Enfilade

Display | The First Inauguration

Posted in exhibitions by Editor on January 17, 2017

1884_3

Balustrade Section from Federal Hall, New York, 1788–89, painted wrought iron, 95 × 178 × 4 cm (New York Historical Society, 1884.3). More information is available here»

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This installation is part of The Presidency Project at the New-York Historical Society:

The First Inauguration: George Washington’s 1789 Ceremony at Federal Hall
New-York Historical Society, 9 January — 26 February 2017

On April 30, 1789, George Washington was sworn in as president of the United States on the balcony of Federal Hall in lower Manhattan, uttering for the first time the words that every succeeding president would recite: “I do solemnly swear that I will faithfully execute the Office of President of the United States, and will to the best of my ability, preserve, protect, and defend the Constitution of the United States.” To mark the 2017 inauguration and as part of the The Presidency Project, the New-York Historical Society presents artifacts and documents linked to the nation’s first presidential inauguration. At its center, the installation showcases an original section of the wrought-iron railing from Federal Hall, a municipal building that was transformed by French architect Pierre-Charles L’Enfant into a suitable headquarters for the national government. L’Enfant adorned the facade with classical and patriotic motifs, including the railing’s thirteen arrows—one for each state in the republic.

This special installation also features an armchair used by George Washington in the Senate chamber of Federal Hall just after his swearing in. The storied armchair, designed in the latest neoclassical fashion, was later used for the inaugurations of Ulysses S. Grant and James A. Garfield. A printed broadside of Washington’s inaugural address is also on view.

New Book | A Taste for Luxury in Early Modern Europe

Posted in books by InternRW on January 17, 2017

Due out in June from Bloomsbury Publishing:

Johanna Ilmakunnas and Jon Stobart, eds.,  A Taste for Luxury in Early Modern Europe: Display, Acquisition, and Boundaries (London: Bloomsbury Academic, 2017), 304 pages, ISBN: 978  14742  58234, $112.

A Taste for Luxury in Early Modern EuropeIn the 18th century, debates raged about the economic, social and moral impacts of luxury, whilst taste was viewed as a refining influence and a marker of rank and status. This book takes a fresh, comparative approach to these ideas, drawing together new scholarship to examine three related areas in a wide variety of European contexts. First, the deployment of luxury goods in displays of status and how these practices varied across space and time. Secondly, the processes of communicating and acquiring taste and luxury: how did people obtain tasteful and luxurious goods, and how did they recognise them as such? Thirdly, the ways in which ideas of taste and luxury crossed national, political and economic boundaries: what happened to established ideas of luxury and taste as goods moved from one country to another, and during times of political transformation? Through the analysis of case studies looking at consumption practices, material culture, political economy, and retail marketing, A Taste for Luxury in Early Modern Europe challenges established readings of luxury and taste.

Johanna Ilmakunnas is Postdoctoral Research Fellow at the University of Helsinki, Finland. Jon Stobart is Professor of Social History at the University of Northampton, UK and Founding Editor of the new journal History of Retailing and Consumption.

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C O N T E N T S

I. Displaying Taste and Luxury
1  The Fabric of a Corporate Society: Sumptuary Laws, Social Order and Propriety in Early Modern Tallinn – Astrid Pajur (Uppsala University)
2  New and Old Luxuries Between the Court and the City: A Comparative Perspective on Material Cultures in Brussels and Antwerp, 1650–1735 – Bruno Blondé and Veerle de Laet (University of Antwerp)
3  Luxury and Taste in Eighteenth-Century Naples: Representations, Ideas and Social Practices at the Intersection Between the Global and the Local – Alida Clemente (University of Foggia).
4  What About the Moorish Footman? Portrait of a Dutch Nabob as a Dedicated Follower of Fashion– Yme Kuiper (University of Groningen)
5  Fashion and Luxury in Eighteenth-Century Germany – Michael North (University of Greifswald)

II. Making and Acquiring Taste
6  Taste Inequalities in the Art Consumption of Prince Nicolaus I Esterházy ‘the Magnificent’ – Kristof Fatsar (Corvinus University of Budapest)
7  Making an English Country House: Taste and Luxury in the Furnishing of Stoneleigh Abbey, 1763–1765 – Jon Stobart (Manchester Metropolitan University)
8  Between the Exotic and the Everyday: Sabine Winn at Home, 1765–1798 – Kerry Bristol (University of Leeds)
9  Books, Wine, and Fine China: Consumption Patterns of a Brukspatron in Early Nineteenth-Century Sweden – Marie Steinrud (Stockholm University)
10 To Buy a Plate: Retail and Shopping for Porcelain and Faience in Stockholm During the Eighteenth Century – Sofia Murhem and Göran Ulväng (Uppsala University)

