Enfilade

PhD Studentship | Digital Humanities and Sloane’s Catalogues

Posted in graduate students by Editor on December 23, 2016

PhD Studentship in Digital Humanities: Sir Hans Sloane’s Catalogues of His Collections
Department of Information Studies, University College London, January 2017 — December 2019

Applications due by 16 January 2017

We are delighted to be able to announce a Doctoral Studentship in Digital Humanities at University College London as part of the larger Leverhulme Trust funded research project Enlightenment Architectures: Sir Hans Sloane’s Catalogues of his Collections (Principal Investigator, Dr Kim Sloan, British Museum; Co-Investigator, Dr Julianne Nyhan, University College London Centre for Digital Humanities). This is a three-year studentship open to UK and EU applicants, beginning in January 2017. The studentship includes fees as well as a stipend of £16,296 per annum. The deadline for application is 16 January 2017.

The aim of the studentship will be to use Sloane’s catalogues as a test bed on which to conduct research on how digital interrogation, inferencing and analysis techniques can allow new knowledge to be created about the information architectures of manuscript catalogues such as those of Sloane. The proposed research must also have a strong critical and analytical dimension so that it can be set within our wider framework of academic inquiry that is concerned with understanding how collections and their documentation together formed a cornerstone of the ‘laboratories’ of the emergent Enlightenment. . .

More information is available here»

Barbara Jatta Appointed Director of the Vatican Museums

Posted in museums by Editor on December 22, 2016

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As reported by Lorena Muñoz-Alonso for ArtNet News (21 December 2016) . . .

On Tuesday, Pope Francis announced that the new director of the Vatican Museums will be the Italian art historian Barbara Jatta. This is a momentous occasion as it marks the first time in history that a woman will helm the art institution, one of the most important in the art world. The new director will take up the post in January 1, 2017, succeeding Antonio Paolucci, an art historian and former Italian culture minister who’s held the position since 2007. Previously to this appointment, Jatta worked at the Vatican Library, overseeing its collection of prints . . .

The full article is available here»

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Hannah McGivern and Arianna Antoniutti report on Jatta’s appointment for The Art Newspaper (21 December 2016)

Born in Rome, Jatta worked as conservator and cataloguer for Italy’s Istituto Nazionale per la Grafica (national institute for graphic arts) from 1981 to 1996. She has been in charge of the Vatican Library’s works on paper since 1996, with responsibility for its exhibitions, acquisitions and archives. Jatta has also published extensively on the Vatican’s prints and drawings collections, including the first catalogue of drawings by Bernini and his school in 2015.

Her appointment anticipates the reopening of the Vatican Museums’ New Wing (Braccio Nuovo) on 22 December. Commissioned by Pope Pius VII, the 19th-century gallery was designed by the sculptor Antonio Canova to house the repatriated papal collections of classical sculpture, which had been plundered by Napoleon during his Italian campaign . . .

The full article is available here»

Eighteenth-Century Research Seminars, Jan–Apr 2017

Posted in lectures (to attend) by Editor on December 22, 2016

From the ECRS website:

Eighteenth-Century Research Seminars
Institute for Advanced Studies in the Humanities, Edinburgh, January–April 2017

812283984The Eighteenth-Century Research Seminars (ECRS) series presents papers addressing varying aspects of eighteenth-century history, culture, literature, education, art, music, geography, religion, science, and philosophy. The series seeks to provide a regular inter-disciplinary forum for postgraduate and early-career researchers working on the eighteenth century to meet and discuss their research. Seminars will be held on a fortnightly basis on Wednesdays at the Institute for Advanced Studies in the Humanities, University of Edinburgh, from 4:30 to 6:00pm. Each will consist of two papers followed by a drinks reception. ECRS is supported by the Eighteenth-Century and Enlightenment Studies Network (ECENS) of the University of Edinburgh.

