Susanna Caviglia, ed., Body Narratives: Motion and Emotion in the French Enlightenment (Turnhout: Brepols, 2017), 291 pages, ISBN: 978 2503 574745, 100€ / $125.
The first art historical interrogation of the body as an object and discursive ensemble that questions the power and limits of visual representation, this book explores, in broad terms, the representations and understandings of the body’s physical and psychological movement’s meanings during the French Enlightenment in its many guises—artistic, esthetic, social, and erotic. It is centered on the fundamental tension between stasis and movement, which is both constitutive of art historical reflection and embedded in the body’s existence. Stasis and movement not only correspond to the potential modalities of the body’s visual representations, but they are also the conditions which govern the relationship between the viewer and the artwork as well as that between the viewers and the spaces in which they encounter the represented body. Based on this dialectic, the present book proposes a dynamic approach of the body considered as a focus of composition, an object of interrogation, and a site of meaning during a time when the body became the focus of an increasing number of artistic, technical, scientific, and philosophical inquiries directly connected to larger historical forces and discourses. During this time, the body’s stasis and movement became the vehicles for recording cultural and social transformations but also the producers of new meanings inherent to the body itself and unveiled by the development of the new scientific and philosophical approaches of it.
C O N T E N T S
Susanna Caviglia (University of Chicago), Introduction
I Body Language: Narrative Stasis
• Dorothy Johnson (University of Iowa), The Body Speaks: Anatomical Narratives in French Enlightenment Sculptures
• Étienne Jollet (Université Paris 1 Panthéon-Sorbonne), Anti-Pygmalion: Jean-Baptiste Restout’s Diogenes and Materiality as Truth
II The Mobile Body: Social Identity and Visual Dynamics
• Mimi Hellman (Skidmore College), Engaging Tapestries at the Hôtel de Soubise: Attention, Mobility, Intercorporeality
• Melissa Hyde (University of Florida), Watching Her Step: Women and the Art of Walking after Marie-Antoinette
III Body Temporality: Aesthetics of Walking
• Mary Sheriff (University of North Carolina at Chapel Hill), Movement and Stasis: Mapping Cythera
• Ewa Lajer-Burcharth (Harvard University), Strolling Time
Francisco de Goya: Los Caprichos / Fransisko Goija: Kaprīzes
Art Museum Riga Bourse, 25 March — 16 July 2017
Curated by Daiga Upeniece
The exhibition introduces us to one of the world’s most famous art masterpieces by the brilliant Spanish artist Francisco José de Goya y Lucientes (1746–1828) Los Caprichos series of graphics. The album, containing 80 pages of graphics compiled and published by the artist himself in 1799, gained popularity in Spain and elsewhere soon after its publication and captured the quintessence of Goya’s style, reflecting a new, freer, and much more expressive approach to reality’s portrayal. Los Caprichos reverberated in 19th-century art and ended the dominance of Neo-Classicist academic style graphics.
There are many unsolved riddles hidden within the series. It has been assumed that the artist was influenced by various works of philosophy and art. However, Goya himself—disregarding references to some well-known poets, for example, Gaspar Melchor de Jovellanos, or parallels with the plays of Goya’s friend Leandro Fernández de Moratín—has categorically denied any kind of influence.
Goya was already focusing on the everyday life of his time and, in particular, on the position of women in society in the voluminous selection of drawings in his Madrid album (1796–97). La Celestina, a traditional image in Spanish literature who takes on particularly symbolic importance in Goya’s art, appears there for the first time. Her image reminds us of the temporality of youth and beauty and the inescapable approach of decrepitude. Like La Celestina, the often-utilized image of the prostitute and a focus on the theme of magic personify the dark aspects of society.
The blending of fantasy and reality forms the uniqueness of Goya’s vision. The dream motif was a traditional element that was used by Spanish artists and writers and those of other European countries, to tell of fantastic, philosophically tangible or surreal creatures. Initially, Goya’s series was also called Sueños—that is, dreams, instead of whims.
