Display | Handel’s Performers

Posted in exhibitions by InternRW on August 22, 2016
Johannes Verelst, Portrait of Anna Maria Strada (detail), ca. 1732, oil on canvas
(London: The Foundling Museum)

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Press release for the display now on view now at The Foundling Museum:

Handel’s Performers
The Foundling Museum, London, 13 November 2015 — 30 October 2016

George Frideric Handel worked with many singers, often composing or adapting music for a particular performer. This new display of portraits and documents in the Handel Gallery brings together celebrities of the day, along with some lesser-known singers who brought Handel’s music to the public in the eighteenth century.

In particular, the display focuses on two celebrities, Anastasia Robinson and Senesino, who were among the highest paid singers at the time, showcasing music, documents and images relating to them. ‘Mrs Robinson’, as she was known, was secretly married to the Earl of Peterborough, but they did not acknowledge the marriage until shortly before the Earl’s death, and she was publicly assumed to be his mistress. She sang in over twenty Handel operas, and Handel composed or adapted music especially for her voice. Francesco Bernardi adopted the stage name ‘Senesino’ from Siena, his birthplace, and was recruited by Handel from Dresden to join his opera company. Senesino became the leading castrato singer in London in the 1720s, creating the title role in Handel’s opera Giulio Cesare in 1724 and singing major roles in seventeen operas by Handel, despite a sometimes stormy relationship with the composer.

Another of the portraits on show is of Anna Maria Strada, one of Handel’s leading sopranos. The oil painting by Johann Verelst, shows the singer holding an aria headed ‘Sung by Signora Strada’, which she had made famous. This sheet music is part of the Gerald Coke Handel Collection. Contemporary accounts write of Strada being unattractive in appearance and she was known to be nicknamed ‘The Pig’. However, in this portrait, the artist has done his best to make the singer attractive.

The display also includes a portrait by Thomas Frye of Richard Leveridge, a singer and composer who made famous the song The roast beef of old England. Leveridge is holding the music to ‘Ghosts of every occupation’, which he sang for many years in the popular pantomime The Necromancer. In between engagements Richard Leveridge ran a coffee shop in Tavistock Street near Covent Garden.

Another singer included is Gustavus Waltz, in a portrait by by Johann Maurice Hauck. Waltz, like Handel, was a German who became a British citizen, and was reported to have been Handel’s cook as well as a bass singer. He created roles in several Handel operas and sang in the benefit performance of Handel’s Messiah at the Foundling Hospital in 1754. Next to Waltz is displayed a print of John Hebden, who played in the orchestra for the Foundling Hospital’s benefit performances of Messiah in 1754 and 1758.

Other singers represented who were in London during Handel’s life time are the Italian castrati Carlo Broschi (‘Farinelli’) and Giovanni Carestini, and the English singer Kitty Clive, who sang in the first London performance of Messiah in 1743. Farinelli sang with the Opera of the Nobility, a company set up to rival Handel’s opera company in the 1730s, while Carestini sang for Handel in his operas and oratorios.






Conference | Capability Brown: Perception and Response

Posted in conferences (to attend) by Editor on August 21, 2016


Programme for the conference:

Capability Brown: Perception and Response in a Global Context
University of Bath, 9–11 September 2016

Capability Brown changed the face of 18th-century England. Yet he left little written explanation of his work. Much must be inferred from his surviving landscapes and by seeing his work in the wider context of the naturalistic style that developed in Europe and further afield. This major conference, organised by the Cultural Landscapes and Historic Gardens Committee of ICOMOS-UK (International Council on Monuments and Sites UK), will be one of the highlights of the first-ever national Capability Brown Festival, providing an international dimension to complement the UK’s national festival of events, openings, exhibitions and publications.

Over a three-day conference in the historic city of Bath (one of the UK’s World Heritage Sites), world-renowned researchers and practitioners will present Brown’s work in a global context and explore the ways in which it has been interpreted over the last 250 years. The conference will include evening receptions at Prior Park, the Brown designed valley garden with its iconic Palladian bridge overlooking the city, and at the Bath Assembly Rooms. There will also be a tour of Brown’s landscape at Croome Court, recently restored by the National Trust. Conference papers will be published for delegates in a special edition of Garden History.