25 January 2017
• Ben Rogers (University of Edinburgh), ‘An Unexpected Solution or a Political Imposition?’: Scottish Episcopalian Toleration, 1702–12
• Carys Brown (University of Cambridge), ‘A Dissembling Harlot for a Leacherous Wolf’: Sexual Reputation and Religious Coexistence in England, c. 1689–1750

8 February 2017
• Nicola Martin (University of Stirling), Improvement, Stadial Theory, and the Pacification of the Highlands in the Mid-Eighteenth Century
• Thomas Archambaud (Independent), The Highland Bard and the Prime Minister: James Macpherson, Lord Bute, and the Politics of Scottish Patronage in the Age of Enlightenment

22 February 2017
• Sydney Ayers (University of Edinburgh), Representing Robert Adam: Biography, Portraiture, and Memory
• Nel Whiting (University of Dundee), ‘If They Hang Not in Proper Places, They Will Not Have a Good Effect’: Portraiture, Place, and Position

1 March 2017
• Elizabeth Ford (University of Glasgow), ‘I Can Think of Nothing But That Flute’: General John Reid (1721–1807)
• Alice Little (University of Oxford), Categorising ‘National Music’ in Eighteenth-Century Oxford

15 March 2017
• William Swain (University of Edinburgh), Adam Ferguson, Freidrich von Gentz, and the Decline of the Martial Spirit
• John Stone (Universitat de Barcelona), The Cultural Work of the Royal Scots College (Valladolid), 1770–1808: Cosmopolitanism, Diaspora, the ‘National Feeling’, and Library Formation

22 March 2017
• Catherine Ellis (Durham University), How To Understand the Sex Worker at the Table: Gastrocritical Approaches to Eighteenth-Century French Prostitution’
• Jessica Hamel-Akré (University of Montreal), ‘Oh, When Shall I Be Holy?: Reading and Writing Women’s Eighteenth-Century Self-Starvation

12 April 2017
• Hannah Lund (University of Edinburgh), Enthroned: The Sitter’s Chair of Sir Joshua Reynolds, 1760–1879
• Suchitra Choudhury (University of Glasgow), Fashion and Textiles: A Postcolonial Reading of Sir Walter Scott

26 April 2017
• Charlotte Bassett (University of Edinburgh), Lady Margaret Hamilton: Patroness of Hopetoun
• Amy Boyington (University of Cambridge), Elite Wives and Architecture in Eighteenth-Century Britain

The Burlington Magazine, December 2016

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on December 22, 2016

The eighteenth century in The Burlington (the issue is dedicated to ‘Art in Britain’):

201612-coverThe Burlington Magazine 158 (December 2016)

A R T I C L E S
• Lydia Hamlett, “Pandora at Petworth House: New Light on the Work and Patronage of Louis Laguerre,” pp. 950–55.
• Jennifer Melville, “Lady Forbes of Monymusk: A Rediscovered Portrait by Joshua Reynolds,” pp. 956–60.
• Brendan Cassidy, “A Portrait by Gavin Hamilton: Sir John Henderson of Fordell,” pp. 961–63.
• Alex Kidson, “David Solkin’s Art in Britain, 1660–1815 (Paul Mellon Centre for Studies in British Art, 2015),” pp. 964–67.

L E T T E R S
• Peter Lindfield, “A Further Allusion to Strawberry Hill at Lee Priory, Kent,” p. 979.
• Nicholas Penny, “Hugh Honour,” p. 979.

R E V I E W S
• Susanna Avery-Quash, Review of Lucilla Burn, The Fitzwilliam Museum: A History (Philip Wilson Publishers, 2016), p. 980.
• Greg Smith, Review of the exhibition catalogue, Tim Barringer and Oliver Fairclough, Pastures Green & Dark Satanic Mills: The British Passion for Landscape (Giles, 2014), pp. 981–82.
• Barry Bergdoll, Review of Stefan Koppelkamm, The Imaginary Orient: Exotic Buildings of the 18th and 19th Centuries in Europe (Axel Munges, 2015), p. 982.
• Giles Waterfield, Review of the exhibition catalogue, Victoria Avery, Melissa Calaresu, and Mary Laven, eds., Treasured Possessions from the Renaissance to the Enlightenment (Philip Wilson Publishers, 2015), p. 988.
• Malcolm Bull, Review of the exhibition In the Light of Naples: The Art of Francesco de Mura (Cornell Fine Arts Museum, Rollins College, Winter Park, 2016; Chazen Museum, University of Wisconsin-Madison, 2017; The Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, 2017), pp. 1006–07.

