Exhibition | 350 Years of Creativity
Now on view at the French Academy in Rome:
350 Years of Creativity: The Artists of the French Academy in Rome from Louis XIV to the Present
350 ans de création: Les artistes de l’Académie de France à Rome de Louis XIV à nos jours
Académie de France à Rome – Villa Medici, 14 October 2016 — 15 January 2017
Curated by Jérôme Delaplanche
Founded by Louis XIV in 1666, the Academy is celebrating its 350th anniversary this year with a special series of events retracing its history. This exhibition is one of the program’s high points and is accompanied by two others in Rome, organized by the Accademia Nazionale di San Luca and the Accademia di Belle Arti di Roma and focusing on their relationships with the French Academy. 350 Years of Creativity is a chance for the visitor to discover the creative output of artists at the Academy—both residents and directors—during their stays in Rome. It includes over a hundred works dating from 1666 to the present day, by artists including Fragonard, David, Ingres, Berlioz, Garnier, Carpeaux, Debussy, and Balthus. In the course of a fascinating journey through three and half centuries of French art, visitors are offered a closer look at the Academy and its successive generations of creators.
350 Years of Creativity illustrates the high points of the Academy’s long life with works by its leading artists presented under the following headings: the ancient and modern quest for the ideal; the discovery of picturesque reality; the relationship with the body and the nude; the significance of the move to the Villa Médicis; eclecticism and the value of originality; new life for tradition; and the Academy as a center for creative experiment. The exhibition itinerary brings together paintings, drawings, statues, prints, musical scores, and archival material as testimony to the sheer artistic variety the institution has produced. Some of these works come from the Academy’s own collection, notably portraits by residents and the plaster statues. The exhibition closes with a video of works created by residents over the last few decades. For the visitor all this adds up to an opportunity to survey the history of French art from 1666 to 2016.
350 Years of Creativity will also be accompanied by other events—screenings, encounters, concerts—presented at the Villa Médicis as part of the series ‘Thursdays at the Villa: Art Matters’. It will conclude with a symposium on 11–13 January 2017 with the Accademia Nazionale di San Luca and the Accademia di Belle Arti di Roma, titled Art Academies: Heritage and Contemporary Art Issues.
Jerome Delaplanche, ed., 350 anni di creatività: Gli artisti dell’Accademia di Francia a Roma da Luigi XIV ai nostri giorni (Milan: Officina Libraria, 2016), 224 pages, ISBN: 978 8899765101 (Italian), ISBN: 978 8899765088 (French), 35€.
Doctoral Study Day | In Situ / Ex Situ
From H-ArtHist (25 November 2016). . .
In Situ / Ex Situ — The Art of Exhibiting Art: Relationships between Art and Architecture in Their Spatial Context / L’arte di esporre l’arte: relazioni nel contesto spaziale tra arte e architettura
Rome Art History Network (RAHN), 27–28 April 2017
Proposals due by 15 December 2016
The fifth international doctoral study day of the Rome Art History Network—organised in partnership with the University of Notre Dame Rome Global Gateway and the Sovrintendenza Capitolina ai Beni Culturali, Museo di Roma di Palazzo Braschi—proposes a theoretical and methodological reflection upon the relationships and strategies of installing art and architecture, both inside and outside their original spatial contexts. It is evident that the work of art always relate to the surrounding spaces. Indeed, the strategies and methods of exhibiting works in situ / ex situ are at the heart of contemporary art-historical debates. But how does the manipulation of the original spatial context alter the perception of a work of art, or the organic nature of an architectural system? How does a given layout highlight specific characteristics of an artwork? What new meanings does an object assume, following its contextual switch? Are traditional concepts of historiographical concepts still valid for current issues of museology or museography? Does an object’s de-contextualization potentially ‘save’ the art in critical cases, or does it always imply an alteration of its original meanings? The study day aims to encourage an interdisciplinary and cross-temporal debate on the issue of location and spatial relationship between the works of art and architecture and the reciprocal exchanges between these artistic domains.
Proposals may include, but are not limited to, topics about
• The role of spatial contexts in the display of and the relationship between the works of art
• How the alteration of spatial context affects of in situ / ex-situ works
• Relationships between art and architecture in the exhibitions/museographical or museological cases
• Gesamtkunstwerke, site-specific works of art, mise en scéne projects, or visual theme concepts
• Dispositio of a museum/architectural/urban system
The call for papers is open to art and architectural history graduate students of Italian and foreign academic institutions. We encourage candidates to submit 20-minute talks that, through case studies and theoretical observations, focus on the methodologies and key themes listed above. The study day (27–28 April 2017) will be held both in Italian and English, and we welcome submissions in both languages. The organization cannot cover any travel or residence costs. Proposals, in the form of an abstract (max. 400 words), should be sent, together with a short CV (max. one page), by 15 December 2016 to romearthistorynetwork@gmail.com.
Organized by
Alina Aggujaro (Bibliotheca Hertziana, Max Planck Institut for the History of Art / Sapienza, Università di Roma)
Dario Beccarini (Statens Museum for Kunst, Copenaghen / Università degli Studi di Roma ‘Tor Vergata’ )
Coordination by
Ariane Varela Braga (Coordinator Rome Art History Network / Universität Zürich)
Previous Editions
• Now or (n)ever — I tempi dell’opera: temi, teorie e metodi nella storia dell’arte (28–29 April 2016)
• Tra assenza e presenza: opere perdute e frammentarie (19–20 March 2015)
• Sopravvalutata, sacrosanta, scandalosa? La figura dell’artista nella storia dell’arte oggi (3–4 April 2014)
• La storia dell’arte tra scienza e dilettantismo: Metodi e percorsi (24 April 2012)
Conference | More Than Meets the Page: Printing Text and Images
From Warwick’s Humanities Research Centre:
More Than Meets the Page: Printing Text and Images in Italy, 1570s–1700s
University of Warwick, 4 March 2017
For Italy, the ‘long seventeenth century’ was a period of considerable financial challenges. This was especially evident on the book market. Nevertheless, thanks to new techniques and formats that mutually related text and images within the same publication, innovative genres were born that were marketed towards both ends of the audience spectrum, from the learned to the illiterate.