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F R I D A Y ,  9  S E P T E M B E R  2 0 1 6

10:00  Registration

11:00  Session I | Brown in Great Britain
• Welcome by David Thackray OBE (President of ICOMOS-UK)
• Address by His Royal Highness the Duke of Gloucester KG GCVO (Patron, ICOMOS-UK)
• Introduction by Marion Harney (University of Bath)
• Keynote Talk: Brown and Neo-Classicism, John Dixon Hunt (University of Pennsylvania)
• Lancelot Brown’s Design of the Waters at Blenheim, Hal Moggridge OBE VMH (Past President of the Landscape Institute, Consulting Landscape Architect at Blenheim, 1981–2001)

12.40  Lunch

14:00  Session I | Brown in Great Britain, continued
• Shrubbery to Grove and Flower Garden to Meadow, Mark Laird (Historic Landscape Consultant)
• Brown at Burghley: Aestheticising the Medieval Past, Megan Aldrich (Sotheby’s Institute of Art, London)

15:00  Afternoon Break

15:30  Session 2 | Brown as Perceived Abroad, part A
• The Limits of Brown’s Landscape: Translations of the Landscape Garden into Ireland, Finola O’Kane Crimmins (University College Dublin)
• Models in this Art: Tracing the Brownian Landscape Tradition in America, Therese O’Malley (Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington DC)

18.30  Reception at Prior Park (depart at 17:45)

S A T U R D A Y ,  1 0  S E P T E M B E R  2 0 1 6

9:30  Session 3 | Brown as Perceived Abroad, part B
• Introduction by Michael Symes (Garden Historian)
• Brown Invisible in France? The French Perception and Reception of Gardens in Eighteenth Century Britain, Laurent Châtel (Université Paris-Sorbonne) and Monique Mosser (Garden Historian)
• The English Garden in the Low Countries and the Principauté of Liège, Nathalie de Harlez de Deulin (Université de Liège)
• Thomas Whately, Catherine the Great, and the Brownian Tradition in Russia, Boris Sokolov (Russian State University for the Humanities)
• Capability Brown’s Design for Schönenberg at Laeken near Brussels, 1782, Wim Oers (Catholic University of Leuven)
• Hungarian Garden Tourists in Search of Brown’s Legacy, Kristor Fatsar (Writtle College, University of Essex)
• Brown’s Impact on Garden Design in Hungary, Gábor Alfödy (Landscape Architect and Garden Historian)

13:10  Lunch

14:25  Session 4 | Echoes of Brown
• Introduction by Peter Goodchild (Director of The Garden and Landscape Heritage Trust, UK)
• George Parkyn’s “Entwürfe…” Published in Leipzig in 1796 and 1805, Eva Ruoff (Aalto University)
• The Early Landscape Garden in Germany, Marcus Köhler (Technische Universtaet Dresden)
• Beauty in Simplicity: An Exploration of the Design Principles of Capability Brown, Matthew Tickner (Director, Cookson & Tickner Ltd) and Will Cookson (Landscape Architect, Cookson & Tickner Ltd)
• Misconceptions, John Phibbs (Principal, Debois Landscape Survey Group)
• Why Celebrate Capability Brown?, Oliver Cox (University of Oxford)

18.00  Civic Reception in the Assembly Rooms, with Address from Dame Helen Ghosh (Director-General of the National Trust)

S U N D A Y ,  1 1  S E P T E M B E R  2 0 1 6

9:00  Session 5 | Reflections on Brown’s Legacy
• Introduction by Steven Brown (Chair of the ICOMOS International Scientific Committee of Cultural Landscapes)
• Reflections and Future Directions, Michael Symes (Garden Historian)

10:00  Coffee

10:30  Depart in coaches for Croome Court, Worcestershire

12:30  Site Visit to Croome Court

16:00  Depart Croome Court to return to Bath


Exhibition | Noble Prospects: Capability Brown and Yorkshire

Posted in books, exhibitions by Editor on August 21, 2016

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Now on view at The Mercer Art Gallery, with more information from the Capability Brown Festival:

Noble Prospects: Capability Brown and the Yorkshire Landscape
The Mercer Art Gallery, Harrogate, North Yorkshire, 25 June — 11 September 2016

The great landscape gardener Lancelot ‘Capability’ Brown (1716–1783) changed the face of eighteenth-century English parkland, creating a magical world of woods, water and swathes of green that lives on until this day in Yorkshire. This Mercer Art Gallery exhibition is the first ever dedicated to the Yorkshire landscapes of this legendary designer to mark the 300th anniversary of his birth, devised in partnership with the Yorkshire Gardens Trust.

