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 Adrian Phillips 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 with harpsichord virtuoso Nathaniel Mander

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: Joanna Marschner
• 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.

Note (added 26 October 2017) — Several small changes were made to the programme and corrected in the posting above; a final copy is available here.

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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. . .

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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.