Exhibition | Eyewitness Views: Making History

Posted in books, catalogues, exhibitions by Editor on May 8, 2017

Antonio Joli, Departure of Charles III from Naples to Become King of Spain, 1759, oil on canvas
(Madrid: Museo Nacional del Prado)

◊  ◊  ◊  ◊  ◊

Opening tomorrow at The Getty:

Eyewitness Views: Making History in Eighteenth-Century Europe
The Getty Center, Los Angeles, 9 May — 30 July 2017
Minneapolis Institute of Art, 10 September — 31 December 2017
The Cleveland Museum of Art, 25 February — 20 May 2018

Curated by Peter Björn Kerber

From Paris to Venice to Rome, Europe’s most iconic cities have played host to magnificent ceremonies and dramatic events—and artists have been there to record them. During the eighteenth century, princes, popes, and ambassadors commissioned master painters such as Canaletto and Panini to record memorable moments, from the Venetian carnival to eruptions of Vesuvius, inspiring what became the golden age of view paintings.

Giovanni Paolo Panini, The Musical Performance in the Teatro Argentina in Honor of the Marriage of the Dauphin, 1747, oil on canvas (Paris: Musée du Louvre)

This is the first exhibition to focus on view paintings as depictions of contemporary events. These reportorial works visually record occasions ranging from royal celebrations to state visits, religious ceremonies, sporting contests, and natural disasters. Their dates correspond to the golden age of European view painting from the beginning of the eighteenth century to the eve of the French Revolution. Through immersive compositions and a wealth of acutely observed detail, artists skillfully created the illusion that the viewer is present on the scene as history is made.

Memory & Manipulation

Members of the highest echelons of European society, from kings and popes to doges and ambassadors, commissioned view painters to commemorate the spectacular events staged at their command or for their benefit. In many cases, these noble patrons are themselves portrayed in the resulting canvases. While artists cultivated the impression that they were faithful chroniclers capturing an event on canvas just as they had witnessed it, they were in fact not above manipulating or ‘improving’ upon reality in order to meet the expectations of their status-conscious clientele.

Civic & Religious Ritual

In Europe’s major cities, the populace gathered throughout the year to commemorate local historic events, celebrate religious feast days, or participate in public rituals. Whether sacred or secular in character, these occasions were always imbued with civic pride. They were also among the few times when the different social classes interacted with each other and shared a common experience. Religious processions typically involved a revered object—such as the Blessed Sacrament, a relic, or a statue—that was carried through the streets with pomp and fanfare. A city’s deliverance from devastating epidemics of bubonic plague was commemorated with recurring festivals of thanksgiving and supplication, since the threat of a resurgence remained very real in the eighteenth century.

Festival & Spectacle

In eighteenth-century Europe, Venice was the undisputed capital of pageantry and entertainment. Undaunted by its political and economic decline, the Serene Republic and its aristocracy invested vast sums in maintaining its traditional ceremonies and dazzling its visitors—for example, by commissioning a new version of the Bucintoro, the lavishly gilded state barge used only on Ascension Day. Financial considerations were also brushed aside to provide extravagant entertainments for kings or princes staying in the city. The grandest of these special events was a ceremonial regatta. In Rome, a comparable level of opulence was seen in the French embassy’s celebrations of royal births and marriages.

Disaster & Destruction

Images of tragic events satisfied a desire for paintings that stimulated the imagination. Whether they showed devastation caused by warfare, fire, natural disaster, or political turmoil, these works offered viewers the thrill of witnessing a catastrophe. They stand apart from most other reportorial paintings in that they downplay the presence of rulers and nobility in favor of depicting the lower classes. Such figures were rarely intended to be recognizable likenesses of actual people. Instead, they serve as proxies through which viewers are able to funnel their own reactions to unfolding calamity.

From The Getty Store:

Peter Björn Kerber, Eyewitness Views: Making History in Eighteenth-Century Europe (Los Angeles: Getty Publications, 2017), 252 pages, ISBN: 978-160606  5259, $45.

Canaletto, Bernardo Bellotto, Luca Carlevarijs, Giovanni Paolo Panini, Francesco Guardi, Hubert Robert—these renowned view painters are perhaps most famous for their expansive canvases depicting the ruins of Rome or the canals of Venice. Many of their most splendid paintings, however, feature important contemporary events. These occasions motivated some of the greatest artists of the era to produce their most exceptional work. Little explored by scholars, these paintings stand out by virtue of their extraordinary artistic quality, vibrant atmosphere, and historical interest. They are imbued with a sense of occasion, even drama, and were often commissioned by or for rulers, princes, and ambassadors as records of significant events in which they participated.

