Exhibition | Luxury in Silk: Fashion in the 18th Century

Posted in exhibitions by Editor on November 25, 2018

From the GNM:

Luxury in Silk: Fashion in the 18th Century / Luxus in Seide: Mode des 18. Jahrhunderts
Germanisches Nationalmuseum, Nuremberg, 5 July 2018 — 6 January 2019

Sacque (sack-back gown or robe à la française), ca. 1760 (Nuremberg: Germanisches Nationalmuseum).

In 2017, the GNM was able to acquire a remarkable object: a one-piece silk dress from the period around 1760 with a hooped skirt from about the same time. The colours of the silk fabric are extremely well-preserved; the pale blue background with the colourful flower decoration has hardly faded at all—which is extremely rare in textiles from this period.

But what did one wear with a dress of this kind? In the exhibition, splendid jewellery, accessories, and ‘fancies’ such as headpieces and collars, fans and gloves, silk stockings and shoes complete the picture of a lady ‘à la mode’. Contemporary portrayals and excerpts from historical literature also give a deep insight into the enormous skill that went into making such elaborate clothing and accessories. With around 100 items on display, the exhibition offers a fascinating insight into luxury clothing of the 18th century and also examines various issues within historical textile and clothing research.

New Book | Georgian Jewellery, 1714–1830

Posted in books by Editor on November 25, 2018

First published in 2007, this book was reprinted this fall by ACC Art Books:

Ginny Redington Dawes with Olivia Collings, Georgian Jewellery, 1714–1830 (New York: ACC Art Books, 2018), 192 pages, ISBN: 978-1851499212, $85.

Georgian Jewellery is a celebration of the style and excellence of the eighteenth century and of the ingenuity that produced such a wealth of fabulous jewelry. Heavy academic tomes have already been written about the period, but this book examines it in a more colorful and accessible way. The book aims to show that Georgian jewelry is not only the stuff of museums and safe boxes, but that it can be worn as elegantly and fashionably today as it was 200 years ago.

Much disparate information about the jewelry has been gathered together and the period is brought alive by portraits and character sketches of famous Georgians in their finery, fashion tips, gossip, and some rather outrageous cartoons of the time, as well as fascinating recently discovered facts. With information on how to identify, buy and repair pieces, this sumptuously illustrated volume contains the largest single catalogue of eighteenth-century jewelry.

Ginny Redington Dawes, a life-long collector of antique jewelry, has written two previous books on the subject: The Bakelite Jewellery Book and Victorian Jewellery. Staff writer for MGM Screengems Music, she is also a successful composer; she wrote the book, music and lyrics for the off-Broadway show The Talk of the Town and has won a CLEO award for music for advertising.

Olivia Collings became fascinated by the seventeenth-century alchemist and jeweler Christopher Pinchbeck at an early age and bought her first piece of antique jewelry aged seven. She trained in an exclusive Bond Street antique jewellery shop before starting her own business in 1975 and has continued learning about and dealing in Georgian jewellery ever since. She is now an independent jewelry consultant.

Call for Papers | World-Making, 1500–1800

Posted in Calls for Papers by Editor on November 25, 2018

From the Early Modern Center at the University of California, Santa Barbara:

World-Making, 1500–1800
University of California, Santa Barbara, 22–23 February 2019

Proposals due by 7 December 2018 (extended from 20 November 2018)

Frans II Francken, Allégorie de l’Occasion, detail, 1628 (Musée d’art et d’archéologie du Périgord).

The Early Modern Center at the University of California, Santa Barbara invites proposals for our annual conference, World-Making, 1500–1800, to be held on February 22 and 23, 2019. We are happy to announce our two keynote speakers: Su Fang Ng (Clifford A. Cutchins III Professor and Associate Professor of English, Virginia Tech) and Daniel O’Quinn (Professor in the School of English and Theatre Studies, University of Guelph).

