackerman (Harvard University), Bruce Boucher (University of Virginia), Travis C. McDonald (Corporation for Jefferson’s Poplar Forest), Damiana Paternò (IUAV, Venice), Mario Piana (IUAV, Venice), and Craig Reynolds (University of Virginia). The catalogue (available in English or Italian) is published by Officina Libraria. The exhibition layout has been designed by Alessandro Scandurra.
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The catalogue is available from Artbooks.com:
Guido Beltramini and Fulvio Lenzo, eds., Jefferson and Palladio: Constructing a New World (Milan: Officina Libraria, 2016), 176 pages, ISBN: 9788897737780, $30.
The catalogue offers an opportunity to acquire a deeper understanding of Jefferson’s architecture and, at the same time, leads to a clearer understanding of Palladio himself. Jefferson looked to Palladio because he was the architect of one of Europe’s few republics in which administrative power was in the hands of landed gentlemen who avoided the ostentation of princely manners and spent long periods of time in the countryside.
Thomas Jefferson (1743–1826), a cosmopolitan figure with rural roots, was a master of the knowledge of his time. He drafted The Declaration of Independence (1776), and thus founded a new view of the proper relation between governed and government. Jefferson was the architect of the new America, not just in a political sense, but in a literal sense as well. Architecture had an important place in his personal and public agenda. A self-taught architect, Jefferson buildings are among America’s most famous: Monticello, the Virginia State Capitol, and the University of Virginia are the starting points of American classical architecture. Jefferson was guided by his admiration for Palladio’s Four Books on Architecture, which provided him with key architectural forms and ideas. Palladio showed him how the admired building types of the ancient Romans could be adapted to modern purposes and provide a rational, harmonious framework for living and for building a new society.
Guido Beltramini is Director of the Centro Internazionale di Studi di Architettura Andrea Palladio, Vicenza. Fulvio Lenzo is Associate Professor in the history of architecture at the Universita IUAV di Venezia, Venice.
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C O N T E N T S
Palladio in America, James Ackerman
Jefferson and Palladio, Guido Beltramini
Jefferson: Architecture and Democracy, Fulvio Lenzo
Photographing Jefferson, Filippo Romano
Palladianism in America Before Jefferson, Bruce Boucher
The National Survey Grid and the American Democracy, Catherine Maumi
Jefferson’s Creation of American Classical Architecture, Richard Guy Wilson
Jefferson and the First Public Statues in the United States, Giovanna Capitelli
Canova and the Monument to George Washington, Mario Guderzo
Palladio: Materials and Building Techniques Damiana, Lucia Paterno
Jefferson Builder, Travis McDonald
Enrtries for Monticello, Virginia State Capitol, President’s House, Poplar Forest, Bremo, Barboursville, University of Virginia
Bibliography
Exhibition Checklist
New Appointment for Isabella Vitti
In January 2016, Isabella Vitti began her new position as Editor of Art History & Visual Studies at Routledge Taylor & Francis Group. She comes to the position after four years at Cambridge University Press, where she worked mainly on archaeology and Renaissance studies books—highly-illustrated projects that provided a lot of experience with image permissions, color plate sections, and high-resolution image files. Before Cambridge, Vitti worked at the Museum of Modern Art in the membership department—in her words, “an art historian’s dream!” She studied art history as an undergraduate at Wesleyan University.
Vitti stresses that most of Ashgate’s series covering the eighteenth century will continue. These include:
• The Histories of Material Culture and Collecting, 1700–1950
• Science and the Arts since 1750
• Visual Culture in Early Modernity
Routledge’s proposal guidelines are available here: Vitti’s email address is isabella.vitti@taylorandfrancis.com. She welcomes proposals for research monographs or edited collections.
Display | Benjamin West at Spencer House
Benjamin West, Milkmaids in St. James’s Park, Westminster Abbey Beyond, ca. 1801, oil on panel, 100.6 × 143.5 cm
(New Haven: Yale Center for British Art, Paul Mellon Fund)
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From Art Daily:
Benjamin West at Spencer House
Spencer House, London, 31 January 2016 — 29 January 2017
In celebration of the 25th anniversary of the restoration of the State Rooms at Spencer House, James ‘Athenian’ Stuart’s early neo-classical interiors will showcase work of Benjamin West, a central figure in the development of neo-classical painting.
