Exhibition on Screen | Canaletto & the Art of Venice
As noted at Art Daily (23 July 2017) . . .
Exhibition on Screen
open its fifth season with Canaletto & the Art of Venice, an immersive journey into the life and art of Venice’s famous view-painter.
No artist better captures the essence and allure of Venice than Giovanni Antonio Canal, better known as Canaletto. Despite Canaletto’s close relationship with the city in which he lived and died, the world’s largest collection of his works resides not in Italy, but in Britain as part of the Royal Collection. In 1762, George III purchased almost the entire collection amassed by Joseph Smith, British Consul in Venice and Canaletto’s principal agent.
Exhibition on Screen’s latest release will grant unique access to the Royal Collection’s exceptional holdings of Canaletto’s work, much of which is on display as part of the exhibition Canaletto & the Art of Venice at The Queen’s Gallery in London (19 May — 12 November 2017). The remarkable group of over 200 paintings, drawings, and prints on display offer unparalleled insight into the artistry of Canaletto and his contemporaries and the city he became a master at capturing. The film also offers the chance to step inside two official royal residences—Buckingham Palace and Windsor Castle—to learn more about the artist and Joseph Smith, the man who introduced Canaletto to Britain.
From London, Canaletto & the Art of Venice travels to the great Italian city to explore the origins of Canaletto’s art. Whilst appearing to be faithful representations of the city, Canaletto’s skill came from his manipulation of reality. He moved buildings around or opened up vistas to create the perfect composition, and his paintings of Venice were highly sought after by Grand Tourists. His playful imagination extended into a new genre in which he excelled. The capriccio combined real and fantasy architecture into imagined views. In this sense, Canaletto is more than a topographical artist—he is a master storyteller.
Cinema-goers will embark on their very own 21st-century Grand Tour, visiting the sites enjoyed by their 18th-century counterparts and immortalised in Canaletto’s views—from the Rialto Bridge to the Piazza San Marco, and the Palazzo Ducale to the Church of Santi Giovanni e Paolo. Guided by Royal Collection Trust curators and the world’s leading experts in Venetian history, the film is not only a wonderful way to see the exhibition, but an opportunity to get closer to Canaletto and the city that inspired him.
Earlier films from Exhibition on Screen are now available for purchase here»
New Book | Malleable Anatomies
From OUP:
Lucia Dacome, Malleable Anatomies: Models, Makers, and Material Culture in Eighteenth-Century Italy (Oxford: Oxford University Press, 2017), 320 pages, ISBN: 978 01987 36189, $99.
Malleable Anatomies offers an account of the early stages of the practice of anatomical modeling in mid-eighteenth-century Italy. It investigates the ‘mania’ for anatomical displays that swept the Italian peninsula and traces the fashioning of anatomical models as important social, cultural, and political as well as medical tools. Over the course of the eighteenth century, anatomical specimens offered particularly accurate insights into the inner body. Being colored, soft, malleable, and often life-size, they promised to foster anatomical knowledge for different audiences in a delightful way. But how did anatomical models and preparations inscribe and mediate bodily knowledge? How did they change the way in which anatomical knowledge was created and communicated? And how did they affect the lives of those involved in their production, display, viewing, and handling?
Examining the circumstances surrounding the creation and early viewing of anatomical displays in Bologna and Naples, Malleable Anatomies addresses these questions by reconstructing how anatomical modeling developed at the intersection of medical discourse, religious ritual, antiquarian and artistic cultures, and Grand Tour display. While doing so, it investigates the development of anatomical modeling in the context of the diverse worlds of visual and material practices that characterized the representation and display of the body in mid-eighteenth-century Italy. Drawing attention to the artisanal dimension of anatomical practice and to the role of women as both makers and users of anatomical models, it considers how anatomical specimens lay at the center of a composite world of social interactions, which led to the fashioning of modelers as anatomical celebrities. Moreover, it examines how anatomical displays transformed the proverbially gruesome practice of anatomy into an enthralling experience that engaged audiences’ senses.
Lucia Dacome is an associate professor and Pauline M.H. Mazumdar Chair in the History of Medicine at the IHPST, University of Toronto. She received her PhD from the University of Cambridge and held postdoctoral fellowships at the Max Planck Institute for the History of Science in Berlin, the Wellcome Trust Centre for the History of Medicine at UCL, the UCLA Centre for seventeenth- and eighteenth-century studies in Los Angeles, and a Marie Curie Intra-European Fellowship supported by the European Commission at the Centre Alexandre Koyre/CNRS in Paris. Her research focuses on themes at the intersection of the history of medicine, the history of the body, the history of visual and material cultures of medicine, gender history, the history of the self, and that of medical practices and exchanges in the Mediterranean world.
