Enfilade

Symposium | Enlightened Princesses: Britain and Europe, 1700–1820

Posted in conferences (to attend) by Editor on July 31, 2017

From the Paul Mellon Centre for Studies in British Art:

Enlightened Princesses: Britain and Europe, 1700–1820
Kensington Palace, Hampton Court Palace, and the Tower of London, 29–31 October 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, will bring together eminent academicians and museum scholars 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 will explore the following themes:
• Royal women as political agents
• Royal women: networks and conversations
• Royal women as patrons of art and architecture
• Royal women and the crafting of image
• Royal women: engaging with nature and technology

The symposium will take place 29–31 October 2017 at Kensington Palace, Hampton Court Palace, and the Tower of London. The programme will include special tours of the Enlightened Princesses exhibition at Kensington Palace, followed by two full days of lectures, themed panels, and discussions at Hampton Court Palace and the Tower of London.

The fee for attending the conference is £100. Reduction are available for a limited number of students on application to the symposium organiser. The symposium organiser can be contacted at emily.knight@hrp.org.uk.

Co-organised by Historic Royal Palaces, the Yale Center for British Art, and the Paul Mellon Centre for Studies in British Art, London, in association the exhibition Enlightened Princesses: Caroline, Augusta, Charlotte, and the Shaping of the Modern World, on view at Kensington Palaces, 22 June – 12 November 2017.

S U N D A Y ,  2 9  O C T O B E R  2 0 1 7

14.00 Exhibition tour 1

15.00 Exhibition tour 2

16.00 Exhibition tour 3

Tea served in Orangery from 14.00 to 17.00

M O N D A Y ,  3 0  O C T O B E R  2 0 1 7

9.00 Registration and coffee

9.30 Welcome from John Barnes and Amy Meyers

9.45  Keynote Lecture
• Joanna Marschner, Enlightened Princesses: Britain and Europe, 1700–1820

10.30  Break

10.45  Session 1 | Royal Women as Political Agents
Moderator: Lisa Ford
• Elise Dermineur, Queens Consort as political agents: A tentative research framework through the example Queen Louisa Ulrika of Sweden (1720–1782)
• Heather Carroll, ‘Charlotte has the breeches’: The shifting political perception of Queen Charlotte
• Allison Goudie, ‘A woman of great feminine beauty, but of a masculine understanding’: Queen Maria Carolina of Naples and Canova’s statue of the king ‘as Minerva’
• Martin Eberle, Luise Dorothea: Duchess of Saxony-Gotha-Altenburg

13.00 Lunch

14.00  Session 2 | Royal Women: Networks and Conversations
Moderator: Lucy Peltz
• Elizabeth Montagu, ‘Queen of the Bluestockings’: Women and literary authority in the age of Enlightenment
• Lisa Skogh de Zoete, Queen Hedwig Eleanora—A Liebhaberin of the arts: Political culture and sources of knowledge as part of Northern German Court Culture
• Merit Laine, Creative conversations: Queen Louisa Ulrika and the formulation of Swedish court culture in the Age of Liberty
• Sonja Fielitz, ‘A silent but impressive language’: The quietly worked female empowerment of Charlotte of Mecklenburg-Strelitz

16.00  Tea

16.30  Discussion
Moderators: Sebastian Edwards and Desmond Shawe-Taylor

17.30  Drinks and musical programme

T U E S D A Y ,  3 1  O C T O B E R  2 0 1 7

9.00  Registration and coffee

9.30  Welcome by Joanna Marschner and Amy Meyers

9.45  Session 3 | Royal Women as Patrons of Art and Architecture
Moderators: Aurélie Chatenet-Calyste and Desmond Shawe-Taylor
• Tara Zanardi, Material Temptations: Isabel de Farnesio and the politics of the interior
• Veronica Biermann, ‘Let’s have a look’: G.L. Bernini’s mirror for Queen Christina and her self-image
• Christopher Johns, Two Queens and a villa: Enlightenment sociability in Turin
• Christopher Baker, Augusta, Princess of Wales and Jean Etienne Liotard
• Heidi Strobel, Queen Charlotte as patron of female artists

13.00  Lunch

14.00  Session 4 | Royal Women and the Crafting of Image 
Moderator: Matthew Storey
• Heather Belnap Jensen, Dynastic dressing: The portraits of Caroline Bonaparte Murat, Queen of Naples and the art of costume
• Eva-Lena Karlsson, Sofia Albertina: A Swedish princess from Rococo to Biedermeier

 

15.00  Session 5 | Royal Women: Engaging with Nature and Technology
Moderator: Sebastian Edwards
• Tessa Murdoch, Measuring time at the Hanoverian Court: Caroline, Augusta and Charlotte as promoters of clock and watch-making in London
• Emily Roy, Catherine the Great’s Russian mountain: The imagery of the Thunder Stone

16.25  Tea

17.00  Discussion
Moderator: Helen Watanabe-O’Kelly

◊  ◊  ◊  ◊  ◊

Note (added 19 September 2017)An updated schedule has replaced the previous, provisional programme.

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The Getty Purchases Watteau’s La Surprise and 16 Master Drawings

Posted in museums by Editor on July 31, 2017

As reported by Jori Finkel in The New York Times (20 July 2017) . . .

The Getty Museum has made the biggest financial outlay for art in its history . . . . Judging from sales records for several of these artworks during weaker art-market periods, the Getty’s purchase price could have easily topped $100 million. The museum’s director, Timothy Potts, would not confirm the amount except to say that the deal was “the Getty’s biggest in terms of financial value. . . ”

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Paul Jeromack writes in The Art Newspaper (26 July 2017) . . .

According to sources in the field, the windfall comes from the collection of the 62-year-old collector Luca Padulli, the co-founder of the British investment management company Camomille Associates, who bought the works at auction over the last 17 years, through the British Old Master dealer, Jean-Luc Baroni. . .

◊  ◊  ◊  ◊  ◊

La Surprise was believed to have been destroyed until it re-emerged in 2007; it sold at Christie’s in 2008 for over $24million. Press release (20 July 2017) from The Getty:

Jean Antoine Watteau, La Surprise, ca. 1718; oil on panel, 36 × 28 cm (Los Angeles: The Getty Museum).

The J. Paul Getty Museum announced today the most important acquisition in the history of the Museum’s Department of Drawings. Acquired as a group from a British private collection, the 16 drawings are by many of the greatest artists of western art history, including Michelangelo, Lorenzo di Credi, Andrea del Sarto, Parmigianino, Rubens, Barocci, Goya, Degas, and others. From the same collection, the Museum has acquired a celebrated painting by the great eighteenth-century French artist Jean Antoine Watteau.

“This acquisition is truly a transformative event in the history of the Getty Museum,” said Timothy Potts, director of the J. Paul Getty Museum. “It brings into our collection many of the finest drawings of the Renaissance through 19th century that have come to market over the past 30 years, including a number of masterpieces that are among the most famous works on paper by these artists: Michelangelo’s Study of a Mourning Woman, Parmigianino’s Head of a Young Man, and Andrea del Sarto’s Study for the Head of St Joseph (the highlight of the Getty’s recent exhibition on that artist). It is very unlikely that there will ever be another opportunity to elevate so significantly our representation of these artists, and, more importantly, the status of the Getty collection overall.”

“Beyond the core of Renaissance through Rococo works, our modern holdings too are magnificently enhanced by one of Goya’s late, bizarre subjects, The Eagle Hunter, and Degas’s majestic pastel After the Bath (Woman Drying Herself).”

Potts added, “No less exciting for the Department of Paintings is the addition of one of Watteau’s most famous and canonical works, La Surprise. It was indeed a very welcome surprise when this lost masterpiece reappeared ten years ago in Britain. And one can see why: the act of seduction portrayed in the painting is matched only by the artist’s delicately flickering brushwork—the combination of titillating subject and charming rendition that made him the most esteemed painter of his day. It will be very much at home at the Getty, where it crowns our other exceptional eighteenth-century French paintings by Lancret, Chardin, Greuze, Fragonard, and Boucher.”

La Surprise is a fête galante, a popular genre depicting outdoor revelry that Watteau invented and which epitomizes the light-hearted spirit of French painting in the early eighteenth century. The scene features a young woman and man in passionate embrace seemingly oblivious to the musician seated next to them. He is Mezzetin, the trouble maker, a stock comic character from the commedia dell’arte. Throughout Watteau’s short but illustrious career—he died when he was only 27 years old—the characters of the commedia dell’arte figured prominently in his paintings, often mingling with elegant contemporary figures in a park or landscape.

Highly admired in the eighteenth century, the painting was thought lost and for centuries was known to art historians only from a 1731 engraving and a copy in the British Royal Collection. In 2007 it was found in an English private collection, becoming the most important work by Watteau to be rediscovered in recent times.