Some of Goya’s compositions are like theatrical scenes—others, like a parade of eccentric images. The mood in most of the works has similar qualities to Dante’s Inferno—every imaginable mischief rages within them: hypocrisy, lies, cruelty and the collapse of morality. The subjects tell of the church, the nation, the court, laws, physicians, art and science, the streets of Madrid, rural life, the poetry and philosophy of the time, about the needy, the rich, the sick, the young and the old, combining all of these images in a unified mirror of society. Goya’s self-portrait, found on the first page, explains his attitude to what is portrayed in Los Caprichos. The artist, in a way, identifies with the new, modern Enlightenment period; and looked at from these positions, his gaze slides obliquely to the graphics which he himself has created.
Goya used a complex and innovative graphic technique. At its foundations was traditional etching, which Goya combined with a comparatively new invention—aquatint. In this way, clean lines, engraved with acid were supplemented with pale, sort of washed-out tones, which were created with fine dots, obtained, by processing the graphic plate with crushed resin. Of equal importance were the very delicate lines that were engraved with a blade, directly onto the surface of the plates. In graphic art, etching with drypoint on a black background or creating delicate lines and subtle shading around the eyes and hands of the images created the equivalent of airy brushstrokes in painting.
There are 78 works from the second impression in the collection at the Art Museum Riga Bourse. The works’ annotative texts consist of Goya’s comments, explanations about Goya’s works by art historians, as well as informative materials about people and events in Spain in the late 18th century. The exhibition is curated by Daiga Upeniece, Head of the Art Museum RIGA BOURSE / Latvian National Museum of Art.
Monographs used in the notes: Sarah Simmons, Goya (London: Phaidon Press, 1998), pp. 139–84; Xavier de Salas, “Light on the Origin of Los Caprichos,” The Burlington Magazine 121 (1979): 711–16; В. Прокофьев. Капричос Гойи. 2 т., Искусство, Москва, 1969.
Opening next month at The Salisbury Museum:
British Art: Ancient Landscapes
The Salisbury Museum, 8 April — 3 September 2017
Curated by Sam Smiles
The British landscape has been a continual inspiration to artists across the centuries and particularly the landscapes shaped and marked by our distant ancestors. The megaliths, stone circles, and chalk-cut hill figures that survive from Neolithic and Bronze Age times have stimulated many artists to make a response. In this major new exhibition curated by Professor Sam Smiles, these unique artistic responses have been brought together to create a new discussion. Featuring the work of some of the greatest names in British art from the last 250 years—including John Constable, J.M.W. Turner, Eric Ravilious, John Piper, Barbara Hepworth, Henry Moore, Paul Nash, Richard Long, and Derek Jarman—the exhibition explores how this work records and reflects on some of Britain’s most treasured ancient landscapes.
The catalogue is published by Paul Holberton:
Sam Smiles, British Art: Ancient Landscapes (London: Paul Holberton Publishing, 2017), 120 pages, ISBN: 978 19113 00144, £25.
Published to accompany an exhibition at The Salisbury Museum and Art Gallery, this volume explores the most significant works of art engaged with prehistoric moments across Britain from the 18th century to the 21st. While some of the works in the earlier period may be familiar to readers—especially Turner and Constable’s famous watercolours of Stonehenge—the varied responses to British Antiquity since 1900 are much less well known and have never been grouped together.
The author aims to show the significance of antiquity for 20th-century artists, demonstrating how they responded to the observable features of prehistoric Britain and exploited their potential for imaginative re-interpretation. The classic phase of modernist interest in these sites and monuments was the 1930s, but a number of artists working after WWII developed this legacy or were stimulated to explore that landscape in new ways. Indeed, it continues to stimulate responses and the book concludes with an examination of works made within the last few years.
An introductory essay looks at the changing artistic approach to British prehistoric remains over the last 250 years, emphasizing the artistic significance of this body of work and examining the very different contexts that brought it into being. The cultural intersections between the prehistoric landscape, its representation by fine artists and the emergence of its most famous sites as familiar locations in public consciousness will also be examined. For example, engraved topographical illustrations from the 18th and 19th centuries and Shell advertising posters from the 20th century will be considered.
