New Book | Early Modern Media and the News in Europe

Posted in books by Editor on November 10, 2018

From Brill:

Joop W. Koopmans, Early Modern Media and the News in Europe: Perspectives from the Dutch Angle (Leiden: Brill, 2018), 262 pages, ISBN: 978-9004379329, €140 / $169.

During the seventeenth and eighteenth centuries, the Dutch Republic was one of the main centers of media in Europe. These media included newspapers, pamphlets, news digests, and engravings. Early Modern Media and the News in Europe brings together fifteen articles dealing with this early news industry in relation to politics and society, written by Joop W. Koopmans in recent decades. They demonstrate the important Dutch position within early modern news networks in Europe. Moreover, they address a variety of related themes, such as the supply of news during wars and disasters, the speed of early modern news reports, the layout of early newspapers and the news value of their advertisements, and censorship of books and news media.

Joop W. Koopmans is Senior Lecturer of Early Modern History at the University of Groningen. He has published on early modern Dutch history in a European context, including the Historical Dictionary of the Netherlands.



Storehouses of News: The Meaning of Early Modern News Periodicals in Western Europe
Restricted Access: The Presentation of News in the Europische Mercurius, 1690–1756
The Glorification of Three Prussian Sovereigns in the Europische Mercurius, 1690–1756
Politics in Title Prints: Examples from the Dutch News Book Europische Mercurius, 1690–1756
Publishers, Editors, and Artists in the Marketing of News in the Dutch Republic, ca. 1700: The Case of Jan Goeree and the Europische Mercurius
Research in Digitized Early Modern Dutch Newspapers and the News Value of Advertisements
Anything but Marginal: The Politics of Paper Use and Layout in Early Modern Dutch Newspapers
A Sense of Europe: The Making of This Continent in Early Modern Dutch News Media
Supply and Speed of Foreign News to the Netherlands during the Eighteenth Century: A Comparison of Newspapers in Haarlem and Groningen
The Early 1730s Shipworm Disaster in Dutch News Media
The Varying Lives and Layers of Mid-Eighteenth-Century News Reports: The Example of the 1748 Peace of Aix-la-Chapelle in Dutch News Media
The 1755 Lisbon Earthquake and Tsunami in Dutch News Sources: The Functioning of Early Modern News Dissemination
Wars in Early Modern News: Dutch News Media and Military Conflicts
Dutch Censorship in Relation to Foreign Contacts, 1581–1795
Spanish Tyranny and Bloody Placards: Historical Commonplaces in the Struggle between Dutch Patriots and Orangists around 1780?


Publication Grant, Historians of British Art

Posted in opportunities by Editor on November 10, 2018

HBA Publication Grant
Applications due by 15 January 2019

Each year HBA awards a grant to offset publication costs for a book manuscript or peer-reviewed journal article in the field of British art or visual culture that has been accepted for publication. To be eligible for the $600 award, applicants must be current members of HBA who can demonstrate that the HBA subvention will replace their out of pocket costs. Applications are not accepted from institutions. To apply, send a 500-word project description, publication information (correspondence from press or journal confirming commitment to publish and projected publication date), budget, and CV to Kimberly Rhodes, HBA Prize Committee Chair, krhodes@drew.edu by 15 January 2019.

Exhibition | Witnesses: Émigré Medallists in Britain

Posted in exhibitions by Editor on November 10, 2018

From the press release (18 September 2018) for the exhibition:

Witnesses: Émigré Medallists in Britain
The British Museum, London, 4 October 2018 — 7 April 2019

Curated by Philip Attwood

Danuta Solowiej, Oxford University Department of Plant Sciences Sibthorp Prize Medal, bronze, 2001 (London: The British Museum); John Roettiers, Charles II Naval Reward Medal, gold, 1665 (London: The British Museum).

The British Museum presents a new exhibition called Witnesses: Émigré Medallists in Britain, sponsored by Spink. This focused exhibition uncovers the invaluable role played by artists from abroad in the development of British medallic art. On display are medals that span six centuries, documenting significant historical moments and commemorating famous British figures. The exhibition uses objects to tell an international story, as it explores the motivations that brought artists to Britain and the ways in which they enlivened this country’s medallic landscape.

The earliest works in the exhibition are from Elizabethan England. It was the Dutch artist Steven van Herwijck who, in 1562, introduced the art of the medal, already well-established on the continent, to Britain’s urban elite. Van Herwijck’s first visit to England was of short duration, but three years later, in 1565, he returned with his wife and children. Medals have been made continuously in this country ever since.

Benedetto Pistrucci, Coronation of George IV, 1821, gold (London: The British Museum).

One of the star objects on display will be a spectacular Waterloo medal conceived by 19th-century Italian gem engraver Benedetto Pistrucci (1783–1855). The medal took 30 years to complete and bears the image of the four allied sovereigns: George, Prince Regent, Francis II of Austria, Alexander I of Russia, and King Frederick William III of Prussia.

Although the story of each medallist who arrived over the centuries is unique, for many a position at the Royal Mint was coveted and considered the ultimate goal. Pistrucci was successful in this ambition as he arrived from Italy in 1815 and became Chief Medallist at the Royal Mint. He remains a well-known medalist and coin-engraver, renowned for producing a number of famous designs during his career, most notably the George and Dragon for the sovereign.

During the 1930s a number of medallists fleeing Nazi oppression sought refuge in Britain. This was a time when few British artists engaged with the medium, and so the contributions made to medallic art by Fred Kormis, Artur Loewental, and Paul Vincze (from Germany, Austria and Hungary respectively) have a special significance. Vincze summed up the question of nationality in 1975 when he stated, “I am Hungarian. My wife is French. We are British.” This exhibition will showcase Vincze’s medals commemorating victory in 1945, the coronation of 1953, and anniversaries of the battle of Trafalgar and the resettlement of Jews in Britain. Alongside these will be Loewental’s commemorative medal of Winston Churchill, inscribed “his spirit saved Britain.” Together these objects reveal the ways in which artists from abroad identified strongly with the country to which they had come.