La Surprise exemplifies Watteau’s delightful pictorial inventions, brilliant brushwork, and refined, elegant compositions,” said Davide Gasparotto, senior curator of paintings at the Getty Museum. “It is undoubtedly one of the most exquisite and important Watteau paintings to become available in modern times. We are now able to present to the public a seminal genre of French eighteenth-century painting in a masterwork by its inventor. La Surprise will no doubt become one of our most beloved and recognizable paintings.”

The painting and all of the 16 drawings were purchased as a group from a British private collection. The drawings are mostly Italian but there are also exceptional works by British, Dutch, Flemish, French, and Spanish artists. A nucleus of Italian Renaissance works anchors the group, including a rare and beautiful ‘cartoon’ (full-sized direct transfer drawing for a painting) by Lorenzo di Credi; one of Andrea del Sarto’s finest drawings (from the collection of artist-writer Giorgio Vasari); and Michelangelo’s powerful pen and ink study of a mourning woman, a famous discovery made at Castle Howard, England in 2000.

Giovanni Domenico Tiepolo, Punchinello Riding a Camel at the Head of a Caravan, late 1790s (Los Angeles: The Getty Museum).

Other highlights include Parmigianino’s ink drawing of the head of a young man; Savoldo’s Study for St Peter; Beccafumi’s Head of a Youth; and Sebastiano del Piombo’s Study for the Figure of Christ Carrying the Cross. From the post-Renaissance period, the collection features Barocci’s masterful Head Study of St Joseph; Rubens’s powerful oil-on-paper Study of an African Man Wearing a Turban; Cuyp’s panoramic View of Dordrecht, one of the great landscape drawings of the Dutch Golden Age; and Giovanni Domenico Tiepolo’s Punchinello Riding a Camel at the Head of a Caravan, a brilliant example of the narrative mastery for which Tiepolo was admired.

Goya’s The Eagle Hunter, a darkly satirical brush and ink drawing depicts a hunter wearing a metal cooking pot for a helmet while precariously suspending himself over a cliff to try to snatch young eagles from a nest. Degas, arguably the greatest draftsman of the nineteenth century, is represented by two drawings, a sheet with two chalk studies of ballet dancers, used by the artist for no fewer than three paintings, and a large and startlingly bold pastel showing his unrivaled innovation in that medium.

“Any one of these sheets on its own is truly extraordinary and would be a worthy and meaningful acquisition for the Getty. Together, the 16 drawings form an unparalleled roll call of the ‘best of the best,’ with iconic sheets by some of the world’s most celebrated artists,” said Julian Brooks, senior curator of drawings at the Getty Museum. “This powerful group of works represent the finest aspects of Western art history captured on paper. I am eagerly anticipating sharing these masterworks with our visitors as well as our international scholarly and museum community.”

While the majority of works are currently at the Getty Museum, some are still pending export licenses from the U.K. Research on further drawings from the same collection, with a view to possible acquisition, is currently underway. Plans are also proceeding to display the group together at the Getty Museum in a special installation in the near future.

The 16 Drawings
Study of a Mourning Woman, about 1500-05, by Michelangelo Buonarroti (Italian, 1475–1564)
Head of a Young Boy Crowned with Laurel, about 1500-05, by Lorenzo di Credi (Italian, c. 1457–1537)
Heads of Two Dominican Friars, about 1511, by Fra Bartolommeo (Italian, 1472–1517)
Study for the Head of Saint Joseph, about 1526–27, Andrea del Sarto (Italian, 1486–1530)
Study for the Figure of Christ Carrying the Cross, about 1513–14, by Sebastiano del Piombo (c. 1485–1547)
The Head of a Young Man, about 1539–40, by Parmigianino (Girolamo Francesco Maria Mazzola) (Italian, 1503–1540)
Head of a Youth, about 1530, by Domenico Beccafumi (Italian, 1484–1551)
Study for Saint Peter, about 1533, by Giovanni Girolamo Savoldo (Italian, c. 1480–1540)
Head of Saint Joseph, about 1586, by Federico Barocci (Italian, c. 1535–1612)
Head of an African Man Wearing a Turban, about 1609–13, by Peter Paul Rubens (Flemish, 1577–1640)
Panoramic View of Dordrecht and the River Maas, about 1645–52, by Aelbert Cuyp (Dutch, 1620–1692)
Punchinello Riding a Camel at the Head of a Caravan, late 1790s, by Giovanni Domenico Tiepolo (Italian, 1727–1804)
The Eagle Hunter, about 1812–20, by Francisco Jose de Goya y Lucientes (Spanish, 1746–1828)
The Destruction of Pharaoh’s Host, 1836, by John Martin (British, 1789–1854)
Two Studies of Dancers, about 1873, by Edgar Degas (French, 1834–1917)
After the Bath (Woman Drying Herself), about 1886, by Edgar Degas (French, 1834–1917)