Lavishly illustrated and meticulously researched, this volume provides the first-ever comprehensive study—in any language—of this type of view painting. In examining these paintings alongside the historical events depicted in them, Peter Bjorn Kerber carefully reconstructs the meaning and context these paintings possessed for the artists who produced them and the patrons who commissioned them, as well as for their contemporary viewers.

Peter Björn Kerber is assistant curator of paintings at the J. Paul Getty Museum.



Symposium | The Splendour of the Dining Room

Posted in conferences (to attend) by Editor on May 8, 2017

From Haughton International:

The Splendour of the Dining Room
Haughton International Ceramics Seminar
Christie’s, London, 28–29 June 2017

Temple of Honour (Ehrentempel), Meissen, hard-paste porcelain, ca. 1750 (Porzellansammlung, Staatliche Kunstsammlungen Dresden. Photo: Jürgen Karpinski).

Over the past 35 years, Brian & Anna Haughton have organised the International Ceramics Seminar as the nucleus of their annual art and antiques fair held in London each June. Every year the Seminar included the latest ceramic research, often ground-breaking, presented by an international rostrum of the leading scholars. The Haughtons’ contribution to ceramic scholarship has been immeasurable, providing opportunities for collectors, curators, independent researchers and enthusiasts to meet, network, exchange ideas, plan exhibitions and publications. In the absence of their annual fair and in order to keep the focus and continuity on ceramics in London in June, they have partnered with Christie’s to launch a two-day seminar with the support and encouragement from their academic colleagues. The seminar will, as always, cover a wide range of ceramic subjects and their relationships with other art forms such as silver and sculpture. Ceramics have always had a central place in the social background of the 18th century and were also important as diplomatic princely gifts, laid out on tables during state and important social occasions as highly political symbols of power and prestige.

Cost of two-day Seminar, held at Christie’s, 8 King Street, St James’s, London: £45 (inc VAT). Cost of two-day Seminar including dinner at The Athenaeum (Wednesday 28th June): £75 (inc VAT). Student Tickets for two-day Seminar only (on production of ID): £25 (inc VAT). Booking in advance through the website is essential due to limited numbers. The programme is subject to change without warning.

The speakers will include
• Kathryn Jones (Senior Curator of Decorative Arts, Royal Collection Trust, London), Very Massive and Handsome: George IV’s Grand Service and the Royal Table
• Timothy Wilson (Former Keeper of Western Art at the Ashmolean Museum, Oxford), Italian Maiolica Table Services: For Use or for Display?
• Claudia Lehner-Jobst (Art Historian and Curator, Vienna), Fasting and Feasting: Novelties at the Imperial Tables during the Reign of Maria Theresa
• Katharina Hantschmann (Keeper of Ceramics, Bayerisches Nationalmuseum, Munich, and Ernst Schneider Meissen porcelain Collection bequest at Lustheim Castle), Bustelli and the Impact of Meissen on the Nymphenburg Factory
• Ivan Day (Food Historian, Museums and Country House Consultant), Dining and Hospitality in 18th-Century English Provincial Towns and Cities
• Timothy Schroder (Silver Historian, Curator and former Prime Warden of the Goldsmiths Company), Magnificence: State Banquets in the Reign of Henry VIII
• Paul Crane (Ceramic Historian, London), Inspired by Marine Forms: Early English Porcelain Transforms the Dining Table
• Patricia Ferguson (Project Curator, Monument Trust, 18th Century Prints and Ceramics, British Museum, London, and Hon. Adviser on Ceramics, National Trust), Felbrigg’s Folly: Meissen Porcelain Temples for the Dessert Table
• Melitta Kunze-Koellensperger (Curator, independent researcher and Art Historian), The Dutch Village of Meissen Porcelain: Count Brühl’s Dessert de Luxe
• Rosalind Savill (Former Director of the Wallace Collection, London), From Salt Cellars to Sweetmeat Baskets: Dining with Sèvres Porcelain in the 18th Century
• Nicole Coolidge Rousmaniere (IFAC Handa Curator of the Japanese Arts, The British Museum, London, and founding Director of the Sainsbury Institute, Norwich), Celebration of Form and Function: Insights into Japanese Dining Traditions from the Jômon Period to the Present Day
• Rebecca Wallis (Curator, Ceramics & Glass, Victoria and Albert Museum, London), Dining in Style: 19th-Century Services in the Victoria and Albert Museum
• Suzanne Lambooy (Curator of Applied Arts, Gemeentemuseum, The Hague), Dutch Dining Culture in the Second Half of the 18th Century: The Diplomacy of the Table
• David Mitchell (Visiting Research Fellow, Centre for Metropolitan History, Institute of Historical Research, University of London), Linen Damask Napery, Henry VIII and the Northern Renaissance



%d bloggers like this: