Enfilade

Call for Papers | Architect-Designed Objects, 1650–1950

Posted in Calls for Papers by Editor on February 23, 2016

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Designed by Robert Adam, made by Thomas Chippendale, The Dundas Sofa, commissioned 1764, made 1765, gilt pine and beech, with later silk upholstery (Museum of Fine Arts, Houston)

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From the MFAH:

A Sense of Proportion: Architect-Designed Objects, 1650–1950
Museum of Fine Arts, Houston, 23–24 September 2016

Proposals due by 15 June 2016 (extended from the original 1 June due date)

Rienzi, the house museum for European decorative arts of the Museum of Fine Arts, Houston, hosts the biennial symposium, A Sense of Proportion: Architect-Designed Objects, 1650–1950. The symposium aims to focus on objects that are the embodiments or extensions of an architect’s ideas or aesthetic. Scholars are asked to discuss objects made for particular spaces, objects used to explore new design sources and objects intended to be part of an integrated space. In short, why do objects that have been designed by architects look the way they do?

Rienzi houses a significant collection of European paintings, sculpture, furniture, porcelain, and silver from the mid-17th through mid-19th centuries. Built in 1953 as a residence and opened to the public as a house museum in 1999, Rienzi evokes fine European houses of the 18th century with architecture reminiscent of the Italian Palladian style, surrounded by period European decorative arts and paintings. Recently, Rienzi acquired the, elegant, nine-foot-long Dundas Sofa, designed by Robert Adam (1728-1792), renowned neoclassical architect of the 18th-century and made by the celebrated English furniture maker, Thomas Chippendale (1718-1779). It is from the only suite of furniture known to be a collaboration between these two masters.

Master’s and doctoral students as well as entry level and mid-career professionals are invited to submit a 400-word abstract outlining a 20-minute presentation, along with a CV, by June 1, 2016. Selected participants will be notified by July 15, 2016 and offered a $600 stipend for travel and lodging. All presentations are given Saturday, September 24, 2016, at the Museum of Fine Arts, Houston. The keynote lecture is held Friday evening followed by a reception at Rienzi.

Possible themes of investigation may include, but are not limited to:

• Interiors
• Design
• Architecture
• Dining
• Privacy
• Leisure Activities
• Etiquette
• Gender
• Costume
• Travel
• Technology
• Economics

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Keynote Address by Adriano Aymonino (University of Buckingham)
Museum of Fine Arts, Houston, Friday, 23 September, 5:00pm

Aymonino obtained his PhD at the University of Venice. His main academic interest is the reception of the classical tradition in the Early Modern period, with a particular focus on Britain. He has held postdoctoral fellowships at the Paul Mellon Centre for Studies in British Art of Yale University and at the Getty Research Institute. He is working on a revised edition of Francis Haskell and Nicholas Penny’s Taste and the Antique, as well as on a project tracing the impact of antiquarian publications on 17th- and 18th-century European art and architecture.

Exhibition | Catwalk: Fashion at the Rijksmuseum, 1625–1960

Posted in books, catalogues, exhibitions by Editor on February 21, 2016

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Mantua purportedly worn by Helena Slicher for her marriage to Aelbrecht baron van Slingelandt on 4 September 1759
(Amsterdam: Rijksmuseum)

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Now on view at the Rijksmuseum:

Catwalk, 1625–1960
Rijksmuseum, Amsterdam, 20 February — 16 May 2016

Curated by Bianca du Mortier; designed by Erwin Olaf

For the first time, the Rijksmuseum presents a large selection of its diverse fashion collection in an exhibition designed by world-renowned Dutch photographer Erwin Olaf.

From February 20 through May 16 2016, six galleries of the Philips Wing will be dedicated to fashion of the Dutch from 1625 to 1960. Starting with garments worn by members of the Frisian branch of the house of Nassau in the Golden Age, the exhibits will feature vibrantly coloured French silk gowns and luxurious velvet gentlemen’s suits of the eighteenth century, classically-inspired Empire dresses, and bustles of the Fin de Siècle—culminating in twentieth-century French haute couture by Dior and Yves Saint Laurent.

Wedding dress, 1759; photo by Erwin Olaf, model is Ymre Stiekema.

Wedding dress, 1759; photo by Erwin Olaf, model is Ymre Stiekema.