Worldmaking, 1500–1800 will explore the ways in which worlds—large and small, local and global, conjectural and experiential—were conceived and created in early modern England. We invite conversations that address and interrogate the concept of ‘world’ broadly construed, as well as conversations that attend to the ‘making’ of worlds in social, institutional, and political frames and by and through various media. How is a world—or the world—represented, portrayed, and evoked? How do such representations, portrayals, and evocations create worlds? What are the possible interactions between fictive world-making and lived experiences of the world?

Topics for panels and roundtables may include, but are not limited to
• the global early modern
• worldmakers
• gender, sexuality, trans, and queer studies in the global early modern
• critical race studies
• global mobilities
• travel narratives / narratives of exploration
• mapping and making
• worlds of writing and print
• global media and technology
• translation and mediation
• currency, capital, and trade
• fictive worlds and their makers
• religious worlds
• utopias, dystopias, apocalypses, and imagined futures
• creating and representing worlds on stage
• early modern embodiment and the body’s relation to world
• worlds shaped by affect, emotions, and mind
• the phenomenal world and ‘world’ in phenomenology
• historiography
• making and conjuring worlds of the archive

We invite abstracts of 150 to 200 words and a one-page CV to be sent to emcfellow@gmail.com by December 7, 2018. We envision and invite both twenty-minute panel presentations and ten-minute roundtable presentations; we will also consider complete panel or roundtable proposals. If you have further questions, please feel free to contact the conference organizer, Unita Ahdifard, at emcfellow@gmail.com.

Exhibition | Museo del Prado, 1819–2019: A Place of Memory

Posted in exhibitions by Editor on November 24, 2018

Now on view at the Prado:

Museo del Prado, 1819–2019: A Place of Memory / Un lugar de memoria
Museo Nacional del Prado, Madrid, 19 November 2018 — 10 March 2019

Curated by Javier Portús

Francisco de Goya y Lucientes, Portrait of José Álvarez de Toledo, Marquis of Villafranca and Duke of Alba, 1795, oil on canvas (Madrid: Museo Nacional del Prado).

This exhibition launches the extensive programme organised by the Prado to mark the 200th anniversary of its foundation. It offers a survey of the museum’s history, focusing on the dialogue between the museum and society; heritage policies in Spain; the trends that have guided the growth of the museum’s collection; and its transformation into a place that has allowed Spanish and foreign writers, intellectuals, and artists to reflect on the country’s past and its collective identity.

Organised around the art and documentary collections at the Prado (both visual and sound archives), which shall be exhibited alongside works by artists who have come into contact with the museum over the last two centuries, the exhibition presents a total of 168 original works, 34 from different Spanish and foreign institutions, together with a variety of complementary materials including documents, maps, pictures, photographs, and audiovisual installations.


Call for Papers | Cultural Transfer and Competition: German Courts

Posted in Calls for Papers by Editor on November 24, 2018

From the Call for Papers, which includes the full French version:

Konkurrenzkultur und Kulturtransfer: Höfische Repräsentationsstrategien im Alten Reich, 1650–1800
Transfert culturel et culture de concurrence: Stratégies de représentation des cours de l’ancien Empire germanique, 1650–1800
Westfälische Wilhelms-Universität Münster, 30 September — 4 October 2019

Proposals due by 6 January 2019

Veranstaltet vom Institut für Kunstgeschichte der Westfälischen Wilhelms-Universität Münster in Zusammenarbeit mit der École Pratique des Hautes Études, PSL (Équipe HISTARA 7347), Paris, und dem LWL-Museumsamt für Westfalen in Münster

Das Forschungsatelier widmet sich höfischen Repräsentationsstrategien im Alten Reich von 1650-1800. Es richtet sich an internationale Nachwuchswissenschaftler*innen, die zur europäischen Hofkunst arbeiten. Dabei liegt der Fokus auf der Konkurrenzsituation der Reichsfürsten und dem vor diesem Hintergrund erfolgten Kulturtransfer zwischen Deutschland und Frankreich.

Angesichts der jeweils spezifischen Situation der einzelnen deutschen Höfe konnten französische Kunstformen nur bedingt modellhaft wirken, waren jedoch wegen ihrer künstlerischen Qualität und Aktualität in höchstem Maße attraktiv. Deshalb wurden bestimmte Elemente aufgegriffen und für die eigenen Strukturen fruchtbar gemacht. Die interhöfische Konkurrenzsituation im Alten Reich potenzierte diesen Vorgang und förderte zugleich – so die grundlegende These – innovative künstlerische Lösungen. Die hierbei wirksamen Mechanismen, Agenten, Produkte, aber auch die entstehenden Konflikte, Brüche und Widerstände stehen im Blickpunkt des deutsch-französischen Forschungsateliers.

Dem stellt sich die Situation im zentralistisch regierten Frankreich entgegen: Welche Konkurrenzen sind hier festzustellen? Wie präsentiert sich der Adel im Verhältnis zum König? Unterscheiden sich die Repräsentationsstrategien von jenen im Alten Reich und welche Modelle lassen sich im europäischen Vergleich ausmachen? Gerade im Vergleich mit der Machtstruktur der französischen Monarchie und anderer europäischer Hofkulturen werden die Dynamiken der Konkurrenzsituation deutscher Höfe umso plastischer – und umgekehrt. Aktuelle Tendenzen der Residenzforschung aufgreifend, widmen wir uns nicht nur den Paraderäumen, sondern auch den Rückzugsorten, um zu einem umfassenderen Verständnis von Herrschaftsrepräsentation zu gelangen. Zu dieser Ganzheitlichkeit gehört auch die Vielgestalt der Medien: Berücksichtigung finden neben Architektur und Raumausstattungen jeglicher Art (wandfeste Teile und Mobiliar, Innenräume sowie Gartenkunst), Porträtkultur, Sammlungen oder ephemere Kunstformen (Feste, Aufführungen, Tafelkultur) usw. Mit dem LWL-Museumsamt für Westfalen als Partnerinstitution erweitert sich der wissenschaftliche Austausch um eine praktische Komponente durch die direkte Einbindung verschiedener musealer Einrichtungen. Museumsvertreter*innen übernehmen die Moderation bestimmter Sektionen bzw. empfangen uns in ihren jeweiligen Wirkungsstätten. Die Umsetzung universitärer Forschung im Museumsbetrieb wird so gezielt in die Diskussion eingebunden.

Das fünftägige Forschungsatelier wird finanziell unterstützt durch die Deutsch-Französische Hochschule. Es richtet sich an Nachwuchswissenschaftler*innen, die an einer deutschen oder französischen Institution eine Promotion oder eine Habilitation im Bereich der kunsthistorischen Forschung zur Hofkultur anstreben oder ein Postdoc-Projekt zu dieser Thematik durchführen (die Promotion darf nicht länger als vier Jahre zurückliegen). Insgesamt sind 18 Plätze zu besetzen. Die ausgewählten Teilnehmer*innen halten jeweils einen dreißigminütigen Vortrag aus dem Bereich ihrer Forschungen im oben beschriebenen Themenspektrum, woran sich jeweils eine fünfzehnminütige Diskussion anschließen wird. Wir bitten um die Einreichung Ihrer Bewerbung (ein einziges pdf-Dokument!) bis zum 6. Januar 2019 an kristina.deutsch@uni-muenster.de. Einzureichen sind ein tabellarischer Lebenslauf mit Publikationsliste und ein kurzes Exposé (max. 3000 Zeichen inkl. Leerzeichen) über das geplante Referat. Die Auswahl erfolgt nach wissenschaftlicher Qualifikation und Eignung des Themas.

Prof. Dr. Eva-Bettina Krems (WWU Münster); Prof. Dr. Sabine Frommel (EPHE, Paris)

Dr. Kristina Deutsch (WWU Münster); Dr. Ute-Christina Koch (LWL-Museumsamt für Westfalen, Münster/ Service muséal du LWL pour la Westphalie, Münster)


Exhibition | Art of Native America: The Diker Collection

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

Press release for the exhibition:

Art of Native America: The Charles and Valerie Diker Collection
The Met Fifth Avenue, New York, 4 October 2018 — 6 October 2019

Opening October 4 at The Metropolitan Museum of Art, Art of Native America: The Charles and Valerie Diker Collection will feature 116 artworks from more than 50 cultures across North America. Ranging in date from the 2nd to the early 20th century, the diverse objects are promised gifts (first announced in spring 2017), donations, and loans to The Met from the pioneering collectors Charles and Valerie Diker. The collection has particular strengths in sculpture from British Columbia and Alaska, California baskets, pottery from southwestern pueblos, Plains drawings and regalia, and rare accessories from the eastern Woodlands.

