Workshop | Digitising the Paul Mellon Centre’s Photo Archive

Posted in conferences (to attend) by Editor on September 22, 2018

From the Paul Mellon Centre:

Digitising the Paul Mellon Centre’s Photo Archive
Paul Mellon Centre, London, 13 November 2018

Registration due by 12 October 2018

The Paul Mellon Centre (PMC) is currently in the process of digitising its institutional photographic archive collection. Since 1964, the Centre has amassed a collection of approximately 150,000 images of British paintings, decorative painting, sculpture and prints. The resulting images will be made available for research through a new online collections website. The key aims of this project are:
• the preservation of an important resource that has been a core part of the Centre’s activity since its foundation
• provide enhanced access to this material as a digital resource, both on- and off-site
• enable new research projects and discoveries
• produce high quality images for researchers to use free of charge in teaching, study and publication

The purpose of this workshop is to explore the potentials and challenges of using digitised photo archive materials and we invite academics, researchers, curators, conservators, collection managers, educators, arts professionals, photographic experts and digital technologists to take part in this roundtable discussion about the digital future of the PMC’s photo archive.

Topics that might be covered include:
• How are photo archive materials used in 2018? How will they be relevant to researchers in the future? How do researchers use photo archives? What are they looking for? How might digitisation help them to search the collections?
• What tools (e. g. image comparison tools) and search facilities would be useful for researchers consulting the photo archive online?
• What are the benefits and/or losses of viewing this collection online?
• How should this material be presented on a digital platform?
• What extra material might the PMC provide alongside the digitised images to facilitate research?
• What can this collection tell us about the historiography of British art and the development of the study of British art and architecture?
• Is this material of interest to those outside of the field of British art history, i.e. photographic historians or practicing artists?
• Could digitisation enhance how this collection might be used by conservators?

This will be an interactive workshop, and all participants will be expected to contribute to the discussion.

To register your interest in participating in this event, please email events@paul-mellon-centre.ac.uk by 12th October. We envisage that the workshop will run across a day from 10am until 4pm. Lunch, refreshments, and some travel expenses will be provided. Places are limited, so please register your interest in attending and provide a short paragraph outlining your interest in this project or photo archives more generally.

Site of Cook’s ‘Endeavour’ Likely Identified

Posted in the 18th century in the news by Editor on September 21, 2018

HM Bark Endeavour Replica in Darling Harbour, Sydney
(Photo: Wikimedia Commons, 30 September 2013)

◊  ◊  ◊  ◊  ◊

As reported by Matthew Knott for The Sydney Morning Herald (19 September 2018) . . .

Marine archaeologists believe they have finally identified the resting place of HMB Endeavour, the ship James Cook commanded to Australia on his first voyage of discovery, an achievement that would solve one of the greatest maritime mysteries of all time.

The breakthrough has raised hopes the remains of the vessel will be excavated next year, in time for the 250th anniversary of Cook’s arrival in Australia. The ship is historically significant to many countries—including the US, Britain, New Zealand and Australia—and its excavation could spark a battle over where the wreckage should be housed. The Rhode Island state government claimed official ownership of the fleet of shipwrecks including Endeavour in 1999, suggesting Australian officials would have to negotiate for any remnants to be brought to Australia.

The breakthrough, to be officially announced on Friday, follows an arduous 25-year search for the historic ship off Newport, Rhode Island, on the north-eastern coast of the US. . .

The full article is available here»

Pippa Shirley on a Royal Dinner Service, Waddesdon

Posted in lectures (to attend) by Editor on September 21, 2018

From Waddesdon:

Pippa Shirley | Spotlight on a Royal Dinner Service
Waddesdon Manor, Buckinghamshire, 28 September and 11 October 2018

Silver dinner service, 1775–1824 (Waddesdon Manor, 8.2003.1-82).