S U P P L E M E N T
• Tim Knox, “Recent Acquisitions (2012–16) at the Fitzwilliam Museum, Cambridge,” pp. 1017–28.

Anglo-Indian desk. Production Place: Vizagapatam, near Madras, in Southern India. Rosewood inlaid with finely engraved ivory, with silver handles, c.1750-1760. On loan to the Fitzwilliam Museum in Cambridge from Lady Hayter since March 2012. Belonged to Sir Thomas Rumbold, 1st Baronet (1736-1791), a British administrator in India.

The Rumbold Desk, by an unknown craftsman from Vizagapatam, Southern India, ca. 1750–60, rosewood inlaid with ivory, silver handles, 76 × 113 × 62 cm. Accepted in Lieu of Inheritance Tax by HM Government and allocated to the Fitzwilliam Museum, 2016 (M.3–2016). This Anglo-Indian desk has been on loan to the Fitzwilliam Museum in Cambridge since 2012 and is one of the finest of a very small group of similar desks made for British patrons in India at Vizagapatam (near Madras), a centre for the manufacture of such luxurious ivory-inlaid furniture. It belonged to Sir Thomas Rumbold, 1st baronet (1736–91), a British administrator in India, who amassed a great fortune in the service of the East India Company and served as Governor of Madras from 1777 to 1780. 

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Conference | HECAA Sessions at UAAC, 2016

Posted in conferences (summary) by Editor on December 22, 2016

This posting is three months late, but in wrapping up year-end business, I think it’s important to note that HECAA has been represented at UAAC since 2013. Again, thanks so much to Christina Smylitopoulos for organizing this year’s session (actually two panels this year as a result of lots of strong proposals)! Next year’s conference meets October 12–15. CH

Universities Art Association of Canada / l’association d’art des universités du Canada
Université du Québec, Montréal, 27–30 October 2016

HECAA Open Sessions (Historians of Eighteenth-Century Art and Architecture)
Chaired by Dr Christina Smylitopoulos, University of Guelph

David Mitchell (PhD candidate, McGill), The Colour of Death: Polychrome Anatomies in Print and Wax

While it was a convention of early modern art theory that colour was evocative of animate life, my paper focuses on eighteenth-century anatomical models in order to investigate an alternate set of implications for polychrome effect. In such works, dead flesh served as reference for investigation of the animating force of physiological mechanism. Documentation of protracted legal battles in France over technological patent for both coloured mezzotint and anatomical waxwork offers, I argue, a discourse of colour plotted in counterpoint to art theory’s promotion of the animate force of coloris. And the elaboration of this other colouristic semantics related pigmented substance, craft, and authority in shifted configuration.

Ersy Contogouris (Adjunct Professor, Université du Québec à Montréal), James Gillray’s Preparatory Drawings for Connoisseurs Examining a Collection of George Morland’s

In 1807, James Gillray published a satire on the phenomenal success of George Morland, painter of rustic genre scenes, whose early death three years earlier had led to a great increase in the demand for his works and to the circulation of countless forgeries. This paper will examine the ten preparatory drawings—a uniquely large number—that survive for his Connoisseurs Examining a Collection of George Morland’s. Their analysis enriches our understanding both of the caricature itself and of the nature of Gillray’s recurring criticism of the late eighteenth/early nineteenth-century art market, and provides us with an unprecedented view into Gilray’s creative process, revealing the many steps involved in developing an idea into a caricature, the role of writing in Gillray’s thought process, and the struggle to find the perfect title. Taken together, these drawings invite us to rethink some of the accepted notions regarding caricature.

Catherine Girard (Visiting Assistant Professor, Williams College), Mirrored Surfaces: Painting and Reflexivity in French Royal Interiors

The addition of mirrors alongside paintings was a major transformation of eighteenth-century interiors that enhanced the reflexivity of richly decorated spaces. French aristocratic hunters were at the heart of this intensified dialogue between interiors and interiority, as large mirrors and genre paintings showing figures that looked and behaved like them adorned the increasingly specialized rooms that were conceived and built for their after-hunt parties in royal residences. This paper explores the reflexive quality of such spaces created in France during the Rococo moment. While the meals taken outdoors by royal hunters reenacted a concomitant architectural quest for intimacy, the pictures painted for hunting dining rooms allowed the same participants to extend the corporeal sensations imprinted by the pursuit and kill to the in situ experience of paintings. The role of illusion in representation was thus expanded to entire rooms, telescoping the outdoors into newly articulated, intimate, and proto-immersive interiors.