 

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Thomas Campbell Receives Getty/Rothschild Fellowship

Posted in fellowships, museums by Editor on July 31, 2017

Press release (27 July 2017) from The Getty:

The Getty and the Rothschild Foundation today announced Dr. Thomas P. Campbell as the second recipient of the Getty Rothschild Fellowship. The fellowship supports innovative scholarship in the history of art, collecting, and conservation, using the collection and resources of both institutions. It offers art historians, museum professionals, or conservators the opportunity to research and study at both the Getty in Los Angeles and Waddesdon Manor in Buckinghamshire, England.

As the ninth director of The Metropolitan Museum of Art from 2009 to 2017, Campbell pursued a groundbreaking agenda that combined scholarship with accessibility. He reinforced the Museum’s excellence in its collections, exhibitions, publications and international engagement while reimagining the visitor experience both in the galleries and via an industry-leading digital presence. During his tenure, the museum increased its audience by 40%. His project for the Getty Rothschild fellowship will focus on the changing environment in which museums are operating and the ways art and cultural heritage can be used to promote mutual understanding.

The selection process for the Getty Rothschild fellowship considers a number of criteria, including whether the applicant’s work would benefit from proximity to the Getty and Rothschild collections. Fellowships are for up to eight months, with the time split equally between the Getty and Waddesdon Manor. Campbell will be at the Getty from November 2017 to February 2018 and at Waddesdon Manor from March to June 2018. Fellows also receive a stipend during their time at both locations. The fellowship is administered by the Getty Foundation.

Campbell says of his selection for the fellowship: “I am honored to be named a Getty/Rothschild fellow and to be given the opportunity to devote the coming year to examine, first, the fundamental question of where the cultural sector is heading as it responds to various geo-political, economic and digital challenges. And second, the related question of how we can use art and culture as a gateway to promote understanding in an ever-more connected but ever-more divided world.”

The inaugural recipient of the fellowship was Dr. David Saunders, a foremost expert in the area of conservation science who worked on museum and gallery lighting during the fellowship. In 2014, Lord Jacob Rothschild received the Getty Medal for his contributions to the practice, understanding, and support of the arts.

New Book | The Prince of Antiquarians: Francesco de Ficoroni

Posted in books by Editor on July 30, 2017

Available from ArtBooks.com:

Ronald Ridley, The Prince of Antiquarians: Francesco de Ficoroni (Rome: Quasar, 2017), 300 pages, ISBN: 978 887140 7753, 36€ / $55.

In all the literature on Rome in the eighteenth century, a figure is constantly—but fleetingly—mentioned: (Francesco di) Ficoroni. It is time to restore him to his rightful place, namely as the leading antiquarian in Rome of his age (1662–1747). He is the author of many books on his collections, and more than 500 of his letters survive, showing him as a central figure in the antiquarian life of Europe in the first half of the century, relied on by aristocrats, Church figures, and collectors. He was the leading cicerone (guide) to the early visitors of the Grand Tour. The richness and importance of his life are here revealed for the first time.

Ronald T. Ridley retired from University of Melbourne in 2005. He is the author of numerous books, including Napoleon’s Proconsul in Egypt, The Eagle and the Spade, and The Emperor’s Retrospect. He is a Fellow of the Antiquaries’ Society, the Royal Historical Society, the Pontifical Academy of Roman Archaeology, and the Australian Academy of the Humanities.

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Exhibition | Morgan: Mind of the Collector

Posted in exhibitions by Editor on July 29, 2017

On this fall at the Wadsworth Atheneum:

Morgan: Mind of the Collector
Wadsworth Atheneum Museum of Art, Hartford, CT, 23 September — 31 December 2017

Nearly 100 years ago, the Wadsworth Atheneum received an extraordinary gift of more than 1,350 works of art from the collection of financier J. Pierpont Morgan. These objects, an array of 18th century German and French porcelains, Italian majolica, baroque goldsmith’s work and glass, and a small group of antiquities, now form the core of the museum’s European decorative arts collection.

Morgan’s story as a collector is not as well known as the story of his business career despite the groundbreaking quantity, scope, and character of his collection. Estimated to have exceeded 20,000 works of art assembled in only 23 years, the quality of the collection was remarkably high—a great achievement at a time when scholarship was young and fakery rampant.