Central to the exhibition is West’s Milkmaids in St. James’s Park, Westminster Abbey Beyond (ca. 1801, oil on panel, Paul Mellon Fund), which is on special loan to the Rothschild Foundation from the Yale Center for British Art. This rare and important panel painting deals with an uncommon subject in West’s artistic practice; it shows the east area of St James’s Park near Whitehall, overlooked by Spencer House, where milk-maids kept cows from the end of the seventeenth-century. During the eighteenth century it became fashionable to visit the area in the morning to drink milk or syllabub, a mixture of milk and wine. The painting highlights West’s ability to blend landscape and genre painting and his originality in turning a popular event of everyday urban life into a pastoral scene of peace and pleasure. At the same time, West captures the skyline of central London with topographical accuracy, with the outline of Westminster Abbey clearly visible in the background.
The display unites Yale’s recent acquisition with three large history paintings by West, commissioned by George III, on loan to Spencer House from Her Majesty the Queen. Displayed in the Dining Room is West’s famous Death of Wolfe (1771) and its Renaissance and classical parallels The Death of Chevalier Bayard (1772) and The Death of Epaminondas (1773). In addition visitors will be able to see two further West paintings from The Royal Collection, shown in Lady Spencer’s Room, The Family of the King of Armenia before Cyrus (1773) and The Wife of Arminius Brought Captive to Germanicus (1773). Milkmaids in St. James’s Park, Westminster Abbey Beyond creates an interesting and illuminating comparison with these works, showing West’s versatility as an artist in demonstrating both his ability to depict historic scenes of heroic bravery and contemporary scenes of daily life in central London.
In his recent book Benjamin West and the Struggle to be Modern, Loyd Grossman describes West as “one of the most neglected and misunderstood of Britain’s eighteenth-century artists.” West arrived in England from America in 1763 and quickly established himself as the most prominent history painter in England, earning the adulatory nickname the ‘American Raphael’ from the press. By 1768, at the age of 32, he became one of the founding members of the Royal Academy of Arts—to which he was elected President in 1792—and in 1772 he was appointed Historical Painter to the King.
To complement the exhibition, a series of three lectures about Benjamin West will take place at Spencer House, followed by drinks:
• Loyd Grossman, How to Paint History: Benjamin West and the Death of General Wolfe, 14 March at 6.30pm
• Desmond Shawe-Taylor (The Surveyor of The Queen’s Pictures), Benjamin West and George III, 18 July at 6.30pm
• Lars Kokkonen (Assistant Curator of Paintings and Sculpture, Yale Center for British Art), Evaporations: Milkmaids in St. James’s Park No More, 14 November at 6.30pm
Booking information is available here»
A brief video clip from the YCBA describes the recent restoration of the painting. The accompanying text points to a recipe for syllabub here.
New Book | Benjamin West and the Struggle to be Modern
From Merrell:
Loyd Grossman, Benjamin West and the Struggle to be Modern (London, Merrell, 2015), 256 pages, ISBN: 978-1858946412, £35 / $60.
At the time of his death in 1820, Benjamin West was the most famous artist in the English-speaking world and celebrated throughout Europe. From humble beginnings in Pennsylvania, he had become the first American artist to study in Italy, and within a few short years of his arrival in London had been instrumental in the foundation of the Royal Academy of Arts and been appointed history painter to King George III. However, West’s posthumous reputation took a critical mauling, and today he remains one of the most neglected and misunderstood of Britain’s great 18th-century artists. As Loyd Grossman asserts in his new book, West was in the vanguard that created neoclassicism and romanticism, and among the first painters to represent the exciting and inspirational qualities of contemporary events, as opposed to events from the biblical, classical or mythological past. Most significantly, his best-known painting, The Death of General Wolfe, was a thrilling, revolutionary work that played a role in changing the course of art. In a lively, immersing text that situates West in the midst of Enlightenment thinking about history and progress, Grossman explores both why Wolfe has exercised such a magnetic grip on our imaginations for almost 250 years, and how, with this artwork, West helped to lay the foundations of a modern attitude that has affected the way we live and think ever since.
Loyd Grossman is a broadcaster, historian and journalist. He has presented a wide range of TV programmes, from Through the Keyhole and MasterChef to Loyd on Location and History of British Sculpture. Born in Massachusetts, Grossman has been based in the UK since 1975. He is involved with many charities supporting the arts, heritage and education in the UK. He is Chairman of the Heritage Alliance, Chairman of the Churches Conservation Trust and President of the National Association of Decorative and Fine Arts Societies (NADFAS). He was appointed OBE in 2003 and was awarded a Doctor of Letters degree in 2007 by the University of Chester in recognition of his heritage work. In January 2011 the University of Lincoln awarded him an honorary Doctor of Arts degree in recognition of his contribution to the cultural heritage sector. Grossman has a particular interest in eighteenth-century British art and architecture.
Exhibition | Faces of Terror: Violence and Fantasy
The exhibition closes in Paris this weekend:
Faces of Terror: Violence and Fantasy from David to Delacroix
Visages de l’effroi: Violence et Fantastique de David à Delacroix
Musée de la Vie Romantique, Paris, 3 November 2015 — 28 February 2016
Musée Municipal, La Roche-sur-Yon, 19 March — 19 June 2016
With a collection of more than 100 paintings, drawings and sculptures by David, Girodet, Gericault, Ingres and Delacroix, Faces of Terror presents French forms of fantastical Romanticism. This darker part of 19th-century art reveals a certain strength of spirit and provides a fascinating perspective on imagination during the romantic period.
Romanticism, although often reduced to a feeling of discontentment among the people of the 18th century that was generated by the upheavals of the time, without a doubt expresses the feeling of disenchantment of a whole generation, built on the ruins of the Ancien Régime and the tumult of the French Revolution. In the overflow of extreme emotions these artists skilfully found subjects for a new kind of aesthetic, exploring the dark side of the human soul, at a time when dreams and the irrational were emerging from the latency of Reason and the spirit of the Enlightenment period.
From the end of the 18th century, the form of Neoclassicism adopted by the greatest artists depicted the death of heroes and portrayed the violence of tragedies from ancient history, simultaneously justified by both moral values and academic proprieties. Terror, political upheaval and Napoleonic war generated a much more blatant perspective of horror that was no longer the prerogative of historical paintings. During the period of the Restoration of the monarchy, the development of the mainstream press led to broadcasts of reports of bloody violence across the country, which became topical issues for artists.
The Romantic period focuses on the supernatural and sometimes morbid, and depicts—thanks to an abundant but often unknown production of works of art—a crude reality as well as the strange, dusky figures of spectres and devils from the literature and poetry of the time. This dialogue with the supernatural is notably depicted in representations of the myth of Ossian, or in the success of Dante’s work with the torment of the condemned.
Jérôme Farigoule and Hélène Jagot, eds., Visages de l’effroi: Violence et fantastique de David à Delacroix (Liénart, 2015), 288 pages, ISBN: 978-2359061475, 26€.
At Auction | Rare Books at Ketterer Kunst in Hamburg
From Art Daily:
From John Hill, Vegetable System
It is a masterpiece of utmost rarity: the complete series of John Hill’s The Vegetable System (1759–75). The remarkably well-preserved copy will be called up with an estimate of €60,000 in the auction of Rare Books at Ketterer Kunst on 23/24 May (#430). One of the 18th century’s most elaborate botanic publications is thus offered on the auction market. The comprehensive work with 1544 colored copper plates delivers an extensive account of 26,000 different plants. Even the great Carl von Linné, founding father of modern taxonomy, noted in awe: “I almost fainted in the face of the magnificence of Hill’s work…” (Henrey). John Hill dedicated his lifetime achievement, which lead him into bankruptcy despite financially strong sponsors, to the Prince of Wales and later King George III.