Ryan Whyte (Assistant Professor, OCAD University), En sens contraire: Paradoxes of Reversal in French Reproductive Prints of the Ancien Régime

In French printmaking in the Ancien Régime, the reversal of the image inherent in the printmaking process was so rarely remarked on that modern scholarship has responded with corresponding silence on the subject. This paper addresses those lacunae by examining exceptional cases where the printmaker corrected reversed images in reproduction because the reversal rendered some aspect of the composition strange, usually right-handed subjects made left-handed. Such correction occurred within multiple and contradictory artistic and social contexts, including period notions of handedness, at a time when progressive educational discourse, bound up in neoclassical conceptions of virtue and social reform rejected traditional prejudices against left-handedness and promoted the teaching of ambidexterity. Yet the perception of the inherent reversibility of the composition, in which the ‘corrected’ representation of handedness was the exception that proved the rule, was reinforced both by printmaking processes and by the predominance of dematerialized, literary conceptions of composition.

Stéphane Roy (Associate Professor, Carleton University), Révolution et marché de l’art : transformations et continuité

« Quand la guillotine fonctionne […] il est rare que l’art s’épanouisse ». Ainsi s’exprimait l’auteur anonyme de la notice « Beaux-arts » de l’Histoire et dictionnaire de la Révolution française (1987), faisant écho à une longue tradition historiographique selon laquelle la production artistique de la période révolutionnaire a marqué une rupture complète avec les modèles académique et philanthropique d’Ancien Régime. Les historiens ont montré, depuis, que la situation des arts était plus complexe et que la période révolutionnaire avait produit un corpus d’œuvres appréciable. Mais qu’en est-il du marché de l’art ancien au cours de cette même période? Les fluctuations du politique ont-elles eu une influence sur les goûts? Un nouveau public a-t-il pris le relais des collectionneurs d’Ancien Régime? Peut-on parler d’une transformation radicale ou d’une continuité des goûts? Un examen des catalogues de vente mettra au jour une culture visuelle peu connue de cette période charnière.

Cette étude s’inscrit dans le cadre d’une enquête sur l’évolution des goûts en France à la fin du 18e siècle, saisie plus particulièrement à travers l’inventaire et l’analyse des ventes publiques d’œuvres d’art pendant la période révolutionnaire.

Alena Robin (Associate Professor, The University of Western Ontario), Carmelite Preaching in Guadalajara

Signed and dated in 1747 by Antonio Enríquez, a painter active in the second half of the eighteenth century in Nueva Galicia (now Mexico), a huge painting recently appeared in the collection of the Museo Regional de Guadalajara. The painting was registered in the 1931 inventory without a photograph, as was the rest of the collection, and it was most likely forgotten until now. The painting is currently kept in a corner of the storage room of the museum, sectioned in two, and rolled up. The purpose of this presentation is to uncover the complex composition of this painting in relation to the settling of the male Carmelite order in Guadalajara. Issues of the reality of painting in the so-called periphery will be addressed through the figure of Antonio Enríquez. Questions of patronage will also be raised as an inscription on the canvas points towards the benefactor of the painting.

Isabelle Masse (PhD Candidate, McGill University), Entre pastel et photographie : les portraits de Gerrit Schipper au Bas-Canada, 1808–10

Le pastelliste néerlandais Gerrit Schipper (1775 – c.1825) débarque à Philadelphie en 1802, à l’endroit et au moment où l’inventeur John Isaac Hawkins (1772–1855) brevète un nouveau modèle de physionotrace, un appareil reproduisant mécaniquement les visages de profil. Shipper qui travaille avec une semblable « machine à dessiner » se déplace de ville en ville annonçant dans les journaux locaux que sa « nouvelle méthode pour peindre au pastel » produit des « ressemblances exactes ». Le physionotrace suscite en effet des prétentions de vérité qui le font souvent considérer dans la littérature comme étant protophotographique. Ainsi, les rigoureuses effigies en miniature réalisées par l’artiste se situent à la frontière de deux médiums, le pastel et la photographie. À l’aide d’un corpus créé au Bas-Canada entre 1808 et 1810, cette communication fait valoir que la double médialité des portraits est révélatrice des profondes transformations que subit le médium du pastel à l’aube du XIXe siècle.