As Rijksmuseum Curator of Costumes Bianca du Mortier explains, “The garments presented in this exhibition reflect the stories of the people who wore them. In fashion, the choices of the wearer count—they make him or her a trendsetter or a follower. Even today the clothes of the very rich and powerful always convey a conscious or unconscious message. In that respect, nothing has changed over the last 330 years. These choices are restricted by such factors as budget, opportunity, age, social status, climate, personal likes and dislikes and so forth. And when presented in a museum, there is a final selection: the selection of the Rijksmuseum.”

The exhibition is designed by world-renowned Dutch photographer Erwin Olaf. He states, “The challenge and honour of designing this exhibition . . . for the most extraordinary museum in the Netherlands came at exactly the right moment for me. For several years now I’ve been exploring alternative ways to present my photographic work and to integrate it in installations, sound, video and films as means to immerse viewers in a world that fires and challenges their personal imaginations and, ultimately, sparks a stimulating dialogue between the viewer and the work on view.

Highlights include
• A pair of underpants belonging to Hendrik Casimir I, Count of Nassau Dietz (1612–1640)
• The widest dress in the Netherlands: Helena Slicher’s (1737–1776) wedding gown or mantua, which she supposedly wore at her marriage to Aelbrecht baron van Slingelandt (1732–1801) on 4 September 1759
• An exceptionally precious and fragile dress of blonde silk bobbin lace (1815–1820)
• A silk taffeta cocktail dress by Cristóbal Balenciaga (1951–1952)

The Rijksmuseum’s fashion collection totals some 10,000 items , with men’s, women’s and children’s attire and accessories spanning the period from 1700 until 1960. In addition, the History Department owns the earliest Dutch costumes, worn in the seventeenth century by the Frisian branch of the Nassau family and by the Stadtholder and King William III. Being the oldest costumes collection in the country, having begun in 1870, acquisitions initially emphasized on the eighteenth and nineteenth centuries, but over time gradually expanded to include the first half of the twentieth century. All of the garments comes from the wardrobes of upper-class Dutch men and women, but they were not necessarily made in the Netherlands. Foreign fashion houses and fabrics from all the leading textile-manufacturing countries around the world are amply represented. Acquisitions for the collection are based on historical significance, such as a post-war dress made of silk RAF pilots maps; design relevance, such as Yves Saint Laurent’s 1965 ‘Mondrian dress’; and costume-historical importance, such as a silk taffeta cocktail gown by Cristóbal Balenciaga (1951–1952). Most items were donated or bequeathed, supplemented with purchases.

To coincide with the exhibition, the Rijksmuseum is publishing a richly illustrated ‘Collection Book’ – Costume & Fashion, authored by Curator of Costumes Bianca du Mortier, with contributions from the museum’s textile restorers, fellow conservators, and a specialized colour analyst. The photography is by Rijksmuseum photographer Carola Van Wijk in collaboration with Frans Pegt. Various activities will be organized in conjunction with the exhibition, including a series of lectures by the catalogue’s authors and external experts.

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Symposium | Fashion in Museums: Past, Present, and Future
Rijksmuseum, Amsterdam, 21–22 April 2016

Not only the curator’s and conservator’s point of view will be presented, but also the administrator’s—who is often unfamiliar with costume and fashion’s different requirements and has to be convinced of the steep costs of a fashion exhibit. Experts from leading national and international institutions will present their insights: a conference not to be missed!

Over the past two decades most of the blockbuster fashion exhibitions around the world have centered around present day fashion designers and were more or less offered to the respective institutions as a complete package including the extensive marketing and publicity apparatus of the fashion brand. This is a far cry from Diana Vreeland’s original concept (1983–84) of a museum celebrating a contemporary designer—in her case Yves Saint Laurent—by presenting a retrospective curated by the museum and presented by them.

In a speech delivered by renowned fashion journalist Suzy Menkes (International Vogue Editor) at the Rijksmuseum in June 2015 she called for a return to museum curated exhibitions based on in-depth research of their own collections which hold so many amazing yet unexplored treasures. With the exhibition Catwalk, Fashion at the Rijksmuseum, the museum puts a renewed step in this direction by presenting a cross-section of its costume collection—the oldest in the country—in a setting designed by renowned Dutch photographer, Erwin Olaf.