Pippa Shirley, Head of Gardens and Collections at Waddesdon Manor, will be hosting a Spotlight session focused on Waddesdon’s magnificent silver dinner service. Guests are invited to imagine themselves dining with the King, as they explore this most fashionable dining set commissioned by George III in 1774.

More information is available here»

Exhibition | Russia: Royalty and the Romanovs

Posted in exhibitions by Editor on September 20, 2018

Press release (7 August 2018) for the exhibition:

Russia: Royalty and the Romanovs
The Queen’s Gallery, Buckingham Palace, London, 9 November 2018 — 28 April 2019
The Queen’s Gallery, Palace of Holyroodhouse, Edinburgh, 21 June — 3 November 2019

Vigilius Eriksen, Catherine II, Empress of Russia, ca.1765, oil on canvas, 276 × 202 cm (London: Royal Collection Trust, RCIN 404774).

For more than 300 years Britain has been linked to Russia through exploration and discovery, diplomatic alliances and, latterly, by familial and dynastic ties. Russia: Royalty & the Romanovs, opening on 9 November 2018, explores the relationship between the two countries and their royal families through works of art in the Royal Collection, many of which were acquired through the personal exchange of gifts.

In 1698 Tsar Peter I, known as Peter the Great, arrived in London. The first Russian ruler to set foot on English soil, he stayed for three months as part of a ‘Grand Embassy’, a diplomatic and fact-finding tour of Western Europe that included meetings with the British King, William III. On his departure Peter presented the King with his portrait, painted by Sir Godfrey Kneller. Kneller depicts the Tsar as a young and vibrant ruler, looking to the West and hoping to establish a new, ‘open’ Russia.

During the reign of the Empress Catherine II (Catherine the Great) Russia’s borders expanded to the south and west, and the country was established as one of the great powers in Europe. The Empress’s coronation portrait by Vigilius Eriksen, c.1765–69, is thought to have been given to George III and is recorded as hanging in the Privy Chamber at Kensington Palace in 1813. George III never visited Russia, yet his interest in the country is evident from the books in his library. These included the accounts of European merchants and the first description of Russia in the French language by the mercenary soldier Jacques Margeret.

The year 1815 saw final victory in the Napoleonic wars by the allied forces, including those of Great Britain and Russia. George IV commissioned Sir Thomas Lawrence to paint portraits of the central figures in the defeat of Napoleon for the Waterloo Chamber at Windsor Castle, a room created to celebrate the achievement. Paintings of Matvei Ivanovitch, Count Platov, commander of the Cossack cavalry, and of General Fedor Petrovitch Uvarov, Emperor Alexander I’s Aide-de-Camp at the Congress of Vienna, recognised Russia’s important contribution to the defeat of Napoleon.

A steady stream of Russian emperors, empresses, grand dukes, and grand duchesses were entertained in Britain in the following years. The future Emperor Nicholas I visited in 1816–17, when he attended a banquet of more than 100 courses, hosted by the Prince Regent at his seaside residence, Brighton Pavilion, in the company of Frederick, Duke of York and the Duke of Clarence, later William IV. In gratitude for the hospitality shown to the future Emperor, his mother, Empress Maria sent the Prince Regent’s daughter, Princess Charlotte, the insignia of the Order of St Catherine. The Order had been instituted in 1714 by Peter I on the occasion of his marriage to Catherine I and was the most prestigious award for women in Imperial Russia. The Princess is shown wearing the badge on a Russian-style dress in a portrait of c.1817.

Queen Victoria’s eldest son, Albert Edward, Prince of Wales (later King Edward VII), married Princess Alexandra of Denmark in 1863. Three years later, Alexandra’s sister, Princess Dagmar, married Tsesarevich Alexander, later becoming Empress Maria Feodorovna and linking the English, Russian and Danish royal houses. In 1874, Queen Victoria’s second son Alfred, Duke of Edinburgh, married Grand Duchess Marie Alexandrovna, daughter of Emperor Alexander II, as recorded in Nicholas Chevalier’s painting of the ceremony. This first direct dynastic marriage between the two families was followed by the marriage of two of Queen Victoria’s granddaughters, the Princesses Elizabeth and Alix of Hesse, to Grand Duke Sergei, son of Alexander II, and the future Nicholas II respectively.

The English, Russian, and Danish royal families regularly visited one another and marked these occasions in paintings and photographs, and through the exchange of gifts. The Danish artist Laurits Regner Tuxen was commissioned to record significant family events, including The Marriage of Nicholas II, Emperor of Russia, 26th November 1894 and The Family of Queen Victoria in 1887, celebrating the Queen’s Golden Jubilee that year. A great number of works by Carl Fabergé entered the Royal Collection as a result of the close relationship and shared tastes of the sisters Queen Alexandra and Empress Maria Feodorovna. Among them are a framed portrait miniature of the Empress and a gold cigarette case, given to King Edward VII as a 40th wedding anniversary present in 1903.

Nicholas II and his family made their last visit to England in August 1909. They attended the annual regatta at Cowes on the Isle of Wight, and the royal families dined together on each other’s yachts. A local photographer was commissioned to record the occasion and produced a double portrait of the Prince of Wales (later King George V) and his cousin Emperor Nicholas, which shows the strong family resemblance. During the visit the Princess of Wales (later Queen Mary) was given a diamond-set Fabergé brooch made from a Siberian amethyst, a stone famous for its intense purple hue. Following the deaths of the Imperial Family in 1918, King George V and Queen Mary assembled a collection of works of art that had belonged to their Russian relations as poignant reminders of happier times.

In 1923 the Duchess of York (later Queen Elizabeth The Queen Mother) commissioned a portrait of herself from the Russian artist Savely Sorine. Twenty-five years later she commissioned Sorine to paint a portrait of her daughter Princess Elizabeth, Duchess of Edinburgh, the future Queen Elizabeth II. During an official visit in 1956, First Secretary Nikita Khrushchev and Premier Nikolai Bulganin presented Her Majesty The Queen with a number of gifts, including the oil painting A Winter’s Day by the prominent painter, publisher, and art historian Igor Grabar.


Call for Papers | Russia: Courtly Gifts and Cultural Diplomacy

Posted in Calls for Papers by Editor on September 20, 2018

From H-ArtHist:

Russia: Courtly Gifts and Cultural Diplomacy
The Queen’s Gallery, London, 22 March 2019

Proposals due by 15 October 2018

A collaboration between Royal Collection Trust, Cambridge Courtauld Russian Art Centre, and The Burlington Magazine, this one-day international academic conference takes its cue from the exhibition Russia: Royalty and the Romanovs, to be held at The Queen’s Gallery, Buckingham Palace, London, from 9 November 2018 to 28 April 2019.

The conference Russia: Courtly Gifts and Cultural Diplomacy will explore themes of courtly gift-giving and cultural diplomacy between Russia and the West, a history that sits within the broader framework of the history of British-Russian state and cultural relations [ca. 1698–1950s]. Scholarly research in these areas has flourished over the past few decades, and continues to generate debate and activity as the discipline of history itself has developed to encompass the study of material culture, sensory history and the history of emotions, domestic history, histories of power, ceremony and ritual, and internationalism and cross-cultural exchange. Increasing access to archives and the availability of new methodologies, not least the advent of the ‘digital’ humanities, have provided further opportunities for cutting-edge research. This conference accordingly embraces innovative methodologies from disciplines including history, art history, literature, area studies, and anthropology to explore ways in which Russia’s international relations have been forged, fermented, and fractured by the exchange of material objects in the social, cultural, and political spheres.