Pierpont began to seriously collect art after his father’s death in 1890, and by 1907 he was devoting most of his time to building collections for himself and for institutions. Simultaneously, Morgan’s extensive philanthropies invigorated and reshaped a number of fledgling public institutions like the Metropolitan Museum, the Museum of Natural History, and the Wadsworth Atheneum Museum of Art.

Morgan: Mind of the Collector explores Pierpont’s groundbreaking collecting career through its impact on art scholarship, the art market, and the redefining of collecting in American and European culture. Profiling what he collected and how, the exhibition assesses this remarkable man and his colossal achievement with fresh eyes and the distance of a century. Was he a cultural super-hero, a ransacking barbarian, or something more nuanced? Featuring stellar works of art from the Wadsworth Atheneum, the Metropolitan Museum of Art, and the Morgan Library, this exhibition tells a variety of illuminating stories about J. Pierpont Morgan as a collector, delving into his mind and exploring his enduring legacy.

Conference | Morgan: Mind of the Collector

Posted in conferences (to attend) by Editor on July 29, 2017

From H-ArtHist:

Morgan: Mind of the Collector
Wadsworth Atheneum Museum of Art, Hartford, CT, 10–11 November 2017

J. Pierpont Morgan (1837–1913) spent over twenty years traveling the globe to amass the largest collection of art and cultural artifacts of his time. Estimated to have exceeded 20,000 works of art, Morgan’s collections represent a broad historical and geographic range of art and cultural artifacts. Acting on his father’s wishes, J.P. Morgan’s son, Jack, donated more than 1,350 works collected by his father to the Wadsworth Atheneum in his native Hartford. In fall 2017, the Wadsworth Atheneum will mark the centennial anniversary of Morgan’s gift and its historical impact with an exhibition, Morgan: Mind of the Collector. The Wadsworth Atheneum will host an international symposium in conjunction with the exhibition to reexamine and showcase the latest research about Morgan’s collection and how he shaped the identity of the collector in the modern age.

For more information or to register, please contact faculty@wadsworthatheneum.org. Hotel discounts are available for the attendees of the conference at the Hartford Marriott Downtown.

F R I D A Y ,  1 0  N O V E M B E R  2 0 1 7

12:00  Registration

1:15  Introduction
• Neil Harris (University of Chicago), Morgan the Collector

1:45  1 | Morgan and the Biblical Lands (chair, Steven Tinney, University of Pennsylvania)
• Yelena Rakic (Metropolitan Museum of Art, New York), Discovering the Ancient Near East
• Lyle Humphrey (North Carolina Museum of Art, Raleigh), Morgan in Egypt
• John Bidwell (Morgan Library & Museum, New York), Morgan’s Bibles

3:30  Break

3:45  2 | The Romance of History (chair, Christine Brennan, Metropolitan Museum of Art)
• Christine Brennan (Metropolitan Museum of Art, New York), Morgan and Medieval Art
• Roger Wieck (Morgan Library & Museum, New York), Morgan and Manuscripts

5:15  Exhibition Viewing and Reception

6:30  Speakers’ Dinner

S A T U R D A Y ,  1 1  N O V E M B E R  2 0 1 7

10:00  3 | Building a Beautiful Life (chair, Colin Bailey, Morgan Library & Museum)
• Wolfram Koeppe (Metropolitan Museum of Art, New York), Gold and Garnets: A Love of Precious Objects
• Linda Roth (Wadsworth Atheneum Museum of Art, Hartford), Prince’s Gate, London
• Alice Cooney Frelinghuysen (Metropolitan Museum of Art, New York), From Gilded Age Interior to Renaissance Palazzo: Morgan’s New York House

12:00  Lunch

1:00  4 | The Politics of Collecting: The Global Network (chair, Inge Reist, Center for the History of Collecting at the Frick Collection)
• Catherine Scallen (Case Western Reserve University, Cleveland), Turning to the Experts
• Jennifer Tonkovich (Morgan Library & Museum, New York), Morgan’s Experts and Dealers in London and Europe
• Barbara Pezzini (National Gallery, London), Collecting British Paintings

3:00  Break

3:15  5 | Crafting a Legacy (chair, Jennifer Tonkovich, Morgan Library & Museum)
•  Charlotte Vignon (Frick Collection, New York), Morgan and Duveen: The Formation and Dispersal of a Collection
• Jo Briggs (Walters Art Gallery, Baltimore), Morgan and His Fellow American Collectors

5:00  Reception and Exhibition Viewing

 