Speakers
• Gieneke Arnolli (Fries Museum, Leeuwarden)
• Ninke Bloemberg (Centraal Museum, Utrecht)
• Bianca du Mortier (Rijksmuseum)
• Johanna Hashagen (Bowes Museum, UK)
• Johannes Pietsch (Bayerisches Nationalmuseum, Munich)
• Ellinoor Bergvelt and Christine Delhaye (University of Amsterdam)
• Angelika Riley (Museum für Kunst und Gewerbe Hamburg)
• Alexandra Bosc (Palais Galliera, Musée de la mode de la Ville de Paris)
• Mila Ernst (Digitaal platform Modemuze)
• Sue-an van der Zijpp (Groninger Museum)

Details are available here»

Installation | Kent Monkman’s ‘Scent of a Beaver’

Posted in exhibitions, today in light of the 18th century by Caitlin Smits on February 21, 2016

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Now on view at the University of Michigan:

Scent of a Beaver: An Installation by Kent Monkman
University of Michigan, Institute for the Humanities, Ann Arbor, 21 January — 26 February 2016

Based on the rococo masterpiece The Swing by Jean-Honoré Fragonard, Scent of a Beaver is a sculptural installation that features the artist Kent Monkman’s alter ego Miss Chief Eagle Testickle dangling on a swing between a French and English general. With Miss Chief dressed in an opulent silk and fur gown, the work functions as a metaphor for the power relationships between the major players that shaped the social fabric, political structures, and economy of North America. True to Monkman’s modus operandi, Scent of a Beaver takes on white-washed, colonialist notions of history and overturns them, employing kitsch as a path toward self-determination and veering away from painful, misrepresented histories. It is this sort of conversion that is at the crux of Monkman’s powerful work—the transformation from age-old traditional stories which distort and oppress into something a little fantastical, a bit cathartic, and ultimately redeeming.

Kent Monkman is well known for his provocative reinterpretations of romantic North American landscapes. He explores themes of colonization, sexuality, loss, and resilience—the complexities of historic and contemporary Native American experience—in a variety of mediums including painting, film and video, performance, and installation. Monkman’s glamorous diva alter-ego Miss Chief appears in much of his work as an agent provocateur, trickster, and supernatural being who reverses the colonial gaze, upending received notions of history and indigenous people.

More information and installation photos are available from a piece by Sarah Rose Sharp for Hyperallergic (18 February 2016).

Exhibition | Heavy Retro: Painted Furniture, 1750–1850

Posted in exhibitions by Editor on February 20, 2016

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Painted chest, inscribed P.J.D 1802.

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Now on view at Stockholm’s Nordic Museum:

Rejält Retro: Målade Allmogemöbler, 1750–1850
Nordiska Museet, Stockholm, 21 October 2015 — 4 September 2016

The well-made, durable, patterned, and colorful are clear trends today, and just what characterizes rustic furniture from the 1700s and 1800s. Rejält Retro features grandfather clocks, cabinets, boxes, and chests—over fifty items from across the country, against a contemporary background in unexpected combinations.

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Det välgjorda, hållbara, mönstrade och färgstarka är tydliga trender idag, och precis vad som utmärker allmogemöblerna från 1700- och 1800-talen. I Rejält retro visas golvur, skåp, skrin och kistor, drygt femtio utvalda statusobjekt från hela landet, mot en modern bakgrund i oväntade kombinationer.

Vilka är dagens statusmöbler? En exklusiv soffa kanske? Danskt 50-tal eller modernisternas designikoner? I en välbärgad bondgård för 200 år sedan motsvarades de av kistan, skrinet, skåpet och golvuret. Mycket var väggfast och platsbyggt men det här var möbler man kunde ta med sig om man flyttade. Och med stora ytor perfekta för målad dekor.

Skåpet var den möbel som ett nygift par vanligtvis skaffade när de skulle sätta bo. Helst ett som stod på golvet, ett ståndskåp, med både hans och hennes initialer. Kistan hade den nygifta kvinnan med sig till det nya hemmet, fylld med dyrbara inredningstextilier. En möbel med gamla anor och högt symbolvärde. Skrinet hade ett symboliskt värde som förvaring för trolovningsgåvan – handskar, psalmbok och sjal. När kvinnan i vittnens närvaro tackat ja till skrinet var trolovningen klar och offentliggjord. Golvuret var precis som skåpet en modebetonad statusmöbel. Få använde det som klocka. Många urverk tillverkades i Mora och såldes över hela landet. Men själva möbeln, golvursfodralet, tillverkades lokalt.

Allmogekonst är konst skapad av folk på landet, för folk på landet. Under ungefär hundra år, från mitten av 1700-talet till mitten av 1800-talet, blomstrade allmogens möbelmåleri. Det typiska för dessa möbler är stiliserade mönster, starka färger som blymönjerött och pariserblått, att flera stilar blandas och att hela ytan fylls ut med dekoration. Allmogemålarnas ambition var att göra mönster, inte att avbilda verkligheten.

Reportage från lyxiga hem påverkar hur vi inreder hemma i dag och så även förr. I vissa områden är allmogemöblerna tydligt påverkade av herrgårdsmodet och de möbler som tillverkades av städernas skråsnickare. Då är motiven också mer verklighetstrogna.

Six-Week Online Course | The Gothic Revival, 1700–1850

Posted in online learning, resources by Editor on February 20, 2016

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From Open Education:

Six-Week MOOC | The Gothic Revival, 1700–1850: Interdisciplinary Perspectives
Beginning 29 February 2016

Taught by Dale Townshend and Peter Lindfield

Designed for the non-specialist learner, this six-week course is intended as an introduction to the inter-disciplinary dimensions of the Gothic Revival in British culture of the long eighteenth century (1700–1850). Over 6 weekly sessions, you will be guided by acknowledged experts in the field of Gothic studies through the following topics:

1  Introduction, and the Meanings of the Term ‘Gothic’ in the Eighteenth Century
2  An Introduction to Gothic Literature: Horace Walpole’s The Castle of Otranto (1764)
3  Gothic Literature after Walpole
4  The Gothic Revival in Architecture
5  Gothic Interiors in the Eighteenth Century
6  Gothic in Eighteenth-Century Visual Art

The MOOC commences on Monday 29 February 2016. Each session consists of three mini-lectures, quizzes, the use of reflective diaries, and peer discussion. Your tutors will be available for a one-hour live Question and Answer session per week. Further details about this will follow in due course.

Prerequisites: None, other than an abiding interest in the early Gothic aesthetic.

Time Commitments: Approximately 1 hour of formal instruction time per week, excluding your own personal study and reading.

Rules of Progression: Each successive week will only become available to you once you have completed the quiz for the previous week. Although these weekly exercises to do not count towards your certificate of completion, you are encouraged to complete them in preparation for the final quiz.

Certificates of Completion: Proof of having successfully completed the MOOC will be available at the end of the course. In order to qualify for a certificate, you will have to have scored at least 50% in the final quiz, an informal test comprised of a selection of questions encountered in earlier sessions.

Instructors: Dale Townshend (Senior Lecturer in Gothic and Romantic Studies Division of English Studies, University of Stirling) and Peter Lindfield (Postdoctoral Research Fellow, Literature and Languages, University of Stirling)

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New Book | Benjamin Franklin in London

Posted in books by Editor on February 19, 2016

From Yale UP:

George Goodwin, Benjamin Franklin in London: The British Life of America’s Founding Father (New Haven: Yale University Press, 2016), 400 pages, ISBN: 978-0300220247, $32.50.

coverFor more than one-fifth of his life, Benjamin Franklin lived in London. He dined with prime ministers, members of parliament, even kings, as well as with Britain’s most esteemed intellectuals—including David Hume, Joseph Priestley, and Erasmus Darwin—and with more notorious individuals, such as Francis Dashwood and James Boswell. Having spent eighteen formative months in England as a young man, Franklin returned in 1757 as a colonial representative during the Seven Years’ War, and left abruptly just prior to the outbreak of America’s War of Independence, barely escaping his impending arrest.

In this fascinating history, George Goodwin gives a colorful account of Franklin’s British years.  The author offers a rich and revealing portrait of one of the most remarkable figures in U.S. history, effectively disputing the commonly held perception of Franklin as an outsider in British politics. It is an enthralling study of an American patriot who was a fiercely loyal British citizen for most of his life—until forces he had sought and failed to control finally made him a reluctant revolutionary at the age of sixty-nine.

George Goodwin is the author of numerous articles and two previous histories, Fatal Colours: Towton 1461 and Fatal Rivalry: Henry VIII, James IV, and the Battle for Renaissance Britain. He is currently Author in Residence at the Benjamin Franklin House in London and was a 2014 International Fellow at the Robert H. Smith International Center for Jefferson Studies, Monticello. He lives close to London’s Kew Gardens.

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C O N T E N T S

Prologue

Life Before London
A Young Man in London
Foundations
Conductor
Return to London
A London Life
Benjamin Franklins British Family
Moves and Countermoves
Intermission
The Stamp Act
Pivotal Years
12 Home Comforts and Discomforts
Seeking Balance
Movements
Drawn to the Cockpit
The Last Year in London
A Little Revenge

Selected Places to Visit and Related Organizations
Bibliography
Notes
Acknowledgements
Index

Redwood Library Acquires Collection of Early Modern Architecture Books

Posted in on site, resources by Editor on February 18, 2016

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Redwood Library and Athenaeum in Newport, Rhode Island, with Harrison’s Mirror mounted on the front pediment of the 1750 building, designed by Peter Harrison; the mirror was one element of the installation exhibition To Arrive Where We Started by Peter Eudenbach (July 2012 — July 2013).

