Enfilade

New Book | Jacques-François Blondel, architecte des Lumières

Posted in books by Editor on May 24, 2018

From Classiques Garnier:

Aurélien Davrius, Jacques-François Blondel, architecte des Lumières (Paris: Classiques Garnier, 2018), 955 pages, ISBN: 978-2406072843, 84€.

Jacques-François Blondel (1705–1774) est célèbre pour ses écrits et son enseignement qui servirent dans la formation des élèves architectes à l’École des beaux-arts pendant le xixe siècle et au début du xxe siècle. Cet ouvrage retrace la vie d’un professeur de talent qui forma toute une génération d’architectes européens.

S O M M A I R E

Introduction

I. Du Cabinet à l’école des Arts, les Débuts d’une Carrière
• Les origines rouennaises de la famille Blondel
• Se faire un prénom
• Premier mariage et amitiés (1729)
• Au service du bonheur privé: Le traité De la distribution des Maisons de Plaisance (1737–1738)
• Les édifices privés
• La plume, le burin et l’équerre: Les débuts d’une carrière d’auteur
• 1737–1754, « L’École des Arts », ou les choix de l’enseignement
• Les décors éphémères
• Blondel dans L’Encyclopédie (1748–1757)
• Une anthologie à la mesure de Blondel: L’Architecture françoise (1752–1756)
• 1754–1755, de l’École des Arts à l’Académie royale d’architecture
• Une campagne contre le rocaille

II. Dans le Grand Atelier Royal du Louvre
• Premiers pas à l’Académie et premières commandes
• « Un nouvel hymen pour pouvoir mettre à couvert mon mobilier »
• Projet d’une Académie des beaux-arts à Moscou (1758)
Parva sed apta, ou une rare collaboration entre belles-lettres et architecture au xviiie siècle: Jacques-François Blondel, Jean-François de Bastide et Élie-Catherine Fréron
• Première commande officielle: Le « Manuscrit de Blois » (1760)
• Les édifices sacrés: Blondel théoricien du « gothique des Lumières »
• Les édifices publics: Commandes et plans de prestige
• La place d’Armes de Metz: Le chef-d’œuvre de Blondel
• Le projet d’embellissements de Strasbourg
• 1762–1774, Blondel professeur royal, une décennie entre succès et inimitiés
• Mort de Blondel

III.  Legs Blondélien et élèves
• Le Cours d’architecture: Son opus magnum
L’homme du monde éclairé par les arts (1774): L’œuvre ultime
• Un francophile chez les Anglais: Le cas de William Chambers
• Les principaux élèves du « fameux Blondel »

Conclusion

Exhibition | Dibujos de Luis Luis Paret (1746–1799)

Posted in books, catalogues, exhibitions by Editor on May 23, 2018

Opening this week at the National Library of Spain:

Dibujos de Luis Paret (1746–1799)
Biblioteca Nacional de España, Madrid, 25 May — 16 September 2018

Curated by Alejandro Martínez Pérez

Luis Paret, Thalia, 1794, pencil, pen and ink, with white highlights and golden pigment (Madrid: BNE).

Luis Paret y Alcázar was one of the most important Spanish artists of the eighteenth century. This exhibition shows his numerous drawings, prints, and paintings. Known as the ‘Spanish Watteau’, Paret was isolated from the academic art theory after an unfortunate incident with the Prince don Luis. This event led him to exile, and many historians judge that this was the reason why he was distanced from the Spanish art of his time. His nonconformity with other artists of his time is most likely the result of his culture and great humanistic education. Paret has been recognized as the best representation of Spanish Rococo and the second most important Spanish painter of the eighteenth century, after Goya. The exhibition focuses on the multidisciplinary character of the artist including his drawings, paintings, prints, but also showing him as a great translator and calligrapher.

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Luis Paret y Alcázar es una de las figuras más interesantes del arte español del siglo XVIII. Artista erudito de azarosa biografía, ha sido aislado del discurso teórico del arte español de su tiempo debido a un eslogan —el «Watteau espagnol»— que se repite constantemente y le señala como el más genuino representante del rococó en España, y segundo pintor más importante del siglo XVIII… después de Goya, ¡claro está!