Artists represented include: J.M.W. Turner, John Constable, Thomas Hearne, William Blake, Samuel Prout, William Geller, Richard Tongue, Thomas Guest, John William Inchbold, George Shepherd, William Andrews Nesfield, Copley Fielding, Yoshijiro (Mokuchu) Urushibara, Alan Sorrell, Edward McKnight Kauffer, Frank Dobson, Paul Nash, Eric Ravilious, John Piper, Henry Moore, Barbara Hepworth, Ithell Colquhoun, Gertrude Hermes, Norman Stevens, Norman Ackroyd, Bill Brandt, Derek Jarman, Richard Long, Joe Tilson, David Inshaw and Jeremy Deller.
Sam Smiles is the author of The Image of Antiquity: Ancient Britain and the Romantic Imagination (1994), Flight and the Artistic Imagination (2012), and West Country to World’s End: The South West in the Tudor Age (2013).
Now on view at The Huntington:
A. W. N. Pugin, Prisons, and the Plight of the Poor: British Prints,
Drawings, and Illustrated Books from The Huntington’s Collections
The Huntington Art Gallery, San Marino, CA, 11 March — 26 June 2017
Curated by Courtney Long
This exhibition examines the history of British prisons and how artists and architects documented the social, political, and legal tensions surrounding prison reform and Poor Law debates in Parliament during the 19th century. Drawn from the rich holdings of British material in The Huntington’s library and art collections, the works in A.W. N. Pugin, Prisons, and the Plight of the Poor depict a range of prison styles and highlight the role that these spaces served in containing and punishing criminals, debtors, drunks, gamblers, and paupers. Through a variety of visual materials, the exhibition examines the belief that the style and treatment of architecture has a direct correlation to the manner and behavior of society, an idea which had been promoted by prominent 19th-century architect and designer Augustus Welby Northmore Pugin. Fifteen thought-provoking drawings, watercolors, prints, and rare books by artists such as Thomas Rowlandson, George Romney, Henry Rushbury, and Edward Dalziel present images of the fortress-like prisons, criminal acts, and zealous reformers that sparked imaginations from the mid-18th to the early 20th centuries.
Courtney Skipton Long is guest curator for A.W.N. Pugin, Prisons, and the Plight of the Poor. She received her Ph.D. in the history of art and architecture from the University of Pittsburgh in 2016 and is currently the Zvi Grunberg Postdoctoral Fellow at the Bruce Museum in Greenwich, Connecticut.
Also, see the posting at Verso, the blog for The Huntington Library, Art Collections, and Botanical Gardens.
Left to right: Sir Godfrey Kneller, Queen Caroline of Ansbach, when Princess of Wales, 1716, oil on canvas, Royal Collection Trust; Jean-Baptiste van Loo, Augusta, Princess of Wales, 1742, oil on canvas, Royal Collection Trust; Thomas Gainsborough, Queen Charlotte, 1781, oil on canvas, Royal Collection Trust.
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From the Yale Center for British Art:
Enlightened Princesses: Britain and Europe, 1700–1820
Kensington Palace, Hampton Court Palace, and the Tower of London, 29–31 October 2017
Proposals due by 15 May 2017
Co-organized by Historic Royal Palaces, the Yale Center for British Art, and the Paul Mellon Centre for Studies in British Art, London, in association with the exhibition Enlightened Princesses: Caroline, Augusta, Charlotte, and the Shaping of the Modern World, on view at Kensington Palace, June 22–November 12, 2017
Caroline of Ansbach (1683–1737), Augusta of Saxe Gotha (1719–1772), and Charlotte of Mecklenburg-Strelitz (1744–1818), three Protestant German princesses, became variously Princess of Wales, Queen Consort, and Princess Dowager of Great Britain. Recent research has explored how in fulfilling these roles they made major contributions to the arts; the development of new models of philanthropy and social welfare; the promotion and support of advances in science and medicine, as well as trade and industry; and the furthering of imperial ambition. While local contexts may have conditioned the forms such initiatives took, their objectives were rooted in a European tradition of elite female empowerment.