Max Hollein, the Museum’s Director, commented: “The presentation in the American Wing of these exceptional works by Indigenous artists marks a critical moment in which conventional narratives of history are being expanded to acknowledge and celebrate the contributions of cultures that have long been marginalized. The extraordinary gift of the Diker Collection has forever transformed The Met’s ability to more fully display the development of American art, enabling an important shift in thinking.”

The exhibition is made possible by The Peter Jay Sharp Foundation, the Diane W. and James E. Burke Fund, the Enterprise Holdings Endowment, and the Walton Family Foundation.

A ceremonial opening of the exhibition involving contemporary Native American artists will be accompanied by a robust series of public programs.

Shoulder bag, ca. 1780; Anishinaabe, probably Ojibwa; possibly made in Minnesota, Wisconsin, or Ontario; native-tanned leather, porcupine quills, dye, metal cones, deer hair, vegetal fiber, and wool yarn (New York: The Metropolitan Museum of Art, Promised Gift of Charles and Valerie Diker, L.2018.35.70).

Art of Native America will be the first exhibition of Indigenous American art to be presented in the American Wing since it was established in 1924. Originally focused on Colonial and early Federal decorative arts and architecture, the Wing’s collecting areas have continued to evolve.

Sylvia Yount, the Lawrence A. Fleischman Curator in Charge of the American Wing, said: “We are committed to exploring thoughtfully and sensitively the entangled histories of contact and colonization from both Native and Euro-American perspectives. The Met takes seriously its curatorial responsibility to share with our broad audiences—in a variety of displays and contexts—the cultural endurance and creative continuity of Indigenous American artists.”

Art of Native America will highlight production from seven distinct regions: Woodlands, Plains, Plateau, California and Great Basin, Southwest, Northwest Coast, and Arctic. Featured works cover all of the major artistic forms by both identified and unrecorded Native Americans: paintings, drawings, sculpture, textiles, quill and bead embroidery, basketry, and ceramics. Highlights include a ca. 1800 shoulder bag made from finely tanned and dyed deerskin hide embellished with porcupine quills by an Anishinaabe woman, possibly from Ontario, Canada; a striking  ca. 1895–1900 ceramic jar depicting the Butterfly Maiden spirit being (Palhik Mana) by renowned Hopi-Tewa potter Nampeyo from Hano Village, Arizona; a monumental 1907 woven basket by Washoe artist Louisa Keyser from Carson City, Nevada; a masterfully carved 1820–40 Tsimshian headdress frontlet with abalone shell inlays from British Columbia; and an elaborate ca. 1900 dance mask by a Yup’ik artist from Hooper Bay, Alaska.

A core group of works from the Diker Collection will remain on view in the American Wing’s Erving and Joyce Wolf Gallery, while light-sensitive works will be rotated annually. Displays of Native and non-Native art—historical and contemporary—will also be organized in response to the Diker Collection.

The Met is collaborating with a range of  advisors on the exhibition, including: Kathleen Ash-Milby (Diné/Navajo), Associate Curator, Smithsonian National Museum of the American Indian, New York; Bruce Bernstein, Executive Director, Ralph T. Coe Center for the Arts, Santa Fe, New Mexico; Ned Blackhawk (Western Shoshone), Professor of History and American Studies, Yale University, New Haven, Connecticut; Steven C. Brown, independent scholar, Olympic Peninsula, Washington; Elizabeth Hutchinson, Associate Professor, Art History, Barnard College and Columbia University, New York; and Brian Vallo (Acoma), Director, Indian Arts Research Center, School for Advanced Research, Santa Fe, New Mexico.

Gaylord Torrence, with contributions by Ned Blackhawk and Sylvia Yount, Art of Native America: The Charles and Valerie Diker Collection (New York: The Metropolitan Museum of Art, 2018), 232 pages, ISBN: 978-1588396624, $50.

Exhibition | Artistic Encounters with Indigenous America

Posted in exhibitions by Editor on November 23, 2018

From The Met:

Artistic Encounters with Indigenous America
The Met Fifth Avenue, New York, 3 December 2018 — 13 May 2019

Charles Balthazar Julien Févret de Saint-Mémin, Osage Warrior (detail), 1805–07, watercolor and graphite on off-white wove paper, 18 × 16 cm (New York: The Metropolitan Museum of Art, 54.82).

This exhibition will explore how European and American artists represented Indigenous North Americans in drawings, prints, watercolors, photographs, and popular ephemera from the seventeenth to the early twentieth century. Through forty-five examples from The Met collection, the display will trace the evolution of this complex imagery over time, highlighting the ways in which it contributed to the creation and dissemination of myths and misconceptions about Native peoples, often justifying their dispossession, cultural destruction, and genocide. From formulaic depictions of so-called savage warriors and Indian princesses to romanticized representations of a ‘vanishing race’, these works reveal the pervasive influence of Indigenous America on the Euro-American imagination.

Artistic Encounters with Indigenous America complements the exhibition Art of Native America: The Charles and Valerie Diker Collection, on view at The Met Fifth Avenue from 4 October 2018 through 6 October 2019.

Research Fellowships at the Warburg Institute, 2019–20

Posted in fellowships by Editor on November 23, 2018

From H-ArtHist:

Research Fellowships at the Warburg Institute, 2019–20
Warburg Institute, London

Applications due by 10 December 2018

The Warburg Institute is offering four long-term Fellowships for the 2019/20 academic year for either nine or twelve month periods and ten short-term Fellowships available for two, three or four month periods. These awards enable scholars to undertake a period of research in intellectual, cultural or art history at the Warburg Institute. Applicants must already have a PhD in hand at the time of applying in order to be eligible.

The Warburg Institute is one of the world’s leading centers for studying the interaction of ideas, images and society. It is dedicated to the survival and transmission of culture across time and space, with special emphasis on the afterlife of antiquity. Fellows are given a space to work and access to the Institutes open-stack Library, Photographic Collection and Archive as well as being paid a stipend to assist with the cost of living in London whilst they undertake their research. Further information and the links to apply can be found on our website. The deadline to apply for both the long and the short-term Fellowships is Midnight, Monday, 10 December 2018.

Exhibition | Magnificent Venice!

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

Now on view at the Grand Palais (and also worth noting that the Royal Collection exhibition on Canaletto opens in Dublin in December) . . .

Magnificent Venice! Europe and the Arts in the 18th Century
Grand Palais, Paris, 26 September 2018 — 21 January 2019
Fondazione Musei Civici di Venezia, Palazzo Ducale, Venice, 23 February — 9 June 2019

Curated by Catherine Loisel

Venice fascinated Europe in the 18th century. Its site, on islands transformed into a monumental city, its political regime, its artistic and musical traditions, and its carnival made it attractive and unique. At the time, the Republic of Venice, with its rich history, was among the key powers in Europe. But throughout the century, the city also suffered a series of crises, both economic and social, which led to its decline and precipitated its fall in 1797 at the hands of Bonaparte’s armies. Despite this difficult context, the city’s arts scene still displayed an exuberant vitality. Painters, sculptors, decorators, and designers were among the most illustrious on the Italian stage. Composers, playwrights, instrumentalists and singers were famous throughout Europe. It is this last golden age that the exhibition aims to recount, with an emphasis on the influence of Venetian artists in England, France, Germany, and Spain. It also evokes the power of the myth reflected in their works inspired by the joyful and decadent Serenissima. In addition to fine art, the exhibition also seeks to recreate the atmosphere of these last flames of a civilisation. To this end, the scenography has been entrusted to Macha Makeïeff, a set designer renowned for her lively inventiveness.