Call for Papers | Collage, Montage, Assemblage, 1700–Present

Posted in Calls for Papers by Editor on July 28, 2017

From the conference website:

Collage, Montage, Assemblage: Collected and Composite Forms, 1700–Present
University of Edinburgh, 18–19 April 2018

Proposals due by 1 December 2017

This two-day multidisciplinary conference will explore the medium of collage across an unprecedentedly broad chronological range, considering its production and consumption over a period of more than three hundred years. While research on paper collage plays a key role in histories of modern art, particularly of the 1920s and 1930s, its longer history and diverse range of manifestations are often overlooked within art historical scholarship. Though important work is being done on collage at both the level of the individual work and the medium more broadly, this has often overlooked collage’s multitudinous forms and assorted temporal variants. This conference accordingly aims to tackle this oversight by thinking about collage across history, medium, and discipline. Employing an inclusive definition of the term, the conference invites papers discussing a variety of material, literary, and musical forms of collage, including traditional papier collé alongside practices such as writing, making music and commonplacing, and the production of composite objects such as grangerized texts, decoupage, quilts, shellwork, scrapbooks, assemblage, and photomontage.

In so doing, the conference will situate histories of modernist collage in relation to a much broader range of cultural practices, allowing for productive parallels to be drawn between the cultural productions of periods that are often subject to rigid chronological divisions. Reciprocally, the conference will encourage a consideration of collage made in the eighteenth and nineteenth centuries against key concepts and methodologies from the study of modernism and postmodernism, such as the objet trouvé or assemblage. From papier collé to the digital age, the conference will highlight collage’s rich history and crucial role in cultural production over the last three hundred years.

We invite contributions from scholars working in the fields of art history, history, music, material culture studies, and literature. We also welcome and encourage papers from practitioners working in any medium whose practice is influenced by collage, assemblage, and/or montage. Potential topics could include, but are not limited to
• Collage as medium
• Collage, assemblage, montage: terminologies and categories
• Defining/redefining collage
• Making/viewing collage
• Collage and identity
• Collage and intention: chance, agency, intentionality
• Collage and the modern/pre-modern/postmodern
• Collage in art historical writing/literary criticism
• Object biographies
• Collage as political tool
• Collage in space
• Collage in the digital age
• Collage and collaboration
• Processes: collecting, collating, compiling, combining
• Collage in/as music
• Writing/reading collage
• Collage and geography

Please send abstracts of no more than 300 words, and biographies of no more than 100 words, to Cole Collins and Freya Gowrley at collage.assemblage.montage@gmail.com by 1 December 2017.

The conference is supported by Edinburgh College of Art’s Dada and Surrealist Research Group with the University of Edinburgh’s Institute for Advance Studies in the Humanities. For further information, please contact the above email address; check out our website; or follow us on Twitter for updates @Collage_Conf.

New Book | Cerimoniale dei Borbone di Napoli

Posted in books by Editor on July 28, 2017

Available from ArtBooks.com:

Attilio Antonelli, ed., Cerimoniale dei Borbone di Napoli, 1734–1801 (Naples: Arte’m, 2017), 560 pages, ISBN: 9788 85690 5595, 65€ / $100.

Quarto volume della collana, esemplare per rigore filologico e ricchezza degli apparati iconografici, dedicata ai cerimoniali della corte di Napoli, dato alle stampe in occasione del terzo centenario della nascita di Carlo di Borbone. Arricchito da una magistrale introduzione di Raffaele Ajello, il volume—corredato di saggi, illustrazioni, note e apparati corposi—presenta due manoscritti che illustrano la vita di corte nell’arco della lunga parabola del nuovo regno: dall’arrivo di Carlo nel 1734 fino alla sua partenza nel 1759, quando meriterà una nuova corona, quella di re di Spagna. Accanto a Carlo, le figure della moglie Maria Amalia di Sassonia e del ministro Bernardo Tanucci. Il ritorno di Ferdinando di Borbone da Palermo a Napoli nel 1801 segna il momento conclusivo della cronaca cerimoniale.

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The Burlington Magazine, July 2017

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on July 27, 2017

The eighteenth century in The Burlington:

The Burlington Magazine 159 (July 2017), Decorative Arts

E D I T O R I A L

• “Furniture History: The Digital Future,” p. 519.
On the eve of the 300th anniversary of the birth of Thomas Chippendale in 2018, the editorial addresses the British and Irish Furniture Makers Online Project (BIFMO), which updates the The Dictionary of English Furniture Makers 1660–1840, edited by Geoffrey Beard and Christopher Gilbert and published by the Furniture History Society in 1986. The BIFMO—a collaboration between the FHS and the Centre for Metropolitan History (CMH) at the Institute of Historical Research, University of London—is an open-access searchable database of all the entries from The Dictionary, together with the names of furniture makers from Laurie Lindey’s recent PhD thesis (Lindey, as a post-doctoral research fellow is overseeing the project at the IHR with Mark Merry of the CMH). The first phase of the BIFMO’s launch is scheduled for 30 September.