El episodio que le llevó al exilio, consecuencia directa de su relación con el infante don Luis, ha servido como causa en las consideraciones de muchos historiadores sobre la distancia de Paret con respecto al arte español de su tiempo. La expulsión de la patria, y el consiguiente distanciamiento de la corte, justificarían la pérdida de la oportunidad de hacer carrera al servicio del rey y de triunfar en la Academia de San Fernando, donde se había formado. Sin embargo, su heterodoxia respecto a otros artistas contemporáneos se debe a su formación y cultura.

La imagen, proyectada por Ceán Bermúdez, de un artista con una gran formación humanística ayudó a trazar ese halo de heterodoxia que le rodea. Por ello, para comprender mejor su singularidad, conocer sus modelos y desentrañar cómo se fraguó su personalidad artística, hemos querido adentrarnos en el corpus de dibujos de Luis Paret y analizar el contenido de su biblioteca, con el fin de averiguar el porqué de ese distanciamiento del arte académico.

Con este telón de fondo historiográfico planteamos la exposición, un repaso completo a su trayectoria a través de dibujos y estampas, pinturas y libros, prestando atención a las múltiples facetas de dibujante, pintor, grabador, traductor, calígrafo, etcétera, en las que se manifestó su creatividad e ingenio.

Alejandro Martínez Pérez se doctoró en Historia del Arte por la Universidad Autónoma de Madrid con una tesis dedicada a la cultura artística de Luis Paret y Alcázar. Recientemente ha publicado los libros Historia de las Artes entre los Antiguos de J. J. Winckelmann (2014), a partir del manuscrito de Diego Antonio Rejón de Silva de 1784, y Patrimonio en conflicto. Memoria del botín napoleónico recuperado (1815–1819) (con Esperanza Navarrete, 2015). Es autor además de diversos artículos en revistas especializadas y estudios sobre el arte y la historia cultural española de la segunda mitad del siglo XVIII.

An accompanying catalogue raisonné is published by CEEH:

Alejandro Martinez Perez, Dibujos de Luis Paret (1746–1799) (Madrid: Centro de Estudios Europa Hispánica, 2018), 352 pages, ISBN: 9788415245773, 38€ / $68.

Este catálogo razonado reúne un corpus de 165 dibujos ordenados cronológicamente que permiten conocer tanto los procesos creativos de Paret como los temas y motivaciones que le animaron a lo largo de su carrera. Se incluyen también como anexos la identificación del contenido de la biblioteca del artista, una relación de estampas autógrafas y otra de obras desaparecidas sólo conocidas a partir de grabados. Este volumen constituye además el catálogo de la exposición del mismo título celebrada en la Biblioteca Nacional de España.

Exhibition | Artists at Work

Posted in books, catalogues, exhibitions by Editor on May 22, 2018

Carlo Labruzzi, The Colosseum seen from the Palatine Hill, Rome, graphite, pen and brown and grey ink, watercolour

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Now on view at The Courtauld:

Artists at Work
The Courtauld Gallery, London, 3 May — 15 July 2018

Curated by Deanna Petherbridge with Anita Viola Sganzerla

With drawings ranging from Tiepolo and Ingres to Schiele and Lovis Corinth, this exhibition explores the rich subject of the artist at work, illustrating the variety of ways in which artists have represented themselves and others making art through a selection of drawings from the sixteenth to the twentieth centuries, drawn primarily from the Katrin Bellinger Collection. Whether in their studios or art academies, out and about sketching a landscape or recording their own likeness in a mirror, artists have long taken pleasure in representing themselves at work. When immersed in the act of drawing or painting, artists are often shown with their backs turned to the spectator. We, therefore, are invited to look over their shoulders and share in the moment of creation.

Depictions of the artist in the studio are expressions of creative concentration and introspection and, like self-portraits, offer a chance to reflect on artistic practice and identity. The care consistently taken in recording the studio apparatus of easels and palettes, or assistants grinding pigments, indicates their significance for practitioners. Yet, the studio, as well as being the everyday workshop of dirty brushes and sculptural debris, is also the realm of allegory and myth where artists create or dream.

Deanna Petherbridge and Anita Viola Sganzerla, edited by Ketty Gottardo and Rachel Sloan, Artists at Work (London: Paul Holberton, 2018), 64 pages, ISBN: 978-1911300441, £17.

Additional information is available from Anita Sganzerla’s blog posting for the Tavolozza Foundation.