A likewise noble provenance is also true for a Book of Hours made in Paris in 1533, as it is inscribed with the autographed ownership entry of the Elector and archbishop of Mainz, Georg Friedrich von Greiffenclau zu Vollrad. He, as well as the other owners, must have cherished the entirely illuminated work very much, since it still is in excellent condition. The price estimate is €20,000.
The work Atlas de la navigation et de du commerce by Louis Renard, published in 1739, carries the same estimate. The splendid work is based on the sea maps by Frederik de Wit; however, each map was thoroughly revised. Additionally, it features an extra world map in two hemispheres. All maps are in excellent print with a fine coloring.
The series of 80 sheets Los Caprichos by Francisco de Goya will be called up with an estimate of €16,000 and promises some excitement in the salesroom. The famous cycle of etchings, in which Goya scorns the church’s errors with bitter mockery and decries the political and social miseries of his days, had already been sold successfully by Ketterer Kunst in 2013 – both in the very rare first edition that was released in Goya’s lifetime (calling price: €96,000, result: €195,000*) as well as in sixth edition (calling price: €9,600, result: €25,000*).
One of the most beautiful and most comprehensive herbal- and medical books from the 15th and early 16th century could perhaps be available for the estimate of €12,000. The Hortus sanitatis, endowed with numerous expressive illustrated woodcuts, covers the drugs extracted from plants, animals, stones and metals and explains their medicinal benefits under the caption ‘operationes’.
The range of offerings is rounded off by George Edward’s work in several volumes Histoire naturelle (estimate: €28,000), as well as the autographed manuscript “The Seals of Obezvelvolpal” by Alexei Michailowitsch Remisov (estimate: €8,500), the first edition of the magnificent publication Paléographie universelle by Joseph Balthazar Silvestre (estimate: €5,000), Georges Bataille’s Histoire de l’oeil (estimate: €3,000), and The American Woods by Romeyn Beck Hough (estimate: €5,000), with more than 940 samples of wood.
Alongside rare books, manuscripts, autographs and decorative prints, the auction also comprises works of maritime and Northern German art. While the latter features works by, among others, Fritz Overbeck (Bergkuppe im Engadin, estimate: €3,000) and Fritz Fleer (St. Christophoros (Entwurfsmodell für St. Christophoros Hamburg), estimate: €2,500), the section of maritime art offers works such as Johannes Holst’s Vollschiff ‘Grossherzogin Elisabeth’ auf bewegter See (estimate: €4,000) and Anton Melbye’s Segelschiff and Besegelter Dampfer auf See vor einer Küste (estimate: €2,500).
Exhibition | Closer: Intimacies in Art, 1730–1930
Now on view at the National Gallery of Denmark:
Closer: Intimacies in Art / Tæt på: Intimiteter i kunsten
Statens Museum for Kunst, Copenhagen, 11 February — 8 May 2016
Curated by Mikkel Bogh
Jean-Siméon Chardin, Soap Bubbles, ca. 1733–34 (New York: The Metropolitan Museum of Art)
Something happened in the eighteenth century. Artists gradually turned their attention away from historic and mythological scenes towards the private, intimate realm.
What do moods and emotions look like when expressed in art? And how can intimacy between people be depicted? The exhibition explores these issues by means of more than a hundred spectacular masterpieces and rarely seen gems from 1730 to 1930. At the same time the exhibition looks at how portrayals of intimacy have changed over time.
The concept of intimacy—the sense of being closely attuned to other people, places, spaces or things—has always been in a state of flux, and this holds true in art, too. In the eighteenth century, artists begin to depict intimacy in portraits featuring the artists with their families. In the nineteenth century, they invite observers to enter the intimate spheres of others in works that depict domestic interiors and everyday scenes. The early twentieth century sees the advent of experimental modern art, and at this point artists seek to forge intimate connections between art and observer. The exhibition relates how art became modern when it began homing in on the human face, the body, and everyday objects.
Delve into great masterpieces as well as previously hidden gems—and explore how they depict intimacies in widely different ways. Some display intimacy through close proximity; others by showing private moments, erotic tension, or through sensuousness, tactility and touch. One of the key examples presented at the exhibition is Jean-Siméon Chardin’s Soap Bubbles, which may cause you to hold your breath in order to avoid puncturing the fragile bubble that the boy strives so hard to keep intact.