Paul Holmquist (Independent Scholar; Carleton University, Contract Instructor), ‘Elle fond les Villes’: The Physiognomy of Reconnaissance in Claude-Nicolas Ledoux’s Ideal City of Chaux

This presentation examines the conception of reconnaissance in eighteenth-century France as a central principle of Claude-Nicolas Ledoux’s theory of architectural expression. Connoting ‘gratitude’ as well as ‘recognition’, reconnaissance is asserted by Ledoux as part of the moral effect of his architecture parlante with respect to nature as a providential order, and society as embodying the common good. I argue that the significance of reconnaissance for Ledoux can best be understood in light of Rousseau’s conception of gratitude as the love for what in turn loves and preserves one’s self, and the origin of conscience. Through an analysis of key projects of Ledoux’s ideal city of Chaux I will show how the evocation of reconnaissance in the spectator underlies Ledoux’s ambition to inculcate civic and personal virtue, and entails an essential reciprocity with the expressivity of architecture that challenges any reduction of his character theory to one of mere affect or signification.

New Book | Claudio Francesco Beaumont

Posted in books by Editor on December 22, 2016

From ArtBooks.com:

Luca Fiorentino, Claudio Francesco Beaumont: L’Album di Disegni del Museo Civico d’Arte Antica di Palazzo Madama a Torino (Florence: Centro Di, 2016), 288 pages, ISBN: 978  8870  385380, €40 / $75.

136292Questo studio di Luca Fiorentino analizza L’Album di Disegni di Claudio Francesco Beaumont (1694–1766), artista piemontese che divenne primo pittore della corte sabauda. L’Album, composto da 309 disegni (non tutti di mano di Beaumont), entro nelle collezioni comunali del Museo Civico d’Arte Antica di Torino nel 1931, dopo essere stato conservato dall’autore stesso e in seguito dalla sua famiglia. La ricerca è suddivisa in due sezioni: il saggio critico e il catalogo, composto da schede dettagliate e redatte secondo i moderni parametri scientifici.

Exhibition | The Variable Line: Master Drawings

Posted in exhibitions by Editor on December 21, 2016

Press release (via Art Daily). . .

The Variable Line: Master Drawings from Renaissance to Contemporary
Redwood Library & Athenæum, Newport, 1 December 2016 — 5 March 2017

Curated by Benedict Leca

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Jean-Honoré Fragonard, Ruggiero Attacks the Orc (illustration for Ariosto, Orlando Furioso), pencil and wash on paper.

Departing from the appreciation that drawing not only remains foundational to art theory and pedagogy, but that it is also undergoing a discernible resurgence in current artistic practice, the Redwood Library and Athenaeum presents The Variable Line: Master Drawings, Renaissance to Contemporary. Organized by the Redwood Library, the sole U.S. venue, and featuring forty-five works, the exhibition is arranged as a survey featuring many types of drawings, rendered in a rich variety of styles and techniques, and treating a broad range of themes.

“Artists have always relied on drawing to put down ideas quickly—it serves this purpose perhaps even more now as the medium on-the-go appropriate to today’s global art world. In that sense drawing has always attached to the conceptual. Certainly drawing is integral to the larger turn towards conceptual thinking in contemporary art, from Sol Lewitt to Julie Mehretu,” explains Benedict Leca, Redwood Executive Director and exhibition curator. “That said, it is interesting to note how the works by contemporary women artists on view are at once visibly painstaking in their technique and contrary to traditional notions of skill.”

The presentation is arranged into seven sections—Académies and the Centrality of the Figure, Line and the ‘Grand Manner,’ Fragonard and Ariosto, The Light of Italy and the Lure of the Antique, Drawing the Pastoral, Landscape and the Bucolic, and Master/Mistress: the Gendered Line—enabling visitors to identify both continuities and ruptures in theme and technique across 500 years of drawing practice in Western Europe and America. Upending the now conventional dominance accorded to digital media or even painting, the selection of drawings on display crossing five centuries—from Renaissance to contemporary—speaks to drawing’s eternal relevance as consonant to art making in any medium, be it painting, sculpture, or video. It is for this reason that drawing’s ubiquity has stretched unbroken to this day, routinely entering our own lives as doodle or sketch. From the most pervasive to the most individual, drawing, like handwriting, thus offers historical perspectives through the continuities inherent to the medium, as well as insights into the stylistic idiosyncrasies of its adaptation by individual artists. The immutable simplicity of a line drawn across paper, parchment, or mylar makes the drawings exhibited here among those rare objects that enable visitors to ride along on the creative journey of both Renaissance and contemporary artists.

 

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Sculpture from Tomasso Brothers on View in New York

Posted in Art Market by Editor on December 21, 2016

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Massimiliano Soldani-Benzi, Ganymede and the Eagle,
ca. 1714, bronze, 31.5cm high, 38.5cm wide.

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Important European Sculpture from Tomasso Brothers Fine Art
Carlton Hobbs LLC, New York, 19–28 January 2017

Tomasso Brothers Fine Art returns to Manhattan soon after their participation in the inaugural TEFAF New York Fall to present their now well-established and much-anticipated annual catalogued exhibition of Important European Sculpture, at Carlton Hobbs LLC on the Upper East Side from 19th to 28th January 2017. The gallery will bring together examples of the finest antique sculptural works in terracotta, marble, and bronze—many of them rarities and new discoveries—from the Renaissance to the Neoclassical periods. Highlights include a pair of terracotta relief panels depicting Bacchanalian scenes from Pompeii created by the great English sculptor John Bacon the Elder, circa 1770; a rare bronze mythological group by Massimiliano Soldani-Benzi; a newly-discovered portrait bust by the prominent Roman Neoclassical sculptor Domenico Cardelli; and a superb and previously unpublished bronze by Gian Francesco Susini of The Borghese Satyr.

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John Bacon the Elder, A Female Centaur with a Bacchante and A Male Centaur with a Bacchante, circa 1770, after Roman frescoes discovered in the Villa of Cicero at Pompeii (Naples), 1st century BC – 1st century AD, terracotta, each 34cm diameter.

A series of frescoes were uncovered at the so-called Villa of Cicero at Pompeii in January 1749 illustrating, among other subjects, the revelries of Centaurs and Bacchantes, followers of the god Bacchus.  Josiah Wedgwood (1730–1795) had access to the Pompeiian models through the Marquess of Lansdowne (1737–1805).  It would seem Wedgwood had the present terracotta roundels faithfully produced after the ancient prototypes around 1770 by John Bacon the Elder, one of the most prominent English sculptors of the period, who collaborated on a number of other occasions with Wedgwood. Highly finished, the roundels are the models from which Wedgwood’s white stoneware and black basalt versions of the Centaur reliefs were derived. They display a confident handling of anatomies and a sense of movement that fully does justice to the lithe dynamism of the original Pompeiian frescoes. The roundels constitute a rare and beautiful example of the early resonance of Pompeii’s influence. Formerly in the collection of Dr. Terry Friedman (b. Terence Friedman in Detroit, Michigan), a leading art historian and authority on 18th-century architecture, keeper of decorative arts at Temple Newsam historic house (1969–93), and later principal keeper at Leeds City Art Gallery.

Another mythological subject, Ganymede and the Eagle, circa 1714, by Massimiliano Soldani-Benzi (1656–1740) is a wonderful example of the dramatic and pictorial style of Soldani’s compositions and a rare model by the artist. The only other known version is held by the Fitzwilliam Museum, Cambridge. Soldani-Benzi became the finest bronze caster in late 17th- and early 18th-century Europe and, along with Giovanni Battista Foggini, is considered the most significant proponent of the Florentine late Baroque style in sculpture. In 1682 Soldani-Benzi became Director of the Grand-Ducal Mint, and his large workshop in the Galleria degli Uffizi enjoyed the patronage of kings, princes, and dukes. The present work is probably one of the four bronzes ordered by the Earl of Burlington (1694–1753) after seeing terracotta models at Soldani’s studio on his Grand Tour.