Papers are invited on the following themes:
• practices of gift-giving between the British and Russian monarchies and governments
• British-Russian cultural exchange at state and diplomatic level
• interactions between cultural diplomacy, art and politics
• cultural diplomacy and nationalism/imperialism
• gift-exchange in the formation of royal collections
• royal portraits as gifts
• the exchange of court artists, craftsmen and other cultural producers
• the role of ambassadors and cultural mediators
• royal photographs, photographs of royalty
• royal patronage in the cross-cultural context
• gift-giving and domestic court life
• family, marriage, and dynastic ties
• material culture and gift-giving
• the material accompaniments of royal travel and state visits
• transcultural ritual and ceremony
• custom, convention and protocol
• societies promoting cultural exchange between governments
• the forging of cultural links between state departments
• British artists and makers and Russian royal patronage (e.g., Godfrey Kneller, Christopher Galloway, George Dawe, Christina Robertson, Charles Cameron)
• Russian artists and makers and British royal patronage (e.g., Carl Fabergé, Savely Sorine)

Paper topics should relate to a British-Russian or British-Soviet context and, to complement the exhibition, may address any period from the late seventeenth to the mid twentieth century. Papers shall be twenty minutes long and will be organised into panels of two to four papers, with time allocated for questions on all papers at the end of each session.

Participation in the conference for both speakers and delegates will include an opportunity to visit the exhibition and an early evening drinks reception. In accordance with the event policy for conferences held at The Queen’s Gallery, the organisers will not be able to reimburse travel expenses or arrange accommodation for speakers. Some limited funding may become available as a result of grant applications that are in progress; if you wish to be considered for this, please provide an estimate of costs as part of your proposal.

Abstracts of up to 300 words should be submitted to Dr Louise Hardiman (Cambridge Courtauld Russian Art Centre) at courtlygifts2019@gmail.com. Please include a paper title, your name, institution (if applicable), brief biography, and full contact information (address, phone number, and email). Any questions about the conference may also be sent to the above email address.

Cambridge Courtauld Russian Art Centre (CCRAC) is an academic collaboration between the Department of History of Art at the University of Cambridge and The Courtauld Institute of Art. CCRAC promotes research, collaboration and scholarly debate on all aspects of the visual arts, architecture, design, and exhibitions in Russia and the Soviet Union.

Organising Committee
Caroline de Guitaut (Royal Collection Trust), Dr Louise Hardiman (CCRAC), Professor Rosalind P. Blakesley (University of Cambridge and CCRAC), Professor John Milner (The Courtauld Institute of Art and CCRAC), and Michael Hall (Editor, The Burlington Magazine).


Seminar | Stone Face

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

From H-ArtHist:

Stone Face: The Psychology of the Face, the Phenomenology of the Bust
University of Copenhagen, 1–2 October 2018

Registration due by 20 September 2018

This seminar explores the portrait from a phenomenological and psychological approach, looking at how it affects the viewer and what kinds of reactions it prompts. We will be discussing the significance of the bust format, primary sources describing encounters with portraits and busts as well as the significance of the face and the psychology of face perception. The seminar is a preparatory work for understanding the Neoclassical artist Bertel Thorvaldsen (1770–1844) as a portrait sculptor within a broader context of sculpture theory and art history.

The seminar is the second in a series of seminars under the cross-disciplinary project research and dissemination Powerful Presences: The Sculptural Portrait between Absence and Presence, Group and Individual. The seminar is free and open to everyone. Additional programme and registration details are available here. For more information, please contact Lejla Mrgan, lejla@hum.ku.dk.

M O N D A Y ,  1  O C T O B E R  2 0 1 8

8.45  Arrival and coffee

9.00  Welcome (Jane Fejfer)

9.15  Session 1 | Imagination and Attachment
• Melissa Percival, The Painted and Sculptural Imagination: Short Cuts
• Lejla Mrgan, Perception and imagination: Busts as Objects of Attachment
• Tomas Macsotay, Women and Sculptural Resignification: The Cases of Catherine the Great and the Countess of Albany
• Andreas Grüner, Strike! Diderot and the Reproduction of Immediacy in Ancient Portraits