You can look behind the surface of things as we reveal what lies hidden underneath a pair of traditional landscape paintings. Hinged on the back of quite innocuous-looking paintings you will find depictions of erotic aspects of intimacy that leave little to the imagination, and which are shown publicly for the first time ever at this exhibition.
Closer also delves down into experimental art from the early twentieth century. For example, it takes a close look at Franciska Clausen’s Cerles et Carré: the play of colour, nuance and shapes on the surface draw observers in, demanding very close scrutiny and a proximity that creates a strong sense of intimacy between work and observer.
The exhibition is curated by the director of the SMK, Mikkel Bogh, who set out to relate the story of how the intimate sphere and the private, personal body entered the realm of art from 1730 to 1930. The exhibition allows you to get close to more than a hundred works of art, exploring intimacies in paintings, sculptures, drawings, prints and photographs—by artists such as Jean-Siméon Chardin, Adolph Menzel, William Bendz, Berthe Morisot and Edvard Munch.
Conference | Leonardo in Britain: Collections and Reception
From the conference programme:
Leonardo in Britain: Collections and Reception
Birkbeck College, The National Gallery, The Warbug Institute, London, 25–27 May 2016
This conference explore the important role and impact of Leonardo’s paintings and drawings in key British private and public collections. With a focus on the reception of Leonardo in Britain, this conference also looks at the broader British context of the reception of his art and science by addressing selected manuscripts and the first English editions of his Treatise on Painting, as well as historiographical approaches to Leonardo.
Initially conceived as a collaborative project between the late Romano Nanni, former director of the Biblioteca Leonardiana, Vinci and Juliana Barone at Birkbeck College, University of London, the conference has developed into a wider collaboration between these two institutions and the National Gallery, the Warburg Institute, London, and the Kunsthistorisches Institut, Florence. The conference has received support from the Paul Mellon Centre, the British Museum, and the Leonardo da Vinci Society, London.
Each day of the three-day conference will be held at the different partner institutions:
25 May: Birkbeck College, free admission (book tickets)
26 May: The National Gallery, £55/£48 senior citizens/£45 members and Leonardo da Vinici Society members/£28 students
27 May: The Warburg Institute, £15
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W E D N E S D A Y , 2 6 M A Y 2 0 1 6
4.45 Registration
5.15 Welcome and introduction: Juliana Barone (Birkbeck College) and Susanna Avery-Quash (National Gallery)
5.30 Martin Kemp (Oxford University) – ‘Spinning a yarn or two: Leonardo’s two matching Madonnas’
6.30 Drinks
T H U R S D A Y , 2 6 M A Y 2 0 1 6
10.00 Registration
10.30 Welcome and introduction: Juliana Barone (Birkbeck College) and Susanna Avery-Quash (National Gallery)
10.45 Panel 1: Drawings Collections
• Martin Clayton (Royal Collection Trust, Windsor) – ‘The ‘Windsor’ Leonardos after Arundel’
• Jacqueline Thalmann (Christ Church Picture Gallery, Oxford) – ‘Leonardo in the collection of General John Guise (1682–1765)’
• Hugo Chapman and Sarah Vowles (British Museum, London) – ‘Leonardo drawings in Bloomsbury and beyond’
12.45 Lunch break
1.45 Panel 2: Originals, Versions, and Copies
• Carmen Bambach (The Metropolitan Museum, New York) – ‘The St Anne Burlington cartoon: Function, provenance and dating’
• Caroline Campbell and Larry Keith (National Gallery) – ‘Some observations on the provenance and conservation history of the London Virgin of the Rocks’
• Pietro Marani (Università Cattolica, Politecnico, Milan) – ‘Clarifications and novelties on the issue of the copy of the Last Supper at the Royal Academy and its reception in England in the first half of the 19th century’