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From Art Daily (17 February 2016) . . .

The Redwood Library and Athenaeum—a hybrid historic site, museum, rare book repository, and the oldest continuously operating lending library in America (1747)—has acquired a comprehensive collection of seventeenth- and eighteenth-century British architecture books and building manuals from the antiquarian bookseller Charles Wood. Comprising 53 titles, the collection deepens the Library’s already significant holdings of material devoted to early modern architecture and design, one of its cornerstone collecting areas. The acquisition was made possible by a grant from the B.H. Breslauer Foundation, as well as from donations from a number of local and national benefactors.

newport-2-“By virtue of what the Redwood is—the country’s oldest public Neo-Classic structure and a touchstone of the nation’s architectural patrimony—we are duty bound to remain a center for the study of early American architecture,” said Benedict Leca, Executive Director of the Redwood Library. “This collection dovetails perfectly with our existing holdings, notably the Cary Collection of supremely rare eighteenth-century pattern books, and exemplifies our commitment to the scholarly interpretation of our own building and those of colonial Newport.”

Newport’s historic center of learning and a designated national landmark, the Redwood Library has been serving New England and beyond as a resource supporting the range of intellectual pursuit for nearly three hundred years. In a city especially known today as a hub of historic preservation, garden design and place making, the Redwood endures as a locus of research in these domains through a constellation of related collections, making this acquisition especially pertinent.

The Redwood’s Newport Collection, an indispensable trove when researching Newport and Aquidneck Island, comprises over 5,000 books and hundreds of archives and manuscripts. The Doris Duke Preservation Collection focuses on New England colonial and nineteenth-century architecture, with an emphasis on the preservation and restoration of both the exterior architectural structure, including windows, doors and moldings, and on interior decorative elements, such as wallpaper and textiles. The Dorrance Hamilton Gardening Collection currently holds over 500 titles of landscape architecture, classic ‘how-to’ guides by important historic designers, such as Geoffrey Jellicoe and Lancelot ‘Capability’ Brown, as well as a number of discerning treatments of historic world gardens. The Cynthia Cary Collection, collected over decades by Mr. and Mrs. Guy Fairfax Cary, Sr., contains nearly 200 fifteenth- to mid-nineteenth-century English and continental pattern books of furniture, decoration, and ornament. All of these collections are a resource for scholars from all over the world, and continue to grow through the acquisition of primary works and authoritative scholarly titles.

“This outstanding collection is particularly noteworthy as it is a blend of builder’s manuals on one hand, and of illustrated, so-called gentlemen’s folios on the other,” specified Benedict Leca. “It gives us a window not only on period building techniques, but also on the diffusion of architectural knowledge, its styles and fashions, by way of some real rarities. The Scamozzi Mirror of Architecture, for example, was often used practically by builders and thus literally consumed; for this reason it rarely survives complete. Of appeal to the connoisseur rather than the builder is a very rare suite of nine copperplate engravings of Chinese lattice designs by William Halfpenny, with the only two other known copies at the British and Avery libraries.”

Further highlights from the collection include a number of rare manuals and pamphlets, including Henry Cook’s Patent artificial slate manufactory (1786), one of only three copies listed in the National Union Catalog (NUC); Abraham Fletcher’s The Universal Measurer (1766), one of only six copies on OCLC; and The Rudiments of Architecture or the Young Workman’s Instructor (1775), one of only two known copies, the Redwood’s having an eighteenth-century Boston provenance. The folios include a copy of the now scarce pattern book produced by Abraham Swan, The British architect or the builder’s treasury of stair-cases (1765?); and Christopher Wren Jr’s Parentalia: or memoirs of the family of Wrens (1750), an exceptional copy complete with the often-missing mezzotint frontis portrait of Wren.