This display will also reveal that while their skill was undeniable, the presence of artists from abroad sometimes led to rivalry with British-born medallists. Following the restoration of Charles II in 1660, London-born Thomas Simon (c.1623–1665) found himself in direct competition with John (formerly Jan) Roettiers (1631–1703), whilst the hostility between Pistrucci and William Wyon remained in place throughout the first half of the 19th century.

Bringing the exhibition up to present times, medals conceived by artists working today will also be on display. Medals by contemporary artist Danuta Solowiej will include a commission from the University of Oxford’s Department of Plant Sciences, with a beautiful rendition of the Iris germanica. Solowiej learned the art of medal making in Poland and has now been working in London for thirty years. The exhibition also celebrates works by Asian artists Dhruva Mistry RA from India and a young silversmith from Korea, Kyosun Jung, who is currently working in London.

It is generally recognised that the story of British art before the 19th century is, to a great extent, the story of artists arriving from other countries. Witnesses: Émigré Medallists in Britain brings together a selection of objects to reveal that this also true of medallic art. Drawing on the British Museum’s rich medal collection, this exhibition celebrates the contributions made by foreign artists both past and present.

Met Names Andrea Bayer Deputy Director for Collections, Administration

Posted in museums by Editor on November 10, 2018

Press release (8 November 2018) from The Met:

Andrea Bayer (Photo courtesy of The Metropolitan Museum of Art).

Max Hollein, Director of The Metropolitan Museum of Art, announced today that Andrea Bayer has been appointed Deputy Director for Collections and Administration. In May 2018, Dr. Bayer was appointed Interim Deputy Director for Collections and Administration, continuing in her position as Jayne Wrightsman Curator in the Department of European Paintings.

“Andrea Bayer is a highly respected scholar, an imaginative exhibition curator, and an esteemed colleague at The Met,” said Hollein. “Throughout her time as Interim Deputy Director and before, she has shown exceptional leadership and great loyalty to our beloved Museum. I have been deeply impressed by her commitment and capabilities during my first few months as Director of the Museum and am excited that she has just accepted our offer to become Deputy Director.”

“As Curator in the Department of European Paintings, often working on projects that went across multiple departments, I know how rewarding it is to work alongside colleagues throughout the Museum,” said Bayer. “I am thrilled to take on this new role, one which will allow me both to support the Director and continue to collaborate with these colleagues on an institutional level.”

Since joining The Met’s Department of European Paintings in 1990 as a scholar of Italian Renaissance art, Andrea Bayer has curated groundbreaking exhibitions including Dosso Dossi, Court Painter in Renaissance Ferrara (1999); Painters of Reality: The Legacy of Leonardo and Caravaggio in Lombardy (2004); Art and Love in Renaissance Italy (2008–09); and the current exhibition Celebrating Tintoretto: Portrait Paintings and Studio Drawings, with Alison Manges Nogueira, Associate Curator in the Robert Lehman Collection. Bayer also co-curated Unfinished: Thoughts Left Visible, one of the inaugural exhibitions at The Met Breuer.

Bayer was named Curator in European Paintings in 2007 and was appointed Jayne Wrightsman Curator in 2014. She served as Interim Head of Education in 2008–09 and for six years acted as coordinating curator for the Curatorial Studies program with New York University’s Institute of Fine Arts. Bayer is also Co-Chairman of the Director’s Exhibition Committee.

In addition to authoring numerous exhibition catalogs, Bayer has written two Museum Bulletins and recently co-authored two articles for the Metropolitan Museum Journal: “Andrea del Sarto’s Borgherini Holy Family and Charity: Two Intertwined Late Works” and “An Examination of Paolo Veronese’s Portrait of Alessandro Vittoria,” both in volume 52 (2017).

Andrea Bayer studied at Barnard College and Princeton University and received her PhD from Princeton University in 1990.

Conference | HECAA Sessions at UAAC, 2018

Posted in conferences (summary) by Editor on November 10, 2018

Thanks to Christina Smylitopoulos for again chairing this year’s HECAA sessions at UAAC. Next year’s conference is scheduled for Québec City. Full program details for 2018, including abstracts and speaker information, is available here.

Universities Art Association of Canada / l’association d’art des universités du Canada
University of Waterloo, Ontario, 25–27 October 2018

F R I D A Y ,  2 6  O C T O B E R  2 0 1 8

HECAA Open Session, Part 1, 2:00–3:30
Chair | Christina Smylitopoulos (University of Guelph)
1  Sarah Carter (McGill University), Physiognomies of Genius: Competition and Friendship in Aphorisms on Man
2  Andrea Korda (University of Alberta), The Eclipse of Visual Education? Object Lessons from Pestalozzi to Mayo
3  Loren Lerner (Concordia University in Montreal), The Infant, the Mother, and the Breast in the Paintings of Marguerite Gérard

HECAA Open Session, Part 2, 4:00–5:30
Chair | Christina Smylitopoulos (University of Guelph)
1  Caroline Murphy (MIT), Sensation and Sacred History: The Museo Sacro in Eighteenth-Century Rome
2  Alena Robin (Western University), Transatlantic Perspectives of a Passion Series by Mexican Painter José de Ibarra
3  Justina Spencer (Carleton University), Sartorial Alterity and the Cartographic Impulse: Costume Illustrations in French Travel Memoirs of the Ottoman Empire

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