New Book | Windsor Castle: A Thousand Years of a Royal Palace

Posted in books by Editor on May 22, 2018

I’m a few days late with this, and I realize some of you may be Windsored out by this point. But for anyone inspired by Saturday’s events, the late eighteenth century was a significant period for the Castle, and the alterations by George IV are, of course, even more important. CH

Published by the Royal Collection Trust and distributed by The University of Chicago Press:

Steven Brindle, with contributions by Eleanor Hoare, Brian Kerr, Charlotte Manley, Jonathan Marsden, Claire Rider, Jane Roberts, Nigel Saul, Tim Tatton-Brown, Simon Thurley, and Michael Turner, Windsor Castle: A Thousand Years of a Royal Palace (London: Royal Collection Trust, 2018), 560 pages, ISBN: 978-1909741249, £95.

As England’s largest castle and premier royal residence, Windsor Castle is of outstanding importance: historically, architecturally, artistically and in the life of the nation. This authoritative history, the first to be published in 100 years, will draw upon new research and primary sources to present a general account of Windsor Castle and its immediate environs from around AD 700 to the present day, setting this iconic building against the background of wider social, political and cultural events in the life of the monarchy and the nation.

The book is richly illustrated with historical drawings, watercolours and photographs from the Royal Collection and elsewhere, and includes newly commissioned photography and 3D reconstructions of the Castle at key points in its development, showing how this historic site has changed and evolved over 13 centuries.

Steven Brindle is an architectural historian with English Heritage. He has been involved in the investigation of the architectural history of Windsor Castle since the beginning of the restoration programme following the disastrous fire of 1992.

Bedford Square Festival, 2018

Posted in lectures (to attend), on site by Editor on May 19, 2018

From the Paul Mellon Centre:

Bedford Square Festival: Share the Square
London, 4–7 July 2018

The Paul Mellon Centre is proud to be taking part in the Bedford Square Festival for the second year. Weaving together literature, art, architecture, history, film, theatre, and education, Share the Square is composed of more than forty free events taking place between July 4 and 7.

As its title suggests, this year’s theme aims to encourage greater engagement within the local community of Bloomsbury and beyond, with a focus on inspiring new creative collaborations between institutions, businesses, and individuals in this pocket of London. Bedford Square’s beautifully preserved Georgian buildings and garden are not usually open to the public, but this annual festival represents a chance for the Square’s residents to throw open their doors, revealing a fascinating enclave that is full of artistic and scientific knowledge, beautiful spaces, amazing stories and remarkable histories.

The Paul Mellon Centre will host over 15 events during the four-day festival. A full list is available here.

Symposium | (Re-)Forming Sculpture

Posted in conferences (to attend) by Editor on May 18, 2018

Installation view of Lynda Benglis at The Hepworth Wakefield, 6 February – 1 July 2015
Courtesy the artist and Cheim & Read, New York

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From the University of Leeds:

(Re-)Forming Sculpture
University of Leeds and The Hepworth Wakefield, 26–27 June 2018

The Association for Art History’s 2-day Summer Symposium organised by the Doctoral and Early Career Research Network.

Keynote Speakers
• Martina Droth, Deputy Director of Research, Exhibitions, and Publications | Curator of Sculpture, Yale Center for British Art
• Rebecca Wade, Assistant Curator (Sculpture), Leeds Museums and Galleries, based at the Henry Moore Institute

The eighteenth-century offerings come on the second day of the conference:

11.35  Session 4: Sculpting Ceramics
Chair: Caroline McCaffrey-Howarth
• Ashley Hannebrink (Harvard University), Reforming the Past: Figures of Antiquity in Eighteenth-Century French Porcelain
• Elizabeth Saari Browne (Massachusetts Institute of Technology), Modelling Enlightenment: Clodion’s Bacchic Sculpture and the Materialist Pleasures of Touch
• Catherine Roche (University of Westminster), Crafting Sculpture: Embodied Perspectives of Sculptural Ceramics
• Phoebe Cummings (University of Westminster), Fugitive Objects

The full programme is available here»

New Book | On The Spot: The Yorkshire Red Books of Humphry Repton

Posted in books by Editor on May 17, 2018

From New Arcadian Press:

Patrick Eyres and Karen Lynch, On The Spot: The Yorkshire Red Books of Humphry Repton, Landscape Gardener (Leeds: New Arcadian Press, 2018), 206 pages, £20.