12.45  Lunch

13.45  Session 2 | Bust and Body
• Jeanette Kohl, The Silence of Busts: Phenomenology, Ontology, Presence?
• Joris van Gastel, The Coat of Arms and the Portrait Bust: Sculpted Presence in Late Renaissance Florence
• Helen Ackers, Networks of interaction: The Roman portrait bust in its familial context
• Josefine Baark, ‘The Originals’: Commemorative Clay Likenesses and Portrait Sculpture in Qing China

17.15  Drinks

19.00  Dinner (speakers only)

T U E S D A Y ,  2  O C T O B E R  2 0 1 8

9.30  Session 3 | Portraits and Faces
• Malcolm Baker, Busts and Faces: Aesthetic Theory and Perceptual Difference
• Alexander Todorov, The Inherent Ambiguity of Facial Expressions
• Anna Schram Vejlby, The Inner Gaze
• Rubina Raja, The Palmyrene More-Than-Bust Funerary Portraits
• Michael Yonan, Messerschmidt, Thorvaldsen, and the Specious Surfaces of the Self

13:30  Lunch

14:00  Summary and perspectives, Whitney Davis and Rolf Schneider

16:00  Portrait talk between artist Trine Søndergaard (Copenhagen) and professor of Art History Jeanette Kohl (University of California Riverside). This special event at Thorvaldsens Museum  requires a ticket.

17:00  Closing Reception at Thorvaldsens Museum


New Book | Experimental Selves

Posted in books by Editor on September 17, 2018

From the University of Toronto Press:

Christopher Braider, Experimental Selves: Person and Experience in Early Modern Europe (Toronto: University of Toronto Press, 2018), 448 pages, ISBN: 9781487503680, $90.

Drawing on the generous semantic range the term enjoyed in early modern usage, Experimental Selves argues that ‘person,’ as early moderns understood this concept, was an ‘experimental’ phenomenon—at once a given of experience and the self-conscious arena of that experience. Person so conceived was discovered to be a four-dimensional creature: a composite of mind or ‘inner’ personality; of the body and outward appearance; of social relationship; and of time.

Through a series of case studies keyed to a wide variety of social and cultural contexts, including theatre, the early novel, the art of portraiture, pictorial experiments in vision and perception, theory of knowledge, and the new experimental science of the late-seventeenth and eighteenth centuries, the book examines the manifold shapes person assumed as an expression of the social, natural, and aesthetic ‘experiments’ or experiences to which it found itself subjected as a function of the mere contingent fact of just having them.

Christopher Braider is a professor of French and Comparative Literature at the University of Colorado, Boulder.


Introduction — Changing the Subject: Early Modern Persons and the Culture of Experiment
1  The Shape of Knowledge: The Culture of Experiment and the Byways of Expression
2  The Art of the Inside Out: Vision and Expression in Hoogstraten’s London Peepshow
3  Persons and Portraits: The Vicissitudes of Burckhardt’s Individual
4  Justice in the Marketplace: The Invisible Hand in Ben Jonson’s Bartholomew Fayre
5  Actor, Act, and Action: The Poetics of Agency in Corneille, Racine, and Molière
6  The Experiment of Beauty: Vraisemblance Extraordinaire in Lafayette’s Princesse de Clèves
7  Groping in the Dark: Aesthetics and Ontology in Diderot and Kant
Conclusion — Person, Experiment, and the World They Made


Exhibition | Dressed to Impress

Posted in exhibitions by Editor on September 14, 2018

Press release (via Art Daily) for the exhibition now on view at the Walker Art Gallery:

Dressed to Impress: Fashion in the Eighteenth Century
Walker Art Gallery, Liverpool, 4 August 2018 — Spring 2020

A stunning collection of eighteenth-century fashion items is on display at the Walker Art Gallery, Liverpool, from 4 August 2018 to spring 2020. Showcasing 13 male and female costumes as well as accessories, Dressed to Impress: Fashion in the Eighteenth Century highlights changing attitudes towards body shapes as well as documenting the social climate of the time.