III. Crossing Boundaries of Taste and Luxury
11 A Taste for French Style in Bourbon Spain: Food, Drink and Clothing in 1740s Madrid – Nadia Fernández-de-Pinedo (Universidad Autónoma de Madrid) and Corinne Thépaut-Cabasset (V&A Museum and Château de Versailles)
12 French Fashions: Aspects of Elite Lifestyle in Eighteenth-Century Sweden – Johanna Ilmakunnas (University of Helsinki)
13 English Luxuries in Nineteenth-Century Vyborg – Ulla Ijäs (University of Helsinki)
14 Luxury Goods Beyond Boundaries: The Parisian Market During the Terror – Natacha Coquery (University of Lyon 2)

Bibliography
Index

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Exhibition | Legacy: The Artist’s Album and Richard Cooper, Jr

Posted in exhibitions by Editor on January 17, 2017

From UCL Art Museum:

Legacy: The Artist’s Album and Richard Cooper Jnr
UCL Art Museum, London, 10 January — 9 June 2017

Richard Cooper Jr, Italian Landscape with Bridge, pen and brown ink with brown wash (London: UCL Art Museum 3751).

Richard Cooper Jr, Italian Landscape with Bridge, pen and brown ink with brown wash (London: UCL Art Museum 3751).

Legacy at UCL Art Museum features for the first time various artist’s albums by Richard Cooper, Jr (1740–1822). Cooper was a versatile and experimental artist, highly regarded by his contemporaries for his contributions to printmaking, draftsmanship, and art education. A true child of the Scottish enlightenment, Cooper worked in France, Spain, and Italy, where he was closely associated with the leading lights of his generation, including Jacob More, Gavin Hamilton, and Joseph Wright of Derby. Upon his return to London around 1777, he was celebrated for his capriccios or ‘invented views’ of the Roman Campagna, which he reproduced using the latest printmaking technologies. The contents of Cooper’s marbled-paper covered albums—carefully assembled with original prints and copy drawings—reveal the breadth of his involvement with the new techniques of lithography and soft-ground etching. They introduce Cooper as an innovative printmaker and highlight technological developments in printmaking that took place in the late eighteenth century.

In addition, the exhibition provides an opportunity to consider artists’ albums more broadly—how and why they are compiled and used and the role they can play in establishing a legacy. Also on display are more contemporary examples of the artist’s albums from our Slade Collections, including an album of discarded sketches by Augustus John, which was collected and assembled by fellow student Cuthbert Hamilton, as well as Stanley Spencer’s bound postcard collection. Also a feature of Legacy will be a changing display of contemporary innovations in printmaking by Phyllida Barlow, Bartolomeu dos Santos, Philip Sutton, and others.

P R O G R A M M I N G

Who Was Richard Cooper, Jr?
17 January 2017, 1:00–2:00
Richard Cooper, Jr was well regarded by his peers as a draughtsman, printmaker, drawing master, and antiques dealer; yet no thorough study of his life and work exists. Art dealer Tom Edwards tells us more about the artist and his influence.

Pop-up Exhibition: Printing Innovation at UCL
1 February 2017, 1:00–5:00
UCL Art Museum’s volunteers put together a pop-up exhibition of highlights from the collection with a focus on printing innovation at the Slade School of Art.

Innovation in Printmaking
15 February 2017, 1:00–2:00
Come and learn about innovation in printmaking at UCL Art Museum directly from the artists.

Liz Rideal on Rome and the Campagna
28 February 2017, 1:00–2:00
Artist and Slade lecturer Liz Rideal talks about her Leverhume research project to create images, curate period photographs, and organise these into an interactive digital map of Rome and the Campagna in relation to the Legacy exhibition.

Call for Papers | Source: Notes in the History of Art

Posted in Calls for Papers by Editor on January 17, 2017

Source: Notes in the History of Art

We welcome essays on art from any period or geographical area of interest. Our concise format—up to 2500 words and 3 illustrations—is perfect for introducing fresh interpretations, discoveries, and speculations, resolving old points of dispute, and bringing new ones to light.

Source was founded in 1981 as a scholarly journal in art history. Its mission is to publish articles of 2500 words or less, accompanied by a maximum of three illustrations. The range of articles spans antiquity to the present and includes western and non-western art. The original premise has been borne out: there is an audience for scholarly articles in art history that are clearly written, adequately illustrated, and above all, succinct. Furthermore, scholars welcome having a forum to present ideas and speculations that don’t warrant a major treatise but might nevertheless make interesting ‘notes’ for specialists and non-specialists alike.

Manuscripts may be submitted in English, French, or German. Please note that French, German, or other foreign-language submissions take more time to review, and so even a draft English translation is preferable.

More information is available here»

Editor: John Cunnally
Sponsored by the Bard Graduate Center, New York