This symposium, Enlightened Princesses: Britain and Europe, 1700–1820, seeks to investigate the role played by royal women—electresses, princesses, queens consort, reigning queens, and empresses—in the shaping of court culture and politics in Europe of the long eighteenth century. Papers that explore some of the following themes are invited:
• Royal women as political agents
• Royal women: networks and conversations
• Royal women: education, charity, and health
• Royal women as patrons of art and architecture
• Royal women and science
• Royal women: mercantile culture and the wider world
• Royal women as political gardeners
The conference will take place October 29–31, 2017, at Kensington Palace, Hampton Court Palace, and the Tower of London. Please send proposals of 400 words maximum, for papers of 25 minutes, together with a short biography of 100 words maximum to firstname.lastname@example.org.
The third issue of J18 is now available.
Journal18, Issue #3: Lifelike (Spring 2017)
Issue Editors: Noémie Etienne and Meredith Martin
During the eighteenth century, a range of artistic productions sought to simulate motion and life in new ways. At the same time, individuals became ever more preoccupied with performing or embodying static works of art. Echoing contemporary discussions in artistic and literary discourses around vraisemblance and verisimilitude, as well as mimesis and imitation, these preoccupations also tapped in to larger social and intellectual debates about matter, mankind, and machines at a global level.
This issue of Journal18 explores these fundamental tensions between art and life, movement and permanence that obsessed the worlds of art, science, and entertainment during the eighteenth century. What was considered ‘lifelike’ in this period? How did artworks—among them taxidermy tableaux, moving statues, nautilus cups, and automaton clocks—engage with this notion and participate in redefining it? What was at stake in staging a convincing simulation of life, and what purpose—political, pedagogical, or otherwise—did it serve? What role did ephemeral performances or spectacles play in generating such illusions and in shaping their significance? And how might we interpret these acts historically today?
In addition to full-length articles, we have assembled a series of shorter essays on the theme of ‘Waxworks’. More than any other material in the eighteenth century, wax seems to have provoked debates about the permeable boundaries between illusion and imitation, art and science, absence and presence. At the same time, objects made of wax—from La Specola’s famous anatomical Venus to busts portraying victims of the French Revolution modeled from life by Marie Tussaud—have the potential to disrupt traditional categories and hierarchies of art history, which is perhaps one reason why wax has emerged in recent years as such an exciting and provocative field of study.
A R T I C L E S
• Valérie Kobi, Staging Life: Natural History Tableaux in Eighteenth-Century Europe
• Amelia Rauser, Vitalist Statues and the Belly Pad of 1793
• Eugenia Zuroski, Nautilus Cups and Unstill Life
• Lihong Liu, Pyrotechnic Profusion: Fireworks, Spectacles, and Automata in Time
W A X W O R K S
• David Mark Mitchell, Vividness without Vitality: The Specola Venus’s Intersecting Afterlives
• Robert Wellington, Antoine Benoist’s Wax Portraits of Louis XIV
• Charles Kang, Anatomy of the Bel Effet: Wax between Science and Art
• Paris Amanda Spies-Gans, ‘The Fullest Imitation of Life’: Reconsidering Marie Tussaud, Artist-Historian of the French Revolution
Cover image: Detail of stuffed Starling, Oriole and Bird’s Skeleton from Goethe’s Collection, before 1790 (Goethe-Nationalmuseum, Weimar ©Klassik Stiftung Weimar/Thomas Korn)
Uniqueness and Multiplication: Plaster as an Art Material
Royal Institute for Cultural Heritage, Brussels, 10–11 October 2017
Proposals due by 5 May 2017
The study of plaster objects is experiencing a true revival, amongst others attested by the scientific conferences of the past years. Plaster, a material of low value often used for reproductions, has been part of sculpture practice for centuries. The conferences and publications of the past years have discussed a wide range of subjects related to plasters, from the restoration and valorisation of plaster collections to the study and possible implementation of conservation and restoration campaigns.
The Royal Institute for Cultural Heritage (KIK-IRPA, Brussels), is the Belgian federal institution committed to the inventory, scientific study, conservation and promotion of the country’s cultural heritage. The Institute, whose chief mission is research and public service, represents a unique instrument for the Belgian heritage, both movable and immovable. Amongst others active in the historical study, conservation and restoration of these objects, KIK-IRPA has partnered up with Epitaaf. Since 1989, this non-profit volunteer organization manages the former sculptor’s and mason’s studio of the Ernest Salu dynasty, active in Laeken (near Brussels) between 1872 and 1983. As a funerary art museum they have a substantial collection of plaster moulds and models that were manufactured in the studio. The wide range of approaches presented on this international conference will allow us to study different aspects of plaster objects.
The conference will take place at the KIK-IRPA in Brussels 10–11 October 2017 and consists of three sessions:
Session 1 Plaster (and plaster moulds), their role and signification within the studio
This session will focus on the role of plaster (as a material for sculpture or architecture), plaster moulds (casts) and plaster models in art history. The following topics could be addressed: plaster for which use, the use and or role of plaster in the artist’s training, in an institutional context (academy, art education) or in that of the studio? The authenticity and position (status) of plaster in the artistic process (design, intermediary state, model, art work)? The added value of plasters, prints and photos in the artist’s studio? The representation or the role of plasters in the practice of the artist’s studio, and more particularly their position within an artist’s oeuvre and its diffusion? The significance or status of plasters as autonomous objects?
Session 2 Plaster collections, their origins, aim, and future
The aim of this session is to put together a survey of existing plaster collections as museum collections, not in the form of an exhaustive inventory, but in order to get a broad and general view of the wide range of differences (and significations) of the collections to get insight in the collection building and composition of the different plaster collections. The lines of approach are the collections’ history and objective. How should one go about their presentation (museology) and what is the status of plaster collections within a public (museum), semi-public (university, academy) or private context (artist’s collection).
Session 3 Conservation and restoration of plasters (and plaster moulds)
This session is the logical continuation of session 2. Due to a renewed interest in plaster objects, regardless of their context, repairing them has once again become a priority. Which conservation and restoration techniques are best suited for plaster and plaster objects? Should a different approach be adopted with regards to their presentation and status (within art history or as an educational tool)? Can the material or technique used tell us more about the period, place of origin or author of the plaster? These topics are preferably evoked through case studies and examples of best practices, by choice concerning so-called masterpieces. The official language of the conference is English (submissions in French or Dutch are also accepted).
Candidates are invited to submit their proposals to Géraldine Patigny (email@example.com) by May 5th 2017. This should include an abstract (up to 300 words) and a brief CV (max. 1 page). The conference organizers are unable to cover travel and accommodation costs for speakers. Interested parties are encouraged to apply for aid from their respective institutions. The Scientific Committee will inform all the applicants of the final selection on June 16th 2017.
Géraldine Patigny (KIK-IRPA)
Tom Verhofstadt (vzw Epitaaf)
Scene of textile printing, adapted from a French copperplate-printed textile of the 1780s
(The Art Museums of Colonial Williamsburg)
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Printed Fashions: Textiles for Clothing and the Home, 1700–1820
DeWitt Wallace Decorative Arts Museum, Colonial Williamsburg, 25 March 2017 — March 2019
Curated by Linda Baumgarten
In the eighteenth and early nineteenth centuries, early printed textiles with their luminous colors and attractive designs were widely sought for fashionable clothing and home furnishings. Eighty examples of these stunning printed cottons and linens, many of which have never been exhibited before, will go on view in Printed Fashions: Textiles for Clothing and Home at the DeWitt Wallace Decorative Arts Museum, one of the Art Museums of Colonial Williamsburg, opening March 25, 2017. The exhibition will illustrate the design, history, and techniques of printed textiles during this formative era; these objects played their own important role in history, not just for their obvious aesthetic qualities, but also for their economic importance as trade goods and as examples of technological advances. Printed Fashions will remain on view through March 2019.