Pauline Rushton, Senior Curator at National Museums Liverpool, said: “We’re incredibly fortunate to be presenting these exquisite items from our collections together for the first time in this display. Visitors to the Walker Art Gallery will enjoy not only the variety and detail seen in eighteenth-century ways of dressing, but also learn about some of the social issues at play throughout the century. These beautiful pieces demonstrate how fashion can be an important vehicle for exploring everyday life in past centuries.”

The clothes in the display are typical of the main fashionable styles worn by the middle classes, known at that time as ‘the middling sort’. These people were neither rich nor poor, and often wanted to improve their social standing. Examples of their clothes to be seen in the display include a pair of ‘stays’ (a laced corset), formal female dresses, and elaborately embroidered men’s waistcoats with hand cut sequins known as ‘spangles’.

The display also includes a number of important accessories, such as a pair of women’s shoes with overshoes for outdoor wear to protect the feet against the unsanitary conditions in the streets. The accessories on display include two men’s wallets, one of which belonged to John Bridge, a Liverpool merchant heavily involved in the transatlantic slave trade. Money acquired from his activities would have been kept in this wallet, which is embossed with Bridge’s name in gold lettering.

As well as containing reminders of Liverpool’s past involvement in the transatlantic slave trade, the display provides some fascinating insights into how clothing helped to foster idealised body shaping, both for women and men. The display includes a rare pair of men’s stockings—one of just a few surviving pairs remaining in the UK—with padding designed to accentuate the calf area, from an era when it was deemed important for men to have shapely calves. This is the first time that the stockings, made from knitted silk and lambs wool, are displayed at the Walker Art Gallery, although they have previously been shown in museums in New York and Los Angeles.

There are two videos on show in the gallery, depicting how 18th-century men and women were dressed by their servants.

Conference | British Art and the Global

Posted in conferences (to attend) by Editor on September 13, 2018

Next week at UC Berkeley:

British Art and the Global
University of California, Berkeley, 17–18 September 2018

Organized by Imogen Hart and David Peters Corbett

What is the role of art history in the Brexit era? In the wake of the UK’s decision to leave the European Union, the history of Britain’s relationships with the rest of the world takes on renewed significance. This conference explores how art history today can shed light on the history of Britain’s interaction with other countries and cultures. Papers illuminate global contexts for the history of British art by considering works of art as sites and tools of international cooperation, conflict, and exchange.

Keynote speakers: Tim Barringer (Yale University), Dorothy Price (University of Bristol), and Mary Roberts (University of Sydney).

The event is co-sponsored by the Center for British Studies, the History of Art Department, and the Townsend Center for the Humanities at the University of California, Berkeley, and the Centre for American Art at the Courtauld Institute of Art. Space in the conference venue is limited. Advance registration is recommended. View abstracts of the conference papers here.

Note: On Sunday, September 16, the day before the conference, the Legion of Honor Museum will host a panel conversation on British Art in a Global Context in connection with their current exhibition Truth and Beauty: The Pre-Raphaelites and the Old Masters.

M O N D A Y ,  1 7  S E P T E M B E R  2 0 1 8

9:30  Opening remarks

9:40  Panel 1
• Jocelyn Anderson (University of Toronto), Timely and Expressive: Global Turmoil and Eighteenth-Century British Magazine Frontispieces
• Julie Codell (Arizona State University), Multiple Versions, Multiple Markets, Multiple Meanings: The Global Trade in British Autograph Replicas

10:40  Coffee break

11:00  Panel 2
• Eleonora Pistis (Columbia University), How the Temple of Bacchus at Baalbek Travelled to Britain
• Douglas Fordham (University of Virginia), Methodological Approaches to the Illustrated Travel Book

12:00  Lunch break

1:00  Keynote 1
• Mary Roberts (University of Sydney), Traversing the Frontiers of Empire