Installation view of the exhibition “Noble Prospects: Capability Brown and the Yorkshire Landscape,” The Mercer Art Gallery, Harrogate, North Yorkshire, 2016. Photo by Simon Miles.

Installation view of the exhibition “Noble Prospects: Capability Brown and the Yorkshire Landscape,” The Mercer Art Gallery, Harrogate, North Yorkshire, 2016. Photo by Simon Miles.

Capability Brown is the creator of some of Yorkshire’s most admired landscapes, which include Burton Constable, Harewood, Roche Abbey, Scampston, Sledmere and Temple Newsam. This unique exhibition brings together an intriguing collection of artworks, which reveal more about the designer and his designs. Drawn largely from Yorkshire collections the show features portraits of Capability Brown and his Yorkshire clients, original plans, drawings and documents by Brown, paintings of his creations as well as works of art that inspired his landscapes.

Capability Brown was the leading landscape designer of the second-half of the eighteenth century and there are thought to be 20 sites in Yorkshire associated with him. He rejected the very formal geometric French style of gardening and concentrated on echoing the natural undulations of the English landscape in his plans. The landscape garden is recognised as one of Britain’s greatest artistic achievements and the designs of Brown and his contemporaries have influenced gardens across the world.

Noble Prospects: Capability Brown and the Yorkshire Landscape is supported by The Landscape Agency, Saffery Champness, Savills, Coutts, Harrogate Borough Council, The Capability Brown Festival 2016, Art Fund, Natural England, The Calmcott Trust, The Friends of the Mercer Art Gallery, Leeds Philosophical and Literary Society, Historic Houses Associations Yorkshire Friends, Mr and Mrs J. Samuel and private donors. The Yorkshire Gardens Trust, an educational charity founded in 1996, works to help conserve, protect and promote Yorkshire’s rich heritage of parks, gardens and designed landscapes.

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From the Yorkshire Gardens Trust:

Karen Lynch, Noble Prospects: Capability Brown and the Yorkshire Landscape (Yorkshire Gardens Trust, 2016), 72 pages, £12.

Noble Prospects ExhibitionThe development of a new natural style of laying out parks in the eighteenth century is acknowledged to be one of the greatest artistic achievements in British history. One man’s name is indelibly linked with the profession of landscape gardening: Lancelot Brown. Achieving great renown in his own lifetime he became universally known by his affectionate nickname ‘Capability’, and whilst fashions in design have come and gone, his fame remains great three hundred years after his birth. This new publication celebrates Capability Brown’s work in Yorkshire and is the culmination of two years of research to identify just what Brown did in this vast county. It features contemporary views by artists such as J.M.W. Turner and Paul Sandby as well as works by amateur artists who admired the landscapes they visited. Also illustrated are designs by Brown and portraits of the man and his Yorkshire clients. Stunning newly commissioned photography by artist Simon Warner shows the parks as they look today.







Exhibition | French Portrait Drawings

Posted in exhibitions by InternRW on August 20, 2016

Opening in September at The British Museum (from the press release). . .

French Portrait Drawings: From Clouet to Courbet 
The British Museum, London, 8 September 2016 – 29 January 2017

Jean Michel Moreau le Jeune, Portrait of the Artist's Daughter at the Age of Two, ca. 1772; black and red chalk heightened with white on buff paper (London: The British Museum).

Jean Michel Moreau le Jeune, Portrait of the Artist’s Daughter Fanny at the Age of Two, ca. 1772; black and red chalk heightened with white on buff paper (London: The British Museum).