More Than Meets the Page: Printing Text and Images in Italy, 1570s–1700s aims to investigate the ways in which the consolidation of the book and print trade influenced the development of such new book genres from the late sixteenth to the early eighteenth century. The new commercial items, moreover, contributed to the spread of cultural phenomena, for instance the Grand Tour through its souvenir prints that were sometimes incorporated in atlases. This one-day interdisciplinary conference seeks to examine these matters by focusing on the products, audiences, and professionals involved. By doing so, it sets out to lay the foundations for a shared history of printed products and markets in the early modern period. The conference promotes a multidisciplinary perspective, bridging the gaps between art history, history of the book, and other disciplines such as intellectual history and communication studies.
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P R O G R A M M E
9.45 Registration and coffee
10.10 Welcome and introduction
10.20 Session 1: Understanding Techniques and Genres
Chair: Rosa Salzberg (University of Warwick)
• Angela McShane (RCA/V&A), Keynote Lecture
• Liz Miller (V&A), Libri et Stampe in Rame’: A Bound Volume of Antonio Lafreri’s Architectural and Ornament Publications
• Loretta Vandi (Scuola del libro, Urbino), Handy and Cheap: Giovanni Baleni Printer and Seller of Chap-books in Late Sixteenth-Century Florence and Lucca
• Floriana Giallombardo (University of Palermo), The Venetian Musei by Paolo Boccone (1697): The Illustrated Natural Book and the Social Production of Natural Knowledge
12.10 Lunch
13.10 Session 2: Tracing Networks
Chair: Max Engammare (Institut de l’Historie de la Réformation, University of Geneva)
• Marika Keblusek (Leiden University), Keynote Lecture
• Ingeborg van Vugt (Scuola Normale Superiore di Pisa/Amsterdam University), Books beyond Borders? The Circulation of Prohibited Books in the Epistolary Network of Antonio Magliabechi (1633–1714)
• Huub van der Linden (École Française de Rome/University College Roosevelt), The Private Exchange of Printed Ephemera between Bologna and Rome around 1700
• Nina Lamal (University of St Andrews), Challenges and Opportunities: Printing and Marketing the First Italian Newspapers
15.00 Tea and coffee
15.30 Session 3: Evolving Markets and Audiences
Chair: Ingrid de Smet (University of Warwick)
• Julia Martins (The Warburg Institute), Illustrating Alchemical Recipes: Books of Secrets and the Case of I Secreti della Signora Isabella Cortese in Early Modern Italy
• Domenico Ciccarello (University of Palermo), Baroque Imagery and Literary Genres in Sicily: An Overview across Print Books with Illustrations
• Flavia Bruni (Sapienza University/University of St Andrews) ‘Becoming Peripheral: The Decline of the Italian Book Market in the Seventeenth Century’
16.45 Roundtable and closing remarks
17.15 Wine reception and buffet
The Burlington Magazine, November 2016
The eighteenth century in The Burlington:
The Burlington Magazine 158 (November 2016)
A R T I C L E S
• Lucia Simonato, “A New Work by Domenico Guidi: The Bust of Cardinal Gianfrancesco Albani,” pp. 885–90.
• Bent Sørensen, “The Parisian Career of Jacques François Saly, 1749–53,” pp. 891–99.
L E T T E R
• Kim Legate, “More on Chippendale at Hestercombe House,” p. 904.
R E V I E W S
• Anthony Geraghty, Review of Owen Hopkins, From the Shadows: The Architecture and Afterlife of Nicholas Hawksmoor (Rekation Books, 2015), p. 907–08.
• Tessa Murdoch, Review of Malcolm Baker, The Marble Index: Roubiliac and Sculptural Portraiture in Eighteenth-Century Britain (Paul Mellon Centre for Studies in British Art, 2015), p. 908.
• Martin Postle, Review of James Ayres, Art, Artisans, and Apprentices: Apprentice Painters and Sculptors in the Early Modern British Tradition (Oxbow Books, 2014), p. 909.
• Loyd Grossman, Review of Susan Rather, The American School: Artists and Status in the Late-Colonial and Early National Era (Yale University Press, 2016), pp. 909–10.
• François Quiviger, Review of Andrea Daninos, Una Rivoluzione di Cera: Francesco Orso e e i «cabinets de figures» in Francia (Officina Libraria, 2016), pp. 911–12.
• Philip Ward-Jackson, Review of Vanessa Brett, Bertrand’s Toyshop in Bath: Luxury Retailing, 1685–1765 (Oblong Creative, 2014), p. 912.
• Jamie Mulherron, Review of the exhibition Marseille au XVIIIe siècle: Les années de l’Académie, 1753–1793 (Le Musée des Beaux-Arts, Marseille, 2016), pp. 921–23.
• Jeremy Warren, Review of the exhibition Splendida Minima (Tesoro dei Granduchi, Palazzo Pitti, Florence, 2016), pp. 923–24. [Includes the eighteenth-century reception of these small-scale sculptures.]
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