2:30  Break

2:45  Panel 3
• Nika Elder (American University), A Taste for Flesh: John Singleton Copley and the Racial Politics of Colonial Portraiture
• Catherine Roach (Virginia Commonwealth University), Hybrid Exhibits: Race, Empire, and Genre at the British Institution in 1806

3:45  Tea break

4:15  Keynote 2
• Tim Barringer (Yale University), Global Landscape in the Age of Empire

T U E S D A Y ,  1 8  S E P T E M B E R  2 0 1 8

9:30  Panel 4
• Sam Rose (University of St Andrews), Post-Impressionism: British, Universal, Global
• Jiyi Ryu (University of York), Imperial Object Lessons: Playing Games and Touring the British Imperial World

10:30  Coffee break

11:00  Panel 5
• Alexander Bigman (Institute of Fine Arts at New York University), Reconfiguring the Microcosmic View: Gilbert and George in Postcolonial London
Jackson Davidow (MIT), A Diasporic Virus: AIDS and the British Black Arts Movement

12:00  Lunch break

1:00  Keynote 3
• Dorothy Price (University of Bristol), Dreaming Has a Share in History: Thinking around Black British Art

2:30  Break

2:45  Panel 6
• Margaret Schmitz (Milwaukee Institute of Art and Design), Wyndham Lewis and Charles Sheeler: Cities in the ‘Vortex’ and the ‘Vacuum’
• Richard Johns (University of York), Riley in Cairo

3:45  Tea break

4:15  Panel 7
• Sayantan Mukhopadhyay (University of California, Los Angeles), Fighting while Dreaming: Rasheed Araeen’s Radical Utopianism
• Catherine Spencer (University of St Andrews), The Violence of Representation: Northern Ireland, Abstraction, and the Documentary Trace

5:15  Closing discussion

Print Quarterly, September 2018

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on September 10, 2018

The eighteenth century in the current issue of Print Quarterly:

Print Quarterly 35.3 (September 2018) . . .

N O T E S  A N D  R E V I E W S

• Jean Michel Massing, Review of the collection of essays, Suzanne Karr Schmidt and Edward Wouk, eds., Prints in Translation, 1450–1750: Image, Materiality, Space (Routledge, 2016), pp. 305–08. “The eleven most interesting articles in Prints in Translation . . . developed from a two-day conference panel at the 2014 meeting of the College Art Association on ‘Objectifying Prints: Hybrid Media 1450–1800’ (305).” [Of particular interest to Enfilade readers will be the article by David Pullins, “The State of the Fashion Plate, circa 1727: Historicizing Fashion Between ‘Dressed Prints’ and Dezallier’s Recueils,” discussed briefly by Massing on pp. 307–08.]

• John Roger Paas, Review of the exhibition catalogue Tiphaine Gaumy, ed., Images & Révoltes dans le livre et l’estampe, XIVe–milieu du XVIIIe siècle (Bibliothèque Mazarine & Editions des Cendres, 2016), pp. 308–10. “This catalogue with its thirteen scholarly essays and numerous images—many not widely known—focuses on political events, but more importantly it underscores the seminal importance of all visual material for our general understanding of the past. It is clear that these images are not of secondary historical importance” (310).

• Julia McHugh, Review of Pedro German Leal and Rubem Amaral, eds., Emblems in Colonial Ibero-America: To the New World on the Ship of Theseus (Glasgow University Press, 2017), pp. 311–13. “The three sections of the book correspond to the three main colonies of the New World [New Spain, Peru, and Portuguese America]. In each section, two case studies follow a general survey of emblematic and symbolic culture, which foregrounds the distinct historical and geographical conditions of each administrative territory. These three preliminary essays by Víctor Mínguez, José Júlio García Arranz, and Rubem Amaral Jr. are extremely systematic and comprehensive and would be excellent additions to syllabi for colonial Latin American courses” (311).