“Textiles are among the most fragile objects that survive from the past. They also afford us particularly detailed views into the lives of our forbearers,” said Ronald L. Hurst, Colonial Williamsburg’s Carlisle H. Humelsine chief curator and vice president for collections, conservation, and museums. “Thanks to decades of effort and scholarship on the part of our textile curator Linda Baumgarten and her predecessors, the Foundation is home to a remarkably large and complete collection of printed textiles. This exhibition provides an opportunity to employ many of those beautiful objects to tell these very human stories.”
“The history of printed textiles may sound modern to today’s consumers,” says Linda Baumgarten, Colonial Williamsburg’s senior curator of textiles and costumes who organized the exhibition. “Traders shipping goods from the other side of the world in ships, domestic workers trying their best to respond to foreign competition, people making the effort to dress in up-to-date styles despite their limited means and the importance of chemistry and mechanical expertise in the production of consumer goods: All of these concepts could easily represent textile production today as well as it did centuries ago.”
Although fashionable Indian chintzes had inspired European printers to begin developing competing technologies as early as the seventeenth century, it was during the eighteenth century that most of the technical advances were realized. Rather than using the Indian method of painstakingly hand-painting chemical fixatives known as mordants and then dyeing the textiles, Europeans developed laborsaving techniques to expedite the process. Blocks, copperplates, and rollers allowed printers to apply pattern at a faster rate, often with delicate and intricate linear effects rivaling prints on paper. Experiments with chemicals yielded pencil blue and china blue techniques to solve the difficult challenges of pattering textiles with indigo blue.
Printed Fashions will include a variety of objects dating between 1700 and 1820 from India, England, France, and colonial America. Among them will be men’s and women’s garments, women’s accessories, a doll dressed in original clothing from the 1770s, quilts and an Indian ‘palampore’ bedcover in brilliant colors, a trunk linked with rare, early printed cotton, case covers for chairs, curtains and valances for tall-post beds, plus study documents that show printing techniques, advances in printing chemistry, and trends in design. Among the exhibition’s highlights is a stunning bed quilt, never previously exhibited, incorporated into which is a printed panel from India as the center focus. This panel, or ‘palampore’, was too small for the finished quilt, so the unknown quilt maker enlarged the bedcover with fine silk borders and then quilted the whole with closely spaced running stitches. The flowering tree at the center of the palampore is patterned with a large tree bursting with floral blooms, growing from the hilly ground. Later known as a ‘tree of life’, this design influenced English and American appliquéd quilts for a century after the first palampores entered the West.
Another featured object in Printed Fashions is a gentleman’s banyan made of stylish and expensive cotton from India. The delicate floral design was mordant-painted-and-resist-dyed, creating a colorful yet comfortable garment suitable for relaxing at home. By donning his imported chintz banyan, the man at leisure signaled his wealth and fashion sense. A textile swatch or sample book from 1783 is yet another must-see object in the exhibition; it unrolls to reveal more than seven feet of swatches with 430 samples in all. The colorful printed cottons were available for sale in a single year by a Manchester, England printing establishment. In less than a century, British manufacturers went from rudimentary early attempts at copying Indian imports to becoming a major printing industry.
This exhibition was made possible through the generosity of Mary and Clinton Gilliland and the Turner-Gilliland Family Fund of the Silicon Valley Community Foundation; the DeWitt Wallace Fund for Colonial Williamsburg; and Mr. and Mrs. Jay E. Frick. Ellan and Charles Spring funded the purchase of mannequins.
To celebrate the opening of Printed Fashions, the Colonial Williamsburg Foundation will host a symposium of internationally known scholars, March 26–28, 2017. Guest speakers will include Rosemary Crill, honorary research associate, Victoria and Albert Museum; Linda Eaton, John L. & Marjorie P. McGraw director of collections & senior curator of textiles, Winterthur Museum; Susan Greene, author and independent researcher whose lecture is generously sponsored by Windham Fabrics, Inc.; Philip Sykas, research associate, Manchester School of Art, United Kingdom; and Barbara Brackman, independent scholar and researcher. In addition, twenty scholars from the United States and England will present juried papers on all aspects of textile printing and usage. The program will take place in the Hennage Auditorium at the Art Museums of Colonial Williamsburg. More information is available here.
An exhibition in formation for more than a decade, Printed Fashions: Textiles for Clothing and Home is certain to fascinate and delight decorative arts aficionados, fashion historians, and design enthusiasts who will appreciate the many patterns that could easily have modern interpretations.
From the conference schedule:
Printed Fashions: Textiles for Clothing and the Home
Colonial Williamsburg, 26–28 March 2017
With their brilliant colors and engaging designs, early painted and printed textiles were eagerly sought for fashionable clothing, quilts, and other home furnishings. But textiles also tell human stories that sound modern: traders transporting goods from the other side of the world in ships powered by wind and sails; domestic workers trying their best to respond to foreign competition; people making the effort to dress in up-to-date styles despite their limited means; and the importance of chemistry and mechanical expertise in the production of consumer goods. The Colonial Williamsburg Foundation in Williamsburg, Virginia, hosts this symposium about painted and printed textiles with invited speakers and juried papers. The symposium coincides with the exhibition Printed Fashions: Textiles for Clothing and the Home, 1700–1820 mounted in the Gilliland Textile Gallery.
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S U N D A Y , 2 6 M A R C H 2 0 1 7
1:00 Conference registration
3:30 Welcome, Linda Baumgarten (senior curator of textiles and costumes, Colonial Williamsburg)
3:40 Juried Papers
• Philippe Halbert (Ph.D. candidate, Yale University, Department of the History of Art), ‘You know that my dear Mother loves Indienne’: Printed and Painted Textiles in the French Atlantic World, 1675–1800
• Ned Lazaro (associate curator of textiles and collections manager, Historic Deerfield, Massachusetts), On Risk and Account: The Fashion for Eighteenth-Century Indian Cottons in New England
• John Styles (research professor in History, University of Herfordshire and honorary senior research fellow, Victoria and Albert Museum), How Colonial America’s Taste for Printed Calicoes Drove the British Industrial Revolution
5:00 Rosemary Crill (honorary research associate, Victoria and Albert Museum), When Print Meets Pen: Block-Printing and Hand-Drawing in Indian Cotton Textiles
M O N D A Y , 2 7 M A R C H 2 0 1 7
8:30 Art Museums of Colonial Williamsburg open for conference registrants
9:00 Announcements and introduction to the Printed Fashions exhibition
9:30 Linda Eaton (John L. and Marjorie P. McGraw Director of Collections and Senior Curator of Textiles, Winterthur Museum), Printed Furnitures: The Women’s Side of the Upholstery Trade
11:00 Susan Greene (author and independent researcher, Alfred Station, New York), From Kalam to Cylinder
12:00 Lunch break with museum exhibitions open
2:00 Juried Papers
• Rebecca Fifield (Head of Collection Management, Special Collections, New York Public Library), Of the Lowest Prices: Printed Textile Use in the Dress of Unfree American Women, 1750–90
• Jennifer Swope (assistant curator, David and Robert Logie, Department of Textiles and Fashion Arts, Museum of Fine Arts, Boston), The Diversity of Printed Textile in Early America: The Robbins Family Collection at the Museum of Fine Arts, Boston
• Mary D. Doering (independent scholar, collector and guest curator), Case Study of a Printed Cotton Gown, Possibly Worn in Massachusetts, ca. 1780–85
• Alexandra Barlow (assistant conservator, Textile Conservation, The Metropolitan Museum of Art, New York) and Sara Reiter (The Penny and Bob Fox Senior Conservator of Costumes and Textiles, Philadelphia Museums of Art), Printed Gown Patterns: The Conservation of an Early Nineteenth-Century Block-Printed Dress: Techniques and Historical Importance
4:00 Juried Papers
• Edward Heimiller (curator, The Stephen J. Ponzillo, Jr. Memorial Library & Museum of the Grand Lodge of A.F. & A.M. of Maryland), Revealing Fraternal Secrets: Establishing a Masonic Treatise for Fraternal Design
• Matthew Skic (assistant curator, Museum of the American Revolution, Clifton Heights, Pennsylvania), Stand Fast in the Liberty: A Rare Waistcoat Belt
• Angela Burnley (independent scholar, Williamsburg), 1 Gown Flowered All Over with Cards: Fashion’s Fancy through the Eyes of the Eighteenth-Century Textile Consumer
• Christina Westenberger (assistant manager for museum education, Colonial Williamsburg), Hunting, Murder and Bacon: Backstories of Three Printed Handkerchiefs in the Colonial Williamsburg Collection
T U E S D A Y , 2 8 M A R C H 2 0 1 7
8:30 Art Museums of Colonial Williamsburg open for conference registrants
9:00 Kimberly Ivey (senior curator of textiles and historic interiors, Colonial Williamsburg), Annie L. Hayslip’s Printed Textile Album
9:20 Philip Sykas (research associate, Manchester School of Art, Manchester), Pattern Books within ‘a Seasonal and Fancy Trade’: English Calico Printers, 1780–1830
10:40 Barbara Brackman (independent scholar and researcher, Lawrence, Kansas), Printed Textiles in Quilts, 1775–1830
11:35 Bridget Long (visiting research fellow in history, University of Hertfordshire), ‘Have You Remembered To Collect Pieces for the Patchwork?’ The Impact of Printed Cloth on Eighteenth-Century Patchwork Practice (juried paper)
12:00 Lunch break with museum exhibitions open
2:00 Juried Papers
• Julia Brennan, Kaitlyn Munro, and Lauren Klamm (conservators, Caring for Textiles, Washington, D.C.), Burn Out: Case Studies in Conserving Printed Textiles
• Anita Loscalzo (independent textile historian, Dover, Massachusetts), Prussian Blue Textiles Found in American Quilts and Dress
• Linda Welters (professor, Textiles, Fashion Merchandising and Design, University of Rhode Island), In Small Things Forgotten: Three Eighteenth-Century Rhode Island Prints
3:30 Juried Papers
• Margaret T. Ordoñez (Professor Emertia and Adjunct, Textiles, Fashion Merchandising and Design, University of Rhode Island), Printed Delaines with a French Label from East Greenwich, Rhode Island, ca. 1843
• Deborah E. Kraak (independent museum professional, Wilmington, Delaware) and Terry Tickhill Terrell (independent quilt history researcher, Masonville, Colorado), What’s in a Name? A New Database of Early Floral Chintz Motifs
• Sheryl DeJong (independent researcher, Reston, Virginia), Printed Fabrics in the Copp Quilt at the Smithsonian
• Lori Lee and Kay Triplett (authors and independent researchers, Overland Park, Kansas), Unexplored Printing Techniques in Textiles
5:00 Closing reception
Bernard Nurse, London: Prints and Drawings before 1800 (Oxford: Bodleian Library, in association with The London Topographical Society, 2017), 232 pages, ISBN: 978 18512 44126, £30 / $50.
By the end of the eighteenth century London was the second largest city in the world, its relentless growth fuelled by Britain’s expanding empire. Before the age of photography, the most widely used means of creating a visual record of the changing capital was through engravings and drawings, and those that survive today are invaluable in showing us what the capital was like in the century leading up to the Industrial Revolution.
This book contains over one hundred images of the Greater London area before 1800 from maps, drawings, manuscripts, printed books, and engravings, all from the Gough Collection at the Bodleian Library. Examples are drawn from the present Greater London to contrast town and countryside at the time. Panoramas of the river Thames were popular illustrations of the day, and the extraordinarily detailed engravings made by the Buck brothers are reproduced here. The construction, and destruction, of landmark bridges across the river are also shown in contemporary engravings.
Prints made of London before and after the Great Fire show how artists and engravers responded to contemporary events such as executions, riots, fires, and even the effects of a tornado. They also recorded public spectacles, creating beautiful images of firework displays and frost fairs on the river Thames. This book presents rare material from the most extensive collection on British topography assembled in this period by a private collector, providing a fascinating insight into life in Georgian London.
Bernard Nurse is the former Librarian of the Society of Antiquaries of London.