This exhibition will showcase The British Museum’s remarkable holdings of French portrait drawings, chosen to illustrate the development of this medium from the Renaissance until the 19th century. Throughout its history, the drawn portrait has been a more informal medium, created for circulation among friends and relations of the sitter, rather than the wider public intended for the official painted portrait. Artists turned to chalk or watercolour to depict members of their own families and throughout the display there is experimentation and innovation: drawings were cheaper to produce than an oil painting or sculpture and allowed the artist greater freedom for creativity.

Portraits on paper will be displayed alongside examples in other more formal media, including medals, enamels and an onyx cameo. The exhibition will open with drawings by Francois Clouet, which offer an intimate picture of the French Renaissance court, and close with Toulouse Lautrec’s vivid portraits of the Parisian demi-monde, offering visitors the chance to see some of the Museum’s well-known portraits along with some which have never been exhibited before.

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Note (added 8 January 2017) — The extended description from The British Museum:

See over 65 portraits by French artists spanning four centuries, from the early drawings of Jean Clouet (1480–1541) and his son François (c. 1510–1572) to the exquisite drawings of the Realist Gustave Courbet (1819–1877). The British Museum has a remarkable collection of French portrait drawings, including examples by the most celebrated artists—from Clouet, Watteau, and Ingres, to Fantin-Latour, Courbet, and Toulouse-Lautrec. Many have not been widely displayed, so this exhibition is a chance to see beautiful, rarely seen works. The exhibition illustrates the development of portrait drawing from the Valois and Bourbon kings to the upheavals of the Revolution, Napoleon’s Empire, and beyond.

Louis Rolland Trinquesse, A Young Man in Profile to the Right, ca.1770, red chalk over a red-chalk counterproof (London: The British Museum, 1928,1110.30).

Louis Rolland Trinquesse, A Young Man in Profile to the Right, ca.1770, red chalk over a red-chalk counterproof (London: The British Museum, 1928,1110.30).

Drawing was a more informal medium than official painted portraits. Drawn portraits were intended for circulation among friends or family of the sitter, rather than a wider public. Many of the portraits also demonstrate a range of experimentation and innovation. Drawings were cheaper to produce than oil paintings, sculptures, or medals and allowed the artist greater creative freedom, often for preparatory studies.

This exhibition begins in the 16th century with Clouet’s portrait series commissioned by Henri II’s queen, Catherine de’ Medici. Psychologically penetrating as well as artistically beautiful, these previously unexhibited portraits give a strikingly intimate glimpse of figures at the Renaissance French court. Later on, artists turned to the medium of chalk or watercolour to represent members of their own families, such as Jean-Michel Moreau le Jeune’s portrait of his infant daughter or Albert Lebourg’s striking portrait of his wife and mother-in-law from around 1879.

The 18th-century works include famous sitters such as Marie-Antoinette and Leopold Mozart performing with his children Wolfgang and Marie-Anne. The exhibition also includes examples of original and creative ways of approaching portraiture, such as Pierre Dumonstier’s playful ‘portrait’ of the artist Artemisia Gentileschi’s hand, drawn in 1625, or Henri Fantin-Latour’s self-portrait studies from 1876, which show the artist seen from behind—a portrait without a face. The section focusing on 19th-century artists features Ingres’s splendid portrait of Sir John Hay and his sister Mary, made in 1816, Toulouse-Lautrec’s dynamic portrait of Marcelle Lender, drawn in 1894, and the confident self-portrait by Gustave Courbet.

The drawings, selected from the Museum’s unparalleled collection, are complemented by portraits in other media, including prints, medals, enamels, and an onyx cameo. Together they illustrate the development of French portrait drawing from the Renaissance until the 19th century.

The illustrated handlist, with entries for each image, is available from the museum.






Exhibition | Benjamin Franklin: Portraits by Duplessis

Posted in exhibitions by Editor on August 19, 2016

Press release (11 August 2016) from The Met:

Benjamin Franklin: Portraits by Duplessis
The Metroplitan Museum of Art, New York, 22 August — 28 November 2016

Curated by Katharine Baetjer

Joseph Siffred Duplessis, Portrait of Benjamin Franklin (The 'Fur Collar' Portrait), 1778, oil on canvas; Oval, 72.4 × 58.4 cm (New York: The Metropolitan Museum of Art, 32.100.132).