Catherine Loisel, Éblouissante Venise! Les arts et l’Europe au XVIIIe siècle (Paris: Les éditions Rmn-Grand Palais, 2018), 256 pages, ISBN: 978-2711870714, €45.

The exhibition booklet, in English, is available as a PDF file here»



New Book | The Gardens of Villa Rufina Falconieri

Posted in books by Editor on November 22, 2018

Published by Gangemi and available from Artbooks.com:

Marina Cogotti, Villa Rufina Falconieri a Frascati: Il Giardino (Rome: Gangemi, 2018), 224 page, ISBN: 978-8849236415, 40€ / $69.

Da sempre oggetto di ammirazione e di studio, lo straordinario sistema di residenze nobiliari note come Ville Tuscolane non sono state mai indagate dalla particolare prospettiva dei loro giardini. Eppure, proprio nell’armonia compositiva tra volumetrie edificate e contesto ambientale, frutto di una sapiente rimodellazione del paesaggio naturale, risiede il fascino più evidente di questi complessi, ammirati ed imitati fin dall’epoca della loro costruzione. Il volume ripercorre la lunga vicenda della Villa Rufina Falconieri, prima ad essere edificata nell’ambito della ricostruzione di Frascati promossa da Paolo III, seguendone le fasi costruttive e il lungo periodo di appartenenza alla famiglia Falconieri, fino agli anni più recenti. La narrazione si dipana con lo sguardo rivolto al giardino, creazione quanto mai fragile e dinamica, la prima a subire gli esiti delle fortune e delle difficoltà legate ai proprietari avvicendatisi nel tempo, mettendone in risalto anche la funzione di tenuta agricola sempre presente, e con pari dignità, rispetto al ruolo di villa di delizia. Il volume si avvale di un ampio corredo iconografico, arricchito dal rilievo e dalla campagna fotografica originale che completano il ritratto di questo giardino tuscolano; sfogliando le pagine si potrà cogliere l’eco del fascino che, ancora oggi, alcuni angoli del giardino come il misterioso laghetto dei cipressi hanno esercitato su schiere di disegnatori e artisti. Un interesse che, contribuendo a mantenere alta la notorietà di questa villa, continua a rappresentare il primo presidio per la tutela e la conservazione di questa meraviglia.

Marina Cogotti, architetto MiBAC, vanta una consolidata esperienza in materia di tutela, conservazione e valorizzazione dei beni culturali, svolta come funzionario di Soprintendenza e negli ultimi anni come direttore di museo. Responsabile per un lungo periodo delle Ville Tuscolane, dal 2008 al 2016 ha diretto Villa d’Este a Tivoli, ambiti nei quali ha promosso un’intensa attività di studio e valorizzazione; attualmente è direttore del Museo archeologico nazionale e Santuario della Fortuna Primigenia di Palestrina. La sua attività di ricerca si è concentrata negli ultimi anni sui temi della cultura rinascimentale, dei giardini e ville storiche e sul paesaggio, con approfondimenti sui Castelli Romani e sul territorio tiburtino. Ha curato, sola o in collaborazione, monografie, mostre, convegni; è autore di numerosi saggi e contributi scientifici.

• Il giardino rinascimentale — Il sito e le preesistenze, Familiari dei Farnese, La Rufina e il giardino
• Il giardino della maturita, Il primo Seicento — Di mano in mano, Il giardino Sforza, L’agricoltura
• Il primo giardino Falconieri — I Falconieri, La continuita 1628–1879, Le innovazioni seicentesche e la ‘questione borrominana’, Fiori, che passione?, La stanza giardino della primavera, La villa rustica, Tra otia e utilitas, Il portale dei Villani
• Il giardino di Alessandro Falconieri tra arcadia e preromanticismo — Il rinnovamento settecentesco e I suoi protagonisti, Il giardino del cardinale, Il sistema di percorsi, passeiggate, stradoni, cancelli, Il giardino del bosco, Il giardino piano, Il pomario
• L’ultima stagione — Gli ultimi Falconieri, Il giardino ‘rustico’ ottocentesco, Da residenza nobiliare a istituto pubblico, Quel che resta del giardino
• Il parco odierno
• Appendice documentaria

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