3.45 Refreshment break
4.15 Panel 3: What Was Thought to Be a Leonardo?
• Margaret Dalivalle (Centre for Medieval and Renaissance Studies, Oxford University) – ‘Said to be of Leonard de Vincia: Or out of his Scoule: Appraising Leonardo in 17th-century England’
• Susanna Avery-Quash (National Gallery) – ‘Sir Charles Eastlake at the National Gallery (1843–1865): Towards a clearer picture of Leonardo as an artist’
F R I D A Y , 2 7 M A Y 2 0 1 6
10.00 Registration
10.10 Welcome and introduction: Juliana Barone (Birkbeck College) and Susanna Avery-Quash (National Gallery)
10.15 Panel 4: Leonardo on Art and Science
• J. V. Field (Birkbeck College) – ‘Leonardo’s after-life in the world of new philosophy’
• Domenico Laurenza (Museo Galileo, Florence) –‘Leonardo’s science in 17th- and 18th-century England: The Codices Leicester, Arundel, and Huygens’
11.30 Refreshment break
12.00 Panel 5: Around the Treatise on Painting
• Juliana Barone (Birkbeck College) – ‘The Treatise on Painting: British collectors’ manuscript copies and the first English printed edition’
• Harry Mount (Oxford Brookes, Oxford) – ‘Leonardo’s Treatise and the empirical undertow in British art theory’
1.15 Lunch (provided)
2.15 Panel 6: Teaching and Theoretical Knowledge
• Charles Saumarez Smith (Royal Academy, London) – ‘Leonardo’s legacy in London: The teaching programme at the Royal Academy’
• Francesco Galluzzi (Accademia Belle Arti, Carrara) – ‘Alexander Cozens, Leonardo da Vinci and landscape painting in England between the 18th and 19th centuries’
3.30 Refreshment break
4.00 Panel 7: Re-reading Leonardo
• Francesca Fiorani (University of Virginia, Virginia) – ‘Kenneth Clark’s Leonardo’
• Alessandro Nova (Kunsthistorisches Institut, Florence) – ‘John Shearman’s Leonardo’
• Claire Farago (University of Colorado at Boulder, Colorado) – ‘Re-reading Richter and MacCurdy in conversation with Carlo Pedretti: Lessons in translation’
5.30 Concluding remarks
Call for Papers | Copies of Paintings in the Iberian World
From H-ArtHist (which includes Spanish and Portuguese versions). . .
Copies of Paintings in Portugal, Spain, and the New World, 1552–1752
Fundação Gulbenkian, Lisbon, 11–12 October 2016
Proposals due by 29 April 2016
The artistic patrimony of Portugal, Spain, and the Latin American countries that once formed part of the Iberian empires includes a great number of pictorial copies made between the sixteenth and the eighteenth centuries. Although on a smaller scale, copies of paintings also circulated and were a part of the heritage of the African and Asian territories that had ties to the Portuguese and Spanish empires. These works have received little attention even though they constitute a valuable source for understanding artistic taste as well as the devotional preferences of Iberian and Latin American society in this period. At the same time, pictorial copies shed light on a number of art historical issues, including the means of diffusion of artistic models, stylistic trends, the kinds of referents available to local painters, and the dynamics of the art market and collecting. Although copies after works by Portuguese, Spanish, and Latin American artists existed, it is notable that copies of famous paintings by Italian and Flemish painters such as Raphael, Titian, Francesco Bassano, Rubens, and Van Dyck were far more abundant. The copies of non-Iberian art are a valuable testimony to the political, commercial, and cultural ties that existed between the Iberian territories and Italy and Flanders.
The international congress Copies of Paintings in Portugal, Spain, and the New World, 1552–1752 invites reconsideration of the topic of the copy in these territories over the course of these two centuries. The period covered begins in 1552, the year in which Antonio Moro arrived in Portugal, and ends in 1752, when the Royal Academy of Fine Arts of San Fernando was established in Madrid. To a certain extent, these events mark the beginning and end of the history of the copy during the early modern period in the Iberian world. This time period also includes the period of sixty years during which Portugal and Spain were unified under the same government owing to the turns of dynastic succession, the so-called period of the ‘two Philips’ (1580–1640). Leaving aside the conflicts that emerged from Iberian union, which would eventually lead to the Portuguese Restauração in 1640, this period saw a rise in the circulation and exchange of sources and ideas between Spanish and Portuguese artistic centers, a circumstance which may also have had repercussions for the production of pictorial copies.