The nine Yorkshire commissions of Humphry Repton spanned the twenty years between 1790 and 1810. Patrick Eyres and Karen Lynch enlarge the knowledge of his landscape gardening in Yorkshire in general, by offering new insights into these commissions, and, in particular, by reproducing the six extant Red Books that he produced for patrons in the county.

Karen Lynch, The Yorkshire Commissions and Red Books of Humphry Repton

1  Wentworth Woodhouse and the Red Book, 1791–94: Wentworth House in Yorkshire, A Seat of the Right Hon:ble Earl Fitzwilliam
2  Rudding Hall and the lost Red Book, 1791
3  Owston Hall and the Red Book, 1793: Ouston [sic] in Yorkshire, A Seat of Bryan Cooke Esq.r
4  Bessacre Manor and the lost Red Book, 1793
5  Mulgrave Castle and the Red Book, 1793: Mulgrave in Yorkshire, A Seat of The Right Hon:ble Lord Mulgrave
6  Harewood House and the reconstructed Red Book, 1800
7  Langold and the lost Red Book, 1806
8  Oulton Hall and the Red Book, 1810: Oulton near Leeds in Yorkshire, A Seat of John Blayds Esq.r
9  Armley House and the Red Book, 1810: Armley House near Leeds in Yorkshire, A Seat of Benjamin Gott Esq.r
10 Welton and Esholt: Humphry Repton and Peacock’s Polite Repository

Patrick Eyres, The Talented Mr Repton: Conflict, Culture, and Contradiction in the Yorkshire Red Books

I The Red Books and Publications of Humphry Repton, Professional Consultant
II The Rockingham Monument, Portland Whigs and Aristocratic Benevolence
III The Gentlemen-Merchants of Leeds at Oulton Hall and Armley House
IV Epilogue: The Influence of Humphry Repton on the Poet-Gardener Ian Hamilton Finlay

Exhibition | Exhibiting Art In Georgian Ireland

Posted in books, catalogues, exhibitions by Editor on May 16, 2018

From the press release for the exhibition:

Exhibiting Art In Georgian Ireland: The Society of Artists’ Exhibitions Recreated
City Assembly House, Dublin, 16 June — 29 July 2018

Curated by Ruth Kenny

This summer the Irish Georgian Society will host a world-class exhibition of eighteenth-century Irish paintings to mark the restoration of the City Assembly House and to commemorate the Society of Artists in Ireland who erected the building over 250 years ago. Celebrating the building’s original incarnation as the first purpose-built public gallery in Britain and Ireland, the exhibition will re-assemble works by Society of Artists members such as Thomas Roberts, Jonathan Fisher, James Forrester, Robert Carver, Robert Healy, and Hugh Douglas Hamilton, including many pieces which were first displayed in the room in the series of exhibitions the Society held there between 1766 and 1780.

By honouring the pioneering spirit of these exhibitions, we aim to provide an insight into the fascinating range of artistic production taking place in eighteenth-century Ireland. As the original exhibition catalogues reveal, Georgian Dublin was a hive of creativity, with landscape artists working alongside portraitists, history painters, sculptors, printers, and draughtsmen in an astonishing range of media, including oil paint, pastel, marble, wood, glass, wax and hair. With loans secured from national institutions and private collectors, this exhibition will reunite over eighty works by exhibiting Society of Artists’ members. An accompanying catalogue will evaluate these stimulating years, assessing Ireland’s first introduction to exhibition culture and the significant contribution it made to an increasingly self-confident national school of Irish art.

Exhibiting Art In Georgian Ireland has been curated by Dr Ruth Kenny, formerly Assistant Curator of British Art, 1750–1830 at Tate Britain, who has identified over seventy works of art that will showcase the breadth of talent displayed by the Society of Artists’ initial series of exhibitions between 1765 and 1780. The public will have free access to the exhibition, with guided tours and exclusive events to mark the completion of the restoration of the City Assembly House.

David Fleming, Ruth Kenny, and William Laffan, eds., with contributions by Victoria Browne, Paul Caffrey, Donough Cahill, Logan Morse, and Brendan Rooney, Exhibiting Art In Georgian Ireland: The Society of Artists’ Exhibitions Recreated (Dublin: Irish Georgian Society, 2018), .