Joseph Siffred Duplessis, Portrait of Benjamin Franklin (The ‘Fur Collar’ Portrait), 1778, oil on canvas; oval, 72.4 × 58.4 cm (New York: The Metropolitan Museum of Art, 32.100.132).

Several works depicting the brilliant writer, inventor, politician, patriot, and statesman Benjamin Franklin (1706–1790), who has been the subject of hundreds of portraits, will go on view at The Metropolitan Museum of Art in a focused exhibition opening on August 22. The most famous of these was painted by Joseph Siffred Duplessis (1725–1802), Louis XVI’s official portraitist, after Franklin arrived in Paris in 1776 to seek French support for the American war of independence. Portraying Franklin in a red coat with a fur collar, and with an astonishingly elaborate frame decorated with his attributes, the oval painting was greatly admired and Duplessis exhibited it at the 1779 Paris Salon.

The painting, which has been in The Met collection for 85 years, will be a focal point of the installation Benjamin Franklin: Portraits by Duplessis, along with the preliminary pastel portrait of Franklin, probably a life study by Duplessis. The pastel, which is rarely exhibited and will be on loan from the New York Public Library, shows Franklin in the same pose as the painting but wearing a gray, collarless jacket and waistcoat. The image will be familiar to many: it is the same likeness that is replicated on the current one-hundred-dollar bill. The installation will also explore the processes of image transfer and replication in the 18th century.

Franklin arrived in Paris on December 21, 1776, as a commissioner of the American Continental Congress, and lived in nearby Passy until he returned to America in 1785. He promoted the treaty of alliance between the fledgling nation and the government of Louis XVI that was signed on February 6, 1778. The American Revolutionary War was an enormously popular cause in France, where the elderly statesman’s simplicity of dress and manner were admired. The ‘Fur Collar Portrait’, or ‘VIR Portrait’, by Duplessis was commissioned by the entrepreneur Jacques Donatien Le Ray de Chaumont. The oval canvas, exhibited in the frame in which it is still displayed, became the object of extravagant praise. Versions from the artist’s workshop and by other hands were in demand and the portrait was replicated dozens of times. A fine replica by or after Duplessis, also belonging to The Met, is so close in design that the contours must have been transferred from the 1778 picture.

Franklin understood the importance of circulating his image and gave sittings to some half-dozen French artists, but he did not enjoy doing so. He did not wish to sit for the same painter twice, sending away in later years those who applied to him for an original and suggesting that they instead commission a copy. An X-radiograph of the ‘Fur Collar Portrait’ reveals that Franklin’s coat was originally much simpler, with small buttons and a narrow collar. In this connection, the exhibition will draw attention to the Duplessis pastel portrait of Franklin that was given to the New York Public Library in 1896. For more than a century, the pastel has been conscientiously protected from damage due to overexposure to light and thus has rarely been exhibited. The pastel had been assigned to the early 1780s, but technical examination reveals that it dates to 1777 or early 1778 and is preliminary to the ‘Fur Collar Portrait’—its design precisely matches the composition revealed in the painting’s X-radiograph. Pastel is a portable medium, and Duplessis probably took his pastel crayons to Passy to set down the direct likeness of Franklin.

Benjamin Franklin: Portraits by Duplessis is organized by Katharine Baetjer, Curator in Department of European Paintings at The Met.


Exhibition | Chinese Opera Costumes of the 18th and 19th Centuries

Posted in exhibitions by Editor on August 19, 2016

Press release (17 May 2016) from The Met:

From the Imperial Theater: Chinese Opera Costumes of the 18th and 19th Centuries
The Metropolitan Museum of Art, New York
first rotation: 15 June 2016 — 8 January 2017 / second rotation: 14 January — 9 October 2017

Curated by Pengliang Lu and Denise Patry Leidy


Theatrical robe with phoenix and floral patterns (detail), Qing dynasty (1644–1911), 19th century; silk thread embroidery on silk satin; 50 × 96 inches (New York: The Metropolitan Museum of Art).

