Print Quarterly, March 2017
Antoine Masson, after Titian, Supper at Emmaus, second half of the seventeenth century, engraving, 452 x 586 mm
(London: The British Museum).
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Foremost among the several items in the current issue of Print Quarterly relevant to the eighteenth century is an article by Thomas Frangenberg addressing Franz Christoph von Scheyb (1704–77) on the art of engraving. Von Scheyb’s unusual detailed discussion of a print by Antoine Masson (1636–1700) after Titian demonstrates the sophistication with which aspects of reproductive prints could be articulated during this period, revealing prints’ merits and shortcomings, both as sources of art history and works of art in their own right. The issue also includes shorter reviews on books about Tiepolo, Piazzetta, and Novelli in the context of the eighteenth-century Venetian illustrated book; drawings and prints after the antique; and prints by Luigi Rossini (1790–1857).
Print Quarterly 34.1 (March 2017)
A R T I C L E S
• Thomas Frangenberg, “Franz Christoph von Scheyb on the Art of Engraving,” pp. 32–41
N O T E S
• Viccy Coltman, “Drawn from the Antique: Artists & the Classical Ideal,” pp. 70–72.
• Giorgio Marini, “Book Illustration in Eighteenth-Century Venice (Tiepolo, Piazzetta, Novelli: L’incanto del libro illustrato nel Settecento Veneto), pp. 73–76.
• David R. Marshall, “Luigi Rossini 1790–1857,” pp. 76–77.
A full contents list is available here»
Master Class | Graphic Satire and Anglo-American History Painting
From The Lewis Walpole Library:
Master Class: A Contest of Two Genres: Graphic Satire and
Anglo-American History Painting in the Long Eighteenth Century
The Lewis Walpole Library, Farmington, CT, 15–18 May 2017
Mark Salber Phillips, Professor of History at Carleton University, Ottawa
Cynthia Roman, Curator of Prints, Drawings, and Paintings at the Lewis Walpole Library
William Hogarth, The Battle of the Pictures, 1745 (Farmington: The Lewis Walpole Library, lwlpr22633).
Centuries-old hierarchies of the visual arts have placed history painting and graphic satire at opposite ends of the spectrum. ‘History painting’—high-minded narrative art depicting exemplary heroes and events—carried enormous prestige, bringing fame to the individual artist as well as to the national school. In contrast, graphic satire was viewed as the lowest form of visual expression—more closely connected to political prints than to high-minded ‘histories’.
This residential seminar is intended to give doctoral students in a variety of disciplines the opportunity to consider issues and overlaps between these two narrative genres. Making use of visual material and textual resources from the collections of the Lewis Walpole Library’s at Yale, we will examine the often-embattled efforts of artists to construct new modes of visual representation as well as of narrative and history. Through a multidisciplinary approach, we will take note of a variety of key issues, including the theoretical context of Enlightenment intellectual history, the more focused discourse of art treatises, and direct encounters with the formal and aesthetic qualities of works of art. Among history painters we will give our attention to the works of William Hogarth, Gavin Hamilton, Benjamin West, and John Trumbull, while among the satirists we will focus on James Gillray, Thomas Rowlandson, and Isaac and George Cruikshank.
The class will be taught as a combination of seminars, small group discussions, and visits to the Yale Center for British Art, the Yale University Art Gallery, and the Wadsworth Atheneum Museum of Art. Most of the teaching will take place in the Lewis Walpole Library in Farmington. For more information about this class and to apply, please visit our Master Class page.
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