The congress will be organized around the following four sessions:
1. The state of research: Projects completed or currently being undertaken on the copy in Iberia, Latin America and Asia. Artistic Literature and Copies
2. Case studies on Iberia, Latin America and Asia, 1552–1640
3. Case studies on Iberia, Latin America and Asia, 1640–1752
4. Technical research and study: the process of production, under-drawing, priming and grounds, conservation, technical analysis.
Members of the academic community are invited to submit their proposals for this conference before 29 April 2016. Please email abstract proposals (up to 20 lines), including a brief CV (1 page), to copimonarch@gmail.com. Papers will be accepted in Portuguese, Spanish, and English. The committee will inform of their selection to all the applicants in June 2016. A registration fee of 50€ will be required of all participants. The conference is unable to cover travel and accommodation costs for speakers. The organizers encourage interested parties to apply for outside aid from their respective institutions.
The selected speakers will have the option of submitting their papers for publication in a special issue of the journal Revista de História da Arte–Serie W, due to appear in 2017. Papers for publication will have to comply with the journal’s editorial guidelines, including peer review.
Further information on the conference will be available from April 29th 2016 at the conference website.
Organising Committee/ Comissão organizadora/ Comité organizador: Pedro Flor (Universidade Aberta de Lisboa), Susana Varela Flor (Universidade Nova de Lisboa), Luisa Elena Alcalá (Universidad Autónoma de Madrid), David García Cueto (Universidad de Granada) and Carla Mazzarelli (Università della Svizzera italiana)
Sponsored by the Instituto de História da Arte, Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa, the Spanish National Research Project COPIMONARCH (I+D HAR2014-52061-P) at the Universidad de Granada, and the Fundação Calouste Gulbenkian in Lisbon
A Cópia Pictórica em Portugal, Espanha e no Novo Mundo, 1552–1752
La copia pictórica en Portugal, España y el Nuevo Mundo, 1552–1752
Colloquium | Sculpture and Parisian Decorative Arts in Europe, Part II
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From H-ArtHist, with the programme as a PDF file available here:
Le rôle de la sculpture dans la conception, la production, le collectionnisme et
la présentation des arts décoratifs parisiens en Europe, 1715–1815
Centre André Chastel de l’université de Paris-Sorbonne, 14–15 March 2016
Collaboration entre le Centre André Chastel de l’université de Paris-Sorbonne et l’association Low Countries Sculpture, avec nos vifs remerciements pour son soutien à The Boulle Project, Paris. Seconde Partie, suite à la première tenue en 2015 à Mons alors Capitale européenne de la Culture.
Between 1715 and 1830 Paris gradually became the capital of Europe, “a city of power and pleasure, a magnet for people of all nationalities that exerted an influence far beyond the reaches of France,” as Philip Mansel wrote, or as Prince Metternich phrased it, “When Paris sneezes, Europe catches cold.” Within this historical framework and in a time of profound societal change, the consumption and appreciation of luxury goods reached a peak in Paris.
The focus of this one-day international conference will be to investigate the role of the sculptor in the design and production processes of Parisian decorative arts, from large-scale furniture and interior decoration projects to porcelain, silver, gilt bronzes and clocks. In the last few years a number of studies were carried out under the auspices of decorative arts museums and societies such as the Furniture History Society and the French Porcelain Society. It now seems appropriate to bring some of these together to encourage cross-disciplinary approaches on a European level and discussion between all those interested in the materiality and the three-dimensionality of their objects of study.
The relationships between, on the one hand, architects, ornemanistes and other designers, and on the other sculptors, menuisiers, ébénistes, goldsmiths, porcelain manufacturers, bronze casters and other producers, as well as the marchands merciers, will be at the heart of the studies about the design processes. A second layer of understanding of the importance of sculpture in the decorative arts will be shown in the collecting and display in European capitals in subsequent generations, particularly those immediately after the French Revolution, as epitomised by King George IV.