A rediscovered portrait bust by Domenico Cardelli (1767–1797) of Prince Francis Xavier of Saxony (1730–1806) is a highlight among works in marble to be presented. Cardelli displayed remarkable talent from a young age, enjoying early patronage from members of the Polish court and Grand Tourists in Rome. By 1793 his work was compared to that of Canova by the art historian Georg Zoega. In 1797 Cardelli was summoned to Naples to complete a commission for the Riario-Sforza family but fell gravely ill during the journey and died, at only 30 years of age. This untimely death shortened a most brilliant career and makes the present marble portrait bust—a recent rediscovery by Tomasso Brothers Fine Art—a major addition to Cardelli’s oeuvre.

An unpublished and newly-discovered bronze statuette of The Borghese Satyr by Gian Francesco Susini (1585–1653) is a beautifully finished reduction of one of the most impressive and admired ancient marble statues in the Borghese Collection, Rome—currently displayed in the Entrance Hall of the Villa Borghese. The statuette, immaculately modelled after its ancient prototype, displays the characteristic traits of Susini’s oeuvre. These include the remarkably high and detailed quality of the casting, the silky-smooth polished texture of the surface, the use of a warm cherry red lacquer, and the size of the bronze.

Works to be offered at the exhibition range in price from $50,000 to $1,500,000 US, and a fully-illustrated catalogue will be available.

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Fellowships | The Rijksmuseum, 2017–18

Posted in fellowships by Editor on December 21, 2016

Fellowship Programme
The Rijksmuseum, Amsterdam, 2017–18

Applications due by 12 March 2017

The Rijksmuseum operates a research Fellowship Programme for outstanding candidates working on the art and history of the Low Countries whose principal concern is object-based research. The aim of the programme is to train a new generation of museum professionals: inquisitive object-based specialists who will further develop understanding of art and history for the future. The focus of research should relate to the Rijksmuseum’s collection and may encompass any of its varied holdings, including Netherlandish paintings, sculpture, decorative arts, prints, drawings, photography, and historical artefacts. The purpose of the programme is to enable applicants to base part of their research at the Rijksmuseum, to strengthen the bonds between the universities and the Rijksmuseum, and to encourage the understanding of Netherlandish art and history. The programme offers students and academic scholars access to the museum’s collections, library, conservation laboratories and curatorial expertise.

Please review the eligibility, funding and application requirements by visiting the Rijksmuseum website. For the 2017–2018 academic year, candidates can apply for
• Andrew W. Mellon Fellowship for art historical research
• Johan Huizinga Fellowship for historical research
• Migelien Gerritzen Fellowship for conservation research
• Manfred & Hanna Heiting Fellowship for photo-historical research
• Dr. Anton C.R. Dreesmann Fellowship for art historical research

The closing date for all applications is 12 March 2017, at 6:00pm (Amsterdam time/CET). No applications will be accepted after this deadline. All applications must be submitted online and in English. Applications or related materials delivered via email, postal mail, or in person will not be accepted. Selection will be made by an international committee in April 2017. The committee consists of eminent scholars in the relevant fields of study from European universities and institutions and members of the curatorial staff of the Rijksmuseum. Applicants will be notified by 1 May 2017. All Fellowships will start in September 2017. Further information and application forms are available here.

Early Career Fellowships | Göttingen Institute for Advanced Study

Posted in fellowships by Editor on December 21, 2016

Early Career Fellowships
The Lichtenberg-Kolleg, the Göttingen Institute for Advanced Study, October 2017 — July 2019

The Lichtenberg-Kolleg, the Göttingen Institute for Advanced Study in the Humanities and Social Sciences, invites applications for up to 10 Early Career Fellowships. For the period October 2017 to July 2019, we are inviting early career scholars to join one of the research groups for the study of
• Globalising the Enlightenment: Knowledge, Culture, Travel, Exchange, and Collections
• Human Rights, Constitutional Politics, and Religious Diversity
• Moritz Stern Fellowships in Modern Jewish Studies: Cultural, Intellectual, and Literary History (in cooperation with the Göttingen Academy of Sciences and Humanities)

Please find more information here.

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