• Thomas Döring, Review of Jef Schaeps, Edward Grasman, Elmer Kolfin, and Nelke Bartelings, eds., For Study and Delight: Drawings and Prints from Leiden University (Leiden University, 2017), pp. 313–15. “The book was published to mark the 200th anniversary of the 1814 bequest of Jan Theodore Royer’s print collection to the University of Leiden. This gift became the basis of the university’s Print Room founded in 1825. . . The publication aims to offer a representative cross-section of the collection. Carefully conceived and handsomely produced, it fully lives up to this claim and to its well-considered title” (313).

• Stephanie Dickey, Review of the exhibition catalogue, Victoria Sancho Lobis, with an essay by Maureen Warren, Van Dyck, Rembrandt, and the Portrait Print (Art Institute of Chicago, 2016), pp. 315–17. “This compact, handsomely produced publication documents an exhibition that featured 116 prints, two albums, and twenty portraits in other media, dating from 1522 to 1993, most from the Art Institute of Chicago’s own collection” (315).

• Rena Hoisington, Review of the exhibition catalogue, Anne-Lise Desmas, Edouard Kopp, Guilhem Scherf, and Juliette Trey, Bouchardon: Royal Artist of the Enlightenment (Getty Publications, 2017), pp. 318–21. “Prefaced by essays written by each of the four contributing curators, this beautifully produced and lavishly illustrated catalogue includes images of hundreds of sculptures, drawings, prints and illustrated books (and a few paintings) discussed according to theme or project, including Bouchardon’s work on two celebrated landmarks in eighteenth-century Paris: the elegant Grenelle Fountain that still graces the street from which it takes its name, completed in 1745; and the equestrian statue of King Louis XV that once presided over the Place Louis XV, begun in 1748, completed after Bouchardon’s death by the sculptor Jean-Baptiste Pigalle and destroyed in 1792” (318).

• Wendy Wassyng Roworth, Review of the exhibition catalogue, Bettina Baumgärtel, Anmut und Aufklärung: Eine Sammlung von Druckgraphik nach Werken von Angelika Kauffman (Harrassowitz, 2016), pp. 321–23. “An exhibition at the Winckelmann Museum in Stendhal, Germany . . . presented a selection of prints after Kauffman’s work . . . The exhibition catalogue includes examples of engraved reproductions by British and other printmakers . . . There is a detailed chronology of Kauffman’s life and work; an essay on prints after Kauffman and eighteenth-century printmaking; another essay on the Winckelmann portrait and its influence; a numbered catalogue of works exhibited; and a bibliography of cited sources. The catalogue of works exhibited is divided into sections according to subjects and themes Kauffman portrayed: self-portraits, portraits, mythology, scenes from Shakespeare and other poetry, Roman and early English history, allegory and genre” (322).

• Monika Hinkel, Review of the exhibition catalogue, Timothy Clark, ed., Hokusai: Beyond the Great Wave (Thames & Hudson, 2017), pp. 323–25. “The superb selection, incorporating paintings, woodblock prints, drawings, manuals and illustrated books selected from collections around the world illustrate well the versatility of Hokusai’s striking work. They not only portray the ingenious way in which he amalgamated Japanese-, Chinese- and European-inspired techniques, but also reveal his profound knowledge of mythology, history, the natural world and religion and his strong interest in draughtsmanship” (324–25).

• Stephen Clarke, Review of the book Lucy Peltz, Facing the Text: Extra-illustration, Print Culture, and Society in Britain, 1769–1840 (Huntington Library Press, 2017), pp. 353–55. “Peltz’s book is the product of some fifteen or more years of research, during which period she has published a number of related articles, most notably the correspondence of Granger and Bull in the Walpole Society volume for 2004. The result of her labours is by far the best and most detailed study of a phenomenon that has received surprisingly little scholarly attention. She divides the subject into three broadly chronological sections, using exemplars to tease out meanings and connections rather than aspiring to an impossible vision of encyclopaedic completeness” (354–55).

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Note (added 11 September 2018) — The original posting did not include quotations from the reviews.

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