Overall, the intention of this conference is to attempt to shed light on the sculptural aspect of decorative arts produced in Paris in the long 18th century and collected and displayed in the capitals of Europe. Without pretending to be exhaustive, this study day—and its publication—hopes to bring together discussions about the histories and methodologies that could lead to furthering the study of hitherto all too often neglected aspects of the decorative arts.
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Le colloque est accessible gratuitement à tous sur inscription préalable obligatoire par email. Les inscriptions seront clôturées le jeudi 10 mars à minuit.
15.00 Accueil
15.30 Bienvenue et introduction
15.40 Session 1: Collectionnisme et emprunts faits à Paris pour les élites européennes
Président: Peter Fuhring (Fondation Custodia, Paris)
• Lilit Sadoyan (University of California, Santa Barbara / J. Paul Getty Museum, Los Angeles), Collecting at court and beyond: The dissemination and display of Girardon’s sculptural groups
• Jean-Baptiste Corne (École du Louvre / École Pratique des Hautes Études, Paris), Gilles-Paul Cauvet, architecte, sculpteur, graveur, bronzier et collectionneur: un artiste parisien des Lumières?
• Elisabeth Fritz (Universität Jena), Framing the ‘fête galante’ at the court of Frederick the Great
• Giuseppe Dardanello (Università degli Studi di Torino), Francesco Ladatte’s Parisian legacy in the decorative arts in Piedmont
M A R D I , 1 5 M A R S 2 0 1 6
8.30 Inscription au colloque
9.00 Session 2: La représentation d’arts décoratifs sculpturaux
• Ute Christina Koch (LWL-Museumsamt für Westfalen, Münster), From Paris to Dresden: Two recently discovered paintings by Jean-Baptiste Monnoyer and their references to the decoration at the court of Louis XIV
• Miriam Schefzyk (Universität Münster), Les ébénistes allemands à Paris et leurs conceptions sculpturales de meubles (1750–1800): L’exemple des meubles à plaques de porcelaine de Martin Carlin
• John Whitehead (historien d’art), Piat-Joseph Sauvage – une carrière variée: de la peinture monumentale à la miniature en passant par la porcelaine
10.40 Pause café
11.00 Session 3: Le rôle des modèles et la transformation de deux en trois dimensions, I.
Président: Emmanuel Lurin (Centre André Chastel, Université de Paris-Sorbonne)
• Grégory Maugé et Jean-Dominique Augarde (historiens d’art), La sculpture d’André-Charles Boulle et les gravures de Charmeton
• Jarl Kremeier (historien d’art, Berlin), Balthasar Neumann in Paris in 1723: Sculpture and Decoration, Books and Prints
• Léon Lock (université de Leuven), Comment la rocaille parisienne conquit Munich. Le rôle de l’architecte et dessinateur François Cuvilliés (1695–1768)
12.45 Déjeuner
13.45 Session 4: Le rôle des modèles et la transformation de deux en trois dimensions, II.
Président: Antonia Boström (Victoria & Albert Museum, London)
• Alan Darr (The Detroit Institute of Arts), The Role of Sculpture in French Decorative Arts: Case Studies of Notable Acquisitions at the Detroit Institute of Arts
• Laura Langelüddecke (The Wallace Collection, London), Jean-Claude Duplessis père’s designs for the Vincennes/Sèvres manufactory
• Kee Il Choi Jr. (University of Warwick), A Qing imperial portrait as a design source at the Royal Porcelain Manufactory at Sèvres
15.25 Pause café
15.45 Session 5: Nouveauté et continuité dans le rôle de la sculpture entre Louis XVI et Napoléon III
• Alicia Adamczak (Institut catholique de Paris), La sculpture au service des arts décoratifs à l’aube de la Révolution: les ouvrages de Jean-Joseph Foucou pour la duchesse de Mazarin et le comte de Vaudreuil
• Stéphane Laurent (Université de Paris I, Panthéon-Sorbonne), Jean-Baptiste Jules Klagmann, un sculpteur pour les arts décoratifs au dix-neuvième siècle
• Alexandre Gady (Centre André Chastel, Université de Paris-Sorbonne), Jean-Baptiste-Louis Plantar (1790–1879), dernier sculpteur des Bâtiments du Roi
17.30 Conclusions
Enfilade 
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