A R T I C L E S

• Koenraad Brosens and Astrid Slegten, “Creativity and Disruption in Brussels Tapestry, 1698–1706: New Data on Jan van Orley and Judocus de Vos,” pp. 528–35.
• Francesco Morena, “The Emperor of Mexico’s Screen: Maximilian I’s ‘Biombo’ in Trieste,” pp. 536–43.

R E V I E W S

• Simonetta Prosperi Valenti Rodinò, Review of Sabina de Cavi, ed., Dibujos y ornamento: Trazas y Dibujos de Artes decorativas entre Portugal, España, Italia, Malta y Grecia: Estudio en honor de Fuensanta García de la Torre (De Luca Editori d’Arte, 2015), pp. 559–60.
• Pierre Terjanian, Review of A. V. B. Norman and Ian Eaves, Arms & Armour in the Collection of Her Majesty The Queen, European Armour (Royal Collection Trust, 2016),” pp. 560–61.
• Robin Hildyard, Review of Brian Gallagher, Barbara Stone Perry, Letitia Roberts, Diana Edwards, Pat Halfpenny, Maurice Hillis and Margaret Ferris Zimmerman, British Ceramics, 1675–1825: The Mint Museum (D. Giles, 2015), pp. 561–62.
• Gauvin Alexander Bailey, Review of Christopher M.S. Johns, China and the Church: Chinoiserie in Global Context (University of California Press, 2016) and Marco Musillo, The Shining Inheritance: Italian Painters at the Qing Court, 1699–1812 (Getty Publications, 2016),” pp. 562–63.
• Philippa Glanville, Review of James Rothwell, Silver for Entertaining: The Ickworth Collection (Philip Wilson, 2017), pp. 563–64.
• Humphrey Wine, Review of the exhibition Le Baroque des Lumières: Chefs-d’œuvre des églises parisiennes au XVIIIe siècle (Paris: Petit Palais, 2017), pp. 572–73.
• Patrick Bade, Review of the exhibition La Quête de la ligne: Trois siècles de dessin en Allemagne (Hamburg: Kunsthalle, 2016 and Paris: Fondation Custodia, 2017), pp. 574–75.
• Jamie Mulherron, Review of the exhibition Marie Madeleine: La Passion révélée (Bourg-en-Bresse: Monastère Royal de Brou; Carcassonne: Musée des Beaux Arts; and Douai: Musée de la Chartreuse, 2017), pp. 577–79.
• Elsje van Kessel, Review of the newly refurbished gallery of Portuguese painting and sculpture at the Museu Nacional de Arte Antiga (MNAA), pp. 579–80.
• Philippe Bordes, Review of the exhibition Charles Percier: Architecture and Design in an Age of Revolutions (New York, Bard Graduate Center Gallery; and Château de Fontainebleau, 2016–17), pp. 583–84.

Judocus de Vos, after Lambert de Hondt, Lucas Achtschellinck, and Jan van Orley, Naval Battle from the Art of War series, ca. 1715–20; wool and silk, 344 × 400 cm (Amsterdam: Rijksmuseum).

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New Book | Pour la plus grande gloire du roi: Louis XIV en thèses

Posted in books by Editor on July 26, 2017

As Pierre-Henri Biger notes on his Facebook page (with thanks to him for forwarding the notice for publication here at Enfilade) . . .

Comment réaliser des ouvrages traitant de l’Art abondamment illustrés et savants sans qu’ils coûtent une fortune ? Cela les écarte de leur public, car les savants sont rarement riches, et les riches rarement savants dans ce domaine. Mme Véronique Meyer, qui me fit l’honneur d’être membre de mon jury de thèse (et donné le plaisir de lire son élogieux pré-rapport) a élégamment, intelligemment et généreusement résolu le problème. Pour accompagner l’ouvrage Pour la plus grande gloire du Roi qu’elle publie aux Presses Universitaires de Rennes, elle met en ligne un impressionnant catalogue, plein d’images de thèses à la gloire de Louis XIV et de commentaires détaillés. Et ce document a vocation à s’enrichir. Bravo, Madame (et bravo aux PUR et au Centre de Recherches du Château de Versailles) !

