New Book | Visual Culture and the Revolutionary and Napoleonic Wars

Posted in books by Editor on September 14, 2016

From Routledge:

Satish Padiyar, Philip Shaw, Philippa Simpson, eds., Visual Culture and the Revolutionary and Napoleonic Wars (New York: Routledge, 2016), 252 pages, ISBN: 978-1472447111, $150.

51ci84oyovlIndividually and collectively, the essays in this cross-disciplinary collection explore the impact of the revolutionary and Napoleonic Wars on European visual culture, from the outbreak of the pan-European conflict with France in 1792 to the aftermath of the Battle of Waterloo in 1815. Through consideration of a range of media, from academic painting to prints, drawings and printed ephemera, this book offers fresh understanding of the rich variety of ways in which warfare was mediated in visual cultures in Britain and continental Europe.

The fourteen essays in the collection are grouped thematically into three sections, each focusing on a specific type of visual communication. Thus, Part One engages with historically specific ways of transmitting messages about war and conflict, including maps, prints, silhouette imagery and war games produced in France and Germany. Part Two considers popular and elite imagining of war between 1793 and 1815, encompassing readings of paintings by Turner, Girodet and Goya, Portuguese anti-French drawings and British satirical book illustrations. Part Three concentrates on visual cultures of commemoration, addressing British theatrical reenactments and museum collections, and British and Dutch paintings of the Battle of Waterloo. As such, the volume uncovers fascinating new visual material and throws fresh light on some of the more canonical visual representations of conflict during the first ‘Total War’.

Satish Padiyar is Senior Lecturer in Nineteenth-Century European Art at The Courtauld Institute of Art. He is author of Chains: David, Canova and the Fall of the Public Hero in Postrevolutionary France (2007) and editor of Modernist Games: Cézanne and His Card Players (2013). He is currently preparing a monograph on Jean-Honoré Fragonard.

Philip Shaw is Professor of Romantic Studies at the University of Leicester. He is author of Waterloo and the Romantic Imagination (2002), The Sublime (2006) and Suffering and Sentiment in Romantic Military Art (2013), and editor of Romantic Wars: Studies in Culture and Conflict, 1793–1822 (2000). He has written essays on military art in the Romantic period for Soldiering in Britain and Ireland, 1750–1850: Men of Arms (2013) and Tracing War in British Enlightenment and Romantic Culture (2015).

Philippa Simpson is Client Project Manager at the Victoria and Albert Museum. She was co-curator and catalogue author of Turner and the Masters (Tate Britain, Musée du Louvre, Museo del Prado) and Blake and British Visionary Art (Pushkin Museum) and has contributed essays to Turner Inspired: In the Light of Claude (2012), Blake 2.0: William Blake in Twentieth-Century, Art, Music and Culture (2012) and Sexy Blake (2013).

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Introduction—Contested Views: The Image in the First Total War, Satish Padiyar, Philip Shaw, and Philippa Simpson

Part One: Cultures of Participation
1  The Territorial Imaginary of the Revolutionary and Napoleonic War, Katie Hornstein
2  Beholder, Beheaded: Theatrics of the Guillotine and the Spectacle of Rupture, Stephanie O’Rourke
3  Smuggled Silhouettes: Opacity and Transparency as Visual Strategies for Negotiating Royal Sovereignty during the Revolutionary and Napoleonic Wars, Allison Goudie
4  Wargaming: Visualizing Conflict in French Printed Boardgames, Richard Taws
5  Battle Lines: Drawing, Lithography and the Casualties of War, Sue Walker

Part Two: War and the Image
6  From the Nore: Turner at the Mouth of the Thames, Richard Johns
7  Ghosts and Heroes: Girodet and the Ossianic Mode in Post-Revolutionary French Art, Emma Barker
8  King Ferdinand’s Veto: Goya’s 2nd and 3rd May 1808 as Patriotic Failures, Simon Lee
9  “The most atrocious [acts] one may imagine”: The So-called Series of the French Invasions and Anti-French Propaganda during the Peninsular War, Foteini Vlachou
10  The Comic View of Johnny Newcome’s Military Adventures, Neil Ramsey

Part Three: Cultures of Commemoration
11  Reality Effects: War, Theatre and Re-enactment around 1800, Gillian Russell
12  Ephemeral Histories: Social Commemoration of the Revolutionary and Napoleonic Wars in the Paper Collections of Sarah Sophia Banks, Arlene Leis
13  Exhibiting the Nation’s Navy: The Foundation of the National Gallery of Naval Art, 1795– 1845, Cicely Robinson
14  Picturing the Battlefield of Victory: Document, Drama, Image, Susan L. Siegfried

Exhibition | Sylvester Schedrin and the Posillipo School

Posted in exhibitions by InternRW on September 14, 2016

On view at Saint Michael’s Castle:

Sylvester Schedrin and School of Posillipo: To the 225th Anniversary of the Artist
Mikhailovsky Castle, Saint Petersburg, 11 August — 1 November 2016

Sylvester Schedrin. New Rome. Castle St.Angelo.

Sylvester Schedrin, New Rome, Castle St.Angelo, c. 1823, oil on canvas, 47 x 60, the State Russian Museum.

Silvester Schedrin (1791–1830) is a prominent master of Russian landscape of romanticism epoch. He was one of the first masters who started making landscapes directly from nature, reflecting the vision of the air and light and the idea of the unity of man and nature. His works were highly praised by the contemporaries and heirs, becoming the classics of the Russian school of landscape painting.

From 1818 until his death, Schedrin lived in Italy and sent the works he made there to the motherland. While working in Rome and Naples and their environs Schedrin communicated with local artists and influenced the southern-Italian landscape school— the so-called Posillipo school—that united various artists from Italy, Germany and Holland (Antonis Pitloo, Giacinto Gigante, and others).

The exhibition will comprise around 100 pieces of art by Schedrin and painters of the Posillipo school from the Russian Museum and other museum collections. The exhibition will present the oeuvre of this brilliant representative of Russian landscape school together with paintings of his European contemporaries.








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