Drawn entirely from The Met collection, From the Imperial Theater: Chinese Opera Costumes of the 18th and 19th Centuries will examine these luxury textiles from artistic and technical points of view. The exhibition will be organized in two rotations. The first will focus on costumes used in dramas based on historical events, and the second will feature costumes from plays derived from legends and myths. The presentation will showcase eight robes, each of which was created for a specific role—court lady, official, general, monk, nun, and immortal. A set of album leaves faithfully depicting theatrical characters wearing such robes will also be displayed.

The 18th and 19th centuries witnessed a flowering of Chinese drama. Under the patronage of the Qing court (1644–1911), performances—including the ‘Peking Opera’—filled the Forbidden City in Beijing. A form of traditional Chinese theater, Peking Opera was developed fully by the mid-19th century, and because of the form’s minimal stage settings and the importance of exaggerated gestures and movements, costume played an unusually significant role. The exhibition will include superb examples with interior markings indicating their use in court productions.

The exhibition is curated by Pengliang Lu, Henry A. Kissinger Curatorial Fellow, and Denise Patry Leidy, Brooke Russell Astor Curator of Chinese Art, both in the Museum’s Department of Asian Art.



New Book | A Guide to Eighteenth-Century Art

Posted in books by Editor on August 18, 2016

From Wiley-Blackwell:

Linda Walsh, A Guide to Eighteenth-Century Art (Hoboken, Wiley-Blackwell, 2016), 288 pages, (hardcover) ISBN: 978-1118475577, $90 / (paperback)  ISBN: 978-1118475515, $40.

1118475518A Guide to Eighteenth-Century Art offers an introductory overview of the art, artists, and artistic movements of this period, and the social, economic, philosophical, and political debates that helped shape them. It uses an innovative framework to highlight the roles of tradition, modernity, and hierarchy in the production of artistic works during this influential era.

The book spans a broad range of topics from the trade and craft of art; the hierarchy of genres; and the emerging public for artistic works; through to the relationship of art to wider cultural developments of the Enlightenment; art and morality, and much more. It also explores the relationship between western art and the growth of colonialism. In examining the art of the period, Walsh reflects the latest research and insights from contemporary scholars. Complete with numerous illustrations and supported by online resources, A Guide to Eighteenth-Century Art offers illuminating insights into the dramatic artistic achievements that transpired between the waning days of the Baroque and the Age of Revolution.

Linda Walsh is a former Senior Lecturer in Art History at the Open University. An established scholar of eighteenth- and early nineteenth-century art, Walsh is the author of numerous articles and chapters on topics that include Canova and neoclassical theory; paintings by David, Watteau, and Chardin; eighteenth-century academies; art criticism; and British landscape art.

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List of Figures
Companion Website

Introduction: Style, Society, Modernity
1  Institutional Hierarchies: Art and Craft
2  Genres and Contested Hierarchies
3  Markets, Publics, Expert Opinions
4  Taste, Criticism, and Journalism
5  Seeking a Moral Order: The Choice between Virtue and Pleasure





IKEA and the Eighteenth Century

Posted in today in light of the 18th century by Editor on August 18, 2016

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If this recent IKEA advertisement (uploaded to YouTube on 31 July 2016) depends more upon conventions for period films set in the eighteenth century than eighteenth-century sensibilities themselves, it might nonetheless be an interesting way to raise questions in the classroom of what exactly the century signals to people at a popular level today. Thanks to former Enfilade intern Caitlin Smits for drawing my attention to it (where would we be without bright former students?!).  –Craig Hanson



New Book | The Anatomical Venus

Posted in books by InternRW on August 18, 2016

From Distributed Art Publishers:

Joanna Ebenstein, The Anatomical Venus: Wax, God, Death & the Ecstatic (New York: DAP, 2016), 224 pages, ISBN: 978-1938922916, $35.