From PUR:

Véronique Meyer, Pour la plus grande gloire du roi: Louis XIV en thèses (Rennes: Presses Universitaires de Rennes, 2017), 372 pages, ISBN: 978 27535 54641, 23€.

C’est au xviie siècle en France que la thèse illustrée connaît son apogée. À l’exemple de Richelieu et de Mazarin, Louis XIV accorda aux thèses une place de choix dans la di usion de son image. De 1638 à 1704, plus de 130 thèses de philosophie, théologie, droit et médecine lui furent dédiées. Même si certaines sont destinées à son père, à sa mère ou aux parlements de province, il apparaît en haut de l’a che en personne ou par ses armoiries. Les étudiants étaient issus de l’entourage royal, ls de ministres ou de parlementaires, membres de congrégations religieuses, et quelquefois même étrangers. Courtisans, parlementaires et ecclésiastiques de haut rang participaient à la soutenance publique où le candidat et sa famille adressaient des éloges au roi. On y distribuait des a ches ornées de son portrait ou d’une allégorie à sa gloire exécutées par les meilleurs artistes du temps, aussi les dépenses engagées étaient-elles considérables. Soutenues à Paris, mais également en province et à l’étranger, les thèses, et avec elles l’image du roi, pénétraient les demeures des Français et se di usaient à l’extérieur du royaume. Cet ouvrage décrit successivement la place des thèses dans le cursus universitaire, leur soutenance, leur dédicace et leur di usion ainsi que l’élaboration de leurs illustrations, en insistant sur le rôle des peintres, graveurs et éditeurs. Il montre comment elles rendent compte de l’histoire du roi et de l’évolution de son portrait physique et moral. Ce volume est accompagné d’un catalogue raisonné, abondamment illustré, des thèses dédiées au roi, consultable sur les sites du Centre de recherche du château de Versailles et des Presses universitaires de Rennes.

Veronique Meyer, professeur d’histoire de l’art à l’université de Poitiers, est spécialiste de l’estampe à l’époque moderne. Elle a publié notamment avec la Commission des travaux historiques de la Ville de Paris L’illustration des thèses à Paris dans la seconde moitié du xviie siècle. Peintres, graveurs, éditeurs (2002) et L’œuvre gravé de Gilles Rousselet (2004), et participé à l’exposition Images du Grand Siècle. L’estampe française au temps de Louis XIV (1660–1715), (Bnf-Getty Research Institute, 2015–16).

T A B L E  D E S  M A T I È R E S

Remerciements
Avertissement
Introduction

Première partie: LA THÈSE : L’UNIVERSITÉ, LE CANDIDAT ET LE DÉDICATAIRE

1  Les thèses dans le cursus universitaire
La faculté des arts
La faculté de théologie
La faculté de médecine et de pharmacie
La faculté de droit

2  La soutenance
Les candidats
L’invitation à la soutenance
Le décor de la salle: tapisseries et tentures
Le dais et le portrait du roi
Le public
Protocole et préséance
Panégyriques, harangues et odes

3  L’illustration des thèses
Le placard et le livret
La dédicace et ses raisons d’être
Les cadres
La réception

Deuxième partie: ÉLABORATION, DIFFUSION, RÉCEPTION

4  Les peintres
Charles Le Brun
Pierre Mignard
Nicolas Mignard
Pierre-Paul Sevin
Antoine Paillet

5  Les graveurs
Les portraitistes
Les graveurs d’histoire
Les graveurs en lettres

6  Contrats et dépenses
Le prix des gravures
Diffusion et réutilisation

Troisième partie: LE ROI, SON HISTOIRE ET SON PORTRAIT

7  L’histoire du roi
De la naissance au règne personnel, 1638–1660
Célébration du roi en province et à l’étranger, 1649–1653
Vers l’affirmation du pouvoir royal, 1653–1660
Le pouvoir personnel : le roi triomphant, 1661–1715

8  Le portrait du roi
Le portrait physique : du visage au costume
Le portrait moral dans les sujets d’histoire : l’allégorie et l’emblème
Les vertus
Le portrait en buste : attributs et symboles

Conclusion

Abréviations
Table des thèses dédiées au roi
Annexe : table des thèses dédiées à la famille royale, aux fils légitimés de Louis XIV et aux favorites
Sources et bibliographie
Table de concordance
Table des illustrations
Crédits photographiques
Index des noms de personnes

More information about the online Catalogue des theses dediees à Louis XIV is available here»

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