Display | Majestic Mountain Retreats

Posted in exhibitions by Caitlin Smits on February 18, 2016

From the Norton Museum of Art

Majestic Mountain Retreats: 17th- and
18th-Century Monumental Chinese Landscape
Norton Museum of Art, West Palm Beach, 6 February — 15 May 2016

Wang Jiu, Chinese, Landscape in the Manner of Wang Meng, dated 1774; hanging scroll, ink on paper 136.8 x 64.1 cm (Nortom Museum of Art; photography by C.J. Walker)

Wang Jiu, Chinese, Landscape in the Manner of Wang Meng, dated 1774; hanging scroll, ink on paper 136.8 x 64.1 cm (Nortom Museum of Art; photography by C.J. Walker)

Inspired by Stormy Landscape, likely painted in the late 1730s to mid-1740s, and the most recent hanging scroll added to the Norton’s Chinese Collection, the three works in this installation depict mountain retreats. The inscription and artists’ seals on Stormy Landscape, suggest that it is a painting of a Taoist monastery. It is reminiscent of extant Taoist mountaintemples in Fujian province not far from the artist’s home. The other two works are, Waterfall in a Bamboo Grove, probably painted in the mid-17th century, and Landscape in the Manner of Wang Meng, dated 1744.

New Book | Parsonages

Posted in books by Editor on February 18, 2016

From Bloomsbury:

Kate Tiller, Parsonages (New York: Bloomsbury Shire Publications, 2016), 88 pages, ISBN: 978-1784421373, $15.

9781784421373From the Middle Ages to the present day, parsonages—vicarages, rectories, and later manses, presbyteries, and chapel houses—have been among the most significant dwellings in every kind of British community. Their roles have been wide and varied. Architecturally important, and ranging from medieval vernacular buildings to the bespoke house designs of leading architects of the nineteenth and twentieth centuries, to the more modest homes of today’s clergy, parsonages are important not only as buildings but for the part they—and their occupants—have played in the life of local communities, and in their links with the wider world. The parsonage, a hub of activity and connection, a place of change and continuity, provides fascinating historical insights both general and local. This study draws on the evidence of architecture, official documents, private records, literary accounts, and contemporary and modern images to build a picture of parsonages and their occupants. It includes a section on tracing the history of a parsonage.

C O N T E N T S

Parsonage Histories: Houses, Priests and People
Setting the Pattern: Medieval Priests’ Houses
The Post-Reformation Parsonage
Georgian Parsonages: A Golden Age?
Victorian and Edwardian Heyday
Vicarages and Rectories: The Recent Past
Further Reading
Tracing the History of a Parsonage: A Checklist of Sources
Index

Summer Course Offerings at Sotheby’s, 2016

Posted in opportunities by Editor on February 18, 2016

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Among the course offerings this summer at Sotheby’s (for undergraduate credit). . .

European Decorative Arts: From Baroque to Art Nouveau
Sotheby’s Institute of Art, London, 31 May — 24 June 2016

Beginning in the seventeenth century with the rise of the Baroque and culminating in Art Nouveau at the end of the nineteenth, this varied and exciting course provides a comprehensive understanding of key stylistic developments in Western European design and the decorative arts. The course focuses on furniture, ceramics, glass and metalwork, explored within the context of architecture and interiors and the broader historical and cultural forces that have influenced the production and consumption of decorative art objects. It seeks also to provide students with a basic knowledge of materials and techniques.

A diverse programme of lectures is complemented by visits to leading museums, galleries and historic houses. Students are taught by a range of in-house tutors and visiting experts from the art world. The course is introductory and requires no prior knowledge. The teaching approach is object-based and enables students to gain confidence in analyzing and identifying a wide range of art objects. It promotes skills that will be useful for working in the art world and also serves as a bridging course for further study. Faculty: Helena Pickup (Course Leader), Lis Darby, Anne Ceresole, Daniel Packer, Elisabeth Bogdan.

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London, Art Capital of the World, 1700–2000
Sotheby’s Institute of Art, London, 28 June — 22 July 2016

The history of the market holds valuable lessons for those hoping to work in the commercial art world. London has been synonymous with the exhibiting, collecting, buying, and selling of art for centuries. This course will provide an in-depth exploration of the institutions, personalities, and locations that have made London the epicenter of the art world, historically and today. With many of these historic works and buildings still in existence and accessible, students will experience themselves how the art scene evolved along with the city itself. We will examine the key factors that led to an increase in the demand for fine arts and how London emerged as the favored location for auctions in the eighteenth century. The connection between opportunities to view works of art and the growth of collecting will be analyzed, as will the impact of the market on ‘native’ artists. Students acquire an understanding of the history of the art market, collecting, and museums. A comprehensive course of lectures is enhanced by visits to galleries, museums, and auction houses. Faculty: Elizabeth Pergam.