C O N T E N T S
Acknowledgments
List of Plates
List of Figures
List of Abbreviation
Introduction
1 Prospero’s Tools
2 Artificer and Connoisseur
3 Anatomy, Embroidery, and the Fabric of Celebrity
4 Women, Wax, and Anatomy
5 Blindfolding the Midwives
6 Transferring Values
7 Injecting Knowledge
Epilogue: Becoming Obsolete
Selected Bibliography
Index
Conference | Beyond Reproductive Printmaking
From H-ArtHist:
Beyond Reproductive Printmaking: Prints and the Canon of European Painting, ca. 1500–1810
Diesseits und jenseits von Reproduktion: Druckgrafik und der Kanon der europäischen Malerei
Dresden, 18–19 September 2017
Registration due by 8 September 2017
Eine kooperative Veranstaltung des Kupferstich-Kabinetts der Staatlichen Kunstsammlungen Dresden und des Institutes für Kunst- und Musikwissenschaft der TU Dresden (Lehrstuhl für Mittlere und Neuere Kunstgeschichte) / joint conference of the Cabinet of Prints, Drawings and Photographs of the Dresden State Art Collections and the Institute of Art and Music of the Technical University Dresden
Venues
Studiensaal des Kupferstich-Kabinetts und Hans-Nadler-Saal im Residenzschloss, Gemäldegalerie Alte Meister im Zwinger / Print room of the Cabinet of Prints, Drawings and Photographs, Hans-Nadler-Saal and Old Masters Picture Gallery, Dresden
Organization Team
Susanne Magister, M.A.
Sabine Peinelt-Schmidt, M.A.
Contact
beyond-reproduction-2017@gmx.de
For the lectures on 19th September we kindly ask for registration via email no later than 8th September 2017. We would like to invite all interested guests to the public evening lecture of Dr. Rudolf Rieger in the print room of the Cabinet of Prints, Drawings and Photographs on 18th September 2017 at 6.30pm.
M O N D A Y , 1 8 S E P T E M B E R 2 0 1 7
18:30 Öffentlicher Abendvortrag im Studiensaal des Kupferstich-Kabinetts
• Rudolf Rieger (Bonn), Adam von Bartsch (1757–1821) als Graphiker: Die Reproduktion von Handzeichnungen alter Meister zwischen Faksimileanspruch, normativen Rezeptionsvorgaben und künstlerischer Interpretation
T U E S D A Y , 1 9 S E P T E M B E R 2 0 1 7
9:30 Registration
10.00 Section I | Collecting Interpretative Prints: Now and Then
Moderated by Jürgen Müller (Dresden)
• Gudula Metze (Dresden), Königliches Kunst-Kompetenzzentrum. Das Dresdener Kupferstich-Kabinett als Kunstsammlung, Wissensspeicher und Forschungsstelle im 18. Jahrhundert
• Rieke van Leeuwen (Den Haag), Reproductive Prints in the Collection of the Rijksbureau voor Kunsthistorische Documentatie (RKD)
11.25 Section II | Translation and Technique
Moderated by Stephanie Buck
• Rena M. Hoisington (Baltimore), Étienne Fessard’s Prints of the Chapel of the Hôpital des Enfants Trouvés in Paris, 1751–59
• Caroline O. Fowler (New Haven), Defacing Raphael in the Eighteenth Century
12:30 Lunch
14.00 Section III | Mobile Motifs and Changes of Meaning
Moderated by Susanne Magister (Dresden)
• Ralf Bormann (Frankfurt a.M.), Das Nachleben reproduzierter dionysischer Sarkophagmotive im Kunstbetrieb der Académie Royale
• Christine Moisan-Jablonski (Warsaw), Geographical Metamorphoses: The influence of a composition attributed to Justus van Egmont and that of the “Elements” cycle, engraved by Jeremias Falck, on print series produced by German publishing houses
• Aude-Line Schamschula (Heidelberg), Der Herkules-Zyklus von Frans Floris. Druckgrafik als Medium der Rezeption
15.50 Section IV | Interpretative Prints as Sources for the History of Reception
Moderated by Sabine Peinelt-Schmidt (Dresden)
• Uta Neidhardt (Dresden), Gillis van Coninxloo – ein Meister des Spätwerks? Die Bedeutung grafischer Reproduktionen für die Rekonstruktion und Rezeption des Schaffens eines Hauptmeisters der flämischen Landschaftskunst
• Marina Daiman (New York), ‘Diverse opere grandi le quale vanno in stampa’: Rubens’s Fame, Theft, and the Business of Prints
• Alice Ottazzi (Torino / Paris), The Role of Mezzotint in Shaping International Reputations: An Aspect of the Reception of the English School in France
M O N D A Y , 1 8 S E P T E M B E R 2 0 1 7
The following lectures of the first day of the conference are reserved for the speakers due to space limitations of the print room.
11:00 Registration
11:45 Welcome by Stephanie Buck, Jürgen Müller, Susanne Magister, and Sabine Peinelt-Schmidt
12:30 Jaqueline Klusik-Eckert (Erlangen), Stichkopien: Phänomen der Rezeption oder Hinweis auf einen Paragone?
12:50 Christien Melzer (Bremen), Im Zeichen der Lilie. Französische Druckgraphik zur Zeit Ludwigs XIV.
13:10 Evelyn Wöldicke (Berlin), Gemäldereproduktionen im Clairobscur-Holzschnitt? John Baptist Jackson und die Geschichte eines gescheiterten Versuchs
13:30 Zalina V. Tetermazova (Moskow), Colour Prints by Gabriel Scorodoomoff (1754–1792): Between Painting and Graphic Arts
13:50 Giorgio Marini (Firenze), Giuseppe Longhi’s La Calcografia: Theory and Techniques of Neoclassical Reproductive Printmaking
14:45 Pause and Change of Location
Gemäldegalerie Alte Meister der Staatlichen Kunstsammlungen Dresden, im Zwinger, Dresden
15:45 Martin Schuster (Dresden), Moderation and Introduction
Visit to the Old Masters Picture Gallery with presentation of preparatory drawings and prints from the Recueil d’Estampes d’après les plus célèbres Tableaux de la Galerie Royale de Dresde
Enfilade 
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