Conference | ECSSS 2018, Glasgow

Posted in conferences (to attend) by Editor on May 15, 2018

From ECSSS:

Networks of Enlightenment
31st Annual Conference of the Eighteenth-Century Scottish Studies Society
University of Glasgow, 17–21 July 2018

ECSSS returns to the city of Glasgow after twenty-eight years to hold its first-ever conference at Glasgow University—one of the central sites of the Scottish Enlightenment. The theme of this conference is Networks of Enlightenment and will look at areas of interdisciplinary interest from philosophical, literary, and scientific networks through to English, Continental, and transatlantic connections.

The conference will commemorate the tercentenary of the births of two major Scottish Enlightenment figures, whose medical, literary, ecclesiastical, antiquarian, and other networks were extensive: the Glasgow-educated anatomist and collector Dr. William Hunter (1718–1783) and Hugh Blair (1718–1800), the eminent preacher and professor of rhetoric and belles lettres at the University of Edinburgh.

The conference will run from the afternoon of Tuesday 17 to lunchtime on Saturday 21 July. Registration opens on the afternoon of 17 July at 2pm, followed by the opening keynote then, in the evening, a civic reception in Glasgow City Chambers. Wednesday 18 July is the first full day of panels. Thursday has panels in the morning followed by the conference trip to Dumfries House and to Alloway in Ayshire. On Friday, we have another full day of panels followed by the conference dinner. The conference closes Saturday with panels in the morning, including special sessions in celebration of the tricentenary of William Hunter, followed by a closing keynote and reception courtesy of the Hunterian Museum.

The preliminary conference programme can be downloaded pdf file here

Exhibition | Andreas Gallasini (1681–1766)

Posted in books, catalogues, exhibitions by Editor on May 15, 2018

Now on view in Fulda:

Andrea(s) Gallasini: Vom Stuckateur zum fürstlichen Baumeister in Fulda
Vonderau Museum, Fulda, 13 May — 19 August 2018

In der Reihe „Berühmte Architekten in Fulda” wird nach Johann Dientzenhofer und Sep Ruf am Internationalen Museumstag die große Sonderausstellung über den Barockbaumeister Andrea(s) Gallasini (1681–1766) eröffnet.

Der in Lugano im Tessin geborene Andrea(s) Gallasini begann seine Laufbahn als Stuckateur, avancierte zunächst zum Bauinspektor in Waldeck–Pyrmont und war dann seit 1720 für rund 40 Jahre in den Diensten der Fuldaer Fürstäbte als Baumeister tätig. Unter seiner Regie entstanden rund 45 Bauten unterschiedlichster Bestimmung: vom Amtshaus über das Adelspalais bis zum repräsentativen Landsitz, von der Pfarrkirche bis zur anspruchsvollen Kloster- oder Propsteikirche. Zu seinen Hauptwerken gehören die fürstliche Sommerresidenz Schloss Fasanerie, das Heilig-Geist-Hospital und die „Alte Universität”.

Schwerpunkt der Ausstellung bilden zum einen Person und der bis jetzt noch weitgehend unbekannte Lebensweg des italienischen Stuckateurs und Hofbaumeisters Andrea(s) Gallasini sowie die zeitgenössischen politischen und organisatorischen Verhältnisse in Fulda. Ein zweiter Schwerpunkt der Schau nimmt das architektonische Werk Gallasinis in den Fokus, um den typischen „Gallasini – Stil” aufzuzeigen, der das Gesicht der Stadt Fulda bis heute prägt.

Zur Ausstellung erscheint ein Begleitband. Außerdem wird ein Begleitprogramm mit Führungen mit den Ausstellungsmachern, regelmäßigen Führungen am Sonntag, Architekturspaziergängen, Exkursionen, Workshops mit Stucktechniken sowie einem Konzert mit Musik aus der Feder der Komponisten des 18. Jahrhunderts angeboten.

Volker Rößner and Sabine Wagner with contributions by Thomas Heiler and Markus Miller, edited by Sabine Fechter, Andrea(s) Gallasini 1681–1766: Vom Stuckateur zum fürstlichen Baumeister in Fulda (Petersberg: Imhof Verlag, 2018), 320 pages, ISBN: 978-3731907176, 25€.