Exhibition | France Viewed from the Grand Siècle
Now on view at the Louvre:
France Viewed from the Grand Siècle: Drawings by Israël Silvestre (1621–1691)
Musée du Louvre, Paris, 15 March — 25 June 2018
Curated by Bénédicte Gady and Juliette Trey
While Israël Silvestre’s engravings circulated widely, his drawings remain relatively unknown. The Musée du Louvre is home to a remarkable collection of them, to be shown to the public for the first time.
After training as an engraver under Jacques Callot, Israel Silvestre very quickly turned to the cityscape. Small and picturesque, his early ‘views’ were of his native Nancy and the cities he passed through on the several journeys he made between Paris and Rome. By contrast, his mature works offer broad panoramas of the French capital, with its royal festivities and the changes it was undergoing, and outlines of the cities conquered by Louis XIV in Lorraine and the Ardennes. In addition, his series devoted to the handsome Ile-de-France châteaux—Vaux-le-Vicomte, Meudon, Montmorency, Versailles—brought a fresh eye to architecture and gardens.
The exhibition is organized by Bénédicte Gady and Juliette Trey of the Department of Prints and Drawings, Musée du Louvre.
Benedicte Gady and Juliette Trey, La France vue du Grand Siècle: Dessins d’Israël Silvestre (1621–1691) (Paris: Lienart, 2018), 208 pages, ISBN: 978-2359062311, 29€.
Call for Papers | Excess! at UAAC
Along with the HECAA session at this year’s UAAC Conference, readers may be interested in this panel organized by Ersy Contogouris and Marie-Ève Marchand. Details and a full list of panels (68 in all) are available here»
Excess! | Universities Art Association of Canada
Department of Fine Arts, University of Waterloo, Ontario, 25–27 October 2018
Proposals due by 1 May 2018
As a transgression of a norm that is culturally contingent, excess has tended to be condemned in the West as a moral failing. Yet, it can also be a strategy for empowerment, agency, and creativity (Skelly, 2017, 2014; Potvin & Myzelev 2009). And though it often manifests itself as overabundance, its counterpart—including vacuum, censorship, or prohibition—can also be a form of excess. This panel seeks to investigate different manifestations of excess in visual art and material culture. At what point does ‘a lot’ becomes ‘too much’? Are there degrees of excess (a moderate vs. an excessive excess)? Who decides? What are the emotional, visual, environmental, conceptual, or other modalities, effects, and responses to excess? What are the gendered, sexualized, racialized, geographical, cultural, class-specific, or other valences of excess? And how can some mediums or materials in themselves be markers of excess? We welcome explorations into these and other displays of excess in art and design from historians, curators, and practitioners. Submissions for presentations in French or English should include an abstract (of up to 300 words) and a short biobibliography (of up to 150 words) and should be sent to Ersy Contogouris (ersy.contogouris@umontreal.ca) and Marie-Ève Marchand (marie- eve.marchan@mail.concordia.ca) using the form available as a PDF file here. For more information, please contact the session organizers.
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