The Anatomical VenusOf all the artifacts from the history of medicine, the Anatomical Venus—with its heady mixture of beauty, eroticism and death—is the most seductive. These life-sized dissectible wax women reclining on moth-eaten velvet cushions—with glass eyes, strings of pearls, and golden tiaras crowning their real human hair—were created in eighteenth-century Florence as the centerpiece of the first truly public science museum. Conceived as a means to teach human anatomy, the Venus also tacitly communicated the relationship between the human body and a divinely created cosmos—between art and science, nature and mankind. Today, she both intrigues and confounds, troubling our neat categorical divides between life and death, body and soul, effigy and pedagogy, entertainment and education, kitsch and art. The first book of its kind, The Anatomical Venus, by Morbid Anatomy Museum cofounder Joanna Ebenstein, features over 250 images—many never before published—gathered by its author from around the world. Its extensively researched text explores the Anatomical Venus within her historical and cultural context in order to reveal the shifting attitudes toward death and the body that today render such spectacles strange. It reflects on connections between death and wax, the tradition of life-sized simulacra and preserved beautiful women, the phenomenon of women in glass boxes in fairground displays, and ideas of the ecstatic, the sublime and the uncanny.

Joanna Ebenstein is a multidisciplinary artist, curator, writer, lecturer and graphic designer. She originated the Morbid Anatomy blog and website, and is cofounder (with Tracy Hurley Martin) and creative director of the Morbid Anatomy Museum in Brooklyn, New York.




New Book | Materializing Gender in Eighteenth-Century Europe

Posted in books by Editor on August 17, 2016

From Routledge:

Jennifer Germann and Heidi Strobel, eds., Materializing Gender in Eighteenth-Century Europe (New York: Routledge, 2016), 240 pages, ISBN: 978-1472456311, $150.

9781472456311Art history has enriched the study of material culture as a scholarly field. This interdisciplinary volume enhances this literature through the contributors’ engagement with gender as the conceptual locus of analysis in terms of femininity, masculinity, and the spaces in between. Collectively, these essays by art historians and museum professionals argue for a more complex understanding of the relationship between objects and subjects in gendered terms. The objects under consideration range from the quotidian to the exotic, including beds, guns, fans, needle paintings, prints, drawings, mantillas, almanacs, reticules, silver punch bowls, and collage. These material goods may have been intended to enforce and affirm gendered norms, however as the essays demonstrate, their use by subjects frequently put normative formations of gender into question, revealing the impossibility of permanently fixing gender in relation to material goods, concepts, or bodies. This book will appeal to art historians, museum professionals, women’s and gender studies specialists, students, and all those interested in the history of objects in everyday life.

Jennifer G. Germann is Assistant Professor of Art History, Ithaca College.
Heidi A. Strobel is Associate Professor of Art History, University of Evansville.

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List of Illustrations
Notes on Contributors

Introduction: Material Culture and the Gendered Subject, Jennifer G. Germann and Heidi A. Strobel

I. Transgressive Objects
1  Men and Hunting Guns in Eighteenth-Century France, Amy Freund
2  Taste a-la-mode: Consuming Foreignness, Picturing Gender, Freya Gowrley
3  Gendered Souvenirs: Anna Amalia’s Grand Tourist Vedute Fans, Christina K. Lindeman
Majas, Mantillas, and Marcialidad: Fashioning Identity in Late Eighteenth-Century Spain, Tara Zanardi

II. Gender and Domesticity
5  Place and Possession: Emma Hamilton at Merton, 1801–05, Amber Ludwig
6  A Gentlemen’s Pursuit: Eighteenth-Century Chinoiserie Silver in Britain, Elizabeth A. Williams
7  Sexing Sovereignty: The Material Culture and Sexual Politics of Queen Marie Leszczinska’s Bed, Jennifer G. Germann

III. High Art in Low Places
8  ‘Idleness Never Grew in My Soil’: Mary Delany’s Flower Collages, Gender, and the Moral Authority of ‘Nature’ in Eighteenth-Century England, Felicity Roberts
9  Pocket Museums: The Display of Art in Women’s Almanacs during the First French Empire, Ryan Whyte
10 Stitching the Stage: Mary Linwood, Thomas Gainsborough, and the Art of Installation Embroidery, Heidi A. Strobel

Selected Bibliography