New Book | Irish Fine Art in the Early Modern Period

Posted in books by Editor on October 14, 2016

From Irish Academic Press:

Jane Fenlon, Ruth Kenny, Caroline Pegum, Brendan Rooney, eds., Irish Fine Art in the Early Modern Period: New Perspectives on Artistic Practice, 1620–1820 (Newbridge: Irish Academic Press, 2016), 276 pages, hardback ISBN: 978-1911024262, paperback ISBN: 978-1911024354, €30 / €85.

iap-irish-fine-art-cvr-screenThis richly illustrated book presents the latest research into Irish fine art from the 17th and 18th centuries. It is comprised of a rich selection of case studies into artistic practice that showcase the burgeoning nature of fine art media in Ireland, the quality of production, and the breadth of patronage. Investigating these signifiers of a ‘cultured’ lifestyle—their production, consumption, appreciation, display, and discourse—provides fascinating insights into the sensibility of Ireland’s minority-rule elites, and the practitioners it fostered.

Featuring contributions from emergent and established art historians, Irish Fine Art in the Early Modern Period takes its subject matter beyond the realms of academic journals, exhibitions and conferences, and presents it within a lavishly designed and vital publication that presents substantial new insights into Ireland’s artistic and social history.

Jane Fenlon is the author/editor of several books and essays on the subject of seventeenth-century Irish art and architecture, including The Ormonde Picture Collection and Clanricard’s Castle (2012). Her most recent work includes essays in Art and Architecture in Ireland, Vol. II (2014)  and in the forthcoming Cambridge History of Ireland, Vol. II ( 2017).

Ruth Kenny is a freelance curator and art historian; she is currently curator of an exhibition on the Society of Artists for the Irish Georgian Society and teaches at the School of Art History and Cultural Policy, University College Dublin.

Caroline Pegum is an historian of British and Irish art in the late Stuart period and is currently researching a catalogue raisonné of the Irish-born portraitist Charles Jervas (1669–1739) for publication by the Walpole Society.

Brendan Rooney is Curator of Irish Art at the National Gallery of Ireland, and author/editor of numerous works on Irish art, including Thomas Roberts: Landscape and Patronage in Eighteenth-Century Ireland (2009) and Creating History: Stories of Ireland in Art (2016).

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1  Fintan Cullen, ‘Parliament as Theatre: Francis Wheatley’s The Irish House of Commons Revisited’
2  William Laffan, ‘Theft, Concealment and Exposure: Nathaniel Hone’s The Spartan Boy
3  Siobhan McDermott, ‘Commerce, Conquest and Change: Thomas Hickey’s John Mowbray, Calcutta Merchant, attended by a Banian and a Messenger
4  Jacqueline Riding, ‘Artistic Connections between Dublin and London in the Early-Georgian Period: James Latham and Joseph Highmore’
5  M.G. Sullivan, ‘The “Strange and Unaccountable” John Van Nost: The Making of a Sculptural Career in Eighteenth-Century Ireland’
6  Mary Jane Boland, ‘An Irish Teniers? The Development of Paintings of Everyday Life in Ireland, c.1780–1810’
7  Jane Fenlon, ‘The Portrait Collection in the Great Hall of the Royal Hospital Kilmainham, Dublin’
8  Nicola Figgis, ‘The Contribution of Foreign Artists to Cultural Life in Eighteenth-Century Dublin’
9  Elaine Hoysted, ‘Visualising the Privileged Status of Motherhood: The Commemoration of Women in Irish Funerary Monuments, c.1600–1650’


New Book | The Dublin Civic Portrait Collection

Posted in books by Editor on October 14, 2016

From Four Courts Press:

Mary Clark, The Dublin Civic Portrait Collection: Patronage, Politics, and Patriotism, 1603–2013 (Dublin: Four Courts Press, 2016), 238 pages, ISBN: 978-1846825842, €40 / $65.

coverBeginning in the early 17th century and continuing to the present day, the city of Dublin has built up a portrait collection that is unique on the island of Ireland in terms of range and diversity and is brilliantly expressive of the political aspirations and realities that have informed its creation. The collection contains sixty-six works in oil-on-canvas and eight statues in bronze and marble. These can be placed in three principal categories: royal personages; lord lieutenants of Ireland; and lord mayors and aldermen of Dublin. It includes works by Irish artists Thomas Hickey, Hugh Douglas Hamilton, Martin Cregan, Stephen Catterson Smith, Dermod O’Brien, Robert Ballagh and Carey Clarke and by leading English portraitists including Sir Joshua Reynolds, George Romney, Sir William Beechey, and Sir Thomas Lawrence.

This book contains a catalogue of the entire collection with an introduction placing it within the broader context of civic imagery and regalia, giving due regard to ceremony, heraldry, dress and accoutrements of office. The Dublin collection is placed within its historical context to show how developments in Dublin and in Ireland as a whole influenced its formation. This lavishly illustrated book illuminates the complex relationship between politics, pageantry, art and history in the Irish capital over a sustained period of 400 years.

Mary Clark is the Dublin City Archivist and curator of the Dublin Civic Portrait Collection.


Call for Papers | Trashed: Rejection and Recovery

Posted in Calls for Papers, graduate students by Editor on October 14, 2016

From Boston University:

Trashed: Rejection and Recovery in the History of Art and Architecture
33rd Annual Boston University Graduate Symposium in the History of Art and Architecture
Boston University, 24–25 March 2017

Proposals due by 21 November 2016

What happens to the ideas and materials that end up in the scrap bin of history? While some projects are laid to waste, others are repurposed or reimagined. The 33rd Annual Boston University Graduate Symposium in the History of Art and Architecture invites submissions that explore themes of dispensability and resourcefulness.

Possible subjects include, but are not limited to, the following: spolia; creative use of recycled materials; deletions and deaccessioned objects; abandoned or reclaimed architectural spaces; drafts, drawings, or models for unrealized works; and the impact of unfavorable reception, as dictated by time, place, or audience. We welcome submissions from graduate students at all stages of their studies, working in any area or discipline.

Papers must be original and previously unpublished. Please send an abstract (300 words or less), a paper title, and a CV to bugraduatesymposiumhaa@gmail.com. The deadline for submissions is Monday, November 21, 2016. Selected speakers will be notified before January 1, 2017 and are expected to accept or decline the offer within a week of notification. Papers should be 20 minutes in length and will be followed by a question and answer session.

The Symposium will be held Friday, March 24 – Saturday, March 25, 2017, with a keynote lecture (TBD) on Friday evening at the Boston University Art Gallery at the Stone Gallery and graduate presentations on Saturday in the Riley Seminar Room of the Museum of Fine Arts, Boston.

This event is generously sponsored by The Boston University Center for the Humanities; the Boston University Department of History of Art & Architecture; the Museum of Fine Arts, Boston; the Boston University Graduate Student History of Art & Architecture Association; and the Boston University Art Gallery at the Stone Gallery.

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